• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.16-37
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• 2015

As a result of analyzing the forming and the transformations of Seokjojeon Hall garden by linking it to the changes of Deoksugung Palace influenced by the social atmosphere, the Seokjojeon garden can be classified into four phases. The first phase starts from 1896 to 1914. Gyeongungung was built in the late 19th century(1896-1897) as an official palace and Junghwajeon Hall and Seokjojeon Hall was built for Gojong. J.M.Brown was in charge of the construction of Seokjojeon in the beginning but H.W.Davidson saw the end also set up the garden. In the process of forming the garden the incorporating of Dondeokjeon Hall and the demolishing of the west wing corridors of Junghwajeon Hall occurred. At this phase of the garden a statue of an eagle was put up in the garden but was soon taken down. The shape of the garden was quiet simple with a central axial pathway, a round assorted flower bed placed in front of Seokjojeon Hall. The second phase starts from 1915 to 1932 which lasted for 17 years. At the last years of the Great Han Empire the duties of Gungnaebu(宮內府) was transferred to Leewangjik(李王職) in 1911 and a research on the existing buildings was done by Jujeonkwa(主殿課) in 1915. According to the research drawings, the garden still maintained the axial pathway formed in the previous phase but the garden had an asymmetric form. The flower bed was formed in a round shape and an open-knot technique and boundary plantation was applied to the garden. The third phase starts from 1933 to 1937 and is the period when Seokjojeon Hall was made public. By the year of 1932 many buildings of Deoksugung Palace had been demolished in the preparation of the opening of Seokjojeon Hall as a permanent exhibition hall. The central axial pathway still remained in the new garden and added a pond with a turtle statue in the center. The fourth phase starts from 1938 until the liberation from Japan and is the period when Deoksugung Palace became a park. Yi Royal-Family Museum was built and linked to Seokjojeon Hall with a bridge and the garden transformed into a sunken garden. The garden adopted a fountain and a pagora. Despite the minor changes in the after years the garden still posses most of its form from the fourth phase. As we can see the current garden of Seokjojeon Hall is not the same as the initial garden and therefor the importance of this study lies in the fact that modifications to the statements regarding to Seokjojeon Hall garden should be made.

• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.4-23
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• 2014

Seokjojeon Hall is the Neoclassic style building situated in Deoksugung Palace, which was proposed by John McLeavy Brown who was a chief commissioner of the Daehan Empire and designed by John Reginald Hardings in 1897. Construction of the Seokjojeon Hall began in 1900 and completed in 1910 at the total cost of one million won. Decorating and furnishing of the interior was designed by Lovell and all the furniture of Seokjojeon Hall had been purchased from Maple&Co. The Maple&Co was the supplier of luxury furnitures and decorating items for luxurious residentials, hotels, embassies and the palaces and its headquarter was located in London. Ready-made furnitures were purchased as shown in the Maple's catalog. The designs and styles of the west were applied to Seokjojeon Hall. That is one of the aspects showing Daehan Imperial underwent a period of Westernization.

• Korean Architects
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• s.529
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• pp.88-94
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• 2013

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.234-252
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• 2023

This study looked at the modification of major gardens while making Deoksugung Palace (德壽宮) a park in the Japanese colonial era. This is because landscaping work was carried out in various places from 1932 to 1933 to open Deoksugung Palace, which used to be an imperial palace, as a public recreation space. In particular, major gardens such as the front yard of Seokjojeon Hall (石造殿), the back yard of Hamnyeongjeon Hall (咸寧殿), and the back yard of Jeukjodang Hall (卽阼堂) were greatly transformed into different shapes from the original. During the first phase of construction in 1932, a water tank was installed in Seokjojeon Hall Garden, creating the first water space. This water tank was originally a structure installed in the front yard of Injeongjeon Hall (仁政殿) of Changdeokgung Palace (昌德宮). Around 1909, a water tank installed in the front yard of Injeongjeon Hall was relocated to Seokjojeon Garden in the process of turning Deoksugung Palace into a park. The water tank moved from the front yard of Injeongjeon Hall was a factor that transformed the central area of Seokjojeon Garden into a water space, and a fountain installed to replace the water tank remains to this day. The backyard of Hamnyeongjeon Hall was also renovated into a new shape during the first phase of construction. Originally, there was a terraced flowerbed called Hwagye (花階) in the backyard of Hamyujae Hall (咸有齋) and Hamnyeongjeon Hall, and it was restored from the construction that took place after the Great Fire of Deoksugung Palace. In the process of turning Deoksugung Palace into a park, a three-stage stonework was built in the front yard of Jeonggwanheon Pavilion (靜觀軒) which renovated the Hwagye in the backyard of Hamyujae Hall and Hamnyeongjeon Halll. The stonework built at that time was used as a peony garden to provide visitors with attractions after the opening of Deoksugung Palace, and it remains today with the name Jeonggwanheon's Hwagye. The backyard of the Jeukjodang Hall area is a case of damage in the second phase of construction in 1933. Like the backyard of Hamnyeongjeon Hall, the backyard of Jeukjodang Hall, where the Hwagye was originally built, was converted into a Japanese-style garden in the process of turning Deoksugung Palace into a park. The site where the Hwagye was demolished was decorated with a Japanese-style garden centered on mounding, small roads, and landscaping stones, as well as topographic control and planting work. Although there have been minor changes since liberation, the backyard of the Jeukjodang Hall area is still based on a Japanese-style garden created by turning Deoksugung Palace into a park.

• International Journal of Contents
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• v.12 no.4
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• pp.8-16
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• 2016

This research proposes the composition logic of an Active Learning Environment (ALE), to enable discovery by learning through experience, whilst increasing knowledge about modern architectural heritage. Linking information to the historical heritage using Information and Communication Technology (ICT) helps to overcome the limits of previous learning methods, by providing rich learning resources on site. Existing field trips of cultural heritages are created to impart limited experience content from web resources, or receive content at a specific place through humanities Geographic Information System (GIS). Therefore, on the basis of the blended space theory, an augmented space experience method for overcoming these shortages was composed. An ALE space framework is proposed to enable discovery through learning in an expanded space. The operation of ALE space is needed to create full coordination, such as a Content Management System (CMS). It involves a relation network to provide knowledge to the rule engine of the CMS. The application is represented with the Deoksugung Palace Seokjojeon hall example, by describing a user experience scenario.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.4
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• pp.15-24
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• 2019

Currently, museums and architectural heritage provide augmented user experiences by incorporating various media technologies. They still, however, suffer from the limitation of entertainment-based and the provision of location-based simple and repetitive contents. In addition, while acting as a key medium of experience for architectural heritage, the concept of space is not properly reflected in current services. The purpose of this study is to design user space experience considering such characteristics of architectural heritage. The spatial experience content and content production platform are defined. This software platform creates content that enhances the experience of the place by giving a context-based digital data associated with space and objects. The spatial experience content is designed as a series of experience sequences. The composition of the sequence borrows the method of film and narrative which segment and connect consecutive experiences on a scene basis considering user's detailed spatial experience. Therefore, content components can be combined and reproduced in various types. Augmented contents were extracted by using rule-based reasoning function of ontology at the moment. As a practical example of architectural heritage, the Seokjojeon Hall is used to reveal a spatial experience scenario.

• (The) Research of the performance art and culture
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• no.35
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• pp.287-338
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• 2017

Gojong' Birth Anniversary Memorial Banquet in the 1910s was forced to be performed differently from the performance style in Joseon Dynasty period that featured a harmonious majestic beauty of etiquette music. The banquet was separated into three different sessions of ceremony, luncheon and performance', which clearly revealed a distinctive pattern of etiquette music. The performance was accompanied by the dinner party or was lightly implemented as part of evening entertainment. With the use of the term entertainment, the performances belonging to this category fell into nothing but something to enjoy, amusement, fun and play. The contents of such performances were not closely woven into the fabric of the entire banquet but were individualized and scattered in a way of putting the performances in a state of flux in line with the circumstances. Therefore, it became increasingly hard to expect a high degree of completion and solid structure of performances. The items of performance included western music, popular vocal music, popular instrumental music, magic, and film, which were not played in traditional court banquet in the presence of Gojong rather than traditional music and dance performed in court. In other words, the court performance could not maintain its traditional heritage but was transformed into a mixture of popular performance and new forms of art. It was driven by the Japanese imperialism toward the atmosphere of entertainment in oblivion of tradition but not toward the external extension of court performances.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.118-129
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• 2011

This study is about the governor general's official residence and its garden in Yongsan that were constructed during the Japanese occupational time. The garden design drawing was also made while planning such Neo-Baroque style building, and it contains particular information of the garden unlike the other existing landscape drawings. The content of garden translated and landscape historical value drawn out by analysis of garden drawings, press articles and literatures are as follows; First, such governor general's official residence garden in Yongsan is likely to be the Korean first western style landscape form. For, from the point that it was completely constructed together with such official residential building in 1909, its construction time should be before that of the garden of Seokjojeon, Deoksu Palace, which was constructed in 1911. Second, it shows the garden style and garden planting factors introduced together with the modern architecture then. Such garden planting factors are placed from the center axis of the garden that is connected to the center of the building and monument as well. Such style and factors cover and show the flower bed appearing in Baroque style gardens, the monument that forms Vista playing the center of audience's vision, water space that is placed symmetrically against the axis, planting pattern that emphasizes the plants' space, flower bed shape and axis, and what kinds of plants were introduced then. Third, it shows the using pattern of western style gardens. Western style garden parties used to take in place in this garden while official dinner and reception were held in the evening in the official residence. Fourth, it shows the historical value as a modern landscape drawing, which is the Korean first landscape drawing that shows the plants' names and planting techniques marking the current height and planned height for change of topography and water system as a water landscape factor. That is, this drawing has the value that it was upgraded from the other existing ones that expressed only simple plants' symbols or flower bed shapes. I, therefore, hope that the studies on the modern landscape would be getting wider by excavation of new historical records in the future.