• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.3
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• pp.83-91
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• 2020

The purpose of this study is to examine the process of formation of modern gardens. Based on the analysis of the process of formation and transformation of the Jemulpo in Incheon and the details of the modern garden construction. The results are as follows; First, the formation of the Incheon Residence Site began in 1876 with the signing of the Joseon-Japan Treaty. Jemulpo used to be a desolate fishing village in the past, but after its opening in 1881, the Japanese settlement, Chinese settlement, and the general foreign settlement were formed. After that, Japan reclaimed the southern mudflats and expanded the theire settlement area, and advanced to the Joseon area(currently Sinheung-dong). In Japanese colonial era, modern Japanese urban landscapes were transplanted into the settlement area, centering on the Japanese modern gardens were distributed in the area around the center of the settlement area. Second, after examining the process of creating the garden for the Rikidake villa, Japanese Rikidake purchased a site for an orchard in Uri-tang, who was a major landowner in Incheon, to create the garden. At the time of Rikidake's residence, the garden was very large, measuring about 3,000 pyeong, and after liberation, it was acquired by Incheon City and used as Yulmok Children's Library. It was known as a rich village at the time of the opening of the port, and a garden was located at the highest point in Yulmok-dong, making it easy to see the Incheon Port area. Also, a spot located about 300 meters away from Rikidake's rice mill may have affected the location selection. Third, today's Rikidake villa has a Japanese-style house on a trapezoidal site, with a garden of about 990 square meters on the south side. Currently, it is possible to enter from the south and from Yulmok Children's Park in the north, but in the past, the main direction of the house was to view the Incheon Port, settlement area, and the Rikidake Rice Mill, so the house was located in front of the garden. The garden is a multi-faceted style with stone lanterns, tombstones, garden stones, and trees placed on each side, and is surrounded by arboreal plants such as attention, strobe pine, and maple trees, as well as royal azaleas. The view from the inside of the house was secured through shrub-oriented vegetation around the house.

• Journal of People, Plants, and Environment
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• v.23 no.1
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• pp.101-114
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• 2020

This study focused on the composition of the exterior space of Parkjinsagoga, the types of gardens and planting and the landscape characteristics of walls, and examined its meaning as modern garden remains. Parkjinsagoga is a modern Korean house that harmonizes traditionality and practicality, and is an invaluable material for research not only on architecture but also on changes in the gardens of upper-class gardens. Its exterior space can be divided largely into An-chae (inner house), Outer Sarang-chae (outer house) and Inner Sarang-chae areas, and a garden was created in each yard (inner garden). In particular, one thing noticeable is that the yard of Inner Sarang-chae, unlike traditional gardening styles, was actively decorated. At the center of the yard of Inner Sarang-chae, two atypical planters and artificial moundings were created and the traffic line of the garden was designed to enjoy them while walking. An atypical pond was created on one of the artificial moundings and trees and shrubs were densely planted. Natural stones were also placed. The style seemed to be affected by Japanese gardens. These characteristics observed in the gardens of Parkjinsagoga are closely related to the transitional characteristics that traditional gardens started to show in modern times. A total of 35 families and 57 species were planted in the gardens of Parkjinsagoga and there were 19 species of tall trees, 20 species of shrubs and 17 species of flowering plants. The number of species planted in the garden of Inner Sarang-chae was the highest, and a total of 22 species of tall trees and shrubs. The walls in Parkjinsagoga were basically earth and rock-fill walls but their materials and patterns differed depending on the type of spaces. Four types of walls were found to be introduced to the house.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.68-79
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• 2012

This study examines features in using Japanese apricots that assume a leading place with a special symbolism among various species of trees adopted to traditional gardens from a landscaping view. Specific aspects of how Japanese apricots were adopted to traditional gardens are as follows. First, while Japanese apricots are used in modern landscape space, there traditionally were six types in use of Japanese apricots as Tammae(探梅) Jungmae(庭梅) Bunmae(盆梅) Byoungmae(甁梅) Chomae(造梅) and Mukmae(墨梅). Second, Japanese apricots planted in gardens[庭梅] were placed mainly in a front yard of Sarang-Chae(the men's part of a traditional house) took a central area because symbolism and ornamental values of Japanese apricots suited what classical scholars sought. Preferred planting sites at that time include south of the building, the yard of Sarang-Chae, space in front of windows and next to fences and waterside. Third, Japanese apricots in traditional gardens were planted in five ways; Dansik(單植) Daesik(對植) Gunsik(群植) Yeolsik(列植) Honsik(混植). Dansik was the most common way in planting Japanese apricots and Daesik intended to enhance orderedness and symbolism of space. Japanese apricots for appreciating in an open field took the form of Gunsik in general but Honsik was also used with species of special symbolism. This study offers an opportunity to grasp traditional planting methods of Japanese apricots based on understanding of cultural aspects of Japanese apricots by focusing on Japanese apricots, the representative traditional species of trees. Results of the study would help to recognize the need to newly understand Japanese apricots and be useful information to plant and use Japanese apricots in a traditional way.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.1-19
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• 2013

This study tries to review 'Sakuteiki(作庭記)', the Book of Garden Making, compiled at the end of the 11th Century during the Heian Period of Japan, from the East-Asian perspective. 'Sakuteiki' is a Garden Theory Book, the oldest in the world as well as in Asia, and it contains the traditional knowledge of Japanese ancient garden culture, which originated from the continent(Korea and China). Traditional knowledge related to East-Asian garden culture reviewed in this paper is "Fungsu Theory"(風水, Asian traditional ecology: Fengshui in Chinese; Fusui in Japanese), stemmed from the culture to seek sound and blessed places to live in. Viewed from modern landscape architecture, the Fungsu Theory corresponds to ecology(science). The Fungsu Theory was established around the Han Dynasty of China together with the Yinyangwuxing(陰陽五行) Theory and widely used for making human residences including gardens. It was transmitted to Japan via Korea as well as through direct transaction between Japan and China. This study reinterprets garden design principles represented in Sakuteiki, which were selected in 5 key words according to the Fungsu Theory. The 5 key words for the Fungsu Theory are "the place in harmony of four guardian gods(四神相應地)", "planting trees in the four cardinal directions", "flow of Chi(氣)", "curved line and asymmetry", and "mountain is the king, water is the people". Garden design principles of "the place in harmony of four guardian gods(四神相應地)" and "planting trees in the four cardinal directions" are corresponding to "Myeongdang-ron(明堂論, Theory of propitious site)". The place in harmony of four guardian gods mentioned in Sakuteiki is a landform surrounded by the flow of water to the east, the great path to the west, the pond to the south, and the hill to the north. And the Theory originated from Zhaijing(宅經, Classic of dwelling Sites) of China. According to this principle, the city was planned and as a miniature model, the residence of the aristocrat during the Heian period was made. At the residence the location of the garden surrounded by the four gods(the flow of water, the great path, the pond, and the hill) is the Myeongdang(明堂, the propitious site: Mingtang in Chinese; Meido in Japanese). Sakuteiki explains how to substitute for the four gods by planting trees in the four cardinal directions when they were not given by nature. This way of planting originated from Zhaijing(宅經) and also goes back to Qiminyaoshu (齊民要術), compiled in the 6th Century of China. In this way of planting, the number of trees suggested in Sakuteiki is related to Hetu(河圖) and Luoshu(洛書), which are iconography of Yi(易), the philosophy of change, in ancient China. Such way of planting corresponds to that of Yongdoseo(龍圖墅, the villa based on the principle of Hetu) presented in Sanrimgyeongje (山林經濟), an encyclopedia on agriculture and living in the 17th Century of Korea. And garden design principles of "the flow of Chi(氣)", "curved line and asymmetry" is connected to "Saenggi Theory(生氣論, Theory of vitality)". Sakuteiki explains the right flow of Chi(氣) through the proper flow and the reverse flow of the garden stream and also suggests the curved line of the garden stream, asymmetric arrangement of bridges and stones in the garden, and indented shape of pond edges, which are ways of accumulating Chi(氣) and therefore lead to "Saenggi Theory" of the Fungsu Theory. The last design principle, "mountain is the king, water is the people", is related to "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory. Sakuteiki explains the meaning of garden through a metaphor, which views mountain as king, water as the people, and stones as king's retainers. It compares the situation in which the king governs the people with the help of his retainers to the ecological phenomena in which mountain(earth) controls water with the help of stones. This principle befits "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory which explains landform on the analogy of social systems, people, animals and things. As above, major garden design principles represented in Sakuteiki can be interpreted in the context of the Fungsu Theory, the traditional knowledge system in East Asia. Therefore, we can find the significance of Sakuteiki in that the wisdom of ancient garden culture in East-Asia was integrated in it, although it described the knowhow of a specific garden style in a specific period of Japan.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.1-9
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• 2011

This study concerns the Baekje Traditional Garden, one of the open spaces in the Lotte Resort in the Baekje Historical Reappearance Complex, which is part of the comprehensive plan for specific areas in the Baekje cultural area. The Baekje Traditional Garden has historic value, and its excellent garden style influenced the ancient Japanese gardens. This study dealt with three issues: (1) The context in which Lotte Buyeo Resort accepted the Baekje Traditional Garden, particularly the background and process of such; (2) The original form of the Baekje Traditional Garden; and (3) How the Baekje Traditional Garden should be represented in the open space of the resort. Representation is accomplished in two ways: using the structure of the original garden and in the borrowing of elements. For representation using the structure of the original garden, Imrugak was used as the main entrance space, and Wolsunjung was represented from the Ganbuklee remains. In the rear garden are wave watercourses and other garden facilities of the Wanggungri site in Iksan. Borrowing of elements, on the other hand, was accomplished in the plant plan and detailed development. In addition, mountaintops (three mountains and five mountain summits), a clean stream between mountains, and a pine forest are visualized in the garden. This is the representative landscape of the Taoist hermit world that appeared in the Baekje Gilt Bronze Incense Burner and Landscape pattern. The significance of this study is twofold. First, the Baekje Traditional Garden is a fresh trail because there has been no previous research concerning it. Second, while past research concerning traditional spaces focused on the results of representation, this study focused on the process of representation. This means that this research work tried to extend the study concerning the representation of traditional spaces from the conceptual to the practical approach. This study, however, also has its limitations. The authenticity of the representation suggested in this study may be questioned later because efforts have been made to preserve the original Baekje Traditional Garden. In addition, this study should seek a balance between authenticity on one hand and amusement and diversity of experience on the other, because the site is a resort.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.1-11
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• 2012

This study examines the implementation process of landscaping projects in Japanese colonial era focusing on landscaping of Keijo Imperial University and draws conclusions as follows. First, landscaping of Keijo Imperial University in Japanese colonial era progressed based on Hoegyebeop and it provides important materials including the floor plan of the garden, detailed statement and other documents required for the construction. Second, it was all Japanese enterprises that took part in landscaping of Keijo Imperial University and the construction progressed under a private contract by lowest-price contract-awarding system after five enterprises' submitting estimates. Third, according to the floor plan for the landscaping, the garden had a shape of a quadrant and its boundaries were utilized as side gutters and connected to a drainage system. Fourth, though the floor plan doesn't clarify specific names of trees, detailed statement shows sorts of trees of the time. Trees of Chosun were plentifully introduced due to regional features and pines were the most expensive one when they were voluminous. This study has significance that it conducts an empirical research on main materials and techniques of landscaping projects in Japanese colonial era.

• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.2
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• pp.104-112
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• 1995

The purpose of this study was to investigate cross-cultural comparison of landscape preferences among Korean, Japanese and Western groups, and to get some clues to be used in judging this cultural influence. Moreover this study suggested fundamental data for design theory of modern landscape architecture. The results were as follows ; Natural factors including vegetation, water and rock, structural factors and spatial factors could be significant variables on Korean traditional landscape. The mean preference scores for both landscape element and landscape space were significantly different(p(0.01, p(0.05) with the Korean most perferred, the Western in the middle, and Japanese least. There were both differences and similarities in landscape preference among Korean, Japanese and Western groups.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.4
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• pp.103-111
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• 2018

The Soswaewon Garden, which was constructed by Yang San-Bo around 1520, is a private traditional garden in Korea. Soswaewon Garden has long been and still is the focus of continuous research. However, relatively few studies have been conducted on the restoration of buildings that were lost in the past. The Goam-Jeongsa and Boohwondang buildings, which were lost in 1597 during the Japanese invasion, were restored in 1614 and depicted in a picture of Soswaewon Garden in 1755. However, they eventually disappeared and no longer exist in the present. Therefore, the restoration of these two buildings is considered an urgent task. This research aims to search for the original location of these buildings and estimate their size and shape in terms of physical space. Several years ago, an estimation of the building site was carried out, providing a stepping stone on this matter. This can be studied through "Soswaewon's 48 quatrains with five Chinese characters in each line," "Soswaewon-sasil," and "Soswaewon's drawing." Some parts of the shape of Soswaewon also appear in the "Yuseoseokrok," which is helpful. Thus, in this research, information on the Goam-Jeongsa and Boowondang buildings appearing in research results and literature to date are collectively analyzed. The location and architectural features of both buildings are identified by focusing on excavations. Also, for the purpose of restoration planning, base data on the location, size, and shape of both buildings are presented. In line with this process, a valid restoration plan is presented by analyzing the abovementioned historical research materials and comparing empirical data, such as excavation results.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.28-38
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• 2018

The purpose of this study is to clarify what is the unique garden making methods of Enshu Kobori by surveying and analyzing that existing garden of Enshu Kobori is different from the existing Japanese garden that had been built up to such a period. Enshu Kobori breaks away from the conventional frame that was established with the gardens of existing Karesansui style(枯山水樣式) with the materials of rocks and sands. Enshu Kobori is produced to make harmony with the rocks by trimming the Rhododendron indicum and this type of making method of Enshu was originated from the aesthetic principle of kireisabi. Due to this type of cause, the garden of Enshu Kobori displays splendid and yet a simple beauty of gardening. With respect to the establishment of a garden unique to Enshu Kobori as such, it seemed to have the cultural background expanded with the cultural perception and official family class of the edo period where it strived for new things. Therefore, Enshu Kobori was designed as the ornament-oriented garden rather than the garden that requires direct ceremonial act. The subject sites for this study are Raikyuji, Daichiji, Shodenji, Nanzenji Hojo and Konchiin as intended by Enshu Kobori. Contents of the study contemplate the location of garden, factors to introduce the garden, structure of garden, background of garden, use of stones, plants and scenic views to clarify the uniqueness of the Enshu Kobori garden.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.28-35
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• 2020

This study aims to analyze restoration techniques of traditional garden sites targeted Korean, Chinese, Japanese palace garden. Restoration was divided into the restore foundation and restore individual elements depending on the residual state of the actual garden features. And derived characteristics that should be considered by conservation techniques. The results are as follows; First, the Wanfo Pavilion Area in Beihai Park where the foundation and foundation stones were restored based on the relevant literature and comparative analysis. The Archaeological Site in Gwanbuk-ri, Buyeo restored only the remaining structures of the ponds, waterways and large buildings among the areas where the excavation was completed. The Second Daigokuden Garden in Heijokyo Palace restored building sites and foundation, and installed poles and piles so that the area of the Second Daigokuden Garden could be known. Second, Donggung Palace and Wolji Pond, Gyeongju where the restoration of individual elements was made, preemptively restored the remains of traditional gardens based on pond garden estuaries and feedbacks that were confirmed through initial excavation. Huanghuazhen Area in Yuanmingyuan Garden was restored based on Western copper plate prints and related records, but further data found after the restoration confirmed that it was restored differently than it is now. East Palace Garden in Heijokyo Palace covered existing features with soil and restored buildings on them. Typical garden elements such as landscape stone and waterways were preserved and exposed. Third, foundation restore is a case in which the base is identified through the current state of the traditional garden site, it is important to restore the foundation first and secure the territoriality when there is no restoration plan for the elevation structure or size of the garden relics. Restoration of individual garden elements requires careful examination of the literature by limiting the restoration of objects that can be restored through the examination of the literature for each element, such as some buildings or facilities in the traditional garden site.