• Journal of the Korean Institute of Landscape Architecture
• /
• v.29 no.2
• /
• pp.1-13
• /
• 2001

Beginning in the Wei-Chin and Liu Ch´ao era(AD. 220-589), an awareness of natural beauty emerged as the major interest of scholars which created such a social atmosphere that served as the foundation of prosperous Chinese art. During the T´ang period, the desire to achieve natural beauty began to dominate every field of art including gardening. This study covers the T´ang period when scholars began to be conscious of aesthetics. The main objective of this study is to examine the significance of natural beauty as interpreted by Wangwei, an artist representative of the period, and of Wangchuan Villa in relation to aspects of garden theory. This study is mainly based on Wangwei´s anthology, landscape painting describing Wangchuan Villa, and historical records related to the Villa. The summary of conclusions of this study is as follows: 1) Wangwei´s concept of natural beauty is a combination of objective natural beauty and pastoral beauty, which stresses the essential beauty of nature. Moreover, he considered nature as a religious Utopia. 2)Wangchuan Villa, where Wangwei stayed until his death, was a place of seclusion representing his idea of natural beauty. There, he was able to realize the paradise of Buddhism full of zen aspirations. 3)From the perspective of garden theory, Wangchuan Villa can be classified as a suburb villa in terms of location, as a landscape garden in terms of elements, and as a villa based on a typical private land system in terms of forms. In addition, it may be considered as a garden that laid the foundation to realize a field of non-visible image and non-visible landscape, which is fundamental element of scholarly garden design.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.4
• /
• pp.140-147
• /
• 2015

The garden culture of Korea and Japan have been commonly influenced by Wonrim culture of China. Nevertheless, each culture has been settled down through the development of the two separate garden cultures, The purpose of this study is to grasp the formation background and main agent of development through theoretical consideration of gardens in Japanese Imperial Garden Katsura Imperial Villa, which is the origin of the representative garden making style-Circuit Style Garden, to look into the characteristic of spatial organization elements by conducting on-site survey and interview with a garden manager, and to obtain elementary views on Katsura Imperial Villa which is an important case of Japanese garden culture. As a result; first, Katsura Imperial Villa is the first jicheol juyu(round tour of ponds and springs) circuit style garden created by Toshihito Emperor and his son Toshitada Emperor, who were well-versed in Waka through the dynasty literature based on the story of Genji throughout about two generations lasting about 30 years; space composition of this garden is divided into land, island and water space, being composed of a total of 36 space components. Second, Katsura Imperial Villa was created with the primary goal of making a round tour around the garden land by arranging tea pavilions, such as Shokintei, Shokatei and Shoiken, etc., which introduced the then game culture into the garden. Third, the personnel in Katsura Imperial Villa intended to enjoy the scenic characteristics of the area where Katsura Imperial Villa was located from the interior of the garden by making Gepparo which was a tea pavilion for enjoying the rising moon on the hill even a litter faster and longer by piling up earth and setting up stone walls north of Koshoin which was a structure located west of the garden land.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.40 no.4
• /
• pp.49-57
• /
• 2022

This study was conducted with the aim of investigating the garden architectural characteristics of Villa d'Este, which occupies a major role in the exploration of the contrasting background, location, and spatial composition characteristics of Italian Renaissance gardens. The survey for the study was divided into a literature survey and a field survey, and the details are as follows. First, in the mid-to-late 16th century, the villa was built under the direction of Cardinal Ippolito d'Este, and afterwards, the ownership of the villa was restored to the Italian government in 1850 due to financial difficulties. The Villa d'Este, which suffered another damage, is now operated with many visitors after going through the restoration process. Second, in the case of location, it has the characteristics of Urbana located in the city center and has valley-type topographical conditions located at the foot of the mountain.Third, in the case of spatial composition, it is orthogonal to the axis, and each part of the garden is developed, influenced by the contrast principles such as the installation of the Cortile del Belvedere and Villa Madama in the early 16th century. The main building is located in the hills so that you can see the garden and the surrounding scenery at a glance. Fourth, among the components, there were stairs, logia, courtyard, and grotto, fountains, cascades, ponds, and vegetation such as laurels, thorn trees.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.2
• /
• pp.90-98
• /
• 2011

This study aims to discuss the characteristics of garden architecture in Italian Renaissance Villa Lante that was constructed by the cardinal in Bagnaia at 16th century through actual survey and analysis of the garden's elements. To do this, it was studied in two ways: Analysis of the present conditions and review historical documents. The results are as follows. First, the buildings, the gardens and the surrounding landscapes are visually connected each other in relations between the topography and the surrounding landscapes. Second, the spatial composition accepted Neoplatonic law of multiple proportions and was influenced by ancient myth and "Liber ruralium commodorum" of Pietro de Crescenzi(1305). Third, the garden's elements consist of plants, buildings and items. In plants, the upper plants are fir tree, cypress and pine tree and the lower plants are english holly, box tree and sweet oleander. The buildings are casino, loggia and terrace. The items are pot, sundial, chair, viewing platform and fountain. The result of this study, the political and social, technical phenomena which constitute construction pattern affected the locational property and the spatial organization of the neighbor on Villa Lante.

• Journal of architectural history
• /
• v.26 no.6
• /
• pp.29-40
• /
• 2017

Soswaewon as a typical villa garden of Korea is a symbolic garden that its diverse compositions imply a specific meaning. This study reviewed the purpose of introduction, meaning, and location of the landscape plants as one of the compositions and covering quite a large part of Soswaewon through 48 Yeong (meaning 48 poems of Soswaewon) and Soswaewondo (meaning Map of Soswaewon). In 48 Yeong, 27 verses describe landscape plants as their key poetic matters. The most frequently mentioned top 3 plants are bamboos, pine trees, and Japanese apricots. The three plants are called Sehansamwoo(歲寒三友) showing constant fidelity and loyalty in any changing situations, which was regarded to represent the nature of scholars. And also the study examined the frequency and planting location of the plants in Soswaewon by comparing 48 Yeong and Soswaewondo, and the result showed some differences between them. That seems to be caused by the limitations in the comparison, because in case of 48 Yeong, the location and frequency of landscape plants can be examined only through the context of the verses, and Soswaewondo showed different production time from 48 Yeong and expressed them only in a form of drawing. The plants have symbolic meanings multi-layered and ambiguous. With their symbolic meanings, the landscape plants reviewed through 48 Yeong consistently represent fidelity and loyalty, man of virtue, and hermit. That is, Soswaewon is the garden granting some significance to its compositions by interacting with the things.

• Journal of the Korean Professional Engineers Association
• /
• v.18 no.2
• /
• pp.54-65
• /
• 1985

Korean Landscape Garden may be described according to its stage of development. In the primitive agricultural era, the garden was preceded by vegetable yards and at this time rock arranging (Soo-Sok garden) was initiated together with the megalithis culture of dolmens, heavenly altars and tumuli. In the early Three Kingdom period palace gardens were built on a grand scale and toward the end of fourth century temple garden were introduced along with Buddhism. These gardens evolved to the flourishment of "HWAGE"(terraced gardens) rock arrangements of ZEN, early KOR-YO period. Especially since the middle of KOR-Yo period the "IM-CHUN"(forest and pond) garden became popular, while during Cho-Son period "HWAGE" in the back yard, pond and pool garden and "IM-CHUN" style country villa became fashionable. The Korea traditional Landscape garde may be characterized that first it is a nature Landscape style, which makes the maximum accomodation with the surrounding nature. Secondly, the Korean garden is built creatively by utilizing the elements of its climate and topography, Kogu-Ryo, Paik-Je great-Kaya and Sil-Ra had developed original a castle town plans and beautiful gardens rock arrangements which precede the equivalent style of China and set the prototype for Japan. The Landscape art of waterfalls and rock arrangements at An-Ap-Chi garden of 7th century has no equals in China and set the origin of pond style of Japanese garden.

• Journal of Korean Society of Rural Planning
• /
• v.17 no.4
• /
• pp.51-60
• /
• 2011

This Study has intended to extract traditional elements for making Korean traditional garden through survey on theexperts and practitioners of landscape architecture. The survey form includes questions about representative type of traditional garden, representative elements of traditional garden, and necessary elements for making traditional garden, etc. The results are as follows; 1) the representative type of Korean traditional gardens are palace and villa gardens. 2) the available traditional facilities should be applicable with contemporary culture only maintaining the original form. 3) the major traditional facilities are water-scape such as ponds and mountain streams with traditional pavilions. 4) plants should be selected in spontaneous plants in Korea but it is possible to introduce species recorded in old documents. It is difficult to suggest the method of layout and design strategies in this study, but continuous studies in this line will be helpful to designing Korean traditional garden suitable in contemporary landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.3
• /
• pp.83-91
• /
• 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 the Korean Institute of Landscape Architecture
• /
• v.21 no.3
• /
• pp.11-19
• /
• 1993

This study was intended to clarify the landscape characteristics of the Sosewon Gaden through interpreting the Kim, In Hu's 48 poems(in Chinese characters) which clearly represented the landscape image of th user about this garden by selecting the cultural position of how then the users of the garden interpreted and manipulated its landscape rather than the scientific position. The following were the results from the analysis and review of the review of the woodcut and the 48 poems through names and scenic element. 1. When analyzing the names, those names due to the human experience were the most. This revealed that sensitive perception and experience was emphasized in the garden life. 2. It was important that can be experienced as nature and human beings come in contact each other at stream. 3. The landscape of the Sosewon Garden empasized not only the elements of the form and their combination but also on the unusual experience of human behavior and climatic element. The elements of the form which was recognized as the subject of poet was regarded as the cultural one of this garden and had an ideological background to convey the meaning of the landscape. 4. The Sosewon Garden was divided into four characteristic spaces as it is considered in terms of the sense of place represented in the 48 poems; the approach space, the space for poetic recital, the ideal space, and the space of pleasure.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.3
• /
• pp.21-31
• /
• 2014

This study aims to comparison of spatial composition that Okhojeong garden and Seokpajeong garden. Construct background and space structure in both of Okhojeong garden and Seokpajeong garden is analyzed. The results were as follows. First, Okhojeong garden and Seokpajeong garden of the nobles gardens in late Joseon dynasty. They had the advanced techniques of contemporary based on their political power and wealth, and therefore could built garden and enjoy the garden culture of the upper layer. Furthermore, composition of the Okhojeong garden can be assumed that it is related to construction of the Seokpajeong garden through analysis of the relationship between builders. Secondly, Space structure of Okhojeong garden and Seokpajeong garden is divided into pavilion unit of small gardens with living space as the center. Construction pavilion in each garden space imbues certain landscape theme. In addition, authorization of characteristics of a place in each area is attempted through boundary establishment and selective garden culture of varied seasonal landscape. Thirdly, In Seokpajeong garden, most of construction characteristics of Okhojeong garden are appeared. This indicates that Seokpajeong garden was affected by space-configuration-technique of Okhojeong garden such as acceptation or modification recreation. Fourth, In many cases, fanciers regarding floriculture are expanded to enthusiasts in late Joseon dynasty. In Okhojeong garden and Seokpajeong garden, herbaceous ornamental is considered to be precious and garden materials such as water tray, stone couch, oddly shaped stone, potted plant, artificial hill, wisteria trellis are diversified at the time.