• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.84-95
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• 2010

This study is an introductory survey of the labyrinth/maze in gardens. The term 'garden labyrinth' may seem an oxymoron given that the garden represents the terrestrial paradise, while the labyrinth is a symbol of the most chaotic face of the world. In etymological and ontological terms, however, gardens are enclosed places and this characteristic corresponds to the character of the labyrinth, which is the one of the oldest signs in human civilization, symbolizing the paths of human life filled with uncertainty and complexity. The garden labyrinth has developed in various forms and shapes since the Renaissance period. Literature and paintings contributed to the dissemination of the concepts of the garden labyrinth, especially in the form of the 'garden of love'. While the labyrinths in ancient and medieval times focused on plane shapes and symbolic and/or spiritual meanings, later garden labyrinths emphasized the three dimensional form and synesthetic pleasures. New patterns, which deviated from the classical unicursal form, emerged in the Petit Parc at Versailles in the 17th century. The garden labyrinth/maze was easy to adopt in formal gardens because of its geometric form, but for that reason, it went on to decline during the fad of picturesque garden. In this study, a brief history of labyrinths, the patterns, forms, and arrangement of the garden labyrinths in the formal gardens of the Renaissance and Baroque periods and its meanings are reviewed.

• Journal of Environmental Science International
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• v.27 no.2
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• pp.123-133
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• 2018

The historical exchanges between the Republic of Korea and Japan have broadly occurred, in terms of both political and cultural aspects, from ancient to modern times. Regarding ancient gardening culture, in particular, Asuka developed gardens with the gardening techniques passed down by the Baekje people. The development of the basic form of a garden pond along with its characteristics, established through such exchanges, is suggested by investigating its components through analysis of data from the gardens of Baekje and Asuka. In terms of the garden pond structure, homogeneity was confirmed between Baekje and Asuka, with a linear rectangular form as the basic design. In addition, the vertical construction technique was used by both ancient kingdoms. In terms of the types of stone used in building the shore of the garden pond, Baekje used diverse types such as natural stone, crushed stone, and cut stone. In contrast, rounded river stone was used by Asuka. Regarding the floor of the garden pond, Baekje used soil, which enabled the planting of lotus flowers. In contrast, Asuka used stones to pave pond floors, which made the growth of plants impossible. In terms of layout, Baekje used ornamental stones for pond landscaping, while Asuka used manmade island and water intake facilities in their pond construction. The effects of Baekje's garden culture on Asuka's garden building can be seen from its influence on the form of the garden pond and shore construction style. In terms of the construction of the garden pond's shore with the same stones and the stone flooring, the garden ponds of the Asuka Kingdom reveal technically unified and refined aspects.

• Journal of Korean Society of Forest Science
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• v.37 no.1
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• pp.57-60
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• 1978

Significant findings concerning the cause of the gardening revolution of the eighteenth century in England, its landscape style and contribution to a new style are concluded as follows: 1. The English landscape garden is regarded as a great revolution in the history of landscape architecture, and it was in the eighteenth century, in England, that garden and landscape first came together. 2. For at no time in history has there been such general interest in gardens and in the total physical landscape, so much writing and criticism and open debate. 3. Garden design did not become a definite art form in England until the eighteenth century. During the period it can be seen that there were developing three distinct types of garden, that is, the picturesque garden, the 'poetic' garden and 'abstract' garden. 4. Also developing was a new appreciation for natural forms and natural landscape, expressed in painting, poetry and garden design, and the landscape gardeners tried bard to malce country scenery look as though man had not had a hand in it. Eventually these open spaces contributed to a new type of spatial form development of naturalistic landscape style which is today taken for granted as a normal component of the landscape architect's palette.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.1
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• pp.63-72
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• 2017

Gardening activities, plant raising, and general flowerbeds the public makes today can be found in the original form of cottage gardens in the United Kingdom. A cottage garden is a popular garden style of modern Britain, implying unique Englishness including ethnic sense and vernacular. In addition, the purpose of this study is to consider the modern movement in the United Kingdom in the past 200 years and read Englishness of cottage gardens through style differentiation and background of occurrence of cottage gardens appearing in this process. Therefore, this study is summarized as follows. First, a view of nature of the Englishman loving freedom and landscape acts as a key part of patriotism and is connected to the preservation of idyllic England. For this ideal of the Englishman of the country, idyllic British characteristics are found in various literatures and artistic fruits; cottage gardens, that is a form of new garden, were made with invigoration of supply and collection of plants. Second, an early form of cottage gardens was the domestic garden, in which there is a vegetable garden by middle-class move to a suburb according to urbanization, but evolved into a form of garden having both artistry and regionality, vernacular, and ecological characteristics with various situations of modern society(handicraft promotion movement, preservation of remains, and ancient building restoration movement). Wild gardens occurring in this process are a type of garden realizing wild fields and forests in the United Kingdom;they have made a big impact on many garden designers up to now. Cottage gardens, reflecting a variety of Englishness, is a subject of city planning and flower shows and is a culture symbolizing the United Kingdom.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.31-40
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• 2015

This study aims to comprehend that Seokpajeong garden for aspect of space change. Spatial characteristics according to the transfer of ownership are classified as period. And investigate the aspect of space change in Seokpajeong garden based on literature and painting, newspaper, photo. The results were as follows. First, Investigate the construction and change of Seokpajeong garden. Accordingly, spatial characteristics of Seokpajeong garden are classified into three period. 1st period is Kim-Heung Keun owned Samgyedong-jungsa garden. 2nd period is Daewongun hold Seokpajeong garden. 3rd period is damaged original form of Seokpajeong garden from Korean War to current time inclusive. Secondly, Kim-Heung Keun owned Samgyedong-jungsa garden has characteristics of water system centric space and many buildings. In addition accept foreign culture like chinese pavilion and Byeoldang Villa. and plant unique flower and leaf in garden. Thirdly, According to Seokpajeong garden folding screen, Daewongun owned Seokpajeong garden accept organization of space in Samgyedong garden. But different locations of Sarangchae in folding screen means possibility of move building to current position. So, additional historical research is required with representation of chinese pavilion location. Fourthly, Seokpajeong garden was damaged from original form to frequent changes of ownership. Transform of geographical features and water system as well as Anchae and Sarangchae, back side of a outbuilding are only the remained among many buildings. Also, Seokpajeong garden is more fell to the subsidiary facility of Seoul Museum than Wonrim. Therefore restoration and recovery of original form are urgent.

• Journal of Korean Society of Rural Planning
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• v.17 no.4
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• pp.51-60
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• 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 Landscape Architecture
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• v.29 no.1
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• pp.41-50
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• 2001

The seoul Metropolitan Government has announced a program of the realization of a Korean garden named 'Seoul Park' in Paris 'Jardin d'Acclimatation' in June, 2000. The program for 'Seoul Park' in Paris has double objectives which aims celebrating the 10th anniversary of the establishment of sisterhood relationship between Seoul and paris and to promote the mutual cooperation and the amity between the two metropolitan cities. The purpose of this study is focusing on the issues on the setting procedure of characteristics of the 'Seoul Park', type of the Park, and design realization of expression of Korean identity, and the cultural consolidation between parks in Korean and French. The Seoul Park will be constructed on the shore of a lake of the Jardin d'Acclimatation, and the size of the area is 4,675㎡. In July, a design competition for the preparation of a schematic plan of the Seoul Park was held in Seoul. In this competition, the author won with a scheme which proposed a Korean Garden as expression of "between" two cultures which is fitted into the French environment. Although, the Seoul Park in Paris is a small Korean garden, its significance would be emphasized in terms of that it represents the adaptation of a Korean culture to the French territory. Throughout the winning entry, we could recognized hat the author defines Korean garden as 'time device', and 'Seoul Park' as 'Situation' which is the consolidation of the cultures between korea and France. And also the author pursued Korean garden as a net type of 'sequence of the event'. In this paper, we have discussed the concept and the schematic plan of the winning entry. focusing on following issues: Definition of the garden; Form of the garden; Expression of Korean garden; Representation of the reconciliation between two environments. Since many parts of the garden are under designing, and the discussion on the resetting of the existing trees in the garden is in progress, more specific investigation will be done in the next thesis.

• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.1
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• pp.135-148
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• 1994

When we put a construction on the space organization form of Seyeon-jong garden through a consequence of drawing analysis, we were able to certify that a certain space construction principle was applied as following. First, the arrangement and organization of space construction element embodied systematic order y clearing the character of space, and heightening the degree of cognizance with the means of functionability, scale, height, decorationability, an inclination of artificiality and nature, systemetic approchability. Second, the space construction element of Seyeon-jong garden pursued a harmony of human work and nature for creating a various atmosphere and visual quality. Third, Seyeon-jong garden constructed the space by establishing the measurement of human scale that introduced a conception of near, middle, distant view on the visual angle. Forth, Yun go san introduced the natural shape of 'The song of five friends' as a construction element, and represented the symbolism that he had seeked for throught he arrangement method, christening, composing technique of the space construction element for expressing ideal space which is described in 'The four season song of fishermen' spatially at Seyeon-jong garden. As the results of this study, that Yun go san created his own ideal space that he longed for at Seyeon-jong garden with applying fixed design system, and he realized his will that he strived to form a complete whole in perfect harmony.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.216-219
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• 2007

New paradigm of modern society today - environmentally sound and sustainable development - led to the attempt on the introduction of natural elements in various spaces by people's interest in the quality of life. As one of the distinguished space marketing in designing the outer space of resort, this plan attempts to limit artificial boundary within open scenery, thus creating nature within nature - interior theme garden. In addition, this plan is aimed to obtain location property of inner garden through limited boundary, to promote the identity of resort by endowing it with new values in space and to form emotion care garden and culture garden for users. The plan has proceeded under the following concepts. 1) Differentiation from outer space has been made by creating a theme garden with unique theme garden - landscape elements and an attempt have been made to increase the values of interior garden through the introduction of new species of plants and the state-of-the-art facilities. 2) Emotion care garden - The garden has been created to get emotion purified systematically within nature and let people take a rest and enjoy their spare time. 3) Culture garden - The garden has been planned where culture could be created through various experience activities as a space with education and entertainment by providing a variety of interesting elements.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.5
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• pp.150-160
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• 2000

The french modernist garden of the 1920-30s, significant when studying the history of gardens, has been disregarded in landscape architecture studies. This study aims to review and examine the main characteristics of the French modernist garden in relation to Cubism. In addition this study seeks to recover an unnoticed phase from landscape architecture history and lies in a same thread with studies on the theory of Modernism in landscape architecture. The french modernist garden is closely connected with Cubism, as Cubist garden is a popular synonym for the French modernist garden. used simplified and geometrical forms like Cubist painters. In spacial composition, the French modernist garden offered images of various views in one space, much like the Cubist paintings which showed various aspects of an object simultaneously on the canvas. In the French modernist garden, gorgeous colors and various textures were emphasized, much like the synthetic Cubism. Moreover, in the history of landscape architecture, the state of the French modernist garden which tried to change the traditional gardens into a space more suited to the new life style, is similar to that of Cubism as an art movement in the history of art of the early 20th century.