• 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.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.3
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• pp.131-142
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• 1997

As a study on a traditional garden with historical value, the objective of this study is to comprehensively understand the internal meanings of the garden in a designer's personal perspective. Tasanchodangwon was designed Chung Yakyong who is a scholar of Practical Learning in late Chosun Dynasty. Considering the features of him and basic approach of this study, the internal eanings of the Tasanchodangwon was approached with the focus on the view of nature of him, and through general review of physical components of the garden. Additionally the meanings of the garden were also reviewed in his personal situation. The result of the study may be summarized as followings. First, according to the view of nature of Chung Yakyong, his intention to enrich life practically by building separate structures for education for his residence, creating lake by having water supply, and creating vegetable garden relates with the view of nature in Primary confucianistic perspective. In addition, the place served as a ground to support Chung Yakyong's attitude to become a man of virtue, Second, his preference to enjoyu tea culture allowed an opportunity for him to accept circumstance positively and discover the self. Components related to farming reflects his Practical Learning. The man-made rock mountain in the pond is a specific technique for Yi-Jing. And third, literatures authored by Chung Yakyong show that internal meaning of Tasanchodangwon is to pursue an utopia. This is closely related to solving his conflicts felt in reality. In short, Tasanchodangwon is a form reflecting the spiritual world of Chung Yakyong, and through interaction with his life, served as a ground to culture his mind.

• The Journal of Art Theory & Practice
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• no.16
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• pp.201-224
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• 2013

The tradition of the representative art style in the Sinosphere, Shanshui hua, expresses the traditional representation of the harmony and principle of the universe. This tradition is reflected in the Chinese garden. These Chinese gardens were precisely the three-dimension representations of Shanshui hua, a visual form of abstract expression of the oriental philosophical thinking. This research determines and draws attention to the vestiges of the reflection of Shanshui hua in the European gardens through visual art and culture. It will also approach the two subjects, Shanshui hua and garden, from a transcultural view to integrally analyze visual art. The appearance of Anglo-Chinese gardens, reflecting Shanshui hua, foreshowed a big change in traditional European gardens. This is a concrete example of the transcultural phenomenon. This has formed the typical naturally curved English gardens in the gardening history. This also divided these English gardens completely from the symmetrical, geometrical French gardens. This study considers the influence and the reverberation of Shanshui hua reflected on European gardens in the European culture. The cultural exchange of European and Chinese styles in the 18th century left an impact on the European gardening style history. Finally, this study analyzes the origin of these Anglo-Chinese gardens and its content to approach it with a transcultural view as a research methodology.

• Journal of the Korean Institute of Rural Architecture
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• v.12 no.4
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• pp.77-86
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• 2010

This study is about Tak Mok theory of feng-shui ideology which was main thought in Choson dynasty or some other thoughts and noble families' thought of garden building : planting trees and properties of the noble families garden. The result from the study of noble family's garden molding is as follows. In the noble family's garden molding, there were considerations of plant ecology known through long experience and the functional aspect of planting tree and esthetic sense of housing circumstances, in addition to feng-shui thought, Taoist thought and the doctrine of the five natural elements of the positive vs. negative. We can learn Choson's noble family's garden included playroom as well as symbolic and incantatory meaning. Also in the thought of noble family's garden molding we can found proper element for modern housing plan such as an ecological peculiarity or functional aspect of dwelling circumstance. And we can also found they didn't show a rejection symptoms against nature but enclosed with straight form which was traditional trait, and each space of it is composed organically. Also we knew they selected a diverse and refined technique with it's decorating the Choson dynasty playful and meditative space. We found that the key point of the thought of noble family's garden molding were on the basis of Confucianal mood, content amid poverty thought and free technique of it.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• Journal of Environmental Science International
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• v.22 no.2
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• pp.131-138
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• 2013

In order to provide a scientific foundation for herb application in landscape, the photographs were taken from the herb landscape in urban green space and sightseeing garden. The questionnaire-based survey was also applied to analyze the cognitive situation of herb. Most investigators love herb, but have a low level of herb; Interviewees' consideration of herb function lie in ornamental, healthcare and medical treatment; The bulk of the visitors think herb landscape is insufficient; Investigators' preferences for herb application forms are landscape edging and combining with stone. We also probe into the optimum allocation form combining herb with landscape elements. When we combine herb with landscape water or landscape architecture, artistic conception and reasonable plant allocation should be considered; When we combine herb with landscape path or garden ornament, reasonable plant disposition and appearance and practical collocation should be thought over; When we combine herb with flower-border, richly colored landscape and reasonable plant allocation should be deliberated on.

• Journal of the Korean Institute of Rural Architecture
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• v.18 no.1
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• pp.75-82
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• 2016

The goal of this study is to identify the new Architectural type of house and Landscape design pattern of the collective housing area in American garden city, Midlothian near Richmond of Virginia. I had been surveyed old houses of the Virginia and new single family houses and landscape design style of Mariners village to find a different style of houses and lots. The Richmond, capital city of Virginia, is surrounded by five suburban areas and counties. One of them is the Chesterfield where it has main street of Midlothian garden city. The city of Midlothian has a function of residence area both to stay in the forest garden and to go to downtown office of Richmond. There are a lot of collective housing area out of the capital city. I surveyed house form, lots, and site design pattern of the Mariners village in Midlothian. The community of Mariners shows a particular characteristics and harmonious pattern of suburban residence area in a view point of new project. There are three results of this study as follows: First, the types of house in suburban garden city, Midlothian, are focused on vernacular Colonial style with country house, traditional house, and front gable house form which are an unique new American single home. Second, the landscape design of this collective housing area, the Mariners village, has a unity view of residence community, harmony between house and lots, and a sensitive cul-de-sac pattern and loops type with rational land using based on the forest topology. Third, the Mariners village shows that the design concept of landscape architecture has to consider of traditionalism, naturalism, and living condition of residents.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.71-89
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• 2011

This study was carried out to get the exact information of the physical structures and humanistic landscapes to restore the prototype of the rear garden at Changkyung Palace. In this study, various drawings and historical documents such as Donggwoldo(東闕圖) and Joseonwangzosilok(朝鮮王朝實錄) were analysed. The innate characteristics and identity being inherent of rear garden of Changkyung Palace were tried to match the presence of acting to the specific places. The rear garden at Changkyung Palace was not only the secret garden for the rest of royal family and private life for king and queens but also used as public space for the various ceremonies. At the beginning of building, the rear garden at Changkyung Palace was built for the farming and sericulture of royal family. Since then, various events were held in this place such as archery, military drill and royal plowing and meeting with vassals which were political activities. At the rear garden of Changkyung Palace, Chundangdae(春塘臺), Kwanfunggak(觀豊閣) and Kwandukjung(觀德亭) were the base of specific activities. Also function, use, form, structure, planting and water elements were related organically in these areas.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.28-38
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• 2011

Dwelling reflects the continuance and change that, in general, expresses the era's cultural and social values. The yard of Korean traditional dwelling, although it is an exterior space, it is a companion space that is engaged with the main house. It operates many housing functions that were not achieved within the interior space. After the time of enlightenment, shape, function and the meaning of Korean traditional house yard along with the change of values and major living style has been changing. Therefore, to understand how the Chosun Dynasty's house yard is being used in modern days, this study is based on the research of 47 sites and conducted a study regarding the acculturation and division the house yards. Typical elements in the target garden site that are expressed in a way differentiated from the original form of the Korean traditional house yard were the materials and methods of planting, the use of garden ornaments, paving materials, the use of water, and changes in kitchen gardens. As the role of house yards changes, the modern division of the style of gardens occurred; the areas in a garden have been divided and the form of a garden has been differentiated according to the limit and initiative. The pursuit of ornamentality and practicality led to the differentiation of gardens' functions, while seeking after convenience resulted in the division of gardens' materials. The use of gardens has also been differentiated by adding commerciality and a concept of open garden in both symbolic and daily manners.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.3
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• pp.29-39
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• 2021

This study interpreted a traditional garden of Korea through reception aesthetics. The 'gap' of acceptable aesthetics is found in the 'distance that occurs between writers and readers'. This study aims to interpret this gap between what the writer intends and what the reader expects. Boundaries do not limit traditional spaces in Korea and, therefore, are not limited by characteristics. These characteristics were studied from the perspectives of the author, the work, and the reader. The aspect first looked at the life and ideas of the gardener, the second analyzed the form and structure of the garden, and the last examined writings, from the past and present, of those who appreciated the garden. From the author's perspective, Sosoewon was understood as a garden that embodied the philosophy of Yang Sanbo. Second, the duality and indeterminateness were recognized as two characteristics of this work; artifacts in the garden were arranged in a natural form, and the gardens have indefinite boundaries, so they can be freely expanded and reduced. Finally, from the reader's perspective, it was noted that the beauty of this garden is enhanced through poetry, painting, and writing. Thus, historic gardens of Korea can be open spaces where the meaning of the garden is enriched through the free participation of viewers based on their own ideas.