• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.4
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• pp.43-62
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• 1995

This paper is to define what characteristics of modern landscape architecture are in terms of garden design. It is important to understand the characteristics of modern landscape architecture, not only for practical design works but also for design ideology. The characteristics were investigated by anlayzing several crucial drawings of modern landscape architects from the later ninteenth century to the early twentieth century. It is found that modern landscape architecture had been evolved after Neo-classicism in its design language, use of materials and principles. And modern landscape architecture was formulating its own design language not only by borrowing the language from other design fields, such as modern architecture but also by making own vocabulary itself the characteristics of modern landscape architecture were defined as collapse of genre, organic structure, pictorial composition, change of living thing, including those of modern architecture. Modern landscape architects drew their humanistic image on "the garden palette" which pursued artistic sense of creation.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.1
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• pp.33-36
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• 2001

Only do we have an earth! It is crucially important to improve our living environment and keep the sustained development of a city in the limited space. Some concrete examples will be analysized in the paper, elaborating upon how to make full use of roof space and various plants to create a better green-space. To create different activity space with unique characteristics for people, various plants, roof-space, water and buildings in the style of garden should be use when local conditions and design requirement should be considered.

• Korean Journal of Human Ecology
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• v.22 no.4
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• pp.667-676
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• 2013

The purpose of this study is to establish a new method to develop the textile pattern design using Saengbul flower in Seo-cheon flower garden of Jeju Myth, in other words, to create mythic textile patterns by borrowing effectively from the mythic image of Saengbul flower. Seo-cheon flower garden is an incantation space and Saengbul flower means pregnance. Therefore, we drew Camellia flower motifs from a mythic image based on archetypal symbols about the Saengbul flower, and created mythic patterns. In order to achieve this textile pattern design, Adobe CS5(Photoshop, Illustrator) and Texpro were used to design the motifs of Saengbul flower, and then they were arranged in a square pattern and diamond pattern of Richard M. Proctor' set layout. And to conclude, development of the creative textile pattern design using the mythic contents of the Jeju Myth contribute to invigoration the fashion industry and regional culture contents projects in Jeju, and also become the basis of creating added valued to it.

• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.2
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• pp.223-241
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• 1995

Ji Cheng's great work on garden design, the 'Yuanye'(Craft of garden), written in 1631 and originally published in 1634 is the first surviving manual on landscape gardening in the Chinese tradition. This study aims at investigating not only Ji Cheng's life, achievements companionship and design activities, but also the xylographic copies, literary style, and framework of Yuanye in their historical context in order to provide the bases for further study, Ji Cheng was exellent in poetry and painting. And he constructed Dongdiyuan in Changzhou around 1623, Wuyuan in Yiaheng in 1631, and Yingyuan in Yangzhou around 1634 But no poems, paintings, and gardens designed by hi shill exist Therefore his design phi philosophy is able to be interpreted only by his work, Yuanye. After publishing, Yuanye fell into obscurity for several centuries in Chlna. It was redescovered and reprinted for the first time in 1931. Yuanye is composed of prefaces and main text The main text is divided into 'the Theory of Construction' and 'on Gardens', and the latter also into 10 sections. In this text Ji Cheng explains the aesthetic principles underlying garden design and the appropriate emotional response to various efftcts Especially, he emphasizes the importance of basin the garden design on the taxi ting nature and features of landscape and making use of natural scenery. The literary style of the book is highly mannered, and there are so many poetic descriptions and Ji Cheng's native Jiangsu dialects. So the translation of the original text is very difficult After this, the major design concepts of Ji Cheng's landscape gardening theory and whole network of these concepts have to be studied.

• Acta Via Serica
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• v.7 no.2
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• pp.109-132
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• 2022

Two of the main elements of Persian tangible heritage are rugs and gardens, which have evolved together from the dawn of Iranian history. Emerging from the same system of thought and geographical location, together they represent the Persians' world views, desires, dreams, and design paradigms. In this study, the Persian Garden's patterns, elements, typology, and meanings are introduced and compared with the same aspects of Persian rugs. This paper uses a qualitative comparative methodology to analyze rugs' designs and patterns in relation to Persian Gardens' design principles. Data is collected primarily through library study and observation. The author uses two categories for comparison: meanings and forms. First, the author identifies underlying meanings common to the two art forms and then introduces form, function, and general principal patterns into the analysis. There is a type of rug pattern, known as Chahar-Bagh (literally, "four gardens"), that mirrors a garden design, down to the details, which is the focus of this paper. Additionally, other representations of Persian Gardens in rug design, such as Shekargah ("hunting pattern"), are discussed, as are other rug patterns with fewer elements borrowed from garden design. The paper also considers several motifs that represent flora common in gardening on the Iranian plateau, some of which have symbolic meanings dating to the Zoroastrian era. By comparing these two mediums of art (garden and rug) in the context of Persian history and geography, it becomes clear that the Persian rug design, in its roots, is an attempt to bring a garden into interior space. The study shows that the forms, patterns, and meanings reflected in Persian rugs render the study of their designs incomplete without considering the history of gardens.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.5
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• pp.51-59
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• 2001

This paper presents a design of the Dasan Children\`s Park which is located Shindang- dong, lung-gu, Seoul which has an area of about 3,678$m^2$. Objectives for the design were to make nature-friendly space, learning space, interesting play space, space for every child, adventure play space, traditional play space, sense of place, and recycle space. For the space compositions a children\`s garden, a traditional play space, and a science play space were located around the S shaped main route. Facilities relating nature, science, culture. environment and adventure play were arranged in the 3 main spaces. The Children\`s Garden is a green space for learning and playing with natural elements. It is composed of a ecological learning space, a children\`s story garden, a children\`s song road, an environmental labyrinth, and a pall space leer handicap children. The Science Play Place is a place space for learning scientific theories through plays to which scientific theories were applied. It is composed of a total play structure, a math experience playground, a \"Keojunggi\" play space, a sound reflecting experience space, arid an infant playground. The Traditional Play Madang(space) is a space for traditional plays. It is composed of a traditional play pattern, a sun dial, and a floor fountain. The Recycle Road is a dragon shaped road fort learning about resource recycling and conservation. It is composed of a dragon head, body, tail space and a dragon bead(cint mani).int mani).

• Journal of Environmental Science International
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• v.25 no.10
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• pp.1427-1432
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• 2016

In order to preserve the traditional garden landscape and maintain the harmony between traditional and modern gardens of Inner Mongolia, this study theoretically examined the creation and background elements of Inner Mongolia, and reviewed the nature of the people and the traditional design elements. The results of this study show that: 1) the background factor of traditional garden landscapes was nomadic life in plains, which was a lifestyle of adapting to Mother Nature and promoting mutual existence and survival; 2) Shamanism impacted the views of nature among the ancient Inner Mongolian people; 3) traditional garden landscapes could be categorized into landscapes centered around Mother Nature during the Huns era and those centered around the symbolic landscape during the Genghis Khan era; 4) aesthetic elements of traditional garden landscapes included traditional colors of red, yellow, sky-blue, milky-white, and traditional patterns of external knot, cloud, bull horn, and plain grass. These findings may provide basic data for the creation background and characteristics of traditional garden landscape of Inner Mongolia in the application of the green space design of Inner Mongolia.

• Journal of architectural history
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• v.24 no.1
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• pp.41-50
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• 2015

This study aims to investigate the physical characteristics and architectural ornaments of the walls (DamJang) and their bordering area that defines the Rear Garden of Changdeok-gung, one of the Royal Palaces in Seoul. This area, centered on Buyong-ji(부용지) and Aeryeon-ji(애련지), features the morphological diversity of buildings, walls, gates and stone bases in the palace. The findings are summarized as follows: First, DamJang, as a basic architectural element for the space organization, takes a set of various forms featuring different construction materials while responding positively to the physiographic nature of the surroundings; Second, DamJang along with their gates, also features different types of ornamental expressions which also suggest the hierarchy of its building and space; Third, typical of the traditional garden design in Korea are a group of DamJang standing as independent structures mostly around Buyong-ji and Aeryeon-ji whose finishing conditions also differ based on the nature of the space; Fourth, among commonly observed examples of DamJang in the Rear Garden and Changdeok-gung palace-wide, is a 'T' shaped wall whose heights and materials function as a design element for the garden.

• Journal of East-Asian Urban History
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• v.1
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• pp.99-134
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• 2019

In the Edo period, there were many samurai residences with gardens in Edo. In the 20^th century, some of these gardens were inherited and new gardens were also cultivated in Tokyo. Because of this, Tokyo in the 20^th century has been a garden city since the Edo period. This study shows the characteristics of gardens inherited today from the 20^th century and the succession process of these gardens in the 20^th century.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.4
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• pp.132-137
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• 2000

In June, the City of Seoul held a design competition for $\ulcorner$Seoul Park$\lrcorner$in Paris to promote friendly relations with its sister city. The purpose of this paper is to articulate the design concept of a scheme submitted by the author. The author interpreted the object of this design competition as follows: if we regards a park not as one of urban planning facilities but as a space for expressing a culture, $\ulcorner$Seoul Park$\lrcorner$in Paris is a space expressing Korean culture, or a culture of the City of Seoul in Paris, France. Three points were emphasized in this scheme: 1. Physical and non-physical aspects of Korean culture, or a culture of the City of Seoul were expressed separately. In physical part, a traditional Korean garden was reappeared to express its authenticity compared to its counterpart, French classical garden - its formal and grand style. In nonphysical part, Seoul's features and its citizen's facial expression were engraved on 'free standing walls' named 'Seoul Expression'. In addition, Korean traditional and modern performing arts will be performed in a square named as 'Seoul madang' surrounded by the free standing walls. 2. A space clearly divided by the fence was necessary to distinguish a traditional Korean garden from the place which looks like an amusement park. Traditional wall, mounding and pine tree groves were included. 3. Bamboo grove with the way taking a walk was introduced. The author expected that Parisian feels oriental mystery, the sound of wind, and the time lag of past and present in this sounding bamboo grove.