• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.106-115
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• 2011

This study, based on (edited in 18th century), analysed the landscape system and cultural landscape elements of Yuhoidang(Hageowon 何去園) Garden in Musu-dong, Daejeon, and the findings are as in the following. YuHoidang(Gwon Yijin 權以鎭) managed Hageowon Garden in Musu-dong, located on the southern branch of Mt. Bomun, to realize his utopia. The completion of Hageowon Garden was only possible due to his installation of a variety of facilities in family gravesite on the hill behind his house: Shimyoso(Samgeunjeongsa 三近精舍, in 1707), Naboji(納汚池, in 1713), Banhwanwon(in 1714) and expended exterior space(in 1727). With regard to the landscape system of the village, the main range of mountains consists of Mt. Daedun, Mt. Odae and Mt. Bomun. The main high mountain of the three is Mt. Bomun, where 'Blue Dragon' hill branches off on the east side(Eungbong), 'White Tiger' in the west(Cheongeun and Sajeong) and Ansan(inner mountain) in the south. The landscape system is featured by 'mountains in back and rivers in front'. The river in the south-west, with its source in Mt. Juryun is called as the 'Stream of outer perfect spot', while the 'Stream of inner perfect spot' rises from Eungbong, passing through the east part of the village into the south-western direction. Banhwanwon Garden(盤桓園) was created with the stream in the east and natural bedrocks, and its landscape elements includes Naboji, Hwalsudam, Gosudae, Sumi Waterfall, Dogyeong(path of peach trees), Odeeokdae(platform with persimmon trees), Maeryong(Japanese apricot tree), springs and observatories. An expanded version of Banhwanwon was Hageowon garden, where a series of 'water-trees-stone' including streams, four ponds, five observation platforms, three bamboo forests and Chukgyeongwon(縮景園) of an artificial hill gives the origin forest a scenic atmosphere. When it comes to semantics landscape elements, there are (1) Yuhoidang to cherish the memory of a deceased parents, (2) Naboji for family unification, (3) Gosudae to keep fidelity, (4) Odeokdae to collect virtue and wisdom, (5) Sumi Waterfall to aspire to be a man of noble character, (6) Yocheondae for auspicious life, (7) Sumanheon and Gigungjae to be in pursuit of hermitic life, (8) Hwalsudam for development of family and study, (9) Mongjeong to repay favor of ancestors, (10) Seokgasan, a symbol of secluded life, (11) Hageowon to enjoy guarding graves in retired life. The spatial composition of Hageowon was realized through (1) Yuhoidang's inside gardens(Naboji, Jucheondang, Odeokdae, Dogyeong, Back yard garden and others) (2) Sumanheon(收漫軒) Byeolup or Yuhoidang's back yard gardens (Seokyeonji, Yocheondae, Sumanheon, Baegyeongdae, Amseokwon and others) (3) Chukgyeongwon of the artificial hill(which is also the east garden of Sumanheon, being composed of Hwalsudam, Sumi Waterfall and Gasan or 12 mountaintops) (4) the scenic spots for unifying Confucianism, Buddhism and Taoism are Cemetry garden in the back hill of the village, the temple of Yeogyeongam, Sansinkak(ancestral ritual place of folk religion) and Geoeopjae(family school). On top of that, Chagyeongwon Garden(借景園) commands a panoramic distant view of nature's changing beauty through the seasons.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.101-109
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• 2012

Traditional village forests in Jeju Island represent unique cultural landscape with a history of more than several hundred years as a national cultural asset in Korea. In this paper, the characteristics and meaning of traditional village forests in Jeju Island was compared with the Dangsan and Bibo forests at inland. There are 368 Oreums, parasitic volcano, and 391 shrines of Dang(Divine place) in Jeju. Life, culture and tradition of rural villages are all connected with the Dang and Oreum in Jeju. It has been found from this study that the village in Jeju were established as a cultural landscape on the surface of natural landscape. The features of traditional villages focused on the Dang and Oreum in Jeju Island were similar to the Dangsan and Bibo forestsat inland villages. The Oreum represents mountain and the Pojedan forest is newly found in Sangmyung-ri. The seashore areas are covered by vaocanic rocks in Jeju and large scale windbreaks are hardly found. The stone tower at Sinheung-ri built for blocking sand movement represents Bibo forest. The special attribute of the Dang in Jeju is that it is close to real life and believers are still remain. In 2009, the Jeju Chilmeoridang Yeongdeunggut ritual was nominated as an Intangible Cultural Heritage of Humanity by UNESCO. The shrine of Dang, however, has been degraded fast by construction of seashore road and Jeju Olle trail path. As for the world cultural heritage discussed at international conferences, it is important that there is sustainability on the right to enjoy cultural heritage. Integrated efforts from local residents, local governments and national government are needed to set up a management scheme for the Dang culture. Rural villages in Jeju with the Dang and Oreum are expected to get an international attention as to have traditional cultural landscapes of Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.15-25
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• 2017

The objective of this study is to investigate the value of rock Korean chessboards as a corroborative evidence that go, the play culture naturalized from the past, was also performed under the pavilion of the mountain stream, and the old tree. This study executes analysis on the location and form of rock Korean chessboards, physical environment such as the position of surrounding space, the origin of the nomination, surrounding landscape, and historical significance through the research analysis of comprehensive present conditions, and highlights the position types, landscape significance, and preservation value of the rock Korean chessboards of Korea from diverse angles. The result is as follows. 1. The styles of Korean chess (將棋), which identically propagated in the representative countries of Eastern culture, Korea, China, and Japan, and modified in accordance with each country's idea and native tendency, were organized, and confirmed the Korean Go as a naturalized native culture. 2. Out of 15 rock Korean chessboards confirmed through this study, 9 (60%) were categorized as rock Korean chessboards, and 6 (40%) were categorized as stone Korean chessboards. Also, the average size of the go boards were $51cm{\times}46.6cm$, which demonstrated not much difference with present day universal go boards. The Pearson correlation coefficient between bed rock and go boards were 0.647, demonstrating a relatively high correlation; the research subject of rock go boards have been constructed in consideration of rationality, convenience, and the value of promotion of public welfare. 3. The results of analysis of location patterns of rock Korean chessboard showed that villages (87%), mooring (73%), plains (60%) and mountains (47%). The most frequent location pattern is mooring and village, and these two factors played the most important role in determining the location of the rock Korean chessboard.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.1-12
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• 2019

A bridge is a structure constructed on water or in the air for convenient passage. Compared to other buildings, the building materials and structures of bridge required unique functions to cross the space. It depends on the productivity of the building, the level of science and technology, and the ecological environment of the building site. Also, it has important relationship with functions such as politics, military, economy, and life. Most of the academic research on bridges is focused on research in the field of bridge-building technology, so the study on the landscape aesthetics and history of bridges is lacking. Against this backdrop, the study will be valuable as a accumulation of both countries' understanding of bridge types, history and culture, as well as technical and aesthetic data, by analyzing the bridges located within the palaces of Korea and China. The research method is to analyze the bridge through field survey and literature analysis.. First, the bridges of royal palace of Korea and China are to be classified quantitatively as physical shapes, landscapes, and decorations by comparing the materials, forms, landscapes, and decorative culture of bridges. Second, characteristics, common points, and differences are extracted by classifying bridges of both countries. Also, the results are discussed based on the physical environment or cultural background. This would be worth cross-referencing in the building technology and aesthetics of the two countries. For the first important characteristics of result, main materials of Korean and Chinese palaces are stone. However, the bridge in China's royal palaces is also focused on wood. Second, in terms of form, the bridges in the royal gardens of Korea and China are all based on the beam bridge. However, the specific form, ratio, style of the beam bridge, and airspace of arched bridge are very different. Third, most of the connection methods are focused on the over bridge. It values the convergence with the surrounding landscape. Due to the difference in the area and location of water, the bridge in the Korean palace is more focused on the convergence of the surrounding buildings and plants, while the bridge in the Chinese palace is more concerned about the harmony of hydration. Fourth, the decoration places importance on the artistry and aesthetics of both the bridges in Korea and China. There is a difference in style in the same type of decoration due to culture.

• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.10 no.6
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• pp.74-83
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• 2011

The high-pass transportation information system directly collects section information by using probe cars and therefore can offer more reliable information to drivers. However, because the running condition and features of probe cars and statistical processing methods affect the reliability of the information and particularly because the section travel time is greatly influenced by whether there has been delay by signals on urban roads or not, there can be much deviation among the collected individual probe data. Accordingly, researches in multilateral directions are necessary in order to enhance the credibility of the section information. Yet, the precedent studies related to high-pass information provision have been conducted on the highway sections with the feature of continuous flow, which has a limit to be applied to the urban roads with the transportational feature of an interrupted flow. Therefore, this research aims at analyzing the features of high-pass transportation data on urban roads and finding a proper processing method. When the characteristics of the high-pass data on urban roads collected from RSE were analyzed by using a time-space diagram, the collected data was proved to have a certain pattern according to the arriving cars' waiting for signals with the period of the signaling cycle of the finish node. Moreover, the number of waiting for signals and the time of waiting caused the deviation in the collected data, and it was bigger in traffic jam. The analysis result showed that it was because the increased number of waiting for signals in traffic jam caused the deviation to be offset partially. The analysis result shows that it is appropriate to use the mean of this collected data of high-pass on urban roads as its representative value to reflect the transportational features by waiting for signals, and the standard of judgment of delay and congestion needs to be changed depending on the features of signals and roads. The results of this research are expected to be the foundation stone to improve the reliability of high-pass information on urban roads.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.1-13
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• 2012

Landscape Garden tradition of excellent examples of places that are focused on hydroponics management. South Korea and China, this thing was noticeable among them South Korea which emphasizes the natural contours of the natural streams in accordance with the basic idea to use examples that feature will do. Gardens in China by constructing a flat terrain also naturally expect to find examples of conscious ideas depending on the water and the mountains are characterized. These differences and similarities through the Gardens of the tradition of separating the two countries to build their Garden by site Soswaewon and Zolzengwon appear in the target hand is to identify the characteristics between the director. Research methods literature survey, field survey of the natural environment through the plantation, background history, the people who intend to study, to configure the ground water space, Jian, construction and management has been studied in hydroponics. As a result, Damyang-gun, Jeollanam-do, South Korea in the Garden of the Soswaewon(瀟灑園) organization with inner garden and outer garden of a small, but the scale of production to Yang San-Bo's 'eunilgwan' implement security based rock mooring takes the form of a linear channel and the water came down from riding pending to avoid artifacts gathered again took the form of streams flowing into that. Hutton was a rubble pile structure Jian. Building an Gwangpunggak, Jewoldang, as Daebongdae consist, respectively, depending on the purpose of the mooring was deployed by focusing. The other hand, is located at Suzhou, Jiangsu of China Zolzengwon(拙政園) flat terrain is located on. Largely divided eastern gardens, Central Gardens and the Gardens of the West was conducted by five thirds of the total area of Water accounted for. Pavilion the center of the pond, Seokgasan achieve a variety of landscapes and architectural features that are most of the Ming. The two countries, each region's natural environment and human environment, different, unique characteristics to each other in the implementation of a unique hydroponic Garden tube and ideological backgrounds, but especially the 'eunilgwan' and the terrain that is divided according to the conditions of this study, so fulfilling Garden was conducted.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.22-34
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• 2016

The purpose of this study was to analyze commemoration characteristics of fifty-nine Vietnam war memorials in Korea(VWMK) including monuments and national cemeteries from landscape architectural point of view such as location, spacial characteristic, landscape detail, sculpture, and interpretive text. Based on the commemoration characteristics of the analysis, the commemoration culture among Vietnam, the U.S.A., and Korea were studied and differences compared. The results are as follows. First, monuments were mainly located in public open space such as national cemeteries, parks, and plaza, and some of them were elected along with Korea war memorials to honor Vietnam war veterans at the national level. Second, because the monuments were relatively small and memorial towers were conventionally built on a square platform, the memorial style had been simply standardized to stereotype the commemoration characteristics. Third, outmoded memorial towers, stone plates, emblems, and memorial walls were used as main landscape details and standardized facilities were considered from an artistic and social point of view. Fourth, realistic soldier statues to show heroic and humanitarian image were in majority, while symbolic and abstract sculpture were small in number, they were mostly conventional and unexpressive. Fifth, the causes of participation in the Vietnam War were predominantly expressed as 'defending freedom', 'keeping world peace', and 'national economic development' based on anti-communism and patriotism, and also the collectivity of Vietnam War veterans by troop and local level was emphasized through engraving each veterans's name on towers, plates, and walls. VWMK are mostly conventional and stereotyped in style and show strongly national official memory and the collectivity of veterans from a sociopolitical perspective, and aim for anti-communistic patriotism ideologically. Further study and projects will be required to make creative and innovative memorials and to study how to rethink sublime fundamental themes like war, death, and the individual veteran's experience in VWMK.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.67-74
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• 2010

Law-protected trees are our precious asset as natural resources with history and tradition and natural heritage which should be protected and maintained well to bequeath next generation. Law-protected trees have not only thremmatologic and genetic meaning but also environmental and emotional meaning for their value to be high. This study investigated location, vitality, wrapping condition of root area and status of maintenance of the trees to figure out their growth environment and status of maintenance in a small-middle city through survey on those of law-protected trees in Je-cheon. There showed 300 more year old trees in Je-cheon mostly and the number of trees located in flat fields was the highest. For location type, village, hill and road types were presented in the order and for degree of development, land for building was found most frequently. The average electric resistance of the formative layer was measured to be $8.4k{\Omega}$ and four trees showed bark separation. Most law-protected trees underwent tree surgery, and complete bareness of root area was observed in a tree. The root area of two trees was covered with concrete. pH of soil was recorded to be 5.0~8.4 with its average of 7.1 and electric conductivity(EC) was less than 0.5 dS/m. For status of maintenance rearing facilities were placed for 16 trees out of totally 48 ones and stone fence was done for three ones. Tree surgery was conducted for 33 trees to prevent and to treat decomposed parts of holes. Direction boards were installed for 23 trees. Based on these results, measures to manage systematically law-protected trees in Jecheon could be suggested as follows. First, a sufficient space for growth of low part of trees should be secured. Second, a voluntary management should be induced by advertising them to residents in a community. Third, rearing facilities and direction boards of law-protected trees should be placed and related education should be conducted. Fourth, through operation of the department for law-protected trees consisting of related professions and cooperation among related departments the trees should be maintained continuously.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.1-13
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• 2017

This thesis aims to research the original landscape of an area in Chirwon by comparing and interpreting the current and the former landscape of the time around 1860, in which was created. Inside the painting, MuGi-YeonDang(舞沂蓮塘), its nearby garden facilities and landscape are described. The conclusions of the research are as follows. Around the inner garden(內園) called Gukdam(菊潭), core spaces of Mugi-YeonDang were Hahwanjeong(何換亭) and Pungyongnu(風浴樓). After 1971, Chunghyosa(忠孝祠), Yeongjeonggak(影幀閣) which was built as inheritance of Giyangseowon (沂陽書院), and other buildings were added. On the opposite of Hahwanjeong, there is a designed pond inside Gukdam, in which three pieces of bizarre stones and colorful flower plants and trees reside. In the middle of the pond, there is an center island(中島), constructed with Bonghwangseok(鳳凰石) and Napduseok(衲頭石). Two different kinds of trees are settled on top of the stones, and one of them is identified as a maple. In the external scenery(外境), Jakdaesan Mountain and Cheonjusan Mountain are located at the upper part of Mugi-Yeondang, and Bibo Forest(裨補林), which does not exist anymore, was located at the lower part of it. A notable achievement in own research was to discover the Ju family's graveyard(朱氏墓群) consisted of more than 10 murals at the lower part of Mt. Jakdaesan in the outer space and the remains of 'Byeoreop(別業) Yuhoejeong(有懷亭)' at the nearby Sanjeong-ri(山亭里) area, which was the Ju family's gravesite(Seonsan, 先山). The discovered remains showed the presence of a square pond(方塘) and an island in the center of it(中島) in the form of Seokgasan(an artificial mountain made with stones), a stone monument called Mangchudae(望楸臺), etc. The Seokgasan was consisted of processed natural stones, and layers of the stones were piled up for it. On the side of the layered stones, 'Gyeongam(敬嵒)' and 'Sesim(洗心)' are engraved. Especially, Gyeongja(letter Gyeong, 敬字) is a copy of the Gyeongja Rock(敬字岩) of Sosu-Seowon(紹修書院), which is a symbolic garden language mutually used in the signboards of Pungyongnu and Musansa(武山祠), a place built to enshrine Ju, Sebung(周世鵬). Through the written names of the building found in , it can be assumed that the name of the square pond with Seokgasan was Taehwaji or Jeongwudang, and the name of the Seokgasan was Sogeumgang(小金剛) or Sobangjang(小方丈). The names correspond to the names of the Seokgasan of Gukdam, which was Yangsimdae(養心臺) and Bongnaesan(蓬萊山). By means of the corresponding names, it can be inferred that the relations between the spaces were intended. was originally created as 'a manor painting(莊園圖)', led by the 15th generation of the Ju family who moved into Chirwon-ri, Haman. The painting describes not only the back garden but also the external scenery, thus it provides important evidences for understanding Mugi-YeonDang and its nearby landscape, and is helpful to its maintenance and restoration.