• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2013.11a
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• pp.78-80
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• 2013

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.49-58
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• 2010

This study is attempted to establish the concept of Byeulseo Scenic Spot that the definitions of Byeulseo and Scenic Spot would be presented first followed by clarifying the basis, reason and justification that Byeulseo would be called as Byeulseo Scenic Spot that the following is the major results formulated herein. First, the concept of scenic spot under the Cultural Property Act is the reference to the famous site with the building improvement well known for its great scenery or the point where splendid scenery is viewed that has the artistic value along with the trace of human lives in this cultural heritage that, although the scenery is important but the attention has to be on discovery of historic resources with the story telling in the subject site. Second, the criteria of designation on the Scenic Spot in Korea would be natural scenery, animal and plant site with well-known scenery, view point of scenery, famous building or garden and important places with legend that there lacks diversification. In this aspect, the intent of the concept of Scenic Spot would be facilitated to expand the designation of the Byeulseo Scenic Spot as the Scenic Spot of living style. Third, from the foreign cases, particularly, in Japan, it is needed to note that Byeulseos and housing gardens are designated for 196 places of Scenic Spot, reaching 55.4% of entire Scenic Spots. Laws, regulations, systems and designated criteria on the cases of designating the foreign Scenic Spots would be studied and quoted. Fourth, the classification work for each type to designate as cultural heritage has to be continued as the Scenic Spot of subject site with even more emerged for the value as the Scenic Spot in garden, original site and the like classified as historic site, important folk data and the like. Fifth, the designation of Scenic Spot of Byeulseo garden with splendid scenery as the living Scenic Spot has to be expanded. The pavilion existed now nationwide would be approximately 1,500, and these pavilions are the place where the scholars stay in the famous site, and this is the central space of Byeulseo to study, and if there is clear one that has written and record of deed to create the stories to people with the value for publicity campaign, it would be the subject of Scenic Spot. And sixth, for the case of view point with splendid scenery in Byeulseo Garden, it cannot be the subject of designation that the designation of Scenic Spot has to be expanded. In the event of the Byeulseo garden in Korea, there are many cases of having outstanding view points, and there is a few case of designating the subject site with great view point as a Scenic Spot.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.62-79
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• 2019

This study examined the background of Gyeongju Seochulji Pond (world heritage, historic site No. 138), a historic pond in Sam-guk-yu-sa (三國遺事), and its landscaping period when it served as the garden of the Pungcheon Lim clan (豊川 任氏) in the middle of the Joseon dynasty. For this study, a literature review of poetry, prose, and a personal anthology, and a field survey were conducted. Changes in the landscape were analyzed by comparing the landscape appearing in the literature of the Joseon period with past photographs. The results were as follows: First, even though the function and landscape at that time cannot be guessed as the objective ground from Silla to the early part of the Joseon dynasty is insufficient, it has been managed as a Byeolseo (別墅) garden as Pungcheon Lim's family resided in the area of Eastern-Namsan Mountain during the Joseon dynasty. At that time, Seochulji Pond was recognized as a historic place. It functioned as the garden of Pungcheon Lim's family as Lim Jeok (任勣, 1612~1672) built the Yiyodang pavilion (二樂堂). Second, in the literature, the Yiyodang pavilion has been called Gaekdang (客堂), Jeongsa (精舍), Byeolgak (別閣) and Byeolseo, etc. It can be seen as Nu and Jeong (樓亭), utilized for various uses. Because of this, the name Bingheoru Pavilion (憑虛樓) has mostly been in common use. Third, Seochulji Pond was positioned where the scenery is beautiful, with Gyeongju Mt. Namsan (Mt. Geumo) in the background and with a wide field and the Namcheon River flowing in the front. This was typical of Byeolseo gardens of the Joseon dynasty, combining human environments with natural environments. Fourth, the relationship with the Byeolseo garden disappeared as the head of Pungcheon Lim's family added a temple, lotus flowers, pine trees, and a bamboo forest as described in the old poetry and prose. Currently, the landscape does not appear to be significantly different from that as development has not occurred in the area of Seochulji Pond. Also, crape myrtle (Lagerstroemia indica), which now symbolizes the Seochulji Pond, was not identified in the old poetry or past photographs and is not old enough to confirm whether it was prominent at the time. Through this study, it is necessary to reconsider the spatial meanings of the gardens of the Joseon dynasty period and not to highlight the area of Seochulji Pond as a place in the legend. This is a cultural asset in the area of Eastern-Namsan Mountain and has an important meaning in terms of garden history.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.113-124
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• 2012

The Confucian culture of the Chosun Dynasty has a great effect on the construction of ByeolSeo gardens. Among them, especially the gardens built in Gyeongsang Province areas, where a great number of Confucian scholars were produced in the beautiful natural environment, have maintained various heritage of Confucian culture established by the scholars. Along with the Nakdong River, we can find so many cultural assets of buildings such as head houses, ByeolSeo gardens, including the literary remains such as administrative certificates, poetry and prose, and records of pavilions, which show the trace of the scholars who followed the instructions of the doctrines of Chu-tzu. The Geumseonjeog located in Punggi County, Gyeongsangbuk Province, which was the ByeolSeo gardens possessed by Geumgye Whang Jun-ryang(1517-1563), who was the governor of the area and one of the representative students of Toigye Lee Whang. The building is located nearby the Geumseon Valley with beautiful natural scenery under Sobaek Mountain. Especially the pine forest around the valley boasts a unique natural setting. This study is aimed to analyze the value of natural scenic spot of the Geumseonjeong through the surveys on surroundings, topography, vegetation and water system. including the value of humanistic elements focused on the writings such as 'Geumgyejip' written by Whang Jun-ryang and Lee Whang, another 'Geumgyejip' written by Ryu un-ryong, and 'Geumgyejeongsajungsugi' written by Hong Gyeong-ryeom. And also, the scenic spot value of the signboards such as the 'Geumgyejeongsajungsugi' written by Ryu un-ryong, 'Geumgyejeong' by Lee Han-il, 'Geumgyejeong' written by Jo Un-hyeong and 'Geumgyejeongsa, written by Lee Jung-gi, was analyzed. And the historical and cultural value was analyzed through the semantic interpretation of the series of poetry and pose and the old map established in 1872. In respect of the scenery, the surroundings of the Geumseon Valley boast the outstanding settings as the clean mountain stream in front of the Geumseonjeong makes a beautiful harmony with the pine forest. The pine forest surrounding the Geumseon Valley has played a secret role in the history of the village. Considering the fact that the pine forest was expressed in the map of Punggi County produced in 1872, it may be assumed that the forest was regarded to have historical and scenic value in those times. Considering the fact that the words like 'Beautiful' and 'Scenic spot' were used in the writings like 'Geumgyejip' and there were meeting places around the valley, we can recognize the value of the place as a scenic spot. The beautiful natural scenery surrounding the ByeolSeo gardens, and the increase in humanistic value of the poetry and prose, including the administrative certificates, has recently brought about the cases in which some scenic spots of the ByeolSeo gardens were designated as cultural assets. According to the value as a scenic spot and semantic interpretation of the Geumseonjeong, the pavilion appeared to have a great scenic spot value as a ByeolSeo gardens, so that this study was designed to prepare criteria with which the pavilion may be designated as a scenic spot of ByeolSeo gardens.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.5
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• pp.57-67
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• 2013

The studies of Korean traditional gardens have been a lot of diachronic approaches through ancient documents and on-site investigation. Previous research has focused on the characteristics that are inherent symbolism of the traditional landscape space, such as site characteristics. There are many studies for inner gardens, outer gardens and other influential ranges of gardens of the location characteristics. However, studies on the scale of external gardens were not satisfactory from a quantitative perspective. Unlike private life sphere, quantitative analysis was conducted on the role of a sphere of public community life for outer gardens. Visibility analysis was performed through the existing literature and GIS programs to estimate the magnitude of the outer garden. When it was compared with Min G. H.(1982) research, it is almost the same if it is estimated to focus on Buyoung -bong(芙蓉峯) and Ip-am(立巖). Also, as a result of the fractal structure for a variety of symbols in the garden, fractal dimension in landscape elements is relatively concentrated, unlike in other areas. Thus, the external scale can be a means of cultural property protection out of the crucial perspective for the inner garden. There has been consideration of the cooperation with the visual complexity using the concept of fractal structure as one of the elements of landscape analysis.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2004.05a
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• pp.1022-1027
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• 2004

Soswaewon is one of the most representative traditional garden in Korea which has the highest reach of soundscape with the sounds and landscape components. This study aims to find out and to introduce the characteristics of soundscape in Korean traditional garden and to establish the basic data of soundscape research. Literature survey, of ancient poetry, acoustical survey on the sound itself and questionnaire survey to the visitors were carried out to analyse the relationships between the images perceived by the visitors and the characteristics of soundscape components in Soswaewon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.63-73
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• 2014

This study was intended to analyze the correlation between the builder's intentions and the colors that are revealed through the analysis of the manifestation of symbolic colors as the signs and symbols that are shown in the traditional space of Soshaewon as one of the representative retreating villa gardens of Chosun Dynasty and the interpretation of the meanings. The research on the traditional colors and the intended background of Soshaewon and so on was conducted by examining the relative literature and the contents as the objects for the empirical analysis were the scenic beauties and spatial elemnts that are shown in the plan of Soshewon and the poems about Soshewon 48 scenes as well as the contents of the poems related to Five Primary Colors that are used based on "the Ideology of Five Elements of the Positive and Negative". Espectially, this study was conducted by dividing the spatial elements shown in Soswaewon broadly into the visual, synesthetic and symbolic & cognitive spaces in order to classify the locations and directions of the spaces and natural objects as the visual space, the seasons, the points of times and the five sensory organs as the synesthetic space and the "Four Moral Begginings" & the "Seven Emotions" of New Confucianism as the symbolic and cognitive space and by analyzing if there are any correlation between the decided intentions and the spatial meanings that are revealed by analyzing the system of five primary colors which are used in each spatial element.7) As a result from the analysis of the colors that are used based on the three spatial components of Soshaewon, it was found that one of Five Primary Colors were used 74 times in total. First, in the visual spatial component, one of the colors was used 18 times in total including 2 times of blue, 1 time of red, 6 times of yellow, 4 times of white and 5 times of black. The fact that yellow symbolizing the source of everything and white symoblizing cleanness and pureness are used relatively more often than blue and red symbolizing nature and life respectively can be interpreted that the builder, Mr. San-bo Yang's intention to build Soshaewon is related to the meaning symbolizing the pure will of the builder who wanted to seclude himself from society rather than to give priority to enjoying nature. Second, in the synesthetic spatial component which are selected from the 48 scenes of Soshaewon, one of Five Primary Colors was used 38 times in total including 11 times of blue, 8 times of red, 4 times of yellow, 5 times of white and 10 times of black. Since blue and red symbolizing nature and life respectively are used more often than yellow and black symbolizing the source of the world and pureness & knowledge respectively, it was interpreted that the builder means to be faithful to the unique basic functions of the retreating villa with which the builder wanted to enjoy his passion for enjoying nature and exploring knowledge even though the builder built the villa garden for the purpose of keeping himself pure while being unstained by the world. Finally, it was analyzed that one of Five Primary Colors was used 18 times in total including 4 times of blue, 5 times of red and 9 times of white in the symbolic and cognitive spatial components of the 48 scenes. Since it was found that white symbolizing the builder's political pureness is used at the same frequency as blue and red symbolizing nature and life respectively are used as a result from the analysis, it was interpreted that the intention of creating Soshaewon was emotionally revealed at the same percentage in the aspects of his political pureness and enjoyment of nature through his poems. Especially, as a result from such 3 kinds of analyses regarding to the frequency of using Five Primary Colors, it was found that the number of times using Five Primary Colors in the synesthetic spatial component was 38 as the highest percentage, around 51% followed by each 18 times as the24.5% respectively in the visual and cognitive & symbolic spatial spaces. Based on such results, it can be interpreted that the builder, Mr. San-bo Yang's intention of creating Soshaewon sympolizes that his intention for enjoying the basic nature and the vitality of nature within the retreating villa garden is hidden at the same proportion as his intention for keeping himself pure from the unrightful world. It was intended to reveal the traditional colors which are hidden in a traditional retreating villa by analyzing the correlation between the symbolic meanings and the spatial components of Soshaewon based on the Five Primary Colors which are originated from the "Ideology of the Five Natural Elements of the Positive and Negative", but it is thought that it is possible to explore whether such a theory can be generally applied to other kinds of retreating villa gardens or not through a study on other retreating villa gardens as other examples in which the builder's apparent pure intentions, such as enjoyment of nature and persuit of study, etc., unlike Soshaewon are hidden.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.67-77
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• 2018

This study investigated the recognition of Koreanesss, preference factors and the difference of recognition from adjacent Chinese and Japanese gardens for foreign visitors of Seoul gardens, a Korean traditional garden located within the Marzahn garden in Berlin, Germany. Overall, the Chinese garden and the Japanese garden were better known to most visitors than the Seoul garden due to their earlier construction. The awareness of the specialty to the Korean garden was at an average level indicating most visitors did not recognize the difference among the traditional gardens constructed from other countries. These less awareness on the Korean garden was because the traditional gardens of the three countries are located adjacent to the park in a continuous landscape with similar plant species created through natural planting techniques. This means the Korean garden is required for considering diversity and representativeness of planting species, uniqueness in space composition and recognition of Korean oriental garden culture in an initial design project stage. Visitors without prior information has better understanding on Korean garden and higher revisit intention resulting in increasing publicity and understanding of Korean traditional garden. Among the preference factors representing Koreaness of the Seoul gardens, the waterfall, stream, pavilion and natural stone within the water landscape were visitors favorite interests due to design concept with a representative Korean stream scenery of Dokrack-dang and Byeolseo garden resulting in differences from the landscape displaying technique for other oriental gardens. These stylistic differences in the dominant landscaping of garden architecture from surrounding the physical environments, the garden displaying technique derived from Korean natural landscape can be recognized as an unique garden element for foreign visitors.

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

• 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.