• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2017.10a
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• pp.6-9
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• 2017

수직정원은 벽면녹화의 일부분으로 정원문화의 확산과 함께 주목받는 분야이다. 하지만, 수직정원에 대하여 어떠한 인식을 가지고 있는지 정확하게 파악되지 않았으며, 어떠한 형태의 수직정원이 요구되고 있는지에 대해서 명확하게 밝혀지지 않고 있다. 또한, 수직정원에 대한 문제점 및 현황에 대한 파악도 되지 않고 있는 시점이므로, 본 연구에서는 수직정원을 대상으로 하여 브레인 스토밍의 한가지 방법인 KJ법을 활용하여, 수직정원에 대한 현황과 문제점을 파악하고 앞으로의 미래상에 대한 예측을 함으로써, 설계 및 디자인에 대한 척도를 제시하고자 한다. 이러한 목적을 달성하기 위하여 문제제기 라운드, 현황파악 라운드, 이상형구축 라운드를 실시하였으며, 그 결과를 인덱스 구조도의 형태로 표현하였다. 이 연구의 결과물인 인덱스 구조도는 수직정원에 대한 문제점과 현황, 미래상이 체계적으로 기술되어 있다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.52-64
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• 2015

This study was carried out investigation of characteristics palace gardens representing historical background, political and cultural identity in Korea, China, and Japan. It had been done a comparative analysis in formation, location and site layout, site composition, landscape elements and planning, landscape technique and vista for palace gardens in East asia's three countries. In order to process this study, Changdeokgung Palace in Korea, Summer Palace in China and Sento Imperial Palace in Japan were selected based on similar status. therefore it provide theoretical foundation to investigate the identity of palace gardens in three countries. Furthermore the study determined homogeneity(similarity) and heterogeneity(differentiation) of the characteristics between palace gardens in three countries through the in-depth comparative analysis in order to investigate identity of palace gardens in three countries and to present the value of Korean palace garden. Homogeneity and heterogeneity between palace gardens in three countries deducted from the study were summarized as follows; First, it shows indigenous style of Korean garden throughout adapting natural terrain without natural destruction. Second, various symbolic elements which ie reflected East asian ideologies present in the gardens. Chinese thoughts and technique were influenced in the development of palace garden in Korea and implemented in similar ways of China. Homogeneity of utilizing waterscape could be found in three countries. Lastly, Palace garden in Changdeokgung had played a role as cultural place with taste for the arts rather than representing authority of the throne. It appears to be similar in China and Japan. The reason how Korea, China and Japan established their own independent style is that each palace garden had been developed to embrace indigenous culture with introduced elements even though they were closely bound up with culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.140-147
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• 2015

The garden culture of Korea and Japan have been commonly influenced by Wonrim culture of China. Nevertheless, each culture has been settled down through the development of the two separate garden cultures, The purpose of this study is to grasp the formation background and main agent of development through theoretical consideration of gardens in Japanese Imperial Garden Katsura Imperial Villa, which is the origin of the representative garden making style-Circuit Style Garden, to look into the characteristic of spatial organization elements by conducting on-site survey and interview with a garden manager, and to obtain elementary views on Katsura Imperial Villa which is an important case of Japanese garden culture. As a result; first, Katsura Imperial Villa is the first jicheol juyu(round tour of ponds and springs) circuit style garden created by Toshihito Emperor and his son Toshitada Emperor, who were well-versed in Waka through the dynasty literature based on the story of Genji throughout about two generations lasting about 30 years; space composition of this garden is divided into land, island and water space, being composed of a total of 36 space components. Second, Katsura Imperial Villa was created with the primary goal of making a round tour around the garden land by arranging tea pavilions, such as Shokintei, Shokatei and Shoiken, etc., which introduced the then game culture into the garden. Third, the personnel in Katsura Imperial Villa intended to enjoy the scenic characteristics of the area where Katsura Imperial Villa was located from the interior of the garden by making Gepparo which was a tea pavilion for enjoying the rising moon on the hill even a litter faster and longer by piling up earth and setting up stone walls north of Koshoin which was a structure located west of the garden land.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2022.10a
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• pp.11-12
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• 2022

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.4
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• pp.1-14
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• 2021

This study examined the techniques of creating gardens overseas using native plants from the Korean peninsula, focusing on the case of 'Das Dritte Land', an art garden created in Berlin, Germany. While Korean garden artists are recognized worldwide and are planning to globalize Korean gardens, the purpose of this study is to share information so that Korean gardeners can expand their activities and rediscover the utilization and value of plants native to the Korean peninsula. The work began as part of a project to mark the 30th anniversary of the collapse of the Berlin Wall. To realize the landscape of Korea with the motif of Inwang Jesaekdo, the geographical shape of the Baekdu-Daegan trail was reproduced with black stone, and the naturalization of Korean peninsula species was utilized in the creation of a garden Berlin. It is a surreal bio-top utopia that blooms with the bio-groups of the Korean peninsula. This study examined the process of plant survey analysis, transportation and stabilization, planting planning, composition and monitoring, and targeting the self-growth of the Korean peninsula, which is a symbol of harmony between the South and the North. The planting of Korea's native plants in overseas gardens symbolizes the uniting of the ecosystems on the Korean peninsula. The process of the Korean peninsula's young plants taking root, flowering, and spreading along Germany's previously divided border metaphorically conveys the desire for the unification of the Korean peninsula. In addition, various art programs in the garden space suggest a foundation for cultural dialogue and communication between the two Koreas. Moreover, creating gardens overseas implies that the cooperation of plant research institutes plays an important role in the transfer of plants and the maintenance of life, while the advancement of Korean gardens overseas plays an essential role in the spread of garden culture in our country.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.5
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• pp.40-54
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• 2015

Tashkent Seoul Park was completed in June, 2014, following the signing of a sisterhood relationship between Seoul City and Tashkent, the capital of Uzbekistan in July, 2010. An open competition for the design of the park was held and, based on the design, the park was completed in June and open to the public in September, 2014. Tashkent Seoul Park is more than a public park in Tashkent. The focus was on making it a starting point for offering a new model for traditional parks of Korea built abroad. Korean gardens and parks built in overseas cities are not only a landscape space but also serve as an ambassador that promotes the culture of Korea to foreigners who are unfamiliar with Korean culture. Therefore, Tashkent Seoul Park was designed to reflect the beauty and uniqueness of Korean traditional landscaping to promote the image of Korea and Seoul. As such, the design and plan was focused on the best measures to make known Korean culture through a design that sets itself apart from the landscape of Uzbekistan. To date, Korean parks or Seoul parks that have been built overseas have focused on the re-enactment of gardens and parks during the Josun Dynasty era. But with the Tashkent Park, the process of the 170,000 people from Goryeo was also reflected onto the design so that the culture and sensibilities of old Goryeo could be felt as well. Korean traditional garden design elements for the representation of the Korean identity are taken from the pilot study. This design element includes not only that of Goryeo, but also the Josun Dynasty era to allow local people to experience a general Korean traditional garden. The traditional beauty and lyricism of Korea was presented to Central Asia through the park in Tashkent so that the citizens could feel the simple yet down-to-earth beauty of Korean aesthetics. As such, the spatial experience of story-telling in Seoul Park evolves from two points of view. First, it is a spatial experience from the perspective of the Goryeo period and of foreigners. It is a continuum of a landscape experience where one can trace the sentiments of Korea and a hometown in Korea by passing through lyrical and multi-faceted spatial structures. Second, it is an experience that evolves from the viewpoint of an outsider, including the Tashkent citizens. It allows visitors to read the various methods and attitudes in an unfamiliar landscape and terrain. Through a story-telling that is reminiscent of the Silk Road through which trade with East Asia took place, visitors can interact with Korean culture in the Korean Garden and throughout the process they can feel the very Korean sentiments. This park presents the latest example of a 'Korean Garden' formed overseas and thus presents a clue to understanding the representation pattern of the Korean aspects of Korean Gardens through a study on the design strategies.

• 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.

• The Korean Publising Journal, Monthly
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• s.160
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• pp.1-1
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• 1994

• The Korean Publising Journal, Monthly
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• s.18
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• pp.1-1
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• 1988