• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.78-85
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• 2013

This study employed the Semantic Differential(SD) technique for an empirical analysis of the borrowed landscape-the so-called interaction of landscape between space and nature-in traditional Korean space against the cultural backdrop of confucian ideology. Its findings are as follows: First, the study conducted a comparative analysis of the borrowed landscape between Sarangchae(Men's quarters) and Anchae(Women's quarters) and between Soteuldaemun(A lofty gate) and Sadangdaemun(A gate to an ancestral shrine), using the SD technique. Consequently, their marked distinction in the borrowed landscape were found to illustrate the influence of confucian ideology over spatial composition. Second, both the garden and the sky of Sarangchae appeared more open and dynamic, and soft, and comfortable, and warm compared to Anchae. Also, Soteuldaemun looked more open and dynamic than Sadangdaemun. In conclusion, traditional Korean space applies a monistic view of the world to nature and human beings, thereby embodying a philosophical and aesthetic space where humans enjoy their life in harmony with nature while playing with the landscape in a traditional space.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.30-38
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• 2008

Borrowed landscape is an Oriental gardening method to draw inside external natural landscape, and borrowed landscape of Japan has a different characteristic from that of Korea or China nature is manipulated and re-interpreted by human will in the course of applying it to architectural space. In other words, not the original scenery, but manipulated one appears which is cut, reduced, or deleted by architectural elements such as wall, window, or fence. Therefore, this study examined how architectural structure of Ando Tadao symbolizing modernist architecture understood and adopted Japanese traditional views on nature, that is, borrowed landscape. To this end, on the basis of the understanding on 'polymerization of abstraction and form' he mentioned, his geometric architectural principles are discussed, since this serves to be an important beginning of architectural concretization by the concept of 'form' experienced and perceived by human being through geometric means called architecture 'abstraction.' The findings of this study are as follows: first, it was found that Ando Tadao generates borrowed landscape effects by polymerizing and manipulating his simple and geometric structures with each other and thereby editing natural scenery, while Japanese traditional borrowed landscape introduces source scenery inside, through condensation and symbolization. Second, the results of this study revealed that his architecture functions to transcend external and internal realm of a space, which is also observed in Japanese traditional architectural borrowed landscape. Therefore, this study is considered significant in the sense that it proved that Ando Tadao's architectural language is based on borrowed landscape as a specific Japanese traditional element, going beyond the scope of previous studies focusing simply on the introduction of natural elements.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.15-29
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• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.3-12
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• 2007

This study examines the nature-introducing methods between Korea Traditional Architecture and Landscape Architecture dividing them into three; semantic methods, constructive methods and visual methods on the basis of architectural features deduced from Borrowed Landscape theory which is a typical nature-introducing theory in the orient. Through the findings of this study, we can explain the nature-introducing methods of Landscape Architecture by way of the method of the Borrowed Landscape which was frequently used by our ancestors for a long time to Introduce nature in the course of building structures, and we can find several similarities between the Architecture of two fields of both different times and areas. It can be said to be meaningful for us to be able to confirm the contemporary value of Traditional nature-introducing method through the Borrowed Landscape theory. However, we can find that there is a difference between Traditional Architecture and Landscape Architecture in looking at nature. If the Landscape Architecture which emerged recently as a result of recognizing the importance of nature, maintains the nature view of regarding nature and architecture as equal, the nature view of Traditional Architecture is essentially different in that it is humble and aims to return to nature. The most outstanding feature of nature-introducing way in Traditional Architecture obviously implies something different from the various architectural trends of 'nature-human', or 'nature-architecture' which appeared breaking the relation of dichotomy. It is the thinking that 'nature and human are continual', and 'human is part of nature'; that is, 'the humbleness to nature'.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.6
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• pp.66-72
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• 2010

Seoul City planned "Dreamland" to be in harmony with the huge woods and park. It is located in the life zone in the northern region of Seoul as part of an extensive park development plan that the municipal government has promoted. The space configuration technique of the aesthetics of "Empty" rather than "Full" gives the potentiality to cope with the uncertain changes in the city. Furthermore, the traditional element of the mountain landscape of Seoul was introduced and appropriated as the axis of the landscape for landscape configuration. In that configuration, the images of tree, sky, wind, water and soil are elegantly unfolded like a landscape painting. The purpose was to create a dominant landmark in the city landscape with the figures of Korean mountains and hills which were differentiated from architectural landmarks in the western cities by making nature, which was excluded from the urbanization plans up to now, an important subject for consideration. As a result, this study madethe space in a park including existing yards and streets in a city have the traditional hierarchy by applying the facility arrangement technique and elements extracted from Korean space types and traditional landscape concepts. Moreover, the North Seoul Dream Forest was designed by pursuing diversity and potentiality in the experience of space using a large open field in a city.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.18-27
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• 2018

This study is a basic one analyzing the scenic characteristics that are created in Royal Garden in China while taking into consideration that Royal Garden in China is a fruit compiling all of the Chinese classical gardens. In case of Summer Palace in China, it adopted various kinds of landscape displaying techniques for fulfilling the desires of an Emperor who wanted to appreciate beautiful landscapes all the time. Accordingly, the scenic characteristics can be summarized as follows. First, Summer Garden creates various kinds of garden landscapes through various kinds of landscape creation techniques, such as, Borrowed Landscape, Central One, Background One, Symmetrical One, Axial One, Dividing One, Framed One, Window One and Complementing One, etc. Second, it was created in order for visitors to focus on appreciation of landscapes by allocating hard points while considering the symmetric structure, Structure of Long Corridor and Visual Physiology of a building on the basis of the South-North Pivotal Line. Third, it utilized the scenic spot transferring technique that introduces the landscapes of scenic spots in various regions of China to Summer Palace to be matched to the unique geological characteristics of Summer Garden. It was found that Summer Palace adopted the common landscaping techniques in Jiangnan Region of Ancient China since the landscape of Jichang Garden in Hangzhou and that of Shan Tang Jie in Suzhou are reproduced and transferred. It was found that 3 methods mentioned above have the effects that attract sightseers' eyes naturally and make their interests concentrated as well as reviving the feeling of space in a garden and creating abundant scenic beauty.

• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.100-121
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• 2009

This study is subjected to those gardens of the Korean Folk Village 'Oeam-Ri' designed in 1920s. - transitional period of traditional gardens - and define socio-cultural change's influences and through documents on garden design, descendant's testimony and measured drawings, to understand that period's garden culture's characteristics according to garden design elements. This study applied following analysis methods and procedures to derive out characteristics of transitional garden culture. Analysis on socio-cultural characteristics in 1920s. Analysis on actual condition of transitional garden's design. In this point Outline of the Garden, Space formation, Garden designing elements are (1) water landscape, (2) plant, (3) structures, (4) paving, to derive out characteristics of the transitional garden. The results follow as below; First, during the transitional period 1920s, the economical development, fueled by opening nation's door to foreign countries and indication of collapse of statue systems together with idea of practical science and Enlightenment Thought, was element of changes in garden style. Second, Garden Designers of transitional gardens in 'Oeam-Ri' were limited to upper class of the society. They were wealthy enough to maintain their high social statue in rapidly changing society. As results, tendency of returning to nature developed gardens located in a site of scenic beauty and development of geographical features arranging techniques, and also showed copying foreign styles. Third, arrangement of garden and space composition, in most cases, composed of buildings and yards. Changes in water landscape features and garden spaces are centered to main-yard. Major changes of the garden spaces are water landscapes and plants that showing foreign influences. Fifth, scenic appearance techniques appears with dense garden space and emphasizing visual scenic view. Sixth, the characteristics of transitional garden design techniques are development of geographical feature arranging techniques, changes and mixture of the materials and garden types, emphasizing garden's decorative beauty, change of concept of yard within house into garden, changes from 'borrowing of landscapes' to 'selecting landscapes', changes of front garden from emptiness to fullness, changes of attitudes of enjoying gardens from 'staying calm in the garden' to 'moving or walking in the garden', changes to inner-oriented view, and changes from 'just watching and enjoying the nature' to 'enjoying specific objects'. This study is one of the efforts to restore the identity of Korean Traditional Garden by approaching and observing modern era which function as bridge between tradition and present day, and we observed transitional aspects of changes of traditional garden into modern garden. Hereafter, more studies will be needed to Modern Garden Design be recognized as part of Korean Garden Design History and these would be author's next assignment.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.59-66
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• 2023

This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows: First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.14-26
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• 2011

Imdaejeong Wonlim is located on the verge of Sangsa Village in Sapyeong-ri, Daepyeong-myeon, Hwasun-gun Gyeongsangnam-do toward Northwest. It was planned by Sa-ae, Minjuhyeon in 1862 on the basis of Gobanwon built by Nam Eongi in 16th century against the backdrop of Mt. Bongjeong and facing Sapyeong Stream. As water flows from west to east in the shape of crane, this area is a propitious site standing for prosperity and happiness. This area shows a distinct feature of Wonlim surrounding the Imdaejeong with multi layers as consisting of 5 districts - front yard where landmark stone with engraved letters of 'Janggujiso of Master Sa-ea' and junipers are harmoniously arranged, internal garden of upper pavilion ranging from a pavilion to square pond with a little island in the middle, Sugyeongwon of under pavilionu consisting of 2 ponds with a painting of three taoist hermits, forest of Mt. Bonggeong and external garden including Sapyeong Stream and farmland. According to documentation and the results of on-site investigation, it is certainly proved that Imdaejeong Wonlim was motivated by Byeoseo Wonlim which realized the idea of 'going back to hometown after resignation' following the motives of Janggujiso, a hideout aimed to accomplish the ideology, 'training mind and fostering innate nature,' on the peaceful site surrounded by water and mountain, as well as motives of Sesimcheo(洗心處) to be unified with morality of Mother Nature, etc. In addition, it implies various imaginary landscapes such as Pihangji, Eupcheongdang, square pond with an island and painting of three Taoist hermits based on a notion that 'the further scent flies away, the fresher it becomes,' which is originated from Aelyeonseol(愛蓮說). In terms of technique of natural landscape treatment, divers techniques are found in Imdaejeong Wonlim such as distant view of Mt. Bongjeong, pulling view with an intention of transparent beauty of moonlight, circle view of natural and cultural sceneries on every side, borrowed scenary of pastoral rural life adopted as an opposite view, looked view of Sulyundaero, over looked view of pond, static view in pavilion and paths, close view of water space such as stream and pond, mushroom-and-umbrella like view of Imdaejeong, vista of pond surrounded by willows, imaginary view of engraved letters meaning 'widen knowledge by studying objectives' and selected view to comprise sunrise and sunset at the same time. In the beginning of construction, various plants seemed to be planted, albeit different from now, such as Ginkgo biloba, Phyllostachys spp., Salix spp., Pinus densiflora, Abies holophylla, Morus bombycis, Juglans mandschurica, Paulownia coreana, Prunus mume, Nelumbo nucifera, etc. Generally, it reflected dignity of Confucianism or beared aspect of semantic landscape implying Taoist taste and idea of Phoenix wishing a prosperity in the future. Furthermore, a diversity of planting methods were pursued for such as liner planting for the periphery of pond, bosquet planting and circle planting adopted around the pavilion, spot planting using green trees, solitary planting of monumentally planted Paulownia coreana and opposite planting presenting the Abies holophylla into yin and yang.