• Journal of the Korean Institute of Rural Architecture
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• v.12 no.4
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• pp.77-86
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• 2010

This study is about Tak Mok theory of feng-shui ideology which was main thought in Choson dynasty or some other thoughts and noble families' thought of garden building : planting trees and properties of the noble families garden. The result from the study of noble family's garden molding is as follows. In the noble family's garden molding, there were considerations of plant ecology known through long experience and the functional aspect of planting tree and esthetic sense of housing circumstances, in addition to feng-shui thought, Taoist thought and the doctrine of the five natural elements of the positive vs. negative. We can learn Choson's noble family's garden included playroom as well as symbolic and incantatory meaning. Also in the thought of noble family's garden molding we can found proper element for modern housing plan such as an ecological peculiarity or functional aspect of dwelling circumstance. And we can also found they didn't show a rejection symptoms against nature but enclosed with straight form which was traditional trait, and each space of it is composed organically. Also we knew they selected a diverse and refined technique with it's decorating the Choson dynasty playful and meditative space. We found that the key point of the thought of noble family's garden molding were on the basis of Confucianal mood, content amid poverty thought and free technique of it.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.171-178
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• 2020

Amid public's growing interest on garden and more leisure time of modern life-style, there is an effort by the government to utilize forest as public garden. In order to utilize forests as pubic garden, a new concept of "Forest Garden" should be defined and introduced first. Furthermore, introducing a new concept requires academically analyzing values of a new concept before a new concept is widely used. Thus, we aimed to clarify the concept of forest garden by conducting Delphi technique research and factor-analysis of survey results. More specifically, delphi technique research was conducted to extract composition elements and explanation elements of forest garden. Factor analysis was conducted on the top 25 elements and 5 values were extracted as a result. They are form, scenery, ecology, history/cuture and usefulness which are essential values required of forest garden. Forest garden should have all of 5 values and be capable of function as both forest and garden which would also need continuous maintenance. We believe this study is the first one to establish definition of forest garden and more specific and realistic definitions need to be built through continuous research, 000 experiment and on-site evaluation. We also believe that this study will serve as foundation for further efforts in building forest garden in various space and in defining proper concept of forest garden.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.130-138
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• 2014

This study aimed to grasp Feng Shui Geographical Thought appears in layout, Axial symmetry, hierarchical planning, spatial composition and hidden design techniques of Chinese Garden, that is "Xue effect", "Long-Sha effect" and "Shuikou effect", and to study on expression in Landscape Space. The Author selected the Chinese courtyard and the Nets Garden as the object to prove the Layout landscaping techniques; and selected Beijing in Ming and Qing Dynasties and the Forbidden City, A square design in Xuanwei as the object to prove the Axial Symmetrical and Hierarchical landscaping techniques, and also selected the Lingering G-arden and the Gentle Waves Pavilion, Humble Administrator's Garden in Suzhou, and Nanhu Park in Taian as the object to prove the Spatial Composition and Hidden design techniques. The methods of this article is combined Literature survey and Field survey with Case analysis to draw the conclusions as follows: First, "Xue effect" of Chinese Feng Shui Geographical Thought is suitable for the layout of Chinese courtyard and the Nets Garden in Suzhou; Second, "Long-Sha effect" is suitable for the urban planning of Beijing in Ming and Qing Dynasty, and the layout of the Forbidden City, by the city square design in Xuanwei, we can see that it is also suitable for Chinese modern landscape design; Third, "Shuikou effect" is appeared in the Spatial Composition and Hidden design techniques. All of these landscape design techniques are commonly used in China's modern landscape. It has been proved by the analysis of the Lingering Garden and the Gentle Waves Pavilion, Humble Administrator's Garden in Suzhou, and Nanhu Park in Taian.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.25-38
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• 2020

For the purpose of recording Folk House Garden, this study was to review the historical value, location, space composition, Placememnt of the Building, garden composition, and management status of Folk House Garden designated as a cultural asset in Jeolla-do and to promote continuous maintenance and preservation in the future and enhance its value. The results of the study are as follows. First, most of them have been influenced by the trend of the times, such as the creation of a modern private garden and the spread of agricultural and commercial development through the garden components influenced by the royal, Japanese, and Western styles. Second, there are differences in the spatial composition of private households and the way they handle sponsorship, depending on the geographical location. When the geographical features were divided into flat and sloping areas, private houses located on flat land were divided into walls, walls were placed around the support area, and flower systems and stone blocks were created. The private houses located on the slope were divided into two to three tiers of space, and the wooden plant, flower bed, and stone bed were naturally connected to the background forest without creating a wall at the rear hill. Third, the size of the house and the elements of the garden have been partially destroyed, damaged, and changed, and if there is a lack of records of the change process, there is a limit to the drawing floor plan. There were many buildings and garden components that were lost or damaged due to changes in the trend and demand of the times, and some of them without records had to rely on the memory of owners and managers. Fourth, the species in Warm Temperate Zone, which reflects the climatic characteristics of Jeolla-do, was produced, and many of the exotic species, not traditional ones, were introduced. Fifth, fine-grained tree management standards are needed to prepare for changes in spatial function and plant species considering modern convenience.

• Cross-Cultural Studies
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• v.19
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• pp.127-147
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• 2010

Lee Chan's early poems were defined as the world of romance. His second-term poems were defined as proletarian poetry and poems written in prison when he made the romance as the core point through longing and desire for lost world. Maximizing the romance was proletarian poetry. His third-term poems were feelings of the northern countries called the spirit of Lee Chan's poems. He recognized the emotion of diaspora as the tragedy in these poems. It was remarkable time that the poet's tragedy observing and expressing the reality of colony. Afterward he wrote poems related inside withdrawal and war cooperation, finally he wrote poem after defecting to North Korea. Lee Chan showed the romance of desire in early poems and proletarian poems. Then he indicated acute scenery of the tragedy in the late 1930s' poems. In heavy situation, he moved from pro-Japanese literature to North Korean literature. However he didn't throw introspected self-reflection language to himself each his changing. But through several form of garden, he clearly showed consistent of maximizing his utopia sense. The time Lee Chan experienced was an icon which intensively indicated several features of deformed modern Korean poetic history. He was a unique poet who expressed various traces of modern Korean poetry in short time step by step. His path informed that he was a special poet who stepped the trace of many modern Korean poetry's extremes such as romantic poetry, proletarian poetry, prison poetry, pro-Japanese poetry and North Korean poetry. Likewise we can call his life as a grudge return. Because he left hometown, experienced the light and darkness of modern times and returned his hometown.

• 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.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.6
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• pp.129-138
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• 2019

'Private Garden', is a legal concept that encourages the opening of private gardens to the public. Twenty-five private gardens have registered with the Forest Service since the 2015 policy was enacted. Although it is a positive system in terms of spreading and encouraging garden culture, the exact nature, role, and designation requirements have not been fully discussed. The purpose of this study is to analyze the characteristics of 25 private gardens in Korea. The results of the study noted that the southern region occupied a large part of the geographical distribution of the private gardens, which is due to the natural and climatic conditions, the policies of the local governments, and the discretion of public officials. In addition, the gardens are almost all made up of modern gardens; there was only one house garden from the Joseon Dynasty. The owners of the gardens range from their 50s to 80s in age. The gardens were started because the owner believed it was a good endeavor, but many owners felt that it was difficult to manage the enlarged garden and eventually opened it through as a Private Garden in anticipation of receiving economic support. There are also owners who are willing to revitalize the area. In addition, profits are generated from facilities other than the gardens, and some operate related programs to promote the culture of gardening. For a sustainable Private Garden system, it is necessary to check the registration criteria and establish a clear role in the region. There is also a need for further measures for management and marketing. This study is meaningful as basic research on the Private Garden system that is not yet systematic.

• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.3
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• pp.1-17
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• 2024

This study focuses on the landscape architect Jung YoungSun to examine Korean landscaping. To do so, the research focuses on the artist's thoughts, her and Seoan's works, and related discourse (landscape architects, landscape works, and landscape discourse) up to 2014. Research was conducted through interviews (with Jung and related people), a literature survey, and the analysis of design works. As a result, four inflection points of Jung's landscape architecture career emerged, from the time she was introduced to landscape architecture, trained in it, and entered into practice, to the time she operated an independent office, showing different design trends and the depth of design thinking. In this process, excluding the early learning period, Jung's landscapes were categorized into three categories: contemporary landscapes, gardens, and traditional landscapes. Through these three categories of landscaping activities, Jung's achievements include the importation and internalization of modern landscapes (modern landscape theory), the establishment of her own garden theory and its practice (garden theory), and overcoming of tradition complexes and creative succession (traditional landscape theory). In sum, Jung's landscapes can be summarized as the practice of regionalists and auteurist thinking.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.54-60
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• 2018

The purpose of this study is to analyze the garden details of Carla Scarpa in order to understand his selection and composition of materials, detailing style and symbolism of the spaces. Literature review and a field trip were conducted for the study and the results are as follows. First, Scarpa used vernacular materials such as Murano glass and Istrian limestone, and juxtaposed various materials using contrast of color and texture. His mixed uses of traditional and modern materials shows the passage of time. Second, he create his own detail style such as ziggurat and geometric motif, which make the garden space to look more interesting and rich. Scarpa respected local craftsmanship like glass design and used textile design style such as overlaying. Third, symbolic uses of water features help make narrative and poetic gardens. Scarpa's unique detail style and respects for traditional craftsmanship provide lessons on how to interpretate traditional design style in modern garden.

• Journal of architectural history
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• v.7 no.1 s.14
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• pp.93-108
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• 1998

The threads of this thesis are several theoretical issues of modern urban ideals. Modern architects and urban designers conceived their individual artifacts, which assumed to be laid out on the new settings totally different from the existing urban fabrics derived from inherently medieval ones. In the discussion of modern ideal society, the Industrial Revolution and the Enlightenment was a pivotal point. Innovations in technology and expanded living territories since the double revolution have been critical factors in the evolution of new ideas of urbanism. The tremendous success in science and technology led a way to the 'science-fiction' environment as a destined apocalyptic world. The dream, whether it was socialist or in any other believes, to a pastoral utopia beyond the capitalist society was represented through the ideal cities, which were modern versions of arcadia in the other approaches. Two sides of revolutionary ideas are presented as a futurist city and a garden city, which are on the separate notions but co-existed or overlapped in a single urban project such as in Le Corbusier urban schemes or even Tchumi's recent work, Parc de la Villette. Urban ideas in the twentieth century are based on urban naturalism, the notion of which was consistant from abbe Laugier to Le Corbusier, as well as machine aesthetics interpreted in terms of archeological research and modern technology.