• Title/Summary/Keyword: Private Garden Pavilion

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A Study on the Architectural Interpretation of the Korean Traditional Private Garden Pavilions from the perspective of Separation (구별적 관점에서 본 별서형정자의 건축적 해석에 관한 연구)

  • Kim, Jin-Su;Nam, Hae-Kyeong
    • Journal of the Korean Institute of Rural Architecture
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    • v.12 no.3
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    • pp.35-46
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    • 2010
  • The purpose of this study is to interpretate the Korean traditional Private Garden Pavilion -'byoul-seo(別墅)' in the view point of the architectural methodology - the separation of space in Honam province. It is presumed that nature union is archived through the 'yan-sang(玩賞)' which is ultimate state of knowledge that is base on the premises of opened signification in emancipation from narrow view point in the past and cognition of value. therefore, it is needed to know the unworldly point of space perception about the pavilion territory, furthermore to have conceptual method to distinct pavilion from the world. there are two methods in the distinct concept in this pavilion research: unworldly separation and meditative separation. As a result, the followings are conclusions; There two distinctive methods of planning of pavilion by use of the room and column. There are enclosement, turnaround, division of floor area in the room organization method, and it's modification of modulation, diversification of column height and diversification of column use in different space.

A Study on the Interpretation of the Traditional Private Garden Pavilion in Honam Province from the Perspective of Confucian Frame of Self-Cultivation by Its Location and Arrangement (유가적 수양론으로 본 호남지방 별서형 정자 입지와 배치의 의미해석에 관한 연구)

  • Kim, Jin-Su;Kim, Yun-Sang
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.28 no.4
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    • pp.49-63
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    • 2010
  • This study focused on the method of separation - space organization- as one of the architectural methods that is considered by the view point of its location and arrangement of 'Byoul-seo' private garden pavilion in Honam province. As a result, the followings are conclusions; By this study, they can be found in the concept of '居敬窮理', '格物致知'. It is presumed that nature union is archived through the 'yan-sang(玩賞)' which is ultimate state of knowledge that is based on the premises of opened significance in emancipation from narrow view point in the past and cognition of value. Therefore, it is needed to know the unworldly point of space perception about the pavilion territory, furthermore to have conceptual method to distinct pavilion from the world. there are two methods in the distinct concept in this pavilion research: unworldly separation and meditative separation. It is concluded that the specific consideration of the method of separation that is applied in the Byoul-seo pavilion. And it is accomplished by the contemplation of separation method in approach and entrance of direct influence area. they could be 1) cross the hill, 2) cross over a brook, 3) lifted up in the mount, 4) penetrate the forest, and 5) narrow entrance, which could be part of location.

Geographic Conditions and Garden Designs of Byeol-seo Scenic Site of Gimcheon Bangcho-Pavilion and Mrs Choi's Pond (별서 명승 김천 방초정(芳草亭)과 최씨담(崔氏潭)의 입지 및 조영 특성)

  • Rho, Jae-Hyun;Lee, Hyun-Woo
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.34 no.1
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    • pp.71-82
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    • 2016
  • Through literature review and on-site survey of Gimcheon Bangcho pavilion(芳草亭), the features of garden design(庭園意匠) including geographic conditions, landscape modeling of Nujeong(樓亭) and Jidang(池塘, Pond), and scenic interpretations in Nujeong Jeiyoung poetry(樓亭題詠詩) have been carefully researched and the findings are presented below. Bangcho pavilion is located in a village called Wonteomaeul, which belongs to the feng shui state of golden hairpin and floating lotus. It has long been the cultural hub of communication and social interactions among the villagers. The Head House of Jeongyanggong(靖襄公宗宅), the main house(本第) of the Yeonan Yi Clan(延安李氏), is about 150m away from Bangcho pavilion, an artistic space whose landscape modeling is of the form called Nujeong. The name 'Bangcho' reflects the noble man(君子)'s determination: "I yearn for the place where honey parrots fly and the fragrant grass grow." From the two story structure of the pavilion where there is an additional floor installed to the central ondol room by a four-sided subdivision door, one can detect the aspiration of the men for pursuing an open view. One can also observe the efforts in designing the room to be used for multiple purposes from a private place to an office for periodic publication of a family lineage document called "Garyejunghae(家禮增解)". Bangcho pavilion's main sight of interest is Mrs Choi's Pond(崔氏潭), the one and only garden structure that comprises the twin round island of square pond(方池雙圓島) among the existing Jidangs in Korea. In this special Jidang, there are two coexisting islands that represent a well thought out garden facility for symbolizing conjugal affection and unyielding fidelity between master and servent(主從). In addition, the three inflows and one outflow facing the Ramcheon valley is regarded as an ideal garden design optimized for performing the function of a village bangjuk which is the site for undercurrent creation and ecological reprocessing. At present, Giant pussy willow is the only circular vegetation identified in the area of Bangcho pavilion, although this plant species is about to wither away judging from the signs of decrepitude that seems to persist for two out of three weeks. The old pine tree that appears in the 1872 Jeiyoung poetry of Byeongseon Song(宋秉璿) no longer exists. Anjae(安齋) Jang Yoo(張瑠)'s "Eight Scenary on Bangcho pavilion(芳草亭八詠)" and its expansive reproduction "Ten Scenary on Bangcho pavilion(芳草亭十景)" from Gwagang(守岡) Lee Manyoung(李晩永) depict vividly the pastoric scenery of an idyll(田園景) that stretches throughout the natural and cultural landscape of the province of Gimcheon and Guseong surrounding the Bangcho pavilion. The Bangcho pavilion sutra aims to establish Bangcho pavilion and the village of Wonteomaeul as the centre of microcosmos by dividing and allocating its scenic features according to the four seasons and times(四季四時), the eight courses(八方) and the meteorological phenomena, and it is the incarnation(顯現) of landscape perception upon the Byeol-seo Scenic site of Bangcho pavilion, the cultural hub of the region.

Research of private landscape architecture of the Tang Era in ancient China -based on excavated excellent articles and a book <洛陽名園記> called Nakyangmyungwonki- (중국 고대 당대(唐代) 민간 조경[사가원림(私家圓林)] 연구 - 출토된 명기(明器)와 낙양명원기를 중심으로 -)

  • Park, Kyung-Ja
    • Korean Journal of Heritage: History & Science
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    • v.38
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    • pp.285-303
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    • 2005
  • Through the excavated excellent articles of the Tang era, we have considered the building techniques and styles of a square pavilion, an octagonal pavilion, a miniature hill, a pond, etc., could read building techniques of the scenic structures on ancient literatures including records and additionally about their poetical life at that time and inquired into the arrangement, structure, building techniques, etc. of a miniature hill, a pond, a pavilion, a flowerplant, etc., on Nakyangmyungwonki. Thus, under the research on the private landscape architecture, especially the nobility gardening, around excavated excellent articles and literatures, 'A miniature hill(假山) and a pond for landscaping views formed the center of a garden, and additionally a pavilion was built and flowerplants were set. The miniature hill of laying stones and having a carven, steeping, stratifying, looking like dyed green and birds' singing among hills and eating water on the lakeshore${\ldots}$' was expressed. The pond of digging in the ground and conducting water had its water system developed. There were several kinds of pavilions such as 廳, 堂, 館, 亭, 臺, 樓, 閣, 榭, etc. As examples of landscaping plants, there were a bamboo, a lotus flower, a peony, aromatic trees a pine, a korean spindle tree, a big cone pine, an empress tree, a wild walnut, a peach, a plum, a Japanese apricot tree, an apricot tree, a chrysanthemum, arrowroot vines, etc. Thus, the garden of the Tang era, abundant, diverse and excellent, enjoyed the prime of the period of prosperity. Due to cultural exchange, it is supposed that the period of united Shilla of the same age would meet with the period of prosperity in the developmental history of Korea landscape, based on the nobility garden system '4 different dwelling-houses every season on a record "四節游宅"'.

A Semantic Comparative Study of Formative Idea and Landscape Elements Composition of Damyang 'Soswaewon(潭陽瀟灑園)' & Suzhou 'Canglang Pavilion(蘇州滄浪亭)' (담양소쇄원(潭陽瀟灑園)과 소주창랑정(蘇州滄浪亭)의 조영사상과 경관구성요소에 관한 의미(意味) 비교연구)

  • Wei-Tiantiani, Wei-Tiantian;Kim, Jai-Sik;Kim, Jeong-Moon
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.35 no.1
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    • pp.36-47
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    • 2017
  • In this research, sematic comparative study on formative idea and landscape elements composition was made between Soswaewon which was a remote villa garden in Joseon Dynasty and Canglang Pavilion which was built at a time when Neo-confucianism had been created in Song dynasty. From which the summary was resulted as below: Firstly, Soswaewon was fully devoted to Neo-confucianism among Korean remote villa gardens, Canglang-Pavilion was deeply affiliated with Neo-confucianism the deep-rooted thought. Adding a comment, as a richly historied Chinese private garden it was the best preserved even now and the farmost point from now and approximately 500 years advanced than Soswaewon, moreover Sosunheum the builder belonged to gentry society in Song dynasty. Secondly, Both Soswaewon and Canglang-Pavilion were remarkable thank to nature friendly concept which was deeply rooted in the eremitic thought(隱逸思想). Most of all, it might be interpreted the location of Soswaewon lay down in a mountain, as to be swallow hidden(小隱) but that of Canglang-Pavilion lay down in a city, as to be middle hidden(中隱). Thirdly, approaching with comparative study to gardens' factors implicated in symbolization when naming both Soswaewon and Canglang-Pavilion, neo-confucianism in Song dynasty in which diverse thoughts ranging Confucianism and Buddhism and Taoism had formed ensemble and developed was deeply built in Soswaewon, as to be in consistency to nature and to be a basis for comprehending diverse symbolization factors found in Canglang-Pavilion. Fourthly, given that forms or factors of gardens was tangibly came up with thoughts' variation we surely underwent to comparative study. Through which we could know Soswaewon was made by maximizing use of nature but minimizing addition of artificial things. In other words, it was trial of expressing semantic feature of the site in a way blending natural circumstance and liberal one. One of the representatives, Daebongdae in Soswaewon was a site where the owner's idea came up with. Scenary was recreated and nature was represented in interspace of Canglang-Pavilion with the high wall around the border, for which it renounced the world. To the end, it was understood there was the location characteristic of Canglang-Pavilion which let us look down from mountain and take some time for introspection. It might be said that the cultural root was in common between Korea and China, however it was found there were lots of differences in forms and features of gardens. We were able to interpret that social and cultural background were led to gardens' formation in which individual characteristic of two nations were blended, from which difference was resulted.

A Study on the Characteristics of the Byeolwon (別苑: A Separate Garden Made Away from Living Space) in Palace during the Joseon Dynasty period Illuminated by the Oungak Area at the Rear Garden of Reconstructed Gyeongbokgung Palace (중건 경복궁 후원 오운각(五雲閣) 권역으로 조명한 조선시대 궁궐 별원(別苑)의 특성)

  • Jung, Woo-Jin
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.34 no.3
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    • pp.1-17
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    • 2016
  • The main aim of this study is to provide an overview of the characteristics the Oungak (五雲閣) area on the north of rear garden of Gyeongbokgung Palace which was constructed during the time of king Kojong. This study also consider the aspect of functional elements of Ocryucheon (玉流川) located in Changdeokgung Palace and how the Oungak area was used as a substitute for the Ocryucheon. The Oungak area is the private space of the king. It was built in a natural setting which used existing environment including spring water and the rock carved with inscriptions 'Cheonha-Jaeil-Bokji (天下第一福地). King Kojong tried to replace Ocryucheon with Oungak area which had played a important role of relaxation and leisure for royal family at the Ocryucheon to reconstructed Gyeongbokgung Palace. Despite being away from each other, Oungak area seems quite similar to Ocryucheon area. Oungak area and Ocryucheon have a common conditions of a location and structure of the building. Both constructed on the northernmost part of rear garden, composition of buildings and the design of waterway estimated to function as Curve-Stream Banquet. Oungak area was consisted of Ocryeonjeong (玉蓮亭) Pavilion, Oungak Building, Byeokhwasil (碧華室) Building and Cheonha-Jaeil-Bokji-Cheon (天下第一福地泉) Spring and Streams. Except Byeokhwasil Building, spatial compositions of Oungak area showed pattern that were similar to Ocryucheon area. The area was developed, moreover, to unconventional space that depended on the conditions of topography, slope, water system. First, The Ocryeonjeong Pavilion constructed to view the landscape of Seoul to Namsan Mountain. Second, the peculiar form of Cheonha-Jaeil-Bokji-Cheon Streams is estimated the shape imitated from Curve-Stream Banquet on Ocryuchon. Third, Oungak Building was constructed like a habitable house with Nongsanjeong Building in Ocryucheon. The Oungak area was constructed to improve Gyeongbokgung Palace, Consequently, the Oungak area specially characteristic of Joseon palaces's rear garden.

Historical Studies on the Characteristics of Buyongjeong in the Rear Garden of Changdeok Palace (창덕궁 후원 부용정(芙蓉亭)의 조영사적 특성)

  • Song, Suk-ho;Sim, Woo-kyung
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.34 no.1
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    • pp.40-52
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    • 2016
  • Buyongjeong, a pavilion in the Rear Garden of Changdeok Palace, was appointed as Treasure No. 1763 on March 2, 2012, by the South Korea government since it shows significant symmetry and proportion on its unique planar shape, spatial configuration, building decoration, and so forth. However, the designation of Treasure selection was mainly evaluated by concrete science, in that the selection has not clearly articulated how and why Buoungjeong was constructed as a present unique form. Therefore, this study aims to clarify the identity of Buyongjeong at the time of construction by considering its historical, ideological, philosophical background and building intention. Summary are as follows: First, Construction backgrounds and characters of Buyongjeong: Right after the enthronement, King Jeongjo had founded Kyujanggak(奎章閣), and sponsored civil ministers who were elected by the national examination, as a part of political reform. In addition, he established his own political system by respecting "Kaksin(閣臣)", Kyujanggak's officials as much as "Kain(家人)", internal family members. King Jeongjo's aggressive political reform finally enabled King's lieges to visit King's Rear Garden. In the reign of King Jeongjo's 16th year(1792), Naekaksangjohoe(內閣賞釣會) based on "Kaksin" was officially launched and the Rear Garden visitation became a regular meeting. The Rear Garden visitation consisted of "Sanghwajoeoyeon(賞花釣魚宴)" - enjoying flowers and fishing, and activities of "Nanjeongsugye". Afterward, it eventually became a huge national event since high rank government officials participated the event. King Jeongjo shared the cultural activities with government officials together to Buyongjeong as a place to fulfill his royal politics. Second, The geographical location and spatial characteristics of Buyongjeong: On the enthronement of King Jeongjo(1776), he renovated Taeksujae. Above all, aligning and linking Gaeyuwa - Taeksujae - a cicular island - Eosumun - Kyujangkak along with the construction axis is an evidence for King Jeongjo to determine how the current Kyujangkak zone was prepared and designed to fulfill King Jeonjo's political ideals. In 17th year(1793) of the reign of King Jeongjo, Taeksujae, originally a square shaped pavilion, was modified and expanded with ranks to provide a place to get along with the King and officials. The northern part of Buyongjeong, placed on pond, was designed for the King's place and constructed one rank higher than others. Discernment on windows and doors were made with "Ajasal" - a special pattern for the King. The western and eastern parts were for government officials. The center part was prepared for a place where government officials were granted an audience with the King, who was located in the nortern part of Buyongjeong. Government officials from the western and eastern parts of Buyongjeong, could enter the central part of the Buyongjeong from the southern part by detouring the corner of Buyongjeong. After all, Buyongjeong is a specially designed garden building, which was constructed to be a royal palace utilizing its minimal space. Third, Cultural Values of Buyongjeong: The Buyongjeong area exhibits a trait that it had been continuously developed and it had reflected complex King's private garden cultures from King Sejo, Injo, Hyunjong, Sukjong, Jeongjo and so forth. In particular, King Jeongjo had succeded physical, social and imaginary environments established by former kings and invited their government officials for his royal politics. As a central place for his royal politics, King Jeongjo completed Buyongjeong. Therefore, the value of Buyongjeong, as a garden building reflecting permanency of the Joseon Dynasty, can be highly evaluated. In addition, as it reflects Confucianism in the pavilion - represented by distinguishing hierarchical ranks, it is a unique example to exhibit its distinctiveness in a royal garden.

A Study on the Design Guidelines of Healing Landscape in Housing Complexes (공동주택에서 치유조경계획을 위한 가이드라인 연구)

  • Chun, Hyunwoo;Lee, Shiyoung
    • Journal of the Korean Institute of Landscape Architecture
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    • v.44 no.5
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    • pp.26-37
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    • 2016
  • As activities and convenience of residents in outdoor spaces in apartment houses have been considered important, strategies for making outdoor spaces in apartment houses healing spaces have emerged as a major interest. The purpose of this study is to draw elements for planning healing to create healing spaces in collective housing areas and to present design guidelines. The findings of this study are as follows. Functional elements of a healing environment were classified into safe environment, therapeutic environment, ancillary environment, orientation-reinforcing environment, amenities, and social environment. Outdoor spaces in collective housing areas were divided into collective housing entrance areas, internal and external spread areas, outdoor activity areas, and areas by theme. First, collective housing entrance areas should be planned in such a manner that residents can feel the area is private and easy to recognize. Second, internal and external spread areas should be planned in such a manner that they are easy to access and communicate with neighbors. Third, outdoor activity areas should be divided into an open space, resting space, playing space, and sports space. Open spaces should be planned in such a manner that they can command a fine view and respect the privacy of nearby residents. Resting spaces should be equipped with a shelter that protects users from direct sunlight, rain, and snow as well as include a movable bench. Playing spaces should be built considering development of children's curiosity, adventurous spirit, character, stimulation, and physical health. Playing spaces should be designed in such a manner that roadways and sidewalks can be separated for safe traffic. Sport spaces should be planned in such a manner that they can be associated with a pavilion and trail that provide residents with an opportunity to communicate with each other and rest. Fourth, spaces by theme are classified into sense garden, therapeutic garden, experiential garden, and learning garden. Sense gardens are a small garden based on the five senses. Sense gardens should be designed in such a manner that they can improve users' mental and physical health through programs that stimulate the sense of sight, auditory sense, and olfactory sense. Therapeutic gardens should be designed in such a manner that they can provide a comfortable and relaxing space by minimizing noise. It is advisable for therapeutic gardens to be equipped with a medicinal herb garden, meditation garden, and sense garden. Experiential and learning gardens should be designed in such a manner that they can provide users with a space in which they can enjoy nature and leisure activities. It is advisable for experiential and learning gardens to be equipped with a tea garden, vegetable garden, and camping garden. Healing programs should be designed in such a manner that users can feel relaxed by providing a healing environment, making the most of the natural environment. Further research on evaluating whether the findings of this study are effective in healing in a qualitative and quantitative manner is needed.

Water Landscape Displaying Techinques of Traditional Gardens between China and Korea - With Soswaewon and ZhuozhengYuan - (한.중 전통원림의 수경관 연출기법 비교 연구 - 소쇄원과 졸정원을 중심으로 -)

  • Lee, Hang Lyoul;Kim, Sun Rye
    • 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.

A Study on the Characteristics of Chuibyong(翠屛: a Sort of Trellis) in Paintings of Late Joseon Dynasty (조선 후기 회화작품에 나타난 취병(翠屛)의 특성)

  • Jung, Woo-Jin;Sim, Woo-Kyung
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.31 no.4
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    • pp.1-21
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    • 2013
  • This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.