• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.159-169
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• 2012

Seokgasan(石假山) is originated in Goryeo, is a Korean traditional technique handed down to Joseon and Seokgasan is the Korean creative culture of gardening by artificial stones, which replicates small artificial mountain of natural landscape in the garden. The object of this study is Seokgasan made by Seong-im(成任), who was a civil minister in Joseon and lived from 1421 to 1484, in his residence located in Inwang Mountain, Hanyang and the purpose of this study is to investigate the historical meaning and symbol of Seokgasan made by Seong-im on the base of the relative old literatures and embody its shape and structure. According to the result of this study on Seokgasan of Seong-im, it can find out some facts as follows; Seokgasan of Seong-im in the early Joseon succeeded to the structural form of Seokgasan of the artificial rock mountain type connected pond, which was made-up firstly in the garden of the Palace of Manwoldae in the Middle Goryeo, and it was called firstly as 'Seokgasan' in the garden of Seong-im's house. Seong-im's Seokgasan in the early Joseon had more concentrated philosophical meanings, including the idea of taoist immortal, than those in the Goryeo dynasty and was be emblematic of an imaginative space. Also there were lots of gardens modeled on the famous mountains and famous lakes in China much the same as the Goryeo dynasty. In addition, there was an exceptional purpose for building Seokgasan which could not be found in the Goryeo dynasty. That was practicality for emotional stability and cure. Seong-im's Seokgasan is record-relics with high value of landscape architecture history, which can identify its historical meanings, shapes and structural frames succeeded from the Goryeo dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.108-118
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• 2019

Appreciating gardens in garden show has its meaning in appreciating concepts and ideas of artists, hidden inside of garden, as formative arts, as well as the beauty of the nature. This study is aimed to understand the intension of artists in visual expression through formative media in the gardens by assessing structure of visual narrative in the space with 20 artworks among the ones presented in 2018 Taehwagang Garden Show. The formative structure is delivered as contents and forms through formative media and formative language. Thus, for analysis on the artworks, the researcher assessed expressive characteristics of the media, through visual and space language, that forms the formative structure in the contest of narrative structure expressed in the gardens and findings of the analysis are as follows. First, for intertextuality obtained through media image, most of the artworks delivered message through 'figure image.' This means, the concept is delivered as 'affinity of actual objects' through the media and associated 'meaning and meaning action' are expected. Second, the characteristics of signs to show symbolism in the gardens were categorized into 'icon'. 'index' and 'symbol'. The results showed that most of the artworks expressed common characteristics between image and meaning, using 'icon' and 'symbol'. Third, as space formation components, based on formative principles, the components of 'dominant' and 'subordinate' roles were defined as the key components for meaning delivery. Also, it was understood that 'space configuration with overlapped image' and 'space configuration with transparency' were adopted to strengthen conceptional layers. Forth, for space occupation types, there were mostly central hall type, corridor type and passage space type and for open space type, the entire space area was conceptualized, instead of certain object. The circulation line was defined in the frequency order of circular type, pass type and return type. The study on the expressive characteristics of visual narrative in garden design is meaningful as it could build base data for the method of spatial design for visual development of concepts in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.57-66
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• 2010

In reviewing 'Dongkukesangkukjip(東國李相國集)' a selection of prose and poetry describing Toesikje, the house of Kee Heung-soo, a military official in the middle Goryeo Dynasty, the outcome of the study intended to infer garden scenery and landscape culture managed and possessed by high society at that time is outlined as follows. First, Kee Heung-soo, the owner of the house and Lee Kyu-bo, the author of Toesikje Palryeng(退食齋八詠) are thought to be those who first designated the 8 scenic points and recreated the concept of public enjoyment of into the concept of personal enjoyment in Korea. Second, the spatial configuration of the Toesikje garden is presumed to be in the Gee-Seung-Jeon-Gyul(introduction-development-turn-conclusion) style in which a fairyland is built to enjoy a free and peaceful life, while anticipating coming days and pursuing creation-prosperity-transcendence-return. Third, the viewpoint structure of the scenery Wongyeong(Toesikje), Donggyeong(Youngcheondong), Cheonggyeong(Cheokseojung), Myunggyeong(Dokrakwon), Jingyeong(Yeonmukdang), Sigyeong(Yeoneuiji), Yunggyeong(Nokgunheon), and Hyungyeong(Daehoseok) contains a symbolic universal vision of Palchejigyeongsek(the 8 scenic points) which incorporates Samwon(heaven, earth and water) and Obangwi(orientations), and the harmonization principle of the scenic points where the building and garden are harmonized. Fourth, Je, Dang, and Heon, Jeong(齋, 堂, 軒, 亭) are introduced to the garden, and Geehwayeecho, Jingeumgeesoo, Gasan and Goeseok(stone) were used in a variety of ways. Fifth, it was found that the management of Shinseongyeong and enjoyment of Yoosanggoksu events, with the study and seeking of perfect knowledge and discipline, wandering and rest led to a sublime appreciation of aesthetic beauty and divine glory. Sixth, a miniature garden was built to enjoy the view from above, together with the view in the distance, and a culture of secluded living, along with scenery expressing the heart's desire for Utopia was induced.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.32-51
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• 2016

This study examines, based on the database of the Institute for the Translation of Korean Classics(ITKC), the garden plants and their symbolism, and the landscape culture recorded in 'Jipkyungjaeyoungsi(the Series of Poems on Gardens Poetry)' in relevance to traditional houses. First, Jipkyungjaeyoungsi had been continuously written since mid-Goryeo dynasty, when it was first brought in, until the late Joseon dynasty. It was mainly enjoyed by the upper class who chose the path of civil servants. 33 pieces of Jaeyoungsi(題詠詩) in 25 books out of a total of 165 books are related to residential gardens. The first person who wrote a poem in relation to this is believed to be Lee GyuBo(1168~1241) in the late Goryeo dynasty. He is believed to be the first person to contribute to the expansion of natural materials and the variation of entertainment in landscape culture with such books as 'Toesikjaepalyoung(退食齋八詠)', 'Gabeunjeungyukyoung(家盆中六詠)'and 'Gapoyukyoung(家圃六詠)'. Second, most of the poems used the names of the guesthouses. Out of the 33 sections, 19(57.5%) used 8 yeong(詠), then it was in the sequence of 4 yeong(詠), 6 yeong, 10 yeong, 14 yeong, 15 yeong, 16 yeong, 36 yeong(詠) and so on. In the poem writing, it appears to break the patterns of Sosangpalkyung(瀟湘八景) type of writings and is differentiated by (1) focusing on the independent title of the scenery, (2) combining the names of the place and landscape, (3) focusing on the name of the landscape. Third, the subtitles were derived from (1) mostly natural landscape focused on nature and garden plants(22 sections, 66.7%), (2) cultural landscape focused on landscape facilities such as guesthouses, ponds and pavilions(3 sections), (3) complex cultural scenery focused on the activities of people in nature(8 sections). Residents enjoy not only their aesthetic preferences and actual view, but the ideation of the scenery. Especially, they display attachment to and preference for vegetables and herbs, which had been neglected. Fourth, the percentage of deciduous tree population(17 species) rated higher(80.9%) compared to the evergreens(4 species). These aspects are similar results with the listed rate in 'Imwonkyungjaeji(林園經濟志)' by Seo YuGu [evergreen 18 species(21.2%) and deciduous trees 67 species(78.8%)] and precedent researches [Byun WooHyuk(1976), Jung DongOh(1977), Lee Sun(2006)]. Fifth, the frequency of the occurrence of garden plants were plum blossoms(14 times), bamboos(14 times), pine trees(11 times), lotus(11 times), chrysanthemum(10 times), willows(5 times), pomegranates(4 times), maple trees(14 times), royal foxglove trees, common crapemyrtle, chestnut trees, peony, plantains, reeds and a cockscombs(2 times). Thus, the frequency were higher with symbolic plants in relations to (1) Confucian norms(pine trees, oriental arbor vitae, plum blossoms, chrysanthemums, bamboos and lotus), (2) living philosophy of sustain-ability(chrysanthemum, willow), (3) the ideology of seclusion and seeking peace of mind(royal foxglove ree, bamboo). Sixth, it was possible to trace plants in the courtyard and outer garden, vegetable and herb garden. Many symbolic plants were introduced in the courtyard, and it became cultural landscape beyond aesthetic taste. In the vegetable and herb garden, vegetables, fruits and medicinal plants are apparently introduced for epigenetic use. The plants that were displayed to be observed and enjoyed were the sweet flag, pomegranate, daphne odora, chrysanthemum, bamboo, lotus and plum blossom. Seventh, it was possible to understand garden culture related to landscaping materials through poetic words such as pavilions, ponds, stream, flower pot, oddly shaped stones, backyard, orchard, herb garden, flower bed, chrysanthemum fence, boating, fishing, passing the glass around, feet bathing, flower blossom, forest of apricot trees, peach blossoms, stroking the pine tree, plum flower blossoming through the snow and frosted chrysanthemum.

• International Journal of Industrial Entomology and Biomaterials
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• v.3 no.2
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• pp.135-139
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• 2001

Experiments were held in Egypt to test a new Package of practices for commercial cocoon production, including adding secondary macro and micronutrients to the mulberry garden, disease free rearing regime, low temperature rearing in young instars and natural mounting fur silkworms. This package for seed silkworm rearing lead to increase in fecundity by 67-121eggs (15.12-26.22%) and yield of standard boxes per 1 parent egg boxes by 57-58 egg boxes(48.33-51.66%) respectively in comparison th the traditional cocoon production technology.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.89-102
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• 2015

This study contemplates the tendency of the examination questions for History of Korean Landscape Architecture. The study targets the questions of 'Landscape Architecture History' which has been set in the written test for National Qualification Test of a landscape engineer for recent 10 years from 2005 to 2014 and derives analyzable items based on the guidelines of question-setting presented by Human Resources Development Service of Korea. The results of the study are drawn as follows. First, among 5 areas composing Landscape History, the proportion of Korean Landscape questions is getting increased while that of Western ones is decreasing. Second, about 30 traditional trees and 11 types of traditional landscape elements including traditional facilities were shown in Korean Landscape questions. Besides, history, geographic, practical science, horticulture, anthology books and the 25 tradition landscape-related historic documents categorized as the garden painting data were found. And the kings from ancient era to Choseon Dynasty who were associated with the time of palace garden building, the builders or owners of the villas, the authors of the document and Chinese scholars also appeared. Third, there were no the questions of prehistoric times and Balhae Kingdom, whereas those of Choseon Dynasty were dominantly focused. Among the traditional sites of Choseon Dynasty, Byeolseo(villas) were set most, followed by Dosung or Gung-gweol(castle towns or palaces), houses, Nu Jeong Dea(pavilions) and Seowon(local schools) in order. Nak-an eupseong and Yong-ju sa were the only cases for a castle town and a temple each. Fourth, being associated with tradition spaces, the questions asked for understanding the detailed contents of time of sites' construction, builders, location features, building structures, ground plan types and the components s of garden. In addition, as a result of checking whether traditional landscape sites were shown in the set questions in 9 Korean Landscape textbooks, Dongchundang, Pungamjeonsa, Simgogseowon did not appeared. As a result of reviewing the tendency of the examination questions for History of Korean Landscape Architecture, the questions which ask minor facts without generality and which include difficult information and site uncomprehended in the textbook should be reconsidered.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.3
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• pp.61-68
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• 2012

The purpose of this paper is to derive attractive items of 'Hanok' in order to preserve 'Hanok' in urban area, focused on the 13 preceding studies which have got in respect of image, satisfaction, preference, awareness and advantage of 'Hanok' in urban area revolved around the latest studies. This study is analysis of questionnaire items and results of 13 preceding studies. And attractive items are classified with general and overall survey items, advantage of 'Hanok' in urban area, and image of Hanok-density urban area. These can also be classified with 5 items which are space, health, material, form, and image of 'Hanok' in urban area. As a result, Space items are composed with 'use of a space', 'cosiness', 'garden' and 'floor and ondol(korean floor heating system). Health items are composed with 'lighting and ventialtion', 'a sense of the season' and 'natural material'. Material items are composed with 'natural beauty', 'wooden', 'changhoji(traditional Korean paper made from mulberry bark for doors and windows) and hanji(traditional Korean paper handmade from mulberry trees), 'rafter' and 'new materials'. Form items are composed with 'attractive appearance', 'simply decoration' and 'traditional elements'. Image items are composed with 'crowding', 'traditionality and historicity', 'dichroism' and 'warmth'.

• Korean Institute of Interior Design Journal
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• v.19 no.1
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• pp.190-199
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• 2010

Nowadays the increasing improvement of quality of life have been required more diversified housing environment. And it also focused on concern about Korean traditional housing style, Hanok. There were several studies applied to traditional style design on Hanok. but few on Hanokstyle apartment. So the purpose of this study were to identify the consumer awareness on Hanok style apartment plan and its design details. The research were done by questionnaire methode. It were distributed to 130 city and rural residents. 109 questionnaires were analyzed by frequency, Percentage, $x^2$-test, F-test, ANOVA, t-test, and factor analysis. The major results were as follows. First, 70% of respondents revealed their intention to live in Hanokstyle housing if it has improved conveniency and lowered maintenance expenses. Second, they preferred under 5 story row house type or apartment type Hanok located in suburbs. Third, Hanokstyle apartment characteristics were expected to have visual openness, good view, traditional decor, functional, rhythmical and transitional space. And also they wanted traditional Madang(inner garden) and Maru(a wooden floor room) located next to living room.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.10-23
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• 2021

During the Japanese colonial period, the palaces of Joseon were damaged in many parts. Changgyeonggung Palace is the most demolished palace with the establishment of a zoo, botanical garden, and museum. During the Japanese colonial period, the palaces of Joseon were damaged in many parts. This study examined the construction process of Jangseogak(Yi Royal-Family Museum), located right next to the Jagyeongjeon site, which was considered the most important space in the Changgyeonggung residential area of royal family zone, through historical materials and field research. Built in 1911, Jangseogak is located at a location overlooking the entire Changgyeonggung Palace and overlooking the Gyeongseong Shrine of Namsan in the distance. Changes in the surrounding space during the construction of Jangseogak can be summarized as follows. First, in the early 1910s, the topography of the garden behind Jagyeongjeon and part of the Janggo were damaged to create the site of Jangseogak. The front yard was built in the front of Jangseogak, and a stone pillar was installed, and a staircase was installed to the south. In the process, the original stone system at the rear of Yanghwadang was destroyed, and it is presumed that Jeong Iljae and other buildings were demolished. Second, in the 1920s, many pavilions were demolished and the zoo and botanical gardens and museums were completed through leveling. After the Jangseogak was completed, the circulation of the Naejeon and surrounding areas was also changed. Cherry trees and peonies were planted in the flower garden around the front yard of Jangseogak and the stairs, and a Japanese-style garden was created between Yanghwadang and Jibbokheon. Third, in the 1930s, the circulation around Jangseogak was completed in its present form, and the museum, Jangseogak, Zoological and Botanical Gardens, and Changgyeonggung, which became a cherry tree garden, were transformed into a Japanese-style cultural park. After that, the surrounding space did not change much until it was demolished. The restoration of the present palace is a long-term, national project of the Cultural Heritage Administration. The results of this study will provide important data for the restoration plan of Changgyeonggung Palace in the future, and it is expected that it will provide additional information to related researchers in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.36-45
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• 2022

This study examines the historical transition process of Hwanseonjeong Pavilion in Suncheon, identifies the landscape of the original Hwanseonjeong Pavilion in the past and its constituent elements, and compares it with the landscape of the present Hwanseonjeong Pavilion at Jukdobong area. It was intended to identify the problems and draw implications for future restoration of Hwanseonjeong Pavilion. Hwanseonjeong pavilion, the subject of this study, was built in 1543 by Tong-won Shim, the governor of Seungpyeong, as a garden architecture for government. Since then, it has been renovated several times, and as a pavilion representing "Seonhyang(immotal world)" Suncheon in the past, it was located along with an artificially created lake and other elements of the garden at a location where can be seen Dongcheon stream and Jukdobong Peak on the opposite side at a glance. Hwanseonjeong pavilion, which had been safely maintained during the Japanese colonial period, was lost on August 28, 1968 due to a major flood in Suncheon. The difference between Hwanseonjeong Pavilion and other lost is that another Hwanseonjeong Pavilion for the role of archery was built on Jukdobong Peak in 1935, before it was destroyed. The restoration case of Hwanseonjeong pavilion provides the following important implications for the restoration of pavilions as a garden architecture: First, the value of a pavilion is not formed from the building itself, but from the relationship with the surrounding landscape. Therefore, restoration of a pavilion should not be approached in the same way as restoration of buildings. Restoration of a pavilion requires efforts to understand the existing landscape value and to restore landscape elements together with buildings. Second, an artificially created long north-south lake along with Hwanseonjeong pavilion was a very important landscape component and a means of providing a way to enjoy the landscape. For restoration in the cultural context of Hwanseonjeong pavilion, efforts are also required to restore not only the architecture, but also the experience of cultural activities through an integrated examination and restoration based on an understanding of the cultural activities performed in Hwanseonjeong Pavilion. Third, compared to the past original Hwanseonjeong Pavilion, the existing Hwanseonjeong Pavilion shows a different shape, composition, scale, color, etc. In terms of the restoration of buildings, it is thought that restoration will be possible only when restoration is done through more accurate historical evidence, research, and investigation.