Workshop journal - Asia Gardens by Juu L

GARDEN OF TRANSFIGURATION

JOO LIEW #831400

DESIGN STRATEGIES OF ASIAN GARDENS

GARDEN OF TRANSFIGURATION

BYEONHYEONG-UI JEONG-WON

TRANSFIGURATION Design Strategies of Asian Gardens Journal Presented to the University of Melbourne The Melbourne School of Design

Fulfillment of Requirements for the Degree of Masters of Architecture MC-ARCH August 2020

Student: Joo Liew Coordinating Professor: Gregory Missingham

CONTENTS INTRODUCTION DESIGN ANALYSIS Frames Poetry

SITE ANALYSIS CASE STUDIES Changdeokgung Huwon Garden Heewon Garden Soswaewon Garden Gyeongju Gardens Gardens of Jeju-Do

CONCEPT DESIGN DESIGN DEVELOPMENT REFINEMENT FINALE REFERENCES

The traditional gardens of Asia contain a vast field of knowledge. It ranges from metaphorical, figurative connotations, physicality and most importantly, producing meaning and livelihood into the context in which they are placed in. From a personal perspective, gardens are far more multifaceted and hold uncountable layers of complexity and emotion. It is from this that it is investigated how Asian gardens are able to contribute to architectural design and to the significance of Life.

SITE ANALYSIS

_ROYAL BOTANIC GARDENS Designer:

William Guilfoyle

Type:

Manmade garden

Built:

1846

Black swans

Bell Miner

Footprint: 38 ha Program:

Conservation and observation; herbarium collection

Outdoor activity

Encourage study and public knowledge and awareness of plants

Research Centre for Urban Ecology

Plants:

Home to a large collection of plant species, fungi and algae

Features:

River, garden beds, lakes and expansive lawns.

Short finned eel

Fairy Wrens

Land management: 47% Melbourne City Council, 31% RBG Board, 11% Shrine of Remembrance Trusties, 9% Officeof Governor, 2% Victorian Arts Centre Trust

Murray Long Necked Turtle

By carefully planting trees and placing garden beds he developed the scenic panoramas and sweeping lawns that are characteristic of Melbourne Gardens today. He was inspired by sub-tropical plants and used many of them in his landscapes, including flaxes and cordylines from New Zealand, palms, and

White Heron

other foliage plants. Among his creations are the recently restored Fern Gully, rockeries, picturesque shelters, the Temple of the Winds (a memorial to La Trobe) and the Ornamental Lake. His volcano has been restored as an important part of Melbourne Gardens’ water management program. Guilfoyle retired in

Butterfly species, etc.

1909. The next 80 years were a period of maintenance and consolidation.

Image: Royal Botanic Gardens Victoria. 2020. Video virtual tour accessed from https://www.rbg.vic.gov.au/

site of choice: Lawn in front of Ornamental Lake - borrowed scenery principle - minimal disturbance to surrounding native Korean plantations - potential access to watercourse, or pond with a island that is currently undergoing replantation

Aphananthe aspera, Muku tree

Low water use plants; Echeveria zorro

Phyllostachys nigra, Black Bamboo

Abeliophyllum distichum, Korean White Flowered False Forsythia

Agastache rugosa; Korean Mint

REFLECTION The site contains a myriad of existing paths and allows for all-around access which can be beneficial for entering the proposed design from multiple directions. In the area there is a variety of native Korean plants already introduced into the scenery and this might be relocated in order to suit the paths and circulation of the proposal however this site area is beneficial in that there is a lot of land area for versatile use. It may be further improved or suggested as a Korean garden by also incorporating other fruit trees in specified directions according to the pungsu and fengshui principles; this can also help boost the ecology and support the botanical studies of the nearby facility and herbarium. This site was chosen due to the current lack of activation- it is relatively empty except for surrounding paths and vegetation and the intent of the proposal is to acitvate tthe central of the RBG, drawing visitors in to stay in the gardens for experiencing rest and reprieve, particularly for those who are post-visit from the Shrine of Remembrance. The proposal can provide temporary shelter as well, whilst allowing visitors to remain on the site for longer, generating activity and supporting the surrounding facilities including the museum, cafe aspect and seasonal botanical exhibits.

Broussonetia papyrifera; Paper mulberry

Acer palmatum; Red Maple

Cornus alba; White dogwood Deciduous/ Seasonal

Evergreen **Examples of native Korean plant species already within the area as marked in red. Including, but not limited to.

According to the Master Planning for Domain Parklands of RBG (2019-2029), the vision outlines plans for: •

Respect and reveal the Aboriginal cultural heritage in the area

•

Provide spaces for horticultural celebration, contemporary diversity and resource efficiency.

•

Support the experiential journey of the RBG gardens as ‘One Domain’

•

Provide amenities supporting visitor needs

•

Encourage positivity in the environment for workers and visitors alike.

•

Enhance relationship between the natural Yarra River, water courses and

Seasonal Orbit for Carlton 3053, 2020. Accessed on 29/03/2020. Retrieved from https://www.gaisma.com/en/location/melbourne. html

the Garden. •

Form partnership between Land Managers to improve the Parkland.

•

Resilient and healthy Parkland, one that is for the people, culture, heritage and respects the historical context.

•

Improve pedestrian and disability access

Sun Path for Carlton 3053, 2020. Accessed on 29/03/2020. Retrieved from https://www.gaisma.com/en/location/melbourne.html

Sun Light Graph for Carlton 3053, 2020. Accessed on 29/03/2020. Retrieved from https://www.gaisma.com/en/ location/melbourne.html Image: Royal Botanic Gardens Victoria. 2020. From Master Planning Report; Interview

Image: Royal Botanic Gardens Victoria. 2020. Course of Lower Yarra River during Colonisation 1864.

Image: Royal Botanic Gardens Victoria. 2020. Contouring of Domain Parklands.

Image: Royal Botanic Gardens Victoria. 2020. Areas impacted by activity.

On movement and access: • Access to be improved by forming a network of the hierarchy of pathways and forms of travel (gravel roads, polished paths, stone ways etc). • Accessible paths of travel with good width and disability access. • Potential signage in a variety of formats for easy viewing. • Proposed pedestrian crossing in plan for the areas near Ornamental Lake.

Image: Royal Botanic Gardens Victoria. 2018. Domain Parklands.

Image: Royal Botanic Gardens Victoria. 2020. Trees in the vicinity red= 1-5 yrs, orange= 6-10 yrs, yellow= 11-20 yrs, green= 20+ yrs

CASE STUDIES

_CHANGDEOKGUNG HUWON GARDEN Type:

Manmade garden

Built:

1405, during Joseon Era; 1392-1910.

Footprint: 300,000m2 Program:

Celebration space for the royal palace of Daehan Empire.

Kings used to visit the gardens for consultations with confidants

Contemplative use.

Plants:

Darae namu (700 year tree), juniper, zelkova tree, dolbae namu

Features:

Landscape, rounded ponds, 17 pavilions.

Distinct rock arrangements, supplemented with wall structures and decorative flowerbeds along the bends and site edges. Stone bridges across the streams and a 2 kilometre path allowing for visitors to traverse through the gardens.

Image: The Seoul Guide. 2020. Huwon Secret Garden. Accessed from https://www.theseoulguide.com/huwon-secret-garden/

_SOSWAEWON GARDEN Designer:

Yang San-bo

Type:

Manmade garden; garden of ‘cleanliness and transparency’

Location:

Jigok-ri Village, Korea

Built:

1506-1544

Footprint: 9900m2 Program:

Scholars’ philosophies were the main inspiration, as they enjoyed

a self-sufficient lifestyle amidst the natural environment. The garden

is a reflection of the scholars’ attempts to flow with the principles of

nature. In doing so, its main focus was to maintain the original state

of the surrounding nature as much as possible. Celebrating solitude

and escape from the business of their scholarly pursuits.

Features:

Boulders, flowerbeds, ponds, single-log bridge, water wheel

Gwanpunggak Pavilion, Jewoldang Hall

Divisional spaces: Outer garden: Entrance/Bamboo groves Inner garden: Divided into Aeyangdan, Ogokmun, Jewoldang, Gwangpunggak/ Courtyard with square ponds/ Watermill/ Gwangpunggak (2 pavilions) Auxiliary:

Koamjeongsa (Drum Rock pavilion)/ Custodian’s house/ Fountain

stones

Image: Korea Tourism Organisation. 2008. Soswaewon Garden. Accessed from www.soswaewon.co.kr

Composition

Notions

Visual directions integrated

Close viewing to distant viewing platforms are established, as well as allowing visual changes from both inside and outside the installed buildings.

Borrowed scenery principle applied. Such as the Immersion of Nature

framing of a window from the building to allow for external interaction, as well as views of the scenery from various positions of vision. Harmony between building composition and spatial

Form of symbolism

planning together with the surrounding nature applies Confucianism philosophies. Minimal artificial control as it is ‘one with nature’.

Form of sensory experience

Engaging the sense with the landscape, both artificial and natural to cultivate an organic relationship with the spaces.

The outer, inner and auxiliary spaces of the gardens, that form a intricate life ‘cycle’ instead of a linear flow. This is also represented in the flow of circulation Spatial division

(access). The inner and outer spaces are segregated via the spatial topography but has a moment of ‘rest’, a intermediary area to which interaction with nature is stilled or slowed down whilst traversing through the garden phases. This perception is ambiguous however as individual sensory perception may cause variations.

The oldest recorded drawing of the Soswaewon Garden plan. Small artificial peaks/mountains were made in front of Gwangpunggak Pavilion, and a mountain island in the pond to represent the residence of the Immortals inhabiting that land. Image: Cultural Heritage Administration of Korea. Accessed from https://www.cha.go.kr/

The Soswaewon gardens strongly respect the surrounding greenery and offer a variety of ‘garden’ within the gardens that provide opportunity for communal and private interactions, both with others and the nature itself. The slope, rear gardens are situated where the topography is most tense, keeping in line with the principle intent that mountainous peaks are located toward the north of the area. Whilst the inner ‘valley’ gardens are located within the centre, of the Earth element, one that is neutral and at the core. Any users within this core, typically can have framed views’ borrowed scenery’ that lead in all directions, invoking a sense of ascension, tranquility and thus, neutrality as spiritual energy within oneself can ultimately achieve a balanced state. The garden itself is geometric yet asymmetrical, allowing for a slightly linear sequence, yet the meandering routes toward the strongest focal points of interest lead one to think otherwise. This is more easily seen on plan, however the routes itself will not seem as such when actually experiencing the garden itself. This is an important feature as the Korean gardens are also similar to some Japanese traditional methods of maximising elements to the point of effectiveness and efficiency, although it is visually manipulated to give the impression of ‘simplicity’ (when it is not that minimalist at all, after thought).

_HEEWON GARDEN Type:

Manmade garden

Location:

Ho-am Art Museum, Korea

Built:

1997

Footprint: 6000m2 Program:

Traditional garden aesthetic. Space to bask in an atmosphere

beneficial to inner peace and relaxation.

Features:

Borrowed scenery principle; adapting nature in its original state.

Restoration of natural contours, featuring stone steps, pavilions,

ponds and walls.

Bohwamun Gate (based on Yuhyeon-mun Gate of Deoksugung Palace),

alongside bamboo grove.

Circulation: From entry to exit, in a cyclical manner leading from the ‘outer’ principled garden, to the inner and interior parts before leading into several auxiliary intermediation zones that returns back to the entry.

Image: Wilson Ng. 2014. Heewon Garden. Accessed from https://www.placesandfoods.com/2015/01/hee-won-garden-autumn-pictures-korea.html

_GYEONGJU HISTORIC GARDENS

Footprint: 2,800 ha

REFLECTION From the Silla era, I found this garden particularly interesting as whilst it is ancient grounds, they are regularly maintained and contemporary additions are installed to preserve the heritage of the site. So the question comes- is it truly traditional and ancient, if it is maintained toward modern standards? In a sense, I think it does retain its value but can be somewhat considered an already contemporary garden, one that is ‘timeless’ as it is still used by those from the past (tombs) and also the present (current users), and continuing to serve its users well into the future. The navigation is relatively simple, but meandering bringing tombs as the focus of the points of interest/ importance.

Program:

Heritage Conservation areas

Adhering to the principles of Confucianism and the

Tourist destination with town and spread gardens

For:

Kim Taesong, the architect of

Bulguksa temple & Seokguram Grotto

King Taejong Muyeol, 29th ruler of Silla

Location:

Gyeongju City, South Korea

Built:

~774; 8th Century approx.

‘pungsu’ ideology. This garden holds geographic divination to high regard, allowing for the tombs to be

Pagodas

strictly placed in a location of respect. The use of rocks

Celebration of prosperity

also acts as a symbol of everlasting honour and rites of

Features:

King Muyeol’s Tomb,

Namsan Village Twin Pagodas,

Seokguram Grotto

Mounds, Royal Ponds and Houses,

Temple and observatory sites

the Joseon Dynasty. The illustration is that of the Joseon Court, which is not a garden, but embodies similar principles of compositional flow.

Image: Gyeongju City Council. 2019. Gyeongju Historic Garden. Accessed from https://www.gyeongju. go.kr/open_content/eng/page.do?mnu_uid=1371&parm_bod_uid=175055&step=258

_SPIRITED GARDENS OF JEJU-DO Designer:

Bum-Young Sung

Location:

Nokchabunjae-ro, Hangyeong-myeon, Jeju-si, Jeju-do

Built:

1968

Footprint: 40,000m2 Program:

Largest dedicated Bonsai garden. Display

of various plantation, relaxation and walk.

Hosting world dignitaries. Place for reflection

Features:

Aquatic garden (aquatic plants),

Cactus garden (cacti)

Jungle Garden (tropical)

Tropical Fruits

Seasonal displays

Outdoor (Korean-Japanese)

Jeju Native Plants Display

Stone sculptures, Koi ponds & waterfalls

REFLECTION Spirited Gardens incorporates a large variety of the traditional principles particularly in relation to planting. The varieties of fruits and smaller trees laid on stone stands along the pathway offer a museum-like quality to the scenery and also enhances the borrowed scenic aspect that is behind the subject. This particular precedent, although considered leaning towards more contemporary Korean garden typology, helps further my research ideas in that there is flexibility in elements (eg. a rock may not necessarily be a rock, but an item that is representative of one). Design versatility is important and the previous research on ancient Korean gardens almost caused me to think a material should only represent itself and not other elements, when in fact it only depends on the methods of which it is used to represent other things, not necessarily itself. Image: Spirit Garden Community. 2014. Soswaewon Garden. Accessed from http://www.spiritedgarden. com/en/index.php

In being a artificial contemporary garden, the Spirited Gardens of Jeju-Do have favorable topographical conditions according to the p’ungsu layout. Peaks are simulated around the garden areas and do not obstruct the flow, but provide to the aspect of the borrowed scenery instead. The circulation is also centralized, symbolistic of the Neo-Confucianist teachings. Centralisation is stability and balance, leading from outer to inner, public to private and specialised place. Interior spaces and happenings are open to the external garden, similar to Chinese gardens. The Borrowed scenery aspect comes from yuanjie and yangjie, fujie (distance, above, below), views in reference from buildings and peaks of artificial mountains. Contemporary gardens, although they borrow the same principles, appear more simplified in planning, possibly to suit the evolution of society with modern trends and due to tourism purposes. It still does however, apply the principle of centralisation, with the inner gardens surrounded by ‘natural’ aspects, peaks, waterfalls and almost geometric ponds with circular islands, to represent the residence of divine beings on the land. Image: Spirit Garden Community. 2014. Soswaewon Garden. Accessed from http://www.spiritedgarden. com/en/index.php

KOREAN GARDENS TRADITIONAL TYPOLOGY

_DESIGN FRAMES Philosophy, Elements, Notions Korean Gardens

Um-Yang:

Typology strongly influenced by that of Chinese Gardens.

notions of achieving a balanced state such as yin and yang. Yang represented the

Climate:

Subtropic, temperate, alpine regions. Quad seasonal.

Philosophy application of heaven, earth and man, combined with the

sun, and um as the moon. This principle also generated the culture of using ‘susok’ rock arrangement types to control hierarchy and relationship visuals such as master/

Philosophy: Nature, embodies the unconditional love similar to that of a ‘mother’.

servant, bright/dark, round/square, etc.

Supposedly an entity that protects unconditionally and is patient and virtuous. Buddhism: A strong influence in traditional Korea around the end of the 4th Nature:

An already perfect entity within an organic body. The less disturbance to the

century, introduced from China. Buddhist temples in Koguryo, Paekche and Shilla

environment, the higher the divinity and sacredness of the Korean traditional garden. It is a

Kingdoms had the first original impact on Korean gardens which also led to a growth

display of devotion and submission to nature in order to achieve ‘greater heights’.

in beliefs of spirits and the Immortals.

Ancient:

Aspects of the garden used to symbolise otherworldly dwellings and

Confucianism: Was also another teaching and practices that dominated the Korean

connections with the spirit world. The Changdeokgung Palace Complex was one that was

garden concepts, which later the gardens’ utilities were to provide a retreat for

designed to simulate the King’s vision of a fairytale land.

Confucian scholars to retire to less busier places, essentially providing them with detachment from disruption and distraction.

Yang

Yin

ROCKS

PONDS

PLANTS

groups of 2/3/9/12

hard edges; ‘cleanliness’; no margin planting

for ideal picturesque landscape

rarely over.

rectangular, square with a round island (symmetry)

for views; framing

‘perfection’ and contemplation

to indulge in nature and grow alongside it

yang = vertical axis; strong, robust and firm yin

passive (round=earth, receptive and still)

= horizontal axis; still and stable 1 island: Daoist idea of Heaven to Earth

an ‘eternal’ material due to its lasting capabilities

3 islands: peaks of the 3 immortals

plant has its own language and symbolism which would

a perfected natural element

Boundary: separate mortal world and the divine plane

mean their plantation choice is fully deliberate

stable and enduring high utility such as tool-making

_DESIGN POETRY

Symbolism, Narrative, Composition, Tactics Axis: Usually single or bi-linear. Used for composition of

coordinate b coordinate c

coordinate a

the garden planning. Vertical axis is often used through

Confucian embodiment, to slow the time within the space

the case studies as observed in the planning.

space b (less time)

space c (less time)

Angled stairway: To increase or reduce contemplation CORE

of beckoning and testing of curiosity. Some angles may

space a (more time)

reduce this sense, and instead cause the viewer to focus in their main space, and bask in the present conditions

a divine representation. In asymmetry in planning, this may be used to signify a clear hierarchy between the human life and other life that exists (nature, the divine beings etc) and acknowledging their beliefs. Harmonic

Polar system of coordinates: The representation of time and spatial progression; through using coordinates, this can affect the regularity and irregularity of the space, essentially guiding the user to spend a specific amount of time or emotionally invest in these areas to varying degrees.

Nature: The symbol of perfection, but in a organic sense.

less ‘artificial’ (manmade) integrations and installations,

decomposition to the human spirit and the body, the philosophy suggests that plants hold a more honourable presence in the gardens. It is essential that the plant species are deliberately chosen according to the meaning and intention of the garden, so as to convey that the artificial parts of the garden were done so in order to respect them and the boundaries between ‘mortal’ and ‘divine’.

Levels: Generates hierarchy. Daetol steps that are too high for comfort to cross, may indicate a crossing into sacred

indicate royalty or high status. 3s: The elements of the Korean garden often come in groups of 3. This is a symbol of immortality and respects the heaven/earth/man plane principle. Rocks: Similar to the 3s. These often come in groups of 12

Site selection: Expansive in nature is preferable so as to

through its cycles. In comparison to the state of life and

between the 3 planes.

dismounting stele, are usually found at the entrance to

order established here alongside with the axis planning.

Nature is patient, virtuous and evergrowing/everlasting

Ponds with 3 islands indicate the presence of heaven/

planes or into royal spaces or major shrines. Hamaseok,

progression

component to which it is attached to.

of what is human realm property and what is considered

intermediary space possible

cycle of

of that space. The variation of angles may fortify the

organisation in the garden, leading to a clear separation

and indicate the garden is of seowon (Confucian) origin. earth/man, reflecting enlightenment and the boundary

of user to head into the next space. Psychological tactic

Symmetrical planning: One that encourages order and

Ponds: Garden poetry. Decorative element as well as

more easily be able to follow Confucian teachings. The the more powerful the engagement to nature is. This assists with creating mutual dimensional relations between man and nature as well as enable the garden composition to prioritise nature first. Entry & Gates: A mindful clarity ritual before entering the landscape, portraying transition to another ‘world’. For royal gardens, this can mark the transition of going from civilian (public) to royal (private) space. Lack of enclosure: ‘Open’ to growth and nature.

to indicate the 12 peaks of immortals that are part of the beliefs. Trees: Indicates type of sacredness and age of the garden as well as the royalty of whoever owns the space. As a result, Red Pine bark is also used for sculptures and Buddha statues, indicating immortality and supremacy. Usually broadleaf, not evergreen, to depict changing with season and thus the most natural form of transition. Ginkgo:

Sign of reassurement to reaching ascension

Lotus:

Peace and purity; enlightenment.

Bamboo:

Uprightness, strength and resilience (closed)/

Open-mindedness (open, hollow stem) Persimmon: Symbol of passive transformation and beauty.

OUTER GARDEN

INNER GARDEN

AUXILIARY

symbolic

‘heaven’ is round, ‘earth’ is square.

intermediate transitions

metamorphic rock and granite

the inner interior part of the inner garden is surrounded

the unification of the sacred and man’s planes

angular geometry

therefore this principle is most distinct for this part of

steps concept can also be used as seen as a transitional

the garden.

phase between the garden typologies

usually further within the garden itself or on relatively

(Upstairs; ascending, downstairs; descending)

Closest to the mountains, where nature is at its strongest impact/energy.

flat topographical land. water must flow downward, not upward, as it is a ‘sacred’ order of nature (hence use of waterfalls).

Image: Jung, Hae-Joon. n.d. “Landscape as Heritage: Towards a Conservation Framework for Scenic Sites in Korea.” Accessed August 18, 2020. https://core.ac.uk/download/pdf/30267977.pdf.

The site chosen for the garden must be auspicious. This is determined by the following factors: Ganryong: Shape of surrounding mountains Deuksu: Location/speed/shape of watercourse Hyeongguk: Type of person to use the site Jwahyang: Coordinates on a geomancer’s compass Water is an important element in Korean Gardens: yeonji:

lotus pond (Buddhist temples)

yeongji:

reflection pool (royal palace, hermitages)

gyeryu:

natural streams

gyedam:

formed by blocking streams; storage and to

block bad chi/energy. hwagye:

staircased flower bed.

hwaseok:

sculptural rocks near ponds/flower beds.

seongnyeonji: stone basin with aquatic plants or for fish seongnuji: stone tongue that drains rainwater to a

amenities

waterfall.

physical components

authenticity/novelty of the garden

Image: Jung, Hae-Joon. n.d. “Landscape as Heritage: Towards a Conservation Framework for Scenic Sites in Korea.” Accessed August 18, 2020. https://core.ac.uk/ download/pdf/30267977.pdf.

symbolism

FACTORS

FORMS

geognostic

climate surface/soil/drainage/

climatic

time

plants

culture

mineral resource water courses

NATURAL LANDSCAPE

vegetation

time

population density mobility

nature

plan structure production consumption interaction beliefs/morals/values

CULTURAL LANDSCAPE

MODERN LANDSCAPE

TRADITIONAL LANDSCAPE

specific function

multifunctional

immediate resolution

long-term utility and consideration

specialising in specific element or theme

holistic

hierarchy in subjects are established

autonomous

segmented (planning)

integrative (objects)

external resources; may conflict

symbiotic

disorganised

connective

uniformed

diversity

inflexible

flexibility

maintenance can be expensive

self-regulatory

globalised; internationalised

considers nature as the context

costly

cost-efficient for what it is

technical details and rationalism

symbolism-heavy

dependent on other factors surrounding the site and culture

autopoiesis

contemporary garden

korean garden

LOCATION

FORM

UTILITY

QUALITIES

place

special layout

user types

artistic expression

setting

design material crafts

environmental niche landform

construction details

topography

stratigraphy

vistas

connective properties with

animate elements

other sites or context

cultural and environ context

symbolism changes in amenities

values

spatial distribution

spiritual values

impact from the types of uses emotional effects and influence response to the environ

religious beliefs may affect

context

sensory experiences

uses as response to the culture

process of creation is important to

or historical context

the results

external consideration

LIMITATIONS ‘Bokgou: The Selection of Habitable Places of Sanrimgyongje’ states the following limitations: Myeongseung, scenic sites are more ecological and functional whilst considering the value of nature and culture intertwining in the same environment. Traditional korean gardens allowed for long journeys into the scenic environment, reflecting as a utopia and reinforcing a sense of inner identity.

PLANTS

DIRECTION/OPTIMAL AREA

EFFECT

Chinese jujube

west/south/southwest

benefits for cattle

(2 trees front of the main gate)

auspicious

Weeping willows

east (do not plant at the west or front)

prosperity

Elm

back of house

auspicious

plum tree

east of house

do not plant at north/south/west

ginkgo trees

north

east-south east is forbidden

lacquer tree

any land that is ‘cursed’

preventing misfortune

leguminous trees

front of house, west-southwest

auspicious; increase safety

yellow plum

north

auspicious

mulberry tree

east-southeast

do not plant near fences

pomegranate

front garden

fortune in childbirth immortality

peach tree *forbidden to plant peach at water bends

any except next to water bends

In Inaji Toshiro’s writings, he strongly implies the Korean gardens are similar to traditional Korean residence for the planned layouts. The principle of using the ‘borrowed scenery’ is most dominant as the interiors of any built structure is framed from the inside out via views, or the plants/trees themselves. Although there is no specific direction that is necessary to use for the Korean gardens in regard to framing, it does affect the user experience depending on the contents that are within the viewer’s frames. It is more ideal to place the views where there is nature abundant in the background, of a slight distance, rather than up-close to the built structure or house. This is to simulate the energy of distancing oneself from the busier associations with the outer world and slowly allow the user to interact with the natural environment-- perhaps ‘blend’ with their surroundings, thus the garden acting as a retreat for rest and reprieve. Toshiro, Inaji. 1990.

CONCEPT RESEARCH

_DESIGN INTENT •

Placemaking, sensory experience, utilising “borrowed scenery”.

•

On a functional level, to activate that particular area of the site that is often passed through quickly (provide space for users to stop and stay instead).

•

Rest and reprieve

•

Ceremony & utility (Shrine of Remembrance users)

SITE ~650 m2

Intended user group: Demographic of CBD, range of young adults to elderly, of working class and moderate to high socioeconomic status. Small groups of people looking to gather eg. families, of 2-3-(4)-6. Collaborative concept: Atmospheric, elemental focus, to allow the existing natural landscape to facilitate user experience, perceptions and enhance the spatial experience of existing programs within the Melbourne Royal Botanic Gardens. Functional intent: Passive recreation/rest area to enhance the existing programs that are in the garden. Notes: The chosen area of the RBG garden for this proposed Korean garden site was once ridden by native plants. The current water body there was an artificially altered expansion of the previously existing water body, possibly done to expand the views and increase visitor’s experience diversity. Another intent that can result as a part of integrating the garden is that the plants that were previously there can be reintroduced yet again, activating this part of the RBG and increasing the local plant diversity, flora and fauna. Site area outlined; a section of the gardens currently unoccupied. To be proposed, a contemporary garden that highly regards Korean traditional garden principles, practices and philosophies.

Kawase, Hasui. 1940. Modan Viewpoint, Pyongyang, Korea, from the Series “Korean Views Supplement” (Zoku Chosen Fukei, Chosen Heijo Botandai). The Art Institute of Chicago. https://www.artic.edu/artworks/197233/modan-viewpoint-pyongyang-korea-from-theseries-korean-views-supplement-zoku-chosen-fukei-chosen-heijo-botandai.

_REPRESENTATIONAL FLOW - ANALYSIS

Outer garden phase Borrowed scenery Shape principle of auspiciousness and site decisions. The mountains as the sacred peaks, with neutral energy of the ‘earth’, neither yin nor yang. The most balanced state of nature and divinity should be achieved and cultivated in this part of the garden as the primary focus. Inner ‘interior’ phase Focus on the built component (usually metal/wood focus).

Entry/exit The Boundary.

Allows for man and divine planes to coexist peacefully in this boundary.

To or from the world of man, signifies the boundary to this place/ garden of ascension etc.

Inner garden phase The ‘borrowed scenery’ of the watercourse, which allows for contemplation and meditation but also for man to realize this is a boundary (water) he cannot cross.

Auxiliary Transition phase of the garden Returning to a central area of the garden, or to head toward the boundary of the outer world, which is the busier world fully engrossed in the applications of man alone.

Xue Liang. 2015. Forma Es Vacío, Vacío Es Forma: Xue Liang - Pintura. Forma Es Vacío, Vacío Es Forma. http://vacioesformaformaesvacio.blogspot.com/2015/11/xue-liang-pintura.html.

REFLECTION Coming into the subject from Design Approaches and Methods, I wanted to study more about landscape design but not be pushed into necessarily designing yet another ‘sustainability for urban city’/ ‘green’ scheme. This subject seemed more freeing in terms of site choice and I feel it has been beneficial to my studies so far I was inspired to take this Korean garden tradition as my main study for this subject as I had always presumed that Korean gardens were mostly similar to the Japanese and Chinese gardens, which seem to be a more popular choice in terms of master precedents and other peers’ choice in general. It intrigued me how it had a major garden tradition on its own and I felt compelled to take it due to lack of knowledge (mostly out of curiosity). Studying Korean and Chinese traditional paintings mostly helped with th clarity of understanding the Korean Garden principles. This is probably because I am more familiar with visually studying the aspects and details in a painting as compared to looking at photographs from real life gardens. The case study of Soswaewon Garden etc was beneficial, but at the end of it, it was still unclear to me which directions were allocated to each element and how the flow of meandering spaces worked was also not too clear. The most effective point deduced from real life studies was the specific types of plants and pavilion aesthetic surrounding the site. The site for the Korean garden was divided into the 4 major areas, in accordance to the 4 directions (NSEW) and its elements assigned to each. The directions then determine the type of space that would be incorporated, the categories of plants to be reintroduced. More specific programs such as interior planning and materials of the pavilion would be defined by the elements.

Xue Liang. 2015. Forma Es Vacío, Vacío Es Forma: Xue Liang - Pintura. Forma Es Vacío, Vacío Es Forma. http://vacioesformaformaesvacio.blogspot.com/2015/11/xueliang-pintura.html.

Other illustrations by Xue Liang that depict a similar analysis as to the previous one. The representational technique is traditionally Chinese-derived, however the flow in principles and concept is retained and closely similar to that of practices in Korean Traditional Gardens. The representational technique is also clear in presentation of the spaces.

The work process and initiation was quite standard; I had no knowledge of Korean gardens so I read as many readings as I could, then with a basic level of understanding, went ahead to read reports and journal articles about the practices in Korean gardens, which helped with the composition of the plan. The precedents also helped with the composition, but it was too confusing at first to go straight into looking at precedents as I couldn’t understand why they had layout the gardens so differently (yet similar) through each one. I think taking initiative to find reports in a student’s own time is a lot more beneficial and efficient in primary understanding. In the mid review, I had forgotten that Australia was in the South Hemisphere and so North and South aspects needed to be reversed. The alterations for this come after the initial masterplan, where there is more shifts in iterations and design closeness.

_ANALYSIS - SWOT How can the RBG contribute to your design for a contemporary garden that takes on the principles of the traditional Korean garden?

• •

•

relatively flat site in existence less disturbance to the already preexisting environment because the ‘construction’ and establishment of this site is already fixed. more additions can be made, be it natural or ‘artificial’, instead of subtractions to the site, so there will be less damage to the natural lifeforms and ecology. with an adjacent water source, there are potentials for watercourse designs, for a more activated site, and/or for enhancing the views from the ‘borrowed’ scenery. thus providing a place of healing, contemplation, especially for visitors in the Shrine of Remembrance.

•

STRENGTHS

WEAKNESS

OPPORTUNITIES •

•

peaks or mountain representations as well as rock based components will have to be added onto the site as at the moment it is mostly lawn and vegetation. These are additions that are crucial to integrating the fengshui and garden practices of the traditional Korean garden so as to enhance the philosophical flow of energy and circulation throughout the site. not a ‘weakness’, per say but some native korean plants may require closer relocation in the design proposal in order to formulate the order and flow of the new garden proposal.

THREATS

integration and introduction of other korean native plants into the vicinity, growing the botanics and thus encouraging botanical science research on a internationalised basis. since the site is relatively empty, there can be many potential contemporary additions made and composed in such a way that still incorporates the traditional principles despite its modernisation, thus appealing to the modern audience but also respecting the culture and beliefs from which the design is inspired from. individual elements can be created to be formed into the garden itself, undertaking traditional principles but becoming a newly reformed asset/s in itself.

•

if there is a need to relocate certain trees to this area of the lawn beside the lakebed, this could prove to be a disturbance to the surrounding nature. another minor issue that could be foreseeable, is that the lack of slope gradient gives the site a lack of meandering value. In which case, routes might need to be further exaggerate or tension-mediation points of ‘rest’ or ‘action’ will have to occur in the design in order to respect the principle of creating tension in the points of interest and increasing one’s interaction with nature.

_PLACES + SPACES USER GROUPS • • •

Locals, internationals Families with children Expect elderly communities and groups due to the higher amount of veterans and elders that visit the Shrine of Remembrance nearby and the RBG as well.

SCHEDULE OF EXPERIENCE FOR THE KOREAN GARDENS 1. 2.

After entry/exit phase Ganryong. Central ‘core’ of the garden. As earth is neutral, the outer garden should have a nonevergreen plantation focus as well as onlooking toward strong geometric forms already existing in the scenery. (Element: earth)

*For part of Ganryong, perhaps a contemporary maze making use of the existing vegetation which may help with enhancing social distancing culture, in addressing the current social issues. This area could also serve as a play area for children as well, if involving use of low growth shrubs.

Jansung. Perhaps a stone or sculpture area; may make use of the existing materials/sand from the Red Sands facility (sand/stone area. Elements: fire, metal) Deuksu. Inner garden; pond focus, maybe small waterfall. Also has Inner Deuksu; A secondary phase. A small ‘pavilion’ looking out to pond (wood, metal) using the borrowed scenic principle. Auxiliary; transitional spaces between entrance/exit (metal e.g. use of a 'gate')

Sketches by author. 2020.

**Event schedule is in order of elemental transition, referring to Korean fengshui principles of flow. **Earth is neutral and should be kept as the centre or MAIN focus of the garden. **Jangsung, deuksu/inner deuksu, auxiliary phases need to be in the order specified.

Sketches by author. 2020.

Conceptual sketches to illustrate the practical elements that must be positioned within a specific direction (north/south/east/west), in direct relation to the Korean fengshui principles that are placed in traditional gardens (especially evident in Changdeokgung Complex Gardens and Soswaewon’s Gardens). The meandering paths (despite looking cyclical/linear in flow) should be gaining tension in areas where there are points of interest, or a particular element of the garden that should be emphasized (such as the island within the pond, or the patterns on the ground of the garden). Sketches by author. 2020.

_COMPARISONS

Placing full trust in nature to ‘design’ Natural formations Stone/ Rocks / Peaks Water courses/ streams

Tatami & modular nature of layout Trimmed nature Stone/ white sand Still ponds

Timber, artificially altered ‘natural’ forms Nature is both natural and trimmed Stone/ Rocks Ponds/ Lakes

SCHEMATIC

CONCEPT DESIGN

_GEOMETRY + MATERIALS

Diagram of the potential spaces/sights to be experienced in the proposed contemporary garden. The bamboo pond in particular is the most contemporary abstraction of the traditions; wherein the bamboo is not actually plants, but clear polycarbonate stalks implanted, that give opportunity for an activated area as well as also adding to the modern borrowed scenery of the cityscape beyond, essentially bringing a ‘warped’ visual perception of the colours in the scenery further in the horizon when the material reflects on its surface. The other thing to consider is the elevations between these spaces. Sacred areas may be propped onto elevated areas, to represent the journey of ascension from the ground (plane of man and earth) to the sky (heaven). To prevent misuse, it is partially open to security view and not necessarily hidden by planted trees.

Different user groups can use each area differently. Younger ages Older aged

- Active recreation - play areas - Passive ‘recreation’, rest - walking, bystanding, sensory

The configuration and flow of schedule through the sketched areas are in correspondence to the principle of polar coordination, symmetry and a equalized axis. Programs adhere to the elements most in focus in each of the directions, prioritising the natural element that is most ‘powerful’ in a specific direction.

_MASTERPLAN SKETCH

Draft sketches of the garden plan, following the polar coordinate nature and with amenities/ activities and passive areas of the garden according to the energy (and element/s) type within each direction. The circulation flow was also used to determine the location for the program.

10M

20M

Draft plan with a proposed configuration on site. More of a bubble diagram of sorts; refer to the enlarged plan for pinpointing which principles and traditions are applied.

Applied principles to specific parts of the contemporary garden. Red - principle Blue- framing of views, potential angles

_PLAN ITERATION (POST-REVIEW)

REFLECTION (POST MID REVIEW) Issues after mid-review: • Need to consider how people might walk/journey through the gardens-- it was easier to consider this whilst sketching out circulation diagrams instead of simply just envisioning it. • How might people approach the site-- since this is located fairly far from the main entrance, it is a rather ‘private’ part of the site but still makes use of the borrowed scenery from a distance. Users could probably see this if they were in any of the high-rise buildings in the distance and vice versa. • Circulation, materials and dimensions at the ponds and seating needed to be included at this stage. I spent most of the time figuring out the sequence of experience in the individual smaller spaces so it could have been viewed more holistically for improvements. • Movement of the sun. Australia is in the Southern Hemisphere so North and Southern traditional aspects needed to be reversed due to the light movement. I will take more care in this shift next time. That being said, the spaces were easier to orientate after the change as previously there was a bit of struggle with designing some spaces up North.

0M 15M

15M

The point about this subject being a ‘story’ through a garden as an experience was a good one to be aware of. This is because towards the later part of the design, ultimately putting yourself in first-person experience helped with determining the dimensions of the spaces. On the right are iterations of the garden plan. There were a lot of smaller events crammed into one area so I chose to develop from the plan that was more generous in spatial composition and had a meandering path that is not as disorganised as the second iteration.

15M

DEVELOPING THE DESIGN

_MASTERPLAN

A contemporary garden proposal based on Korean traditional garden principles is brought into the Royal Botanic Gardens to provide a space to house the vast range of East-introduced flora; as there is already spaces that cater for Western-inspired gardens, such as the ‘New Zealand Collection’ and ‘Australian Walk’ spaces.

As Australian society moves toward emphasis on multiculture, the gardens are an opportunity to celebrate underrated typologies and principles that have not been implemented before in Melbourne. The garden also provides a rest and reprieve area for those who walk further from the Terrace Cafe and simple want a change of pace, an atmosphere that is closed off from the bustling public vibe.

15M

Yarra River Linear Reserve boundary

Dallachy Island

Fountain island Ridoutt Island The Terrace Cafe

Botanic Gardens Visitor Centre

The boundary of the proposed garden design was determined by the placement of the lake and surrounding facilities.

Edmund Herrin Memorial Oval

It is positioned adjacent to the Terrace Cafe and also considers the gradient slope toward the east, which tends to be avoided by users due to its steepness.

Guilfoyle’s Volcano

Gate D

_SECTION

sacred sculpture garden transient garden

Ornamental Lake

[seating]

SECTION AA

sacred island

sound space

peach garden

SECTION BB

Elevated areas: Passing into a more ‘sacred’ part of the site. More private and typically a distance away from the active areas. Small, groups of 1-2. Depressed areas: Shareable space for groups of a few people, 3+. To represent

the relationship between

nature and man, as well as the ‘natural’ flow of order.

inner deuksu

three-step garden

peach garden

SECTION CC

15M

_CIRCULATION

1 9 2

5 8

1 Entry/exit from main path 2 Transient garden 3 Sculptural garden 4 Deuksu - 3-step garden 5 Sound space

6 Peach garden 7 Inner Deuksu - Pavilion 8 Sacred islands 0M

15M

9 Secondary entry/exit

_ENTRY

Path to the Pavilion (Inner Deuksu)

Entry from the eastern side of the Royal Botanic Gardens. This is directly connected to the main existing path for direct access and makes use of what is already on the site. Its modern stone/ concrete rectangular form with a circle opening depicts the transition between the borders of man (RBG) into the korean garden (essentially stepping 1 Entry from the main path

into the heavens)

_SPACES TRANSIENT (GLASS STILLS) GARDEN

Reintroducing some of the Red Sands gardens and having this reminiscent of what is already existing in the RBG; intent is also to be celebrating other gardens.

Symmetrical Planning: Organisation in the garden. Segregates the ‘boundaries’ of what is human and what is considered divine property. An activated play/rest area that allows users to see, but not touch the divine monument but still can interact with it. A connection to nature. Angled stairway: Daetol steps indicate progression to a sacred area. A depressed area compared to the 3-step garden. Deep depression to lead into a contemporary ‘forest’. Intended to emulate the downward flow of ‘water’, as the original idea was a pond (without water). Borrowed scenery: The stalks mirror the environment, creating an abstraction of views and adding interest. Resting stone steps for elderly to sit; active play area for children. Contemporary material substitution: Water -> sand (for ‘play’ and interaction with nature). Bamboo -> Mirrored tempered glass stalks; allow abstraction/distortion of the scenery.

_SPACES SCULPTURAL GARDEN 3

Levels: Generates hierarchy. Daetol steps that are relatively high to cross, and indicates going into the sacred planes or into royal spaces or major shrines. Has rocks placed for seating. Polar coordinate system: Transition into this closed private area from the open areas. Planned in the North for location, supposed to convey this is an area of ‘nourishment’ for the mind. Trees: Indicates type of sacredness and age of the garden. The sculpture is reflective (potentially steel) and its elements turns according to the flow of wind. Visual aspect for users to experience the flow of time alongside nature. Ginkgo:

Sign of reassurement to reaching ascension

Bamboo:

Uprightness, strength and resilience (closed)/Open-

mindedness (open, hollow stem)

_SPACES DEUKSU - 3 STEP GARDEN

Ponds with 3 islands: Portrays a meaningful relationship between man, heaven and earth. Ripples of water to allow for users to stop and look onward, reflecting. Part of the borrowed scenery and opportunity to reintroduce plants onto the islands. Levels: Miniature hill aspect. Levels indicate that this space encourages movement and to reciprocate a direct relationship with nature (encourage user to ‘walk’ with nature essentially). Rocks: Indicative of the peaks of immortals, showing that deities are present and there to provide safety and protection to the users. People are able to access the ‘heavens’ and ascend more readily in this space than in others (such as the pond with the Sacred Island). Water or white sand could be used as a material surrounding the stones as sketched, to which would require people maneuvering their way around this to reach these ‘peaks of immortals’.

_SPACES SOUND SPACE

seongnyeonji bamboo wall surrounding stone seating

Rocks: Indicative of the peaks of immortals, a symbol of safety and protection in this area. Seongnyeonji: An area that is mostly enclosed, providing retreat to the water feature, a stone basin with aquatic plants or fish. Users can rest amidst the sculptural rock seating and enjoy the trickling of the water like hearing a the flow of a small forest stream. Planning of the Auxiliary space: Unifies the 3 planes by integrating plantation/rock (earth), water feature (heaven), and allowing access via a rectangular opening (man). Water flows downward, like in nature, hence this garden aspect is located toward the south of the overall plan.

_SPACES PEACH GARDEN

Symbolic outer garden edges: Angular planning, has a lot of trees to resemble the land that is aged and closes to the mountains, where nature is at its strongest impact/energy. Trees: Level of sacredness. Peach tree forestation at this garden spot. Represents the immortality of the garden and its deciduous predisposition symbolizes this part of the garden as something of passive transformation and natural beauty.

_SPACES PAVILION

Model of fixings of Serpentine Pavilion’s roof & ‘wall’/window fixings based on observation and research. 2020. Glass

fixings that could potentially be used to allow the pavilion to be semi-open at some places to help with framing of views.

_SPACES SACRED ISLANDS

1 island: Connection of Heaven to Earth (Daoist concept) Boundary: Users onlook to the view of the Ornamental Lake, with the island as a sign of divine residence. This separates the Man and Heaven planes. Passive lake, that is receptive; conveys to users that it is a place of harmony and safety.

_PLANTING REPOSITIONED KOREAN FLORA SPECIES

Mostly deciduous, relocated Korean species: That were already in the RBG. Deciduous plants used for parts of the garden that undergo strong seasonal changes, to show the passing of time and the metaphorical changes in boundaries between man, heaven and earth.

Aphananthe aspera, Muku tree (evergreen)

Phyllostachys nigra, Black Bamboo (evergreen)

Broussonetia papyrifera; Paper mulberry

Low water use plants; Echeveria zorro (evergreen)

Cornus alba; White dogwood

Acer palmatum; Red Maple

Coastal Tea tree In substitute of Peach/ persimmon

Abeliophyllum distichum, Korean White Flowered False Forsythia

15M

Agastache rugosa; Korean Mint

_MATERIALITY PAVING/WALLS

Gravel

Bluestone

Weathered steel salvaged from existing garden sculptures

Sandstone

Paver 1 - stone

Paver 2 - gaps allowing for lawn exposure

Black Bamboo

15M

_SEATING ISOLATED & COMMON AREA SEATING

Bamboo; for users to experience resting, enveloped inside of nature and its closeness.

Bluestone, that would contrast with the red sands of this Transient Garden space. ‘Cools’ and softens the feel of the area despite being stone.

Bluestone, rectangular/ geometric. The main seat for man.

Excluding actual stone seating, these are 3 seat sets: To depict certain seating in areas where man and heaven metaphorical boundaries are represented. In the Transient Garden, this was supposed to represent a ‘pond’ (without water; is a contemporary active area) but existing stone could be used for seating, safety and also act as ‘boundary’ around the edges.

Drainage path leading to the main path’s drainage. City West Water. PVC pipeline Atrium drain Proposed drainage line Proposed extensions of sewer line Existing line 0M

15M

_MISCELLANEOUS LIGHTING & SEASONAL CHANGES

Lighting: Opening times of RBG 7.30am-5pm Times from September - December Sunrise: ~6-7am Sunset ~7-8pm Garden areas designed in the west focus on shading, for more user-orientated use in the late afternoon, when the sun is starting to set (3-5pm). Lights on the floors and around proposed wall edges could be implemented as precautionary measures to the garden, in the case of the sun rising later or setting earlier than expected during seasonal changes. Here are images of a 3D model of the proposed garden, just for an experiment. Although somewhat time-consuming, the reason for trialling this method of conveying the garden through flat colour/non-texture schemes was to convey clarity of geometric edges and to test if this could more easily convey the relationship between the spaces. A different program could have been used. The contours were difficult to adjust the height of. Some changes were made to the final planning due to being able to see the relationship from a perspective bird’s eye view however, so some components were shifted than originally drawn in draft plans.

_VANTAGE POINTS

The activated Transient Garden space. Contemporary addition adjacent to the main entrance.

The Three-Step Garden

The Sound Space.

The Sacred Sculptural Garden.

View from Ornamental Lake with the integrated contemporary Pavilion. Borrowed scenery and slight view of cityscape.

REFLECTION _What is a Garden? I often wrote that my proposal was a ‘place of rest an reprieve’ but that is putting it very simply to sound like I was trying to be ‘architecturally practical’. From the subject I learnt that a garden is many things, it is a place for people, non-people, animate and the inanimate as well. It is a vessel that stores experiences, sustains life, and also gives ‘life’. This can be interpreted as the garden ‘giving back’ wonderful experiences and memories to anything that uses it. To define it as a ‘place’, would mean I am putting a scale and sense of location on it, and that is not my intention. A garden does not necessarily always have to be a ‘small/ large-scaled land with lots of plants’. It is a vessel that facilitates ‘energy’. _What we covered in this subject? Initially I chose this module to learn about an Asian-inspired garden typology and came into the subject expecting to study Chinese, Japanese or Southeast Asian gardens. However there was the opportunity to learn about Korean gardens and I was surprised there was a unique typology on this on its own. Prior to the subject I had never heard of anyone speaking about any architecture or landscapes related to Korea so I was extremely underexposed and wanted to know more, hence choosing to study the Korean gardens instead of going down the ‘Japanese garden’ route I was originally going to take. We covered aspects of mostly Chinese, Japanese and Korean gardens, which increased awareness on the differences between these garden typologies and principles. Although they can be similar, I found the comparison between these 3 particular typologies very much different. _What could be improved/covered more? In regards to what could be improved, I would have liked to have more content for studying such as going in-depth with the tutors and lecturers into specific case studies, and maybe why one case study compared to another may be different even though they come from the same locality/garden type. I enjoyed analyzing the precedents and picking out differences despite all of them having stemmed from the same Korean traditional principles-- because they use the principles in their own unique way. This is probably heavily dependent on the designer themselves though. It would have been interesting to see the differences in interpretation of philosophies about the same typology and how this could affect future design. Regardless both the analysis in the early weeks and overall designing were enjoyable in the process. _How could your work or other aspects have been improved? As a masters subject, I felt I learned a lot from this, especially regarding landscape principles which I previously had zero understanding of before. Currently undertaking this with Thesis and juggling part-time was a compromise on time so this affected the amount of thought I could put towards portraying the final presentation. I felt I did not manage to articulate everything that was required to, and this aspect could be improved by organization of work more properly. In conclusion, the subject was not overwhelming but at the same time the content of the tutorials and lectures were very much to the point, which I appreciate. This helped me learn a lot about some of the fundamentals to designing an Asian inspired landscape. Thank you for a wonderful semester.

_REFERENCES

_Subject readings/Notes

_Books/Journal Articles

Bachelor, Kyuam, and Kyuam Min. 1988. “Analysis of Traditional Korean Space and Its Application to A Contemporary Problem: A Crematorium.” https://core.ac.uk/download/pdf/4433132.pdf.

Choi Key-soo & Kim Young-mo, 2007, The Formation of the Royal Tombs of the Joseon Dynasty and Their Landscape Architectural Characteristics in: The Korean Institute of Traditional Landscape Architecture, 2007, Korean Traditional Landscape Architecture, Elizabeth, NJ & Seoul: Hollym, Chapter Six, pp. 205-253.

City of Melbourne. 2019a. “Acknowledgement of Traditional Owners.” https://www.melbourne.vic.gov.au/SiteCollectionDocuments/ domain-parklands-master-plan.pdf.

Chung, Jae-hoon, 2003, ‘Korean Gardens: where man and nature become one’, Koreana, vol. 17, no. 2, Summer, pp. 74-80. F, K, 2013, An Old Poet’s Elegant Garden in Nature, Koreana: Korean Culture and Arts, Autumn, pp. 32-35.

Gov, Rbg, and Au. 2016. “LANDSCAPE SUCCESSION STRATEGY MELBOURNE GARDENS 2016 -2036 ADAPTING A WORLD-RENOWNED BOTANICAL LANDSCAPE TO CLIMATE CHANGE.” Royal Botanic Gardens Victoria -Landscape Succession Strategy -Melbourne. https:// www.rbg.vic.gov.au/documents/Landscape_Succession_Strategy_lo_res.pdf.

Fujii E, 2003, Comparative studies on the gardens of seclusion between Japan and Korea, Journal of the Korean Institute of Traditional Landscape Architecture, International Edition 1, pp. 51-58. Heo Kyun, 2005, Gardens of Korea: Harmony with Intellect and Nature, London: Saffron Korea Library. [Matthews]

Heo, Kyun. 2014. “GARDENS OF KOREA: HARMONY WITH INTELLECT AND NATURE.” Issuu. 2014. https://issuu.com/eapgroup/docs/ korgardenspreview.

Hong Kwang-pyo, 2007, Landscape Architecture of Buddhist Temples, in: The Korean Institute of Traditional Landscape Architecture, 2007, Korean Traditional Landscape Architecture, Elizabeth, NJ & Seoul: Hollym, Chapter Eight, pp. 301-365.

Jung, Hae-Joon. n.d. “Landscape as Heritage: Towards a Conservation Framework for Scenic Sites in Korea.” Accessed August 18, 2020. https://core.ac.uk/download/pdf/30267977.pdf.

Hong Kwang-pyo, 2013, Korea’s Gardens: Revealing the beauty of nature as it is, Korea 9 (11), November, pp. 4-13. [www.korea.net, korea_20131031.pdf].

Koo, Min-Ah. 2016. “A Study on the Rhythm Design Methodology of Landscape Architecture through the Design Principles Analysis of Oksan Seowon Traditional Slope Walls.” Journal of Korean Institute of Traditional Landscape Architecture 34 (2): 45–54. https://doi. org/10.14700/kitla.2016.34.2.045.

Inaji Toshiro, 1990, The Garden as Architecture: Form and Spirit in the Gardens of Japan, China, and Korea, trans & adapted Pamela Virgilio, Tokyo: Kodansha International, 1998. UniM Archit f 635.095 INAJ

Korea Foundation. 2013a. “Koreana - Autumn 2013 (English).” Issuu, 2013. https://issuu.com/the_korea_foundation/docs/koreana_ autumn_2013_en_.

Kim Hak-beom & Jang Dong-su, 2007, Village Grove Culture, in: The Korean Institute of Traditional Landscape Architecture, 2007, Korean Traditional Landscape Architecture, Elizabeth, NJ & Seoul: Hollym, Chapter Ten, pp. 423-457.

National Aboretum Korea. 2013b. “Traditional Korean Gardens.” Issuu. July 19, 2013. https://issuu.com/wtkim/docs/traditional_korean_ gardens.

Korean National Arboretum, 2012, Traditional Korean Gardens: Representative Gardens of the Joseon Period, Pocheon: Korean National Arboretum. [Matthews]

Royal Botanic Gardens Victoria. 2019b. “Royal Botanic Gardens Victoria Melbourne Gardens Master Plan 2019-2039.” RBG. https://www. rbg.vic.gov.au/documents/RBGV_Melbourne_Master_Plan_TEXT_DOCUMENT_14.03.19_-_FINAL_.pdf.

Lee Jae-keun, 2007, Landscape Architecture of Retreat Gardens, in: The Korean Institute of Traditional Landscape Architecture, 2007, Korean Traditional Landscape Architecture, Elizabeth, NJ & Seoul: Hollym, Chapter Five, pp. 177-203.

Ryu, Ri, Yuchang Choi, Janghoo Seo, and Yongseong Kim. 2015. “A Preliminary Study on the Spatial Characteristics of Soswaewon as the Traditional Aesthetics and Design of Korea,” December. https://doi.org/10.14257/astl.2015.112.11.

Lee Sang-hae, 2007, External Space of Joseon’s Seowon and Neo-Confucian Worldview, in: The Korean Institute of Traditional Landscape Architecture, 2007, Korean Traditional Landscape Architecture, Elizabeth, NJ & Seoul: Hollym, Chapter Nine, pp. 367-421.

Yoon, Sang-Jun. 2009. “History and Conservation of Gardens in Korea.” http://etheses.whiterose.ac.uk/21821/2/505346_vol2.pdf.

Matthews, Jill, c2014, Symbolism and Literary Reference in Traditional Korean Gardens, 20 pp.

‌

Min Kyung-Hyun, 1992, Korean Gardens: The beauty of Korean gardens represents a spiritual world through their historical development, Seoul, Korea: Borim Editions Seoul. UniM Store 712.09519 MIN GD10

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Missingham, Greg. 2020. Powerpoint on “Korean Gardens” The Borrowed Landscape.

_Artwork listings

Shin Sang-sup & Hong Hyeong-Sun, 2007, Residential Landscape Architecture, in: The Korean Institute of Traditional Landscape Architecture, 2007, Korean Traditional Landscape Architecture, Elizabeth, NJ & Seoul: Hollym, Chapter Three, pp. 087-125.

Xue Liang. 2015. Forma Es Vacío, Vacío Es Forma: Xue Liang - Pintura. Forma Es Vacío, Vacío Es Forma. http://vacioesformaformaesvacio. blogspot.com/2015/11/xue-liang-pintura.html.

Sim Woo-kyung, 2007, Background of Korean Traditional Landscape Architecture in: The Korean Institute of Traditional Landscape Architecture, 2007, Korean Traditional Landscape Architecture, Elizabeth, NJ & Seoul: Hollym, Chapter One, pp. 015-055.

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_Documentaries/Videos

_Websites/misc.

August Pty Ltd. 2019. “Home | Royal Botanic Gardens Victoria.” Vic.Gov.Au. July 23, 2019. https://www.rbg.vic.gov.au/.

Play Lafent. 2015. “Traditional Gardens of Korea (Eng Sub).” YouTube Video. YouTube. https://www.youtube.com/watch?v=7T5EeQiAKNs. See. 2020. “Korean Traditional Garden, Incheon Korea.” YouTube Video. YouTube. https://www.youtube.com/watch?v=h0kki2msXtE.

Centre, UNESCO World Heritage. 2000. “Gyeongju Historic Areas.” UNESCO World Heritage Centre. 2000. https://whc.unesco.org/en/ list/976/.

The Seoul Guide. 2014. “Huwon Secret Garden inside Changdeokgung Palace in Seoul, South Korea.” YouTube Video. YouTube. https:// www.youtube.com/watch?v=UmWktAXMWNs.

Kyun, Heo. 2014. GARDENS OF KOREA: HARMONY WITH INTELLECT AND NATURE. Issuu. 1st ed. Vol. 1. https://issuu.com/eapgroup/ docs/korgardenspreview.

K-HERITAGE.TV. 2018. “[UHD] Special ‘Korean Gardens.’” YouTube Video. YouTube. https://www.youtube.com/watch?v=td67Ov6H0lY.

Layag, Sibyl. 2017. “Kanto No. 2, Vol 2, 2017.” Issuu, 2017. https://issuu.com/kanto_mag/docs/kanto_no._2__vol_2__2017/117. Samantha. 2017. “Changdeokgung Palace and Its Secret Garden.” There She Goes Again. November 6, 2017. https://thereshegoesagain. org/changdeokgung-palace-secret-garden/. ‌