The garden festival is mostly required to move visitors while omitting the value of taskscape, temporality, and contextuality, which are in the original garden. Therefore, it is necessary to pay attention to how the garden festival represents a given theme by implication and embodies the disconnected time. For this purpose, this study is intended to look at the narcissism garden (entitled “To you who don’t love me [To me in the mirror]”), which was exhibited in the garden art section of the Goyang International Flower Festival in 2018, to investigate how it effectively conveys the theme how space, time, and human senses in the garden were expressed. The mystic gate acts as a gateway into the garden and is a space for setting up the time and context that is cut off at the garden festival. The inside wardrobe creates a visual focus through objects and decorates the appearance with a time that is trapped in the eyes of others, but expresses the inside that is itself hurt by a lack of confidence. The hourglass in the heart expressed the social atmosphere of tightening the corset strings that it was wearing and a look wanting to hold onto the flying time. The double-sided mirror newly interpreted narcissism by arranging two dressing tables and looking at itself ecstatically in front of the broken mirror, thinking its face was beautiful. The message wall had a direct expression through the text and indirectly expressed the message that it is beautiful by planting a peach tree, but is only a temporary appearance in which flowers fall after a short period of time. The significance of this study is that both the design strategy and motive for clearly delivering the theme given to the festival to the visitors were reflected in the actual space through a focus on the time of the garden and the forming of new thinking and approach.

This study created a thematic garden, entitled “Spring revisited”, in the outdoor garden section of the 2017 Goyang International Flower Festival to present the life and ideas of poet Yoon Dongju through garden culture. It used visual narrative techniques to express and present the poet’s life and the value of his literature in the language of space design. Through this method, the garden provided a holistic experience of Yoon Dongju’s selfhood and literature through indirect perceptions experienced in the space rather than as direct experience. The room of wind and time embodied the poet’s life by overlapping small pieces of blue-colored clothing, and fluttering cloths and grasses were used to represent the wind. In the room of night and stars, a black mirror expressed the night sky as a visual embodiment of his poetry. In the road of desolation, a long passage was created with walls on either side to express the desolation and agony of life to the viewers as they walked through the dark space. The path of the writing pad was modeled on a manuscript to convey the meaning of the poet’s path, and the poetic language of the poet’s masterpiece, heaven, wind, stars, and poems, were written there on. The stone grave, flower grave area combined the negative words of “stone grave” with contrasting images of stone and flower to seek a transition in the emotional atmosphere. The poet’s room was a partially open space inspired by a prison cell. A chair and a desk with a writing pad and pen reminded the viewers of the poet and helped them to experience him. The space of spring was a double meaning of the spring time he could not experience and his aspiration for the nation’s independence. At the height of the garden festival, numerous types of beautiful spring plants were presented. The significance of this study lies in its design techniques that enabled a clear presentation of the topic in the garden space to a general stream of visitors combined with the values pursued by the poet.

Seoul City plans to restore the old waterways of the upper reaches of the Cheonggyecheon stream into an eco-stream. While the covered parts of the stream are being removed for restoration, the author aimed to develop plans to restore the old bridge placed thereon. As a basic study for the restoration of the Shingyo bridge that existed on the Baegundoncheon stream, which is being restored, this study aimed to explore where to place the bridge and how to restore it. This is based on the investigation and estimation of the original shape of the Shingyo bridge, with the purpose of identifying the most appropriate restoration plans through literary reviews and field surveys. Based on the findings from the investigation and estimation of the original shape of the Shingyo bridge, it is thought that the bridge was built between the end of the 18th century, when the Hanyang Doseongdo was made, and the 1840s, when the Suseonjeondo was made. Given the results of the map and photography analyses, the Shingyo bridge was presumably located in the center-left of Shingyodong Intersection of today. Six parapet stones of the Shingyo bridge remain at present, which are stored in the Cheongwoon Elementary School in Cheongwoon-dong, Jongno-gu. Identified in the photos, the Shingyo bridge was structured with six prop stones and ten parapet stones on six stone pillars. In deciding where and how to restore it, it would be the most appropriate decision to place the restored Shingyo bridge on its presumed original location. However, this is not feasible given the current situation. Hence, the author considered historical and cultural aspects and developed reasonable criteria, under which the new location was chosen, which is 100 m southwards from the presumed original location of the bridge on a roadside with a safety zone and wide pedestrian paths. Two alternatives to placing the bridge on the Baegundongcheon stream were considered, i.e., east-west and north-south directions: the author suggests that the restored bridge be placed in the east-west direction, giving priority to the restoration of the waterways of the Baegundongcheon stream and the original direction of the Shingyo bridge.

This study evaluated Jichang Garden in China, which features various visual arrangements for landscape experiences. The purpose of the study was to understand concrete landscape arrangement methods and structure and to analyze the landscape experience therein. The results indicated the following elements. Water spaces in Jichang Garden created synesthetic multi-layers constructed by the sounds of the Eight-pitch stream. A multi-layer landscape structure was created through symmetrical and borrowed landscapes displayed in the buildings centering on the pond. The pot-planting landscape reveals axial and complementing landscapes that extract and separate aesthetic objects from plain walls and distracting surroundings to evoke the profound beauty of mountains and waters. By creating walkways and frameworks, the corridors serve as dividing landscapes that create a sense of direction and dynamics and divide landscapes. The moon gate and openwork windows create visual frameworks, while the overlapping of the framed and window landscapes creates a sense of depth, making the space more intriguing. First, the landscape experience, with framing and layering features, offer visual diversity and illusions. One may find Jichang Garden full of stories and landscapes as it often creates illusions to separate spaces while maintaining the atmosphere through the landscape composition and overlapping unusual layers. Second, Jichang Garden offers the experience of dynamic visual perception. In doing so, Jichang Garden combines standstill and mobile views, which offers opportunities and occasions for each individual to create different layers. Third, to recapitulate huge mountains and waters in nature, Jichang Garden overlaps a range of visual layers, reminiscent of nature outside the garden.

The natural aesthetics in a garden are a representation of natural elements by the gardener. They are confined, scaled down, and adjusted to human tastes, rather than being in the natural state of mountains and waters. In that sense, a garden expresses not only shapes, but also the ideals that humans want, and wish to see. The Gyeonggi Garden Exhibition was held at the Seongnam City Hall from October 7 to 9, 2016 under the theme of daily encounters with gardens. This study proposes the design of “Seshimwon” (mind cleansing garden), which is intended to express the exhibition’s theme of “daily gardens” and the aesthetic values of ordinariness, and the ideal relationships existing in abstract nature that the garden pursues through its spatial characteristics. To create the garden’s ordinariness and utopian landscape, pink grass was planted as a background to resemble the abstract images of the Hsien world and Arcadia. A washing machine as the entrance passage is a metaphor for passing through a cave towards a new utopia. In ordinary gardens, ordinariness is expressed by the relationship between the owner and visitors. However, given that there are only visitors at the garden exhibition, the scenery of the season substituted for the owner’s role in the relationship setting. In this way, this garden exhibition represents a new interpretation of how to express basic values of gardens and a given theme.

한국의 사회, 문화유산이 녹아있는 서울의 문화적 가치를 재현함에 있어 장인의 기여가 현대에 와서는 크게 부각되지 않고 있다. 우리 사회의 많은 디자인에 장인의 감각과 능력이 눈에 보이지 않게 중요한 기초가 되었다. 서울시가 주최한 상암동 평화의 공원에서 개최된 서울정원박람회에서 새로운 정원디자인의 목표에 접근하는 방법으로 장인들의 작업 속에 나타나는 전통문화의 해석과 공간적인 특성을 통해 표현하고자 하였다. 서울 장인정원 설계는 전통적인 서울문화를 장인의 개념을 통해 상징적으로 함축하여 공간적인 의미를 전달하는 것에 초점을 맞추었다. 정원에서는 사람으로서의 장인, 그들이 사용하였던 도구, 그들이 만든 공예품, 그들의 이미지를 자연으로 드러내는 4개의 장인 문화에 대한 층위개념을 설정하였다. 자연으로서 정원의 그라스와 꽃은 대비효과를 위해 큰 원형의 안과 밖에서 상호 관계 되도록 하였다. 장인의 상징적인 이미지와 자연과의 관계에서 공예품의 배경으로 그라스를 사용하고 시각적인 오브제로서 관목 파티션의 반복과 꽃을 사용하였다. 이 설계의 메타포는 강한 시각적 호기심을 끌 수 있는 독특한 해법이며 따라서 정원의 방문자에게 서울 장인 정원의 상징적인 의미를 제공하게 된다.