Korean Garden Plan Conceived with the Scenery of Wayu(臥遊) -Focused on the Tashkent Korean Garden Competition Plan-

초록

This study examined the concept and design process of the traditional Korean garden Jungwon(情園), which won Honorable Mention at the Tashkent Seoul Park Competition held as part of a cultural exchange project for friendly cooperation between Seoul City of Korea and Tashkent City of Uzbekistan. This is meaningful in terms of the diversity of symbolic expression of Korean gardens, represented by the “K-Garden,” and the disclosure and publicity of traditional garden design information. Uzbekistan is a place steeped in a desperate history of surviving the forced displacement of 170,000 Goryeo people by the former Soviet Union in 1937. A design attempt that breaks away from the theme and compositional repetition of Korean gardens created overseas, represented by palaces and byeol-seo and concerns about the site context, is needed. As for the plan, wayu(臥遊), which is a concept of traditional garden construction, was presented as a method of reproducing the Korean hometown scenery as an effort and practical action to summon the memories of Korean landscapes and nostalgia for Goryeo people and their second and third generations who suffered from overlapping identities. Tashkent Seoul Garden intended to borrow and implement the structure of a traditional village and garden to represent the identity of a Korean garden as a memory and symbol of the history of Korean immigration through changes in garden architecture, facility elements, tree species, and planting techniques. By interpreting the relationship between Seoul and Tashkent as a complementary and mutually beneficial one, the story of the Goryeo people was applied to the garden as an experiential sequence according to the compositional reproduction of “filling and emptying” using traditional design elements and the flow of visitors. As an object of wayu, which is a traditional act, “artificial rock mountain type of Seokgasan” was placed as gyeong(景) and Samojeong(wayujeong) was placed as an element of view(觀). In conclusion, first, Tashkent Seoul Garden attempted to recreate the landscape structure of a traditional garden by applying the concept of wayu, which takes the Goryeo people’s resentment(恨) that penetrates Korea’s modern history as a design motive. Second, as a material that reproduces Koreanness, it broke away from the palace and byeol-seo of the Joseon Dynasty, and Seokgasan, which started from the Goryeo era; it was introduced as a scenic spot of the hometown landscape and represented as a catalyst to relieve the resentment(恨) of Cheonseokgohwang(泉石膏肓). Third, in relation to K-Gardens’ globalization efforts, a diversified realization plan for the Korean garden was presented in a situation where substantial efforts were insignificant.

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