If you thought of a garden as a place filled with colorful flowers or a place lined with well-trimmed trees, the appearance of a Korean garden will be unfamiliar.
Shin Ji-seon, a Korean garden researcher, says that when we break away from the stereotype that a garden is a place beautifully decorated with plants, we can encounter the diverse aspects of Korean gardens.
All the elements that make up the entire space, such as the stone wall hidden behind the pine trees, the carelessly placed stone bridge, and the small pond, become a garden.
The author tells the story behind the seemingly ordinary landscape created by stones, trees, and water.
I suggest that you experience firsthand the intentions, vision, and attitude toward life of those who enjoyed real space in the past.
The book introduces 30 places that we may have passed by without even thinking of them as gardens.
It is rich in explanations of each garden's historical background, unique characteristics, and specific creation techniques.
If you've ever wondered what to see beyond the architecture when visiting palaces, local pavilions, or traditional Korean houses, "Korean Gardens Near You" will broaden your perspective on space.

He was a brilliant artist and wealthy enough to create gardens more extravagant than those of a king, but his gardens reveal a sense of anger and frustration toward the world.
I used the best technology to create a garden and spent a lot of money to put on a show, but the emptiness in my heart remained unfilled.
Although he was excellent in many ways, Yun Seon-do had a hard time enduring the world that did not recognize him.
Life in Bogildo, where he could only sleep if he experienced every single day as if he were the king of the world he had created.
It was rich and splendid, but it was like an empty echo reverberating across the island.

--- From "Joseon's Real Estate Tycoon Yun Seon-do and His Ultra-Luxurious Garden"

There are generally two ways to build a stone wall.
It is a method of stacking stones that have been cut into squares or rectangles one after another, or to reduce the effort of cutting them, placing larger stones at the bottom and stacking smaller stones as you go up.
The stone walls of Bulguksa Temple pursued originality that did not fall into either of the two styles.
Rather than using the natural stone as is or trimming it to create a consistent shape, it is trimmed into the unique shape needed.
Smaller stones forming elaborate lines are placed between large, free-form stones, generally over 60 centimeters in size.
The harmony between large, heavy stones and the small stones that fill the gaps with beautiful lines makes one feel as if one is looking at a piece of abstract art.

--- From "A Piece of Abstract Art Completed by a Thousand Year Stone"

Normally, when we think of gardens, we would think of them as being decorated with the utmost luxury by those of considerable wealth and power, but Joseon Dynasty villas, including Soswaewon, were not intended to be like that from the beginning.
It's just a place to hang out with friends and have fun, not to show off how great my garden is.
So the longer I stay and look at it, the more I feel the sincerity with which the owner, Yangsanbo, created the garden.
The more you get to know Soswaewon, the more moving it becomes.
--- From "I'm not good looking, but I want to stay with you for a long time"

The owner's gaze is fixed on a corner of the western wall.
The owner, sitting on the veranda with minimal presence, looks out over the garden at the corner of the western wall and seems to be reading the minds of those coming into other people's houses to get rice.
Unlike other numaru that watch who comes and goes, Unjoru's numaru looks elsewhere as if it allows people to come in without hesitation.
The owner's gaze is directed towards the surrounding garden.

--- From "Among the Clouds That Rise Without a Care"

The garden of Yun Jeung, a master of the times and respected by all, was this simple.
Even though there was a wide space, it seemed like he meant that since he had a paradise on Mount Seokga, he should use the rest for you.
While standing on the pedestal of Sarangchae, I could see the torches of children coming and going to the Hyanggyo next to Myeongjae House and greeting each other, residents gathering to seek advice when a problem arose in the village, and scholars from all over the country gathering to speak out when important matters arose in the country.
The old house's love yard became a square for many people.

--- From "The Story Told by Crossing Water and Small Stone Piles"

The gardens of poor countries have replaced the insatiable splendor with something else.
The lack actually gave me freedom.
Since it's not a garden to show off, I'm free from the burden of how it should look.
I created a garden with what I had within my limited resources.
If you were being greedy, you would have chosen a place from the beginning that had plenty of potential for use among the existing nature.
The lack was filled with private language.
The garden is filled with free words without any set rules.
The 'consideration' of Unjoru, the 'contemplation' of Myeongokheon, the 'humility' of Dosan Seodang, and the 'waiting' of Soswaewon are design languages ​​that were possible in freedom.

--- From "The Garden of the Poor Country"

There are things as important as repairing a building when it is leaning or old.
The water flow in the pond must be restored, and the lotus flowers must be managed so that they do not spread too much and cover the entire pond.
Parking lots should be built at some distance from the building so that visitors can slowly enjoy the surrounding scenery while entering, and stones from the surrounding mountains should be used when building the stone walls of the flowerbeds and grounds.
Everything we consider insignificant has an impact on elevating the quality of a space.
I hope that the garden heritage will be managed with a view to viewing the space as a whole rather than just the buildings.

--- From "Things I Didn't Know Before Leaving"