• Journal of architectural history
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• v.20 no.6
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• pp.57-76
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• 2011

This study is on the pedagogical convention of architectural history in Korea, especially that of Western Architecture. Recent institutional change in architectural school in Korea has caused overall restructuring of academic program. In spite of extension in the field of history there was no progress of method and way of thinking. There is no change in the point of view to see the western architecture and its history as a unique and specialized phenomenon in the civilization of mankind. Because of no recognition about for what, for whom, and how to, and because of orientalism, the cultural position of western architectural history and its narrative was not asked. With the help of post-colonialism, de-constructivism and critical historiography this paper tries to show the fundamental premise of western architectural history as a myth and show its prejudice as not being justifiable. The background of the discourse there has been a representation effect with regard to knowledge as a power. we need to escape from this kind of cognitional frame With the analysis of the its premise and narrative we can find it is a historical construct that was made in the age of imperialism. In fact it has a lot of false information and problematic point of view. The Identity and originality of western architecture and its history has no logical reason or foundation if we think that it depends on the difference and comparison with other civilization. For example the explanation of its historical origin western architecture has big difference with Islamic architecture in spite of the resemblance each other. This paper try to show several reasons that discourse of western architectural history can not be survived any longer. So we need to reconstruct new pedagogy with deconstruction for the students of non western, or Korean students. Because it has important effect to see and think about architecture and its history.

• Journal of Korea Multimedia Society
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• v.15 no.9
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• pp.1156-1164
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• 2012

Hanok is a cultural heritage containing our ancestor's life style intact and breathing alive with us until now. As Hanok has been concerned as a echo-friendly architecture, a new methodology for efficient construction without damaging the traditional construction process comes into request. The goal of this research is development of a architectural design tool based on the BIM(Building Information Modeling) for satisfying these demands. It will be usable to support whole process of the traditional building from digital design to production and construction. Firstly, we take a consideration of the traditional architecture reflecting the spirit of the age and suggest efficient design method for architectural components. Each components is pre-fabricated as a template representing similar components. All pre-fabricated components are designed by object-oriented concepts so, many variations for a component can be derived from the pre-fabricated component. Our method is helpful for reducing design errors because that it considers combining rule between connecting components in the template design. Moreover it is plugged in the commercial architectural CAD, so it can supports digital design not only traditional architecture but also fusion style mixed with modern architecture.

• Journal of The Korea Institute of Healthcare Architecture
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• v.21 no.4
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• pp.7-15
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• 2015

Purpose: The definition of healing and treatment is different between the East and the West. I suppose that the different definitions of them affect the notion of healing environment in two cultural area. Therefore the aim of this study is to consider the different perspective in healing environment between the East and the West. Methods: Relevant literature review around domestic and foreign reference in fields of medicine and architecture has been conducted to consider the purpose. Results: First, the perspective that the cause of disease stems from inside of body approaches the body from standpoint of healing for recovery. Healing is the way to conquer imbalance by entering into a connection with nature around body. The concept of healing could analyze that it come from relevant perspective. Second, the healing environment in the East is the place where the flow of Qi between, human and human, and, human and environment, keep a balance. The notion of healing environment in the East is the filed of relations. In the West, the notion of healing environment is the place where arouse fine emotions through sensory stimulations. Implications: Recently the studies of healing environment focus on deducing sensory stimulation factors scientifically in the perspective of the West. But the healing environment couldn't be possible without the notion of place of relations. In the future, the notion of healing environment as the field of relations in the East has to be concerned.

• Journal of The Korean Digital Architecture Interior Association
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• v.5 no.1
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• pp.24-31
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• 2005

In the study results, Incheon region, a classic house was consistently built in spite of having been the barrier which a foreign dwelling flowed into until 1960's. And met me in our dwelling habit and changed and used a house built by the Japanese. That is, the traditional dwelling format worked with a spindle accepting other dwelling culture and can do it. It was a too social change and was able to confirm the fact that it extended a room as necessary or it improved a classic house and used as West back various way whom it got cold, and exchanged it to a kitchen of a cause and effect life.

• Journal of architectural history
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• v.29 no.5
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• pp.51-61
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• 2020

Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation," created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow's theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow's theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical-the body-, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

• Journal of architectural history
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• v.14 no.2 s.42
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• pp.103-142
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• 2005

All architectures in the history have certain attitudes of aesthetic expression of their own. Depending on the culture, such aesthetic attitudes are not the same but different. This paper aims to identify the nature of the difference of aesthetic attitude in the architectures of the East and the West. As a way of approach for this purpose, two keywords are employed as representative concept. They are: 'proportion' and 'vitality'. Proportion, of course, represent the attitude of the Western, while, vitality, the Eastern. Although these two words are subjective selection, it is hoped that the nature of aesthetic attitudes could be observed through the windows of these two representative concepts. We all know that the architects and students of architecture of this period, are very much concerned about the aesthetic expression of their design. However, the value judgement of aesthetic quality seems quite confused in modem period. If the nature of aesthetic attitudes of the Eastern and the Western architecture is well understood, such understanding will help much for the direction of architectural aesthetic of future architecture.

• Communications of Mathematical Education
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• v.27 no.2
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• pp.165-177
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• 2013

Mathematics teaching is often more effective when teachers connect the contents of mathematics with history, culture, and social events. In the history of mathematics, the 'paradigm' theory from Thomas Kuhn's scientific revolution is very effective to explain the revolutionary process of development in mathematics, and his theory has been widely quoted in the history of science and economics. However, it has not been appropriate to use his theory in the other fields. This is due to the fact that the scope of Kuhn's paradigm theory is limited to mathematics and science. In this study, this researcher introduced pan-paradigm as a general concept that encompasses all, since through any relation in the field of mathematics and architecture, Thomas Kuhn's theory of paradigm does not explain the phenomena. That is, at the root of various cultures there exist always a 'collective unconsciousness' and 'demands of the times,' and these two factors by synergism form values and controlling principles common to various parts of the culture, and this synergism leads the cultural activities, the process of which is a phenomenon called pan-paradigm.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2009.06a
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• pp.463-466
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• 2009

The objective of this study is to analyze the process of lighthouse in the Daehan Empire. It has been considered that the lighthouse of the Daehan Empire had been built by Japanese lighthouse engineer Ishibashi Ayahico. But in this study, the rule of John Reginald Harding as an light house engineer in Korea from 1899 to 1906 will be said. It was considered that the first lighthouses in Korea were built in Incheon in 1903. But because John Reginald Harding came and designed lighthouse at Mokpo 1899, we need to research more carefully. And also many lighthouses have been placed along the coastline by selection by John Reginald Harding. So Korean Lighthouses had been developed by Ishibashi Ayahico as well as John Reginald Harding.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.10
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• pp.31-39
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• 2019

This research analyzes the involvement of hermeneutics in architectural history and theory studies and its pedagogy in the West after the 1950s. The research focuses on representative architectural schools in the West. In particular, this paper examines from the curricula of Joseph Rykwert and Dalibor Vesely at the University of Essex to their former students who played a significant role in expanding the history and theory courses in the late 20th century in the North America such as Alberto $P{\acute{e}}rez-G{\acute{o}}mez^{\prime}s$ (McGill University) and David Leatherbarrow (University of Pennsylvania). Through their leadership and other related architectural historians' efforts: 1) hermeneutics have been applied in architectural history studies from the critical perspectives of post-modern philosophy; 2) hermeneutics help stimulate discussions of thoughtful architectural design, enabling strong interactions between design theories and the embodied meanings of buildings; 3) these schools have produced and involved many prominent scholars who actively practice and develop the discourse of architectural history and theory from the perspectives of hermeneutics; 4) Finally, the hermeneutic approach in architectural history studies has enlightened many achieved architects' thoughtful design practice and theories within the emerging context of regional criticism and international cross-cultural architecture.

• Journal of architectural history
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• v.31 no.6
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• pp.47-58
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• 2022

The purpose of this research is to understand Ko Yu-seop's perception of 'contemporary emerging architecture' in the West by investigating into his two early 1930s' articles: 'On Emerging Arts, Particularly the Cutting-edge Architecture' (Jan. 1931) and 'Russian Architecture' (Dec. 1932). As a result of the investigation, it is argued that he attempted to systematically describe his contemporary architecture, fromthe concept of 'modern' to representative architectural theories, and his suggested reference list is considered meaningful since it illustrates one aspect of how modern architectural knowledge was transferred to Korea at that time. As his limitation, however, it should be pointed out that a significant part of his writing was a verbatim translation of the Japanese critic Takao Itagaki's New Art Acquisition (1930). Nevertheless, the two articles give us a valuable understanding related to his socialist tendency, his preferred commune-type city-cum-architecture that reflects the ideology, etc. Hereafter, this understanding needs to be further discussed in both study areas of art history and architectural history in Korea.