• Title/Summary/Keyword: 품(品)자형

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The Architectural Characteristics of Unjoru House in Gurye (구례 운조루(雲鳥樓)의 건축적 특성)

  • Jang, Sun-Joo
    • Journal of the Korean housing association
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    • v.25 no.5
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    • pp.83-91
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    • 2014
  • The main purpose of this research is to understand how the problems, which existing letter-shape houses have, are solved in Unjoru which is one of the letter-shape houses. Furthermore, there is the secondary purpose which is to realize the architectural characteristics of Unjoru through the process from the composition of rooms and buildings to the method of structure and roof formation. This research was approached in terms of architectural design, and as the result, the problems of the existing letter-shape houses was resolved by literally converting the shape of outdoor space to 品-shape form. Moreover through the result, it was recognized that the 占-Shape plan was flexible in responding to the demand of the times, such as the order of precedency within men and women and each generation. In addition to the previous results, it was confirmed that the location of major rooms was also decided by considering the interrelationship with natural environment of surrounding area. Also, in the whole proportion of building's plan, each building, such as ㄷ-shape Anchae and big-sized and middle-sized Sarangchae having 丁-shape form, and major rooms in the each building have proportion system such as 1:1, 3:4, $1:\sqrt{2}$, and 3:5 as aesthetic numerical value. Finally, it was understood that the architectural intention had double-sided characters, one side was authority and dignity in the aspect of shape and another side was practicality in aspect of inner housing life.

A Study on the Space Planning and Landscape of 'Unjoru(雲鳥樓)' as Illustrated in the Family Hereditary Drawing, "Jeolla Gurye Ohmidong Gado(全羅求禮五美洞家圖)" ('전라구례오미동가도(全羅求禮五美洞家圖)'를 통해 본 운조루(雲鳥樓)의 공간배치계획과 경관 고찰)

  • Shin, Sang-sup
    • Korean Journal of Heritage: History & Science
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    • v.46 no.4
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    • pp.48-63
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    • 2013
  • The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.