• 한국멀티미디어학회논문지
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• 제9권6호
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• pp.709-719
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• 2006

To protect against unlawful reproductions and distribution, the current paper proposes a digital watermarking technique for architectural drawings produced using a CAD system. First, the POLYLINEs are extracted from the drawing; then, an adaptive algorithm is used to embed a watermark in the characteristics of each POLYLINE. Next, the CIRCLEs are embedded using an adaptive watermarking algorithm related to the radius of circle from drawing. The proposed watermarking scheme is robust to various attacks, such as the geometrical transformation. Additionally, the proposed method satisfies the requirement of transparency for CAD program. It used AutoCAD 2002, which is commonly used as a CAD program for experiments. Experimental results confirmed the robustness and invisibility of the embedded watermarks in several conversions of an architectural drawing.

• 건축역사연구
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• 제7권3호
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• pp.107-120
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• 1998

Even though Gothic architecture, one of the most technologically complex sophisticated structural systems, has been interpreted by art and architectural historians since the nineteenth century, we still cannot entirely comprehend either the medieval builder's constructional technique and structural knowledge or the meaning of Gothic architectural elements. The major reason is that contemporaneous written documentation concerning design methods and constructional techniques of medieval architecture is lacking. In 1955, the Bibliotheque Nationale in Paris exhibited the sketchbook of the thirteenth century architect Villard do Honnecourt. After the exhibition, analysis on the architectural drawings of Villard's sketchbook had reported widely. Most of analysis on Villard, however, has been on his drawing and artistic style, and there has been very little published analysis of his profession and question on the author of the sketchbook. Thus, the purpose of this study is to investigate the characteristics of the sketchbook and identify the artist who drew it. The sketchbook poses a number of unsolved questions. There is no doubt that several hands have contributed some drawing with appropriate captions, particularly in the section devoted to the application of practical geometry to problems of masonry and carpentry. Scholars have assumed and revealed that it was not made by only one person, and it dealt too many different fields and styles. Through this study, the sketchbook drawings consist of five different styles and person (original painter, master1, master2, master3, and the last owner), and they, not Villard, just redrew the original drawings and bound the sketchbook. Therefore, Villard de Honnecourt was just a mentor of the sketchbook and he did not participate any writing and drawing in the sketchbook.

• 한국멀티미디어학회논문지
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• 제10권12호
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• pp.1601-1611
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• 2007

In this paper, we presented geometric CAD watermarking scheme for Architectural design drawings using line, arc, and circle components to prevent infringement of copyright from unlawfulness reproductions and distribution. The conventional CAD watermarking scheme can be applied to both line and arc components. But the proposed scheme consists of line, arc and circle watermarking schemes for three basic components of CAD design. After extracting line, arc and circle components from designed drawing, the watermark is embedded into the length of Line component, the angle of arc component, and the radius of circle component considering the robustness against various geometric transformations. The embedding strengths in each component are determined to be preserving the transparency of the watermark. By experimental result, we confirmed the robustness and the invisibility of embedded watermarks in several conversions of architectural design drawing.

• 건축역사연구
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• 제21권3호
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• pp.55-72
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• 2012

There is a temple drawing called Monk Daegwak's Joongchanggundo at Seon-Am Temple of which the time of creation is unknown. This drawing shows the details of Seon-Am Temple and surrounding areas well, which helps to understand the construction of Seon-Am Temple and other small mountain temples. The records on the top also describe the surrounding landscape in the Fengshui aspect, and describes the number of buildings at Seon-Am Temple. According to the construction style that gives clues about the age of this drawing, the time range can be narrowed down in order to approximate the age of this drawing through the Buddhist trends of Seon-Am Temple. In the results, it was estimated that the drawing dates back to the time when Seon-Am Temple flourished in the mid-18th Century as it's competition with the temple of Songgwang actually began. Buddhism considers the relationship between teacher and student as the most important and the principals were delivered through this relationship. Therefore, the activities to increase the connection between monks and this drawing were created in order to indicate the atmosphere of the Seon-Am Temple of the time.

• 한국건축시공학회지
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• 제15권3호
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• pp.329-337
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• 2015

건설도면은 프로젝트에서 발생하는 다양한 정보를 담은 지식의 집성체이다. 도면에 포함된 지식의 재활용은 건설 프로젝트의 성공에 있어 중요한 부분이다. 마감상세도는 실별, 부위별 마감 및 공법을 선택하고 설계하면서 생성되는 도면으로, 기존 사례 도면의 재활용이 가장 많은 도면중 하나이다. 그러나 여러 도면이 한꺼번에 작성되는 마감상세도의 특징 때문에 기존 도면관리시스템에서는 활용이 어렵다. 본 연구에서는 개별적인 마감상세도의 활용을 위하여 도면 블록화 알고리즘을 제안하였고, 이를 바탕으로 마감상세도 블록화 모듈을 개발하였다. 개발된 모듈을 기반으로 마감상세도 관리 시스템을 구축한다면 개별적인 마감상세도에 대한 관리가 가능할 것이다. 개별적인 마감상세도의 관리는 기존 마감상세도 검색에 소요되는 시간을 단축시켜 마감상세도 설계 작업의 생산성을 높일 수 있을 것이다. 또한, 마감상세도 내 지식의 재활용성이 증대됨에 따라 설계된 도면의 품질 향상에도 기여할 수 있을 것이다.

• 건축역사연구
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• 제15권3호
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• 건축역사연구
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• 제11권3호
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• pp.105-120
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• 2002

Eight drawings of Sukcheon-je-a-do are the architectural drawings of the government offices. These were drawn in the representation of Sabang-jeondo-myobeob. Sabang-jeondo-myobeob is one of Korean traditional drawing type, that is constructed with turned-over elevations drawn on the site plan. The analytic observation viewed in the iconographical diagrams of eight drawings led me following conclusions. First, the most typical expression of Sabang-jeondo-myobeob can be summarized as the combination of three elevations toward the inside and one elevation toward the outside. The former is expression of territoriality, and the latter is expression of the facade. Second, in Sabang-jeondo-myobeob both elevations of crosswise direction and of lengthwise direction are described at the viewpoint of eye level. And they center around the courtyards with intent to describe the relation between buildings and the outdoor space. Third, the facade of pavilions, disposed on the crosswise direction in Sabang-jeondo-myobeob, are described with the both viewpoint of down-view and up-view. It is the expression peculiar to Korean traditional drawings, that describes the depth and richness on the facade of traditional wooden architecture. Fourth, some pavilions and landscapes are described in Pyonghaeng-saseon-dobeob, that is familiar drawing type in the Korean traditional paintings. From this expression we can deduce that the traditional architectural drawings such as Sukcheon-je-a-do were constructed by the traditional landscape painters.

• 건축역사연구
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• 제31권1호
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• pp.41-50
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• 2022

Traditional wooden buildings deform over time and are vulnerable to fire or earthquakes. Therefore, traditional wooden buildings require continuous management and repair, and securing architectural drawings is essential for repair and restoration. Unlike modernized CAD drawings, traditional wooden building drawings scan and store hand-drawn drawings, and in this process, many noise is included due to damage to the drawing itself. These drawings are digitized, but their utilization is poor due to noise. Difficulties in systematic management of traditional wooden buildings are increasing. Noise removal by existing algorithms has limited drawings that can be applied according to noise characteristics and the performance is not uniform. This study presents deep artificial neural network based noised reduction for architectural drawings. Front/side elevation drawings, floor plans, detail drawings of Korean wooden treasure buildings were considered. First, the noise properties of the architectural drawings were learned with both a cycle generative model and heuristic image fusion methods. Consequently, a noise reduction network was trained through supervised learning using training sets prepared using the noise models. The proposed method provided effective removal of noise without deteriorating fine lines in the architectural drawings and it showed good performance for various noise types.

• 한국실내디자인학회논문집
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• 제22호
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• pp.132-138
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• 2000

Internet services are utilizing a variety of server/client technologies. In particular internet technologies provide improved accessibility to information for facility management customers and users for the systems. This study is the architectural data exchange system development more effective management and accept using on Internet web environment. This paper is the explore the use of computers in architectural planning that how the information may be extracted drawing entered into database and exchanged architectural detail data interfaces. System support communication and interactive collaboration among designers through complex Building object during the Design. There are four part in collaborative design system. User Management system, Standard Database System, Project Database System and Interface system. All Data are recognizable format include drawing file and contents. Web/DB server supported communication and collaboration among partners in the building design and construction process. Collaborative Design system is provide new conceptual framework that exist in the Web.

• 한국조경학회지
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• 제45권5호
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• pp.71-86
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• 2017

이 연구는 손 드로잉의 역사적 변천 과정을 혼성화의 관점으로 해석하여 손 드로잉에 내재되어 있었던 창조적 성격을 발견하고자 한다. 조경 드로잉은 과학적 도구성과 예술적 상상성이라는 호환 가능하고, 상대적인 두 특성을 지니고 있고, 그러한 특성은 투사, 퍼스펙티브 뷰, 다이어그램이라는 구체적 드로잉 유형으로 구현되어 왔다. 하지만 드로잉 유형은 뚜렷이 구별된다기보다 오히려 상호 보완적으로 혼성화되면서 설계 경관에 대한 비전을 시각화해 왔다. 특히, 땅과 건축물을 그린 플랜에서 식물 소재는 퍼스펙티브 뷰나 엘리베이션으로 그려내는 플라노메트릭 기법이 이용되었다. 물론, 특정 지역과 시기에 특정 정원 양식에 적합한 드로잉 유형이 등장하고, 때때로 우세하는 방식으로 나타났다. 16세기 이탈리아 르네상스 정원과 17세기 프랑스 정형식 정원 설계에는 투사 드로잉이, 18세기에서 19세기 초 영국 풍경화식 정원 드로잉에서는 회화적 묘사가 강조된 퍼스펙티브 뷰가 중요했고, 19세기 중후반 미국 조경 설계에서는 공모전 드로잉, 사진, 맵 오버레이 등 용도에 따른 드로잉의 분화가, 20세기 초중반 미국의 모더니스트는 설계 전략을 시각화하기 위해 다이어그램을 이용하기 시작했다. 하지만 이러한 변천 과정에서, 플라노메트릭은 땅의 평면적 구성과 식재의 정면적 시각을 동시에 고려하는 조경 설계에 적절한 혼성적 시각화 기법으로 빈번히 활용되었다. 19세기 중엽에 탑뷰가 플라노메트릭을 대체하고, 20세기 들어 식재의 회화적 특성이 소거된 채 기호로 표준화되면서, 손 드로잉에서 상상적인 테크닉보다 도구적인 시각화 방식이 점차 일반화되었다.