• Journal of architectural history
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• v.9 no.3 s.24
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• pp.23-36
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• 2000

The bureaucrat-scholars, ruling class of the Choseon Dynasty, used to build small private pavilions for rest and study for themselves. In the early period of the Dynasty, the pavilions had plain shapes with rectangular plan and simple wooden structure without any walls so as to enjoy the surrounding scenery. From the 16th century, the building form began to change into some diverse one by putting in an ondol room, an unique floor heating equipment. The pavilions also began to show regional differences by placing the ondol rooms in the floor. Myonang-jong, a pavilion occupied by a famous bureaucrat-scholar Song Soon, was built at Damyang of the southwest part of the Korean peninsula, so called Honam area, in 1533. At first, the building form followed the ordinary early pavilion shape using simple wooden structure and wooden floor. But when it was rebuilt in 1654 after burning down by war, there happened some changes. An ondol room was put in the center of the floor, of which regarded as a dominant regional characteristic of the Honam area. The change of the building form of Myonang-jong showed that it was the 17th century Honam area got the regional characteristic in the architecture of pavilion.

• Journal of architectural history
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• v.2 no.2 s.4
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• pp.89-106
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• 1993

Wherever Buddhism has flourished, there were stupas in the form of monuments which have their origin in the tumulm of prehistoric times. After the death of Buddha, his body was cremated following the Indian funeral custom. His ashes, which long reserved for the remains of nobles and holymen, were enshrined under such artificial hills of earth and brick. The Stupa was in origin a simple burial-mound. The form of the burial-mound was a symbolical or magic reconstruction of the imagined shape of the sky, like a dome covering the earth. The domical form of the earliest tumuli may have been concious replicas of the shape of the Vedic hut. There are relationships which may have originally existed between the stupa and West Asiatic monuments. Buddhist Stupa originally cosisted of an almost hemispherical tumulus(anda) and an altar-like structure (harmika) on its top, surmounted by one or several superimposed honorific umbrellas (hti, catta). This hemispherical form is associated with centralisation, lunar worship, mother earth, and Siva. Anda means a symbol of latent creative power, the harmika symbolizes the sanctuary enthroned aboved the world. The honorific umbrella, as an abstract imitation of the shade-giving tree is one of the chief solar symbols and that of enlightenment.

• Journal of Korean Association for Spatial Structures
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• v.21 no.4
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• pp.49-56
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• 2021

This study aims to develop a form-finding algorithm for a single-layered pneumatic membrane. The initial shape of this pneumatic membrane, which is an air-supported type pneumatic membrane, is to find a state in which a given initial tension and internal pneumatic pressure are in equilibrium. The algorithm developed to satisfy these conditions is that a nonlinear optimization problem based on the force method considering the deformed shape is formulated, and, it's able to find the shape by iteratively repeating the process of obtaining a solution of the governing equations. An computational technique based on the Gauss-Newton method was used as a method for obtaining solutions of nonlinear equations. In order to verify the validity of the proposed form-finding algorithm, a single-curvature pneumatic membrane example and a double-curvature air pneumatic membrane example were adopted, respectively. In the results of these examples, it was possible to well observe the step-by-step convergence process of the shape of the pneumatic membrane, and it was also possible to confirm the change in shape according to the air pressure. In addition, the calculation results of the shape and internal force after deformation due to initial tension, air pressure, and self-weight were obtained.

• Journal of architectural history
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• v.32 no.5
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• pp.7-20
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• 2023

This study aims to reveal the multilayered nature of the formal aspects of communal house architecture in North Korea. It is said that Kim Jong Il, who emerged as a successor after the mid-1970s, brought about a change in the architecture, leading the construction of a sculptural communal house on Gwangbok Street in 1989, and wrote The art of architecture (1992), which theorized architecture as an object of art. Therefore, it is widely perceived that the communal house was transformed from a simple form of living function to an artistic architecture with the rise of Kim Jong Il. This study, however, argues that this change was the result of an internal evolution in North Korean architecture, rather than a simple change in the position of an individual in power. It seeks to move away from the dichotomy that divides the communal house into two periods: the "KimIl-sung period," in which the communal house was laid out in a simple form to provide mass supply and a socialist lifestyle, and the "Kim Jong-il period," in which the communal house took on an artistic form, such as the Gwangbok Street communal house, in the early years of reconstruction. In the 1950s and 1960s, before KimJong-il's arrival, the communal house form was not simply a flat arrangement, but a three-dimensional and sculptural consideration of the effect on the cityscape.

• Journal of architectural history
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• v.33 no.1
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• pp.19-31
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• 2024

Jinhae is the oldest Western-style radial and grid city on the Korean Peninsula, and it also has the most defined structure to date, remaining largely unchanged and unlike any other in Korea. The Jinhae town plan was completed immediately after the signing of the Japan-Korea Treaty. Although the city of Jinhae was built by the Japanese, its overall organizational principle is clearly a radial-grid form that was established in the West. The Jinhae radial-grid planning was elaborately constructed with multiple layers of overlapping structures. It is the result of the application of geometry that creates symmetry and hierarchy in European countries, and the simultaneous consideration of road hierarchy and land form in the process of combining radial and grid forms. To reveal these points, four analyses are performed. First, the formation process of Western radial and grid streets is reviewed and compared to derive review points for Jinhae City. Second, the layout and geometric characteristics of radial streets are discussed. Third, the hierarchical characteristics and connections of grid streets are analyzed. The last part is a comparative analysis of the plan and the final realization.

• Journal of the Korea Institute of Building Construction
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• v.20 no.2
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• pp.155-162
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• 2020

Since the third industrial revolution has been started in the 1980s, the form of buildings has been varied and atypical by the development of building technology. Such free-form building has a curved shape unlike the existing standard buildings, and to realize this, it is necessary to manufacture the free-from panel. The shape of the free-form panel must satisfy a limited error ratio compared with the design shape, and the technology to produce free-form panels is very difficult. However, there are many problems such as enormous cost and construction waste generation when implementing free-from construction. Therefore, the development of free-form panel manufacturing technology should be made to solve the problems caused by the free-form construction. In this study, the error rate analysis of the mixed mortar panel was conducted by selecting the proper mixing ratio of the mixed mortar for the shape of the free-form panel.

• Journal of architectural history
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• v.18 no.6
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• pp.103-126
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• 2009

This study aims to discover historical trends and change of form of all stupas in India with observation of field study that is as direct as possible, by classifying, analyzing, and synthesizing the stupas. Study of Indian stupa in Korea has a number of shortcomings since only introductory partial approach has been made in order to seek the origin of Korean pagoda. This study also aims to correct errors of stupa terminology in Chinese character committed by misinterpretation of Hindi language which was established by precedent Japanese scholars several decades ago. Piled-up stupas were totally destroyed by pagans, therefore their remains tell us only of structure, material, sizeand disposition. However remains of carved stone at torana and drum give us clues as to the original form of stupa and worshipping activity, as well as change to a more luxurious form. Many rock cave stupas of India show us both simple forms matching the ascetic age of early Buddhism and luxurious changes in Mahayanan era introducing us to statues of Buddha. Indians recovered the spheric form of 'anda,' a Hindi term meaning cosmic egg, from the hemispheric form of the piled-up stupa. Therefore we might discard the erratic term of 'bokbal', which means an upset vessel. Railings and parasols became main factors of stupa design. Carved railings around stupa became a sign of divinity. Serious worshipping activity made drums long or high and created multi-embossed stripes. Bases of circular drums of some cave stupas changed their shapes to rectangular or octagonal. Single parasols became multiparasols of affluent flowerlike curved stems on carved stupa. Multistoried, elongated and high parasols of Gandhara stupas are closely related to such factors as diverse changes of form in Indian subcontinent. Four-sided torana gate and ayaka column of the circular form of original stupas suggest the rectangular form of subsequent East Asian pagoda, and higher and wider base of Indian stupas became the origin of East Asian rectangular pagoda.

• Journal of the Korean Institute of Rural Architecture
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• v.19 no.4
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• pp.67-75
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• 2017

This paper overall and systematically investigates of basic design know-how on commonly indwelling timber framework in a folk house in Yeosu area. in other words, Setting the goal of 'investigates of common form of timber framework', and for this goal, surveyed and analyzed for folk house a lot of findable in Yeosu area. As a result, elicits for four types plural common form((1) 4 front 'kan' - a hipped roof construction - front 'toi'/3 'ryang' - no central pillar/side beam type, (2) 4 front 'kan' - a hipped roof construction - front 'toi'/3 'ryang' - one side central pillar/central side beam type, (3) 4 front 'kan' - a hipped roof construction - front/back 'toi'/2'kozu'5'ryang' - no central pillar/side beam type, (4) 4 front 'kan' - a hipped roof construction - front/back 'toi'/'2kozu'5'ryang' - one side central pillar/central side beam type). Common form is at that time, so commonly located in the head of the technician that a form that play an exemplary role in design, or it is concretely assumed for commonly aimed form. in other words, Common form is come into existence on premise for basic design data. Documentation of folk house design know-how is done through this, and the base design and specification of korean private house is written in the contents divided into by areas.

• Journal of the Korea Institute of Building Construction
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• v.20 no.1
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• pp.53-60
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• 2020

This paper aims to examine the insulation performance of insulated gang form by changing the energy (power) consumption and concrete calorific value to assist in concrete protection in cold weather. According to the test results, the general gang form will generate three times the energy (power) consumption for 12 hours after the concrete is poured. In contrast, insulated gang foam consumed no energy (power) for 21 hours after pouring. The final power consumption was 3.7 times higher than that of the general gang form, confirming the improved performance of insulated gang form with regard to energy (power) consumption. The calorific value examination shows that the calorific value changes significantly according to the change of outside temperature after concrete placement in the case of the general gang form. However, in the case of the insulated gang form, only a slight heat loss occurred in the part of the frame, and it showed a constant heating pattern from the concrete casting to the demolding of the mold.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.