• Journal of architectural history
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• v.20 no.5
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• pp.31-45
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• 2011

The purpose of this study is to understand the architectural space of Seungjeongwon (承政院), the Royal Secretariat, in the early years of Joseon Dynasty. The Royal palace can be divided into three parts, political space, living space for king and his family and offices for government official in the palace. So first, we should to understand the characteristics of each space in the Royal Palace. The result of this study is following. Seungjeongwon of the Joseon Dynasty was where Seungji (承旨), Juseo (注書), Sagwan (史官), Seungjeonsaeg (承傳色), Seori (書吏) and Harye (下隷) worked together. The architectural space of Seungjeongwon was separated into Jeongwon-Cheong (政院廳) and Juseo-Cheong (注書廳). Jeongwon-Cheong was the office for Seungji, where Sagwan worked as well as Seungji and Juseo. The form of Jeongwon-Cheong (政院廳) in Kyung-bok Palace was similar to that depicted in Eundaegyecheop (銀臺契帖), which was painted the meeting of Seungjis. Juseo-Cheong was the office for Juseo and Sagwan and there was a break room. Apart from Jeongwon-Cheong there were rooms where Seungji could work or take a rest. As with the office of Seungji, the space for Juseo also had rooms for Juseo. There were also rooms for Seori and Abang (兒房) which were rooms for servants.

• Journal of the Korean Society of Costume
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• v.21
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• pp.5-18
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• 1993

The purpose of this study is to identify the architectural construction of Balenciaga's works. He was perfectionist in tailoring which was based on architectural thought, and couturier who could design, cut, sew and fit a whole gar-ment. Balenciaga has never followed any fashion trend but his own. He designed from within himself, according to his own sensitivity to fashion. Like Chanel, he mad clothes in which women can be comfortable, move in, and get on and off with a minimum of effort. He ap-plied radical shapes to flattering ends, for his clothes echoed movements and gestures, never determined them. He achieved the perfect harmony between the body and the garment, freeing the spirit of the woman within. Reflec-tion his respect for women, Balenciaga never contorted or restriced their bodies. He did not depend on hoops and petticoats to hold out the skirts of his evening dresses but on well-balanced, architectural construction. Therefore in order to identify the architec-tural consturuction, this study hypothesizes (1) the effect of mass and volume, (2) the ef-fect of weight and support, (3) the effect of complexity and simplicity, (4) the effect of line and rhythm etc. The architectural beauty of form in Balenciaga's works are especially based on simplicity and support.

• Computers and Concrete
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• v.19 no.5
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• pp.545-553
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• 2017

In the authors' previous study, an axial force-flexural moment (P-M) interaction curve model was proposed to evaluate fire-resisting performances of reinforced concrete (RC) column members. The proposed method appeared to properly consider the axial and flexural strength degradations including the secondary moment effects in RC columns due to fire damage. However, the detailed P-M interaction curve model proposed in the authors' previous study requires somewhat complex computational procedures and iterative calculations, which makes it difficult to be used for practical design in its current form. Thus, the aim of this study was to develop a simplified P-M interaction curve model of RC columns exposed to fire considering the effects of fire damage on the material performances and magnitudes of secondary moments. The simplified P-M interaction model proposed in this study was verified using 66 column fire test results collected from literature, and the verification results showed that the proposed simplified method can provide an adequate analysis accuracy of the failure loads and fire-resisting times of the RC column specimens.

• Journal of architectural history
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• v.8 no.4 s.21
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• pp.9-24
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• 1999

This study is on architectural characteristics of the existing ㅁ-shaped Yo-Sa with two stories in Buddhist temple. The Yo-Sa has had the function of space for not only monasticism but also living of buddhist priests and been one of the important spaces in Buddhist temple from the beginning of it. The Yo-Sa with two stories appeared mostly in the later Chosun Dynasty, so the origin of the Yo-Sa with two stories is thought that it might relate to the circumstances of temples in the later Chosun Dynasty. Having got in the period of Chosun Dynasty, Buddhism lost the power that he has enjoyed since Korea Dynasty was established and the economic power of temples as well. Because of a change for the worse, the Buddhist priests should manage with reduced income and combine many buildings with various functions into a singular to overcome their circumstances. Therefore a waekened economic power might be a primary factor which urged to change form of Yo-Sa from one-storied to two-storied. The ㅁ-shaped Yo-Sa with two stories have the Dae-Bang-Chae for worship, Seung-Bang for Buddhist's living room in the bottom floor and garnering spaces to store up the agricultural produce, miscellaneous article, etc in the top floor. The composition methods depend on the condition of the lay of land, intentional design, and so on. Therefore, the ㅁ-shped Yo-Sa with two stories shows the diversity of space composition and architectural characteristics.

• Journal of the Korean Institute of Rural Architecture
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• v.12 no.2
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• pp.77-84
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• 2010

Hanok has been widely distributed as a support policy by local governments for the purpose of improving residential environment. In this study, Hanok in a rural area was founded was to evaluate the user's satisfaction. Hanok between residents and the perception of architects and tries to figure out the difference. Current Hanok residents showed higher satisfaction, but they showed negative response for high construct cost, plane form of building, insulation performance and noise. According to the comparison of recognition between residents and architectural designers, they showed differences in "Low soundproofing", "lack of storage space", "Equipment", "Tile", "The modularity of the flat panel design", and "The modularity of construction materials" and it was examined that architectural designers group had higher preference for traditional materials and forms. For succeeding to the traditional architectural factors of Hanok and distributing it as modern house, the research on use of modern materials and modulation of plane and members should be performed for reducing construction cost and improving insulation performance.

• KIEAE Journal
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• v.14 no.3
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• pp.121-126
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• 2014

Many cities in Japan retain older city structures with buildings in traditional form and style. Visitors are fascinated by charms and tranquility of pre-modern life styles. Architectural features of olden days are well conserved or carefully restored on purpose. In the case of Kawagoe city near Tokyo, local residents are largely replete with visitors without being necessarily aware of slow commodification of historic spaces. Kawagoe is yet socio-culturally sustainable and financially fit. This paper intends to analyse conservation strategies, with focus on architectural heritage, taken for the historic city of Kawagoe. With the population of 300,000 in the suburb of Tokyo, it is one of the best known historic cities in Japan. Kawagoe grew as a merchant city since 1700s, and it once reached to a major port of silk trade en-route to Edo (Tokyo) from northen provinces. Tourism industry is discovered as a key element in the conservation strategies applied to revitalize historic city center, Ichibangai, an important cultural heritage site with special reference to kurazukuri. This paper argues that augmentation of conceptions in architectural heritage is not only advantageous for the conservation of historic urban environment but it also provides opportunities for sustainable urban renewal.

• Korean Institute of Interior Design Journal
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• v.23 no.4
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• pp.83-93
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• 2014

Because the 'image' is the 'reality' in this era, there are the characteristics dematerialized between reality and non-reality in the contemporary architecture. These are promoting individualization, differentiation and multi-layered time with the development of electronic technology. This trend emphasizes the importance of imagines that are not only homogenized, simultaneous but also overlapped, multi-layered, discriminatory. Perspectives and essential characteristics of the architectural skin are changing in terms of the technical and social awareness and that means the skin has features as a complex body. Recently as an imagine creator, the architectural skin make form of media boundaries reflecting the various relationships between the observer and the external environment and also, the interior space become another sensory skin by removing the boundaries of the internal and external. It is important that making an identity of the architecture defined by the media or the imagine as well as the importance of space in architecture. These changes of skin make the third space based on the viewer's imagination and show the potential of new architectural skin with the expansion space by blurring the boundary between reality and illusion. It occurs to the diversity of the architectural skin with the identity. It will more diversified and be recognized immediately and sensibly through the interface attributes in contact with the city directly. In addition, it is more important that the skin become a unified body related with urban, social and cultural context.

• Journal of architectural history
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• v.17 no.5
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• pp.55-69
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• 2008

One of the most notable architectural aphorisms in modern period must be undeniably Louis Sullivan's, 'Form Follows Function.' The aphorism has been not only an important source of new aesthetic but also an formal principle of machine age. Other most famous source in order to justify modern aesthetic was the short essay by an cynical critic, Adolf Loos(1870-1933), 'Ornament and Crime' of 1908. Apart from what the essay asserted it is also famous for the influence of Sullivan's architectural notion during Loos' States staying. For Architectural historians of the early 20th century this connection is so useful to create a legacy of modern architecture. The historians seemed to believe that Loos understanded Sullivan's aphorism on which the historians wanted to focused. When we however look into two buildings designed and built in the period of publishing both aphorism and essay there must be a big fissure between the buildings and the historians interpretations. With this view point this study aims at showing the true meanings of Sullivan's aphorism and Loos' essay and also the big difference between the machine age's aesthetic and theirs.

• Journal of architectural history
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• v.30 no.2
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• pp.55-70
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• 2021

The Sacheonwangsa temple was established in 670 under the leadership of Myeongnyang in response to the invasion of the Tang Dynasty. At this time, Geumdang hall stylobate was constructed, which was about 30% smaller than the reconstruction. Due to the wartime situation, the construction of wooden buildings did not seem to have been achieved. The Sacheonwangsa temple was reconstructed in 679 as a symbol of the Hoguk(護國) temple. The size of the Geumdang Hall stylobate was planned as an important module for the entire temple. The stylobate fasad was designed at intervals of Tangju(撑柱), just like the JuKhan(柱間) plan of wooden architecture. There is a possibility that eight Devas may have been decorated in Front fasad. When the Sacheonwangsa Temple was rebuilt, the Geumdang Hall was added by the ChayangKhan(遮陽間) and an Ikrang(翼廊) was installed next to it. These changes affect the material and form of the stylobate. It was changed to a durable stone post-lintel style stylobate and the intervals of Tangju(撑柱) in Front fasad was also adjusted. As the highest-quality stylobate in East Asia at the time, the Geumdang Hall stylobate is considered to have taken Silla's architectural skills to the next level.

• Journal of architectural history
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• v.32 no.6
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• pp.49-62
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• 2023

This research aims to investigate Park Kilyong's architectural theory and critique of Gyeongseong (Seoul) buildings, expressed in his 'Overview of Modern Buildings in Gyeongseong' and 'Critique of Gyeongseong Buildings' (Samcheolli, Sept. and Oct. 1935); and 'Architectural Form of the 100% Function' and 'The Modern and Architecture (1)-(4)' (Dong-A Daily, 28 Jul. to 1 Aug. 1936). As a result, it is confirmed that Park had the functionalist theory of modern architecture, which suggests that Korean architects of the Japanese colonial period were accommodating the contemporary trend of world architecture. However, Park shows his fundamental limitations in the fact that the main content of his articles was a verbatim translation of two Japanese references (Kurata, 1927; Ishihara, 1929) without proper indications. Despite the limitations, his texts are still meaningful since he formed his own architectural theory on the basis of what he translated; and indeed his critique of Gyeongseong buildings, however simple, was based on the theory. This research makes a critical analysis of Park's functionalist theory from both the 1930s' and present points of view and compares his commentaries on Gyeongseong architecture with those by Ko Yu-seop (1932) and Hong Yunsick (1937), illustrating how Korea perceived architecture and modernism in 1930s.