• 한국실내디자인학회논문집
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• 제15권4호
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• pp.147-155
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• 2006

Recently, because of the rapid remarkable development of the digital media, contemporary society is continuously extending and changing over the limitation of the human recognition. But in the field of architectural form creation, a diagram used in the design process of the past is not enough to reflect a complication, contingent and multiple quality of these contemporary society. So, to reveal the rhizomorphous and non-hierarchial qualify of the contemporary digital network society, architecture became necessary to use the diagram with digital media which have various possibilities to present architect's abstract images that the diagram of the past couldn't do. Therefore, this study proposes that the process for creating architectural form with the digital diagram be a alternative to conquest the limits of contemporary architecture, so it present the complicate and contingent quality of contemporary society. Furthermore, it examines the quality and possibility of the diagram by understanding the creation and transformation of the digital diagram, and how to apply to the actual architecture process of the creating form.

• 건축역사연구
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• 제8권1호
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• pp.95-110
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• 1999

Louis Kahn has overcome the limits of Functionalist Architecture and reconnect the classical tradition to Modern Architecture. With a point of view that his special approach to historical precidents enabled him to contribute broaden the hiorizon of Modern Architecture, this paper trys to investigate and analyse Kahn's typological thoughts and practice in Architecture. In many ways his a priory and metaphysical thoughts on Architecture proved to be very similar to typology of 18th Century Neo-Classicism. And the geometry of Kahn's Architecture play a important role with respects to his typology. As a form-generator and 'parti' his geometry and its composition play a intemediate role to connect Form and Design and to realize the concrete structure. Therefore, the concept of his Form could be called an archetype and geometry be a kind of type in his architecture

• 건축역사연구
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• 제33권2호
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• pp.17-27
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• 2024

This research interprets the unique hybridity of the pavilion architecture in the Joseon Dynasty, in which the name and form do not match and the rooms and floors are combined in various ways, through the Confucian architectural prototype Muijeongsa(武夷精舍) built by Zhu Xi(朱熹). The architectural representation of Muijeongsa, developed against the background of the mid-Joseon period of active pavilion management by Sarim(士林) groups, the spread of ondols due to the Little Ice Age, and an architectural culture following the footsteps of the Zhu Xi is likely to have influenced the perception and practice of pavilion architecture. In this research, by examining and analyzing the contents of the Muijeongsa Japyeongbyeongseo(武夷精舍雜詠幷序) containing the architectural composition of Muijeongsa, it was confirmed that different types of spaces such as Dang(堂), Jeong(亭), Jae(齋), and Gwan(館) are integrated into Muijeongsa. Based on this, the main examples of the architecture of Jeongsa in the mid-Joseon Dynasty were reinterpreted into four types from the perspective of the combination of Dang and Jeong, and the junction of Jeong and Jeongsa. Dang and Jeong were either juxtaposed as separate buildings or implemented with a relationship of inclusion within one building. And the concept of Jeong, which was considered secondary to Dang, was used as a category that was replaced with the Jeongsa itself. Lastly, the name 'Jeongsa' was used, but the location had a strong character of 'Jeong', and the architectural form adhered to the form of 'Dang', thereby exquisitely reconstructing the composition of Muijeongsa as a single building.

• 한국건축시공학회지
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• 제14권2호
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• pp.177-186
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• 2014

The gang-form widely used in apartment construction sites has advantages compared to scaffolding in preventing falling accidents. One problem, however, is that safety accidents associated with gang-form works repeatedly occur due to worker carelessness. In this study, hierarchical checking tables are provided to support safety management activities for the gang-form works at the sites. Through a survey of experts and analyses of case studies of construction accidents, 137 safety check items are classified by participant type based on a hierarchical safety check scheme. The applicability and effectiveness of the hierarchical checking tables was evaluated through interviews with experts. It was found that the hierarchical checking tables enabled each gang-form related participant to check his own safety management items, and provided a level-wise structure to site safety management systems.

• 대한건축학회논문집:계획계
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• 제36권3호
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• pp.13-20
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• 2020

The purpose of this study is to analyze the fuzzy pattern that is reflected on the inside of the value evaluator in measuring the economic value of architectural aesthetic using the fuzzy-contingent valuation method. The main results of analyzing the relationship between architectural aesthetic and fuzzy patterns by typing 307 fuzzy patterns collected from visitors at Dongdaemun Design Plaza are as follows: First, low levels of architectural aesthetic can be a primary cause of extreme refusal of payment. However, it was confirmed that the extreme refusal of payment could partially involve mentality of free-ride on public goods or mentality that would not give value to past events that are not future. Second, if the architectural aesthetic score is 77.5, the most perfect form of fuzzy pattern is formed. It is confirmed that the fuzzy form, which is the standard in the relationship between architectural aesthetic and money value, is made at 77.5 points. This means that it is most efficient to have 77.5 points of architectural aesthetic to secure balanced data by membership in the study of architectural aesthetic value measurement through fuzzy pattern. Third, according to the architectural aesthetic score, respondents can be interpreted as follows: no monetary willingness arises before or after 52.4, starts to respond to the amount before and after 65.6, severe conflict over payments around 70.6~71.7, stronger willingness to pay around 77.6, want to pay for sure around 80.0.

• 한국건축시공학회지
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• 제11권2호
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• pp.136-144
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• 2011

콘크리트 구조물의 골조공사에서의 주요 공정 중 하나인 거푸집 공사는 전체 건축공사의 공사기간 및 공사비 측면에서 상당 부분을 차지하고 있다. 하지만 공사현장의 조건을 고려한 거푸집의 적정시스템 선정은 현재까지 현장실무자의 경험에만 의존하고 있는 실정이다. 본 논문에서는 거푸집 공법 선정 요인에 대한 정량화된 분석을 바탕으로 슬래브 거푸집 중 신공법과 기존 공법을 선정하여 각 공법의 성능을 정량화된 분석데이터를 바탕으로 평가했다. 이를 통하여 각 공법들의 정성적 항목에 대한 정량화된 평가점수를 산출하여 슬래브 거푸집의 현장 적용성에 대한 평가 방안을 제시하였다. 따라서 본 논문에서 사용된 델파이 기법의 방법론은 다른 공법들의 선정, 평가에도 사용될 것이라 사료된다.

• 한국실내디자인학회논문집
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• 제21권1호
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• pp.111-118
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• 2012

The purpose of this study is to classify the epistemological critique between philosophy and architecture. Although there are various interpretations and criticism about the architecture, the fundamental critique of architecture is difficult. It is necessary to approach by the philosophic paradigm rather than architectural one. Therefore the procedure and method of study is to define the epistemology within philosophy and architecture, and present the classification viewpoint and the architecture case. The conclusions of this study based on purpose and process are as follows : The First, the philosophic epistemology is to mean the unity of subjective and objective. And the epistemological viewpoint of architectural philosophy is to define the construction's universality. The second, the architectural philosophy is a kind of the philosophy of art, and It is associated with the basis of aesthetics. Thus, the category of architectural philosophy like the aesthetics is classified with function directivity and form directivity, content directivity. The Last, epistemological critiques between philosophy and architecture are as follows ; 1) subject-object-integrated recognition critique (function directivity), 2) object-oriented recognition critique (form directivity), 3) subject-oriented recognition critique (content directivity).

• 한국실내디자인학회논문집
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• 제31호
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• pp.19-28
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• 2002

This study aims to show a possibility that music can be expressed in an architectural way by attempting architectural interpretation and application of the musical piece, Beethoven Piano Sonata op.57 through analyzing it and to suggest a method for the architectural design where spirituality and internality is emphasized on the basis of music. In conclusion, it was clarified that the concept and form of the music could be expressed architecturally. That is, the concept of time and space in the musical piece is expressed in that of time; the musical form in that of the spacial structure; and the rhythm, melody, harmony, timbre and tone color of the musical piece in point, line, shape, texture and color in the architecture.

• Architectural research
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• 제14권3호
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• pp.109-116
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• 2012

In order to shorten construction duration in high-rise project, construction company tried to make various system method toward simplifying construction method and shortening construction duration. Though high-rise tower-type residential project are growing, there are few case study. Then, the data for preliminary schedule planning in high-rise tower-type residential project are rare. This purpose of research shows construction method in structural work in high-rise tower-type residential project, suggests schedule planning in structural work through case studies. The structural work in high-rise tower-type residential project was divided 1) completion of form in lower part and 2) the typical floor under penthouse. The statistical analysis were done in two parts, the data from analysis were used in simulation. Finally, researcher confirmed the difference between real construction duration and the figure from simulation. The results shows that the more construction duration is long, the less ACS's cost is low. It means the effectiveness is increasing in ACS, if the floor number is high.

• 건축역사연구
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• 제23권5호
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• pp.23-36
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• 2014

Source criticism is very important on the research of architectural history as well as general history. In this point this research studied on the original form and change of Dokrak-dang that is very important building in architectural history of Korea. The result is as in the following. Dokrak-dang that Whoijae built at first was three by two kans size that had daecheong of four kans and ondol-bang of two kans. Gye-jeong that Whoijae built was three kans size that had daecheong of two kans and ondol-bang of one kan. After Whoijae died, Dokrak-dang's ondol-bang was changed to maru between 1555 and 1556 and ondol-bang in west side and stack room was added in 1630. Gye-jeong was changed to ㄱ-shaped floor plan that was added up two kans from three kan's 'ㅡ'-shaped one.