• 건축역사연구
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• 제13권3호
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• pp.97-117
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• 2004

The tradition of architecture in the East and the West are different in many ways. One of the basic cause of such difference, however, is the different ways of perception of space and time. This paper aims to identify the attitude of perception of space and time in the cultures of the East and the West, and its influence on architecture. Degrees of importance placed on either space or time, as well as the modes of perception of space and time are discussed in relation to architecture. Basically, the architecture of the West seems to be more spatially oriented than the East, and this have much to do with the fact that the tradition of Western architecture is visually oriented. On the other hand, East Asian architecture have been more conscious on bodily feeling and its movement in architecture. Spatial units of traditional Eastern architecture, are arranged in such a way in which man can experience the change of space that is supposed to be organized to form a sequential message. Thus, in the East, temporal dimension is more deliberately included in the course of architectural experience compared to the cases of the West. Although it is not easy to attempt any kind of value judgment on such aspects, it is necessary to understand how the different perception of space and time influenced architectural outcome, especially when one wants to understand the cultural cause that have made the architectures of the East and the West very different. Such understanding is particularly important in East Asia where their future of architecture depends much on how they harmonize the Eastern and Western background which are already built up as two cultural structure in their consciousness to be able to create more desirable architecture for themselves.

• 건축역사연구
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• 제13권4호
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• pp.35-54
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• 2004

Perception of architectural experience is different in different culture. This paper aims to identify how the experience of architecture is understood to be different in Eastern and Western culture. The discussion is based on the idea that the Western architecture placed more emphasis on visual perception, while the Eastern, on mutual responsiveness between man and built environment. The fact that the Western culture is more visually oriented than other culture, and therefore visual aspect of architecture, too, is considered to be very important, is already widely agreed among scholars. But, then, what had been considered to be important in the architectural experience in the East? It is the degree and quality of mutual responsiveness between man and architectural environment. This fact influenced much on the making of architecture of course, and the same fact played the key role in making the Eastern architecture different from that of the West. We are so used to the way of architecture of the West, that the quality of responsiveness is unknown if not forgotten. However, it is not the quality that was useful only in traditional society of the East, but necessary in our modem period as well. The quality for responsiveness, therefore, should be rediscovered and restored as the prime value and quality of architecture in the future architecture.

• 건축역사연구
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• 제14권4호
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• pp.7-28
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• 2005

We are so used to the concept of the term 'space' that we do not question its conceptual validity. However, this paper argues that the notion of space prevailing all over the world, is not a universal concept that can be applicable to all architectures of the world, but is a particular concept that is generated from the Western way of thinking. This paper alms to identify the conceptual structure of the idea of space as it is originated in the tradition of the West, and, as an alternative view of space, tries to identify the nature of the view of space perceived in the tradition of the Eastern architecture. Comparison of the two views, that of the East and the West, and their meaning in the future of architecture, is another task to discuss in this paper. To be able to clarify the meaning of space in East Asian tradition, a set of new perspective of understanding of space was invited. They are ; 1. sky-earth(天地); insisting that the notion of space should be replaced within the context of sky, which is one half of sky-earth totality 2. energy of the air (空氣), space is not empty part inside of a building, but is a dynamic condition of air that is a part of the sky which always exist in form of energy 3. place(자리): instead of space, which, basically. is a man-made concept, idea of place is necessary, which include not only space but also earth Such concept of space which is different from the notion of space of the West, is meaningful not only to identify the idea of space in the East, but also to be able to contribute for more dynamic, varied, and balanced understanding of space.

• 건축역사연구
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• 제14권1호
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• pp.151-183
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• 2005

All architecture in the history were based on a certain concept of architectural unit that functioned as a base model of architectural design. As we know, such model was not the same in the East and the West, and therefore, their architectures are not the same. This paper aims to identify how and why such base model of the two cultural area are different. As one way of discussing this issue, the concept of particle and field, as two representative idea of the West and East respectively, the employed. This kind of discussion can not follow the way of scientific verification as method of argument. However, the understanding of such concept of unit model is crucial for the understanding of the architecture of the culture in general. In basic sense, the tradition of Western architecture is rooted in the model of particle, where, architecture is conceived to be as a independent unit standing on earth as if it is a box like object. While, the tradition of Eastern architecture is rooted in the model field, where, architecture is conceived to be a part of field organization. In present days, we are used to the model of particle as if it is the only possible model of architecture. But, in fact, what man need to achieve in their architecture and city, is the balance between the two models.

• 건축역사연구
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• 제14권2호
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• pp.103-142
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• 2005

All architectures in the history have certain attitudes of aesthetic expression of their own. Depending on the culture, such aesthetic attitudes are not the same but different. This paper aims to identify the nature of the difference of aesthetic attitude in the architectures of the East and the West. As a way of approach for this purpose, two keywords are employed as representative concept. They are: 'proportion' and 'vitality'. Proportion, of course, represent the attitude of the Western, while, vitality, the Eastern. Although these two words are subjective selection, it is hoped that the nature of aesthetic attitudes could be observed through the windows of these two representative concepts. We all know that the architects and students of architecture of this period, are very much concerned about the aesthetic expression of their design. However, the value judgement of aesthetic quality seems quite confused in modem period. If the nature of aesthetic attitudes of the Eastern and the Western architecture is well understood, such understanding will help much for the direction of architectural aesthetic of future architecture.

• 건축역사연구
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• 제12권4호
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• pp.27-48
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• 2003

This paper aims to identify the meaning of architectural form of the East and the West. Ordinarily, we know the visual differences of architectural form between the two cultural families, and the technical reasons of such differences. However, the East and the West have their own views of architectural form that are derived from their own views of architecture, and again the views of architecture are rooted in their own views of the world. The paper maintains a comparative stance between the two cultures in analyzing the different concepts of architectural form, and employ the ideas of 'Form(形象)' and 'Energy-Form(氣形)' as a kind of representative concept of the two views of architectural form. It is discussed that the idea of Form pursued the realization of ultimate substance which is less materialistic but more ideal., while, the idea of Energy-Form pursued the realization of oneness and health through mutual interaction between man, architecture and nature. Architectural form in the West has been the purposeful expression of human ideal, while in the East, it was an expediential device for better energy condition. It seems important to understand such differences of the meaning of architectural form between the East and the West, since, in present time, we tend to think that the Western conception of architectural form is the only possible one. But it is not generally known that the Western conception of form has very particular background reason of its own which is unique to Western culture, and on the other hand, the nature of East Asian conception of architectural form is generally unknown.

• 헤리티지:역사와 과학
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• 제33권
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• pp.136-161
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• 2000

This paper is a study on the design of the gilt-bronze sarira caskets discovered in 1959 and 1996, from a east and a west three-story stone pagodas in Gameunsa Temple site which was built in 682. One of the most interesting discoveries is the ceiling with Bokdu(覆斗) design which can be seen in Dun-Huang grotto of China, reflected upon the ceiling structure of the cover (outer casket) and the square box (inner casket). The structure of these sarira caskets, as art crafts, directly represents architectural structure of Dun-Huang grotto that was made during the early T'ang period of China. Moreover, the sarira caskets are decorated with ornate designs and these designs also can be seen on the murals of Dun-Huang grotto. Accordingly, those sarira caskets tell us creative ability and international taste of Silla's craftsmen. By tracing the origin of structure and design pattern of the sarira caskets to Central Asian and Chinese architectures, it is able to understand international style of the sarira caskets of Gameunsa Temple site.

• 한국전통조경학회지
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• 제30권1호
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• pp.146-158
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• 2012

본 연구는 조선시대 국가대사 중 하나인 사직대제를 행하는 장소로서 중요한 위치를 점유하고 있는 서울 사직단의 조경적 특성을 파악하기 위한 기능론적 단계로 조영실제, 입지, 공간구성 특성을 구명하는데 목적을 두고 수행되었다. 연구방법은 문헌조사와 현지조사로 구분하여 이루어졌으며, 연구결과는 다음과 같다. 첫째, 조영의 경우 태종16년(1416) 사직단의 모습을 갖추게 되었으며, 이후 임란, 숙종, 일제강점기 때 공간구성의 변화를 거쳤으며, 복원사업 (1988)이 이루어져 현재의 모습을 갖추게 되었음을 파악할 수 있었다. 둘째, 입지의 경우 사직단은 한양의 내사산(內四山) 중 우백호(右白虎)인 인왕산의 남동쪽으로 뻗어내려 온 산맥과 연접하며, 서북쪽이 높고 동남쪽이 낮은 서고동저의 지형을 보이며, 매동초등학교, 사직주민센터, 단군성전 등이 공간을 한정함을 파악할 수 있었다. 셋째, 공간구성의 경우 중앙에 사단과 직단이 음양을 이루어 배치되고, 유원과 주원(周垣)의 사면에 유문과 신문(神門)을 두어 중심과 사방위를 가진 오행적 구성을 보임을 파악할 수 있으며, 사직단의 부속건물들은 기능의 유사성과 이용의 편의성을 고려하여 배치되었을 것으로 사료된다. 넷째, 구성요소의 경우 단유시설로는 사직대제(社稷大祭)를 봉행 시 제사를 올리는 사단과 직단과 두 단을 위요하는 유원, 유원 밖의 담인 주원 등이, 건조물로는 사직단 대문, 신실, 안향청 등이, 조경수목으로는 소나무가 주수종이었으나, 왕벚나무, 느티나무, 단풍나무 등 일반적인 조경수가 식재되어 정비가 요구된다 하겠다.