• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.9
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• pp.259-268
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• 2020

Eighteen catholic churches, built in the Chungbuk area(Cheongju diocese) under the jurisdiction of the American Maryknoll missioners in 1953-1969, are not constrained by specific architectural styles, unlike those built by other foreign Catholic missionary organizations. The same is true of Naedeok-dong cathedral in Cheongju, which is the highest hierarchy and representative church of the diocese. Nevertheless, it has unique architectural features that distinguish it from other churches in the diocese. This study examined what those features were, how they were embodied, and their origins. This study also shows that the features are common in the missioners' churches in Pyeogyang diocese in 1923-1942 and that Father James V. Pardy and the architect Tae-Bong Park, played a bridging role in having the same features between the Pyeogyang and Cheongju diocese. In conclusion, this study summarizes the significance of Naedeok-dong cathedral in relation to the missioners' ideology, in the history of the churches in 1923-1969 and Korean modern Catholic church architecture. To this end, a literature search that utilized mainly primary sources, such as newly discovered architectural drawings, photographs, and text related to the cathedral, was performed.

• Journal of Conservation Science
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• v.28 no.4
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• pp.305-319
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• 2012

The Myeongdongseongdang Cathedral, which was designated as Historic Site No. 258 in Korea, is a representative cathedral of Korean Catholic church designed by a French priest Eugene-Jean Georges Coste and completed in 1898. It is a Gothic-styled architecture constructed with bricks and stones. Lithological and mineralogical analyses determined that holy stone relics were made of marble and granite, and foundation stones are of pink feldspar granite. Deterioration mapping and ultrasonic measurement revealed main weathering and damage were exfoliation (40%) and black discoloration (37%) in the holy water basin, and exfoliation (6%) and discoloration (46%) in the exterior foundation stones. Ultrasonic velocity of the stones were calculated as 3,525m/s in the holy water basin and 2,795m/s in the exterior stones that indicated these stones were sorted into moderately to highly weathered rock. This was resulted from moisture and atmospheric pollutants around the cathedral.

• Korean Architects
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• s.655
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• pp.114-117
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• 2023

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.2
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• pp.64-75
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• 2022

The purpose of this study is to illuminate the meaning of the soundscapes of two bells, Daeheung-dong Cathedral and Sungsimdang in Eunghang-dong, which are landmarks and attractions in the historic downtown of Daejeon. The study was conducted through field research and recordings, as well as literature studies of related documents and soundscape theory. Daejeon city was developed along with Daejeon Railway Station during the Japanese colonial period in the early 20th century. As the Chungnam Provincial Office moved to Daejeon, Daeheung-dong and Eunhang-dong in Jung-gu, located near Daejeon Station, developed significantly and formed the city centre. As major administrative agencies moved to Seo-gu in the 1990s, the downtown area of Daejeon was on a path of decline, and the decline accelerated with the development of Sejong city. Meanwhile, Daeheung-dong Cathedral and Sungsimdang, founded by refugees during the Korean War, firmly protected the historic downtown area of Daejeon, where the natives left. Daeheung-dong Cathedral, established during the Japanese colonial period, is a local landmark with a history of 100 years in 2019. Sungsimdang, which was created with the backdrop of the Korean War, is also a historical and cultural asset with a history of 60 years and a local landmark selected as the No. 1 tourist attraction in Daejeon. This research, which started from the sound of the bells of Daeheung-dong Cathedral, heard even in the neighboring residential areas, led to the discovery of the bells of Sungsimdang in Eunhang-dong, located across the street. In this paper, the bells of Daeheung-dong Cathedral and Eunhang-dong Sungsimdang have characteristics of soundmarks according to R. Murray Schafer's soundscape sound category. Furthermore, this paper attempted to analyze the meaning of the two bells according to the relatively recent EU soundscape definition. These two bells are signal sounds at the surface level, but are the sound marks of the historic downtown area of Daejeon at the deep level. Although there are outward differences in size, scale, frequency, and famousness, these two bells share a meaning in terms of locality and good influence with the historicity and spatiality of a special relationship. The implication of this study is that the two places should be preserved as local historical and cultural assets not only as visual landmarks but also as sound marks in the urban regeneration or urban development of Jung-gu, Daejeon.

• Journal of architectural history
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• v.12 no.3
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• pp.7-18
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• 2003

The purpose of this study is to analyze the plan of central area in Pienza town. The nucleus of the plan was the principal square with the surrounding buildings - Cathedral, Piccolomini, Episcopal and Communal palace, focused attention on the first city plan of the Renaissance. The results of study are as follow: 1. The plan of central area in Pienza town is formed by relation with each other, in which theory including the "De re aedificatoria" of Alberti and practical plan of Pienza were united. 2. Though the plan of Pienza is not total city planning for new function and system, it has a many influence for city planning, square type and building disposition, through new project method as a result of prospective at central area in Pienza town 3. The square plan is formed of centripetal role to integrate with harmony the partial units of each other from diverse elements in scale, function, style and type of buildings, in which it can characteristics of the beginning of Renaissance. 4. Not only composition of plan, elevation and section of the Cathedral, Piccolomini and Episcopal palace, but composition of opennings are formed of proportional system of 1:1, 1:${\surd}$2, 1:2 etc.. And such proportional systems is composed of relation with each other in harmony, deciding width, length and height from among part and part, whole and part for spatial and formal composition.

• Corrosion Science and Technology
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• v.18 no.4
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• pp.121-128
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• 2019

Electrochemical Impedance Spectroscopy (EIS) was used to predict corrosion behaviour of metallic Cultural Heritage assets in two monitoring campaigns: 1) an iron bar chain exposed indoor from over 500 years in the Notre Dame Cathedral in Amiens (France); and 2) a large weathering steel sculpture exposed outdoor from tens of years in Ferrara (Italy). The EIS portable instrument employed was battery operated. In situ EIS measurements on the iron chain could be used to investigate the phenomena involved in the electrochemical interfaces among various corrosion products and assess and predict their corrosion behaviour in different areas of the Cathedral. Meanwhile, the sculpture of weathering steel, like most outdoor artefacts, showed rust layers of different chemical composition and colour depending on the orientation of metal plates. The EIS monitoring campaign was carried out on different areas of the artefact surface, allowing assessment of their protective effectiveness. Results of EIS measurements evidenced how employing a simple test that could be performed in situ without damaging the artefacts surface is possible to quickly gain knowledge of the conservation state of an artefact and highlight potential danger conditions.

• Journal of architectural history
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• v.16 no.4
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• pp.7-22
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• 2007

In San Francisco, two new museums were recently built in 1995 and 2005. The one is San Francisco Museum of Modern Art designed by Mario Botta and the other is De Young Museum designed by Jacques Herzog & Pierre de Meuron. The urban settings for the museums are compared with each other and theories of the architects are evolved on different branches in the modernist trends. The theories and settings are followed by the representation in the forms, facades, interior spaces and towers. SFMOMA is located on the SoMa area, which was recently developed into a cultural urban core with Moscone Center and Buena Yerba Garden. De Young Museum was rebuilt in the old museum site in the Golden Gate Park. The one is on the context of urban artefacts and the other on the context of natural artefacts. To Botta, the museum in today's city plays a role analogous to that of the cathedral of yesterday. It is a place of common encounter and confrontation. The volume of SFMOMA which is geometrical and symmetric with double pylons. The frontality on the street and public green open space and the axiality of SFMOMA runs through the Buena Yerba Garden over Buena Yerba Center for the Arts are reminded us of an urban core with a religious monument and a city square. The staircase with grandiose design in the atrium seems to work as an altar with lighting from skylight above enhancing the liturgical ambiance. De Young Museum is shaped in a rectangle with long narrow courtyards. Three bands of volumes are juxtaposed and the nature flows into the museum corridors and galleries. The tower is distorted so as to be aligned to the street grids of the surrounding area. The copper panel of De Young Museum and natural context evoke modern concept of "machine in the garden". The two museums from different pedigrees of Modern Architecture are now major landmarks of SF and urban expressions for the 21st century.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.539-565
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• 2009

T. S. Eliot attempted the combining of the liturgy of Anglican Church and a drama in Murder in the Cathedral (1935) and created a modern verse drama which comes most close to the regular tragedy like Greek tragedy today. Eliot chose the drama to deliver his religious insight because of its ritualistic origin and its potentiality to deliver a dramatic world which can contain a complete order. The central theme of this play is the martyrdom. The dramatic action of killing the archbishop Thomas Beckett in this play, however, is not treated as important event enough to be a dramatic climax. He is portrayed as a witness to the reality of God's will rather than a man who wills to give up his own life for any religious belief or cause. In Eliot, a martyr is nothing but "a witness" in its ancient sense. This paper purposes to review the language of this play. The various and new meters and rhythms of the language of this play function enough to bring its playwright to encounter 'the real audience' in 'a living theatre'. The interactions between different verbal models also play a big role to make this play a living theatre. Eliot found the poetry which crosses the various classes and levels of the tastes of audience is the most useful poetry. And the poetry of this play proves as the very thing which intensifies the theme of the play and gives the most powerful force to the play. Especially Eliot's poetry succeeds smost in the various and free meters of chorus, which makes Eliot the first playwright since Aeschylus, who could bring the chorus to undertake the function of extending the dramatic action of the play into the universal meaning. In the theatre the real audience identifies themselves with chorus. And the chorus leads the audience to respond to peace which passeth understanding beyond words and sounds of this play, which is the desired response in Eliot's conception of drama.

• Journal for History of Mathematics
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• v.33 no.2
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• pp.115-132
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• 2020

Social awareness of mathematics and academic attitudes toward the value of mathematics education has kept changing according to the intellectual, political and religious contexts. In this article, we examine how mathematics was defined and recognized in liberal arts education of the Roman Empire and early medieval Western Europe. This study analyzes how mathematics was described in encyclopedic works written in the Roman era after the mid-second century BC and in the Western European monasteries and cathedral schools after the fifth century. Ancient Greek mathematics took a clear place in liberal arts education through encyclopedia writings and prepared a mathematics curriculum for medieval universities. I hope this study will contribute to understanding the origin and context of the mathematics curriculum of medieval universities.

• Journal of architectural history
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• v.1 no.1 s.1
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• pp.129-141
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• 1992

The purpose of this study was to investigate type of the modern architecture in Daegu province, based on 91 buildings which were built from 1886 to 1945 in Daegu province. The results of this study could be summarized as follows : The modern buildings were built by the western missionary, Japanese, Chineses and Korean. The catholic, built Korean style cathedral and parsonage early in the missionary period, then changed to build Gothic revival and georgian style masonary buildings. The protestant built eclectic buildings. With masonary structure and Korean roof style. Then from 1930's, they started to build Gothic revival style buildings. Japanese built eclectic buildings which mixed with Western and Japan type during the first period. Then, they also started to build Western eclectic building. Chinese built only two buildings during the whole periods and those were Western eclectic style buildings. Korean started to build commercial and school buildings which were Western style from the middle of the second period by nationalist and local commercialist.