• Journal of architectural history
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• v.29 no.3
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• pp.79-90
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• 2020

In Korean traditional architecture, the Gong-po style is divided into the Jusimpo, Dapo and Ikgong. Jusimpo and Chulmok-Ikong, where only Gong-po is placed on the column, differ in form of Gong-po depending on the viewpoint. Since 'Chulmok-Ikgong' has been generally regarded as 'One Chulmok-Two Ikgong', the precedent researches have been conducted mainly on 'One Chulmok-Two Ikgong' in the Gong-po style classification. However, when it comes to 'One Chulmok', the style of Ikgong can be organized from the one to three steps and this study is particularly for examining the occurrence and transformation of 'One Chulmok-One Ikgong'. One of the case study sites, Bonghwa Cheongamjeong was originally built in the 16th century, and is believed to have been repaired from 'Non Chulmok-One Ikgong' to 'One Chulmok-One Ikgong'. Since the beam linked directly to the upper part of a capital, it does not connect the eave trave(architrave) in between. Also, Soro which supports Jangyeo(the architrave strip) has been placed and linked in comparatively lower position. It is confirmed by the signigicant difference in the hierarchy of Gong-po forms in one architecture. The Jeonju-Hyanggyo Daeseongjeon, which was built in the 17th century among the subjects, was similar with 'One Chulmok-One Ikgong', but it was found to be the type of Jusimpo form because the bottom of the beam and the top of the Ikong are apart. And Gongan is confirmed at Cheomcha. In the 17th century, it can be seen that Heot-Cheomcha disappeared and Ikgong was started to use as a constant figure. The end of the 18th century, it can be seen that it was changed into a ornament added on Haeng-gong, being seen in the case of Hwaseong Dongjangdae. In conclusion, it can be seen that 'One Chulmok-One Ikgong' were developed in both the Jusimpo and Ikong style. The transformation into 'One Chulmok-One Ikgong' was inevitable consequence related with an elevation difference between the eave trave and the column trave.

• Journal of the Korean Society for Railway
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• v.6 no.3
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• pp.179-185
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• 2003

This paper was to find out the design methodology for korean railway station of steel structure using by wooden structure system. Traditionally Korean architecture was made by wooden structure system what is called Gong-Po (wooden bracket structure system). The abundant ornament of Korean architecture is resulted from the composition rule of Gong-Po(wooden bracket structure system). But Korean wooden structural system have a limit in constructing large building, for example railway station, airport terminal, convention center etc. It is needed to convert wooden structure system into steel structure system. But there are many differences between wooden structure and steel structure in texture, material strength, joint system of elements etc. In this paper, we will show you how to make a joint system for steel structure of railway station and how to present the traditionality of Korean architecture in railway station.

• Journal of architectural history
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• v.21 no.5
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• pp.69-82
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• 2012

This study is basically about four-guardian-statutes-building-gate in 17th Century. In the field of art-history, there are four-guardian-statutes made of clay in order that the statutes are so gigantic and grotesque enough to threaten all the devils. This purpose of this study is to make sure that the similar variation occurred at the four-guardian-statutes-building-gate in 17th century. The results of this study are as follows. First, only Da-Po style four-guardian-statutes-building-gates were built in famous four temples separately from 1612 until the Manchu war of 1636. And there are gigantic four-guardian-statutes made of clay in the building. Second, there are Chul-mok Ik-gong style buildings were built in 1660s at Bo-Rim-Sa and Neung-Ga-Sa. The buildings including four-guardian-statutes-building-gate of Song-gwang-sa built in 1636 probably are all similar to earlier Da-Po style four-guardian-statutes-building-gates in the viewpoint of structural type and size of building. Third, it began to build Ik-gong style four-guardian-statutes-building-gates in 1676 at Su-ta-sa.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.20-55
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• 2016

Koguryo's tomb mural paintings in North Korea are our precious cultural heritage which have been designated as UNESCO World Heritage property receiving high praise in the following criterion, i) exceptional creativeness of human being, ii) representative value showing the stage of development in construction history of East-Asia, iii) aesthetic superiority iv) uniqueness of building construction including tombs' ceiling. Mural paintings have been found from almost 100 tombs of the Koguryo dynasty out of 130 which are scattered across Huanren County, Lianoning Province, Ji'an, Jilin Province in China and Pyongyang in North Korea. Especially, most of them are gathered in Pyongyang from 4th and 5th century. Peculiarly, some of them have been constructed before King Jangsu's transfer of the capital to Pyongyang(AD 427). It can be regarded that Pyongyang territory had been under control of Koguryo and to become a new capital in the near future. And dense emergence of such tombs since the capital transfer from Gungnae City to Pyongyang during the reign of Jangsu is linked closely to the construction of tombs for rulers under strengthen royal authority of Jangsu and centralized system of authoritarian rule. Tomb mural paintings describe the owner's figure pictorially based on the truth just as in his living years. General lifestyles of ruling powers and sovereigns can be seen from the wall paintings portraying several buildings with various styles, figures, manners of living, which are considered that the tomb owner had led politically and sociologically in his life. In spite of not enough proofs to approve figure of architectures or "Gong-Po" in wall paintings on the tombs as those of Koguryo, it is persuasive with consideration for painting and decoration inside the tomb like wooden building in real life for the purpose of reenacting and continuing the tomb owner's luxurious life after death. "Du-Gong-Po-Zak" had appeared in company with Koguryo tomb murals and it can be found in most of the murals. And the emergence of substantial "Gong-Po-Do" can be counted more than a century ahead of the figure in murals. It could be a reasonable assumption as regards Koguryo tomb murals time of appearance match up with production period of Gahyungmyunggi(家形明器) and Hwasangseok(畵像石) Hwasangjeon(畵像塼) Design in the Mural Painting of the East-Han(東漢) Ancient Tombs in China. On this study, architectural "Gong-Po"s described in Koguryo tomb murals are categorized largely in "Bi(non)-Po-Zak-kye", "Jun(semi)-Po-Zak-kye", and "Po-Zak-kye" based on presence of "Ju-Du", "Cheom-Cha", and "Cheom-Cha-Sal-Mi" with developmental aspect, and, "Po-zak" is subdivided as "Bi(non)-Cheul-Mok" and "Cheul-Mok" types.

• Journal of Korean Medical Ki-Gong Academy
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• v.4 no.1
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• pp.43-65
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• 2000

• Journal of Korea Multimedia Society
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• v.14 no.12
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• pp.1613-1620
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• 2011

Roof structure of the traditional buildings in the Northeast Asia region including Korea contains the most complicated and crucial components of the building and therefore the issues such as cost down, productivity and the attempt to combine the traditional building methodology with contemporary building technology turn out to be vital to the survival of the old yet disconnected traditional building industry. One of the distinctive modern building technologies is handling life-cycle building information by constructing virtual buildings using BIM, building information modeling tools. In this paper we follow a procedure to implement some of the design modules to be applied in BIM tools which are platforms for constructing virtual building models. We focus on Gong-po components namely the bracket-sets which are the essential part that connects the middle parts to the top parts (the roof structure) which are considered to be the most elaborate parts of the traditional buildings. The target building to work with in this paper is the Sung-Rye-Moon which has special cultural and social meanings nowadays and we tested our understanding and the design modules such as the bracket-sets by constructing a virtual building model of Sung-Rye-Moon.

• Journal of the Korean Society of Costume
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• v.4
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.

• Proceedings of the Materials Research Society of Korea Conference
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• 2010.05a
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• pp.5.2-5.2
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• 2010

인체 경조직인 뼈와 치아는 콜라겐 단백질과 인산칼슘 무기질 성분으로 구성된 최적의 복합체라 볼 수 있다. 이러한 인산칼슘 무기질 성분은 결정학적, 화학적으로 hydroxyapatite (HA, Ca10(PO4)6(OH)2)와 거의 유사하여 높은 생체활성과 골전도성을 보이는 것으로 알려져 있다. 또한, hydroxyapatite의 고온 분해 산물로 볼 수 있는 tricalcuim phosphate(TCP, Ca3(PO4)2)는 체내에 이식시 체액에 용해되어 신생골을 유도하는 생체흡수성 세라믹스로 알려져있다. 이러한 HA와 TCP는 우수한 생체친화성에도 불구하고 기계적 특성이 낮아, non-load bearing 부위에 적용이 되어 다공질의 골수복재 용도로 활용되거나, load-bearing부위의 적용을 위한 금속 implant 등의 생체친화성 보완을 위한 표면 코팅재로 사용되고 있는 실정이다. 본 발표에서는 생체특성이 매우 우수한 인산칼슘 생체세라믹스의 load-bearing part 적용을 위하여 강도 및 파괴인성의 기계적 특성을 증진시킨 사례를 살펴보고, non-load bearing part에 실제 사용되는 인산칼슘 생체세라믹스의 다공질(porous) 골수복재(bone graft)의 역학 특성 증진을 위한 아이디어와 함께, 역학 특성이 매우 뛰어난 지르코니아 생체세라믹스의 강화-소결법에 대하여 소개하고자 한다.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.96-119
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• 2015

This research has studied the changes of Gwi-po(轉角包) by taking the cases of China's medieval wooden buildings as objects. The purpose of the study is to examine the time-periodic transition process of Gwi-po through the cases of 71 wooden buildings which were built from Tang(唐) dynasty(AD 618~690 & 705~907) until Jin(金) dynasty(AD 1115~1234) and also designated as 'Major Historical and Cultural Sites Protected at the National Level'. This research has taken note of various frame types of Jwau-dae(左右隊), which are architectural components of Gwi-po, to study the changes and development process of Gwi-po. The results are as follows. An important factor in the transformations of Gwi-po format is the changes in perception of the craftsmen about Jwau-dae, who took charge in the building process. In the early periods, the principles of Yidou sanshen dougong(一斗三升) in constructing ancons of Gwi-po had been well-maintained, while there appeared many different types of Gwi-po in later periods, due to the usage of Jwau-dae and $Shu{\check{a}}$ $t{\acute{o}}u$(?頭) in each Chulmok of Gwi-po. Transitional types of Gwi-po, which were evolved from the earlier ones, are divided into 3 categories by different forms of Jwau-dae, placed on odd number stages. The first one is 'none-$f{\bar{a}}ng$ $t{\acute{o}}u$(無枋頭) type' of Song(AD 960~1127, 1127~1279) and Liao dynasty(AD 907~1125) buildings, which doesn't have $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s, for the reason that Jwau-dae(左右隊) is in direct contact with Gwihan-dae(耳限大). The second one is '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' of Song(AD 960~1127, 1127~1279) and Jin dynasty(AD 1115~1234), that has $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s of Jwau-dae(左右隊) identical to $Shu{\check{a}}$ $t{\acute{o}}u$(?頭) in form. The last one is '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' of Jin(AD 1115~1234) and Yuan dynasty(AD 1271~1368), which has $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s of Jwau-dae identical to $Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) in form. The earlier forms of Gwi-po, which appeared between Tang dynasty(AD 618~690 & 705~907) and Five Dynasties periods(907~960) went through transitional forms of 'non-$f{\bar{a}}ng$ $t{\acute{o}}u$(無枋頭) type', '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' and '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' and finally had its form settled between Yuan(元, AD 1271~1368) and Ming(明. AD 1368~1644) dynasty periods. In Liao(遼) dynasty period(AD 907~1125), as the buildings got bigger and the tendency of longer eave-exposure was implemented, there grew a certain need to structurally reinforce Gwi-po, on which load of the whole roof is concentrated. Especially, the transition from Tōuxīn $z{\grave{a}}o$(偸心造) style to Jì xīn $z{\grave{a}}o$(計心造) style in this period had a great influence on standardization of Gwi-po, along with None-${\acute{A}}ng$(無仰) style. Furthermore, Wing-type Gong(翼型?), which developed in Liao dynasty(AD 907~1125), is also thought to have had a great influence on the transition from Tōuxīn $z{\grave{a}}o$(偸心造) style to Jì xīn $z{\grave{a}}o$(計心造) style by changing the forms of Gongs(?), such as Gwi-po. However, unlike None-${\acute{A}}ng$(無仰) style, there occurred a gradual change from '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' to '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' of Gwi-po in $Xi{\grave{a}}$ ${\acute{a}}ng$ style.

• Proceedings of the Materials Research Society of Korea Conference
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• 2009.11a
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• pp.42.2-42.2
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• 2009

인체의 치아 및 뼈는 무기질 성분과 단백질로 구성되어 있다. 생체세라믹스의 일종인 수산화아파타이트(Hydroxyapatite, HA; $Ca_{10}(PO_4)_6(OH)_2$)는 결정학적, 화학적으로뼈의 무기질 성분과 거의 유사하여 실제 체내에 들어가면 주위 뼈와 화학적 반응을 하여 단단한 결합을 이루는 생체활성(bioactive)을 가진 것으로 알려져 있다. 또한, 인산삼칼슘(Tri-Calcium Phosphate, TCP; $Ca_3(PO_4)_2$)은 체내에 이식 시 체액에 용해되어 신생골을 유도하는 생체흡수성(bioresorbable) 세라믹스로 알려져 있다. 상기 2종류를 포함한 인산칼슘계 화합물은 우수한 생체친화성에도 불구하고 역학 특성이 낮아, 하중을 거의 받지 않는 분야에만 사용되고 있는 실정이며, 하중을받는 분야(load-bearing part)에 적용하기 위해서는 고강도/고인성의 세라믹스와의 micro-composite이나 인산칼슘계화합물을 금속 표면에 코팅한 macro-composite의 형태로 사용되고 있다. 하중을 거의 받지 않는 분야, 예를 들어 치아 결손부를 보충할 dental shot과 같은 인산칼슘계 다공질 골충전재의 경우에도 취급 시 잘게 파손되는 문제점이 있어 치과의사들이 어려움을 호소하고 있는 실정이다. 본 연구에서는 HA, TCP의 역학특성을 증진시키고자 소결 공정 제어를 통하여 미세조직을 변화시켰으며, 미세조직 변화에 따른 세포반응성을 골포세포주를 이용하여 평가하였다.