• Korean Architects
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• s.525
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• pp.72-77
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• 2013

• Korean Architects
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• s.528
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• pp.80-84
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• 2013

• Korean Architects
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• s.545
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• pp.86-91
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• 2014

• Korean Architects
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• s.619
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• pp.182-183
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• 2020

• Journal of architectural history
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• v.27 no.2
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• pp.113-124
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• 2018

This study investigates the relationship of two architectures 'Kim Sa-haeng' and 'Park Ja-cheong.' They were the architects whose architecture were established and well known however they were not acknowledged by the people. Because they were not revealed under the large-scale national construction in complicated circumstances at home and abroad. The results were as follows; First, Kim Sa-haeng who was an overseas architect in Yuan dynasty stood out in all areas of architecture. Particularly in making royal tombs; His works were recognized as the most beautiful royal tombs ever existed and was later on followed by the Joseon dynasty. Second, Park completed the construction of Joseon's by faithfully reflecting on the discussed process of Neo-Confucian while coming after the time of the construction of Kim Sa-haeng. Third, although Kim Sa-haeng was a vassal of the Buddhist nation in Goryeo, he built the Moon-myo, a Confucian inspired temple of Joseon. Park Ja-cheong, who continued to build Kim Sa-haeng's architecture, reproduced Kim Sa-haeng's confucian's temple of Joseon dynasty while modifying it according to the situation in Joseon dynasty. The constructions of the two architects' monuments continues unabatedly. Their architecture has continued without massive changes.

• Journal of the Korean Institute of Educational Facilities
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• v.26 no.4
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• pp.17-22
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• 2019

• Journal of architectural history
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• v.25 no.4
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• pp.19-29
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• 2016

This study is based on the 15th century's architecture Mohwagwan and Taepyeonggwan and the architects behind it. The results were as follows: First, inline with Ming dynasty's protocol, the King of Joseon marched with honor guard in front of his people. Therefore, the Joseon dynasty needed to match space was implemented and result in Mohwagwan and Taepyeonggwan. Second, King Taejong founded Mohwaru to share the role with Taepyeonggwan. He appropriately utilized Mohwaru as a place in manners before people enter the Seoul city wall. And He organized this architecture on the level of the palace. Third, Pak Jacheong was overseer the whole constructive process, from the selection of site, landscaping, construction, maintenance to civil engineering of Mohwaru. There are many difficulties, but he completed through the construction work owing to the protection of King Taejong. Forth, Hong Li worked with Pak Jacheong to build Taepyeonggwan and Mohwagwan from Taejong to Sejong. Supervisors in King Sejong times were required not only private capability but also understanding the Confucianism ritual. Hong Li was faithfully performed the role. Fifth, Sejong was recognized only an excellent ruler but he was also a great coordinator with a professional knowledge about architecture. These Sejong's action fully can be seen as an architect.

• 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 Architectural Institute of Korea Planning & Design
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• v.34 no.10
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• pp.119-130
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• 2018

In the late 1950s, departing from their unquestioning following of Soviet architecture, North Koreans attempted to discover the specificities of traditional Korean architecture and apply them to their contemporary monuments. This paper examines the ways in which North Korean architects developed their unique version of Socialist realism in the making of Pyongyang Grand Theater. The traditional elements in harmony with North Korea's political ideology-an early form of Juche ideology-and modern building technologies were to be viewed as contemporary elements, and not as a simple revival of the past. This study applies Socialist realism's compositional principle "national in form and socialist in content" to Pyongyang Grand Theater and examines specifically what "socialist content" and "national form" were and how the two were combined in the construction of Pyongyang Grand Theater. By situating the building in the context of localization of Socialist realism which is universal art principle of the communist world, this study contributes to the deeper and wider understanding of North Korea's Modern Joseon Architecture.

• Journal of architectural history
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• v.20 no.6
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• pp.131-146
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• 2011

The purpose of this study is to understand the architectural space of Chimjeon (寢殿), the King's Bedroom, and Backyard, in the early Joseon Dynasty. The Royal palace can be divided into three parts, political space for King, living space for King and his family and government office. So first, we should to understand the characteristics of each space in the Royal Palace. Up to now we have looked at the architectural space of the King's Bedroom in the central area and Backyard in Gyeongbokgung (景福宮), one of the Royal Palace, the result of this study is as followings. Cheonchujeon (千秋殿) and Manchunjeon (萬春殿) were not both sides of Sajeongjeon (思政殿), were on the north side of Gangnyeongjeon (康寧殿) Gangnyeongjeon was not a bedroom for the King and Queen, only for King. Bedroom for Queen was located another space in the Royal palace. There was Hamwonjeon on the west side of Koytaejeon. Jamidang and Cheongyeonroo were on the right side of Koytaejeon The Backyard on the north side of Gyeongbokgung had a wide area for horseback archery and the practice of battle formation The arrangement of the King's bedroom in the central area was assumed like as the Fig 7. and Fig 8.