• 건축역사연구
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• 제12권1호
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• pp.7-24
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• 2003

Considering on the crisis and dilemma of monumentality in Modern architecture, this study analyse the historic reason of decay and new possibility of monumentality within the context of contemporary socio-cultural context. Historically monumentality has been considered as a main substance of High architecture in e tradition of Western Architecture. Difference between building and architecture mainly lies in monumentality which brings about esthetic quality. Usually architects take it granted that the physical and formal characteristics automatically cause the monumentality, But since the modem period the decline of communicative and representative function of architecture made this belief questionable. As Monumentality itself faced the dilemma with the modernity, ironically architects has to response to the task to handle the increasing social demands of monumental building. This study firstly shows the dilemma of monumentality in depth in case of the holocaust museum. Then we analyse the concept of monumentality itself by means of theoretical view of A. Loos and A Riegl We also analyse the change of role which monumental building played in history. Cultural and social change of context, and fundamental change of architecture old way of building a monument impossible. In conclusion this study proposes the new concept and searches new horizon of monumentality with a finding of the otherness of monumentality. Conventional monumental building language has to give way to new approaches. With some examples we already can find a new possibility.

• Structural Monitoring and Maintenance
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• 제1권2호
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• pp.231-247
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• 2014

This paper focuses on the dynamic behaviour of Mirandola City Hall (a XV century Renaissance Palace) that was severely damaged during May 2012 Emilia earthquake in Northern Italy. Experimental investigations have been carried out on this monumental building. Firstly, detailed investigations have been carried out to identify the identification of the geometry of the main constructional parts as well as the mechanical features of the constituting materials of the palace. Then, Ambient Vibration Tests (AVT) have been applied, for the detection of the main dynamic features. Three output-only identification methods have been compared: (i) the Frequency Domain Decomposition, (ii) the Random Decrement (RD) and the (iii) Eigensystem Realization Algorithm (ERA). The modal parameters of the Palace were difficult to be identified due to the severe structural damage; however the two bending modes in the perpendicular directions were identified. The comparison of the three experimental techniques showed a good agreement confirming the reliability of the three identification methods.

• 건축역사연구
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• 제21권1호
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• pp.135-154
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• 2012

The goal of this paper is to analyze the Freedom Center Apacle in Seoul designed by Kin Soo Geun who was a leading architect in Korean Modern architecture. Freedom Center was built in 1963, that was the largest monumental building to support military regime during cold war period in Korea. This paper deals with historical background of construction of Freedom Center and its characteristics compared to similar monumental buildings, especially Corbusier's Chandigar and Kenzo Tange's Hiroshima Peace Center. The Monumentality in Freedom Center came from the reference to these two buildings and its site plan. This paper tried to show how similar the layout of buildings between the Freedom Center and Peace Center. The origin of the sublime aura in Tange's linear layout of Peace Center is from Japanese Famous Shrine(Jinku). Kim translated it to serve the ideological purpose to protect from socialist regime in the name of freedom. Its over-scaled roof and weak contents showed Freedom center was a kind of theaterical setting belong to formalist building. But in spite of its symbolic and representational gesture its also had a architectonic physical quality to make it a monument. The change and duration in time testified the autonomous power of architecture in Freedom Center. Freedom Center was also important for using the exposed concrete and its superior finish. It was influenced not from western way of Benton Brut which was usually called New Brutalism but Japanese way of treating expose concrete. In spite of its limits Freedom center achieved new trend and sensibility in Korean Modern Architecture.

• 대한건축학회논문집:계획계
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• 제35권4호
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• pp.115-126
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• 2019

Construction of the Pyongyang Railroad Station began in 1907 as an important foothold for the Japanese colonization of the Korean Peninsula and the further invasion of Manchuria. As Pyongyang gradually grew in size and political significance, the Pyongyang Station came to have two responsibilities: Fulfill its functional role and serve as a monument to the growing dignity of the city. This study argues that the Pyongyang Station, newly rebuilt in 1958, was the first building to solve the demands for both functional expansion and the pursuit of monumentality. Stylistically, the original single-story wooden building became a three-story classical masonry building. The stylistic change symbolizes the political shift by which the building was reconstructed. The simple wooden building built by the Japanese, representing Pyongyang's status as a colonial provincial town, was transformed into an imposing gateway for the capital city of a newly born socialist state. Socialist Realism, correctly described by its slogan "socialist in content and national in form," harmoniously blended classical architecture, socialist symbols, and Korean local motifs. This study is significant in that it illustrates the historical changes and continuity of the Pyongyang Station from 1907, when it was first built, through the "liberated space" to the postwar reconstruction period of the 1950s.

• 문화기술의 융합
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• 제6권2호
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• pp.473-479
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• 2020

21세기에 접어들어 정형화된 건축물에서 비정형 건축물이 눈에 띄게 건설되기 시작하였다. 이제 '기념비적인 건축물은 비정형 건축물이다.'라는 정의가 성립되기에 이르렀다. 전 세계적으로 비정형 건축물은 도시의 랜드마크가 되었고 비정형 건축물이 건물의 가치를 상승시키는 하나의 요소로 자리 매김한 현재, 보다 효율적인 방법으로 설계할 수 있는 프로세스에 대한 고찰이 요구되었다. 그래서 국내 비정형 건축물의 대표인 'Zaha Hadid'의 '동대문 디자인 플라자' (DDP)의 설계프로세스를 실례로 설계프로세스를 고찰함으로써 컨셉 단계의 설계와 실질적 설계단계에서의 BIM(Building Information Modeling) 설계의 상관관계를 고찰함으로써 향후 지속적인 비정형 설계프로세스의 접근방법을 모색하고자 이 논문을 작성하였다.

• 한국조경학회지
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• 제45권6호
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• pp.160-170
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• 2017

현관식 기념 건축물로 축조하는 패방은 정표와 장려의 기능을 가지고 있다. 시대의 발전에 따라 더 많은 역사 문화적인 내용 및 사회 기능이 부여된다. 본 연구는 타이산 명승지 중부에 위치한 홍문궁의 4기 패방을 대상으로 문헌연구와 현장조사 및 시각적 분석 방법을 통해 기본 속성, 공간 척도와 공간 느낌, 기능 등 3가지 측면을 연구하였다. 연구 구간 안에 있는 패방의 재료는 모두 석조이며, 건조 위치에 따라 명승지 및 사찰의 패방 등의 2종과 기능에 따라 표지, 기념, 문형 등 3종이 있다. 형태와 크기를 보면 '공자등림처방(孔子登臨處坊)'이라는 패방의 수준이 가장 높아 유교 문화의 지위를 중요시하였음을 알 수 있다. 패방의 입지 공간은 실체와 감성 등 2가지 측면으로 상호 작용을 통해 이해하면 전체 경관의 공간적 의미를 완전하게 파악할 수 있다. 공간 척도로 볼 때 패방은 다른 경관요소와 서로 조화를 이루고, 한정된 선형 공간 중 사물 간 또는 사물과 사람 간 상호 비교를 통해 패방의 시선 초점 기능을 강조하고, 관광객들이 패방 아래를 통과할 때의 느낌을 증진시킬 수 있다. 홍문궁 패방은 공간을 합치고 규정하는 기능을 가지고 있다. 배열방식이 시선을 더욱 뻗어 나갈 수 있게 한다. 패방 위에 있는 대련과 글씨는 등산 전의 기대감을 증가시키고, 공간의 안내 기능을 강화시킨다.

• 헤리티지:역사와 과학
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• 제42권4호
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• pp.20-49
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• 2009

본 논문은 조선 초 중기, 조선후기, 대한제국기 세 시기로 나누어 조선왕릉에 건립된 신도비와 표석의 시기별 건립추이와 양식적 특징에 대해 살펴본 것이다. 그 결과 왕실 능비(신도비와 표석)는 일반 사대부가와 달리 건립한 시기와 주체, 후계왕의 의도에 따라 시기별 차이를 보이며 제작되었음을 알 수 있었다. 구체적으로 15~17세기는 왕릉 신도비의 건립과 재건이 이루어진 시기, 18세기는 신도비가 표석으로 대치되어 다수 건립되었고 국왕의 어필을 직접 돌에 새긴 어필비가 처음으로 등장한 시기이며 대한제국기는 황제국으로 격상됨에 따라 조선 개국자인 태조와 왕후, 선조들에 대한 추숭(追崇) 사업이 활발해지면서 표석 중건이 이루어진 시기로 요약할 수 있다. 이러한 결과를 토대로 본다면, 결국 우리나라 능비의 역사는 조선후기를 기점으로 형성된 것이라고 해도 큰 무리가 없을 것이다. 왕릉 신도비의 형식은 삼국시대의 부정형한 석비의 초보적인 형태에서 벗어나'귀부이수'형의 당비(唐碑) 형식을 수용한 통일신라시대를 거쳐 고려 말 탑비의 퇴화된 양식에서 기원을 찾아볼 수 있다. 15세기 건립 당시부터 선왕에 대한 숭모 예를 표현하고자 하는 국왕과 왕의 치적이 국사(國史)에 모두 기록되어 있으므로 신도비를 별도로 세울 필요가 없다는 신료들의 입장이 대치되면서 건원릉 제릉 헌릉 구 영릉 4곳에만 건립된 채 왕릉에는 한동안 석비가 건립되지 않았다. 신도비 건립이 중단된 이후 17세기에 이르러 왕릉에 아무런 표(表)를 해 둘 수 없다는 의견이 제기됨에 따라 형식이 간소한 표석이 건립되기 시작했으며, 1682년 작 영릉(寧陵)의 표석은 최초로 왕릉에 건립된 표석이자 장대한 규모, 섬세한 조각기법을 보여주는 의미 있는 작품이라고 할 수 있다. 왕릉의 능표는 영조 재위 기간인 1740년대부터 대규모로 건립되었다. 열성(列聖)에 대한 추숭과 어필간행 등을 통해 자신의 왕위 계승의 전통성을 공표하고자 했던 영조는 제릉의 신도비를 재건하는 한편, 의릉(懿陵)을 비롯하여 총 20곳에 달하는 곳에 표석을 세우는 역사(役事)를 추진했고, 처음 친필 글씨를 돌에 새긴 어필비를 제작하기에 이르렀다. 이 시기 어필비 제작 현상은 임진왜란과 병자호란 후 소실된 어필을 보존하려 한 숙종의 신념을 계승한 영조에 의해 제도적으로 추진되면서 어필을 새긴 능비가 등장한 배경과 밀접한 연관이 있기 때문에 시대사적으로 주목할만하다. 이러한 표석은 1897년 고종이 대한제국을 선포하면서 다시 한번 다량 제작된 시기를 맞이하게 된다. 특히 고종은 대한제국의 정통성을 태조의 조선 건국에 두고 태조와 그 4대 선조에 대한 추숭과 기념물 제작에 심혈을 기울였고 전면과 후면 모두 자신의 글씨로 채움으로써 역대 어느 왕보다 통치자로서 권한을 상징적으로 드러내었다. 이상 언급한 왕릉의 신도비와 표석의 건립 추이는 동시대 원 묘에 건립된 신도비, 표석과 비교 고찰을 통해 시대별 특징과 왕실 조각품으로서 성격이 더욱 명확하게 드러날 것으로 생각한다.

• 한국실내디자인학회논문집
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• 제17권2호
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• pp.47-55
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• 2008

This paper attempted to analyze the Sainte-Chapelle(1242-48) in Paris in terms of Gottfried Semper's theory of four elements. For this aim, this study was divided into two parts: the first part regarding Semper's theory, which included not only the theories of four elements and four technical arts but also the concepts of the two types of primitive dwellings; the second part regarding the Sainte-Chapelle, composed of the overall study and the characteristics of the building and finally the analysis of it in terms of Semper's theory. The Sainte-Chapelle was regarded as a real example of Semper's four elements, in that the building was composed of a sacred altar containing Christ's earthly relics, stereotomic bases made of stone, a tectonic structure featuring linearity, and textile stained glass as an elaborate enclosure. While the bases and the structure were employed as serving elements, the altar and the stained glass played critical roles to make a whole space immaterial and monumental. These two elements served to reveal not only biblical typology but also the religious and political vision of Saint Louis to establish Paris is as a new Holy Land.

• Earthquakes and Structures
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• 제11권2호
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• pp.195-215
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• 2016

Rehabilitation of historical unreinforced masonry (URM) buildings is a priority in many parts of the world, since those buildings are a living part of history and a testament of human achievement of the era of their construction. Many of these buildings are still operational; comprising brittle materials with no reinforcements, with spatially distributed mass and stiffness, they are not encompassed by current seismic assessment procedures that have been developed for other structural types. To facilitate the difficult task of selecting a proper rehabilitation strategy - often restricted by international treaties for non-invasiveness and reversibility of the intervention - and given the practical requirements for the buildings' intended reuse, this paper presents a practical procedure for assessment of seismic demands of URM buildings - mainly historical constructions that lack a well-defined diaphragm action. A key ingredient of the method is approximation of the spatial shape of lateral translation, ${\Phi}$, that the building assumes when subjected to a uniform field of lateral acceleration. Using ${\Phi}$ as a 3-D shape function, the dynamic response of the system is evaluated, using the concepts of SDOF approximation of continuous systems. This enables determination of the envelope of the developed deformations and the tendency for deformation and damage localization throughout the examined building for a given design earthquake scenario. Deformation demands are specified in terms of relative drift ratios referring to the in-plane and the out-of-plane seismic response of the building's structural elements. Drift ratio demands are compared with drift capacities associated with predefined performance limits. The accuracy of the introduced procedure is evaluated through (a) comparison of the response profiles with those obtained from detailed time-history dynamic analysis using a suite of ten strong ground motion records, five of which with near-field characteristics, and (b) evaluation of the performance assessment results with observations reported in reconnaissance reports of the field performance of two neoclassical torsionally-sensitive historical buildings, located in Thessaloniki, Greece, which survived a major earthquake in the past.

• 건축역사연구
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• 제32권5호
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• pp.21-30
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• 2023

The study aims to analyze the geometric characteristics of the pointed arches proposed by Al-Kāshī in his book "Miftāḥ al-Ḥisāb" (Key of Arithmetic) and investigate their planning principles, architectural application, and typological characteristics. Al-Kāshī completed this significant work in 1427 and dedicated it to Ulugh Beg, a Timurid Sultan in Samarkand. In the ninth chapter, titled "Al-'Imārāt wa al-Abnīya" (Amīr's Mansion and Building), Al-Kāshī sought to measure the surface areas and volumes of barrel vaults (Azaj) and domes (Qubba). To achieve this, he proposed five kinds of pointed arches (Ṭāq) and analyzed their drawing methods and composition principles. The Īwān and Qubba structures, which are curved architectural elements, hold significant importance in Islamic architecture. However, previous research has predominantly focused on comparing the drawings in Al-Kāshī's book with historical buildings, neglecting the inherent characteristics of the drawings themselves. This study intends to contribute to a deeper understanding of Al-Kāshī's remarkable work and shed light on the geometric aspects of monumental structures in the Timurid Period.