• 건축역사연구
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• 제4권1호
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• pp.43-70
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• 1995

This paper aims to clarify the historical background and the architectural purpose of the buildings in NakSunJae area to the original state. Through the investigation, the clarified facts are as follows. 1. The relation with the buildings for the Crown Prince in the ChangDok Palace By constructing buildings in the NakSunJae area, the spatial conception of the Royal Palace was changed, that is, buildings for the Crown Prince in the ChangDok Palace disappeared and they became to belong to the ChangGyeong Palace. Moreover, by constructing the NakSunJae and its attached buildings, the area for the Crown Prince shifted to use as a private area for the king. 2. The date and the purpose of the construction The NakSunJae area is consisted of three compounds of building: NakSunJae, SukBokHun and SooKangJae. The NakSunJae was constructed for the king HunChong's private occupancy in 1847 and the SukBokHun for a residence of a royal concubine Kim, in 1847. The SooKangJae was originally built in 1785 in the SooKang Palace where the ex-king took up as his residence after abdicate the throne. Later on, it was repaired as the residence of the Queen SoonWon, king HunChong's grandmother, in commemoration for the 60th anniversary of her birth in 1848. 3. Architectural features of the NakSunJae area at the time of construction First, as the NakSunJae area is surrounded by quite high hills in northeast and by low hills in southwest, it is naturally distinguished from its surroundings and gives a cosy feeling. Second, the NakSunJae area shows very untrammeled style of arrangement in general, because it was constructed as a private occupancy for the king. other buildings are arranged in the latticing orderly, nonetheless, they are free by themselves from a strict form and make themselves an area full of variety. Third, the buildings in the NakSunJae area have a characteristic of naivety of common people's houses, because they were not an official but private place for the king, his concubine and his grandmother. Forth, the ornaments in the NakSunJae area are variously, elegantly and harmoniously patterned with the meaning of good luck. Fifth, back garden in the NakSunJae area was made by taking advantage of sloping hills. The back garden is beautifully configurated by arranging various constituent elements of pavilions, tiered flower beds, chimneys, decorated walls, small doors between walls, stoneworks and trees.

• 건축역사연구
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• 제3권1호
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• pp.101-122
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• 1994

This paper is one of the sequels from 'A Survey of Villages and Dwellings of Korean Immigrants in the North-Eastern Part of China'. It is the result of the extensive survey of Ch'ang-ts'ai-tsun village and covers several architectural characteristics of the dwellings. This paper alma to identify the 'double file' dwelling type, which is believed as one of the main stream of Korean folk dwelling. In this type, 'Chung-ju-kan' forms the central open space, where main household functions are carried out. This type originates from climatic reasons and functional reasons as well. This paper also aims to clarify how the dwelling forms are changed according to the life styles of various periods. The Korean immigrants in this village have experienced rapid changes in modern times like other Chinese. Through various political movements, the original dwelling type of this village has changed to adapt various needs and functions, which shows the simple truth : dwelling form changes according to the changes of life style and social structure. In this paper the directions of chimney through various periods are analyzed to verify the differences of the house layout methods and concepts of the time. The village had grown through 3 main periods before liberation period(1946), communization period(1946 - 1966) and contemporary period (1967 - ). It is concluded as follows: 1. The village was originated in late 19th century along the east-west street, which was a major routes of Korean Immigrants to China. In this area there was no regularity in its site plan. The direction of chimney, which was usually westward, was not determined according to the location of gate. This type was kept until liberization of this area, 1946. The plans of dwellings followed Ham-kyong-do 'double file' dwelling type, '6-kan dwelling' or '8-kan dwelling'. 2. The 'New Village' area, which was formed in the communization period, has a strict regularity in its site plan. The direction of chimney was determined as opposite direction of the gate. This method was maintained until 1976, when Mao died and new 'open' policy was held by Chinese government. In this area the 'dwelling house' plan type was not changed, but its layout and size were restricted. The general form of the dwelling in this village was shaped in this period. 3. The contemporary dwellings were built in random site location. The dwelling type was changed because of the reduction of family size and the permissin of private ownership. The number of rooms was reduced but the storage rooms and domestic animal hutches were added. But the 'Chung-ju-kan', the major chacteristics of north-eastern Korea dwelling is still kept. It becomes one large 'Chtin-ju-kan' room like 'open plan' type.

• 헤리티지:역사와 과학
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• 제49권1호
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• pp.120-145
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• 2016

건축문화재의 원형에 대한 이해는 보존 행위의 출발점으로서 매우 중요하다. 본고에서는 원형에 대한 이해를 몇 가지 유형으로 구분해보고, 이를 기반으로 하여 한국의 건축문화재 보존역사에서 특히 목조건축 문화재의 수리공사가 어떻게 진행되어 왔는지를 고찰해보고자 하였다. 한국은 일제강점기 일본인에 의해 수리가 시작되어 일본에서 수리공사 초기에 정립된 방법론의 영향을 직접적으로 받았다. 그 결과 '당초복원'이라고 하는 개념이 해방 이후까지 지속되었다. 한편 일본의 경우 1930년대를 전후하여 현상변경을 신중히 하는 방향으로 전환하면서, 수리공사에서의 조사연구가 강조되고 보고서의 발간이 체계화되었다. 한국의 경우에는 해방 이후 이러한 조사연구에 대한 인식부족과 수리보고서의 발간이 일반화되지 못한 채로, '당초복원'의 방식을 유지하여 형태 위주의 보존에 치중하는 결과를 낳았다. 이는 '유지보존'이라고 하는 방식의 공사에서도 재료의 교체가 일반화되는 결과를 낳았으며, 이러한 이유로 인해 한국의 건축문화재 보존에서 수리공사를 통해 형상은 보존되었으나 원상의 보존에 있어서는 의문이 남는다. 이러한 상황에서 국제적인 보존원칙과 한국적 상황을 고려한 건축문화재의 원형 보존에 대한 논의를 통해 원상의 보존에 대한 기준의 정립이 시급할 것으로 판단된다.

• 한국산학기술학회논문지
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• 제21권5호
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• pp.656-663
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• 2020

본 연구는 본격적인 작품이 이루어지는 1940년 전·후(탈리에신 웨스트를 기준)하여 라이트의 건축적 디자인 개념과 구성요소들이 어떻게 변화했는지를 조사·분석하였다. 분석 결과 라이트는 프뢰벨과 일본의 영향 외에도 고대 마야문명의 영향도 받았고 이를 탈리에신 웨스트 작업실을 시작하게 된 계기를 만들어 준 빌트모어 호텔에 직접 실현시켰다. 이후 라이트의 건축 디자인 구성요소들이 변화됨을 알 수 있었다. 특히 탈리에신 웨스트 작업실이 위치한 애리조나의 지역적 특성, 사막 기후를 고려했을 뿐 아니라 그 지역의 식물인 오코틸로 선인장 색인 체로키 레드를 자신의 상징적인 색으로 적용하였다. 그리고 1940년 이전과 비교하여 변화된 디자인 개념을 정리하면 1) 1940년 이전의 공간형성을 위한 정(방)방형의 모듈에서 이후에는 원과 나선형이라는 디자인 개념으로 변화하고 2) 단순히 수직성을 강조한 기둥의 형태가 다양한 모습으로 변화하였고 3) 라이트가 건축 초기 시절에 사용한 박공지붕이 1940년 이후에는 하늘을 향해 솟아나는 다양한 형태로 변화하였다. 이런 변화는 이전에 실현되지 못한 잠재된 자신의 다양한 경험들이 누적되어 나타난 결과임을 알 수 있었다.

• 한국전통조경학회지
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• 제28권2호
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• pp.98-108
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• 2010

본 연구의 목적은 한국에 있는 6 25전쟁 기념공간에 나타난 기념적 표현을 분석하는 것으로 기념공간에서 구현되는 기념의 내용, 공간적 특성, 도입요소, 조각 및 건축물의 특성에 대하여 분석하고, 이러한 분석결과를 토대로 하여 6 25전쟁 기념공간에 나타난 기념문화에 관하여 고찰하였다. 본 연구를 위해 한국에 있는 6 25전쟁과 관련된 현충시설 659개를 1차 검색하여 부지가 전적지이거나 전쟁과 관련된 장소성이 있으며, 외부공간이 조성된 17개소를 선정하고 현장조사를 시행하였으며, 설계도면, 사진, 기사 등 관련자료를 수집하여 분석에 활용하였다. 연구의 주요 결과는 다음과 같다. 1. 기념내용에 있어서는 희생자를 추모하고 전공을 기리며, 6 25전쟁의 경험 및 교육을 통하여 호국정신을 고양하는데 초점이 두어졌으며, 특히 전적지에 위치한 기념공간에서 이러한 경향이 강하게 나타나고 있다. 2. 부지의 입지여건과 전통적 공간인식에 따른 공간적 위계를 고려하였으며, 기념공간에서 요구되는 엄숙함을 얻기 위해 축적인 구성을 하고, 추모감과 전승감을 얻기 위해 중심축 상단에 기념탑이나 전시관과 같은 상징적 요소를 위치시켜 공간을 구성하는 방법을 취하였다. 3. 희생자를 추모하고 전공을 기리기 위한 기념비와 기념탑, 전쟁의 경험 및 교육을 통해 호국정신을 고양하기 위한 기념전시관 및 야외무기전시장, 그리고 참전국가의 명예를 고양하기 위한 국기가 주요한 요소로 도입되었다. 4. 영웅적인 전투장면을 묘사한 근대적 조각이 많았으나 양구전쟁기념관 및 유엔기념공원의 '추모명비'에서는 상징적이거나 추상적인 표현을 시도하는 현대적 기념공간의 경향을 보여주었다. 5. 기념문화에 있어서도 애국주의 및 이데올로기가 강조되고, 기념공간에 대한 관습적인 인식이 강하게 드러났으며, 일부의 조각가 및 설계가만 기념공간의 설계에 참여하였다. 향후 6 25전쟁 기념공간에 관한 미니멀리즘, 해체주의, 탈근대주의 등의 설계양식론 관점과 다른 전쟁메모리얼과 비교를 통한 통시적 관점(通時的 觀點)의 연구가 필요하다.

• 한국융합학회논문지
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• 제10권4호
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• pp.123-130
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• 2019

본 연구는 오늘날 대한민국 사회가 당면한 가장 심각한 문제인 고령화와 저출산 현상에 의한 미래 주거문화 계획에 관한 기초연구수행을 목표로 한다. 향후 주거문화는 핵가족화 현상과 1인 주거민의 증가로 오늘날 아파트로 대표되는 집합 주거형태가 아닌 여러 구성원을 가진 세대가 공존할 수 있는 '융합 집합주거문화'로 진전될 것이다. 이러한 관점에서 본 연구는 우리나라의 집합주거문화의 기초연구로서 오늘날 집합주거문화가 서구사회에서 수입되어 온 것이 아니라 우리나라에서도 일제강점기 당시 우리나라 최초의 부동산개발업자 정세권에 의해 한국형 집합주거문화가 이미 존재했음을 도시적 그리고 건축학적 관점에서 분석하였다. 20세기 초반에 정세권이 계획한 개량한옥은 기존의 한옥의 단점을 보완하며 한옥의 표준화와 같은 한옥의 물리적인 측면의 현대화의 가치도 있지만, 한옥 내부공간의 현대화는 한국형 집합주거문화의 시초라는 관점에서 큰 의의가 있다. 본 연구가 수행한 정세권의 개량한옥 주거단지는 향후 우리사회에 필요한 한국형 융합 집합주거 문화 계획에 있어 중요한 기초자료를 제공할 것으로 기대한다.

• 한국실내디자인학회논문집
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• 제19권4호
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• pp.11-21
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• 2010

The purpose of this study is to examine the design characteristic of the facade of the main adminstration building in university. The main administration building which is a basic of educational facilities has various administration setups, such as the register's office, the student affairs section, the planing department, the general affair's office and so on. This building performs academic, administration, facilities management, and admissions service. Also, the building has an ideological, historical, and symbolic image, having an organic relationships with the other educational facilities. This study choose one hundred seven universities, except universities that does not provide information easily and the second campus which does not have the main administration building, as the subjects of the study. The analysis is derived from the design elements applied to facade design of the main administration building and this is divided into design principles(balance symmetry, contrast, rhythm), the formal composition(geometrical, linear), and the style of architecture(classical architecture and modern architecture). The results of the research are summarized as follows: The design characteristic of the facade of the main adminstration building in university has chronologically changed. First of all, in the 1940's, symmetry emphasized on the center of building, superimposition, division, pediment, and arch were marked. Then, superimposition was prominent in the 1950's and symmetry emphasized on the center of building was shown in the 1960s again. Flat roof was in the 1970's, 1990s and 2000's. Finally, pediment was dominant in the 1980's. The design elements of the main administration building can be samples of chronological styles of architecture. Facade design, with proper design of the past and recent times, includes the meaning that achieve the great purpose of the university by emphasizing visual images.

• 한국실내디자인학회논문집
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• 제13호
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• pp.187-196
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• 1997

A Study on the Characteristics of the Modern Chair Design The features of the modern chair design results from the diverse life style unfolded as per the 20th century social structure and the change of the residential space, and new design has been being developed by the scientists and the artists in various fields through their cooperated work in a way. The field of the scientific or technical study and creation of arts can be developed where they can evoke the sympathy in the circumstances under which the various styles of both arts and science meet across, complement crash together, and grow up. The operation which can control in the network of such pluralistic sphere has been needed for a long period and it has been facing the needs from a time and society. The engineering furniture as the counterplan of the above has brought the value of materials into relief to the forms of human life by making the properties of matter the maximum value or changing it. It can be summarized as following characteristics in its materials and forms along as well as the 3 types (handycrafty, mechanical, and ecological expression) in process through the 20th century. 1. Characteristics in Materials elasticity of the chair as per the changes of the flexibility in the steel pipe development of systematic chair using the plasticity of the plywood, plastic, and wire lightweight due to the materials such as aluminum. 2. Formative characteristics formative simplicity for the increase of the function and the quality improvement such as sociality, productivity, environmental and aesthetic nature emphasis on the structure as per the architectural environment and tecniques pursuit of the forms as a container of the human body seeking for the formative values as the cultural symbols coping with the needs from thepluralistic social structure Furniture is not the makeup for convenience sake but most importantexpression as necessaries of our environments. It should identify itself always as per these kind of needs and also it should be able to used to keep the relation of such mutual division, otherwise the purchase of new furniture should be necessary according to every change of the existing situatiov. Our residence doesn't need the specific style but expresses only the properties of the dwellers.

• 한국산학기술학회논문지
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• 제14권6호
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• pp.3061-3067
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• 2013

본 논문은 제2차 세계대전 이후 미국 캘리포니아에서 전개된 케이스 스터디 하우스(CSH) 프로그램을 대상으로 유럽에서 시작된 근대주택의 개념이 미국화되어 가는 과정을 파악하고 그 건축적 특징을 제시하고자 한다. CSH 프로그램은 미국식 근대주택의 개념이 설정되어 가는 과정에서 선도적인 기여를 한 것으로 이해되지만, 동시에 실행과정의 한계때문에 공공사업으로 확대되지 못하고 소규모의 실험적 프로젝트로 한정되었다. CSH프로그램의 실행단계에서 가장 큰 난제는 주택시장의 유통과정에서 효과적으로 대응하지 못하고 가격경쟁력을 잃어버린 점이다. 하지만, 유럽의 근대건축을 수용하고 발전시켜 미국식 실용주의에 근거한 독자적인 건축양식으로, 그리고 미국 근대건축의 원형(prototype)으로 이해될 수 있도록 했다는 측면에서 CSH 프로그램의 중요성은 높게 평가받아야 한다. CSH 주택들은 유럽 근대주의의 연장선상에서 실용주의를 기반으로 한 미국식 근대주택의 개념을 대변하는 위치에 있다.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.165-172
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• 2005

Cubism is a style that led the way to proclaim a new era of 20th century's art and contemporarily had an influence on several trends of thoughts. Geographically it formed Czech Cubism exerting an effect upon thoughts and plastic art of the progressive art group which showed activity around Prague, Czech in 1911, later for 10 years, it was developed as an unique form of which origin cannot be traced inside and outside Europe and expressed its own plastic art world in craft, furniture, painting, architecture, etc. The object of this study is to pull out the expressive characteristics showed especially in furniture design among Czech Cubism around interrelationship with painting, craft and architecture. The scope of study is to bring out the characteristics about the examples which 7 designers such as Josef Gocar, Pavel Janak, etc., who were representative designers of furniture design of Czech Cubism for 15 years from 1910 to 1925. The method of study is to investigate the origin of Czech Cubism by means of primitive elements of Africa, traces of Islamic architectures, and Czech traditional architectural motive, and the development process of Czech Cubism was arranged around the artist and exhibitions which led this current. After being synthesized the characteristics showed in painting, craft, architecture of Czech Cubism on the basis of the result of this study, the expressive characteristics of furniture design of Czech Cubism were brought out. As a result, the expressive characteristics of furniture design of Czech cubism are indicated in a large way as follow; 1) symbolic characteristic based on primitive plastic art, 2) dynamic characteristic by dividing form, 3) ethnic decorative characteristic combined with national motive. The significance of furniture design of Czech Cubism is not only to accept positively and digest the progressive trend of modern art, that is to say, Paris Cubism but also to succeed in recreate it in its own national style, to play a role to offer another motive to post modern design development at the end of 20th century and by means of these examples to provide the necessity and the base of more profound study in the future.