• 건축역사연구
• /
• 제20권2호
• /
• pp.39-54
• /
• 2011

The Bunhuangsa stone pagoda, constructed in AD. 634, National Treasure no. 30, has been named as 'brick-copied pagoda' since the Japanese-ruling period by scholars. It is said that the Chinese brick pagoda was its precedent model, however the Bunhuangsa Pagoda is the oldest of all the Chinese-style brick pagodas except one, the Sungaksa Pagoda. The Chinese pagoda cannot have been a precedent model to copy due to its complex detail of wood vestige, as the Bunhuangsa pagoda is simple form without ornament. Domestic brick pagodas cannot have been a precedent model to copy as well, because all the domestic brick pagodas are younger than the Bunhuangsa Pagoda. Therefore, the terminology 'brick-copied pagoda' is a fallacy; it is rather that later brick pagoda copied the precedent the Bunhuangsa stone pagoda. The Bunhuangsa Pagoda is simply a piled-up pagoda of thick or thin, big or small slates of stone, facing only one smooth side and therefore needing nothing to relate to brick. The originality of the pagoda is more related to simple piled-up Indian stone stupa rather than Chinese brick pagoda. The roof form of its gradually stepped projection comes from the harmika of the summit of Indian stupa. Contrary to general history, old Silla Dynasty imported Buddhism directly from India by sea. From written national history and by temple foundation history, the Indian Buddhism evangelist possibly made influence to the erecting of temple and pagoda. The original wrong terminology has made a harmful effect gradually to the naming of mass-styled stone pagoda of only carved stepped-roof form after brick-copied pagoda. The false term 'brick-copied pagoda' should be discarded, which comes with superficial observation based on toadyism to China and colonialism to Japan. Instead of the fallacious term, this paper suggests multi-storied 'piled-up pagoda with slate stone.'

• 건축역사연구
• /
• 제29권5호
• /
• pp.63-78
• /
• 2020

Jeongamsa Sumano Stupa(Korean National Treasure No. 332) is a brick like stone stupa and it is considered that this stupa was built in the Later Silla period or in the early part of the Koryo period, considering its structure and style. This Buddhist stupa is highly significant in Korean Buddhism since it was built to enshrine Buddhist sarira reliquaries that 'Jajang' brought from China in the 7th century, according to the 『Overlooked Historical Records of the Three Korean Kingdoms, 『三國遺事』』. However, the stupa was positioned at the very unique location. It was positioned not at the center of Jeongamsa Temple, but at the separate edifice. The location of Jeongamsa Sumano Stupa indicates that this stupa embodies the nature of Mahaparinirvana treasure palaces and that this stupa was recognized as a solemn symbol, which reflected a sarira faith. Jeongamsa Sumano Stupa is the only brick stone stupa built in Gangwon province. It is worth noticing that this stupa was mostly made of dolostones, found around this region, and thereby regional characteristics were reflected in this stupa. The other interesting fact about Jeongamsa Sumano Stupa is that there are many records available which include information about stupa's reconstruction, considering that there aren't many records of other stupas. The most representative records are 5 pieces of memorial stones which include information about when and on what ground the stupa was reconstructed as well as information about originators of the stupa. In conclusion, Jeongamsa Sumano Stupar could be regarded as the academically valuable material since it is considered very important and helpful for understanding not only the history of Korean Buddhist stupas, but also so many other things such as construction techniques, styles of brick pagoda and brick stone stupa, and such.

• 건축역사연구
• /
• 제20권5호
• /
• pp.81-94
• /
• 2011

Buddhism that has arisen in India began to build the Stupa to enshrine body and Sari of Buddha as an object of worship. The stupa existed as a tome of holy leaders even before the birth of Buddha, which was called stupa or tupa in the Sanskrit and the Pali, the ancient language of India. The stupa was renamed accordingly in each Buddhism transmitted countries such as Ceylon, Tibet, Nepal, Myanmar, Thailand and China and also reshaped according to their own formative style. But its original meaning and type are kept unchanged. The stupa was established in the 4 holy places including the birth place of Buddha, the place where Buddha found enlightenment, the place where Buddha preached for the first time, and the place where Buddha died. Thus, a pagoda to commemorate holy ancient places is called Chaitya, which became differentiated from the stupa in which Sari is enshrined. The stupa means Nirvana, the eternal body of Buddha, and also a place filled with teaching and preaching of Buddhism. It signifies the symbol of Buddha who escaped from the death and rebirth, to achieve complete extinction, i.e. parinirvana, and to reach ultimate eternal world, rather than simply means death. During the non-statue of th Buddha period, people built the stupa to embody Nirvana of the Buddha, and worshipped the tomb where body of holy saints was enshrined. On the other hand, they also sanctified memorial things such as tools that holy saints used, the Bo tree under which one achieved Nirvana, Dharma cakra that implied words, footprint that carried out mission work, and a way to reach to heaven.

• 건축역사연구
• /
• 제28권6호
• /
• pp.77-85
• /
• 2019

The Fisher House, the first Korean Legation in the USA was located at 1513 O Street in Washington, D.C. This house was a three-story brick building with a height of 12.2m(8.84m up to the eaves) and a mansard roof. Facing the street, it is 7.32m (24 feet) wide and 23.6m(77.4 feet) depth. There is a long hallway after the entrance and a parlor with a grand fireplace next to it. This long hallway leads to a central hallway with another fireplace and a central staircase connecting the 2nd and 3rd floors. After the stairs a dining room is with a fireplace in the middle, which then leads to a pantry for dishes and the kitchen. It can also be argued that The Fisher House was the first Western-style residence for Koreans who were officially dispatched from the government. On the other hand, when living in The Fisher House, Park Jung-yang, who was sent on the three premises of the Yeonjak, directly experienced how the United States sought independence from the U.K. through the Declaration of Independence, Mount Vernon, the Washington monument, the Arlington National Cemetery, and battlefields. Even though he was summoned back to Korea by China in less than a year, Park Jung-yang actively supported the independence movement when he became acting prime minister in 1896. In this regard, The Fisher House arguably is the birthplace of Korea's independence movement.

• KIEAE Journal
• /
• 제13권5호
• /
• pp.51-57
• /
• 2013

Energy saving starts by knowing how much energy is being consumed. A building factor is easier than any other things in energy saving. Since, especially, it is closely connected with user's space-use-patterns and manager's utility-operation-style. An energy metering system lets building users know about energy consumption pattern in buildings and measure energy in real time. Development and materialization of metering systems need more careful plans, so that they depend on a demand of individual facilities and available infrastructures they used to use. But, so far, there is no guidelines how to install metering systems. This paper suggested how to install meters and researched a method for how to analyze by using metered data. For that, Green Building in KIER is used as a test bed. As the results, nevertheless the smallest number of meters is basically one for the whole building energy measuring, it is too limited in analysis. So we needed to add the sort of fuel and utility types and found that it depends on all cases. For this reasons, a guideline should be created in order to install meters as soon as possible. It would be suggest a way to save more energy in building factor.

• 건축역사연구
• /
• 제21권6호
• /
• pp.19-34
• /
• 2012

This paper focuses on the spatial analysis of traditional houses in Huizhou during the Ming and Qing period in China. It first reviews the spatial characteristics of the houses in Huizhou. Typical configurations, spatial elements and spatial compositions of the houses are briefly examined. It then discusses how those spatial characteristics are applied to the houses. To do so, the review of existing research and literature on the houses was conducted. For a detailed analysis of the houses, a field survey was performed to collect research materials of the houses and to assess the application of the characteristics in the houses. At times, the plans of the houses were redrawn for a further analysis of the spatial compositions of the houses. Attempts have been made to understand the underlying principles of their spatial organization. For example, Jin (2010) examined the spatial organization of unit plans. Boyd (1989), Berliner (2003) and Dan (2005) similarly categorized the organizational typology of its varying designs. Son(1995) further interpreted the spatial relations of the variety of houses in a comprehensive manner. Nevertheless, their analytic methodology falls short of a complete explanation of the spatial expansion and transformation in the houses. Therefore, this paper examines the basic principles behind the spatial expansion and transformation of a variety of traditional houses in Huizhou. In doing so, it strives to make logical sense of design variations in the houses and reveal the theory behind them.

• 디자인학연구
• /
• 제15권2호
• /
• pp.147-156
• /
• 2002

우리나라는 2002년 한·일 공동주최 월드컵이라는 국제적 대회의 개최로 인한 외국인 입국자의 증가로 시설물 확충 및 개보수의 필요성이 절실히 요구되어지고 있다. 하지만 한국관광공사에 따르면 외국인 관광객의 한국여행 시 안내표지판 미비 및 화장실의 불결이 가장 큰 불편사항으로 지적되고 있다. 이중 화장실은 숫자적으로 증가하였으나 관리소흘과 시설의 낙후 등으로 문제가 크게 대두되고 있으며 또한, 디자인측면과 장애인 시설측면의 미흡함으로 관광한국으로서 많은 문제점이 도출되고 있는 실정이다. 화장실에 대한 기존연구는 1980년대부터 시작되어 왔지만 시설물 개선 및 확충, 시민의식의 제고 측면에 편중되어 있기 때문에 공간배치 및 시설물 계획만을 주로 검토하고 있어 공중화장실의 전통적 디자인 측면이나 환경측면에 대한 고려의 연구가 미흡하다고 볼 수 있다. 본 연구는 체크리스트를 통해 공중화장실의 문제점과 실태를 조사하고 이를 바탕으로 국립공원에 적용되어질 수 있는 공중화장실의 디자인을 한국불교 건축양식을 적용하여 쾌적한 환경창출과 한국 전통문화를 느낄 수 있는 공간으로 재탕출하였다.

• 건축역사연구
• /
• 제20권1호
• /
• pp.77-93
• /
• 2011

Across the culture of Western Europe, dichotomy based on the visual sense has evolved. They believed eyes and ears requiring a distance related in recognition, are more developed than any other human senses in human body. Dominant position, as a condition to using a perspective, the eye has been just concentrated in the development of optical sight. But developed a variety of modern media, highlighting the importance of the other perception, it makes dichotomy to the expansion of perception over the single function of visuality. Recently, Guille Deleuze and Merleau-Ponty try to recover the sense of tactility segregated in skin from body keeping eyes for distance. By the result, the activity can be happened by being connected to the body rather than to eye in the space between the subject and object. From the phase of recognition where the human body tries to identify the object in the space considering a time, it will be changed for the subject to the phase of structure vice versa. Visual tactility is to eliminate the distance between subject and object. If the visual tactility is to erase the distance different from the visual in dichotomy, it will be occurred to having a tension and makes new relationship to work trying to move the subjective point of view in object. Like this evidence in analysis of architecture, it can be easy to find the Korean architecture rather than western architecture in terms of emphasizing the time and space. The fact, architecture of Lee Dynasty had been preserved and consisted basic form and style over the centuries makes us assume that visual tactility was considered as well as the visual sense. This study will be intensive in terms of visual and tactile inherent in the subject and how it is being connected to the movement in the space and time.

• 건축역사연구
• /
• 제21권4호
• /
• pp.7-24
• /
• 2012

The Buddhist cave temple carved into the rock provides a large space for the ritual in general in which a structure of Stupa is built in the center of the space purely for religious worship empty of Sarira, and the temple is formed around this Stupa. Relief-Stupa of the cave temple indicates the similar shape that of Relief-religious worship of flat land temple. However, there appears a small difference in representation since the background of formation of the cave temple differs in that of flat land temple. Specially, Caitya Stupa of currently existing cave temples have been damaged to lose of their original shape only possible to be analyzed the stylistic development through Relief-Stupa from which the characteristic of Stupa could be understood. The early cave temple could be characterized with a balanced structure consists of upturn bowl, steeple stone with simple drum & Hamikawasnagae, in which it appears strongly the detail factor characteristics of drum & steeple of having system with Caitya Stupa. In the post cave temple, the subject of worship moved to statue of Buddha due to the influence of Gandhara, Mathura art which reduced the importance of Stupa. This illustrates in Relief-stupa as well the style change as well as changes in detail factor. The sculpture appeared at the limited location either the wall of Caitya shrine or pillar in vihara cave with stronger decorative meaning. Contrast to the Relief Stupa of early flat land temples or the cave temples mentioned above sculptured with symbolism, however, the post cave temple showed the relief structure based on the plan of flat plan.

• 교육시설 논문지
• /
• 제21권4호
• /
• pp.31-40
• /
• 2014

The modern day architectural giant, Maki Fumihiko, has lived through both the early and the more recent modernism, Contemporary. In the 1950's he was faithful to the spirit that was founded on the early modernity, Metabolism. In his later years in the 2000's, his style can be distinguished into Neo-Modernism which was based on local influence. The educational system at Washington University and the modern city of Saint Louis carries the continuation of Fumihiko Maki's early and later architectural career. Steinberg Hall and Kemper Art Museum have been built adjacent to each other in an extended period of time. These two projects encompass the changes in the era that has gone through modernism, transformation of an architect's career, and the maturation of the university. Steinberg Hall carries the ideal and the spirit of young Fumihiko Maki, therefore, the basic platform of experimentation of the early Metabolist has been applied. Spatial theory that concentrates on the integration of relations is also evident in this project. In contrast, Kemper Art Museum expresses the work of a 78 year-old veteran from the perspective of Neo-Modernism. This piece focuses on the internal space through the coexistence of a variety of space, and with that it notably interprets the integration of the pieces to the whole as a set theory. The partial change that we see is the evidence of the change in the early and the later modernism, while maintaining the innocence and the spirit of it. This is to highlight the fact that, ultimately, the goal of architecture is to secure the human race's honesty and their freedom expressed through space.