• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.108-118
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• 2007

The tabernacle architecture is the paradigm of the new testaments and the modern church, and has been from the temples to synagogues, the Old Testaments to the New Testaments, and from present to future. Nevertheless, research on the Tabernacles has never been studied architecturally but has only been researched Biblically or partially. This would be because people interested in the tabernacle lack in architectural knowledge, and architects would be limited theologically. Furthermore, the start of church architecture until now was the architecture of the Roman-court style and the Greece Temple as the exterior, such as the Basilica, a non-Christian, strangely styled piece of architecture, which was seen as the basis of the church architectural style, which is a great mistake, due to the effect of modern architectural educational system with the central figure of humanism and western styled architecture. The measurement and the pattern of the Tabernacle architecture were not recorded in the Bible in order to produce the shape of the Tabernacle. The 'Architecture of God' was designed for the very first time on Earth so that He could dwell among His people.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.23-41
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• 2001

This paper aims at understanding the transformed characteristics of expressional system of Church architecture in Korean traditional style. Through the analysis of transformed forms and its meanings of those, this paper investigates the unique process of stylistic development of Korean traditional church architecture in early modern, 1900's. The method of this study is the analyse of them after the actual field surveys of Korean traditional churches, specially eclecticism churches as the HWSAN church and KUPODONG church, and the analysis of Semiology. Theory for Semantic Interpretation of artistic objects as an objects of art and architecture. Specially, the survey concentrates on the architectural elements(the form, the architectural structure, the material, the roof shape, the window, the door, the bell tower, the plan, etc) of eclecticism churches, especially those of HWASAN church and the analysis of semiology theory contains the research results which were studied by theorists as Charles Jencks, Umberto Eco and Juan Pablo Bonta. Acceding to analysis, Korean eclecticism churches have the unique transformation process and specific meaning of the spontaneous process of development. In the results of the semiological analysis of HWASAN church, it can be revealed clearly that transformed process of form리 characteristics of HWASAN church intented to formal originality of western Gothic church, but its form and meaning were based not on any simply imported western style but on existing system of Korean architecture.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.116-136
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• 1992

Architectural essence of John Ruskin's discourse can resolve itself into natural beauty, craftmanship, and truth in structure, surface, and process. His theories became disciplines of modern English school, Art and Craft and Free architecture, in aspects of organic architecture, morality, and rationality. These concepts disseminated continental Art Nouveau and also became it's basic principles. But his empirical theories hated use of machine, and should find a ideal model in medieval romanticism of Gothic. Anti-machine, as a instictive guideline of English modern architecture, couldn't cope with the industrialization of 20th century, and Gothic revival interfered with creating a new style. Muthesius' discourses were taught by the power of group movements and modern concept of form in English school, originally by Ruskin. But he accepted the potentiality of machine and mass production, and stressed creating the new German style suitable with machine. With the progress of Deutscher Werkbund, his theories were advanced to 'quality' connected with craftmanship, to discourse on mechanical 'form', and lastly to 'standardization and type' for mass production. Mechanical functionalism of Muthesius and DWB were sophiscated and handed down to Bauhaus, and then finally helped establishment of the Modern Architecture and Internationalism. Both English and German modern architecture owed their contribution as well as limitation to Ruskin and Muthesius as theorists. Through this comparative study, we can see the priority of theory to practice, the theoretical justification based on insight for its society and future, and the practical character of theory itself.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.3
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• pp.21-30
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• 2019

The purpose of this study is to investigate how Pritzker Architecture Prize as a social act has maintained an organic relationship with the architecture, the urban society through the speakings and writings of the laureates of the Pritzker Architecture Prize. The composition of this research is to grasp the background of the establishment of Pritzker Architecture Prize and the examination process, to examine its social meaning, and to identify the main flow of words from writings about the laureates through the literature survey and text frequency analysis. And is to interpret the meaning of urban society change and words about the laureates. As a result of the analysis of the flow, it is a tendency to move from ideology and style to newness and innovation, and now to publicity and sociality. Especially in recent years, a wide range of values are floated as much as the complicated issues of urban society and the natural environment. The various architectural activities that make up the urban life became more important than the building units existing like an icon. It is considered possible because the Pritzker Architecture Prize has been awarded for a sustainable common social act. In addition, through literature surveys, have also seen changes in the value of individual laureates, the mixing of styles, and the eclectic aspect. Therefore, the task of reading change should not be a process of finding a new style for a new age, but a task of acknowledging heterogeneity of each architect and recognizing diversity through pluralization.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.12
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• pp.127-136
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• 2019

National Housing in Janghang was built intensively from the mid 1970s to the early 1980s, and has become a collective complex at Jangma-ro and Shinchangdong-ro. This Company House is a typical building for employee welfare, at the same time shows modern industrialization and urbanization. In general, it forms a housing complex and serves as industrial town. Reflecting the characteristics of Janghang, the housing complex is called National House based on the supply method and is also classified French Styled House in terms of housing style. Although Janghang was one of small local administrative units, it pursued urban style with mini-2-story. It has the typical characteristics as follows: division of the owner's living space and rental room, and independent layout of restrooms and washrooms. House is transformed to accommodate residents' lifestyles, so National Housing Complex of Janghang has undergone various changes such as the replacement of spatial structures and exterior materials for 40 years after construction. National Housing in Janghang is a symbol of local identity and an important spatial asset that shows the urban and architectural characteristics and changes.

• Journal of architectural history
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• v.32 no.3
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• pp.63-76
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• 2023

Homogot Lighthouse is located in Pohang of the easternmost of Korean Peninsula. Homogot has become first known as Cape Clonard in the West through the navigation log by La Perouse, a Frenchman who embarked on a global exploration in 1785. Homogot Lighthouse represents an outstanding accomplishment of modernization that numerous civilized countries scrambled to attain in the early 20^th century. Located where the geographical risk of earthquakes is high, the structure was nonetheless built to be 26.4m high with brick masonry. Structurally safe and aesthetically graceful, it demonstrates neoclassical ideas superbly in terms of style as well. Although the history of Asian lighthouses is shorter than that of European ones. Homogot Lighthouse, which demonstrates the history of a modern lighthouse along with those in Japan and China, is differentiated by the following characteristics. ① The 'living lighthouse heritage' is linked to one of the largest lighthouse museum in the world. ② Where you can see the earliest sunrise at the easternmost of the Eurasian Continent. ③ The completion of a modern-style lighthouse constructed at the easternmost of the Far East after being initiated in Europe. ④ Differentiated historical, architectural, and aesthetic value. ⑤ The heart of the national marine park.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.59-72
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• 2005

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.835-848
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• 2014

This study investigated the relationship between inner characteristics manifested through the characteristics of artistic styles and formativeness manifested through external expressions of architectural styles in the early Medieval Period and early Renaissance Period. The method applied to this study is as follows. First, a historical document research was conducted centering on academic theses, related books, and academic databases; in addition, a case study identified the aesthetic characteristics of women's clothes. The conclusion of this study is as follows. First, the following is the analysis of the relationship between the artistic mode and architectural formativeness in the early Medieval Period and early Renaissance Period that represent a turning point in artistic paradigms. Second, the inner characteristics and eclecticism of the artistic mode literally appear in the formativeness of architectural style in the early Medieval Period, and the eclecticism in the architectural style appears to be expressed through a combination with new styles based on the application of the retro mode such as the eclectic adoption of cultural styles of various regions based on the tradition and technology of ancient Rome. Third, the trend of the aesthetic characteristics commonly appear in the modern style of expression related to the aesthetic characteristics of western women's clothes in the early Medieval Period; in addition, the early Renaissance Period was analyzed as decorativeness and respectively manipulability.

• Journal of architectural history
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• v.24 no.6
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• pp.45-55
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• 2015

After the Korean war, two major attempts were made to reconstruct Gwanghwamun Gate as an important part of Korea's lost cultural heritage. In December 2006, the Korean government replaced the concrete gate with a wooden one, yet traces of the attempts made in the 1960s to transform Gwanghwamun Gate and the main road remain to this day. At the time, the Third Republic of Korea, sought to legitimize itself in the name of modernity, and went on to modernize the architecture and urban landscape of Seoul. The location and design selected for the rebuilt Gwanghwamun illustrated the symbolic relationship between historic heritage and urban development. The reconstruction of the gate began as part of the Third Republic's project to restore the Central Administration Building and culminated in the transformation of the main road in front of the gate. By reconstructing the traditional gate using concrete, the military government intended to convey the message that we could inherit our proud tradition using modern materials, and that we should actively adopt the new technologies of the modern era. This study begins with the premise that the Gwanghwamun reconstruction project of 1968 represents the application of new technological thinking to Korea's architectural style, and has two objectives. The first is to summarize the reconstruction process and method using the records and drawings from the 1968 project, which was then under the leadership of architect Kang Bong-jin. The second is to analyze the characteristics of the architectural style and structure of the reconstructed Gwanghwamun so as to reinterpret the relationship between Korean tradition and modern technology.

• Journal of architectural history
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• v.21 no.1
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• pp.99-118
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• 2012

This study aims to classify the architectural formation of the Stylobate of and Staircase types of Post-Lintel Construction in Backje style and Silla style and also to figure out their specific elements by periods and transformation characteristics. The scope of this study was restricted to architectural remains between the Three Kingdom period and the Goryeo period. To progress the investigation, the study classified remains in a similar type by period and type, and then and analyzed its character based on formation method and specific factors of subsidiary materials. As a result, its type can be classified as Backje type(I), Silla type(II) and Mixed type(III). Regionally, it is found that Woongjin, Sabi and surroundings in the capital of Backje, Gyeongju and main towns in the capital of Silla, and Gaeseong and main towns in the capital of Goryeo. In particular, type III has the characteristics of type I and II simultaneously, which has one or two layers Jangdaeseok stone between the foundation stone of stylobate and plate stone, and tends to be decorative when Taengjuseok stone is installed. For types of staircase, it could be classified as 6~7C Backje type(I), 7~9C Silla type(II) and 9C Mixed type(III) according to the formation method of Somaetdol (banister of stone stair). And from the 9th century on, decorated Somaetdol stone type(IV) of 1/4 circle shape began to appear. The common feature of stylobate of post-lintel and staircase is that it became simplified, abbreviated and decorative. It seems to be intended to secure simplicity of construction or structural stability.