• Journal of the Korean housing association
• /
• v.23 no.2
• /
• pp.15-24
• /
• 2012

This study aims to examine the transitional process and its effect of Okcheon Jaesa in Yeonghae, Kyoungbook province. Through various bibliographies and Jaesil building in Yeonghae area, the results of this study are as follows: 1) Okcheon Jaesa was established in early 17th century at latest, since then it had been relocated several times. And it was estimated that it was relocated finally to its current location in 1725. 2) Hwasooroo was constructed in 1753, but it was destroyed by a fire in 1811. It is estimated that it was restored next year and remained so far. 3) The closed feeling of space of courtyard in Okcheon Jaesa is estimated as a result of replacing existing lecture hall into the lecture hall with elevated pavilion. 4) Andong-Kweon family affected on building of jaesil each other among their families through mutual exchange and competition. It is estimated to be the influence of Jipheeam of Mooan-Park family that Okcheon Jaesa was changed to Jaesil with elevated pavilion. Since then, Jaesil with elevated pavilion is estimated to have had effect on building Jaesil with low-columned elevated pavilion in Yeonghae area.

• Architectural research
• /
• v.15 no.1
• /
• pp.1-8
• /
• 2013

Over the past two decades following the 1990s, South Korea's IT industry has developed rapidly. In keeping with this trend, the architectural and urban planning sectors have also converged with IT and achieved advancement in new directions. This evolution includes a variety of conceptual terminologies such as 'home automation', ''home network', 'smart home, and 'ubiquitous-city'. However, smart homes and U-cities simply represent a conceptual extension of home networks, and there is little real difference in the technologies involved. In particular, U-cities remain focused on infrastructure rather than on the development of specific content; consequently, they have failed to demonstrate distinctive features to clearly differentiate themselves from conventional cities. In such a context, this research aims at the proposal of a 'ubiquitous pavilion' as a component of the efforts to develop a range of architectural contents that utilize ubiquitous technologies. By grafting the pavilion, one of the most basic forms in architecture, with cutting-edge ubiquitous technologies, this paper intends to suggest a multi-purpose architectural space readily and simply available not only in newly emerging U-cities, but to conventional cities as well.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.34 no.2
• /
• pp.27-34
• /
• 2016

The results of investigation on the spatial composition and landscape characteristics of Shimwon-pavilion garden built and enjoyed by Jo Byeong-sun in 1937 during the period of Japanese colonialism based on 'Shimwon-pavilion Soosukgii(水石記)' and 'Shimwon-pavilion Poem of 25 Sceneries(二十五詠)' contained in 'Anthology of Giheon(寄軒)' are as follows. 1. Shimwon-pavilion garden is assumed as Byeol-Seo garden based on the planning background and contents of Gimun and the observations on spot. By its location, it is classified as 'Planted forest' with a pine forest in the north and 'Byeol-Seo of mooring type' with Guyacheon flowing in the garden. It is about 400m away from the main house in the straight-line distance. 2. The meaning and attributes of reclusiveness are well represented in the 'screening structures' all around Shimwon-pavilion garden with Hakrimsan, a Gasan(假山) in the north, vines on Chwibyeong(翠屛) in the east and west, Eunbyeong(隱屛) of stone walls along with Guyacheon in the south, which shows the spirit of Giheon who adored the Taoistic life. 3. Shimwon-pavilion garden, located in the Songrimsa, a temple of thousand years, is a place of consilience where Buddhism was accepted, Taoistic life was pursued with Tao Yuan-ming's philosophy regarding rural areas and romantic sensibilities of Li Po, called poem master(詩仙), the confucian values of Zhu Xi were realized. Giheon intended to build and enjoy this place as a microcosm and shelther where he unfolded his own view of learning and cultivated his mind. 4. 25 sceneries on Shimwon-pavilion consist of 5 sceneries in the space of pavilion(architecture) and 20 sceneries in the outer garden. First, 5 sceneries consist of ancillary rooms for various uses, including Jeongunru, Amsushil, Wiryujae, Iyeoldang, and Jeong-Gak Shimwon-pavilion embracing them, which shows that Shimwon-pavilion is a place to foster younger students. And 20 scenary is divided into 9 sceneries on the natural spaces and 11 artificially created facilities. 9 sceneries are engraved on the rocks as described in 'Seokgyeonggi'. 5. 4 sceneries of the indoor scenery lexemes(亭閣 心遠亭 怡悅堂 停雲樓 闇修室) were intended to be recognized by the framed pictures, 5 places among the scenery lexemes in garden(龜巖 醒石 隱屛 兩忘臺 東槃) by letters carved on the rocks, and 8 places(君子沼 杞泉 天光雲影橋 芳園 槐岡 柳堤 石扉 東翠屛) by sign stones, but signs of 8 sceneries are not currently identified because they have been be swept away and demolished. 6. A variety of plant landscapes with various meanings and water landscape with various types are contained in 25 sceneries - Sophora symbolizing a tree for scholar in Gehgang(槐岡), Willow symbolizing Tao Yuanming and continued vitality in Yooje(柳堤), Boxthorn symbolizing family togetherness in spring(杞泉), vines and herbal plants and waterfalls(隱瀑), shallow pond(君子沼), pond(湯池), water hole(杞泉), water flowing in the middle of rock(盤陀石), water flowing between the rocks(水口巖). 7. While Shimwon-pavilion garden is a garden near the water, the active involvements with 11 sceneries directly built is distinguished. The other pavilion gardens are faithful in engraving the names by setting the scenery lexemes of the nature-oriented Gyeong(景) and Gok(曲) near and far, but Shimwon-pavilion garden is a garden for active learning(修景) with the spaces built to match with the beautiful nature and to show the depths of space off.

• Korean Institute of Interior Design Journal
• /
• v.19 no.6
• /
• pp.59-66
• /
• 2010

The purpose of this study is to examine how the perception of lives and studies in the Joseon Dynasty period, and the concept of its sculptures can be reflected in Korean traditional pavilion place, from the perspective of Nomadism as a western philosophy of this era. Nomadism literally refers to way of life of peoples who do not live continually in the same place but move cyclically searching for temporary centres whose stability depends on the availability of food and water supply or pastures for their livestock. In recent years, the term encompasses three general types: job nomads, digital nomads and ubi-nomads, which represent distinct features of modern society. Its concept implies looking for the new creative possibility through the liberation of desire and the breakaway to another thinking through continuous formation and transformation. Likewise, Korean traditional pavilion is the architecture to take a quick rest while walking in the mountains. This open place thus connects surroundings with people who are allowed to assimilate with nature as well as train their mind by following the law of nature, in order to finally reach the celestial state of mind. Knowing how to see, enjoy and appreciate the arts very close to nature, our ancestors were able to learn aesthetic activities. After recognizing Korean traditional pavilion as the potential place of unification of heaven and men which is Korean scholor's lifestyle and outlook on the world, this study accordingly will identify the value and meaning of Korean traditional architecture according to Nomadism in the occidental point of view.

• Journal of architectural history
• /
• v.19 no.6
• /
• pp.233-250
• /
• 2010

Jukseoru as an official pavilion of the government, one of the eight sceneries in Gwndong Area, is located on the cliff over Osipcheon River. This paper interprets form and space of the pavilion with restored old life by analyzing pictures of official party in 18th century in Chosun Dynasty. Every part of the space is occupied by persons by the class and duty: the pricipal guest, nobles, subordinates, gisaengs, court musicians, and guards from the high to the low and from the inside to the outside. Applying the analysis to the Jukseoru pavilion, the noblest lord takes sit on the platform in front of folded screen at main bay under checked ceiling, enclosed by low timber beam. The next northern end bay is a place for subordinates' and servants' waiting for preparation for rice wine. Southern end entrance bay is not a result of later addition but deliberately and originally made for lower place outside the railing of wooden floor: for a waiting woman gisaeng, and subordinates. Outside under the eaves on the platform with bedrock, artificial stone and soil is a place for court musicians, subordinates, and guards. The yard in front of the building is a place for preparing meals by cookers. Every detailed ornamental form is different each other by the place for the occupied class. Existing theory tells that the building, 7 bays gable-and-hipped roof, is a result of structural extention of 2 bays at the 5 bays gabled-roof. However, through the interpretation of old pictures and application to the pavilion, the present Juseoru is not a result of later structural addition, but deliberately designed creation suited to life in hierarchical traditional society.

• Journal of the Korea Institute of Information and Communication Engineering
• /
• v.25 no.6
• /
• pp.766-773
• /
• 2021

This paper presents an implementation result and performance evaluation of pavilion management services that does not only provide real-time status of the pavilion in the forest but also prediction services through machine learning. The developed hardware prototype detects whether the pavilion is occupied using a motion detection sensor and then sends it to a cloud database along with location information, date and time, temperature, and humidity data. The real-time usage status of the collected data is provided to the user's mobile application. The performance evaluation confirms that the average response time from the hardware module to the applications was 1.9 seconds. The accuracy was 99%. In addition, we implemented a pavilion availability prediction service that applied a machine learning-based SVM (Support Vector Model) model to collected data and provided it through mobile and web applications.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.3
• /
• pp.1-13
• /
• 2010

This research is the semantic study on the nature cognition and lyricism of pavilion builders as reflected in the pavilion tablets in the Damyang poetry culture area built during 16th century. The names of pavilions, pavilion writings and "poetry with given theme" were studied by actual site visits. The view on the nature and aesthetic awareness of the pavilion builders at the time were explored together with surrounding landscapes. Following conclusions were drawn. 1. Pavilion names borrowed phrases from the famous historical events left by the sages. Or, they took the compliment on the beautiful nature surrounding orthe academic achievement of pavilion owners as the theme, then elaborated them with thinking based on Sung Confucianism. 2. The writings of pavilion literature were the idealistic view on the nature. They think the nature and human as "object and ego are one, object and ego communicate each other, object and ego become one". 3. The nature in the 16th century was the "principle of birth-death-grow-wither" for the intellectuals. They thought that the nature is the ultimate place to return for the realization of life with self-respect. 4. The introduction of fairy land among literary activities in the pavilion was the symbolic means healing the frustrated ego. It was confirmed that they temporarily entrusted their depressed feelings by borrowing the fairy land, far from the reality. The pavilion was the space to escape from the reality and soothe the anger and discord in the reality. 5. The pavilion literature in the Damyang poetry culture area during 16th century sang their pleasure of enjoying the beautiful scenery in the rural area using their social status. The literary works also contained their agony due to the frustration of difficulty in the realization of ideal. When the intellectuals, who already mastered literature, history and philosophy, came down to rural area, built pavilions at the location with beautiful scenery, and spent time while composing poetry, it was an escape from the burden that they should take the social responsibility as the model intellectuals of the society. The pavilions in Damyang poetry-culture area during 16th century were the idealized conceptual world and the space of awareness reflecting the philosophy and thinking of the time.

• The Journal of the Acoustical Society of Korea
• /
• v.37 no.5
• /
• pp.378-386
• /
• 2018

The present paper suggests the original form of the bell pavilion for the King Song-Dok bell which is one of the precious national treasure of Korea. In order to this, many literatures were reviewed including both historical and acoustical references. As the results, the model of the bell pavilion for the King Song-Dok bell is suggested as follows considering acoustical characteristics of the King Song-Dok bell and the traditional Korean bells ; 1) The bell pavilion has the rumbling puddle beneath the bell on the ground floor for resonance of sound 2) Many lumbers are used for columns and beams rather than boards since natural frequencies of the bell are 64 Hz and 168 Hz so that the sound absorption of the low frequency sound may not be occurred. 3) Only some boards may be used for the area between upper and middle molding of lintel in order to prevent of direct sunlight and sea breeze since this type of structure were used for bell pavilion of the same age. 4) Square form with the odd number of 3 or 5 Kans is adopted for bell pavilion considering the weight and the size of the bell which had been used traditionally 5) Finally, half-hipped structure is used for the roof of the bell pavilion which was the predominant form of the age.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.3
• /
• pp.56-64
• /
• 2021

Pavilion is an important landscape installation in the traditional landscaping and a representative facility that organizes space. To interpret and succeed the traditional landscape space, researches on the shape and structure of the traditional pavilion are also needed. However, researches on the style and structure of the traditional pavilion are difficult to be found. Accordingly this study aimed to identify the structural characteristics of roof part that occupied the largest portion in determining the shape of pavilion. Our research findings are as follows. As a result of analyzing 15 traditional Single-room square pavilions whose structure could be identified, it was found that the main building elements that distinguished the type of roof part in the Single-room square were crossbeam, ridge pole, and baluster. Depending on the presence of roofing members, pavilion was classified into five types: crossbeam, crossbeam+ridge pole, crossbeam+baluster, ridge pole, and baluster. In addition, as a result of analyzing the load and joint that worked on crossbeam based on the shape classification of roof part, it was found that in the traditional Single-room square pavilion, crossbeam was designed to play a balancing role between pillar and load. This study is significant in that it attempted to make a close interpretation of the shape of roof part in the pavilion and the role and function of building elements in terms of size, ratio, and load.

• (The)Study of the Eastern Classic
• /
• no.67
• /
• pp.105-128
• /
• 2017

The purpose of the present study is to explore the significance of the Commentaries on Pavilions (樓亭記) from the Sancheong-gun area. To achieve this purpose, the study analyzes the works handed down in Sancheong-eup, Chahwang-myeon, Obu-myeon, and Geumseo-myeon, focusing on the two characteristic themes: the discipline and enlightenment of heart and mind (in Chapter 2) and the succession of integrity and the tradition of ancestor worship (in Chapter 3). The first characteristic theme "the discipline and enlightenment of heart and mind" is explicated in Chapter 2 by reviewing the Commentary on Hwanajeong Pavilion (Hwanajeonggi) written for the namesake building located in Sancheong-ri, Sancheong-eup, and the Commentary on Gyeongjeonjae Pavilion (Gyeongjeonjaegi) in Maechon-ri, Geumseo-myeon. The second theme "the succession of integrity and the tradition of ancestor worship" is examined in Chapter 3 based on the Commentary on Sulgojeongsa Pavilion (Sulgojeongsagi) from Jangwi-ri, Chahwang-myeon, and the Commentary on Maeranjeong Pavilion (Maeranjeonggi) from Yangchon-ri, Obu-myeon.