• Journal of architectural history
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• v.14 no.3 s.43
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• pp.23-37
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• 2005

The purpose of this study is to clarify the characteristics of the ancient architectures of the Yuan Dynasty(元代). The result is expected to efficient for a basic data to research history of the Koryo(高麗) architectures. This study was focused on the architecture of the Yuan dynasty in Hancheng city, because the buildings of the Yuan Dynasty were remained in Hancheng city(韓城) of Shanxi province(陝西) in the largest numbers through all China territory. And the study was especially analyzed in the angle of the system of wooden structures among various architectural points. It was looked into, in large, views of form of whole structure and, in detail, joining method of detail parts. As a result of the study, the characteristics of architectures of the Yuan Dynasty in Hancheng city were summarized as follow a reduction of the unit size, a shifting of columns, a removal of columns and a simplicity of ornaments. These are different with architecture of other empire periods. Also, these are the characteristics of the Korean tradition at architectures. This study of the Yuan's architectures of Hancheng is expected to be the basis of the advanced study about the relationship between Koryo(高麗) architectures and Yuan(元) architectures.

• Structural Engineering and Mechanics
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• v.63 no.5
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• pp.617-628
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• 2017

In order to study the failure mode and seismic behavior of the interior-joint in steel traditional-style buildings, a single beam-column joint and a double beam-column joint were produced according to the relevant building criterion of ancient architectural buildings and the engineering instances, and the dynamic horizontal loading test was conducted by controlling the displacement of the column top and the peak acceleration of the actuator. The failure process of the specimens was observed, the bearing capacity, ductility, energy dissipation capacity, strength and stiffness degradation of the specimens were analyzed by the load-displacement hysteresis curve and backbone curve. The results show that the beam end plastic hinge area deformed obviously during the loading process, and tearing fracture of the base metal at top and bottom flange of beam occurred. The hysteresis curves of the specimens are both spindle-shaped and plump. The ultimate loads of the single beam-column joint and double beam-column joint are 48.65 kN and 70.60 kN respectively, and the equivalent viscous damping coefficients are more than 0.2 when destroyed, which shows the two specimens have great energy dissipation capacity. In addition, the stiffness, bearing capacity and energy dissipation capacity of the double beam-column joint are significantly better than that of the single beam-column joint. The ductility coefficients of the single beam-column joint and double beam-column joint are 1.81 and 1.92, respectively. The cracks grow fast when subjected to dynamic loading, and the strength and stiffness degradation is also degenerated quickly.

• Korean Institute of Interior Design Journal
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• v.16 no.4
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• pp.3-11
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• 2007

We study, in this paper, on the decorative design of the Treasure-architectural form for the Silla Buddhist reliquary and this research went through the observation on the Buddhist Reliquaries of the Song-Lim-Sa, the Eastern-Western three floor pagodas in the Kam-Eun-Sa, the three floor pagodas in the Bul-Guk-Sa and the reportedly discovered Nam-Won. The Buddhist reliquaries of these 5 Reliquaries, when compared with those of China and Japan in the same period, they worshiped the Buddhist reliquary as a Buddhist God itself and put them as a part of the architectural decoration, being installed in the construction forms. In the form and the composition of the architecture, we can see those having been designed with very detailed and brightly decorated form. The Buddhist reliquaries in the Song-Lim-Sa and Kam-Eun-Sa, the most important ones in this research, were in a royal palace shape having completely the altar part, interior space part, and the ceiling part, which inform us the whole structure of the architecture in details. In particular, for the case of Kam-Eun-Sa, the columns in the shape of bamboo trees, the expression of the gates, the terrace of double parts formed of word-shape Man, and the statue of a general with superhuman ability in the shrine explain us the description of the Gyun-Bo-Tap-Pum of Lotus Sutra. After all these researches, we conclude that the Buddhist reliquaries in form of the Treasure-architecture represented the architectural style of the same period as a form of industrial arts and we can see that they tried to use all of their highly skilled and talented methods to describe the Buddhist Pure Land.

• Journal of architectural history
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• v.22 no.4
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• pp.73-82
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• 2013

This study aims to find architectural characteristic of Nam-kwan-wang-myo as known as Nam-myo, Especially focusing on difference between before and after it's reconstruction in 1899. Nam-kwan-wang-myo is a shrine for Kwan-woo who was warlord in ancient china. Belief of Kwan-Woo was introduced to Korea in Japanese invasion of 1592 and the shrine was built in 1598. Belief of Kwan-Woo diffused for the late Joseon, during the reign of Gojong, many people have faith in Kwan-Woo including the king. There was four Kwan-wang-myo around the Hanyang at that time. In 1899 a fire of unknown cause broke out at Nam-kwan-wang-myo, so the main buildings burned down. The king instructed reconstruction of the shrine even though there was in financial difficulties, it had done in the midst of a national crisis. The buildings almost restored as before. The buildings in the shrine has strong characteristics of Chinese architecture because it made by people of the Ming dynasty. Two side-by-side roofs, accumulated brick exterior are important architectural feature, but also all the buildings in the mail hall area Surrounded by the closed-connected fence is hard to find examples in Korea traditional architecture. And Nam-kwan-wang-myo just had maintained architectural characteristics including layout of buildings, shape of the each building until it's reconstruction(1899).

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.228-235
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• 2011

The 卍 shape which is used as an aesthetical feature for traditional architecture can be seen in the stair railings of the house shaped ceramic potteries in the Eastern Han dynasty(A.D. 25-220) but with the introduction of Buddhism, it has been widely used for the decoration of the sarira(small crystals of the cremated monks) case. After the shape was seen in the Yungang and Dunhwang grottoes mural paintings, the use of it has been expanded. In Korea during the excavation of the Gyeongju Anapji which was the Eastern palace of the Shilla dynasty, a 卍 shaped wood which had been used as a handrail was found and this shape was also used in the railings of the Shilsangsa Baekjangarn temple stone pagoda and lantern and in the sarira case excavated in the Songrimsa temple stone pagoda. In Japan, the Nara period(A.D. 710-794) when there were many cultural exchanges with the Korean peninsula, the handrails of the 2ndfloor of the main hall of Hoyu-ji temple has a 卍 shape. This can be confirmed that this shape has been widely used as a design in Asian Buddhist architecture. Gilsangoonhae(吉祥雲海) which is the symbolic meaning of this shape means for long life and luck which had been used generally for the window designs of temples, palaces, and houses. In this study, it is giving the definition the beginning and the symbolic meaning of the 卍 shape which is being used from the ancient times until nowadays and the change of this shape used for window designs.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.57-67
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• 2012

The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.1
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• pp.92-108
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• 2000

The rear garden of the Ch'angdok Palace is considered to be representative of gardens of the 15th century to the end of Choson Dynasty in the early 20th century and is very well preserved. Therefore with its long history, it's been represented in various way. This study tried to interprete the rear garden of the Ch'angdok Palace in terms of 'text through king Jungjo's "Sangrimshipkyog". Jungjo's "Sangrimshipkyng" that describes scenery related to ten place of the rear garden of the Ch'angdok Palace was written when he was a crown prince. And the scenery of ten places can't be separated from their physical looks and those ten places were quite different from now. For that reason, to begin with, this study recomposed those ten places through maps and drawings that revived the current looks and rear garden. And what poems tried to tell and what meanings whey had in the literacy of that age that allowed "poem enchained ten scapes" were studied in the context of co-relationship with space. As a text it is very ancient and questions arise on how to correctly interpret the information it holds. But this interpretation is only one side of the various aspects that the rear garden of the Ch'angdok Palace has compared to its long history. In light of the present age an interpretation can have richer and more varied meanings, creating many new viewpoints. creating many new viewpoints.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.4
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• pp.47-54
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• 2012

Since ancient times in Korea, in spite of the ranks of high and low, drink was like a all sorts of human emotions. In particular, the drought, or any weapon except when wages found the ball back to God or to buy a drink to celebrate the sixtieth birthday or marriage and feasting like mails, and the priests or the funeral, such as consciousness raising in this procedure. The country had strict rituals in ceremonial events were thereby is living up to deep. The history of the drink in the history of the past, given that the main grain farming culture has already begun since the era of gojoseon was launched remains to be seen. This has been a long history of traditional attention to clean up and organize the showing to the public hall is a nationally scarce in some areas of that era, or the facility is not large. Therefore, in this study, alcohol-related exhibits and Museum recognizes the reality of the future sake Museum architectural plans: the Foundation provides materials for that purpose.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.05a
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• pp.125-130
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• 2006

The various kinds of consumption belong to a general category and at the same time the expression of most basic aspiration in the human life. Since the ancient times, the consuming activities have lasted with the other basic activities and the consuming space conducting consumption has developed as physical devices along with the human history. Those companies that have been given attention and getting favorable impression currently being selected by the consumers are now concentrated on the storytelling marketing. The storytelling marketing is that the emotion-oriented marketing activities give consumers the opportunities to enjoy the product contained stories to put the stories to marketing activities. It approaches to consumer with human story emotionally rather than rationally and heart rather than mind. Recently, the architecture has become artistic either it was linked and contacted media or part of marketing. We think that the story telling marketing is the eternal triangle among art, architecture and marketing that is a propensity or movement to interior at this time. I found out that the storytelling marketing methodology is able to touch the consumer's heart and stimulate consumption aspiration that makes new circumstances and experience expressing space. And for that, effective marketing methodology is to give the consumers a more exciting and enjoyable motivation in accord with the modern society to give companies positive image to customers and accordingly for the companies to gain profits. The story telling space that is filled with ideas which produce new circumstance and experience using the established narrative and theme will be required continuously and able to develop in the future.

• Journal of the Korean Institute of Rural Architecture
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• v.16 no.1
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• pp.87-94
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• 2014

The objective of this study is to provide a townscape design guideline that harmonized with a historic landscape via condition investigation and landscape analysis of the cultural /commercial environment district where an improvement is a necessity. The followings are the conclusions: 1.To enhance the identity of Gyeongju, should pursue diversity in unity by making the image of architectural landscape a similar peculiarity. 2.The central commercial district where the tradition is valued and contemporary figures meet the tradition needs a landscape formation by CONTEXT. 3.Since a characteristic of the target area is a regional commercial center, to reduce its congestion, reforming the area to simple environment is required. 4.Induce buildings located on the streets with cultural properties to have Korean traditional tiled roof in order to fit in with their surroundings. 5.Make it a rule to partition a wall into tripartition, the wall surface exposed should be the same finishing materials. 6.Consider the visual aspect of pedestrians and a building's width, the recommendable height of the facade should be 3~3.6m. 7.For the design archetype of cornice, four traditional types based on Korean traditional eaves are suggested. 8.The design of signboards should break existing square-shapes, and seek a design to take advantage of icons that historicity and traditionalist of the city are expressed.