• KIEAE Journal
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• v.8 no.6
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• pp.3-10
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• 2008

Since fire was founded in the world, human races have invented various heating methods. Ondol is traditional heating method in Korea. It is very the important work to trace the history and characteristics of Ondol which originated and was developed in the Korean peninsula. Especially, the study on Ondol will contribute to improving the present heating methods and predicting future ones. In this paper, we shall study through the analysis of documents such as oriental documents, the document of Choseon dynasty, European documents and American documents. In order to discover the origins of Ondol as one of the excellent heating method all over the world, This study aims at identifying the history and characteristics of Ondol in the Korean peninsula, through document analysis. Results of this study are as follows. 1) The first document about Ondol is Sookyongjoo(水經注), Chinese ancient geography book. Contents recorded in the book include the description related to Ondol at Kwankyesa temple which was located at the border land between Gogooryo(ancient Korea) and the northeast of China. 2) Ondol was popular heating method in Gogooryo(ancient Korea) and it was used in not only Gogooryo but also Silla Kingdom and Beakje Kingdom. Thereafter, it was also used widely in Goryo dynasty and Choseon dynasty. Thereby we know that Ondol has been used as a heating method for a long time in the Korean peninsula. 3) Ondol was covered with a floor paper since the beginning of Choseon dynasty. the paper made room clean and impacted on Korean life style. Because the floor was clean and warm, Koreans thus took off shoes and sat on the floor. 4) Ondol was spreaded to Jeju island in Korea before 16th century but wasn't used widely there. The reason was that Ondol was rare high class heating system and the weather was warm in Jeju island. 5) The overspreading of Ondol caused that poor people built roughly Ondol in the last of Choseon dynasty. So, the quality of Ondol gradually became lower and lower. 6) A westerner was impressed by the novelty of Ondol and Frank Lloyd Wright had played an important role to update and spread Ondol widely all over the world. Hailing Ondol as the ideal heating system, Frank Lloyd Wright began incorporating it in his buildings back in the U.S. and even invented a modified ondol system, using hot water running through pipes instead of the hot exhaust through flues.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.90-105
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• 2021

The shape of the roof is very important, as it determines the beauty of the exterior of Korean wooden architecture. In particular, the curve of the eaves is the most representative of the characteristics of Korean wooden architecture. Rafters and buyeon (浮椽), flying rafters, create curves for the eaves, and buyeon in particular makes the roof lighter and more dynamic. Although the function and role of buyeon are already known, nothing is yet clear about the beginning of its use in Korean ancient architecture. Accordingly, the purpose of this study is to determine when buyeon was first used in Korean architecture. To this end, I examined various records, buildings, remains, and artifacts that have architectural shapes in Korea, China, and Japan. The results are summarized as follows. First, the use of buyeon in China appears during the Northern Qi Dynasty (北齊) in the mid-6th century, but became common in the 7th century during the Tang (唐) Dynasty. Second, the use buyeon in Japan appears in the mid-8th century, when the capital was relocated from Asuka (飛鳥) to Nara (奈良). It corresponds with the time that Japan began importing Chinese culture directly. Third, the use of buyeon in Korea may have been introduced to Baekje from China in the mid-6th century, but it was not common. It is believed that it became common after active exchanges with the Tang Dynasty during the Unified Silla Period in the mid-7th century.

• International Journal of High-Rise Buildings
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• v.6 no.3
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• pp.261-269
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• 2017

Designed by star architect of Moshes Safdie, Raffles City Chongqing includes a total of 6 mega high-rise towers 250 to 380 m tall, a sky conservatory, a 5-storey high shopping mall and a 3-storey basement car parking. Located at the confluence of the Yangtze and Jailing Rivers, the site for the project is imbued with a significance that is immediately symbolic, both as a sign of Chongqing's important past and as a vivid indicator of the city's thriving present and future. The design for the project to be situated at this gateway takes as its governing idea the image of powerful sails upon the water. The outer facades of the project's eight towers - the transparent surfaces that will face the water to the north - are meant to recall a fleet of ancient Chinese ships, with their huge rectangles of white canvas filled by the wind. This is a $1.13million\;m^2$ mega scale integrated project of office, retail, hotel, service residence and high-end residence with the transportation hub and traffic circulation at various levels of the project. This paper presents the multi-dimensional hybrid design, engineering and construction of this mega scale project. The innovations and the cutting-edge technology used in this project are introduced and discussed benchmarking the design and construction of the skyscraper cluster in a major city like Chongqing of China.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.11-20
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• 2004

F. L. Wright was, from his early days, influenced by Japanese Culture and endeavored his original concept of orgonic orchitecture. In his 1st Golden Age, he devoted to establish an architectural concept of Organism which was proved by the theories of New Science and also had been universal in ancient Orient. Later, in his 2nd Golden Age, he tried to embody his unique concept in prairie houses and office buildings. The organic structure and spatial unit that actually applied to these works, were good examples of realization of the simplicity and continuity which he found out in Japanese culture. This paper is to study on the influence of Japanese culture on a course of Wright's embodying his organic architecture, and to study on a way of its realization in his works. To be concrete, main contents of the study are as follows; 1) the relationship between Wright's integrate perception and the orientalism 2) the influence of the traditional Japanese painting like woodblock prints and the aesthetic theory of the traditional Japanese pictorial art on Wright's design principles 3) the influence of Wright's experiences in Japan on his design principles 4) the influence of Wright's analysis of the traditional Japanese dwelling on his design principles 5) the course of Wright's embodying his organic architecture concept, and the way of its realization in his works.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.3-10
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• 2004

A built space reflects its society's philosophy, culture and technology of its time period. The study explores interrelation between Toey-Gae's 'Kyung' (Piety) philosophy and architectural designs of the 'Do-San' Sau-Dang (School). Toey-Gae is a leading scholar during Chosun Dynasty who built the Do-San School to teach and showcase Sung Confucianism. He is known for his teachings and practice of 'Kyung' philosophy in all aspects of his life including his work and designs. It is also known that he personally picked and purchased the land best suited to display spirit of 'kyung' philosophy while directing the base design and construction of the building. His attentions to details are evident in his choice of city, building site, and way he arrange his designs within the natural environment. Thus, we can safely presuppose the design of Do-San Sau-Dang was created following Toey-Gae's ideology in its buildings and environment. By examining Toey-Gae's philosophy of 'Kyung' through his writings, physical location and actual designs of Do-San Sau-Dang, we can understand how this ancient philosophical ideology and thoughts were translated to a physical form and its space. The study will also explore the importance of such ideology in the society at the time and how it influenced physical and mental activities of its people.

• 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.

• Journal of the Korean housing association
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• v.18 no.2
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• pp.113-120
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• 2007

This study is to investigate the contents and status of documentary records based on "Hyogyeongdang Gyechukmun" related to the Old House of Papyeong Yun's family. This house is located in Goegok-dong, Daejeon Metropolitan city, and is considered as one of the high-class houses in the mid-Chosun dynasty. The results might be summarized as follows: First, Hyogyeongdang Gyechukmun was written by Yun Seom in 1675 (the 1st year of King Sukjong's reign), which is a kind of general drawing book containing a plane figure and a bird's-eye-view of the old house. It is an important historical record to identify the feature and characteristics of the high-class houses in those days. Second, Papyeong Yun's Old House was founded with five buildings including a shrine, women's quarters, Hyogyeongdang, servants' quarters, and a warehouse. On the southern front, there used to be a pond. Third, the standard measure used to build the old house was about 310.00/尺(chuck). Chuck(尺) is the measuring unit of the Chosun Dynasty.

• Journal of architectural history
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• v.3 no.1
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• pp.23-43
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• 1994

In this study, it has compared and investigated the architecture of Six-Dynasty in China which was the same period of Baegje. There are no buildings to remain as a Baegje's architecture, but the architectural traces are remained. Especially, the architectural traces in Six-Dynasty are much left in cave temples. The reason to compare the architecture between China and Baegje intends to restore the Baegje's architectural style ultimately. The two countries, China and Baegje, were very close and they traded each other at that time. In the method of comparison, it has been investigated the form, the style and characteristics in each parts such as podium, column base, column, doors and windoors, brackets and roofs. As a result of the study, it has shown that the Baegje's architecture was not splendid compared to the architecture of Six-Dynasty. Baegje developed it's own architectural technique and used it only to the Baegje architecture. Since there was historical records that Baegje sent it's own architectural engineers to surrounding countries, Silla and Japan, it confirms that Baegje's architectural techniques were excellent. We need more time and constant research to restore the Baegje's architectural style ahead of time.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.8
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• pp.59-67
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• 2018

In a state where ancient buildings was left a lot in the case of Korea, many parts do not remain the documentation, and there is a Kiwarisho lot in Japan, however, the present methods and tree split does not exist in the Korea. However, it is impossible to make a perfect building without splitting exact member when making a building. Thus will not be revealed simply by presumption that there is a similar way to wood comparatively far in Korea. Without a comparison of building dimensions and Korea calculation dimensions Kiwarisho In the first study about the proportionality of Korea, I do not know until now, other studies of the following documents which house a high approximation ratio and member size of Korea consider reason to have is impossible. View compared with respect to the axis of the building in the early stages of research first. In the case of Japan and Korea to form a tree frames in basic form that form the building, the shaft portion is easy to understand and easy compared in common is at most the shaft portion.

• Journal of architectural history
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• v.32 no.1
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• pp.7-20
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• 2023

The construction method of scaffolding structures is different from Mortise and Tenon and bucket arch structure of traditional large woodwork. It forms an independent construction system-fixing nodes with knots, a large number of diagonal braces are used to fix shelves and the structures mostly contain X-shape and triangular shape details. Simple ones include stalls, sheds, rain sheds, altars, lamp racks etc. But the scaffolding with larger scale and more complicated structure are modeled on archways, theatres and other buildings which are used in commercial and festival activities. At present, Macao, Hong Kong, Guangdong, Sichuan, Shanxi and other places in China have retained the custom of using scaffolding structures in important festival activities, but their uses, techniques and building types are slightly different from place to place. Due to building and demolishing at any time, the construction and service cycle is short. As a result, there are almost no physical objects left. We can only deduce the use and technical characteristics of ancient scaffolding skills through the colorful building styles that have been preserved with folk activities in various parts of China, the craftsmanship handed down from generation to generation by the scaffolding guild and artisans, and the description of cultural and historical materials and the mutual corroboration of visual materials.