• Journal of architectural history
• /
• v.27 no.3
• /
• pp.7-14
• /
• 2018

In the 1930s, The Architectural Association of Joseon run the 'Architectural Material Display' on the 2nd floor of the Japan Life Insurance Building in Hwanggumjeong(currently Euljiro street). The purpose of this place was to introduce new architectural materials to builders. And they issued a "建築資料型錄(Architectural Material Catalog)" and distributed it free of charge so that people in districts at long distances can make use of it. This catalog contains descriptions, photographs and drawings of various architectural materials that were common at the time, and the overseas branch address of the store is stated. The purpose of this research is to investigate the type and characteristics of architectural materials distributed in Northeast Asia around the 1930s, the region of sale, affiliated companies by closely analyzing the "建築資料型錄".

• Journal of architectural history
• /
• v.15 no.3
• /
• pp.7-25
• /
• 2006

This research examines symbolic meanings of architectural style of Japanese ruling era of Korea through analysis of Expo buildings. Expo buidings of Joseon Product Evaluation Expo(1915), Joseon Expo(1929), and Joseon Grand Expo(1940) are chosen as subjects of this research. Expos held in Korea since 1945 were creatures of colonial reign and their objectives are advertising the advancement of Japan. New and latest architectural styles of Western countries were used as a symbol of advancement in non-western countries. Renaissance style and Secession style in Joseon Product Evaluation Expo and Modernism style in Joseon Expo were introduced as architectural styles that symbolize advancement. On the contrary, the traditional architectural style of Joseon Dynasty was distorted as symbol of backwardness. Latest Western Architectural Styles were used elaborately and Intentionally to symbolize advancement and industrialization by Japanese ruling power and companies. Specially, Modernism style operating as 'symbol of advancement' is characteristic of non-western society in attempt to proceed Modernization through Westernization. Also, it can be suggested that architectures in Modernism style are used in ways to symbolize the advancement of the colonial reign authorities within the colonial society.

• Journal of architectural history
• /
• v.28 no.2
• /
• pp.41-52
• /
• 2019

Seongjeonggak Hall in Changdeokgung Palace, although built after the Japanese Invasion in 1592, displays the architectural style and structure of Early Joseon period. It did not include ondol (Korean floor heating system) and contained Early Joseon style window frames. Later, King Jeongjo installed ondol as he repaired the building into a more convenient office. The initial construction of Seongjeonggak Hall was based on the architectural ideology of the Early Joseon Period, which divided up the space according to the season. Thus, the initial structure of the building consisted of a joint of a one-story building and a two-story building with the top floor of the latter specialized for hot and humid season. The two-story building was called 'chimnu(寢樓)', and its top floor was called 'nu-chimsil(樓寢室)'.

• Journal of architectural history
• /
• v.33 no.1
• /
• pp.45-60
• /
• 2024

This study aims to examine the cutting traces remaining on the bracket tie beams of Sungnyemun gate, identifying the tools employed during the late Goryeo to early Joseon periods by specific processes, and deliberating on the timber shaping techniques utilized in advanced architectural construction during the late Goryeo to early Joseon eras. Through the research, it was confirmed that in the production of Sungnyemun Gate's bracket tie beams during the 14th to 15th centuries, both the timber splitting and ripsawing methods were used in conjunction. Moreover, the wood finishing process revealed the use of a plane. It can be inferred that the characteristics of the plane used during that time were not significantly different from those observed in the later period of the Joseon dynasty. The ripsawing and plane finishing techniques were evident in various parts of the bracket tie beams of Sungnyemun gate across the reigns of king Taejo and Sejong, indicating that the techniques involving ripsaw and plane were already prevalent in the late Goryeo period. Consequently, it can be inferred that the ripsawing and plane finishing techniques might have been applied in the construction of prominent government buildings in Hanyang(Seoul), including Gyeongbokgung Palace, and in the residences of royalty and nobility after the establishment of the Joseon dynasty.

• Journal of architectural history
• /
• v.32 no.4
• /
• pp.35-50
• /
• 2023

This study aims to investigate the history of Giroso during the early Joseon Dynasty, examine the authenticity of the history regarding Taejo's admission to Giroso, and identify the background and architectural form of Giroso Youngsugak. Research confirms that Taejo joined Giroso in 1394 at the age of 60, but there is no evidence of his name being recorded in the Giroso Seoru. Giyeonghoe(耆英會) has been frequently suspended since the 16th century, and after the Japanese Invasion of Joseon in 1592, the king's permission for Giyeonghoe was not readily granted. Taejo's admission to Giroso and the story of Giroso Seoru started emerging as a justification for resuming Giyeonghoe. When King Sukjong joined Giroso, a new building called Youngsugak was required to enshrine Eochup(royal writings), and it was modeled after Jongbushi Seonwongak. Although Youngsugak no longer exists, the form of Giroso Youngsugak from the past can be observed through Uiseong Gounsa Yeonsujeon, which was constructed in 1904 based on the model of Giroso Youngsugak.

• Journal of architectural history
• /
• v.25 no.4
• /
• pp.7-18
• /
• 2016

This thesis mainly deals with how 'count of Ryang' was used in Joseon dynasty. Count of Ryang means how many purlins were used in the building with longitudinal section. As a result, the notion of Ryang in Joseon dynasty does not differ from now one. But the usages of that are slightly different to the present day. In Joseon dynasty, count of Ryang mainly was appeared with another word, count of Kan. Count of Kan has two meanings. One is the length, and the other is the area of building. When they used the count of Ryang combined with Kan, count of Kan had the meaning of length. By doing that, count of Ryang indicates the size of flank, count of Kan indicates the length of front. In the 19th century, count of Ryang looks similar to the past, but count of Kan shows another aspect. It did not indicate the length but the area of building. Through this study, although the usages of Ryang were different to the present, the concepts of Ryang were similar in Joseon dynasty.

• Journal of architectural history
• /
• v.32 no.5
• /
• pp.107-117
• /
• 2023

There are records and claims that tung oil was applied to Korean traditional buildings and furniture as finishing paint. Records of the use of tung oil(桐油) exist in the Annals of the Joseon Dynasty(朝鮮王朝實錄) and The Royal Protocols of the Joseon Dynasty(朝鮮王朝儀軌). However, there is also a claim that tung oil was not produced in Korea on its own, and that tung oil was not applied to important buildings such as palaces. Silhak scholar(實學者) Seo Yu-gu says that in Korea, people do not know how to grow tung trees, and boiled perilla oil is called tung oil. If tung oil was used in the Joseon Dynasty, it would be necessary to use tung oil for waterproof coating to preserve current architectural heritage, otherwise, tung oil coating would not be desirable. Analyzing the Yeonggeon Uigwe(營建儀軌) among the Joseon Dynasty's Uigwes shows that tung oil is neither mentioned nor used. In addition, as a result of analyzing the Uigwes mentioned in tung oil, it was found that perilla oil or Myeongyu(明油), not tung oil, was recorded in the actual material used. Therefore, the records of the use of tung oil during the Joseon Dynasty can be seen as records using Myeongyu(明油) or Beopryeon perilla oil(法煉荏油).

• Journal of architectural history
• /
• v.33 no.2
• /
• pp.17-27
• /
• 2024

This research interprets the unique hybridity of the pavilion architecture in the Joseon Dynasty, in which the name and form do not match and the rooms and floors are combined in various ways, through the Confucian architectural prototype Muijeongsa(武夷精舍) built by Zhu Xi(朱熹). The architectural representation of Muijeongsa, developed against the background of the mid-Joseon period of active pavilion management by Sarim(士林) groups, the spread of ondols due to the Little Ice Age, and an architectural culture following the footsteps of the Zhu Xi is likely to have influenced the perception and practice of pavilion architecture. In this research, by examining and analyzing the contents of the Muijeongsa Japyeongbyeongseo(武夷精舍雜詠幷序) containing the architectural composition of Muijeongsa, it was confirmed that different types of spaces such as Dang(堂), Jeong(亭), Jae(齋), and Gwan(館) are integrated into Muijeongsa. Based on this, the main examples of the architecture of Jeongsa in the mid-Joseon Dynasty were reinterpreted into four types from the perspective of the combination of Dang and Jeong, and the junction of Jeong and Jeongsa. Dang and Jeong were either juxtaposed as separate buildings or implemented with a relationship of inclusion within one building. And the concept of Jeong, which was considered secondary to Dang, was used as a category that was replaced with the Jeongsa itself. Lastly, the name 'Jeongsa' was used, but the location had a strong character of 'Jeong', and the architectural form adhered to the form of 'Dang', thereby exquisitely reconstructing the composition of Muijeongsa as a single building.

• Journal of architectural history
• /
• v.16 no.5
• /
• pp.21-40
• /
• 2007

Choryang-weagwan which was the largest international trading place between Joseon Dynasty and Tokugawa Shogunate had been maintained from 1678 through 1872 in Busan. Particularly, they had 21 times repairing constructions for 200 years since its establishment. It is noticeable that Joseon Dynasty permitted Tokukawa Shogunate to construct main pavilions and guesthouses as his style due to the good-neighbor policy between two countries, and Tokukawa Shogunate struggled to achieve his own culture in that place under the supervision of Joseon Dynasty. For satisfying his needs, the architectural craftsmen of Tokukawa Shogunate were mobilized by the chief of construction company which was called kumi-gasira in the most of cases. When they came to Busan for the construction, they brought their own architectural tools. On the one hand, the carpenters and workers of Joseon Dynasty were organized by the traditional construction superintendents which were called Gamdong-gwan and they had to carry out their responsibilities with Japanese technicians at the same workplace. Judging from this fact, the construction site of Weagwan was the good place for exchanging the architectural technology between two countries. This study especially focuses on Tokukawa Shogunate craftsmen who made the repairs of Dongwan-samdaechung in 1727 such as carpenters(Dai-ku), sawyers(ko-biki), and surveyors(Tsue-tsuki) and their tools such as Hatsuri(=Masakari) and Yo-ki(=Oh-no). The constructions in this period, there were not only the repairs of 3 major pavilions including the trading center, but also one of the most active repairing constructions comparing with other period, therefor these were important constructions to shows us repairing construction of Choryang-weagwan of those days.

• Journal of architectural history
• /
• v.20 no.3
• /
• pp.59-82
• /
• 2011

Based on travel literatures written by the Joseon literati, the different picture of seventeenth- and eighteenth-century Buseok monastery from the one today emerges. Not only do the buildings removed from the monastery today reappear, but the quite different way of the monastic operation comes to light. This observation leads to a speculation that the monastery was functionally and spatially divided into two territories; that of the Immeasurable life hall and of the Dharma hall. The Immeasurable life hall's precinct was built at the site open to the west providing a grand vista of mountainous area. This siting, originally having a close relation with the visualization such as the Sixteen contemplation, not simply gave such a special attraction that the first built architectural composition has lasted through the centuries to the late Joseon, but also granted to the Chwiweon pavilion located at the western side of the precinct a special meditative quality. As the monastery has suffered from a number of heavy duties in the Joseon period, the architectural attraction of the precinct was mobilized to promote the monastic identity as the legitimate monastery first built by Uisang, the founder of Hwaeom Buddhsim. Especially, the Chwiweon pavilion offered a mental space so that the literati might form an affirmative attitude toward the monastery and the monks. The Dharma hall's precinct was built based on the direct replication of the architectural layout presented in liturgy books for the Water and Land rite as well as the Vulture Peak rite. This layout is generally called the Court-type enclosed by four buildings, which has been widely fashioned in the late Joseon period. This characteristic gave to the Dharma hall precinct an arbitrary and anonymous quality, which helped not only avoid the tourism of the literati, but also secure the sacrality and ritual efficacy at occasions of Buddhist rites. This division of territories of the monastery can be understood as the strategic reaction from the monks in order to survive in the age of oppression against Buddhism. In result, the identity of Buseok monastery in the late Joseon was established as the Nine-rank sanctuary where Bodhisattvas permanently resided.