• 건축역사연구
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• 제7권1호
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• pp.81-92
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• 1998

According to Post-modernists including deconstructivists, as Modernism is changed into Post-modernism, the paradigm is shifted from consciousness to language. The paradigm of consciousness corresponds to representational language, and the paradigm of language to self-referential one. In post-modern age most of architects are wandering what kind of language architecture is. Some theorists contend that architecture is representational, and others that it is self-referential. Allan Colquhoun, who is known as one of the best architectural theorists inUnited States, accepts both the former and the latter, but fails to reveal the meaning and the limitation, of the two languages. Although he believes that the representational language of architecture ('figure') is the source of self-referential language of architecture('form'), he never clearly answers what kind of language architecture. In order to overcome the limitation and the meaning of Colquhoun's figure and form, and synthesize the two language, this essay appropriates Martin Heidegger's some concepts, 'ready-to-hand,' 'present-at-hand' and 'being-in-the-world' to make a theoretical framework for 'image' which prevails over and synthesizes 'form' and 'figure.' Since Image is based upon both 'being-in-the world' and 'ready-to-hand,' it is the source of 'form' and 'figure.' When 'image' is fragmented, the former and the latter emerge. Image is therefore both the former and the latter because it represents and self-refers a world as a reality.

• 건축역사연구
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• 제26권6호
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• pp.19-28
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• 2017

In this paper, I have reviewed some of the Korean traditional architectural vocabularies that have to be reconsidered in terms of the problem of decode, the problem of meaning, the meaning of explain meaning, and the problem of form analysis. Especially, correct decode and interpretation of Uigwe's Korean ancient architecture borrowed character can correct old decode and interpretation. Furthermore, I confirmed that I could correct the Korean ancient architecture vocabulary that was expiscated wrongly. Especially borrowed characters corresponding to 머름[meoreum](paneling) have been known only far away 遠音[meoreum]. In addition, there were also 遠驗[meolheom] 亇乙軒[meolheon] 亇乙險[meolheom] 亇乙音[meoreom], and so on. Furthermore, in the process of decode these notations, it has become possible to assume that the original words of the modern language 머름[meoreum] also came from *멀험[meolheom]. On the other hand, there are many kinds of people like 付叱心[bussim] 夫叱心[bussim] 扶叱心[bussim] 富叱心[bussim] 富心[bussim]과 北叱心 [bussim] 北心[bussim]. You can also check the Korean ancient architecture vocabulary. However, corresponding words are difficult to find in modern Korean languages. However, in Jeju dialect, we can confirm the corresponding word. This word was used in the Joseon Dynasty, and confirmed that it is dead language today. As mentioned above, it is confirmed that there are many misconceptions about the decode and meaning of the architectural vocabulary made of borrowed character in existing architectural dictionaries, Korean dictionaries, and Korean ancient architecture related papers. Also, although the form is being confirmed, it has been confirmed that there are many things that need to be clarified, such as what the decode is, what the meaning is, and the origin I have also confirmed a number of things that need to be properly expomed in the original form, the original word. In the future, those who study Korean ancient architecture vocabulary and traditional architectural vocabulary should also be interested in these things and research it properly.

• 전자통신동향분석
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• 제9권4호
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• pp.9-21
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• 1994

Wide variety of the architectural complexity of parallel computer often makes it difficult to develop efficient programs for them. One of approaches to improve this difficulty is to program in familiar sequential languages such as Fortran or C and to parallelize sequential programs into equivalent parallel programs automatically. This paper presents an organization of parallelizing compiler which transforms sequential programs into equivalent parallel programs. The parallelizer consists mainly of syntax analysis, control and data flow analysis, program transformation, and parallel code generation. In particular, the program restructuring in this parallelizer maximizes loop parallelism.

• 건축역사연구
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• 제22권5호
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• pp.23-35
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• 2013

This study aims to investigate the architectural characteristics of the Da-bo stupa by examining the correlation among architectural languages and by studying the features of its architectural components and transitional changes shown in Da-bo stupa line drawings in Dunhuang Mogao Grottes. The results are as follows. 1st, the Da-bo stupa of Dunhuang faithfully follows the sutra of lotus, and although the form changes, the fundamental essence of Bo-tap-yong-chul and two seated Buddhas provided by the Gyun-bo-tap-pum in the sutra of lotus is consistent. 2nd, the pagoda body can be periodically divided into parasol, stupa, and royal palace types. The parasol type has an incomplete tower body, which makes distinguishing each of its architectural components difficult. The stupa type appeared between the early (AD 618-712) and middle (AD 766-835) Tang dynasty. It combines the form of Indian stupa type and East Asian wood structural architecture. The royal palace type, which appeared between the peak period of the Tang (713-765) and Sung Dynasties, shows the standardized pattern of the Da-bo stupa described as two seated Buddhas and Bo-tap-yong-chul. 3rd, the use of a stylobate does not appear in the early construction of Da-bo stupa, only in the later period, in the form of high pillars. Forms include many Su-mi-jwah and three-way stairways and Dab-do, but as time passes, the forms are simplified to the form of high pillars. 4th, the purpose of early Da-bo stupa was to provide space for Da-bo-yu-rae of Gyun-bo-tap-pum; hence, it did not have sangryoon(the top part). However, after it was influenced by general pagodas, sangryoon was established. Toward the Tang Dynasty, sangryoon has come to emphasize the forms of boryoon(nine wheels) or dome. However, this form is eventually simplified to only retain bo-joo(the orb).

• 한국언어정보학회:학술대회논문집
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• 한국언어정보학회 2007년도 정기학술대회
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• pp.67-75
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• 2007

This paper presents the architectural aspects of the phrase analyzer that attempts to recognize phrases and identify the functional roles in the sentences in formal Japanese documents. Since the object of interest is a phrase, the current system, designed in an object-oriented architecture, contains the Phrase class, and makes use of the linguistic generalization about languages with Case markers that a phrase, whether a noun phrase, a verb phrase, a postposition (or preposition) phrase or a clause phrase, can be separated into the content and the function components. Without a dictionary, and drawing on the orthographic information on the words to parse, it also contains a class that identifies the types of characters, a class representing grammar, and a class playing the role of a controller. The system has a simple and intuitive structure, externally and internally, and therefore is easy to modify and extend.

• 건축역사연구
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• 제3권1호
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• pp.143-159
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• 1994

Ornament in late nineteenth century Art Nouveau movement, especially abstract ornament in Viennese Art Nouveau, has a very complex aesthetical background. Ornament, for them was not just decorations in outer appearance, but a determinant element of formal languages. Abstract ornament in Viennese Art Nouveau has its theoretical and aesthetical bases in the Interpretation of nature, that is, the theory of the abstract ornament was founded on a new interpretation of nature, which, in its turn, was derived from the differentiational selection of the contemporary views of nature. The modernity of abstract ornament consists in the very fact that it was founded on a new interpretation of nature. This study alms at reviewing how the new interpretation of nature by abstract ornament criticized, rejected and accepted the contemporary views of nature. The overall tendency of this study is to synthesize and analyze the historical background of Viennes Art-Nouveau in regard to aesthetic theories of nature. The analysis method of this study is interpretation of written documents which are related to the issue.

• 건축역사연구
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• 제17권2호
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• pp.67-81
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• 2008

Aldo Rossi explained Roman Forum as a significant urban artifact, because Roman Forum analogically showed not only an image of Roman Empire but also a figure of primitive design for its region. Thus the comparison and analysis between characteristics of Aldo Rossi's architectural works which are based on the theory of 'Analogical city' and the forums, the urban artifacts, was proceeded in this study. Consequently, it was discovered that Aldo Rossi had used his analogical thinking from the forum for his architectural languages such as gable roofs, square windows with depth, columns and so on. His analogical use of organizing spaces, such as courtyard type and pillar corridor type, has also shown that their types came from forum spaces. His analogical aspects of the forum: a space where urban images are analogically formed; were expressed in the 'Theater of Science' with the urban architecture form as the actor and the Theatre as the stage for analogical urban performances. Nevertheless, the expression of primitive design which divides the Roman Forum from other forums was actualized in 'the Theater of the World'. He not only analogically used types from Roman Forum in architectural design but also used boat in Water space, which decided the lifestyle and culture of Venice even before the civilization, to express the primitive design of Venice. Consequently, Aldo Rossi, by aiming the severance from the tradition, provided the possibility of explaining the newest modem type within the historical meaning by forming type which finds its continuance in history through 'the Theater of the World' and through analogical thinking along with the level of modern culture, to our urban architectural atmosphere that has lost its historical meanings.

• Architectural research
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• 제16권2호
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• pp.45-56
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• 2014

The objective of this article, positively recognizing existing researches, is to revisit some aspects regarding the Vāstupuruṣamaṇḍala with a square grid work which is a fundamental planning guideline to control the construction of a Hindu temple and a mathematical doctrine to lead ritual programs. Hence, this paper suggests some reservations as to certain details such as temple constructions. In order to lay hold on its meaning, this paper touches upon the specific matters about the Vāstupuruṣamaṇḍala in the building construction of Hindu temples, which set out to shed light on four concerns; first, it explores the formation process of the Vāstupuruṣamaṇḍala in concert with the evolution of Hindu temples over time; second, it considers differences and similarities in comparison with other texts intimately articulated with the construction of temples, and then understands the relationship between their local languages and applications to the Vāstupuruṣamaṇḍala; third, it examines the symbolic and sanctified process of the temple's construction on the Vāstupuruṣamaṇḍala grids with two- or three-dimensional computer graphics (by means of the Auto Cad and Rhino tools), invisibly situating the divinities within it and illuminating the roles of ornamentation in the structural terms of temples; fourth, it presents that there are another rules on the building construction based upon architect-priest's craftsmanship skilled as a stonemason or a carpenter in the manual processes of the temples' construction for proper measurements and truncations of stone and wood closely linked together structural stability of completed temples. In conclusion, proceeding from what has been said above, this thesis shows that the Vāstupuruṣamaṇḍala grid includes both practical and spiritual meanings to construct a Hindu temple.

• 한국수자원학회논문집
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• 제56권5호
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• pp.363-371
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• 2023

본 연구에서는 tsunamii(津波)의 한글표현인 지진해일의 과학적 타당성에 대해 고찰하고 올바르게 활용할 수 있는 방안을 제안하고자 한다. 우선 tsunami의 과학적 정의를 짚어보고 다양한 언어로 표현된 tsunami의 유래를 살펴본다. 이를 바탕으로 현재 우리나라에서 대표적으로 사용되는 tsunami의 한글표현 '지진해일'이 목적에 적합하게 활용되고 있는지에 대해 검토한 후, 타당하게 활용될 수 있는 방안을 제시한다. 결론적으로 본 연구에서는 tsunami의 한글표현에 있어서 영어 및 타 언어들의 경우와 마찬가지로 음을 차용하여 표현한 '쓰나미' 혹은 '쯔나미'로 통일성 있게 사용할 것을 제안한다.

• 교육녹색환경연구
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• 제9권3호
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• pp.49-58
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• 2010

The Ministry of educational science and technology is about to conduct its 7th &8th curriculum. However, there are some problems in achieving its goals under the current class model system in both educational and architectural. This study finds the characteristics of the arrangements and architectural planning in the departmental system - designed high schools. As a result, the arrangement was tend to be 'overall type' or 'central type' depending on the teaching-learning efficiency. Liberal arts and science&technology groups were placed close, and foreign languages and general cultural studies were arranged close as well. Importantly, there were supporting facilities such as a gymnasium, a cafeteria, a library, a computer lab, and an all-purpose-room, and this arrangement provided convenience. It is for the better learning effect and the high efficiency. It is worthy noticing that the placement and formation of individual or study space is regarded importantly. In flow planning, it seemed that it was designed to reduce the users' movement to a minimum. However, there are still some problems compared to Japan or the States, who already has an established departmental system. I think that the government should enforce its necessity of planning to schools, relevant divisions, or architects to bring it up. Furthermore, it is urgently needed a practical and future-oriented study that can forecast any changes in architectural spaces within the ever-changing teaching and learning environment in the information-oriented society.