• Journal of The Korean Digital Architecture Interior Association
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• v.1 no.1
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• pp.39-45
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• 2001

The purpose of this study is to suggest the possibility which can use as instrument of design by CAD system. And it proposes how makes 3D object model through 2D Drawings in Design process. This study has review the 'Study Drawing' in design process, and application method of CAD as the Architectural Design Integration System. The Architecture can work in ani of the traditional 2D representations as well as in 3D and immediate visual feedback of his work in isometric and perspective projrctions.

• Journal of Korea Multimedia Society
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• v.9 no.6
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• pp.709-719
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• 2006

To protect against unlawful reproductions and distribution, the current paper proposes a digital watermarking technique for architectural drawings produced using a CAD system. First, the POLYLINEs are extracted from the drawing; then, an adaptive algorithm is used to embed a watermark in the characteristics of each POLYLINE. Next, the CIRCLEs are embedded using an adaptive watermarking algorithm related to the radius of circle from drawing. The proposed watermarking scheme is robust to various attacks, such as the geometrical transformation. Additionally, the proposed method satisfies the requirement of transparency for CAD program. It used AutoCAD 2002, which is commonly used as a CAD program for experiments. Experimental results confirmed the robustness and invisibility of the embedded watermarks in several conversions of an architectural drawing.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.71-86
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• 2017

This work explores the historical transformation of manual landscape architectural drawings in terms of hybridization to uncover their inherent creative aspect. Landscape architectural drawing has duel functions; namely, scientific instrumentality and artistic imagination, which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, which are not so much clearly distinguishable as rather mutually complementary and hybridized. In particular, the pictorial views of plants in the forms of a perspective view or elevation were frequently hybridized to projection drawings of grounds and architectural structures, which is called planometrics. Particular drawing types have often emerged as suitable and thereby dominant forms, depending on the particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in a pictorial perspective view. In nineteenth-century America, different drawing techniques such as competition drawing, photography, and map overlay were specialized depending on their respective functions. Twentieth-century American modernists began to explore the diagram to deploy design strategies. In such transformation, however, the planometric, which considers both the ground plane and plant's frontal identities simultaneously and thereby is suitable to landscape design, was frequently used as a hybridization technique. In the mid-nineteenth century, a top view of plants replaced the planometric, and then, in the twentieth century, plants were no longer represented artistically, instead reduced to the forms of standardized flat symbols. The use of instrumental visualizations thereby gradually increased rather than the use of an imaginative representation for landscape architectural drawings.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2022.10a
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• pp.225-228
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• 2022

The method of calculating the architectural design cost of the Korean Society of Architecture Policy considers the time spent during the design period. Therefore, faster design times can reduce design costs. As a result of a survey of students majoring in architecture, they felt tiredness from repeated floor plan drawings and difficulties in that there were many things to consider when floor plan drawing. In this paper, we implement a program that can automatically convert sketches into standardized floor plans during the architectural design process and a web app for user convenience. In the proposed method, when a user registers a sketch image through a web app, the program separates the space in the drawing through geometric shapes detection. Based on the dimensions and spatial information shown in the sketch, the outer and inner walls are displayed and the appropriate furniture is placed in the space. Through the proposed method, the design cost can be expected to be reduced by reducing the time of the drawing process in the architectural design stage, and 95.2% of architectural students expressed their intention to use the program.

• Journal of architectural history
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• v.7 no.3 s.16
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• pp.107-120
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• 1998

Even though Gothic architecture, one of the most technologically complex sophisticated structural systems, has been interpreted by art and architectural historians since the nineteenth century, we still cannot entirely comprehend either the medieval builder's constructional technique and structural knowledge or the meaning of Gothic architectural elements. The major reason is that contemporaneous written documentation concerning design methods and constructional techniques of medieval architecture is lacking. In 1955, the Bibliotheque Nationale in Paris exhibited the sketchbook of the thirteenth century architect Villard do Honnecourt. After the exhibition, analysis on the architectural drawings of Villard's sketchbook had reported widely. Most of analysis on Villard, however, has been on his drawing and artistic style, and there has been very little published analysis of his profession and question on the author of the sketchbook. Thus, the purpose of this study is to investigate the characteristics of the sketchbook and identify the artist who drew it. The sketchbook poses a number of unsolved questions. There is no doubt that several hands have contributed some drawing with appropriate captions, particularly in the section devoted to the application of practical geometry to problems of masonry and carpentry. Scholars have assumed and revealed that it was not made by only one person, and it dealt too many different fields and styles. Through this study, the sketchbook drawings consist of five different styles and person (original painter, master1, master2, master3, and the last owner), and they, not Villard, just redrew the original drawings and bound the sketchbook. Therefore, Villard de Honnecourt was just a mentor of the sketchbook and he did not participate any writing and drawing in the sketchbook.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.17 no.3
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• pp.275-282
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• 2017

Revit program is one of the architectural design programs based on the BIM (Building Information Modeling) technology, which is attracting attention as a next-generation three-dimensional architectural design technique. Revit is a program that enhances the information input side and makes it easy to understand components by making it an object called an information family of components from the design stage, but there is no program that easily compares the drawing output files extracted from this program. It is difficult to analyze the changes to the same drawings modified at the time of collaboration and easily share the drawing information. In this paper, we propose and implement a version management system for the output files on the same drawing, so that the parallel collaboration work of output drawing files through Revit can be efficiently performed. We propose an improved KMP algorithm.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.9
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• pp.89-99
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• 2019

In the representation of buildings with continuous changes in the curved shape of the surface, countless plans or sections are required, or none of the traditional drawings can explain the geometry of it. In other words, in no case can an ordinary drawing achieve the efficient and clear communication capability which is inherent function of the drawings. As a result, the current architects are introducing their own way of drawing technique which is developed in accordance with a specific curved shape, construction method or company resources, but this is not what can be applied to other cases because it has not been ever shared or agreed in the industry. In this process, the drawing or construction of curved building has been recognized as the exclusive property of a specific expert, or the design and construction without the in-depth understanding of the technology have resulted in the appearance of poor buildings. Therefore, this study aims to present an elements and method that can convey shape information more effectively and clearly in the drawing representation of non-linear buildings and, thus, contributes to lowering the barriers to entry into the field by providing the information to be easily applied to related projects. In order to attain this goal, the drawings of recently completed projects of free form building are analyzed to reveal the method used to effectively express the shape information of the building and to derive new drawing elements that have not been applied to the existing drawings.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.257-264
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• 2001

To propose the construction of architectural interior design and communication using graphic, web3D, it was studied the kind and character of various representation methods that can be embodied in an architectural interior design on the web, and looks into whether these ways can be adapted to an architectural interior design process. Especially, the use of the current techniques on graphic and CAD data give the most suitable effect by using the integrated data such as vector animation, an interaction of object VR(Virtual Reality), a high quality of panorama VR, and data treatment and its interaction of drawing of cad data. As a result, the single data format shows not only one image representation but also a stream of continuous operation through a change into another format. But this desired study expects that another next studies will go on interaction and integration of digital format with increase of transmission speed expected in the future, and a digital model and its practical methods.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• Korean Journal of Construction Engineering and Management
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• v.25 no.2
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• pp.69-80
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• 2024

Currently rebar spacing inspection is carried out by human inspectors who heavily rely on their individual experience, lacking a guarantee of objectivity and accuracy in the inspection process. In addition, if incorrectly placed rebars are identified, the inspector need to correct them. Recently, laser scanning and AR technologies have been widely used because of their merits of measurement accuracy and visualization. This study proposes a technology for rebar spacing inspection and fixing by combining laser scanning and AR technology. First, scan data acquisition of rebar layers is performed and the raw scan data is processed. Second, AR-based visualization and fixing are performed by comparing the design model with the model generated from the scan data. To verify the developed technique, performance comparison test is conducted by comparing with existing drawing-based method in terms of inspection time, error detection rate, cognitive load, and situational awareness ability. It is found from the result of the experiment that the AR-based rebar inspection and fixing technology is faster than the drawing-based method, but there was no significant difference between the two groups in error identification rate, cognitive load, and situational awareness ability. Based on the experimental results, the proposed AR-based rebar spacing inspection and fixing technology is expected to be highly useful throughout the construction industry.