• 정보관리학회지
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• 제2권1호
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• pp.3-23
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• 1985

본 논문에서는 건축설계에 관한 종합적인 정보를 담고 있는 건축도면의 검색요구의 증가와 신속하고 정확한 정보검색의 필요성에 부응하여 건축연구소의 건축도면들을 대상으로 컴퓨터를 이용한 정보검색시스템의 모형을 제시하였다. 이 시스템의 설계를 위해서는 연세대학교 전자계산소의 CYBER 170-825를 사용하였으며 프로그래밍 언어로는 COBOL 5를 사용하였다.

• 정보처리학회논문지B
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• 제10B권7호
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• pp.837-846
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• 2003

본 연구에서는 아파트의 설계도면을 처리의 대상으로 하고 있다. 이러한 아파트 도면은 굵고 평행한 두 개의 선으로 표현되는 주벽과 심볼(문, 창, 베란다. 타일 $\cdots$), 치수선(Dimension Line), 치수보조선, 여러 가지 수치를 나타내는 숫자(치수)와 문자 등으로 구성되어 있다. 본 연구에서는 이러한 아파트 도면 내에서 아파트 건물의 골격을 이루는 주벽을 인식하는 방법을 제시하고 있다. 이를 위해서 가는 라인을 제거하고 굵은 라인만을 남기는 이진화 방법을 사용하여, 이러한 라인들을 벡터화하고, 주벽의 존재위치를 한정하였다. 이를 이용해 치수보조선을 구하고 찾은 피수보조선을 이용하여 주벽을 검출하고, 찾아진 주벽에 연결되는 다른 주벽으로 영역을 확장해 나가는 방법을 구현하였다. 마지막으로, 주벽사이에 있는 창문은 비록 주벽이 아닌 창문 심볼로 표현되어 있더라도 주벽으로 인식해야 하기 때문에, 찾아진 주벽을 이용해 이들 주벽사이에 존재하는 창문을 찾는다. 실험결과 인식률에서 본 연구에서 제시하는 방법이 96.5%의 인식율을 나타내어 Karl Tombre 연구팀의 방법 90.7%보다 5.8% 더 우수하게 나타났고, 오인식의 수도 작게 나타났다.

• 건축역사연구
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• 제7권3호
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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.

• 건축역사연구
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• 제11권3호
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• pp.7-19
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• 2002

Architectural Bureau(建築所, Kunchukso) that Imperial Japan set up in the Dept. of Treasury (度支部, Takjibu) executed many construction works from Oct. 1906 to Aug. 1910. In the meantime, this bureau produced many architectural records. But they were hardly preserved. Because Imperial Japan disposed the architectural records which had the historical value in according to the legal and administrative criteria. Nevertheless, it is important to inquiry precisely the architectural records considerating that the buildings that Architectural Bureau made were the products of government initiated construction and its activities influenced those of similar architectural bureaus after 1910. The results are summarized as follows : First, Architectural Bureau put through all processes from plan, design, executation to examination. Second, Architectural Bureau were producted many architectural records which cotained not only drawings but also various types of documents. Third, Architectural Bureau applied the preservation method at the first time in order to control buildings. Therefore, we can verify many informations that the drawings didn't give by analyzing the architectural records. In conclusion, we can establish the foundation that clarify the facts of buildings under the rule of Japan Imperialism and grasp the meanings if we raise the value of records and draw up the use plan by seeking new the architectural records and dividing them into the several groups on the production organizations.

• 한국실내디자인학회논문집
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• 제22권1호
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• pp.97-104
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• 2013

This study aims at finding out the characteristics and influences of Libeskind's early drawing works through comparisons of each drawing. The importance of his experimental drawing works is not only their uniqueness but also relationship to creation and development of his architecture. Libeskind's musical and educational background had great impacts on forming his early drawings. A series of drawings including 'Micromegas', 'Chamberworks', and 'Theatrum Mundi' shows variety and experiments about reconstruction of three dimensional architectural fragments, abstractive line drawing and plane oriented painting. Libeskind himself cease to experiment drawing techniques but their characteristics still remain in his sketches, diagram and conceptual drawings. In spite of influences of undergraduate design studios, theoretical background of graduate studies, their experimental features are due to his continuous endeavor to make and develop his drawing skills and contents. As a result, his early drawings act as media and way to communicate and develop his concepts.

• 한국조경학회지
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• 제27권2호
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• pp.140-151
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• 1999

The purpose of this study is to trace historical changes and to show broad spectrums in landscape architectural drawing. Drawing has been both a locus of interpreting a site and a vehicle of imagining the new landscape. The designed landscape might be influenced by the way to draw in landscape design. Despite of its importance, landscape architectural drawing has rarely been discussed. Here, the drawing will be understood as theoretical issues and texts for criticism. Recently, the drawing has primarily been recognized in functional and instrumental ways. The stereotypes office drawings such as plan, section, perspective, axonometric are typical examples. Its symbolic and metaphoric dimensions have been seriously diminished. As a result, the poetic power in the designed landscape might be devastated. Composite drawing, notation are the alternative drawings to overcome the above mentioned dilemma along with the adaption of collage and photomontage. Finally, I would argue that landscape architectural drawing can be a creative tool to elicit the idea and to reveal the trace of memory. It could be also a poetic locus to postulating the vision. Designers should utilize both traditional drawing and experimental drawing in order to reconcile the instrumental representation with the symbolic representation.

• 건축역사연구
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• 제19권6호
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• pp.187-208
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• 2010

The purpose of this study is to understand the transition process of Korean architecture and urbanism from traditional state to modern state, by investigating the development of modern survey and the characteristics of survey drawings during the Great Han Empire (大韓帝國), the early modern Korea. The governmental efforts of the Great Han Empire to introduce a modern survey system named Gwangmu Land survey (光武量田事業) ended in failure. After the Russo-Japanese War (露日戰爭, 1904-1905), the Residency-General (統監府) held the hegemony of Korean Peninsula. It reintroduced a modern survey system for the survey of land and buildings all over the country and enforced the Land and Buildings Certification System (土地家屋證明制度). Since then, the land and buildings survey was propagated rapidly and the modern system for land use was gradually organized. With the progress of modern survey, the survey bureau of Cabinet (內閣) and Department of Royal Household (宮內府) created survey drawings that had some characteristics of colonialism. Takjibu (度支部) produced cadastral maps of major cities, with which the modern land system was developed. In addition, the Royal Property Bureau (帝室財産整理局) produced survey drawings of land and buildings owned by the Royal Household which were finally converted into modern facilities.

• 한국공간구조학회논문집
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• 제21권3호
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• pp.51-60
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• 2021

As earthquakes continue to occur in Korea in recent years, seismic evaluation and retrofit of existing school buildings have been carried out. Many domestic school buildings were built using or referring to standard drawings. Therefore, if the overall structural characteristics of a school building can be known first based on standard drawings, it can be provided as valuable data for detailed seismic evaluation. For this reason, this study investigated the weak structural components and failure modes by comparing the strength of beams, columns, and joints constituting standard school buildings constructed in the 1980s. The evaluation was performed for different types of standard drawings and different material strengths. The results showed that the joint was mainly the weakest due to the eccentricity, and the failure modes were partially changed depending on the material strength.

• 건축사
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• 통권507호
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• pp.72-75
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• 2011

• Architectural research
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• 제15권2호
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• pp.87-94
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• 2013

Throughout the history of architecture, sometimes the main focus of design was determined by a particular visual representation method, and other times a particular form of visual representation method was required by perception of a particular architectural issue or an architectural form or idea. That is why the visual representation method of architects becomes an important means of reading the flow of idea and thinking behind architecture. This study is an investigation on the relation between architectural thinking and visual representation method expressed through the conceptual drawings by avant-garde architects of the 1970s and 80s, a period of the emergence of postmodernism. Rather than proving the objective reality regarded important by traditional architectural drawing, attempts are made to express the design concept in which the project has its base. Such interpretation and explanation regarding the concept become the main interest of the drawing. It is not that the architecture itself was not expressed in the contents, but it may not be the main subject of expression in the drawing. The value of architectural drawing recovers its value as an art work in itself, as a means of communication, and as an important conceptual tool in the design process. It can be seen that the visual representation method in postmodern architectural drawings is breaking free of the traditional objective depiction of matter and is changing and developing as a design tool of the architect.