• Journal of architectural history
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• v.11 no.4 s.32
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• pp.71-86
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• 2002

Since Modern period which is characterized by the governing of technology and capitalism, the production and aesthetics of building became a main issue of architectural discourse. Morever, Modern architecture tends to be a kind of media in which the visual image of building plays a far more important role than building itself. Institutionalized discipline of Architecture in modern system set aside the dwelling aspect of building and destructed close relationship between dwelling and building. This study analyzes the essential meaning of dwelling with a viewpoint of building and vise virsa in order to have a deep reflection on contemporary architecture and modern crisis of dwelling. For this purpose this study first reviewed linguistic and mythical narratives on the origin of dwelling and building. Secondly, reviewed the thought of Heidegger on dwelling and building and his thinking on authenticity of dwelling. Thirdly, reviewed drastic change of idea and reality of dwelling recent days, especially from settlement to nomad. Lastly reviewed E. Levinas' thinking on bodily dwelling or primordial mode of dwelling before poetic dwelling of Heidegger. With these review we can figure out following things on dwelling and building. Physical building or its visual image can not take the place of dwelling in itself. Dwelling and Building happens simultaneously and understood as an event in life world. Today's alienation of dwelling from building reduced our conception of architecture to a physical setting and mere technique. Building must be a ontological and cultural phenomenon beyond physical building. Nomad in this age of information and globalization may be a new mode of dwelling. But it can not exclude traditional way of dwelling on concrete space, because human being as a physical being can not abandon dwelling place that gives a primordial comfort with and within our body.

• Journal of architectural history
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• v.11 no.1 s.29
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• pp.49-64
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• 2002

The recently published papers and essays regarding 'tectonic' bring us to rumination of its importance on comprehending modern architectural process. Many architectural theorists may seem to seek the substance of architecture through the discussion of 'tectonic' for the purpose of overcoming the dilemma of representation which can be easily found in modern architectural forms. Their emphasizing on its double-faced aspect as the manner of representation, that is semantic and aesthetic, may imply the significance of philosophical approach especially to the recent architectural phenomena. From this point, it ought to be meaningful to manifest etymological connection between the terms with semantic analysis and interpret the substance and ontological meaning of 'tectonic' referring Martin Heidegger's existential philosophy. Besides the works of Carlo Scarpa, that are known as the art of making, are exampled to prove the way how the ontological meaning of practical act is exposed on an artwork. The idea of 'tectonic' connotes not only technological aspect as construction of form and space, but also ontological aspect as joint or detail, that is the result of logos. The 'tectonic' means etymologically 'joint' having double-meaning structure, technology and aesthetics. It means 'detail' as minimum units of architectural form and as sites where making relationship or connection takes place in the way of ontological apprehension. The 'detail' as the place of innovation and invention implies the culture of an area, and expresses craftsmanship, which modem architecture buries in oblivion. This study aims to deviate from the aesthetical commercialization in which the modern architecture tends to fall, and further, propose the possible way to succeed traditional locality in an epistemological point of view.

• International Journal of Advanced Culture Technology
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• v.8 no.1
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• pp.89-97
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• 2020

There are remains of Japanese gardens in Korea which were built during Japanese occupation in 1910-1945. However, systematic database has not been established for location, quantity, nor types of remaining gardens. This study is aimed at defining current status of Japanese gardens built in Korea. By categorizing types of remaining these Japanese gardens, we also aimed to build a systematic data base for Japanese gardens in Korea. This study was co-conducted by researchers from Korea and Japan. The team identified 17 Japanese gardens remaining in South Korea and categorized them into 4 groups; 1) Japanese garden built by Japanese in modern Japanese house in South Korea, 2) Japanese garden built by Korean in traditional Korean garden and 3) Garden built by Japanese in temples in Korea. (at request by Koreans). This categorization reveals information about the inflow of Japanese gardening culture into Korea and deserves to be an important part of modern gardening History. And the rest are 4) Japanese gardens built at Korean residence, but with much damage and alternation. In this paper, we present the findings to serve as preliminary data for defining Korean traditional gardens and for utilizing Japanese gardens in Korea as historical and cultural infrastructure.

• Journal of the Korean Society of Industry Convergence
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• v.1 no.2
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• pp.21-30
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• 1998

It is very important that we try to keep our traditional historical assets in the original form for a long time. Seoggur-Am has a very long and old history of about 1200 years. Yet, for the past several years there are many factors ruinning this historical treasure. Recently, specialist are new scientifically examining Seoggur-Am and evaluating its current condition, If you only judge these historical assets from the exterior structural environmental approach your scientific conclusion will not be complete. No one has studied Seoggur-Am from the viewpoint of indoor environmental climate. Therefore, I have surveyed and prepared a report of investigation as well as countermeasure so to understand the impact of indoor environmental climate on Seoggur-Am. The purpose of this paper is to first survey the existing research data based on exterior structural environment. Secondly, closely evaluate the new data of Seoggur-Am from the viewpoint of indoor environmental climate.

• Journal of the Korean Society of Industry Convergence
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• v.2 no.1
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• pp.131-137
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• 1999

It is very important that we try to keep our traditional historical assets in the original form for a long time. Artificial grotto has a very long and old history of about 1250 years in Korea. Yet, for the past several years there are many factors ruinning this historical treasure. Recently, specialist are new scientifically examining artificial grotto and evaluating its current condition. If you only judge these historical assets from the exterior structural environmental approach your scientific conclusion will not be complete. No one has studied artificial grotto from the viewpoint of indoor climate environmental. Therefore, I have surveyed and prepared a report of investigation as well as countermeasure so to understand the impact of indoor climate environmental on artificial grotto. The purpose of this paper is to first survey the existing research data based on exterior structural environment. Secondly, closely evaluate the new data of artificial grotto from the viewpoint of indoor environmental control by a natural climate phenomenon in Korea.

• Journal of architectural history
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• v.24 no.6
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• pp.45-55
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• 2015

After the Korean war, two major attempts were made to reconstruct Gwanghwamun Gate as an important part of Korea's lost cultural heritage. In December 2006, the Korean government replaced the concrete gate with a wooden one, yet traces of the attempts made in the 1960s to transform Gwanghwamun Gate and the main road remain to this day. At the time, the Third Republic of Korea, sought to legitimize itself in the name of modernity, and went on to modernize the architecture and urban landscape of Seoul. The location and design selected for the rebuilt Gwanghwamun illustrated the symbolic relationship between historic heritage and urban development. The reconstruction of the gate began as part of the Third Republic's project to restore the Central Administration Building and culminated in the transformation of the main road in front of the gate. By reconstructing the traditional gate using concrete, the military government intended to convey the message that we could inherit our proud tradition using modern materials, and that we should actively adopt the new technologies of the modern era. This study begins with the premise that the Gwanghwamun reconstruction project of 1968 represents the application of new technological thinking to Korea's architectural style, and has two objectives. The first is to summarize the reconstruction process and method using the records and drawings from the 1968 project, which was then under the leadership of architect Kang Bong-jin. The second is to analyze the characteristics of the architectural style and structure of the reconstructed Gwanghwamun so as to reinterpret the relationship between Korean tradition and modern technology.

• Korean Journal of Heritage: History & Science
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• v.43 no.2
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• pp.82-119
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• 2010

"Gongchengzuofazeli" was published by the Ministry of Engineering (工部) in 1734, the 12th year of the Yongzheng(雍正) emperor of China's Ching Dynasty. Its purpose was the standardization of building construction and the strengthening of management policies The book records exact measurements of every material used in the building, dividing the building into sections called "dugu (斗口)." It also contains records of the funds that were needed for fair management. Today, it has great historical value because it provides information as to the state of architectural technology and environment of that time. However, the research of Korean architectural historians tends to focus on the "Yingzaofashi(營造法式)" which was written in the Northen Song Dynasty. While the significance of "Gongchengzuofazeli" is widely acknowledged, not enough interest has been garnered to even begin a full-scale translation project. This article, by summarizing in the introduction the basic contents of "Gongchengzuofazeli" and a translation of the first volume in the body, seeks as its purpose to provide data to become the foundation of future research in this area.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.144-153
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• 2010

In making gardens, garden designers establish a principle using specific colors, collect materials, and combine them with their own aesthetic senses. This study is design mothed through the species and characteristics of flowering plants used in the Barrington court created by Gertrude Jekyll and Sissinghurst's white garden created by Vita Sackville-West, both of which are the most renowned gardens that used the white color. The analysis of each individual plant used in the gardens will be based on the season, colors, shapes, plant heights and aromaticity. Through their gardens, how the flowering plants aesthetically united with each other in creating the white gardens will be reviewed. To represent the freshness of spring, Jekyll planted Campanula spp. and Lilium spp. in the garden. Vita Sackvill-West aims at the moonlight in a summer night and features Delphinium spp., Rosa mulliganii, and R. longicuspis. The color of the flowers is in white, varying from pure white, ivory and silver. To prevent monotony due to monocolor flowers, the forms of the flowers are intense. To make white flowers look better, the colors of leaves include light green, light gray and bright and greenish yellow. Overall, cool colors are used to give a mystique, coolness, cleanness and to produce an fascinating and plaintive atmosphere, getting joined with white flowers and reflected light in the night. The White Garden has made significance in the history of landscape architecture: it was the starting point of garden design through theme colors, based on the idea and technology of planting design methods that discover the potential of colors and withdraw limits. And it also made a significant contribution to the advancement of garden art with combinations by aesthetic principles.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.103-110
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• 2000

The material world around human is normally composed of opaque one, with which human has made the spaces. The opaque material to make space has played a role to control the relationship among people and has produced socio-cultural things since the history started. The opening of opaque material(wall) connects one space with the other. Therefore, the meaning of opening is a connection among people who are in different spaces in terms of sociology. In conjunction with this, socio-cultural situation has been deployed differently. In the traditional european domestic space, the glass has been applied to this opening since they found the glass. It disconnects two spaces physically but connects them visually. Therefore, without blocking the opening visually, the glass became to protect people with their interior space from outside environment. The important thing is that the application of the glass in a building had been restricted because of opening size. However, after Industrial Revolution with the advanced technology of architecture, the glass came to be applied to the building and it became widen. So, the concept of glass window became to be the one of glass wall. This change made a transformation of visual character between two spaces which are separated with glass wall. This means that the glass wall gave two directional visibility while the glass window gave one directional visibility from inside to outside of space. This is because the amount of the natural light to the interior space increased due to widen glass in a space. This gave a change of visual authority and the space of surveillance(interior space) became to the one of communication. The space of surveillance, Michel Foucault mentioned in his book surveillance and punishment, is a very private one that is not visually permeable from the people outside, while the space of communication is a public one which needs other eyes. In the space of publicity, there needs a rationality, morality and ethics because of public surveillance and in the space of privacy, there restores a desire for sex and assaults.

• Journal of the Korean Wood Science and Technology
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• v.46 no.3
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• pp.278-284
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• 2018

This study is for species identification for each structure member such as Pillar, Bo, Changbang, Dori, Jangyeo, Judu, Donjaju, Chunyeo, Guitle, and Jongdae, of Pungnammun Gate (Treasure 308). Jeonju is the birthplace of Joseon Dynasty and Pungnammun Gate was the southern gate of old Jeonjueupseong which was walled town. Provincial Governor of Koryeo Dynasty, Yu Gyeong Choi built Jeonjubuseong and four gates at all cardinal points in 1388. And the gate was burnt down by Jeongyujaeran (war with Japan in 1597). It was rebuilt by King Yeongjo (Joseon Dynasty) in 1734 and renamed 'Pungnammun' after 34 years. It was designated for Treasure 308 for its unique style of architecture and historic values in 1963. In this study, all of wooden structure members were Pinus spp.. This result was matched for the result of major species for wooden building of late Joseon Dynasty. It can be used to complete database for architecture of Castle's Gate and help for restoration of cultural heritage in the future.