• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.92-103
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• 2012

The Cheomsungdae was built in the Silla dynasty during the reign of queen Seondeok. It has a round cylindrical structure with a flowing curved fa ade. The identity of the Cheomsungdae has not been revealed since there is not much historical evidence or documents about the building. This study is trying to investigate the building technique and method from the technical point of view of the past when it was constructed. There have been much work and studies done for the Cheomsungdae, but not much were focusing on the technical aspects of the building. In addition there are many questions and doubts about the hypothesis of the building technique of Cheomsungdae since there aren't any remaining documents or historical evidence supporting it. Among many questions, we think that the discussion on falsework technique is not considering traditional construction method of the Dujabee (a traditional construction technique using various tools and equipment for the stability of the building) technique. Therefore, it is hard to identify them as reliable historical facts. As the result of the study, we want to provide the basic data on the construction techniques of Korean traditional architecture and broaden the study scope of technical history by narrowing the errors. The study could be summarized into three points. 1. The historical architecture Cheomseongdae was constructed by using traditional crane techniques such as a Noklo (pulley ladder). Cheomseongdae was re-evaluated as a high level technology for the history of architecture. 2. The benchmark method on Cheomseongdae construction has been applied with a precise scientific method based on the geometrical principals using the central axis. 3. In terms of the history of Korean traditional architecture technology, as there aren't many studies done we proposed various basic data for the traditional crane techniques and criteria of Korean traditional architecture technology. We could expect various and active studies for the technical approach of the history of architecture.

• Journal of the Korean Institute of Rural Architecture
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• v.1 no.3
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• pp.53-64
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• 1999

This is designed to find out the relations between traditional dwelling and its ecological concepts and factors in the natural environment. This also reveals how to design the dwelling under the full consideration of eco-system and its application possibility. Now, I have a conclusion that Modern architecture application would be possible if we design buildings under full-consideration of ecological environmental elements, inheriting the characteristics of the typical architecture items through more detailed and further advanced studies in traditional architecture methods.

• Proceedings of the Korea Society of Design Studies Conference
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• 2001.05a
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• pp.12-13
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• 2001

• Journal of the Korea Furniture Society
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• v.25 no.2
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• pp.79-86
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• 2014

Furniture can be a product of design and is considered a form of a decorative art. Architectural works are often perceived as cultural symbols and as works of art. Korean traditional architectural form and wooden furniture were improved by adding up an organic coordination in the interior space. Furniture adds beauty of life by being coordinated with the interior space with its particular characteristic in the form of architectural structure. Architecture and furniture are also being improved in a more natural and diverse way. Therefore, in this research, from the choice of the location, Korean traditional architecture is considered to be coordinated with the nature, and the technical skill is lessened to express its beauty. There is a presence of elegance yet robust combination of simplicity and beauty. In addition, the traditional architecture and wooden furniture are completely expressed structurally with coordination of the outstanding design and solid structure according to the thrifty living in the Confucian ideas which influenced the Korean traditional society. The representative of Korean traditional architecture, Baeheulrim pillar, has worked as motive because of its visual comfort caused by optical illusion and formative elements. The small portable dining table (Soban) which reflects the characteristic of Korean unique tradition and the sensitivity of Koreans has been reinterpreted through the motive in this research. As a result, it has shown the possibility as the design element to change the aesthetic structure. In the modern society, cultural identity plays a vital role. Therefore, this research can be used as reference for the new concept of furniture - making. It could be a combination of modern people, lifestyle and living space by creating the Korean image suitable for the modern society.

• Journal of the Korean housing association
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• v.8 no.3
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• pp.17-27
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• 1997

This thesis is concerned with a study of spatial characteristics of Korean traditional architecture in visual perception. This study, therefore has been made of principles of visual perception. range of visual perception in architectural environment, spatial characteristics of Korean traditional architecture, and example case studies are exhibited. The architectural compositional principles of parts selected in process of study could be selected to facilitate comparison with the perceptual psychology. The result of this study can be used to construct Korean architectural plans. elevations. form and spatial and order pertinent to human understandings and existances on the priority of wholeness and the relationship of parts to visual perception.

• Korean Institute of Interior Design Journal
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• v.23 no.5
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• pp.51-57
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• 2014

In the early 20st century, created distrust on the mechanistic and dualistic view based on the world of Descartes and Newton. As the features of this new science cannot be explained by the existing Western philosophy but can be explained by the thinking system immanent in the Oriental traditional thought, many scientists and philosophers are concentrating their interests on the Oriental philosophy. In addition, some have been making efforts to find solutions needed for a new paradigm from the thinking system of the Orient. A variety of discussions have also been raised in connection with architecture due to this philosophical change. It has now become possible to conduct free creative acts, staying away from physical limitations, including gravity by diversified simulations through a computer. This physical liberation in turn has caused new changes to the spatial concept of architecture, thereby granting the freedom of the expression that could not be even imagined before and opening a possibility of new architecture and space. At the same time, the digital space architecture actively accommodating this technology is generating a phenomenon that the existing physical and realistic things are rapidly being changed gradually to immaterial and unrealistic ones. This study has analyzed the properties of digital architectural space as the immateriality of our traditional architectural space. The results are as follows: It can be seen that the immaterial features exhibited in the digital architectural space and the traditional architectural one are not just interconnected with specific features, but they are correlated to all immaterial features. Thus, immateriality that are common in the traditional and digital architectural spaces is complementary organic, which is contained in the ambiguity of boundary between other spaces. It is regarded to the architecture as a living things in space diversity based on ideological similarities.

• Journal of the Society of Naval Architects of Korea
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• v.42 no.1 s.139
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• pp.50-56
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• 2005

The performance of Traditional Korean Fishing Boat is surveyed based on Report on Investigation of Korean Fishing Boat. The characteristics of Traditional Korean fishing Boat of hull form, rudder, sail are studied from the view point of modern sailing boat design. As a result we find her hull form is an excellent candidate of mother ship for modern boat design and the great sized rudder of Traditional Korean Fishing Boat makes a role of the centerboard of modern sailing host. And also we find the sail of Traditional Korean fishing Boat is more useful for sailing against the wind direction than an ordinary Lug sail.

• Korean Institute of Interior Design Journal
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• v.19 no.1
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• pp.169-179
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• 2010

Since modernization period thru Japanese colonial era the modern architect began to play a important role for Korean housing architecture. So called 'House as an Art Work', detached houses by prominent architects, belong to a meaningful sector in Korean modern housing architecture. The harmony with tradition was always big issue for such works. This study aims to understand how paradigms for tradition were interpreted with the changes of the time. The analysis showed various tryout by architects, that concretize traditional characteristics in their work. For example, traditional lifestyle were clearly reflected in the floorplan during 30's and 40's. In the 70's building mass and formative roof design were emphasized to present traditional image. As well as it represented primitive esthetic and vernacular decoration. In addition, expressive tendency, that demonstrates korean sentiment through material and its texture, got a preference. Since latter half of 80's some traditional architectural elements were modernized and space characteristics were newly created from acculturation. Furthermore the philosophy of "Subdivision of building wings and Emptiness" follows this trend. This type made a courtyard and connected articulated building masses each other. "Sympathy with Nature" were most essential for a traditional houses in contrast with western architecture. Many architects today make various method to bring nature into interior space and to contemplate nature In the house. Such kinds of adaptation to tradition could be understood as a unique process to manifest identity of Korean modern houses.

• Journal of the Korean housing association
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• v.26 no.3
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• pp.11-24
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• 2015

There have not been many debates on the subject of Korean architecture during the transformative period of Gae Wha Gi (開化期: Enlightenment Period of Korea), when Western-style buildings first appeared in Seoul. This study begins by finding and recording those buildings in Seoul that show the gradual adoption and appropriation of Western architectural elements at the turn of the 20th century. By exploring the confluence of two different architectural styles, this paper attempts to look carefully at the hybrid conditions that resulted from encounters between the Koreans and the Westerners in the late 19th and early 20th century. Beginning with discovering the first products of the Western architectural influence in Seoul, this study explores the uneasy co-existence between the traditional Korean architectural style, and the Western architectural style. This co-existence ultimately bred new building techniques, and interior layouts; the appearance of these hybrid buildings illustrate the gradual transition from the traditional way, in which users modified, combined and appropriated various elements from both styles. Analyzing historical documents and photos, this study tries to capture a detailed image of the period when the influence of the Western architecture had an unavoidable impact and brought change to the traditional architecture of Korea.

• Korean Institute of Interior Design Journal
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• v.24 no.4
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• pp.14-22
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• 2015

This study deals with a comparative analysis of wooden assembly methods between Japanese traditional architecture and Kuma, Kengo's works. Kuma, Kengo has known as an architect who pursues Japanese architectural traditions with integrated solutions for built and natural environments, and expresses a deep commitment to unexpected use of materials such as stone and wood with the clarity of structural solutions. Accordingly, his architecture focuses on the appreciation of the spatial relationship with the surrounding, its local characters, and the selection of materials. This article first examines two of wooden assembly methods that have been shown in Japanese traditional architecture such as 'two-way system' and 'one-way system'. And then, Kuma, Kengo's wooden assembly methods in his works are analyzed and compared in relation to Japanese wooden assembly methods to find out similarities and differences between them. Then, it concludes that Kuma, Kengo's approach is not only relying on the methods of Japanese traditional architecture, but also exploring creative ways beyond traditional assembly methods.