• Korean Institute of Interior Design Journal
• /
• v.19 no.6
• /
• pp.59-66
• /
• 2010

The purpose of this study is to examine how the perception of lives and studies in the Joseon Dynasty period, and the concept of its sculptures can be reflected in Korean traditional pavilion place, from the perspective of Nomadism as a western philosophy of this era. Nomadism literally refers to way of life of peoples who do not live continually in the same place but move cyclically searching for temporary centres whose stability depends on the availability of food and water supply or pastures for their livestock. In recent years, the term encompasses three general types: job nomads, digital nomads and ubi-nomads, which represent distinct features of modern society. Its concept implies looking for the new creative possibility through the liberation of desire and the breakaway to another thinking through continuous formation and transformation. Likewise, Korean traditional pavilion is the architecture to take a quick rest while walking in the mountains. This open place thus connects surroundings with people who are allowed to assimilate with nature as well as train their mind by following the law of nature, in order to finally reach the celestial state of mind. Knowing how to see, enjoy and appreciate the arts very close to nature, our ancestors were able to learn aesthetic activities. After recognizing Korean traditional pavilion as the potential place of unification of heaven and men which is Korean scholor's lifestyle and outlook on the world, this study accordingly will identify the value and meaning of Korean traditional architecture according to Nomadism in the occidental point of view.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.3
• /
• pp.56-64
• /
• 2021

Pavilion is an important landscape installation in the traditional landscaping and a representative facility that organizes space. To interpret and succeed the traditional landscape space, researches on the shape and structure of the traditional pavilion are also needed. However, researches on the style and structure of the traditional pavilion are difficult to be found. Accordingly this study aimed to identify the structural characteristics of roof part that occupied the largest portion in determining the shape of pavilion. Our research findings are as follows. As a result of analyzing 15 traditional Single-room square pavilions whose structure could be identified, it was found that the main building elements that distinguished the type of roof part in the Single-room square were crossbeam, ridge pole, and baluster. Depending on the presence of roofing members, pavilion was classified into five types: crossbeam, crossbeam+ridge pole, crossbeam+baluster, ridge pole, and baluster. In addition, as a result of analyzing the load and joint that worked on crossbeam based on the shape classification of roof part, it was found that in the traditional Single-room square pavilion, crossbeam was designed to play a balancing role between pillar and load. This study is significant in that it attempted to make a close interpretation of the shape of roof part in the pavilion and the role and function of building elements in terms of size, ratio, and load.

• The Journal of the Convergence on Culture Technology
• /
• v.6 no.2
• /
• pp.387-395
• /
• 2020

The standard model of Korean pavilions can embody the beauty of the Korean traditional and reflect the trend of the times, develop a universal and realistic model, and at the same time promote Korean traditional beauty internationally. Therefore, the purpose of this study is to develop a standard model for living, industrializing, activating and globalizing Korean traditional pavilions while inheriting our own traditional technologies and preserving the legitimacy of Korean pavilions through a case study of Korean traditional pavilions. Considering the case analysis and modern trends, the plan was carried out in each part to present standard models for the representative types of traditional pavilion, Samojeong, Yukgakjeong, and Palgakjeong. The standard model has made some changes in design trends, including the installation of handrails and handrails to enhance utilization while considering legitimacy. The standard model presented in this way reflects the current design trend and can be changed in different forms depending on the trend at that time. The standard model of Korean pavilions developed this time can be said to be a universal and realistic model, while reproducing the beauty of Korean tradition.

• Journal of the Korean Institute of Rural Architecture
• /
• v.12 no.3
• /
• pp.35-46
• /
• 2010

The purpose of this study is to interpretate the Korean traditional Private Garden Pavilion -'byoul-seo(別墅)' in the view point of the architectural methodology - the separation of space in Honam province. It is presumed that nature union is archived through the 'yan-sang(玩賞)' which is ultimate state of knowledge that is base on the premises of opened signification in emancipation from narrow view point in the past and cognition of value. therefore, it is needed to know the unworldly point of space perception about the pavilion territory, furthermore to have conceptual method to distinct pavilion from the world. there are two methods in the distinct concept in this pavilion research: unworldly separation and meditative separation. As a result, the followings are conclusions; There two distinctive methods of planning of pavilion by use of the room and column. There are enclosement, turnaround, division of floor area in the room organization method, and it's modification of modulation, diversification of column height and diversification of column use in different space.

• Journal of Korea Society of Digital Industry and Information Management
• /
• v.4 no.1
• /
• pp.65-68
• /
• 2008

In this paper, a web-based 3D virtual reality (VR) pavillion of Korean Traditional Music was implemented. The VR pavillion is used for the virtual demonstration and experience of Korean Traditional Music, which provides the information as well as multimedia experience on eight instruments to users through internet. It provides eight web-pages and one an audio-visual classroom on the instruments.

• Korean Institute of Interior Design Journal
• /
• v.17 no.4
• /
• pp.11-22
• /
• 2008

This study aims at clarifying the circumstances under which the Korean Pavilion was constructed at the 1900 Paris Universal Exposition, and major architectural features of the pavilion building, In particular, this thesis studies the construction history of the Korean Pavilion newly developed by Comte de Mimerel on the part of France following the sudden death of Baron Delort de Gleon during the construction of the Korean Pavilion, as well as architectural features of the draft design. The Korean Pavilion designed by Comte de Mimerel completely reproduces Keunjeongjeon of Gyeongbok Palace, faithfully complying with the then design tendency of the exposition. Mr. Young Chan Min, the Vice Chairman of the Seoul Organization Committee, positively participated in the construction process, and traditional carpenters in Chosun, together with Mr. Young Chan Min, were dispatched to Paris to engage in the construction of the pavilion building. This is substantially in contrast to the earlier design. According to the analysis in this study, although the Korean Pavilion designed by Comte de Mimerel was primarily built with the fund of the French Government and under the French architectural system, as a result of the Korean Government's positive participation in the construction process, it was decided to use Geunjeongjeon, the symbol of Chosun, as a model of the pavilion, and therefore, the Korean Pavilion was recognized by the Europeans as a monument of complex and sophisticated civilization. Furthermore, commercial and colonialistic expressions, which were found in the earlier plan, are rarely found in the Korean Pavilion designed by Comte de Mimerel, and we can see that this is the result of the attempt to fully reproduce Geunjeongjeon, the major building of the Chosun royal court, in building the Korean Pavilion.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.37 no.4
• /
• pp.51-59
• /
• 2019

This study aims to examine the design and construction methods of movable Pavilions. Through the literature analysis, the setting up of the construction background, location and direction, size and composition, materials and construction methods were analyzed. The results are as follows; First, the movable pavilion is designed to enjoy a wide range of views. It was a creation that reflected the way in which the ideal life was pursued based on the experience of enjoying scenery rather than owning one's own house and running a pavilion. Second, the formation of movable pavilion was intended to enjoy the scenery by season without restrictions on time and place. It can also relieve the hassle of having to move tools to enjoy the wind every time. Third, the movable pavilion faces to a place with good scenery and determines its position and direction. Most of them were built on a small scale and divided the space for viewing the scenery, playing GO(Baduk), writing poems, and playing musical instruments. Also, wood was used mainly. To reduce the load, roofs and walls were constructed with light materials such as bamboo, straw, thick sheet of oil, and cotton cloth. The construction method was mainly used by the method of fastening for easy coupling and dismantling. When a building was constructed on the upper part of a ship or cart, the wooden structure of a regular pavilion was constructed. Fourth, when comparing the design and construction characteristics of ordinary pavilion and movable pavilion, the movable pavilion is easy to see for contrast purposes, so there is no limit to setting the location and direction. Instead, more stringent systems and techniques were called for, because as mobility forces should be considered, structurally measures to withstand loads, and they should satisfy their function and form as pavilion.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.40 no.3
• /
• pp.36-45
• /
• 2022

This study examines the historical transition process of Hwanseonjeong Pavilion in Suncheon, identifies the landscape of the original Hwanseonjeong Pavilion in the past and its constituent elements, and compares it with the landscape of the present Hwanseonjeong Pavilion at Jukdobong area. It was intended to identify the problems and draw implications for future restoration of Hwanseonjeong Pavilion. Hwanseonjeong pavilion, the subject of this study, was built in 1543 by Tong-won Shim, the governor of Seungpyeong, as a garden architecture for government. Since then, it has been renovated several times, and as a pavilion representing "Seonhyang(immotal world)" Suncheon in the past, it was located along with an artificially created lake and other elements of the garden at a location where can be seen Dongcheon stream and Jukdobong Peak on the opposite side at a glance. Hwanseonjeong pavilion, which had been safely maintained during the Japanese colonial period, was lost on August 28, 1968 due to a major flood in Suncheon. The difference between Hwanseonjeong Pavilion and other lost is that another Hwanseonjeong Pavilion for the role of archery was built on Jukdobong Peak in 1935, before it was destroyed. The restoration case of Hwanseonjeong pavilion provides the following important implications for the restoration of pavilions as a garden architecture: First, the value of a pavilion is not formed from the building itself, but from the relationship with the surrounding landscape. Therefore, restoration of a pavilion should not be approached in the same way as restoration of buildings. Restoration of a pavilion requires efforts to understand the existing landscape value and to restore landscape elements together with buildings. Second, an artificially created long north-south lake along with Hwanseonjeong pavilion was a very important landscape component and a means of providing a way to enjoy the landscape. For restoration in the cultural context of Hwanseonjeong pavilion, efforts are also required to restore not only the architecture, but also the experience of cultural activities through an integrated examination and restoration based on an understanding of the cultural activities performed in Hwanseonjeong Pavilion. Third, compared to the past original Hwanseonjeong Pavilion, the existing Hwanseonjeong Pavilion shows a different shape, composition, scale, color, etc. In terms of the restoration of buildings, it is thought that restoration will be possible only when restoration is done through more accurate historical evidence, research, and investigation.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.4
• /
• pp.66-76
• /
• 2021

The purpose of this study was to analyze the transition process of Gyeongpo lake and to analyze the viewing characteristics of each period in the pavilion. The view characteristics at pavilion were analyzed by overlapping classification maps of landscape types by period with the view range map from pavilion. The circumference and area of Gyeongpo lake have been reduced to 15.2km and 3.9km² in the 1750s, 9.0km and 1.7km² in the 1933, and now 4.41km and 1.0km². By period, the largest decrease in the proportion of Gyeongpo lake viewed from Pavilion was Hwanseonjeong, which decreased by 48.0% from the 1750 to 2017. Hwallaejeong, Haeunjeong, and Hohaejeong were found to be impossible to view Gyeongpo lake as some of the adjacent lakes were changed to agricultural land. Pavilion has great significance as a space for traditional culture created in the background of humanities and natural environments. For the succession and development of Pavilion culture, it is necessary to use it as a cultural resource, to continuously manage the building, and to partially restore Gyeongpo lake considering the function of each pavilion.

• Journal of architectural history
• /
• v.19 no.6
• /
• pp.233-250
• /
• 2010

Jukseoru as an official pavilion of the government, one of the eight sceneries in Gwndong Area, is located on the cliff over Osipcheon River. This paper interprets form and space of the pavilion with restored old life by analyzing pictures of official party in 18th century in Chosun Dynasty. Every part of the space is occupied by persons by the class and duty: the pricipal guest, nobles, subordinates, gisaengs, court musicians, and guards from the high to the low and from the inside to the outside. Applying the analysis to the Jukseoru pavilion, the noblest lord takes sit on the platform in front of folded screen at main bay under checked ceiling, enclosed by low timber beam. The next northern end bay is a place for subordinates' and servants' waiting for preparation for rice wine. Southern end entrance bay is not a result of later addition but deliberately and originally made for lower place outside the railing of wooden floor: for a waiting woman gisaeng, and subordinates. Outside under the eaves on the platform with bedrock, artificial stone and soil is a place for court musicians, subordinates, and guards. The yard in front of the building is a place for preparing meals by cookers. Every detailed ornamental form is different each other by the place for the occupied class. Existing theory tells that the building, 7 bays gable-and-hipped roof, is a result of structural extention of 2 bays at the 5 bays gabled-roof. However, through the interpretation of old pictures and application to the pavilion, the present Juseoru is not a result of later structural addition, but deliberately designed creation suited to life in hierarchical traditional society.