• Journal of architectural history
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• v.1 no.2 s.2
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• pp.159-171
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• 1992

Renaissance Age is called the Period of Discovery because of great development of the economy and the science, and is known the Period of scientific analysis of Man and of interest of Nature out of a blind obedience in the Middle ages. Especially in visual art architecture, painting and sculpture, the rational spirit of Renaissance actually and distinctly communicates the meaning of Work through the scientific and mathematical expression after a finding Perspective by Brunelleschi. So the puropse of this study is to clarify the substancial meaning of Renaissance Art by investigating the expression applied Perspective to the works of Brunelleschi's architecture, Donatello's sculpture and Masaccio's painting.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.5
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• pp.11-22
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• 2020

It is the juristocracy in architecture to judge the architectural plagiarism by copyright law. The architectural plagiarism should judge by architectural criticism. From the point of the criticism to discuss architectural plagiarism, the study on artistic imitation should be preceding. The current discussion on architectural plagiarism doesn't consider artistic imitation. Therefore, the result of the discussion only focused on whether the building is plagiarizing or not. From the point of architectural criticism, there should be three considerations, which are creation, imitation, and plagiarism. In the study of Aesthetics, it theorized artistic imitation as the appropriation. With the understanding of the appropriation, contemporary art is developing the discourse on plagiarism beyond the boundary of plagiarism fundamentalism. The purpose of this study is to apply the appropriation to the discussion of architectural plagiarism. The study introduces the discourse on architectural plagiarism rather than judging it with copyright law. There so the study categorized the aesthetics standard of appropriation art, then apply it to the architecture cases. The architecture cases subjects of analysis are the glasshouse by Philip Johnson, National Museum of Australia by Howard Raggatt, and the Meiquan 22nd Century in China. At the point of the appropriation theory, the glasshouse is the only architectural appropriation, and others need to apply the evaluation criteria of plagiarism.

• KIEAE Journal
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• v.15 no.2
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• pp.79-86
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• 2015

Purpose: The concept of the tectonic has researched to find out the identify of modern architecture. The meaning of traditional tectonic knowledge to emphasize structural joints and attention to detail in creativity has developed in various ways in contemporary architecture. The purpose of this study is to analyze the tectonic characteristics and architectural expressions of the light appeared in the works of Santiago Calatrava. Major features in his works could be found is to maximize structural beauties through deducing the architectural images from the nature and expressing the material properties and the kinetic structures, and thus, to ultimately create the functional space and form by connecting the light to the tectonic structure. Method: Accordingly, I tried to analyze the three works of Santiago Calatrava (the Milwaukee Art Museum, the Bodegas Ysios Winery and the City and Arts and Sciences) as following categories - the structural aesthetics, the expression of material properties, the relationship between he kinetic structures and the light. Result: According to the results of the study, Santiago Calatrava tried to create his own architectural aesthetic by combining structural tectonic with nature, material, regional place and culture. He also sought to express the tense and dynamic tectonic rather than the stable one in his works.

• Journal of the Korean Institute of Rural Architecture
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• v.15 no.1
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• pp.47-56
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• 2013

As architecture has a role of vessel that contains human life, architecture of museums in a region must be a vessel that contains identity of the region. Jeju Province possesses excellent natural landscape acknowledged by the world. As such, architectural design of museums in Jeju region, differentiated in terms of natural, humanistic and cultural characteristics from other regions, must include identity of Jeju. Jeju has established and is operating so many museums with different themes that it is referred to as the heaven of museums. In addition, museums as cultural facilities must be the measure of cultural level representing regional identity and perform the role of advance guard that leads architectural culture of the region. Also, such excellent architectural asset is an important landscape element that increases value of the region. Based on Landscape Management Guideline established in 2009 by Jeju Special Self-governing Province under such critical mind, this study will support design problems and improvements of museums through case study and analysis on design characteristics of national and private museums in Jeju. Accordingly, the purpose of this study is to provide basic data to be pursued by future museums that contain identity of Jeju, based upon the results of analysis described above.

• Architectural research
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• v.19 no.1
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• pp.21-26
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• 2017

This research examines the historic preservation of Korean modern architecture by applying Kenneth Frampton(1930-)'s concept of critical regionalism. It explores the representative Korean modern architect Gil-ryong Park (1898-1943) and two of his buildings: the Hwashin Department Store (1935) and the No-soo Park house (1937-1938). The former was in the hot spot on the preservation. There were plans to preserve this building but that it ended up being demolished in 1987. The latter building, however, has been preserved and is currently being used as a museum. These two Korean modern buildings are explored through the frame of Kenneth Frampton's critical regionalism, in particular focusing on three important concepts: "dialectical expression," "place-form," and "sustainability." In this sense, this research will provide pioneering research in understanding the preservation of Korean modern architecture through a representative Western modern theory. In the early $20^{th}$ century, Korean modern architecture, which was built during the Japanese colonial period (1910-1945), could be interpreted as critical regionalism because it represented a dialog between the West and the East, in particular between Western modernism, Japanese modernity, and Korean tradition in the East Asian context. Understanding Korean modernism in this context of a cross-cultural perspective enables scholars to define both the origins and uniqueness of Korean modern architecture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.10-23
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• 2021

During the Japanese colonial period, the palaces of Joseon were damaged in many parts. Changgyeonggung Palace is the most demolished palace with the establishment of a zoo, botanical garden, and museum. During the Japanese colonial period, the palaces of Joseon were damaged in many parts. This study examined the construction process of Jangseogak(Yi Royal-Family Museum), located right next to the Jagyeongjeon site, which was considered the most important space in the Changgyeonggung residential area of royal family zone, through historical materials and field research. Built in 1911, Jangseogak is located at a location overlooking the entire Changgyeonggung Palace and overlooking the Gyeongseong Shrine of Namsan in the distance. Changes in the surrounding space during the construction of Jangseogak can be summarized as follows. First, in the early 1910s, the topography of the garden behind Jagyeongjeon and part of the Janggo were damaged to create the site of Jangseogak. The front yard was built in the front of Jangseogak, and a stone pillar was installed, and a staircase was installed to the south. In the process, the original stone system at the rear of Yanghwadang was destroyed, and it is presumed that Jeong Iljae and other buildings were demolished. Second, in the 1920s, many pavilions were demolished and the zoo and botanical gardens and museums were completed through leveling. After the Jangseogak was completed, the circulation of the Naejeon and surrounding areas was also changed. Cherry trees and peonies were planted in the flower garden around the front yard of Jangseogak and the stairs, and a Japanese-style garden was created between Yanghwadang and Jibbokheon. Third, in the 1930s, the circulation around Jangseogak was completed in its present form, and the museum, Jangseogak, Zoological and Botanical Gardens, and Changgyeonggung, which became a cherry tree garden, were transformed into a Japanese-style cultural park. After that, the surrounding space did not change much until it was demolished. The restoration of the present palace is a long-term, national project of the Cultural Heritage Administration. The results of this study will provide important data for the restoration plan of Changgyeonggung Palace in the future, and it is expected that it will provide additional information to related researchers in the future.

• Journal of The Korean Digital Architecture Interior Association
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• v.8 no.2
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• pp.57-64
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• 2008

The walls of art museums become the background of exhibits, and they form a unit space depending on the of each exhibit. In addition, the walls are configured and presented depending on the rhythm of space, or the structure of an axis. In this study, according to the axis composed for each unit space, the presentation methods of walls were classified as follows: The central type, the skewed type, the crossed type, the one-side corridor type, and the two-way corridor type. By analyzing visual configurations formed by the arrangement of each unit space, the value and the hierarchy of walls are discussed To analyze the classified types with the physical change of unit space, the factors of visual integration, connectivity, depth, and visual axis are compared, and various configurations of walls and space change are applied.

• Korean Institute of Interior Design Journal
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• no.37
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• pp.48-54
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• 2003

This study investigates great potential of architectural representation drawings for architects as well as designers to realize their design concept into visual forms. In 1988, an exhibition called "Deconstruction in Architecture" at Modern Art Museum, New York, was an important turning point in design representation. The study examines design drawings of architects of deconstructivism to analyze new attitudes toward building forms and programs in contemporary architecture. The study found in the drawings that initially, collages in many different types are often utilized to express simultaneous time and space. Secondly, section drawings become more important to explain ambiguous and complex floor system than before. Thirdly, cinematic montages are utilized to express indeterminate or loose programs. Fourthly, diagrams are utilized to visualize initial conditions and clues of design solution. The study concludes that design drawings are not only representation media admitting of changes and progress but also tools of design creation. creation.

• Journal of the Korean Institute of Rural Architecture
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• v.6 no.3
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• pp.96-105
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• 2004

The purpose of this study is to investigate and analyze the actual condition and utilization planning of rice mills in Korea. Especially there are 64 rice mills at Goesangun, Chungbuk. I had selected six among them and examined. They are comparatively good, worth preserving, and considered to be the historical and local values. The results of study are as follows; First, rice mills of agricultural villages are utilized as the place of learning that people can experience or the agricultural village museum. Second, it can be connected to the sightseeing resources. Therefore, they are utilized as a green tourism. Third, in order to activate small rice mills, it need a governmental support policy. Fourth, it is necessary of the multilateral plan that can be used as a place of village community.

• Conservation Science in Museum
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• v.27
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• pp.125-146
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• 2022

The Wooden Gamsil with Inscription of "Botajeon" in the collection of the Dongguk University Museum was made in imitation of the wooden architecture style of the late Joseon period. The Gamsil had suffered exfoliation in the pigment and loss of components and thus underwent conservation treatment. Prior to the conservation treatment, the damage was classified by type and form, scientific analysis was carried out on the fiber and the species of wood, and portable X-ray fluorescence (P-XRF) analysis was conducted for the pigment component analysis. According to the analyses, Korea Pine(Soft pine) was used for most parts of the Gamsil, Manchurian walnut (Jugalns spp.) was used for the signboard, and the fiber used was identified as rice straw (Oryza sativa). The P-XRF identified white lead and zinc oxide in the white pigment, red lead in the red pigment, ultramarine blue in the blue pigment, and emerald green in the green pigment. For the conservation treatment, contaminants attached to the gamsil were removed by both dry and wet cleaning, detached parts were reattached in their original places, and lost parts were restored.