• Journal of architectural history
• /
• v.31 no.1
• /
• pp.29-39
• /
• 2022

The remaining Joongjaesil(中齋室)-type pavilions in the eastern part of the Jirisan Mountain area showed more complex characteristics than those in the western part. The front number of kan(間) had two, three, and four kan (間) types, but the number of kan on the side was consistent with two regardless of the number of kan on the front. The pavillion is classified into 'central type', 'towards the backward type', and 'expanded by backwards type' according to the location of Joongjaesil. Joongjaesil's size, which characterizes the characteristics of Joongjaesil-type Pavilion, is related to the building's front number of kan. Front number of kan. When this space was increased by one space to four spaces, Joongjaesil must have two spaces. The pavilion with four bays in front showed the characteristics of being concentrated in Sancheong and Jinju, the eastern part of the Jirisan Mountain area. In the eastern region, many high pavilions remain, and the upper structure of the pavilion was insignificant, but the flat shape and public construction showed strong locality.

• The Journal of the Korea Contents Association
• /
• v.11 no.11
• /
• pp.482-491
• /
• 2011

Pavilion(樓亭) was a Building for rest and scene appreciation in chosun dynasty. This research was to analyze construction method and the structure of Pavilion. The detail objectives of the research was ; First, the location of Pavilion and the layout of facilities were analyzed and composition principle was found. Second, Pavilion were analyzed about dimension, form, constructive method, and structure. Pavilion location was selected on the consideration of natural condition such as configuration of the ground, climate, and scene state. The Length of Building remained until present was about 8~12m, the depth was about average 3~4m. The results of these study can give deep understand of physical structure and help to reconstruct future Pavilion.

• Proceedings of the Korea Contents Association Conference
• /
• 2008.05a
• /
• pp.28-32
• /
• 2008

The displays and the interactive interfaces are important factors to enhance immersion in the VR experience pavilion. In the VR experience pavilion displaying 3D Virtual environment, it is difficult to have multi-display with single viewpoint because of the field of view. Also it costs a lot to construct a large size display. The interaction device between user and VR environment necessary to immersion has used mainly the touchscreens with the restricted display area or the button-based input devices so far. In this paper, we suggest a method for constructing extensible multi-display which are showing VR environment in realtime and a method for interaction using a ZA Sensor which is wireless and guarantees the user's unrestricted movement. The proposed method can make a VR experience pavilion more immersive at less cost.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.1
• /
• pp.152-163
• /
• 2014

In this study, Gwanghanru Pavilion (Namwon-si, Cheonbuk Province) was dated by tree rings of pines (Pinus densiflora Sieb. et Zucc., 'sonamu' in Korean). The present Gwanghanru Pavilion is composed of three parts: main, wing and entrance parts. The main part is known to have been built in 1626 and the entrance hall in 1879, but the date of construction of the wing part is still unknown. We dated a total of 55 wood samples which were replaced during the repair process in 2001~2002. Tree-ring dates indicated that both main and wing parts were built in 1626. Tree rings also revealed that the entrance hall was constructed in 1880~1881, and both main and wing parts were heavily repaired together while appending the entrance hall. In conclusion, dendrochronology, i.e., tree-ring dating, was a useful and accurate method to identify the critical dates-such as the dates of original construction, reconstruction, repairs and extensions-for the history of Korean traditional buildings.

• Korean Architects
• /
• s.636
• /
• pp.124-125
• /
• 2022

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.1
• /
• pp.52-64
• /
• 2015

This research traced the characteristics of the semantic landscape, construction intent, landscape composition, and geomantic conditions of the area subject to the research based on the research methods of 'field investigation, document studies, and interviews,' centering around the entire area of Gokseong Hamheo-pavilion (Jeonnam Tangible Cultural Assets No. 160). The result of the research, specifically revealing the forms and methods by which the reciprocal view of nature and landscape composition appearing in the landscape of the entire area of Hamheo-pavilion, as part of the analysis and interpretation over the view-based construction characteristics and position of the entire area of Gokseong Hamheo-pavilion, can be summarized as follows. First, Hamheo-pavilion is a pavilion built as a resting area and as a venue for educational activities in 1543 in the nearby areas after Gwang-hyeon Sim founded Gunjichon-jeongsa for educational activities and dwelling purposes at Gunchon at the 30th year of King Jungjong. Gunchon, where Hamheo-pavilion and Gunjichon-jeongsa is located, exhibits the typical form having water in the front, facing Sunja-river(present Seomjin-river), and a mountain in the back side. Dongak-mountain, which is a guardian mountain, is in a snail-type form where cows leisurely ruminate and lie on the riverside, and the Hamheo-pavilion area is said to be an area bordering on one's way of enjoying peace and richness as it is a place with plentiful grass bushes available for cows to ruminate and lie down while sheppards may leisurely play their flutes at the riverside. The back hill of Hamheo-pavilion is a blood vessel that enters the water into the underwater palace of the turtle, and the building sitting on the turtle's back is Hamheo-pavilion, and the Guam-jodae(龜巖釣臺) and lava on the southern side below the cliff can be interpreted to be the underwater fairly land wanted by the turtle.6) Second, Hamheo-pavilion is the scenery viewpoint of Sungang-Cheongpung (3rd Scenery) and Seolsan-Nakjo(雪山落照, 9th Scenery) among the eight sceneries of Gokseong, while also the scenery viewpoint of Hamheo-Sunja(2nd Scenery) and Cheonma-Gwiam(天馬歸岩, 3rd Scenery) among the eight sceneries of Ipmyeon. On the other hand, the pavilion is reproduced through the aesthetics of bends through sensible penetration and transcendental landscape viewed based on the Confucian-topos and ethics as the four bends among the five bends of Sunja-river arranged in the 'Santaegeuk(山太極) and Sutaeguek(水太極, formation of the yin-yang symbol by the mountain and water)' form, which is alike the connection of yin and yang. In particular, when based on the description over Mujinjeong (3rd Bend), Hoyeonjeong(4th Bend), andHapgangjeong(2nd Bend) among the five bends of Sunja-river in the records of Bibyeonsainbangan-jido(duringthe 18th century) and Okgwahyeonji(1788), the scenery of the five bends of Sunja-river allow to glimpse into its reputation as an attraction-type connected scenery in the latter period of the Joseon era, instead of only being perceived of its place identity embracing the fairyland world by crossing in and out of the world of this world and nirvana. Third, Hamheo-pavilion, which exhibits exquisite aesthetics of vacancy, is where the 'forest landscape composed of old big trees such as oak trees, oriental oak trees, and pine trees,' 'rock landscape such as Guam-jodae, lava, and layered rocks' and 'cultural landscape of Gunchon village' is spread close by. In the middle, it has a mountain scenery composed of Sunja-river, Masan-peak, and Gori-peak, and it is a place where the scenery by Gori-peak, Masan-peak, Mudeung-mountain, and Seol-mountain is spread and open in $180^{\circ}$ from the east to west. Mangseo-jae, the sarangchae (men's room)of Gunjichon-jeongsa, means a 'house observing Seoseok-mountain,' which has realized the diverse view-oriented intent, such as by allowing to look up Seol-mountain or Mudeung-mountain, which are back mountains behind the front mountain, through landscape configuration. Fourth, the private home, place for educational activities, pavilion, memorial room, and graveyard of Gunji-village, where the existence and ideal is connected, is a semantic connected scenery relating to the life cycle of the gentry linking 'formation - abundance - transcendence - regression.' In particular, based on the fact that the descriptions over reciprocal views of nature regarding an easy and comfortable life and appreciations for a picturesque scene of the areas nearby Sunja-river composes most of the poetic phrases relating to Hamheo-pavilion, it can be known that Hamheo-pavilion is expressed as the key to the idea of 'understanding how to be satisfied while maintaining one's positon with a comfortable mind' and 'returning to nature,' while also being expressed of its pedantic character as a place for reclusion for training one's mind and training others through metaphysical semantic scenery.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.35 no.6
• /
• pp.97-109
• /
• 2008

This study first attempted to catch the transformational affairs and motives of the representative pavilion, Hanbyeok in Honam after its construction. Especially, it re-illuminated the morphologic, significant and functional change process of a pavilion after the early Joseon Dynasty by taking the local scenery, Hanbyeokdang as a sample, and considering the space and scenic characteristics, and diachronically understood its creation process and rebuilt its inherent positional meaning to reach the following conclusion. 1. Weoldanglu, at its early foundation, seems to have stressed the function of a private banquet and lecture hall to train younger students, and served as a reception space. Then the reception function gradually increased, and up to before 1530, it seems to have been called Weoldanglu(月塘樓) or Weoldangwon(月塘院). 2. In 1619, Governor Yoo Saek changed the pavilion name to Hanbyeokdang through the subject of a poem. 200 years after Weoldang's death, it became a public space called Hanbyeokdang, an amusement place in which scholars cultivated great morale, and participated in the sending-off and welcoming of predecessors and successors. This seems to have taken a foothold as a public event or entertainment space for the local administration, Jeonjuboo(全州府) through the remodeling process sponsored by the public. 3. Scenic language such as its indicating name, expression type and surrounding view through old map and so on, the shape of Hanbyeokdang evolved and changed to diverse types after the foundation of Weoldanglu, at the heart of which Hanbyeokdang with its two legs standing at a rock was located. 4. During the late 18th century, Hanbyeokdang seems to have been a wing corridor connected closely to the left corridor of the Jeonju stream bed, whose pattern is presumed to have existed even during the early 19308. Such changes in scenic language make us assume that diverse auxiliary space, a wing corridor, was erected for use as a public banquet and amusement spot of Jeonjuboo Castle, the inherent function of Hanbyeokdang after the mid 18th century. 5. Penetration of Hanbyeokgool and the erection of Hanbyeokgyo caused the change of the ancient shape of Hanbyeokdang. Specifically, a great Hanbyeokgyo passing by the pavilion changed the relative scale, so the pavilion image of pursuing unity with nature has lost the old inherent refinement and visual character.

• Journal of the Korean Institute of Educational Facilities
• /
• v.26 no.6
• /
• pp.51-58
• /
• 2019

This study embody the investigation of the winner projects of Young Architecture Program(YAP) taken place annually at front yard of MoMA PS1 since 1998. Every installation of project is experimental exhibition that have ambiguous border in the area between lightness and architecture. Thus the design have less limits as architectural space and talents can express the innovative idea strong. This paper aims to probe annual significant key words by analyzing the contemporary representative space types, materials, fabrication methods and innovative ideas, and to identify the changes of important concept of lightness and recent trend in architect design concept.

• Journal of architectural history
• /
• v.30 no.4
• /
• pp.17-29
• /
• 2021

Young-dang(影堂) is a ritual pavilion where figures of a dedicated person is enshrined. According to literature, establishment of Young-dang architecture is thought to have the affinity with Buddhist tradition in the beginning of its history. A tradition of enshrining figure could be found especially in Buddhism. Until the mid Joseon dynasty, enshrining figure made of wood, clay and bronze was quite often at Young-dang. In Confucian ritual tradition, a pavilion where enshrining ancestor's sprit tablet called Sadang(祠堂) or Myo(廟). In regarding portrait is a sort of figure, it has to be concerned with Buddhist ritual tradition. For this reaseon, Young-dang started to be distinguished from older aspect of existence in mid Joseon dynasty when the study of Confucian courtesy widely spread. It show the transformation process of Young-dang architecture from Buddhist tradition to Confucian tradition in J oseon dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.3
• /
• pp.85-97
• /
• 2010

This research studied the location and the spatial composition of Pihyang-jeong zone. Pihyang-jeong is regarded as one of the five great pavilions in Chollabuk-do. Located in Taein-myeon of Jeongeup-si, Pihyang-jeong is also called as 'the number one pavilion in Honam area'. 1. There is no record regarding the first construction of Pihyang-jeong. There is only transmitting by word of mouth that the scholar Choi Chi-won had an excursion to here and composed some poetry during the age of King Heon-gang of Shilla dynasty. However, there are records that Lee Ji-gweng had expanded the humble structure in 1618, Park Sung-go repaired it in 1664 and Yoo Geun repaired it again in 1715. 2. The location of Pihyang-jeong is 'high in north and low in south' and typical 'mountain in rear and water in front'. It has Seong-hwang Mountain(189m) in the north, Hang-ga Mountain(106m) in the south, Tae Mountain(33m) in the south and an open field in the northwest. 3. The spatial composition around Pihyang-jeong is as following. Pihyang-jeong faces 'Hayeonji'(the lower side lotus pond) in the south-south-west direction. 4. The buildings around Pihyang-jeong are; Pihyang-jeong, which was the pavilion of the government official not directly in charge of government office, Hambyeok-lu in the Hayeonji and the facility for the caretaker. Pihyang-jeong is a rectangular building with double eaves and hipped-and-gabled roof. It has five rooms in the front and four rooms in the side. Hambyeok-lu had been first built in 1918 as two-storey wooden pavilion with dancheong, traditional multicolored paintwork on wooden buildings. Then it was modified into rectangular single-storey pavilion with hipped-and-gabled roof and five rooms in 1971. In 2010, it was rebuilt as a hexagonal pavilion; therefore, the present shape is completely different one from the original shape. 5. The scenic features around Pihyang-jeong are as following. There are 21 stone monuments in Pihyang-jeong zone. The fence surrounding Pihyang-jeong is a traditional Korean style crude stone fence. There are three gates in three-gates-style, each gate made with two posts and one 'matbae'(gabled) roof. Also, a stepping stone for mounting/dismounting was found in the east of Pihyang-jeong outer perimeter. 6. The water scenic feature around Pihyang-jeong is a representative case of drawing in the water from the natural pond nearby government office and building a pavilion around the water. 7. The planting around Pihyang-jeong is as following. There are Zelkova trees in the boundary perimeter. In the southern small park, there are Zelkova trees, Crape-myrtie trees, Bushy young pine trees, Pine trees, Satuki, Purple azalea and Grass field. Around Hambyeok-lu in the Ha-yeonji, Elm trees, Zelkova trees and Pine trees are growing in good condition.