• 건축역사연구
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• 제20권2호
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• pp.55-70
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• 2011

This paper aimed at analyzing of structural carpentry terminology for bracket structure in Yingzaofashi ${\ll}$營造法式${\gg}$in the era of Song Dynasty and illuminating coinage characteristics and method of Structural Carpentry Terminology for bracket Structure through graphonomy research and system and structure of these terms. The results are as follow. The structural carpentry terminologies for structure were identified to be approximately 23 words, and terminology of bracket structure鋪作 is largely categorized into 3 categories of Type鋪作次序, Structure, Place. On the other hand, the structural carpentry terminologies for parts largely categorized into 2 categories of Bracket structure鋪作, Others. Bracket structure terminologies for parts were derived from the core of Dou枓, Gong栱, Ang昂, Fang方. The phenomena of derivation in structural carpentry terminology for bracket structure can be explained by the difference in the shape of subsidiary material and the location for usage of the subsidiary material and part of the subsidiary material and their functions.

• 건축역사연구
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• 제7권3호
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• pp.107-120
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• 1998

Even though Gothic architecture, one of the most technologically complex sophisticated structural systems, has been interpreted by art and architectural historians since the nineteenth century, we still cannot entirely comprehend either the medieval builder's constructional technique and structural knowledge or the meaning of Gothic architectural elements. The major reason is that contemporaneous written documentation concerning design methods and constructional techniques of medieval architecture is lacking. In 1955, the Bibliotheque Nationale in Paris exhibited the sketchbook of the thirteenth century architect Villard do Honnecourt. After the exhibition, analysis on the architectural drawings of Villard's sketchbook had reported widely. Most of analysis on Villard, however, has been on his drawing and artistic style, and there has been very little published analysis of his profession and question on the author of the sketchbook. Thus, the purpose of this study is to investigate the characteristics of the sketchbook and identify the artist who drew it. The sketchbook poses a number of unsolved questions. There is no doubt that several hands have contributed some drawing with appropriate captions, particularly in the section devoted to the application of practical geometry to problems of masonry and carpentry. Scholars have assumed and revealed that it was not made by only one person, and it dealt too many different fields and styles. Through this study, the sketchbook drawings consist of five different styles and person (original painter, master1, master2, master3, and the last owner), and they, not Villard, just redrew the original drawings and bound the sketchbook. Therefore, Villard de Honnecourt was just a mentor of the sketchbook and he did not participate any writing and drawing in the sketchbook.

• Architectural research
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• 제8권2호
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• pp.17-26
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• 2006

This paper attempts to identify the term "tectonics" comprehensively by collecting and categorizing existing definitions of tectonics within the architectural area rather than to stress the concept of tectonics of each specific theorist. Although no consensus of opinion on the concept of tectonics exists, architectural tectonics was closely related to the following terms in three categories: 1. $techn\acute{e}$, technique, and technology; 2. construction and structure; and 3. stereotomics. Based on its etymology, system, and material construct, the notion of tectonics common in these three categories signifies "the art of framing construction," in which linear elements are connected with joints and clad or infilled with lightweight material. Thus, the art of framing construction, as a common concept of tectonics, reveals the following characteristics: First, tectonics is based on framing construction in contrast to piling-up construction as the etymology of tectonics signifies the art of carpentry. Then, the term tectonics, dealing as it does with a higher level of construction rather than the mechanical level of structure, incorporates the poetic aspect of techne as well as the rational aspect of technology. Third, Owing to the organic, double system of tectonic frame and incrusting or infilling materials, the tectonic body becomes both the ornament and the structure simultaneously. As the art of framing construction is based on material construction rather than structural or ornamental form, this paper proposes that one can view tectonics as a term that conveys the meaning of the actual material effect on space.

• 헤리티지:역사와 과학
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• 제43권2호
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• pp.82-119
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• 2010

"공정주법칙례(工程做法則例)"는 건물의 영조표준을 통일하고 공정관리제도를 강화하기 위한 목적으로 청나라 옹정(雍正) 12년(1734년) 공부에서 간행한 책이다. 영조표준을 만들기 위해 두구(斗口)를 기준으로 한 부재 하나하나의 치수가 기록되어 있으며, 공정관리를 위한 여러 비용의 기록 또한 존재 한다. 현재 이러한 기록들은 당시의 건축기술 및 건축환경을 짐작해 볼 수 있는 중요한 자료로 인식되고 있다. 하지만 우리나라 건축사학계는 북송 시기에 간행된 "영조법식(營造法式)"의 연구에 집중된 경향이 있어 "공정주법칙례"는 그 중요성은 인정 받고 있으나 아직 번역 작업조차 이뤄지지 않은 상태이다. 따라서 여기서는 "공정주법칙례"의 기본적인 내용들을 서두에 밝히고, 권1의 원문을 번역하여 소개함으로써 이후 연구의 기초자료를 제공하는데 그 목적을 두었다.