• 한국가구학회지
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• 제24권3호
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• pp.293-301
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• 2013

Through 1960 and 1970s, there had been constant endeavor in order to succeed the korean traditional architectural heritages. Among those efforts Ahn Yung Bae's book "Exterior Space in Traditional Korean Architecture"presented unique methodology utilizing abstraction of space and movement of subject. His method doesn't refer traditional form of architecture. He ignores formal elements. Instead, he reads space through subject's movement and this reading act creates meaning of space. So, he constructed knowledge not about the object of traditional architecture but the subject of today. Ahn's book opens new discourse based on traditional korean architecture. His analyses didn't deal with the form of traditional space, but the experiences of observer. However many historical documents related to architecture had not been interpreted until nineties and the succession of heritage became to be broken by modernity through 20th century. In this situation his book showed the unavoidable method, that is, the modernization of tradition.

• 한국전통조경학회지
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• 제40권2호
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• pp.59-66
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• 2022

본 연구는 문화재 수리에서 조경분야의 독자성을 확보하고 업역을 정립하기 위한 기준이 되는 조경수리 공종 분류 제시를 목적으로 하였다. 연구 결과는 다음과 같다. 현재 문화재수리 표준시방서는 식재공사 중심으로 조경수리 공종을 명시하였고 품셈은 조경분야를 포함하지 않고 있다. 다만 건설산업의 조경공사 시방서와 품셈을 준용하도록 하여 문화재 수리에서 조경수리 공종이 구체적으로 무엇인지 알기 어려운 실정이다. 따라서 실제 시행된 문화재수리 사업의 내용을 토대로 조경수리 공종을 파악하였다. 과거 1961년부터 1980년에는 수목식재뿐만 아니라 다양한 조경시설도 조경수리로 명시되었고 이 공종들 모두 현재 건설산업의 조경공사 공종으로도 정립되었음을 확인하였다. 또한, 2018년부터 2020년의 3년간 문화재를 대상으로 한 실시설계용역 입찰공고서에 명시된 공종 중 건축물보수 및 단청, 식물보호, 보존처리 분야 공종을 제외하고 종합한 결과 총 20개의 공종이 확인되었다. 20개 공종 모두 건설산업의 조경공사 공종에 해당하였다. 따라서 조경수리 공종은 건설산업 조경공사 공종 분류를 토대로 하되 문화재 공간의 특수성을 고려하여 부지조성 및 대지조형, 식재공사, 시설물공사, 포장공사, 생태조경공사, 식생유지관리의 총 6개로 분류하였다. 국내 산업의 한 분야로 조경이 정착해가던 시기에 이미 다양한 조경시설도 건축분야 수리가 아닌 조경수리로 시행되었으므로 이 시설을 모두 포함하여 조경수리 공종이 문화재 시방서에 구체적으로 명시되어야 할 것이다.

• Architectural research
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• 제18권2호
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• pp.49-58
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• 2016

This paper examines the Dutch policy for architecture and spatial design within the framework of the theory of creative industries. Creative industries are a young concept that emerged in the mid 1980's as a form of commercial cultural production associated with consumerism. The definition of the cultural industry is rather ambiguous in terms of its scope and its relation to the traditional field of art and cultural heritage. The paper describes the theory of the creative industry and relates the Dutch policy for architecture and spatial design to the creative industries theory. The sector of architecture and spatial design in the Netherlands has since the early 1990's been systematically supported by a national policy. Within this period a sophisticated infrastructure of institutions and funding incentives has created a successful and active culture of architecture, spatial design, architectural curating, architecture criticism, education, talent development, and research. Critical success factors for the Dutch policy are the separation of the cultural policy for architecture and spatial design from the art and cultural heritage sector, the 'depth' of the Dutch policy extending into fields not directly related to architecture and spatial design as well as the pro active role of the public sector assigning a central role to the architect and involving him in the beginning of the process.

• 건축역사연구
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• 제23권6호
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• pp.21-26
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• 2014

The purpose of this study is to retrospect the establishment process of specification of modern factory-made traditional Korean roof-tile. Its another purpose is to analyze the specification of watong(瓦桶, a wooden molding frame for roof tile making) which is recorded in the literature of Joseon dynasty. The results of this study are as follows. : First, the specification of modern factory-made Korean roof-tile that currently used was established in 1978. And it did not succeed old traditional specification. Second, in case of construction or repair of main building of palace, it was a principle to use Daewa(大瓦, the big size roof-tile). And Sangwa(常瓦, the ordinary size roof-tile) was used when needed. Also, Jungwa(中瓦, the middle size roof-tile) was used regardless of the size of group building. And Sowa(小瓦, the small size roof-tile) was used in house and wall of royal tomb. Third, it is needed to establish a specification of traditional handmade roof-tile based on the specification of watong through research of the litterateur. So, a standard draft for this was proposed. Finally, one can find the significance that this study has tried to find a specification of traditional roof-tile that can be applied to construction or repair of cultural heritage.

• 헤리티지:역사와 과학
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• 제34권
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• pp.138-171
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• 2001

This paper, based on the filed survey conducted from August 14 to 21, 2000, examines the architectural characteristics of traditional dwellings of Sujeonchon(수전촌, 水田村) village. Sujeonchon village is located on the northen slope of Changbaishan Mt., Andohyun(안도현, 安圖縣) of jilin Province(吉林省), a province in the northeastern region of China. The village was established between late 1940's and early 1950's by the Korean-Chinese. Later on, some of the Korean-Chinese residents moved out of the village and presently, the residents are composed of both the Korean-Chinese and the Chinese consisting about fifty-fifty. Since the cultural background and the living custom are different from each other ethnic group, that is, the Korean-Chinese and the Chinese, their dwellings reveal some differences between them. Through the study, the architectural characteristics and distinctions of the Korean-Chinese and Chinese dwellings are found and summarized as follows: 1.The way of building layout is different between them: the Chinese mainly follows the north-south direction of building layout, while the Korean-Chinese considers the surrounding environmental condition. 2.The floor level of kitchen is different between them: that of the Chinese house is same as the outdoor earth level, while that of the Korean-Chinese is lower than the outdoor level. 3.The way of providing the kitchen space is different between them: the kitchen of the Chinese house is consist of one separate room, while that of the Korean-Chinese is open to the living area. 4.The way of heating system is different between them: the Chinese house has kang only at the sleeping area, while the Korean-Chinese install whole under-floor heating of gudeul in the living area. 5.The attitude to the way of building is different between them: the Chinese are easily adapt to the new building materials and construction method, while the Korean-Chinese are showing strong attachment to the traditional way of building. 6.The houses of the Chinese and the Korean-Chinese have their own traditional ornaments and talismans on and in the building.

• 한국실내디자인학회논문집
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• 제22권6호
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• pp.140-150
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• 2013

The weaving of Mosi(fine ramie) in the Hansan region was inscribed on the representative list of the UNESCO intangible cultural heritage in 2011. Unlike other fabric, as the Mosi is very sensitive towards humidity it needs different conditions for its workspace. The Hansan region is near the sea with many mountains around where it is easy for the Mosi to grow and is an appropriate place to weave Mosi. Recently the manpower for weaving of Mosi in the Hansan area is decreasing with the decrease of workspace drastically. After the investigation of workspace for the weaving of Mosi in the Hansan area, most of the places were done in individual houses and it could be classified in 1. Mosi storeroom, 2. Shed(Gwang che), 3. Dugout hut, 4. Under the toenmaru The depth of the dugout hut and under the toenmaru is around 80~60cm which is similar with the depth of the prehistoric dugout hut houses. The towns for weaving of Hansan Mosi are formed mostly in the Seochungun district, but the Hoamri Hansan-myeon and Gayangri Masan-myeon has the most traditional workspaces and they are still forming and maintaining the traditional town composition. However the numbers are too small and maintaining the traditional town is getting more difficult, so a plan for the maintenance should be made to continue to keep it as UNESCO intangible cultural heritage.

• 한국실내디자인학회논문집
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• 제23권3호
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• pp.100-107
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• 2014

Traditional architectural space, which is a historical cultural heritage must be connected mutually as a organic flow of various elements such as the environment of the time, political background and values, rather than approaching with fragmentary point of view. The Silhak Philosophy, the basis of late Chosun society developed equity thoughts on the basis of ideology of humanism, and it asserted the promotion of technology and industry as a measure to realize the pursuit of truth which is practically useful. Thus, we could verify the possibility of convergent interpretation of cultural technology of Hwaseong architectural space through the humanistic viewpoint of pioneer spirit of Silhak Philosophy which regards human as a main agent of desire of life, and the pursuit of truth which is useful for reality, and the realization of ethical value by aesthetic practicalism. Based on this, the ontological meaning and value of Suwon Hwaseong by the viewpoint of convergence of culture and technology have been drawn as the construction of planned new town by the practice of filial duty, the plan of city space based on rational values, the realization of a metropolis where self-sufficient economic activities are possible, the introduction of thorough construction management system, the introduction of advanced culture and its creative application, and the application of scientifical knowledges and cutting-edge technology.

• 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.

• 건축역사연구
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• 제22권6호
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• pp.59-66
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• 2013

This study progressed an investigation on the cause of the efflorescence phenomenon of bricks in Suwon Hwaseong Fortress, which is designated as a UNESCO World Heritage by using diverse scientific analyses. The samples were taken in Hwaseong and analyzed using XRD and SEM-EDS for the material identification of efflorescence. We observed under a polarizing microscope and measured absorption factors for the basic investigation for traditional bricks. As a result of material identification, soluble salt($Na_2SO_4$, $KNO_3$) and insoluble salt($CaCO_3$) were detected. There was no big difference between original bricks and repaired bricks under the polarizing microscope. However, in terms of the water absorption rate, bricks which were used for repair nowadays showed low water absorption rate(1%). In conclusion, soluble salt and insoluble salt appeared due to an effect of an air pollution and joint mortar. Soluble salt was removed in the rainy season, but insoluble salt was not removed. As a result of the efficiency and safety tests for chemicals removing efflorescence, chemical E is likely to be the suitable chemicals for the efflorescence phenomenon of traditional bricks in Suwon Hwaseong Fortress. In the future, consideration whether the use of lime is available or not should be studied through comprehensive researches including repair work, construction work and the environment factor with lime. Also, physical, chemical identifications of repairing bricks will be required.

• 건축역사연구
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• 제24권4호
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• pp.7-18
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• 2015

Gwanghwamun was dismantled and displaced to the east side of the palace, at that time, the Chosun Government General Building was constructed in the Gyeongbokgung palace. After the Korea war, it remained as a stonework as a result of the fire. In 1968, The Gwanghwamun came back in front of the palace. Then, why it was rebuilt in the 3rd Republic period? What was the reason for selecting concrete? Since the May 16 coup, the military regime had been utilized palace and surrounding urban space to show a visible practice of modernization. Attempting the combination of modern technology in the 1960s and traditional cultural property and reconstructing a city as a pretext called Cultural Heritage conservation was a typical mechanism of the 1960s. In this study, I start by assume that reconstructing Gwanghwamun(1968) was a part of project to change the surrounding urban space of Gwanghwamun than to preserve cultural assets. Two main contributions of the study are following. First, I collect availabe data on the reconstructing surrounding urban space of the Gwanghwamun and re-organize them in chronological order to make them as fragments of a map. Second, I analysis and identify the nature and phase of the Gwanghwamun reconstruction.