• Korean Institute of Interior Design Journal
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• no.6
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• pp.53-62
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• 1995

This research aims at proving the fact that the forms, spaces and many other design concepts of Modernism are much related with the changes of materials, struc-tures, and the way of construction as well as the idealis-tic and aesthestic things through the history of steel, one of the most important materials of the style. The meaning steel has in the modern architecture can be studied in the structure and industrial production system. 1) Steel frame broadened the range of understanding the space and created the new form through the skeleton/skin structure by reinterpreting the existing space fac-tors while it was being adopted to the architecture. Walls could be freed from the traditional function of bear-ing wall and roofs gave the transparancy to the interior by being linked with the glass. Posts lost the function which confines the space in the frame of the grid system and gave the flexibility to the interior due to the economical materials. These changes made the movable partition, screen with various materials and the system furniture which divides the space more important. 2) In the aspect of the industrialized architecture, it be-came the moment that the most of the archtectural com-posing parts were in mass production as they were standarized, high qualified, and generalized by the indus-trial characteristics of steel, and the specialization of structure and cladding, but the neither of the efforts to make the building itself by mass production or to standarize it was fulfilled. The high-tech architecture which borrows its archtectural manifestation from the high technology, however, is consistently paying efforts on such industrialization.

• Fire Science and Engineering
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• v.25 no.3
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• pp.91-98
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• 2011

This study is about fire resistance performance of wood framed lightweight wall including a middle lintel as a traditional wall form in Korea. The target wall is non-loadbearing system which constructed with $38{\times}89$ mm ($2"{\times}4"$) wood frame and fireproof gypsum board covering, including a middle lintel made of $150{\times}150$ mm section glue-laminated timber. As a test results, all specimens have showed fire resistant performance over 90 minutes and tests were maintained until flame occuring on Specimen-l, 2, 3 at 91 min, 97 min and 98 min respectively. Fire resistance of the heat side gypsum board was 45 minutes and charring rate of middle lintel was equivalant with that of usual timber. The wood stud inside wall system showed relatively quick combution characteristic when exposed to high temperature with no temperature rising delaying time caused by moisture evaporation because of the dehydration preceded during the early period of fire side gypsum board resist to heat.

• Journal of the Korean housing association
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• v.19 no.6
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• pp.157-166
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• 2008

Until 1960, the major housing type of rural area in Korea was traditional wooden frame building, which was made of natural materials. In the course of modernization and New Village Movement, most of traditional houses have been renovated focusing on changing roof material of rice straw into slate, keeping existing main wooden structure. And then from around 1980, by economical development the new houses have been constructed. On these three phases of traditional type, remodeling type and new construction type, the natural materials of housing facade as wood, soil, stone and plant changed into artificial materials as cement, chemical material and paint. At the same time the exterior color of housing also have been changed and varied. The purpose of this thesis is to find out the changing aspect of exterior color by comparing remodeled and new constructed housing with of traditional housing. The exterior color of one hundred and fifty seven houses were surveyed and the three color attributes of each part of facade, as roof, wall and window, were analyzed and compared. In case of traditional houses, 98.3% of color are concentrated on the warm color of Y and YR on HUE scale, and 88% of their color are low Chroma. And Value of their color has been varied and spreaded from low to high Value scale. From traditional types to remodeled and new constructed houses, the concentration ratio of warm color on Hue scale reduced from 98.3% to 68.7% and ratio of low Chroma was also changed from 88% to 73.2% and the ratio of low Value color reduced from 51.9% to 29.7%. The exterior color of houses in rural area varied on Hue, and the more saturated colors were used and they became brighter compared with color of traditional houses. It is expected that the results of this study can be used for basic data of exterior color planning and improvement into harmonized color with natural environment.

• Journal of the Korea Furniture Society
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• v.20 no.5
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• pp.504-516
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• 2009

Korean traditional architecture has been carried out in the manner that it harmonized surrounding natural environments and never disturbed them in the scale which did not overwhelm the nature, based on the view of architecture predicated on Yin Yang School. The exposed grain of the wood like pillar, hinge and house rafte, the linear expression of the construction material and the formation between the window and door monopolizing the front side presented a harmony with the nature showing the linear structure. Furthermore the ceiling is low due to the sit life style thanks to the ondol (Korean under-floor heating system and the furniture was made in simple manner to utilize the space as large as possible, for the interior was narrow and close, and also the furniture placing in the middle of the room was movably manufactured to improve the room space. Like this Korean traditional furniture was close associated with the low height and simplicity and harmonized with the blank of the wall accordingly, and it characterized linear & planar natural beauty focusing on the simple and refined unique beauty, because it was made in a good harmony with the interior utensils. This study has presented that the organic characteristics of Korean traditional aesthetic of architecture and the natural beauty being intrinsic in traditional furniture have a mutual relation on the basis of not only the visual recognition, also the aesthetic of naturalism made of the natural material, the constructional naivety as a frame method and the linear & planar formative beauty shown in appearance.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.101-110
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• 2020

This study was conducted through the analysis of literature and on-site research as a case study of 14 artists' gardens with traditional themes presented at the garden fair. With Focusing on the design process for determining traditional reproduction, the following characteristics and implications were derived by analyzing the design goals, selection of subjects for traditional reenactment, determination of methods for reproduction, and design stages of landscape components. First, the pattern of selecting traditional structures as subjects for reproduction in many artist gardens can be understood as an advantage of being suitable for narrow sites and having remarkable topic communicability. They directly delivered the design intent by adding the names of traditional structures such as Madang, Wool, Buttumak, Jangdokdae, Chuibyeong and Seokgasan. Works expressed indirectly, such as Wall, Korean Garden, Suwon, and Seoul craftsmen, have relatively weak topic communicability. There were also symbolic representations of objects to be reproduced, such as Seonbi, marginal spaces, and Pung-lyu. Second, while reproducing Hanok Madang, separate the gardens paved with grass and stone, the fortress wall of Suwon Hwaseong and the northwest Gongsimdon of the watchtower. Also the garden with a miniature version of the extraneous Yong-yeon and the garden, which was reproduced as a low decorative wall in the rest area based on Nakan-Eupseong Fortress, shows the need for a deep understanding of tradition. On the other hand, the reproducting works of choosing the location of the traditional garden, the Korean Garden showed the importance of systematic arrangement with the surrounding environment, the beauty of the space in the courtyard of Hanok, the beauty of the slowness enjoyed by the scholars and the reenactments of the Pung-lyu culture of Moonlight boating are not only imitating traditional structures but also spreading understanding of tradition to garden culture and sentiment. Third, there were many works that reconstructed the real-size traditional structure in a straightforward way in relation to design. The garden was divided into Chuibyeong and the living space was decorated with Buttumak, chimneys, and gardens, and facilities representing Gyeongbokgung Palace, Soswaewon, and Seoseokji were systemically arranged. However it recognized the importance of selecting the key design elements, constructing the elevation of the structure, and the sense of scale of the space from works that reproduced the large Suwon Hwaseong and Nakan-Eupseong in an abstract way. While there are examples gardens of Hanok yards and Bazawul, which are far from the original image among the gardens that chose the dismantling method, the Blank-space garden expressed only by a frame composed of cubes, and Seonbi's Sarangbang garden, that permeated the moonlight with many traditional structures are the positive examples. The Seoul Artisan Garden, Jikji Simche Garden and Pung-lyu Garden, which display modernly designed landscape components, need an explanation to understand the author's intention.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.45-54
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• 2016

For the design of landscape, quantitative research is very important data for the designer. In this regard, this study analyzed the rhythm of the wall of Oksan Seowon, which horizontally ascends the slope, as the principles of design. This resulted in the deduction of the numerical proportion and progression, which became design motifs and proposed a design method, which can be applied in landscape rhythm design. The Oksan Seowon is a very valuable cultural heritage, where a very meticulous design principles were found as a result of the analysis of the slope rhythm, for which the proportion and scale were employed. A principle of proportion was found, where an asymmetric balance was formed by weighting the lower part of the slope, in accordance with the degree of the slope. Also, The scale of the height of the wall was based on the human scale. The aesthetic rhythmic design progression was derived from the area and the horizontal line rhythm of the walls. Also, They found out the Fibonacci series and golden ratio. The fact that cultural heritage was analyzed of aesthetic design principles by the very systematic quantitative method is of great significance. Moreover, derived motifs proposed examples of an application of analyzed rhythm progression to the landscape rhythm design. This research will be able to function as the frame and data for the design method of the landscape rhythm.

• The Journal of the Korea Contents Association
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• v.17 no.10
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• pp.636-646
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• 2017

This thesis aims to create a new technique by applying traditional ceramics technique. As a matter of fact, on the toremi plate of the sieve-frame skein technique, the weld on which various patterns are squeezed, is attached to the cylinder made of clay on the spinning wheel. And it is the concept that maximizes aesthetic beauty by expressing distorted pattern and free dismantling of existing pattern by pushing it out from inside by the turn of electric spinning wheel for the first time.The main point of view of this aesthetic source is that most of the surface of the ceramics is a spherical curved surface and looks distorted like an indicator drawn on a globe. The researcher created a dynamic and humorous technique of expression through the free dismantling of the squashed shapes and the distorted patterns and called it the bating sealing weld outer wall extension technique.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.90-98
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• 2010

The concepts of laws like regularity or persistence or recurrence those are discovered in nature, became the essential elements in speculative philosophy, study and scientific technology. Western civilization was spread out by these natural laws. As this background, this study is aimed to research the theories of natural laws and the development of geometry as the descriptive tools and the development aspects of the concepts of space. According to Whitehead's four theories on the natural laws, the result of this study that aimed like that as follows. First, the theories on the immanence and imposition of the natural laws were the predominant ideas from ancient Greek to before the scientific revolution, the theory on the simple description like the positivism made the Newton-Cartesian mechanism and an absolutist world view. The theory on the conventional interpretation made the organicism and relativism world view according to non-Euclidean geometry. Second, the geometrical composition of ancient Greek architecture was an aesthetics that represented the immanence of natural laws. Third, in the basic symbol of medieval times, the numeral symbol was the frame of thought and was an important principal of architecture. Fourth, during the Renaissance, architecture was regarded as mathematics that made the order of universe to visible things and the geometry was regarded as an important architectural principal. Fifth, according to the non-Euclidean geometry, it was possible to present the natural phenomena and the universe. Sixth, topology made to lapse the division of traditional floor, wall and ceiling in contemporary architecture and made to build the continuous space. Seventy, the new nature was explained by fractal concepts not by Euclidean shapes, fractal presented that the essence of nature had not mechanical and linear characteristic but organic and non-linear characteristic.

• Structural Engineering and Mechanics
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• v.86 no.4
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• pp.547-571
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• 2023

To deeply probe the actual earthquake level and fragility of typical reinforced concrete (RC) structures under multiple intensity grades, considering diachronic measurement building stock samples and actual observations of representative catastrophic earth shocks in China from 1990 to 2010, RC structures were divided into traditional RC structures (TRCs) and bottom reinforced concrete frame seismic wall masonry (BFM) structures, and the empirical damage characteristics and mechanisms were analysed. A great deal of statistics and induction were developed on the historical experience investigation data of 59 typical catastrophic earthquakes in 9 provinces of China. The database and fragility matrix prediction model were established with TRCs of 4,122.5284×104 m² and 5,844 buildings and BFMs of 5,872 buildings as empirical seismic damage samples. By employing the methods of structural damage probability and statistics, nonlinear prediction of seismic vulnerability, and numerical and applied functional analysis, the comparison matrix of actual fragility probability prediction of TRC and BFM in multiple intensity regions under the latest version of China's macrointensity standard was established. A novel nonlinear regression prediction model of seismic vulnerability was proposed, and prediction models considering the seismic damage ratio and transcendental probability parameters were constructed. The time-varying vulnerability comparative model of the sample database was developed according to the different periods of multiple earthquakes. The new calculation method of the average fragility prediction index (AFPI) matrix parameter model has been proposed to predict the seismic fragility of an areal RC structure.

• Journal of the Korean Geographical Society
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• v.29 no.1
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• pp.46-64
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• 1994

Among every civilized people salt has been recognized as an essential foodstuff to the human society without which even man's survivor is unthinkable. The cultural-anthropological meaning of salt is estimated highly as well, and in geographical perspective salt itself symbolize regional interrelationship. Playing a decisive role in freeing innermost settlement from isolation, salt aiso made a contribution to expanding human habitats. This study tries to reconstruct historica geography of 18th and 19th century surrounding traditional salt-roasting (chayeom). The Joolpo Inlet area which is located on the mid-western coast in Honem Region is selected for study area. Established on the basis of optimum physical geographical conditions such as topography, climate and vegetation, salt-making of Joolpo Inlet area was run dynamically with the sudden turn of events in the 18-19th century which was chacterized as an age of transition from medieval society to modern one. In this paper the writer attempts to clarify mainly following three points: physical conditions and socio-economic background leading to the initiation and later development of roasting of salt in Joolpo Bay; distribution of saltworks; methods of saltmaking. Main points drawn from these analyses can be summarized as follows: of iron pan and cow-drawn tools rendered labour-saving and output growth. 1, Saltworks of Joolpo Inlet area in the 18-19th century were distributed evenly over Kobu, Puan, Mujang and Heungduck counties among which Kobu's was located in Puanmyon - a sort of exclave. All saltworks belonging to above four counties were clasified as most lucrative ones in Honam Region on government archives. In particular, Gumdang saltwork which belongs to Mujang county is noteworthy in that it was first introduced by one Paekje priest in 6th century and therefore it provides a clue to examine the history of salt-roasting of Joolpo Inlet area. In light of the fact that temple or monastery economy, regardless of East and West, has been closely connected with traditional industry, the case of Gumdang is not unusual. 2. The process of saltmaking follows this order: harrowing of salt field exposed to solar heat; construction of saltern mound with saline earth; acquiring of brine by leaching saline earth; roasting of salt. Salterns (saltworks) are consisted with various salt making facilities such as roasting shed, saltern mound, salt field, salt well) salt pit or brine pit) and seawater reservoir. Among them roasting shed which is constructed chiefly with hundreds of pieces of pine tree as a frame and with straw as roof and wall is customarily considered as an unit of saltwork. And inside it is saltpan made of two kinds of materials, that is iron pan or plaster pan. The area attached to one unit of roasting shed is approximately 1 ha, and that of saltern mound is a tenth of it.