• 한국산학기술학회논문지
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• 제21권9호
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• pp.259-268
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• 2020

미국 메리놀 외방전교회가 1953년부터 1969년까지 관할한 충북 지역 (청주교구)에 건축한 18개 성당은 다른 카톨릭 외방 전교단체가 건축한 성당과 달리 특정한 건축 양식에 얽매이지 않는다. 청주교구의 최고 위계이자 대표 성당인 청주 내덕동 주교좌성당도 마찬가지이다. 그런데 이 성당은 교구 내 다른 성당과 구별되는 독특한 건축적 특징을 지닌다. 본 연구는 이 특징은 무엇인지, 어떤 방식으로 구현되었는지 살펴보고, 그 기원을 추적하여 미국 메리놀 외방전교회본부(1932)에서 건축 모티브를 가져왔음을 고찰한 후, 일제강점기(1923-1942) 메리놀회 관할 평양교구 주요 성당의 건축적 특징이 그 전례가 되었고 여기에서 파디(James V. Pardy) 주교 및 건축 전문가 박태봉(朴泰鳳)이 가교 역할을 했음을 밝힌다. 이를 바탕으로 내덕동 주교좌성당이 메리놀회의 해방 전후(1922-1969) 성당 건축사 및 한국 근대 성당 건축사에서 가지는 의의를 정리한다. 이를 위해 본 연구는 새로 발굴한 건축도면, 사진, 텍스트 등 1차 사료를 주로 활용하는 문헌 연구방법을 취한다.

• 보존과학회지
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• 제28권4호
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• pp.305-319
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• 2012

사적 제258호로 지정된 명동성당은 프랑스인 코스트 신부가 설계하여 1898년에 완성한 한국 가톨릭교회의 대표적인 성당 건축물이자 근대문화유산이다. 이 성당은 화강암 기단 위에 벽돌을 쌓아 축조한 고딕 양식의 건축물이며, 내외부에는 대리암 및 화강암으로 이루어진 성물과 기초석이 다수 존재한다. 암석광물학적 분석 결과, 석조성물은 주로 대리암과 화강암으로 이루어져 있으며, 기초석은 홍장석화강암으로 구성되어 있음을 확인하였다. 손상지도와 초음파 속도를 바탕으로 풍화도를 평가한 결과, 화강암으로 이루어진 성수반의 박리박락(40%)과 흑색변색(37%), 외부 기초석의 박리박락(6%)과 변색(46%)이 주된 문제점으로 나타났다. 한편 평균 초음파속도는 성수반에서 3,525m/s, 외부 기초석에서 2,795m/s로 산출되어 중간 풍화단계에서 심한 풍화단계에 속하는 것으로 분석되었다. 이러한 높은 손상도와 물성저하는 수분과 대기오염물에 의한 물리화학적 풍화의 결과로 해석된다.

• 건축사
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• 통권655호
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• pp.114-117
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• 2023

• 한국조경학회지
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• 제50권2호
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• pp.64-75
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• 2022

본 연구의 목적은 대전 원도심의 랜드마크이자 명소인 중구 대흥동 성당과 은행동 성심당 두 장소의 종소리가 지닌 사운드스케이프의 성격과 의미를 조명하는 것이다. 연구는 현장 답사 및 녹취, 관련 자료와 사운드스케이프 이론 등의 문헌연구에 의해 이루어졌다. 대전시는 20세기 초 일제강점기에 철도 대전역과 함께 생성된 도시로, 충남도청이 대전으로 이전하면서 대전역 인근에 위치한 중구 대흥동과 은행동 일대는 크게 발달하며 원도심을 형성하였다. 90년대에 서구로 주요 행정기관이 대거 이전하면서 대전 원도심은 쇠락의 길을 걷게 되었고 세종시 개발로 쇠락은 가속화되었다. 그런 가운데, 대흥동 성당과 한국전쟁 당시 한 피난민에 의해 설립된 성심당은 원주민들이 떠나간 대전 원도심을 굳건히 지키고 있다. 대흥동 성당은 일제 강점기에 설립되어 2019년 들어 100년의 역사를 지니게 된 지역 랜드마크로, 일제 강점기에 탄생한 대전시와 역사를 같이 하는 역사문화자산이다. 한국전쟁을 배경으로 탄생한 성심당 또한 설립 60년의 역사를 지닌 역사문화자산이자 대전 명소 1위로 선정된 지역 랜드마크이다. 인근 주택가에까지 들려오는 대흥동 성당의 종소리에서 출발한 이 탐구는, 대로 건너에 위치한 은행동 성심당의 종소리를 발견하기에 이르렀다. 본 고는 대흥동 성당과 은행동 성심당의 종소리가 시그널 사운드(signal sound)를 넘어 사운드마크(soundmark)의 성격을 지님을 머레이의 사운드스케이프 소리 범주를 통해 파악하였다. 나아가 비교적 최근의 EU 사운드스케이프 정의에 따라 두 종소리의 의미 분석을 시도했다. 두 종소리는 표층적 차원에서는 시그널사운드이지만 심층적 차원에서는 대전 원도심의 사운드마크이다. 외형적으로는 규모나 스케일, 빈도, 유명도에서 차이가 있으나, 두 종소리는 특별한 인연의 역사성과 장소성, 로컬리티와 선한 영향력 등에서 의미를 공유한다. 본 연구의 시사점은 대전 중구 원도심 도시 재생 혹은 도시 개발에서 두 장소가 시각적 랜드마크 뿐만 아니라 사운드마크로서도 지역 역사문화자산임을 밝힌 데 있다.

• 건축역사연구
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• 제12권3호
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• pp.7-18
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• 2003

The purpose of this study is to analyze the plan of central area in Pienza town. The nucleus of the plan was the principal square with the surrounding buildings - Cathedral, Piccolomini, Episcopal and Communal palace, focused attention on the first city plan of the Renaissance. The results of study are as follow: 1. The plan of central area in Pienza town is formed by relation with each other, in which theory including the "De re aedificatoria" of Alberti and practical plan of Pienza were united. 2. Though the plan of Pienza is not total city planning for new function and system, it has a many influence for city planning, square type and building disposition, through new project method as a result of prospective at central area in Pienza town 3. The square plan is formed of centripetal role to integrate with harmony the partial units of each other from diverse elements in scale, function, style and type of buildings, in which it can characteristics of the beginning of Renaissance. 4. Not only composition of plan, elevation and section of the Cathedral, Piccolomini and Episcopal palace, but composition of opennings are formed of proportional system of 1:1, 1:${\surd}$2, 1:2 etc.. And such proportional systems is composed of relation with each other in harmony, deciding width, length and height from among part and part, whole and part for spatial and formal composition.

• Corrosion Science and Technology
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• 제18권4호
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• pp.121-128
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• 2019

Electrochemical Impedance Spectroscopy (EIS) was used to predict corrosion behaviour of metallic Cultural Heritage assets in two monitoring campaigns: 1) an iron bar chain exposed indoor from over 500 years in the Notre Dame Cathedral in Amiens (France); and 2) a large weathering steel sculpture exposed outdoor from tens of years in Ferrara (Italy). The EIS portable instrument employed was battery operated. In situ EIS measurements on the iron chain could be used to investigate the phenomena involved in the electrochemical interfaces among various corrosion products and assess and predict their corrosion behaviour in different areas of the Cathedral. Meanwhile, the sculpture of weathering steel, like most outdoor artefacts, showed rust layers of different chemical composition and colour depending on the orientation of metal plates. The EIS monitoring campaign was carried out on different areas of the artefact surface, allowing assessment of their protective effectiveness. Results of EIS measurements evidenced how employing a simple test that could be performed in situ without damaging the artefacts surface is possible to quickly gain knowledge of the conservation state of an artefact and highlight potential danger conditions.

• 건축역사연구
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• 제16권4호
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• pp.7-22
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• 2007

In San Francisco, two new museums were recently built in 1995 and 2005. The one is San Francisco Museum of Modern Art designed by Mario Botta and the other is De Young Museum designed by Jacques Herzog & Pierre de Meuron. The urban settings for the museums are compared with each other and theories of the architects are evolved on different branches in the modernist trends. The theories and settings are followed by the representation in the forms, facades, interior spaces and towers. SFMOMA is located on the SoMa area, which was recently developed into a cultural urban core with Moscone Center and Buena Yerba Garden. De Young Museum was rebuilt in the old museum site in the Golden Gate Park. The one is on the context of urban artefacts and the other on the context of natural artefacts. To Botta, the museum in today's city plays a role analogous to that of the cathedral of yesterday. It is a place of common encounter and confrontation. The volume of SFMOMA which is geometrical and symmetric with double pylons. The frontality on the street and public green open space and the axiality of SFMOMA runs through the Buena Yerba Garden over Buena Yerba Center for the Arts are reminded us of an urban core with a religious monument and a city square. The staircase with grandiose design in the atrium seems to work as an altar with lighting from skylight above enhancing the liturgical ambiance. De Young Museum is shaped in a rectangle with long narrow courtyards. Three bands of volumes are juxtaposed and the nature flows into the museum corridors and galleries. The tower is distorted so as to be aligned to the street grids of the surrounding area. The copper panel of De Young Museum and natural context evoke modern concept of "machine in the garden". The two museums from different pedigrees of Modern Architecture are now major landmarks of SF and urban expressions for the 21st century.

• 영어영문학
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• 제55권4호
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• pp.539-565
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• 2009

T. S. Eliot attempted the combining of the liturgy of Anglican Church and a drama in Murder in the Cathedral (1935) and created a modern verse drama which comes most close to the regular tragedy like Greek tragedy today. Eliot chose the drama to deliver his religious insight because of its ritualistic origin and its potentiality to deliver a dramatic world which can contain a complete order. The central theme of this play is the martyrdom. The dramatic action of killing the archbishop Thomas Beckett in this play, however, is not treated as important event enough to be a dramatic climax. He is portrayed as a witness to the reality of God's will rather than a man who wills to give up his own life for any religious belief or cause. In Eliot, a martyr is nothing but "a witness" in its ancient sense. This paper purposes to review the language of this play. The various and new meters and rhythms of the language of this play function enough to bring its playwright to encounter 'the real audience' in 'a living theatre'. The interactions between different verbal models also play a big role to make this play a living theatre. Eliot found the poetry which crosses the various classes and levels of the tastes of audience is the most useful poetry. And the poetry of this play proves as the very thing which intensifies the theme of the play and gives the most powerful force to the play. Especially Eliot's poetry succeeds smost in the various and free meters of chorus, which makes Eliot the first playwright since Aeschylus, who could bring the chorus to undertake the function of extending the dramatic action of the play into the universal meaning. In the theatre the real audience identifies themselves with chorus. And the chorus leads the audience to respond to peace which passeth understanding beyond words and sounds of this play, which is the desired response in Eliot's conception of drama.

• 한국수학사학회지
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• 제33권2호
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• pp.115-132
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• 2020

Social awareness of mathematics and academic attitudes toward the value of mathematics education has kept changing according to the intellectual, political and religious contexts. In this article, we examine how mathematics was defined and recognized in liberal arts education of the Roman Empire and early medieval Western Europe. This study analyzes how mathematics was described in encyclopedic works written in the Roman era after the mid-second century BC and in the Western European monasteries and cathedral schools after the fifth century. Ancient Greek mathematics took a clear place in liberal arts education through encyclopedia writings and prepared a mathematics curriculum for medieval universities. I hope this study will contribute to understanding the origin and context of the mathematics curriculum of medieval universities.

• 건축역사연구
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• 제1권1호
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• pp.129-141
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• 1992

The purpose of this study was to investigate type of the modern architecture in Daegu province, based on 91 buildings which were built from 1886 to 1945 in Daegu province. The results of this study could be summarized as follows : The modern buildings were built by the western missionary, Japanese, Chineses and Korean. The catholic, built Korean style cathedral and parsonage early in the missionary period, then changed to build Gothic revival and georgian style masonary buildings. The protestant built eclectic buildings. With masonary structure and Korean roof style. Then from 1930's, they started to build Gothic revival style buildings. Japanese built eclectic buildings which mixed with Western and Japan type during the first period. Then, they also started to build Western eclectic building. Chinese built only two buildings during the whole periods and those were Western eclectic style buildings. Korean started to build commercial and school buildings which were Western style from the middle of the second period by nationalist and local commercialist.