• Earthquakes and Structures
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• v.11 no.2
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• pp.195-215
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• 2016

Rehabilitation of historical unreinforced masonry (URM) buildings is a priority in many parts of the world, since those buildings are a living part of history and a testament of human achievement of the era of their construction. Many of these buildings are still operational; comprising brittle materials with no reinforcements, with spatially distributed mass and stiffness, they are not encompassed by current seismic assessment procedures that have been developed for other structural types. To facilitate the difficult task of selecting a proper rehabilitation strategy - often restricted by international treaties for non-invasiveness and reversibility of the intervention - and given the practical requirements for the buildings' intended reuse, this paper presents a practical procedure for assessment of seismic demands of URM buildings - mainly historical constructions that lack a well-defined diaphragm action. A key ingredient of the method is approximation of the spatial shape of lateral translation, ${\Phi}$, that the building assumes when subjected to a uniform field of lateral acceleration. Using ${\Phi}$ as a 3-D shape function, the dynamic response of the system is evaluated, using the concepts of SDOF approximation of continuous systems. This enables determination of the envelope of the developed deformations and the tendency for deformation and damage localization throughout the examined building for a given design earthquake scenario. Deformation demands are specified in terms of relative drift ratios referring to the in-plane and the out-of-plane seismic response of the building's structural elements. Drift ratio demands are compared with drift capacities associated with predefined performance limits. The accuracy of the introduced procedure is evaluated through (a) comparison of the response profiles with those obtained from detailed time-history dynamic analysis using a suite of ten strong ground motion records, five of which with near-field characteristics, and (b) evaluation of the performance assessment results with observations reported in reconnaissance reports of the field performance of two neoclassical torsionally-sensitive historical buildings, located in Thessaloniki, Greece, which survived a major earthquake in the past.

• Journal of architectural history
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• v.21 no.1
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• pp.135-154
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• 2012

The goal of this paper is to analyze the Freedom Center Apacle in Seoul designed by Kin Soo Geun who was a leading architect in Korean Modern architecture. Freedom Center was built in 1963, that was the largest monumental building to support military regime during cold war period in Korea. This paper deals with historical background of construction of Freedom Center and its characteristics compared to similar monumental buildings, especially Corbusier's Chandigar and Kenzo Tange's Hiroshima Peace Center. The Monumentality in Freedom Center came from the reference to these two buildings and its site plan. This paper tried to show how similar the layout of buildings between the Freedom Center and Peace Center. The origin of the sublime aura in Tange's linear layout of Peace Center is from Japanese Famous Shrine(Jinku). Kim translated it to serve the ideological purpose to protect from socialist regime in the name of freedom. Its over-scaled roof and weak contents showed Freedom center was a kind of theaterical setting belong to formalist building. But in spite of its symbolic and representational gesture its also had a architectonic physical quality to make it a monument. The change and duration in time testified the autonomous power of architecture in Freedom Center. Freedom Center was also important for using the exposed concrete and its superior finish. It was influenced not from western way of Benton Brut which was usually called New Brutalism but Japanese way of treating expose concrete. In spite of its limits Freedom center achieved new trend and sensibility in Korean Modern Architecture.

• Structural Monitoring and Maintenance
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• v.1 no.2
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• pp.231-247
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• 2014

This paper focuses on the dynamic behaviour of Mirandola City Hall (a XV century Renaissance Palace) that was severely damaged during May 2012 Emilia earthquake in Northern Italy. Experimental investigations have been carried out on this monumental building. Firstly, detailed investigations have been carried out to identify the identification of the geometry of the main constructional parts as well as the mechanical features of the constituting materials of the palace. Then, Ambient Vibration Tests (AVT) have been applied, for the detection of the main dynamic features. Three output-only identification methods have been compared: (i) the Frequency Domain Decomposition, (ii) the Random Decrement (RD) and the (iii) Eigensystem Realization Algorithm (ERA). The modal parameters of the Palace were difficult to be identified due to the severe structural damage; however the two bending modes in the perpendicular directions were identified. The comparison of the three experimental techniques showed a good agreement confirming the reliability of the three identification methods.

• Journal of architectural history
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• v.32 no.5
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• pp.21-30
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• 2023

The study aims to analyze the geometric characteristics of the pointed arches proposed by Al-Kāshī in his book "Miftāḥ al-Ḥisāb" (Key of Arithmetic) and investigate their planning principles, architectural application, and typological characteristics. Al-Kāshī completed this significant work in 1427 and dedicated it to Ulugh Beg, a Timurid Sultan in Samarkand. In the ninth chapter, titled "Al-'Imārāt wa al-Abnīya" (Amīr's Mansion and Building), Al-Kāshī sought to measure the surface areas and volumes of barrel vaults (Azaj) and domes (Qubba). To achieve this, he proposed five kinds of pointed arches (Ṭāq) and analyzed their drawing methods and composition principles. The Īwān and Qubba structures, which are curved architectural elements, hold significant importance in Islamic architecture. However, previous research has predominantly focused on comparing the drawings in Al-Kāshī's book with historical buildings, neglecting the inherent characteristics of the drawings themselves. This study intends to contribute to a deeper understanding of Al-Kāshī's remarkable work and shed light on the geometric aspects of monumental structures in the Timurid Period.

• Journal of the Korean Society of Costume
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• v.35
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• pp.17-44
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• 1997

Medieval European practical art and style of costume is studied through referring to the literatures. The type of clothing that was seen on tapestries arts and crafts paintings and wall paintings and appeared in the architecture such as church. There were symbolic aspects of color motifs at this period and some restraints for clothing according to the social class, It was a period that draped garments due to the War of Crusades is appeared. Be-cause the medieval taste and decorative character is not only 'formative art' but also the taste beyoud 'mode' and atomsphere of that times it could be seen the strong reflec-tion of customs in the clothing of that times which is shown in works of art. 1) The purpose of Christian art which was found in mosaics stained glasses wall pain-tings and statues of architecture was not just the revival of natural phenomena but visuali-zation of sacred and invisible things. It was valuable to understandin of the spiritual through the sense organ It was a monumental art that was combined with decorative func-tion and role of the Bible. It revealed what was about the religious spiritual miracle, 2) In the medieval European painting characteristic and beautiful creativity was the basis of an argument. Both "Worship of East-ern" that is painted ion a parchment and "Cor-onation of Charles VI" were described decor-ation motifs on the edge of buildings geo-metric patterns and others with outstanding skill. there were precise technologic skill of architect and glassmen and lots of patience of craftsmen. " The Labour of the Months" and the scene of"A Trial at the Court" is also de-scribed elaborately. 3) Tapestry was developed in France Ger-many Swiss at the 14th century. Religionary and historical themes unicorn lady bird flowering plants and others were major motifs. It was very important as decorative wall coverings and as practical door arch and bed hangings. It was made through patient hard work with simple technique and it was con-sidered as an art for practical use. Tapestry was what everyone wish to have. It is reckoned for the item of the best gift. The royalty and nobility ordered and used custom-made tapestries. Sometimes the subject of motifs consisted of series which were deeply related to living 4) Decorative arts and crafts was the art that used materials such as precious metals jewels and others and that accorded with the luxurious and gorgeous taste of the royalty and nobility. Christian considered splendid and beautiful color of light as a symbol of glory. They used also for church appliances, There were metal crafts wood crafts textile crafts and others, As was stated above the costume appeared on the arts and crafts for living revealed the process of changes saw how the politic econ-omic and social organizations were developed.and social organizations were developed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.36-44
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• 2020

This study analyzed the Planting Prototype of Haengdan(杏壇)is the One of the traditional planting techniques and the value of natural monument plant and derived the value of the ginkgo tree in Sejong-ri as a natural monument. The results are as follows; First, ginkgo trees have high environmental adaptability, practicality and visual value. There were also many ginkgo trees that were deeply related to Confucian and Buddhist ideas. Ginkgo trees accounted for the largest portion of the number of old tree designated as natural monuments in recognition of their value. Second, after analyzing the historical and cultural values of ginkgo trees, ginkgo trees became the place of gardens and buildings by symbolizing Confucius(孔子)' Confucian ideas. In Buddhism, it was related to the creation of temples or the achievements of ancient monks. The people had a symbol of the prosperity of their offspring and the succession of the family. Third, in 1024 gongdobo, the grandson of Confucius, rebuilt the shrine, installed the platform in the central position and planted ginkgo trees. It originated from what he called "the "haengdan(杏壇)." The tree was then recorded as "heungheang(紅杏)" which was written by Wang Jae-jin's poetry during the Ming Dynasty. Thus it was misused as apricot tree. The cause of this is due to the same kanji reading. or it can be seen as influence on the taoism. But Korea has been sticking to the use of the first ginkgo trees. Forth, biologically, the Sejong-ri ginkgo tree is characterized by the composition of a pair of male trees. The landscape is contrasted with the twisted male tree and vertical female trees. In addition, in terms of authenticity and integrity, the relationship between Admiral Im, Nan-Su(林蘭秀) of the Goryeo Dynasty and the ginkgo tree is found in various literature.