• 건축역사연구
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• 제4권2호
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• pp.45-64
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• 1995

This study examines the Section of 'Housing Regulations' in The Chronicles of the Three States (${\ulcorner}$三國史記${\lrcorner}$ 屋舍條) to verify the residential architecture during the period of the Unified Silla Dynasty. Through the study, the basic architectural terms in the Section of 'Housing Regulations', such as the size of the building, glazing roof tile, animal-shaped ornamental piece on roof ridge, eave purlin, wooden bracket arms, roof decoration, decorative paintings, stone steps, wall structure, blind screen, folding screen, bedstead, and gate are analyzed, interpreted and defined, and, in addition, the forms and styles of the residential architecture during the period of the Unified Silla Dynasty are basically reconstructed.

• 건축역사연구
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• 제29권4호
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• pp.7-16
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• 2020

The purpose of this study is to reveal the development process of modern repair systems in the Korean peninsula. Sasungjeon, one of the main buildings of Jangansa temple located in Geumgangsan, was repaired from 1941 to 1944. It was the very last restoration work of historic wooden architecture performed during the Japanese colonial era. This work was delayed multiple times because of insufficient materials and human resources. The Bureau of Education(學務局), which was in charge of repair work, understood that the problems of the repair system and suggested reorganizing the system as a solution. This study examined the repair work of Sasungjeon as a background of the bureau's suggestion and considered this suggestion as an attempt to transform the repair system.

• 한국가구학회지
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• 제25권2호
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• pp.79-86
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• 2014

Furniture can be a product of design and is considered a form of a decorative art. Architectural works are often perceived as cultural symbols and as works of art. Korean traditional architectural form and wooden furniture were improved by adding up an organic coordination in the interior space. Furniture adds beauty of life by being coordinated with the interior space with its particular characteristic in the form of architectural structure. Architecture and furniture are also being improved in a more natural and diverse way. Therefore, in this research, from the choice of the location, Korean traditional architecture is considered to be coordinated with the nature, and the technical skill is lessened to express its beauty. There is a presence of elegance yet robust combination of simplicity and beauty. In addition, the traditional architecture and wooden furniture are completely expressed structurally with coordination of the outstanding design and solid structure according to the thrifty living in the Confucian ideas which influenced the Korean traditional society. The representative of Korean traditional architecture, Baeheulrim pillar, has worked as motive because of its visual comfort caused by optical illusion and formative elements. The small portable dining table (Soban) which reflects the characteristic of Korean unique tradition and the sensitivity of Koreans has been reinterpreted through the motive in this research. As a result, it has shown the possibility as the design element to change the aesthetic structure. In the modern society, cultural identity plays a vital role. Therefore, this research can be used as reference for the new concept of furniture - making. It could be a combination of modern people, lifestyle and living space by creating the Korean image suitable for the modern society.

• 한국디지털건축인테리어학회논문집
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• 제11권3호
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• pp.27-34
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• 2011

The DIABUTSU hotel was built first in Korea and we know that the hotel was built in 1888. However, it has many questions. This study was conducted to uncover the truth. Non-text media in the study is useful to take advantage of the media. However, it is not used in Korea. I prefer that study by Non-text Media. The findings, DIABUTSU hotel was built in 1884. It was Japanese-style two-story wooden building. HORI was hospitality there and many foreigners stayed. Underwood, Appenzeller and Carles were this hotel and they recorded about the hotel in 1885. We know that three story building was the first hotel. But this is wrong in fact. The first hotel is Japanese-style wooden building built in 1884.

• 보존과학회지
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• 제28권1호
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• pp.1-5
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• 2012

연륜연대로 부여된 강화 정수사 법당 목부재(풍판)의 연대를 위글매치를 이용한 방사성탄소연대 측정결과와 비교하였다. 41년(AD 1250-1290) 연륜구간에서 1250년부터 5년 간격으로 9개 연륜에 대한 방사성탄소연대를 측정하였다. 개별 연륜에 대한 방사성탄소연대의 95.4% 신뢰구간은 113.3년(평균)에 달하였는데, 위글매치 후에는 20년으로 줄어들었다. 각 연륜의 방사성탄소연대 신뢰구간이 연륜연대값을 포함하여 연대의 정확성이 입증되었다. 이 결과는 위글매치를 이용한 방사성탄소연대 측정법이 우리나라 목재문화재의 연대측정에 효율적으로 쓰일 수 있음을 제시하고 있다.

• 헤리티지:역사와 과학
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• 제54권2호
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• pp.194-215
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• 2021

이 논문에서는 흰개미 방제의 발달 과정과 최근 연구 동향, 국내 목조건축문화재의 흰개미 피해 현황과 조사 및 방제 등을 살펴보고 목조건축문화재의 흰개미 피해 예방을 위한 방안을 제시하고자 하였다. 목재는 건축 재료로 다양한 장점이 있어 우리나라에서도 다수의 목조건축문화재가 남아 있다. 목조건축문화재의 다양한 손상 요인 중 흰개미에 의한 피해가 다수 확인되고 있으며, 우리나라에서 확인된 3종의 흰개미 중 Reticulitermes speratus kyushuensis가 전국적으로 서식하며 목조건축문화재를 가해한다. 흰개미 방제의 발달 과정을 1900년대 초반부터 살펴보면 이 시기에는 비소 등 무기살충제가 주로 사용되다가 1940년대 유기염소계 살충제가 개발되어 흰개미 방제에도 사용되었다. 이후 이 약제들의 인축과 환경에 대한 독성이 알려짐에 따라 1960년대 유기인계 살충제, 1970년대 카바메이트계 살충제, 1980년대 피레스로이드계 살충제와 곤충 생장 조절제, 1990년대 페닐피라졸계 살충제, 네오니코티네이드계 살충제 등이 개발되어 흰개미 방제에 사용되었다. 이와 별도로 흰개미의 생태적 특징을 이용한 흰개미 군체 제거제가 1990년대 개발되어 상용화되었으며, 특히 키틴 합성 저해제가 널리 사용되고 있다. 2000년대 이후에는 살충제를 이용한 토양 처리와 군체 제거제의 특성을 규명하고 효율성을 향상시키거나, 새로운 제형의 약제를 개발하거나, 종합적 유해 생물 관리(IPM) 개념을 차용한 통합적 흰개미 관리(ITM)을 적용하거나, 개별 건물이 아닌 목조건축물군을 보호하는 방향으로 흰개미 방제 연구가 수행되고 있다. 국내 목조건축문화재의 흰개미 피해는 1980년대부터 발견되기 시작하였으며 1990년대 후반 유네스코 세계유산인 종묘 정전, 해인사 장경판전 주변에서 흰개미 피해가 확인되어 관심을 받게 되었다. 이후 지정문화재를 중심으로 흰개미 피해 현황이 조사되었으며 2010년대에는 국립문화재연구소와 문화재돌봄사업단이 지정문화재를 중심으로 정기적인 흰개미 피해 조사를 수행하고 있다. 목조건축문화재의 흰개미 피해를 줄이기 위한 방안으로 피해 건물의 긴급 방제 실시, 다양한 토양 처리법의 선택적 적용, 건물 기단 상면의 토양 처리 실시, 고내구성 흰개미 군체 제거제의 개발과 적용, 다수의 목조건축물을 포괄하는 방제 계획의 수립과 시행, 통합적 흰개미 관리(ITM)의 문화재 적용, 문화재 소유자와 관리자에 대한 교육 등을 제안하였다.

• 한국응용곤충학회지
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• 제62권3호
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• pp.171-182
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• 2023

한국의 목조건축문화유산은 상당수가 산림에 인접하여 흰개미에 의한 피해에 취약하다. 국내 흰개미 방제법은 살충제 접촉을 통한 화학적 방제법이 주로 이용되며, 방제 기간을 단축하기 위해서는 흰개미를 빠르게 약제까지 유인시킬 방법이 필요하다. 본 연구에서는 한국 서식 흰개미에 대한 유인물질로 이산화탄소를 선정하여 유인여부 및 적절한 유인농도를 탐색하였으며, 지중 환경에서의 유인효력 기초평가를 진행하였다. 평가를 통해 흰개미에 대한 이산화탄소의 유인 효과를 확인하였으며, 이산화탄소 농도 10% 이하의 유효한 범위를 선정하였다. 또한 지중에서의 유인 효과를 확인함으로써 지중 환경에서의 적용 가능성을 파악하였다. 향후 현장에서 이산화탄소의 적용방안을 연구함으로써, 목조건축문화유산의 흰개미 방제 시 개선된 방제 효과를 가질 수 있을 것으로 사료된다.

• 건축역사연구
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• 제24권5호
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• pp.33-40
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• 2015

The present study is aimed to reconsider the time of installation and the purpose of the square footstone located at the center of the wooden pagoda in Hwangnyongsa Temple, based on related precedent studies. Precedent studies are divided into two streams of assertions: one is that the square footstone was to support the major pillars at the time of building and the other is that it was installed to store Buddhist reliquaries inside the central foundation stone after the wood pagoda burnt down in the Invasion of Mongol. Summarizing the grounds with which the precedent studies support their assertions, they are the relation with Gaseopbul Yeonjwaseok, the emerging time of the square footstone, repairing work at the level of reconstruction, additional enshrinement of general Buddhist reliquaries and so on. The present study reviewed the key grounds suggested in the previous studies regarding the square footstone. First, it was determined that the square footstone has nothing to do with Gaseopbul Yeonjwaseok, after looking into the timings of appearance, condition and shape in literatures. Rather, it was assumed that Gaseopbul Yeonjwaseok resembles a stone column. Next, the square footstone is assumed to be installed after the 4th year of King Kwangjong's rule because the wood pagoda was lost in fire in the 4th year of Kwangjong's rule and it had been left alone for 68 years until the repair work finished in the 13th year of King Hyunjong. It is assumed that repair works at the level of reconstruction had been twice in total, say, once during King Kyungmun and Hyunjong, respectively. Next, looking into the establishment of the general Buddhist reliquaries and the repair work during King Kyungmun, it was not common then to enshrine additional Buddhist reliquaries when repair work progressed and so there was not an additional enshrinement of Buddhist reliquaries after King Kyungmun. However, it is hard to decide that there was no repair work at the level of reconstruction at that time. Last, we can find a similar case to the square footstone of the wood pagoda in Hwangnyongsa Temple in the copper pagoda in Japanese Yaksasa Temple. In conclusion, it is assumed that the wooden pagoda in Hwangnyongsa Temple was lost to the fire in the 4th year of King Kwangjong's rule and thus the square footstone had been used as Jinho stone to protect Buddhist reliquaries and used as a propping stone for the major pillars after King Hyungjong.

• 건축역사연구
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• 제14권3호
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• pp.119-128
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• 2005

In ancient times, architectural design was seen as a critical task in building technologies. Specifically, form, dimension and structural design are of significant. These aspects are associated with each other and to be emerged as a whole. Designing plan dimension was deemed to be the core of design technology due to its close relationship with module system. Thus, its evolution as well as development process typically represents and reflects the spirits and contents of design technologies in ancient China. In China, the materials regarding ancient architectural technology include Yingzaofashi(營造法式) of Song Dynasty and Gongchengzuofazeli(工程做法則例) of Qing Dynasty. They show many aspects concerning materials, structure, scale system and building. In Yingzaofashi, although the length of objects are decided by 'cai(材)' and 'fen(分)', there are no regulations on length, width and height of a building. However, in the construction of ancient buildings, the above mentioned basic scales are very important in both design and construction. The present paper attempts to discuss the significance, namely, the design principles of length, with and height of ancient chinese architecture.

• 건축역사연구
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• 제11권3호
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• pp.105-120
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• 2002

Eight drawings of Sukcheon-je-a-do are the architectural drawings of the government offices. These were drawn in the representation of Sabang-jeondo-myobeob. Sabang-jeondo-myobeob is one of Korean traditional drawing type, that is constructed with turned-over elevations drawn on the site plan. The analytic observation viewed in the iconographical diagrams of eight drawings led me following conclusions. First, the most typical expression of Sabang-jeondo-myobeob can be summarized as the combination of three elevations toward the inside and one elevation toward the outside. The former is expression of territoriality, and the latter is expression of the facade. Second, in Sabang-jeondo-myobeob both elevations of crosswise direction and of lengthwise direction are described at the viewpoint of eye level. And they center around the courtyards with intent to describe the relation between buildings and the outdoor space. Third, the facade of pavilions, disposed on the crosswise direction in Sabang-jeondo-myobeob, are described with the both viewpoint of down-view and up-view. It is the expression peculiar to Korean traditional drawings, that describes the depth and richness on the facade of traditional wooden architecture. Fourth, some pavilions and landscapes are described in Pyonghaeng-saseon-dobeob, that is familiar drawing type in the Korean traditional paintings. From this expression we can deduce that the traditional architectural drawings such as Sukcheon-je-a-do were constructed by the traditional landscape painters.