• 한국가구학회지
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• 제25권4호
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• pp.268-276
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• 2014

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• 건축역사연구
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• 제20권6호
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• pp.115-129
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• 2011

The bracket sets which are supporting the weight of the roof, has to meet both requirements which are structural functions and act as an ornamental element. Therefore the bracket sets differ in many types from time and space and has done an important role in the history of architecture with many studies being presented. The first form of the bracket set has been found in the bronze table relics in zhong shan wang ling (中山王陵). Through the Eastern Han dynasty (A.D. 25-220) it became more specific in the shique (石闕) and huaxiangshi (畵像石) in the Han dynasty (206 B.C.-A.D. 220). Afterwards, as Buddhism was introduced to China, the bracket construction techniques shown in the Mogao Caves, Yungang Grottoes, and Longmen Grottoes has given much help for understanding the building techniques of wooden architecture. Especially the Xia-ang structure seen in the Mogao caves shows a vast development in wooden structure and a typical building would be the main hall of Fo Guang Shan monastery in Mt. Wutaishan from the Tang dynasty (A.D. 618-907). This accumulated techniques is inscribed in the 'Ying Zao Fa Shi (營造法式)' wooden structure designs which was published during the Northern Song dynasty (A.D. 960-1127) and many buildings were constructed following this technique after the publication. During this period, it is assumed that Baek-jae (B.C.18-A.D.660) in the Korean peninsula also used the Xia-ang technique, but there havn't been many studies on this field. In this thesis it is introducing the development of the building techniques and structural features of the Xia-ang wooden architecture during the Tang and Song dynasty.

• 한국실내디자인학회논문집
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• 제16권1호
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• pp.3-10
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• 2007

In the 7th century, Sachunwang-sa temple had two extra building-sites behind the Main hall. These two building-sites were found to be in peculiar form different from any another existing stone bases. The stone bases of northern put of these building-sites were decorated to molding as the protruding comers of eaves, which was pierced into a circular hole, and was carved into a form of Gomeck-ii(the stone bases lot supporting the wall). The northern building of sachunwang-sa temple was found to be used as the altar following munduru(文豆婁) method, through the observations of the archives of Samkukyusa(三國遺事) and the Abhiseka stura(skt. 灌頂經). The molding as the protruding cornets of eaves of stone bases was shaped as the roof of a building and the carving of Gomeck-ii gives a proof of the existence of the wall between columns in the altar. The hole of the stone bases protected the wooden cylinder of munduru from the exterior world. The author concludes, through this research, that the altar of Schunwang-sa temple was used lot the religious service during the war for worthship and protecting from the enemies. Also he concludes that these buildings must have been in wooden pagodas constructed upon a square plan, that is with both front and side width equal, haying a quite small scaled and low floored building with its first floor closed on all sides, being different item the usual form.

• 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.

• 대한건축학회논문집:계획계
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• 제35권9호
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• pp.109-117
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• 2019

Since 'Hanok Expanse Support' has been started in Seoul, its target was expanded from renovation to new construction and from 'Hanok District' to all area in Seoul. The newly built hanok with Hanok Expanse Support had to follow the standards about the form of the hanok and adapt to modern lifestyle. However, the newly built hanok were planned with 'kan' since it retained the traditional wooden structure. So their composition of kan were considered to be influenced by the standards of each district and modern lifestyle. Therefore the aim of this study is to understand the architectural characteristics of newly built hanok in Seoul since 2000 focusing on the kan composition. Because of the differences in site conditions and the district unit plan, newly built hanok in Hanok District have more limited changes than Other District. However, kan is composed variously in horizontal and vertical ways to make the most space according to site conditions and most of the newly built hanok have opened courtyard rather than closed courtyard layout. With kan composition in various directions and kan added under the eaves, kan is highlighted in form. On the other hand, the composition of kan as an interior spatial element has changed and weakened because the lifestyle has changed compared to the traditional hanok and the 20th century urban hanok. Also the regular kan composition of Mom-chae and Nalgae-chae has changed. And kan is divided regardless to the wooden structure. Also, with the added kan under the eaves the main kan is dismantled inside. This paper indicates that although there is an undeniable premise that the case is restricted to hanok received Hanok Expanse Support on the condition of following the standards of the form of hanok, it is a part of the transitional changes that hanok is experiencing.

• 헤리티지:역사와 과학
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• 제47권4호
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• pp.22-47
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• 2014

본 연구는 한중 고건축 내부 가구(架構) 중 소슬재의 위치와 도리와 보의 결합 형태를 분석하여 동아시아 목조구조 체계 원리를 이해하기 위한 기초적인 연구이다. 동아시아 국가인 한국과 중국의 고대 목조건축은 서까래와 도리, 그리고 보를 결합하여 건물의 윗부분을 구성하고 기둥과 결합하여 건물의 기본 골격을 형성하는 구조를 가지고 있어 목조 구조 체계의 원리가 크게 다르지 않다. 다만, 세부적인 기법상의 차이가 지역성과 시대성, 국가성을 띠고 있다. 중국건축 내부 가구 중 도리와 보의 결합 형태와 차수(叉手), 탁각(托脚)의 지지점 위치가 시대에 따라 차이점을 보이고, 역사적으로 다양한 왕조에 따라 세부 수법이 다른 것으로 보인다. 15세기 이후 건축에서는 차수와 탁각이 없어지는 현상을 보이며 특히, 탁각은 명대 관식건축에서는 완전히 없어졌으며 주된 이유는 도리와 보의 결합 방식의 차이가 크게 작용한 것으로 볼 수 있다. 15세기 이전에는 도리와 보가 서로 떨어져 결합되고 있었으나, 15세기 이후는 도리와 보가 서로 결합하고 보의 단면적이 비약적으로 커져 도리 좌굴을 방지하는 수법이 발달한 것으로 보인다. 탁각의 경우 당 오대 시기에는 탁각의 상부 위치를 봤을 때 도리와 직접적인 결합은 없으며, 도리의 좌굴을 방지하는 부재보다 내부 가구의 안전성을 유지하는 부재라고 볼 수 있다. 송대 이후 원대까지도 송 "영조법식"의 기록과 다른 건축물이 많은 것으로 보아 탁각의 적용 여부는 지역, 혹은 장인의 수법에 따라 다양하게 나타난 것으로 보인다. 원대 이전 우진각 지붕의 측면 도리 부근과 팔작 지붕 합각 아래 구조에서도 탁각이 있는 것 보아 종단면과 횡단면에서 모두 볼 수 있는 부재이며, 지지점의 위치를 보아 도리를 직접 지지하는 부재라기 보다 우진각 지붕의 측면 구조나 팔작 지붕의 측면 합각 구조의 안전성에 기여하는 부재로 보인다. 한국건축 중 고려시대에 반 'ㅅ'자형 소슬재(중국명: 탁각[托脚])가 유행하지 않은 이유는 도리의 좌굴을 방지하는 기법(도리 받침재)이 널리 유행하여 반 'ㅅ'자형 소슬재를 사용하지 않아도 도리가 안정적으로 유지하는 방법을 선호한 것으로 볼 수 있다. 이 시기의 도리는 도리+장혀+도리 받침재+보의 구성을 보여 도리가 직접 보와 결구되지 않는 특징이 있으며, 조선시대 이후 도리가 보의 단면적의 범위에 속해 도리가 좌굴 되는 현상을 방지한 것으로 보인다. 이는 15세기 이후 중국건축에서도 같은 모습을 보이며, 15세기 이후 도리 좌굴에 대한 세부 기법이 한중 양국의 지역성과 국가성을 뛰어 넘어 보편성을 가진 예라 생각된다. 조선중 후기 건축에서 지붕부의 하중을 줄여 주는 방법인 덧걸이 수법이나 덧서까래 사용은 도리에서 보로 전달되는 하중을 줄여주어 도리 좌굴을 감소시켜 주는 효과가 있으며, 이는 조선시대에 건물을 영조하는 장인들의 도리 좌굴을 방지하는 또 다른 기술이라 할 수 있다. 한중 고건축 도리와 보의 결합 구조와 소슬재의 연구는 고려시대 이전 건축을 복원, 설계하는 연구에 기초적인 연구를 제공할 수 있을 것으로 보인다.

• 건축역사연구
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• 제1권1호
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• pp.88-105
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• 1992

This dissertation aims to investigate the structure of Palsangjeon, a five story wooden pagoda in Pubjoo Temple which is the only wooden pagoda existing in Korea, by a comparative study of the Palsangjeon with Japanese counterparts. By doing so, the writer of the present investigation attempts to find out its structural originality. The main finding of this study are as follows. The upper part of Palsangjeon is constructed with square log frameworks called GuiTl and Sacheon-Ju around the central column. The four walls along Sacheon-Ju from the 1st level to the 3rd well resists the outside horizontal piressure. And Gui-Tl structure on the 5th level copes much better with shear force. So this frame consisting of Sacheon-Ju and log frameworks might be viewed an semi-core system, This core is supported once again by the frame of Go-Ju. That is to say. Go-Ju supports frame of Sacheon-Ju. And the frame of Pyeong-Ju on the 4th and the 5th levels also supports it. The frame of Go-Ju is supported by the frame of Pyeong-Ju on the 1st and the 2nd levels. So this structure is designed to resist the wind and also keep the balance by properly distributing vertical pressure. The plan and the elevational structure of Palsangjeon keep the balance by the perfect symmetric structure. And the frame of Sacheon-Ju forming semi-core system can resist both the lateral load and the vertical pressure for the balance of its structure. The five story pagoda in Horyuji used to stand on a central which is desigend to support the main body of the pagoda from the first level. The principles of balance is used between the Ha-Aag and short to react the rafter. Sacheon-Ju and edge column is against the lateral load. The structural jointing system is stable thanks to the log framewroks formed on every level. The five story pagoda in Horyuji poseses the structual system originated from the ancient wooden pagoda. The pagoda is found to express simple, sincere and straight forward form. On the other hand, it could be seen as a stucture resisting the earthquake and the lateral load, Palsangjeon is an excellent building which religions function is well harmonized with its structure and appearance. It not only functions extremely well as a regions place like other pagodas, but also excellently shows how multi-story wooden building should be structured.

• 헤리티지:역사와 과학
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• 제48권2호
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• pp.4-29
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• 2015

본 글은 어느 특정 동일 집단에 의해 조성된 삼국시대 고분군을 면밀히 분석하여, 고분의 변천과정과 축조집단의 성격을 파악하고자 작성되었다. 울산 약사동 북동유적 삼국시대 목곽묘는 4C 후반에서 6C 초까지 약 150~200년간 지속적으로 조영된 어느 지역 집단의 공동묘역이다. 울산 약사동 북동유적 삼국시대 목곽묘를 분석한 결과, 목곽묘의 규모와 배치관계 그리고 출토유물의 구성 등에서 차이를 보였다. 이러한 특징을 조합하면, 북동유적 목곽묘 축조집단은 총 5개의 계층으로 구분된다. 최상위계층과 상위계층은 목곽의 규모나 매납 유물의 종류와 재질 등으로 볼 때, 목곽묘사회를 이끌어가는 실질적인 지배층, 그리고 중위계층에서 최하계층까지는 대다수를 차지하는 일반민의 신분으로 상정하였다. 그리고 연령(미성인-성인)에 따라 배치관계 및 성격에 있어서 차이를 보였다. 이러한 개인의 신분 및 연령에 따라 사회적(공동체) 기능이나 역할, 성질, 목적 등은 달라지며, 신분이 갖는 의미와 값어치는 사회적 가치와 신념에 따라 결정된다고 볼 수 있다. 한 사회의 구성원들은 공동의 목적과 유대관계를 위해서 계획적이고 조직적인 체계하에서 행동하며, 또한 관습적으로 내려오는 규범(규제) 속에서 조직 자체의 유지 존속을 꾀한다고 볼 수 있다. 그러나 이를 위해서는 조직을 이루고 있는 구성원들 사이의 결합관계가 유기적으로 이루어져야 한다. 이 결합관계는 가장 핵심 요소인 혈연에 기초하여 훨씬 큰 사회공동체 관계를 형성한다고 볼 수 있다.

• 한국주거학회논문집
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• 제24권6호
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• pp.133-140
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• 2013

This study is to clarify the form of window and door of medieval times house which are no longer in existence, by comparative analysis between literature materials and architectural remains of united Silla and Goryo period. Particularly the window and door form change process of was analyzed, in connection with the change of term which are recorded in literature material. The form and the composition of window and door are the elements which determine the elevation design of architecture and concerned with interior environment. Therefore this study is significant in the sense that it could be used as base data for the study on the reconstruction and interior space of medieval times house. There were ho (戶) and moon (門) as door, and chang (窓) for lighting and ventilation as window. Among these, the window can be divided into fixed and openable. There were two kind of fixed window. One is called chang (窓), and it was covered by silk or paper for lighting. The other is called ham (檻), it was the form of vertical bar window and lighting and ventilation was available. And there were two kind of openable window. One is called ho (戶), which had wooden plate window leaves. And the other is called changho (窓戶), lighting was available in the condition of closing.

• 대한건축학회논문집:계획계
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• 제34권7호
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• pp.79-88
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• 2018

In the late Koryo Dynasty~early Joseon Dynasty, nationwide distribution of Ondol prompted the formation of ㄱ-shaped corner space. From this background, the spatial form changed according to the space function. In the case where the ondol is located in the bent portion, it would have formed a similar spatial form nationwide at the beginning of the 16th century. Until the middle of the 16th century the receptionists and the family rituals were carried out in the inner of the house, so ㄱ-shaped corner space gradually expanded. Also a special structure type using fultile rafters was used to cover the upper structure of the extended folded space. From the 17th century, ㄱ-shaped corner space was varied from wide and high to narrow and low. In addition to this, the space function of ㄱ-shaped corner is a small hall, a wooden floored room, and the kitchen. And Their spatial form also changes over time.