This study set out to compare and analyze the influences Kabbalah, which was Louis I. Kahn's faith as a Jew, on his architecture based on Freud's psychoanalysis that had many exchanges with modernism and contemporary architecture and the analytical psychology of Jung that affected Kahn in examining his architecture and theories. The specific goals of the study were to shed light to Kahn's presence in contemporary architecture anew and establish the methodology of using psychoanalysis in building new theories of architectural planning. When the theories of psychoanalysis were introduced for comparison and analysis purposes, Kahn tried to differentiate his buildings by placing a function or symbolic central space at the heart of a building even though he did adopt a characteristic of modernism architecture, which was placing a core at the centre of plan, for a while. Such a tendency of his was based on Jung's opinions rather than Freud's and affected by Ecole des Beaux-Art. The analysis results also indicate that he conceived "Served Space & Servant Space," "architecture of connection" and "silence and light" that made up the essence of his architectural theory from the relationships between Ayin-Sof, Kabbalah's absolute god, and Sefiroth. It's also very likely that his often use of triangles and circles in his architecture was affected by the Tree of Sefiroth diagram of Kabbalah. His tendency is well reflected in Salk Institute and Philips Exeter Academy Library, where he placed a laboratory or courtyard at the center where a core was supposed to be, created a corridor or courtyard space between those central spaces and the core, and connected them one another with circulation. Thus he succeeded in embodying the concept of Tree of Sefiroth with which to perceive the being of Ayin-Sof into an architectural space, which is well proven with Mikveh Israel Synagogue where he directly applied the Tree of Sefiroth diagram. The synagogue also contained a hollow column that served as an important concept in his late architecture. The hollow column was also the result of him applying the concept of Sefiroth to the place where Ayin-Sof was reduced in Kabbalah.

Kyedan(戒壇) is an altar to perform a rite of Buddhist Initiation which gives Precept to a Buddhist monk. Sometimes it is called the Place of Precept and Mandala by Sanskrit. In this study, the Sutra of the Tang(唐) Dosun(道宣) regarding First Kyedan of Jetavana-anathapindasyarama(祇園精舍), which was the first temple such as, Kyedandokyung(戒壇圖經), Kiwonsadokyung(祇洹寺圖經), Sabunyul(四分律) were analyzed to find out original form and layout. Ultimately, the study was intended to examine the spatial formation-principle by comparing with Kyedan Temple. The results of this study could be summarized as below. First. Except for Kyedan in Bakryensa, the height of lower stone plate of Buddhist Bell-Shaped Stupa of Korean Kyedan is higher than three storied Kyedan that described in Kyedandokyung. Second. Buddhist Bell-Shaped Stupa above Kyedan was presumed that embodied image of Bell Pedestal and symbolism of overturned-bowl were combined together, when Kyedandokyung and Kiwonsadokyung were referred. It could be examined by the existence of stone lantern. Third. In Korea, the rite of Buddhist initiation that gives Precept in Kyedan has been considered impossible. However, when the rite was conducted, there was a possibility to establish wood stair. It is because that the Buddhist Stupa of Silleuuksa(神勒寺) and Woljeongsa(月精寺), which reflected the image of Kyedan had stone stair. Fourth, The method to build Kyedan of Dosun divided into Large Region and Small Region was applied to the method to construct Stone terrace behind Jeongmyeolbogung(寂 滅寶宮) like Tongdosa(通度寺) and complete Kyedan on the stone terrace. In other words, Jeongmyeolbogung became Kyedanwon(戒壇院) and Kyedan, itself became Small Region. The area of Stone terrace became Large Region and naturally, they constituted an Institution. Fifth, Korean Kyedan which is consist of Jeongmyeonlbogung and Kyedan is a Korean original composition principles of Kyedangaram(戒壇伽藍) that can satiate all the functions of Kyedan as a religious subject and the place of the rite of Buddhist initiation, as it had complex of Outdoor Kyedan, which was suggested by the sutra of Dosun and Institution of Kyedan.

4 royal palaces are currently remained from capital city (Seoul) of 'Cho-Sun(朝鮮)' period. In these palaces, 'Main hall of Royal Palace(正殿)' is the center of the Royal Palaces. The 'Main hall of Royal Palace' of the Royal Palace was the best building of that time. Therefore there were many studies about the 'Main hall of Royal Palace'. But these studies were individual studies of these 'Main hall of Royal Palace'. Therefore, this study is to analyze and compare 4 'Main hall of Royal Palace' of the Royal palaces. It is to study the proportion regarding the Diameter of the pillar, the Height, the pillar and pillar Interval's Distance, and the arrangement of 'Kong-Po(bracket sets)'. With these studies, it is to prove that the 'Main hall of Royal Palace' is the building which high construction technique of this time is expressed. Result of this study is as followings; First, the proportion of pillar height(H) to its diameter(D) average from H=8.0 to 8.5D. Only the Myeong-Jeong-Jeon omitted the 'Go-Ju(高柱)' in the 'Toi-Kan (退間)' to place Ea-Jwa(御座). Second, Second, the proportion of diameter of the pillar of 'Eoi-Bu-Pyeong-Ju(外部平柱)' and 'Nae-Jin-Go-Ju(內陣高柱)' average D1(Diameter of 'Eoi-Bu-Pyeong-Ju') =0.91D2 (Diameter of 'Nae-Jin-Go-Ju'). In regards to the height, the single floor 'Main hall of Royal Palace' and double floor 'Main hall of Royal Palace' seems to be different. The height proportion of the double floor 'Main hall of royal palace' is H1(Height of 'Eoi-Bu-Pyeong-Ju')=0.34H2(Height of 'Nae-Jin-Go-Ju') and single floor 'Main hall of Royal Palace' has a proportion of H1=0.62H2. Third, in Geun-Jeong-Jeon, with the proportion of height and diameter of the pillar, interval's distance between pillars and diameter, the pillar interval distance and height, of 'Ea-kan(御間)' from the 'Toi-Kan' is different from 'Main hall of Royal Palace'. This is because the structure of 'Toi-Kan' of Geun-Jeong-Jeon is not stable. In order to reinforce this, 'Gui-Go-Ju(隅高柱)' of the Geun-Jeong-Jeon jut out $4{\sim}7%$ more compared to In-Jeong-Jeon. Fourth, when comparing double floor 'Main hall of royal palace' of Geun-Jeong-Jeon and In-Jeong-Jeon, based on distance of 'Eoi-Bu-Pyeong-Ju' and 'Nae-Jin-Go-Ju' of lower level, the 'Sang-Bu-Pyeong-Ju(上部平柱)' of Geun-Jeong-Jeon jut out $4{\sim}7%$ more compared to the In-Jeong-Jeon and also It becomes thicker. Fifth, the arrangement of 'Kong-Po' on the front row of 'Gan(間)' had to do with the change of side 'Gan'. Even though the Geun-Jeong-Jeon and the In-Jeong-Jeon were double floors, the arrangement of the 'Kong-Po' is different because the number of side bay is different.