A major performance stage carpenter, Jang Insang led performance stages from the 1719 Sukjong Royal Banquet and was confirmed by historical records to be the first craftsman. Lee Wandeuk led the Hwaseong Fortress performance stages of the Jeongjo period and Gichuk Jinchan performance stages of the Sunjo period. The carpenter techniques he used during the Jeongjo period were succeeded to the Sunjo period. Ahn Sungil was the head craftsman who led the performance stages of Jagyeongjeon Jinjak, Muja Jinjak, and Gichuk Jinchan of the Sujo period, under which the foundation for court palace performances was laid. The progression of major carpenters includes Jang Insang of the Sukjong period, Jeon Yoochu of the Yeongjo period, Ahn Sugil of the Sunjo period, Yoon Seoksin of the Heonjong period, Kim Yoonsik of the Gojong period, Lee Jongyoon, Kim Soongil, Seo Sangmook, and Han Sujoon. In addition, the Major Repair of Injeongjeon Hall (1857) of the Cheoljong period was the most important palace construction project for transferring the carpenters’skills. Through this project, Ahn Sungil of the Sunjo period, Kim Myeonggap, Yoon Seoksin of the Heonjong period, Kwon Deuknyang, and Kim Sungil of the Gojong period were able to interact with each other. That is, this major repair project of Injeongjeon Hall reflected the major carpenters’best techniques through performance stage construction, showing the progression of Ahn Sungil, Yoon Seokshin, and Kim Sungil, who led the constructions of Gichuk Jinchan of the Sunjo period (1829), Mushin Jinchan of the Heonjong period (1848), and Jeonghae Jinchan of the Gojong period (1887), the most impressive performance stages of the late Joseon period. The carpenters of the court performance stages participated in important construction projects of the royal palace, reflecting the superior technical skills of the carpenters in the construction of court palace performance stages. The carpenters who played a leading role in the construction of performance stages were able to interact with one another and transfer their excellent technical skills, providing the driving force that allowed court performance stages to blossom into splendid and high-quality court stages in the late Joseon Dynasty.

This study analyzed 『Bukgwol Dohyeong (Drawing Plans for the Northern Section of Gyeongbokgung Palac e)』, which is an important source material for the restoration of the palace, by applying Paltaekron, the geomantic principle of bearings, in order to clarify the building layout principle of Gyeongbokgung Palace. Gyeongbokgung Palace shows the typical geographical conditions that meet the principle of Baesan Imsu (mountain in the back and water in the front) which takes Baegaksan Mountain as the main mountain and the overall layout of the buildings that meet the principle of ‘Jeonchak Hugwan (narrow in the front and broad toward inside)’ by using the natural topography that meets the principle of ‘Jeonjeo Hugo (low in the front and higher toward back).’ It is estimated that this layout and arrangement must have been led by geomantic principle of bearings. The analysis of the building layout plan of Gyeongbokgung Palace in the late Joseon Dynasty Period suggests the application of two methods: one is to divide central area from Gwanghwamun Gate to Geoncheongung Hall into eight layers and the other is to apply the bearings of the Eight Trigrams based on the building that becomes the center. As a result, the gate, main hall, and kitchen of all major buildings where the royal family lived are located in the auspicious bearings according to the geomantic principle of bearings while the spaces where people other than the royal family such as those who served the royal family and the officials operated in the palace or the hall that enshrines the ancestors such as Taewonjeong Hall are located in the ominous bearings. Therefore, the buildings of Gyeongbokgung Palace are arranged based on the geomantic principle of bearings.

In the 1930s, The Architectural Association of Joseon run the ‘Architectural Material Display’ on the 2nd floor of the Japan Life Insurance Building in Hwanggumjeong(currently Euljiro street). The purpose of this place was to introduce new architectural materials to builders. And they issued a 『建築資料型錄(Architectural Material Catalog)』and distributed it free of charge so that people in districts at long distances can make use of it. This catalog contains descriptions, photographs and drawings of various architectural materials that were common at the time, and the overseas branch address of the store is stated. The purpose of this research is to investigate the type and characteristics of architectural materials distributed in Northeast Asia around the 1930s, the region of sale, affiliated companies by closely analyzing the 『建築資料型錄』.

The stylobate for expanding the external stage area was the most frequently installed installment out of the installments installed for royal court ceremonies. The stylobate was installed for various ceremonies such as funeral rites, ancestral rites, customary formalities, state examination, feasts for celebrating a honored guest of the court, queen’s silkworm cultivating ceremony, heir appointment, the presentation of honorary titles for the king or queen in honor of their merits, and entertainment of foreign dignitaries. The exact period stylobates came to be used for the play stage. The stylobate consists of the 紅座板, 屯太木, 竹欄間, 足木, and the 層橋. Depending on the 足木, the substructure of the stylobate, the stylobate could be divided into the 長足木, 中足木, 短足木, 平足木type. The detail structure of the stylobate changed in form from the jokmok and duntaemok that appeared until the time of King Seonjo, into the 長屯太木, 短屯太木, and the 短短屯太木 during the time of King Heonjong. With the introduction of the 中足木, materials began to become more segmented and the structure stronger. According to existing records, while the height of the stylobate was not significantly high prior to King Seonjo’s reign, the 十四層雲橋and the 十三層層橋introduced during the time of Emperor Gojong was designed to reflect his rank in external ceremonies while the eight story step bridge was exhibited in internal ceremonies to reflect the rank of Queen Mother Sinjeong. From here, we can deduce that the fourteen and thirteen story cloud bridges representing the king was of a higher grade than the eight story step bridge which represented the queen mother. Finishing by adding boards to the lower part of the stylobates began to appear in the time of King Seonjo. During King Heonjong’s reign, the lower finish became gentrified with a thin board called 修粧板, and yeomupan 廉隅板for decorating the edges of the stylobates were installed. Such style of finishing the lower part of the stylobate with boards mostly appeared in elaborate feasts 進饌and celebrations 進宴within the royal court 內宴. The stylobates appeared to have served not only practical purposes such as expanding the stage area, but also as installments which realize the authority and prestige of the royal crown. They were installed according to the purpose of the ceremony and the rank of the participant. In short, stylobates became established during King Seonjo’s reign, became segmented and gentrified during King Heonjong’s reign, and began to take height variations during Emperor Gojong’s reign to reflect the rank and authority of the king and queen mother. As such, it can be considered another characteristic of Joseon Dynasty architecture.

Mugiyeondang(舞沂蓮塘) is the garden that the provincial noble family in Yeongnam(嶺南) has constructed since the late Joseon period. Mugiyeondang is well known as a typical case of traditional garden in Joseon period. But it is also an exceptional case because of its informal layout that infers gradual space transition. This study aims to establish the historical story of the garden beyond the superficial description about existing spatial status and literature materials. Mugiyeondang had been constructed by seven generations of the family during two hundred years, and there were significant events at every transition points. The figure and name of elements reflects each historical change of the family. Mugiyeondang is an important case to notice that a garden was not just a subsidiary space for mere leisure life of the gentry of Joseon period, But it was an important for some families as their representative and symbolic space.

Royal banquets under the reign of King Sunjo saw developments in the playacting stage, which exhibited characteristics unique to the transitionary period between Jeongjo and Gojong this period established the framework of the Joseon Dynasty’s playacting stage construction. Starting with the Jagyeongjeon-Hall banquet and continuing into the Year of the Golden Rat banquet, the next-day banquet by the Crown Prince demonstrates a renewed format, with the stage also changing accordingly. This change was substantiated by more assertive use of the Red Blind and gabjang. Previously, the Red Blind has been installed in the palace hall and around the royal courtyard, to form three sides, but as next-day banquets became more frequent under Sunjo, the Red Blind developed and came to be installed in accordance with the hierarchy within the royal family. In the Year of the Golden Rat banquet, the Red Blind was lifted and the throne of the crown prince was situated in the palace hall. In the banquet of the following year, however, the Red Blind was let down and the crown prince’s throne was placed outside, in palace court yard. This seems to have been a gesture to reorient the crown prince’s political standing and restore Sunjo’s sovereignty the following year. Hence, the installation of the Red Blind developed in accordance with the royal hierarchy and ranks under Sunjo’s reign. The gabjang provided the second layer of protection for the playacting stage. The hongjeongju gabjang surrounded the stage in multiple layers and served as a partition. The gabjang from the Year of the Golden Bull banquet, in particular, boasted a unique installation, where it dangled from both sides of the royal palace’s facade. Hongjeongju gabjang, lapis lazuli gabjang, red gabjang, and yellow curtains were installed in the stated order to reflect Sunjo’s 40th birthday as well as the 30-year anniversary of his coronation. The Red Blind and gabjang from Sunjo’s years were positioned in creative ways to reinstate the royal authority, and demonstrated many improvements from those of Jeongjo’s reign.

한국도로공사는 ‘고차원 설계환경 기반의 차세대 고속도로 설계 및 관리역량 강화’, BIM 기반의 건설·운영 프로세스를 정립하기 위하여 EX-BIM 로드맵을 수립하였다(2016. 5). 현재 초기 도입단계로써,「EX-BIM 시공단계 표준모델 구축 연구」(한국도로공사, 건설처, 2017)를 수행하고 있다. 연구의 일환으로 시공단계 BIM 적용방안 마련을 위하여 ‘성남-구리간 고속도로 건설공사’를 대상으로 설계단계 BIM 성과품에 대한 검토 및 효과분석을 시행하고 있다. 성남-구리 노선 5개공구는 모두 설계-시공 일괄입찰방식으로 추진중이며, 수도권 주요 도심지를 우회하고 한강을 횡단하는 노선으로, 대부분 교량과 터널 등 구조물 위주로 설계되어 있다. 설계단계 BIM 성과품은 작성완료단계에 있으며, 이어 시공단계 BIM을 수행할 예정이다. BIM 적용 목표로 공기의 적정성, 수량의 적정성, 주요 시설물에 대한 간섭검토 등을 요구하였다. 그래서, 각 공구별 수행사는 BIM 실행계획서(BEP, BIM Execution Plan)를 작성하여 BIM 활용방안을 제시하고 설계단계 BIM을 수행하였으며, 이를 반영하여 최종 BIM 성과품을 작성하는 절차로 진행하였다 설계단계에서는 공기와 수량의 적정성 검토, 주요 시설물에 대한 간섭검토 위주로 BIM을 적용하였다. 공구별 3D/4D 모델을 작성하여, 일련의 과정과 결과를 BIM 결과보고서에 포함하여 성과품으로 작성하였으며, 이를 근거로, 설계 성과품 품질 향상과 시공단계 BIM 활용을 위하여 설계BIM 성과품을 검토하고 효과분석을 수행하였다. 성과품 검토 결과, 노선 특성에 따라 교량 및 터널 등 구조물 위주로 BIM을 적용하였으며, 도공 자체 WBS 모델 분류 체계에 따라 일부 모델을 구성하였으나, 공종별 주요 수량검토를 수행하기에는 공구 및 대상별 LOD가 다소 상이하고 미흡한 수준이었다. 설계단계 효과분석은 도면오류, 간섭검토, 주요 수량검토 등 설계시 대표업무에 대한 결과를 분석하였으며, 발주처나 시공사 입장에서 가시적 효과는 간섭검토, 도면오류검토 순으로 예상되었다. 추가로, 건설참여자를 대상으로 설계단계 BIM 모델을 시연하고 시공단계 활용성에 대하여 인터뷰를 실시하였는데, 가상현장과 사전시공 등 사업관리 측면에 대해 관심을 보였다. 본 연구는 성남-구리간 건설공사를 대상으로 설계단계 BIM 성과품을 검토하고 효과분석을 시행하여 고속도로 건설공사시 BIM 도입에 대한 타당성을 제시하고자 한다. 이와 함께, 설계단계 ROI 결과를 토대로 시공단계까지 확대 적용할수 있도록 지속적인 BIM 데이터 관리와 BIM 활용 효과에 대한 모니터링이 필요할 것이다.