This research aims to understand the specific aspects of the utilization of the pavilion by a group of governors in the mobile office system of the early Joseon Dynasty through two diaries written in the 16th century. Miam Diary by Yu Hee-chun, a governor of Jeolla Province, and Jaeyeongnam Diary by Hwang Sa-woo, a chief aide of Gyeongsang Province, are important historical materials that reveal the utilization patterns of the pavilion by the governor, who was the decision maker and main user of governmental pavilions. As a result of analyzing the two diaries, the utilization of governmental pavilions was concentrated in the hot summer season, May to July, which is closely related to the perception of temperature and humidity. While pavilions are mostly used as office and banquet places, some notable usage patterns have been identified. When there were several governmental pavilions in a town, the order of appreciation was determined by considering the location and scenery, and the pavilions were also used as a place to encourage learning as governors taught Confucian scholars well. Governmental pavilions functioned as a device to visualize hierarchy through seating and accommodation arrangements. The authors of the diaries left comments on the famous pavilions and sometimes went to see the pavilions after asking for permission from the superior. This research is meaningful in that it reconstructed the relationship network and phases of the times of governmental pavilions scattered across the country through institutions and daily life.
Based on the experience of building ‘Waegwan(倭館)’ in Busan, Japanese paper wallpapering, the use of square rafters, and the installation of sliding windows were used in the construction of Joseon palaces from the 17th century onwards. Elements that could be applied through observation alone were applied first, and sliding windows that required precise skill acquisition were installed later. ‘Yeongchang(影窓)’, which refers to a sliding window that brightens an interior, has spread rapidly, and its types and structures have also become more diverse. Gradually, ‘Yeongchang’ came to refer only to additional windows installed by attaching grooves to the lintel of existing casement windows. The sliding window that is installed independently and acts as an interior partition was renamed ‘Chujangja(推障子)’. Japanese architectural elements such as ‘Yeongchang’ and ‘Chujangja’ have become an element of traditional Korean architecture.
The study confirmed the "house search report(家宅搜索調書)" containing criminal records during the Japanese colonial period, as well as the production process and the way of expressing the illustrations contained in them. It also explored architectural values through analysis of the location and use of the building. This records the discovery of evidence by searching the residences of those involved in the crime from 1919 to 1922. The illustrations contained in this record were not standardized, so the contents of the article differed depending on the author's background and cultural experience. Nevertheless, this painting reflects the regional characteristics of traditional houses located throughout the Korean Peninsula. It is also evidence that the house was used for cultural, commercial, and industrial purposes, beyond the general assumption that it was used only for residential purposes. The "House Search Report(家宅搜索調書)" provides information on ordinary buildings that existed as the background of everyday life, rather than buildings with a specific purpose or exceptional design. It is evaluated as an important resource for understanding the diverse life and spatial structures of buildings during that time.
This research aims to investigate Park Kilyong’s architectural theory and critique of Gyeongseong (Seoul) buildings, expressed in his ‘Overview of Modern Buildings in Gyeongseong’ and ‘Critique of Gyeongseong Buildings’ (Samcheolli, Sept. and Oct. 1935); and ‘Architectural Form of the 100% Function’ and ‘The Modern and Architecture (1)-(4)’ (Dong-A Daily, 28 Jul. to 1 Aug. 1936). As a result, it is confirmed that Park had the functionalist theory of modern architecture, which suggests that Korean architects of the Japanese colonial period were accommodating the contemporary trend of world architecture. However, Park shows his fundamental limitations in the fact that the main content of his articles was a verbatim translation of two Japanese references (Kurata, 1927; Ishihara, 1929) without proper indications. Despite the limitations, his texts are still meaningful since he formed his own architectural theory on the basis of what he translated; and indeed his critique of Gyeongseong buildings, however simple, was based on the theory. This research makes a critical analysis of Park’s functionalist theory from both the 1930s’ and present points of view and compares his commentaries on Gyeongseong architecture with those by Ko Yu-seop (1932) and Hong Yunsick (1937), illustrating how Korea perceived architecture and modernism in 1930s.
Based on my attendance at the CIPA International Symposium(CIPA2023) organized by the International Scientific Committee on Heritage Documentation(ICOMOS), this paper explored research cases applying digital technologies, including BIM, to architectural heritage. The researches presented at this symposium were categorized into specific areas: data acquisition, data management, data sharing&experience. Through this classification, an analysis of research cases in architectural heritage utilizing digital technology was conducted. By categorizing the 43 academic papers from the CIPA2023 based on research themes, trends in the digital architecture field were analyzed, providing insights into future research directions for the digital acquisition, management, sharing, and experiential aspects of Korean architectural heritage. In conclusion, it is deemed necessary to reference and supplement the methodologies, including algorithms, workflows, and approaches developed in each study, to effectively apply methodologies suitable for the characteristics of Korean architectural heritage and its data.
This research focused on the regional and temporal attributes of tuff architecture in Mokpo, spanning the Japanese colonial period and the post-liberation era. It aimed to uncover the distinct regional and temporal features of tuff architecture by integrating concepts from vernacular architecture and regionalism, framed through a lens of critical regionalism. The study traced the historical progression of tuff architecture in Mokpo within this context. A significant part of the research was an in-depth analysis of four constructions by Son Yang-dong, a renowned technician in post-liberation Mokpo, to closely examine the contemporary relevance and regional significance of his work. Tuff, as an indigenous material, distinctly articulates the local architectural character. In line with regional properties of tuff, the material has adeptly responded to contemporary construction needs. This has laid a foundation for the development of innovative building designs and techniques. Tuff architecture is particularly noted for its exhibition of raw material textures, offering a unique aesthetic that diverges from classical Western architectural styles. Importantly, through the examination of Son Yang-dong's contributions, the study highlights the role of Korean builders in an industry dominated by Japanese influences during the colonial period, underscoring a strong regional identity. As a representation of Mokpo, tuff architecture not only upholds and protects regional identity within the broader scope of Western modernization and Japanese impacts but also plays a role in its progressive enhancement.
하브라켄(N. John Habraken) 교수는 2023년 10월 21 일에 별세했다. 그는 1928년 인도네시아 반둥에서 태어 난 네덜란드 건축가, 교육자, 이론가이다. 그의 이론적 공헌은 대량 주택에 대한 사용자 참여 및 사용자와 거 주자를 설계 프로세스에 통합한 것이다. 그의 이론이 추 구하는 시각적 결과물은 생동감 넘치는 다양성의 건축 이다. 하브라켄은 그의 주거대(Support)에서, 주거 설 계에서 주거대(住居帶: support = base building)를 ‘내 장품(內裝品: detachable unit = infill)’1)과 분리하여 주 민들이 설계 과정에서 의미 있는 참여 역할을 할 수 있 도록 제안했다. 하브라켄은 제2차 세계대전 중에 일본제국주의 강제 수용소에 3년간 억류된 경험을 했고, 그 후에 네덜란드 의 델프트 공대에서 건축을 공부했다. 그는 1965∼1975 년 SAR(Foundation for Architects Research)의 소장을 역임했으며, 1967년 아인트호벤 공대의 건축학과를 신 설하고, 초대 학과장의 중책을 맡았다. 1975∼1981년 하 브라켄은 MIT 건축대학의 학과장으로 재직했고, 1989 년 퇴임하고 명예교수로 은퇴할 때까지 MIT에서 학생 들을 가르쳤다. 2016년에 나는 그가 설계해 살고 있던 네덜란드 아펠도른(Apeldoorn)의 집을 방문했다. 당시 그는 노쇠했으나, 정신은 매우 명료했다. 이후 다시 가 보려고 했는데, 이젠 지난 소망이 되었다. ―하브라켄 교수님의 명복을 빕니다. 하브라켄의 서거를 접하고, 내게 특별한 의미가 있는 하 브라켄의 논문 한 편을 번역해 공개한다. 그는 MIT에 서 나의 석사과정과 박사과정의 지도 교수였으며, 여기 번역한 글은 박사과정 중에 출간되었다. 1991년에 나는 써머슨(J. Summerson)의 논문 「The case for a theory of modern architecture」를 그에게 소개했고, 우리는 그 내용에 대해 토의했다. 하브라켄은 4쪽, 각주 3에 써머 슨의 논문을 인용했다는 노트를 적은, 내가 번역한 영문 논문을 내게 주면서, “네가 즐겁게 읽어주었으면 좋겠 다”는 메모를 남겼다. 벌써 30년이 지났지만, 나는 이 글의 주장이 현재에도 유효하다고 생각한다. 나는 이 번 역이 하브라켄의 학문 세계를 이해하는데 작은 도움이 되기를 소망한다. 하브라켄의 글에는 현학적이거나 어려운 단어가 거의 없다. 포괄적 추상 개념을 지시하는 정신(Geist), 공간 (space), 표상(representation), 미학(Aesthetics) 등과 같 은 난해한 어휘도 없다. 그는 평이한 문장으로 자신의 주장과 논리를 전개하는 탁월한 능력을 가진 지적 거인 이다. 그리고 그는 특정 개념에 대해 동일한 명사를 일 관되게 사용한다. 영어 원문에 대한 이해와 참조를 위 해, 내가 일관되게 번역해 사용한 단어와 구는 다음과 같다.