Since the 1980s, the number of large space buildings in Korea has consistently been increasing due to large scale international competitions such as the Olympics and the World Cup, demands for environmental improvement, and development of structural systems. Due to these reasons, this paper conducted a comparative analysis on terrorism risk factors of large space structure and skyscrapers in Korea. The results suggest that the total risk level of high-rise and large space structure was "medium level risk" and that the terrorism risk level for large space structure was as high as that for high-rise buildings. As it relates to the risk levels depending on scenarios, terrorism risks to large space structure were higher than high-rise buildings in the "internal explosion" and "internal intrusion" categories. And the results of analyzing explosion-related scenarios except for CBR suggest that terrorism risks to large space structure were highest when it comes to Internal-Explosive followed by Internal-Intrusion and Explosive-Zone I; and the results showed a regular pattern. On the other hand, in the case of high-rise buildings, terrorism risks were highest in Internal-Explosive followed by Explosive-Zone I and Explosive-Zone II; and the results showed an irregular pattern.

Classic rationalist architecture came to play an important role in modern architectural discourse in the 1970s. But it has declined since the death of its most representative architects Aldo Rossi and O. M. Ungers. However, the phenomenon to be noted is that a new momentum was brought to the German architectural scene through some remarkable achievements by the disciples of Ungers after 2000. This study aims to read this phenomenon on the topography of german architecture and to catch out what potential it has to create balance in the international architectural debate. It is not the aim to analyze a single architect in detail, but to compare some important architects like Hans Kollhoff, Max Dudler, Eun-Young Yi and Uwe Schröder. And further the study will try to give an overview of how far this phenomenon can change the topography of the German architectural scene. The buildings that have been examined here are Daimler Chrysler Building, Grimm Zentrum, Stuttgart City Library, and Haus Hundertacht. Through this study, it was found that some architects continue the attitude and the architectural languages of O. M. Ungers and develope their own unique architecture. And this phenomenon has the potential to influence todays architectural debate on a global scale.

수행이 중심이 되는 선원건축은 일반 사찰건축과 다르다. 그 공간적인 미 학 또한 특별하다. 최근 들어 명상센터와 템플스테이 관련한 건축물을 유행 처럼 짓고 있지만 선원건축에 대한 불교건축적인 기준이 없어서 설계와 건 축에 기준을 찾고 적용하는 데 어려움이 따른다. 이에 선원건축의 일반 사찰 건축에 대한 상이성을 모색해 보고자 전문적인 선 수행도량인 해인사 상선 원을 중심으로 살펴보았다. 상선원과 더불어 남양주 화개선원과 문경 봉암 사는 특별한 공통점과 특징성을 가지고 있다. 선원건축은 외떨어진 고요한 곳에 위치해 있으며, 백골건축이라 불릴 정 도로 단청이 생략되어 있고, 건물 사면이 문과 창호 및 복도로 구성되어 있 다. 내부에는 그 어떤 상징물(불상, 불단, 탱화 등)도 없고 생활과 관련된 시 설이 최소화되어 있으며, 마당에는 탑이나 종루도 없이 비어 있다. 그리고 수행에 방해가 되는 혼침과 벌레를 쫓는 환경이 갖춰지고, 수행공간도 평등 의 공간으로 남게 된다. 이러한 특별함에 대해 공간미학의 관점에서 비움과 채움, 가둠과 열림, 차가움과 따뜻함, 고요와 폭류의 개념을 추출하였다. 수행공간인 선원건축은 건축공간 내에 불교사상이 반영되어 있고 수행정 신을 고양시킬 수 있는 환경이 구축되어야 한다고 보았다. 선원(禪院)은 진 여가 온전히 드러나는 선의 근원[禪源]이고 불교 수행의 핵심을 담아내는 공 간이다. 이러한 건축적 미학을 선원건축에 담아내고 우리 삶의 공간으로도 끌어와야 할 것이다.

The purpose of this paper is to review and analyse the influence of Hegel on architectural historiography. With the point of view that Hegel is the origin of architectural history, this study try to find out how Hegel’s philosophy and aesthetics deeply influenced the principle and method of architectural historiography. As a kind of meta-history Hegel’s idealism played a important role in the interpretation of architecture and its historiography. We can call it Hegelian legacy and it gave a determinant idea in the discours of architecture, especially Modernism. With a critical view point this study tries to reveal the mythical character of the premise and hypothesis of Hegel’s historicism and also reviews its positive aspects in the history of writing architectural history. Today Hegelian thinking in architectural historiography is seriously criticized and considered as a old way of writing history. But this study tries to find a possibility to recognize the contemporary architectural situation with Hegel’s concept of universal history. The return of Hegel necessarily does not mean the idea of totality and universality in practice as like in Modernism, but to widen the recognition in contemporary practice and historiography.

The old house at No’eun-ri, located in Hongseong-gun Hongbuk-myeon of the Chungcheong Nam-do province, really seems like the old house of late Seong Sam-mun who died in 1456. The original structure of the house seems to have been symmetrical, in terms of its left and right sides, and the females’ chamber(Anchae) as well as the guest quarters(Haeng’rang-chae) would have featured a Matbae(맞배) fashion. The flank chamber and corridor would have displayed a multi-storied shape, and people would have been able to traverse the inside of the house all the way to the second story of the residence. We can see such shapes and dispositions from other ‘口’-shaped houses — found in Chungnam and Gyeongbuk regions — which are now considered as distinct characteristics of certain residences constructed before the war with the Japanese in the 1590s, confirmed from extant vestiges and historical records of that time period. It can be concluded that the old house at No’eun-ri does harbor the traits and elements that resembled the upper class residences of the Joseon dynasty’s early half period.

일반적으로 건축물의 구조해석과 설계에 있어 작업효율을 확보하기 위하여 상부구조물과 하부구조물을 별도로 모델링하여 해석 및 설계를 진행하는 분리해석 방법을 사용한다. 하지만, 상기 분리해석을 사용할 경우, 상부구조물의 고정지점과 변형된 기초구조물과는 실제 연결된 지점에서 변위차가 발생하여 구조해석의 기본요건인 변형적합성 조건을 만족하지 못하게 되고 상부구조-하부구조의 상호작용을 고려하지 못하기 때문에 실제와는 다른 구조해석 및 설계결과를 초래할 수 있다. 본 연구에서는 초고층 철골구조물을 대상으로 구조물의 부등침하 등에 큰 영향을 미치는 상재(常載)하중에 대한 분리해석과 일체해석의 해석결과 차이를 비교 분석하였다. 분석결과에 따르면 분리해석방법을 사용할 경우, 상부구조물의 구조해석에 있어 기초의 변형을 고려하지 못하기 때문에 부재력을 과소평가할 수 있고 이로인해 비안전측 설계결과를 가지고 올 수 있다. 하부 기초구조물을 분리해석으로 해석하였을 경우, 상부구조물의 강성을 고려하지 못하기 때문에 기초의 부등침하 과대평가, 부재력의 과대/과소 평가를 초래할 수 있어 비경제적이고 불안전한 설계결과를 가져올 수 있다. 특히, 기초의 변형이 상부구조물에 큰 영향을 미칠 수 있는 건축구조물, 지반의 강성이 작아서 기초에 큰 변형이 예상되는 건축물, 지반조건이 불균질하여 부등침하가 예상되는 건축구조물 등에는 분리해석을 지양해야 할 것이다.

이 논문의 목적은 의례의 변화에 따른 불교건축의 상관관계를 살펴보는 것이다. 17세기 이후 불교의례는 대부분 실내화로 변하게 된다. 그 결과 평 면 내 불단 위치 변화, 기둥 구조법의 변화, 바닥 재료의 변화, 창호의 개방 성 증가와 천장 구성방식의 변화를 낳게 되었다.

본 논문에서는 전통 목조건축물로 되어 있는 대한민국의 국보 1호인 숭례문의 구조해석을 수행하고 안전도를 평가하였다. 전통 목조건축의 대부분의 하중을 차지하고 있는 숭례문의 지붕하중을 상세히 산정하고 숭례문의 가구구성 특징을 면밀히 살펴 범용 구조해석 소프트웨어인 midas Gen으로 구조해석모델을 구축하였다. 수직하중에 대한 정적구조해석을 수행하고 주요 수직 수평 구조부재의 안전성과 주요 수평부재의 사용성을 평가하였다. 숭례문의 동적거동특성을 평가하기 위하여 현장에서의 충격해머실험과 구조해석 소프트웨어를 이용한 고유치해석을 수행하고 그 결과를 비교하고 주요모드를 도출하였다. 수직하중에 대한 검토결과 숭례문은 구조적 능력에 여유가 있는 것으로 나타났다.

유리를 매체로 하여 빛과 색을 종합시킨 스테인드글라스는 그 시작부터 건축적인 예 술이었다. 고딕건축을 통하여 최고조에 이른 스테인드글라스가 르네상스의 자연주의, 사실주의 회화와 벽화의 전개로 차츰 쇠퇴하면서 거의 잊혀 지는듯 하였으나 20세기 초 부터 다시 부각을 드러내기 시작하였다. 본 연구에서는 일반건축 중에서도 상업공간에 도입된 건축스테인드글라스로 연구범위를 좁혔으며, 상업공간에 도입된 국내외 현황을 서술하고 앞으로의 발전 가능성에 대해 알아보았다. 이 논문을 통해 국내외의 건축스테인드글라스의 현황을 정확히 파악하여 앞으로의 발전방향을 잡고 상업공간 뿐만 아니라 스테인드글라스의 도입이 필요한 여러 일반건 축물들에 대한 연구 또한 끊임없이 해나가야 할 계기가 생겼다. 또한 기존에 있는 제작 기법을 바탕으로 새로운 기법연구와 건축을 포함한 여러 전문가들의 협업으로 좀 더 전문적인 지식으로 스테인드글라스를 연구하고 발전시키는데 본 논문의 의미가 있다 하겠다.

The purpose of this study is to critically investigate the ways in which scholars and architects in Korea have theorised the tradition in Korean architecture from the early 20th century to the present. After opening the door to foreign powers, the most important issue to be resolved in Korea architecture has been the modernization of the traditional architecture. The successful modernization of Korean traditional architecture depends on successful theorization of the tradition. However, many attempts to theorise the uniqueness of tradition in Korean architecture had not been instrumental to the modernization of Korean traditional architecture. The reason why they were not successful lies in the lack of philosophical and methodological reflection upon how to approach the tradition. They were either trapped in ambiguous essentialism without systematic methods and theories, or simply inventing the tradition from the vantage point of the present. This paper argues that in order to theorise the tradition, one need to translate the tradition into contemporary architectural vocabularies. What is important in translating the tradition is not to directly apply contemporary concepts and perceptual frame of architecture to traditional architecture but to find the gaps and differences between the two. This will open hermeneutic spaces to translate the tradition into useful principles and vocabularies of comtemporary architecture.

This study is objected to investigate the repairing method and the modification period of rafters via the transformation traces left in the superciliums, where repair process takes places frequently. This is the basic research of analyzing the architectural features of Deokkeori, one of the additional-rafter methods. Deokkeori method can be described as using Deokdori in the top section of Hayeon, and placement of Sangyeon above it. This method was started to be used since middle of the Joseon dynasty period(middle 18th Century) and mainly used at 19th Century to resist the transformation caused by repairing. It had been gradually developed from non-application stage to application stage including additional usage of complement.

‘Missionsbenediktiner van St. Ottilien’ is the first male convent in Korea. Its history is distinguished in three steps as Seoul period(1909-1927), Duckwon-Yanji Period(1927-1946), and Waegwan Period(1952-). In this study, I have investigated the Location, Arrangement and Architectural style of Pek Dong Abbey, the old Deokwon abbey, and Waegwan Abbey. Each abbey was reflected in the pastoral, social and economic background at the time. Among them Duckwon abbey can be evaluated as the best ideal abbey which presents the combined model of monasteries and missions.

려말선초 혼란기에 불교는 타락하고 활발했던 조영의 분위기는 침체기에 빠져들었다. 그런 가운데 우리나라 사찰건축의 명맥을 유지된 몇 가지 중요한 원인을 가지고 있었다. 첫째, 건물짓는 기술자가 바로 승장 대목 자신들이라는 점과 혼란기를 틈타 엄격함으로부터 어느 정도 자유스럽게 영조할 수 있었다는 점이다. 이러한 인식의 변화는 그대로 건물에 나타나게 된다. 이러한 대표적인 사례가 사찰 전각 측면공포에 대한 등간격배열방식이다. 그 동안 이 문제에 대해 심도갚은 연구가 진행되지 않은 상태에서 서둘러 규정짓는 자세에 문제가 있었다고 본다. 본 연구는 이러한 문제점을 제기하면서 보다 심도있는 연구가 되기를 바라는 마음에서 고찰되었다.

This study examines the formative characteristics of Fold architecture and how its properties are shown in the fashion of the modern work of Issey Miyake through analysis. In this research, the Fold classification criteria for analysis features that appeared in Issey Miyake fashion features were established through research literature on Fold architecture and leading research. Empirical data collection was conducted for Issey Miyake's work and collection by collecting photo materials, and design concepts and the results are analyzed in terms of features. Study ranges of Issey Miyake’s creative design development are Pleats Please, A-POC, 132.5 project, and collections from 2000 to 2014. The conclusion is as follows. First, design concepts presented in the Issey Miyake fashion features of Fold are Hybrid, topology, and uncertainty. Hybrid look for the meaning of fashion, which is the interaction between the wearer and garments. The concept of topology designs clothing, focusing on interrelationship of the body and clothing, and pays no attention to absolute size or the form of the clothing. The concept of uncertainty is an uncertain form that is infinitely expandable because all the elements have openness and uncertainty due to the determined incomplete state by the creator. Second, in the results presented in the Issey Miyake fashion features is the destruction of the boundary and diagram form. The destruction of the boundary is free from traditional clothing. The diagram form is a geometric form which does not create a Dart or Princess line.

The structural aesthetics of architecture are becoming an inspirational source for many fashion designers and have been reborn in structural fashion. This study planned to analyze the method of expression of structural aesthetics expressed in modern structural fashion design and the construction method to maximize such an effect on the basis of the construction characteristic of Santiago Calatrava as the representative architect of the structural aesthetic. According to the study, the structural aesthetics expressed in modern structural fashion design are as follows: 1) The symbolical formative aesthetic expressed by symbolical inference and analyzation; 2) the dynamic beauty of physic expressed by visual emphasis and dynamics; and 3) the asymmetric beauty of symmetry expressed by metastasis toward the boundary between balance and imbalance. In addition, to maximize structural aesthetics, we used repetition and a progressive technique based on rhythm, asymmetry, and incision-based variances, such as balance, polygon flux, and inference, and analyzation-based distortion as the structuring principle. The following expression methods for maximizing structural aesthetics were found: 1) symbolical and structural exaggeration of appearance; 2) detail technique expansion and material property diversification; and 3) the three-dimensional transformation of structure and shell expression. Structural fashion design was found to have maximized structural aesthetics by using such expression methods to secure artistic esthetics, destroy existing shapes and patterns, and create unique shapes.