This paper presents a study on the Palazzo Firenze of B. Ammannati, designed between 1550~1572. He was active in Rome and Firenze in the middle of 16th Century. His most important project, such as Palazzo Pitti, is located in Firenze. But there are some projects that are important as well as Palazzo Pitti in Rome, such as villa Giulia and Palazzo Firenze. Usually, in the history of Western Architecture, the period in which Ammannati was active is denominated as late-Renaissance or Mannerism. In this period there was very important progress in field of artistic theory. There were active many great Masters such as Michelangelo, Vignola and Giulio Romano. But, over the all, the most important characteristic of this period was a transition period between Renaissance and Baroque. This paper try to reveal such characteristics reflected in architectural projects designed in this period, focusing on, over the all, B. Ammannati and his Palazzo Firenze project..

In architecture, constitutions of space are subjected to the structural material and interior finishing material. Interior environment can exert a great effect on people by means of space constitution. In this study the constitution of space was set to consider five materials: control, wood, steel, wire mesh, and concrete structural material. In this study, experiments with mice, were carried out on condition of each living environment with different living environment using control, wood, steel, wire mesh and concrete structural material. The experiments with mice were made by five-month-old mice(BALB/C) with about 15 grams weight. In order to evaluate the adaptability of the target mice, such variables as body weight, food consumption, and water consumption were monitored against living environment for normal BALB/C mice during the same period. The weight, total foods, and total water consumption were measured under the living environments for 55 days with 2~3 days intervals. To test five different living environments, i.e., control, wood, steel, wire mesh and concrete, 5 mice were allocated for each group. According to the results of this study, the case of wood living environment resulted in a gain in weight with statistical significance. The other side of steel, wire mesh and concrete showed a slight decrease for weight. The weight variation of the experimental mice was assumed under five different living environments that resulted from the stabilized environmental conditions such as the wood living environment.

Korea is closed to China in the geographical position and is related to China as two countries have developed similar culture, art, and social systems. Architecture is a kind of culture and has advanced in the wooden architecture with a considerable change. The study investigated a phylogenetic relationship between two countries based on characteristics of architectural universality. With comparison and analysis on the common feature and difference of the beam and structure in the wooden architecture from the Koryo and Zhejiang Province(China), the systemicity of the wooden architecture was examined. The beam is a part of timber which is consist of the wooden structure frame and also a crucial subject to understand a development process of the wooden architecture.

To begin with the purpose of protecting human life from the exterior in the prehistoric age, architecture was nothing but a shelter without any relation between the exterior and the intoner. But, today, with the community developed, architecture can not be resisted with her own function and have to change of the reciprocal one. Different with the oriental architecture, we can see, western architecture has developed in the stream of the form. The main idea of the space in terms of the relation, above all, is mostly concerned with relation between the exterior and the interior like between the architecture and the city. So the role of the facade in depth is the intermediation which consist to the relation in the exterior and interior of architecture. Considering a relation between two elements; the exterior and the interior, we can be inspired in the case of paintings, especially in the works of the Paul $C\acute{e}zanne$. $C\acute{e}zanne$ originally show the depth of space by different disposition of three parts : the background, the objects and intermediate space between the former. For instance, different with the other painters who put the background rear in the canvas and objects in the front of the background, $C\acute{e}zanne$ took the background and objects a same value and assure a depth in space by virtue of the intermediate space. Finally, by putting the background in forward of layer in the canvas and objects situated behind the background, the depth of the space can be occurred. Same as the idea of $C\acute{e}zanne$, Giuseppe Terragni and jean Nouvelle in architecture also intensify their effects through the activation of intermediate space between the interior facade and exterior frame. Not limited in the relation with the architecture and the city, space in relation gives us a higher quality of architectural promenade in depth.

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

Since he was a leading figure in nineteenth century architecture, Viollet-le-Duc's architectural theory is crucial to the foundation of modern architecture. He has been called a Gothic Revivalist, a Structural Rationalist and a Positivist. The first title was perhaps due to his vigorous restoration of Gothic works such as $N\hat{o}tre$ Dame, but he did not adore the Gothic style just for itself. Rather, he hoped to deduce some principles from the style. So how did he manage this? In his book "Entretiens sur l'Architecture (Lectures on Architecture), published between 1864 and 1872, he mentions using Descartes' four rules for reaching architectural certainty in contrast with the chaotic situation during that modernising period. Furthermore Viollet-le-Duc's theory can be seen as a serious attempt to translates Descartes' philosophical rules into systems of architectural speculation. Descartes' four rules of doubt are anchored in mathematical propositions, and without mathematical distinctions, none of these rules are valid. In other word, mathematics for Viollet is the yardstick of judgement between distinctness and indistinctness. Many architectural problems arise from this view. In this paper, the validities of applying Descartes' method of doubt to architectural discourse will be discussed in order to address the question:-Did Viollet-le-Duc clearly grasp Cartesian method by which memory was erased from the world?

본 연구의 목적은 방진층을 가진 바닥판을 포함한 건축물의 동적해석을 위하여 효율적인 모형화 방법과 이에 대한 해석법을 제안하는 것이다. 이를 위하여 방진층을 포함한 바닥판의 모형화를 위하여 바닥슬래브와 상부 마감층을 각각 독립적으로 모형화하고 이들 사이에 방진층을 의미하는 스프링 요소를 사용하였으며 방진층의 감쇠에 의한 비비례 문제를 해결하기 위하여 Newmark-{\beta}법을 적용하여 동적해석을 수행하였다. 상하부를 각각 모형화함으로서 방진층 상하부의 재료적 차이에 의한 감쇠거동을 정확하게 모형화할 수 있었다.

본 연구의 목적은 높은 진동수 성분의 진동원을 가지는 건축물의 바닥판을 효율적으로 해석하는 방법을 제시하는 것이다. 이를 위하여 고차진동하중을 받는 건축물의 바닥판에 적절한 요소분할 방법과 이에 따른 과도한 자유도를 줄이기 위한 자유도 선택방법에 대하여 연구하였다. 그리고 일반적으로 건축물의 바닥판의 경우에는 두께에 비하여 바닥판의 길이가 길기 때문에 전단변형이 고려되지 않은 판요소를 바닥판의 모형화에 많이 사용하는데 이에 대해서도 그 적절성을 검증하였다. 그리고 여러 개의 층으로 이루어진 건축물 바닥판을 기존의 방법을 이용하여 등가의 바닥판으로 치환하였으며 이 방법의 가능성과 한계를 검토하였고 마지막으로는 예제 구조물을 중심으로 제안한 모형화 방법의 효율성을 확인하였다.

The purpose of this study is to optimize an emission test method for building materials and to understand the characteristics of total volatile organic compounds (TVOC) and carbonyl compounds emission from building materials, especially solid-phase building materials, using a small chamber test method. As a result of the evaluation for small chamber system, temperature and humidity was maintained constantly at 24.5℃, 50.2%. The background concentration of total volatile organic compounds and formaldehyde were also controlled below 20 ㎍/㎥ and 0.5 ㎍/㎥, respectively. Air leakage of emission test chamber and the duplicate precision between two emission test chambers were satisfied. As a result of evaluation for sampling and analysis system (such as the breakthrough test), repeatability of response factor, and retention time in GC/MS and HPLC, desorption efficiency, method detection limits were excellent. The concentration of total volatile organic compounds emitted from wallpapers (made of PVC) was higher at 25℃ than at 23℃. Also, the concentration of formaldehyde emitted from floorings made from non-PVC (wood-based) was higher at 25℃ than at 23℃. On the other hand, there was not a significant difference between the concentrations of total volatile organic compounds emission from wallpaper (made of PVC) which was stored for 2 weeks at 25℃ and 4℃ with tight sealing. In conclusion, emission characteristics of TVOC and formaldehyde from solid-phase building materials would be expected to apply to the plan for the management of indoor air quality.

본 연구에서는, 지진하중에 의해 구조물에 발생하는 진동을 제어하기 위하여 토글 시스템의 비선형성을 연구하고, 자기유변유체(MR) 감쇠기를 장착한 토글 가새시스템의 성능을 평가하였다. Bingham 모델로 표현되는 MR감쇠기의 제어력이 속도의 함수인 점을 고려하여, 토글 가새시스템에 의한 속도증폭계수를 계산하였고 토글 형태에 대한 증폭계수효과를 평가하였다. 특히 강한 지진하중에서 쉐브론과 대각가새 등의 전형적인 가새시스템에 장착된 MR감쇠기가 충분한 응답감소효과를 제공하지 못하는 경우에, 토글 가새시스템을 사용하여 제어성능을 크게 강화시키는 것을 수치해석 결과를 통하여 확인하였다.

The present study is about a 3-dimensional design method based on prototype model using the parametric technique. Until now, architecture design using the computer has been limited to the 2-dimensional level. Although the outputs of some modeling programs appear 3-dimensional, they are basically the outcomes of 2-dimensional perspective drawings or presentations and, in the true sense, cannot be 3-dimensional methods using all variables related to three dimensions. To overcome the limitations and to apply the computer to design in a more useful way, machinery, automobile, aviation and shipbuilding industries have developed 3-dimensional tools based on concepts such as object-oriented modeling technique and parametric technique. However, few of such attempts have been made in the area of architecture. Thus, viewing that, among several methods tried in other industries, the 3-dimensional design technology based on the parametric technique may be usable in architecture design, the present study purposed to examine how to introduce and apply the concept to architecture design. With this purpose, finding the possibility of applying together the object-oriented modeling and the parametric modeling method, which are 3-dimensional modeling methods, and the design prototype method and the previous case based design method, which are design methods，we examined a 3-dimensional architecture design method under the title 'Prototype-based Design Method Using Parametric Technique’ and assessed its possibility by applying the method to real cases experimentally.

본 연구의 목적은 한국건축프로젝트의 경영적 특성을 파악하는데 있다. 본문은 건축프로젝트의 주요 세 요소인 디자인, 건설, 유지관리의 프로세스 질 관리에 영향을 미치는 요소들을 조사한다. 설문조사는 건축관련 대학원생 및 교수, 설계자, 시공자들의 건축프로젝트에 있어서 프로세스 질 관리에 대한 상이한 시각을 보여주고 있다. 이러한 요소들을 분석함으로써 현재 국내의 질 관리 시스템과 프로그램 내용을 교정하고 개선하는데 도움이 될 것이다. 프로세스 질 관리에 있어서 여러 요소 중 설계자와의 협조가 가장 주요 요소로써 부각되었다.

This study based on the hypothesis which the spatial qualities in the Mies's early works are not extinct but potentially immanent in his latter works. In Mies's early works, destruction of outline, centrifugal extension of fluid space, and asymmetry are distinctly showed. These qualities probably revert to the indefiniteness of space. In Mies's latter works, however, these dynamic qualities are disappeared. Geometrically precise outline and exact grid structure represent universal space derived from zero-degree pure box. These qualities probably revert to tile definiteness of space, characterized by the unmovable emptiness. Although Mies works vary in external form, his expression technique of space reveals continually both the qualify of definitive and indefinitive space. For example, in the Museum for a Small City(1942) unbuilt project. elements defined by the perspective are fixed and static, but elements defined by the collages are floated and dynamic. The former reigns over the realized buildings of Mies, while the latter seems to be latent in terms of Schein which transcends reality. If we can penetrate this point, it's possible to read the other side of Mies' architectural works, distinct from both the canonized interpretation and the excessive criticism. Point is that later works of Mies must be understood as interplay of universal space appeared as phenomenon and flowing elements latent in. Architectural space of Mies keeps a distance with actual space through latent manner of being while preserves the empirical actuality It provides us with an occasion which appears only in an instant, in which even the ordinary things reveal its poetics.

We have focused on the building appearance according to the change of conservation policy and urban fabric in Bukchon, Seoul. The Urban Hanok, urban traditional housing type, had been evolved in modern contort from 1920's to 1960's, that is to say, many buildings(Urban Hanok) in Bukchon area has built up with a lot and road at the same time. But the change of conservation policy has an effect on the urban fabric and building(wooden structure, RC and brick building). Thus many types of building in Bukchon has undergone a various change. The purpose of this paper is to define a change factor of Bukchon buildings. Thus we need to pay attention to policy and urban fabric. We reached the result as follows. First, the change of architecture regulations according to the several policies(an aesthetic area, an altitude area for sky line restriction and so on) brought into building deformation and eventually the historic scenery of Bukchon has been spoiled. Second, the change of policy had an effect on the change of roads and lots. Buildings on a widen road and a united lot was built newly. But new buildings built up with a concrete or brick structure was not in harmony with the historic scenery of Bukchon area. Third, a development method of a large lot with lack prudence(disregarded a scale and size of lot) did damage to Urban hanok and urban fabric. With the understanding on the relationship of buildings, a urban fabric and a policy in Bukchon, we can define the identity and correspond with the urgent request for a the conservation of historic urban scenery In addition we can suggest the policy and the design guidelines for the reservation and rehabilitation for Bukchon, Seoul.

Choryang Waekwan was the biggest Japanese settlment to house the Japanese diplomatic mission and traders in Korea. Waekwan means Japanese Pavilion literally, but the reality of this Waekwan exceeded much the scale of single architecture. Since Choryang Waekwan was closed in the second half of the nineteenth century, the site of this settlement grew rapidly as the downtown of Busan, which was the first port open to foreign countries in modern Korea. The formation of modern port owes much to the presence of Japanese settlment in Lee Dynasty as long as Choryang was officially designated as the trading port toward Japan and vice versa. Busan is the nearest city to Japan, in fact. Within a day ships could reach Tsushima Island, the island region north of Fukuoka, which played an intermediary role between Seoul and Edo. No architectural remain could be seen on the actual site of Choryang Waekwan. The site has become one of the busiest centers in Busan with quantify of office buildings and shops. The former Busan City Hall was located in this area. The field survey of the site as well as the analysis of historical documents, which were newly found both in Korea and in Japan, enabled to reconstruct the architecture and cityscape of Waekwan by way of computer graphics.