Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

This research examines symbolic meanings of architectural style of Japanese ruling era of Korea through analysis of Expo buildings. Expo buidings of Joseon Product Evaluation Expo(1915), Joseon Expo(1929), and Joseon Grand Expo(1940) are chosen as subjects of this research. Expos held in Korea since 1945 were creatures of colonial reign and their objectives are advertising the advancement of Japan. New and latest architectural styles of Western countries were used as a symbol of advancement in non-western countries. Renaissance style and Secession style in Joseon Product Evaluation Expo and Modernism style in Joseon Expo were introduced as architectural styles that symbolize advancement. On the contrary, the traditional architectural style of Joseon Dynasty was distorted as symbol of backwardness. Latest Western Architectural Styles were used elaborately and Intentionally to symbolize advancement and industrialization by Japanese ruling power and companies. Specially, Modernism style operating as 'symbol of advancement' is characteristic of non-western society in attempt to proceed Modernization through Westernization. Also, it can be suggested that architectures in Modernism style are used in ways to symbolize the advancement of the colonial reign authorities within the colonial society.

본 연구의 목적은 건축물의 구조와 형상에 대한 접근방식을 다변화하는 매개로서 다면체를 탐구하고, 건축구조 디자인 요소로서 그 형태구성을 고찰하는 것이다. 따라서 자연계와 건축물에서 드러나는 다면체 형태를 살펴보고, 순수 래티스 다면체로 고찰 대상을 한정하여 그 형태학적 특성을 파악한다. 이를 토대로 건축구조 디자인 요소로서 다면체를 공간적 형태구성에 활용하는 방식을 제시한다.

본 논문에서는 세계적으로 널리 사용되어지고 있는 초고층 건축물의 진동사용성 평가기준이 검토되었다. 초고층 건축물의 진동에 대한 사용성 평가기준은 바람에 의한 초고층 건축물의 가속도 응답의 크기로 나타내는 것이 일반적이다. 건축물의 가속도의 응답의 크기를 산정함에 있어서 두 가지의 서로 다 른 척도, 즉 최대가속도 또는 RMS가속도를 각 기준에서 채택하고 있는데 이에 대한 상이점을 토의하고 각 국의 진동사용성 평가기준을 고찰함으로써 우리나라에는 어떤 진동사용성 평가기준이 적합한가에 대한 논의를 시작하고자 하였다. 그리고 건축물의 각기 다른 응답을 조사하여 최대가속도와 RMS가속도와 관계를 면밀히 검토하고 각각에 대해 기술적인 논거를 기술하였다.

본 연구에서는 주요 각국 사용성 평가기준을 검토하여 건축물의 사용성 평가를 위한 합리적인 접근방법을 고찰하였다. 그리고 우리나라 인천지역의 풍기후 특징을 분석하여 우리나라에 적합한 사용성 평가방법을 제시하였다. 건축물의 사용성을 합리적으로 평가하기 위해서 가장 중요한 사항은 사용성을 위한 평가시간과 재현기간의 결정이다. 본 연구의 결과로부터 인천의 풍기후에 적합한 사용성 평가방법은 평가시간을 10분, 재현기간을 1년으로 결정하는 것이 바람직한 것으로 나타났다. 본 연구의 결과는 향후 우리나라 사용성 평가기준의 제정에 기초적인 자료로 사용될 것으로 판단된다.

History of architecture technology is the area where further studies are the most needed in Korean architecture history. This present study deals with architectural tools and woodworking of Baekje as a first step in exploration of Korean architecture technology history especially, that of Baekje dynasty. Based on the study of real artifacts and archeological sites showing the trace of tool use, function and forms of architectural tools were classified, characteristics of tools investigated, and woodworking technology analyzed. The main tools of analysis include Square, Black Inkpot, Hatchet, Saw, Chisel, Wood Hammer, Axe, and Plane. It is assumed that architectural technology during Baekje dynasty might have leapt into the new stage thanks to the regular use of iron tools. Compared to those of previous eras, iron tools of Baekje are more elaboratedly-designed and well-defined in function. In addition, wooden architectural tools from Baekje demonstrate the superiority of its woodworking technology Historical record also shows the fact that craftsman from Baekje participated in construction of temples of Shilla and Japan. Precise assessment of Baeje architecture technology is difficult because no Baekje wooden architecture is still remaining. The facts mentioned above, however, surely prove the excellence of architecture technology of Baekje.

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.

The Industrial Revolution brought a variety of new forms of structure, and as a group they are usually called 'industrial architecture'. Steam engines contributed greatly to architecture with a unique structure called 'water tower' to provide water for steam engines, especially the adoption of it. This study is to examine the changes of the building materials and architectural features of the water towers of railway stations built in the early twentieth century in South Korea. This study also attempts to describe the modern features of the industrial architecture, which did not get a chance to be noticed. Through this examination on water tower, which is a part of industrial architecture with sheer integration of function and pure geometric form, we would like to find the meaning of modern architecture in Korea. As we can see in the Korean oldest railway station water tower constructed in masonry at Yeonsan Station in 1911, early water towers were divided into the masonry machine room and the steel water tank. However, the masonry structure was soon turned into concrete structure with its formal features maintained as it was. The steel water tank was also replaced with concrete structure. As a result, while its basic structure remained, concrete structure had substituted for the every components of water tower. Concrete-built water towers were the high-tech architecture of that time and the most perfect structures built in concrete. Nevertheless, the perfection of the water tower form and the technology it attained were not transferred to other modern and contemporary architecture in South Korea. Since the subject to railway station water towers was the Japanese government, and steam engines were replaced with diesels in the midst of a complicated domestic situation after the independence, the need for water towers in railway stations disappeared and therefore, it became ignored and was difficult to look over the architectural features and values of early railway station water towers.

This paper is focused on Damheonseo(湛軒書), an anthology written by Hong Daeyong, and I deal with Chinese Architectural views which he had experienced in his itinerary to Beijing, and the vivid pictures of Joseonkwan (called the Koryo or Joseon Embassy) located in Beijing at that time. He was a scholar of great erudition over astronomy, mathematics, military science, politics, and so on. He was interested in practical sciences at early time, and criticized secular scholars full of vanity who had presented purposeless articles. In his age of 35, Qianlong(乾隆) 30 (1764, Youngjo 41), he, a military escort, accompanied by Hong Uk, Joseon envoy and his uncle. Before his itinerary, he self-studied Chinese. Also, during a long journey he got new experiences and information around each area, deviating his group whenever he had some times. He could get more variant experiences than others because of his character full of curiosity, and his observations from the vivid lives of the time helped us get various views between Chinese and Korean architecture. Likewise, although he denounced Qing(淸) scathingly as a barbarian, he mentioned several points about the characteristics of Chinese architecture at that time. First of all, totally Chinese architecture had strong rational and practical points. Secondly, based on bountiful products, buildings along streets shown in Chinese city had sophisticated compositions, and luxurious and magnificent appearances. Thirdly, using the brick from walls to houses was so universal. Fourthly, the layouts of building with three- or four-closed courtyard had very orderly shapes, and the structure of street was also so arranged. Finally, because of stand-up lives, the scales and appearances of interior space were even more extended, and storages were less developed than those of Joseon. As another points, I found that Joseonkwan was moved next to Shushangguan(庶常館)from Huidongnanguan(會同南館) around Hanlimyuan(翰林院), and had been remodeled into a house with Korean custom in using the inner spaces, although it was followed by a closed courtyard style. Likewise, I recognized that Ondols were sure to be established in all temporary houses during the journey to Qing, and felt their strong traditional residential custom in such mentions. Now that the past pictures have disappeared and ways of life and our values have been largely changed, this study has very important meaning in comparing the ancient Chinese and Korean architecture.

내진 댐퍼 브레이스를 가진 강구조물은 브레이스가 지진입력에너지를 충분히 흡수함으로써 주요한 구성부재의 치명적인 피해를 현저하게 저감시키는 것이 가능하므로, 이 시스템 도입에 따른 거동특성 파악 및 적용성에 대한 연구가 활발히 진행되고 있다. 내진 댐퍼 브레이스를 가진 강구조물의 설계에 있어서는 구조물에 대한 브레이스의 강성비를 결정하여야 하며, 내진성능이 우수한 구조물을 설계하기 위해서는 강성비에 따른 구조물의 지진응답 특성을 파악할 필요가 있다. 본 연구에서는 소성설계에 기초하여 내진 댐퍼 브레이스의 수평 강성비에 따른 강구조물의 초기 부재단면를 설계하고, 지진응답해석을 수행하여 초기 부재단면 설계의 타당성 검토 및 동적거동 특성을 파악한다.

이 논문은 풍동실험 결과를 토대로 고층아파트 건축물의 풍압분포에 대한 내용을 다루고 있다. 태풍에 의해 창유리 파손을 입은 아파트 단지의 풍압모형을 제작하여 각 건축물의 상호간섭효과를 조사하였다. 풍동실험은 풍압모형을 이용하여 대형경계 층풍동에서 수행하였다. 간섭하는 주변건물의 여부에 따른 실험결과를 비교하고 검토하였다. 주변건물이 없어서 바람을 직접 맞을 때에는 105동, 106동은 주로 정압이 작용하였지만, 주변건물이 둘러싸고 있을 때의 105동, 106동은 큰 부압이 작용하는 것을 관찰할 수 있었다. 따라서 고층아파트 외장재 설계시 외장재의 안전성 확보를 위해서는 풍동실험을 수행하여 바람에 의해 야기되는 상호간섭효과를 고려하는 것이 가장 적합한 방법이라 할 수 있다.

In this study, the paint, which has very close relationship to the of indoor air quality, was examined for the air pollution leveling test, and using the various passive sampler, the test was evaluated on the regard of TWA(Time Weighted Average). This study is to examine how the air pollution levels differ between the regular paint that is used for public and the new developed environment friendly paint. The consecutive experiments were performed in the small chamber test to investigate the VOCs and formaldehyde, ammonia emissions and characteristics from paint which are commonly used as the complete material of building. In conclustion, the natural paint showed the highest emission of VOCs among the selected paints, and water paint showed the highest contents of ammonia. Formaldehyde showed N.D(Not Detected) in most of tests and found a small amount in vinyl paint however, it was not as bad as to fail the certify level of building materials. It is recommended to constantly develop the chamber system and it will be very much possible to be used for the estimation of indoor air pollutants from the various paints and other complete materials.

Tough Korean architecture and urban environment has been developed for almost 100 years, it still remains various kinds of problems. Many attempts was carried out by every new plan to reduce the problems, it result in requiring more investment than before. It means all the investment for the development has been inefficient and immature to protect economic problems compared with the developed country. For the reason of economic problems it must be studied in historical cases which influenced the economic impacts, before the proposal of index with the economic theory. Searching typical architecture or urban development that brought about economic impacts can be classified into 3 cases. First case is the impact that caused the economic growth, increase, boom like the Westminster & others and the american architectures after the economic crisis. Second case is the impacts that was the origin of decline, shrink in economic as the Palace of Versailles, the skyscrape buildings in america before the economic crisis. Third case is the impact that was the both role of increase and decline in economic as the modern architecture in industrial revolution which led to the national economic growth and the gap between the rich and the poor, and as the american architecture that was the root of crisis and the revival in economic. From the case study, it is clear that architecture has relation with economics in various factors as mass production, labour, and another industries all over the history & the world. Now, architecture strongly needed not only to raise functional, cultural effect and value, but to predict and control the economic impacts with theory from further research of historical cases to policy and practise.

Guarino Guarini(1624-1683) is one of great Baroque architects who developed new spatial concept in architecture. He refused to static space typically appeared in Renaissance architecture. Instead, to make it possible to generate complicate form and moving space, he made use of generative diagram. It provide him with an abstract machine to generate automatically architectural inferiority. His generative diagram consists of three types: single circle diagram, matrix diagram and longitudinal diagram. The first diagram uses single circle as primary generator and develop this by means of overlap and equiangular division. La Cappella della Santissima Sindone, Sanctuary of Chiesa di Oropa, Chiesa dei Padri Somaschi, San Gaetano are designed according to this diagram. The generator of the second diagram is nine circles in $3{\times}3$ matrix, which provide the base for the interpenetration of space in Guarini's architecture. He inspired this diagram from Kepler's $\ulcorner$Harmonices mundi$\lrcorner$. The Churches of San Lorenzo, Ste-Anne-la-Royale, San Filippo Neri, San Gaetano are generated by this diagram. The third diagram has several circles in Lantin-cross plan. Guarini adopted this diagram because he had chances to design several churches in Northern Europe. The churches of Santa Maria di Ettinga, Immacolata Concezione, San Maria della Divina Providenza, Church without Name, San Filippo Neri are representative examples for this diagram.

This paper is a study of the possibility of experience and expression in the architecture of Louis I. Kahn by focusing on the characters of entrance, court and window/wall of his public buildings. In the course of composition, Kahn defined the entrance, court and window/wall as an connecting elements and elements of boundary. The characters revealed by these elements or rooms give the clue to insight Kahn's thought of relation of interior and exterior space or inner and outer space. Following are the characters of these elements. First, a entrance reveals the fact that inner space separates from outer space by connecting these two space and giving the value to inner space as the entity and totality like outer space. The entrance gives its ontological being to human subjects not by vision but experience and expression which is the essence of commonness, that is, Silence. Kahn made the possibility of activity amplify in this common and silent space. Second, this entrance is connected with wide and huge central space not individual spaces of interior space. This extreme procedure of entering makes human subject feel sublime of intoner space. And the central spaces becomes another exterior or another world in the inner world of architecture by the lights from above and by having the boundary wall which shows same pattern of exterior wall. Third, Kahn regarded a window as the giver of lights not as the medium of vision connecting inner space with outer. He tried to connect interior with exterior through the being and character of the light expressed in the interior. And in his buildings, interior space is connected with exterior by expressing the purpose of building, composition of inner space, structural truth and construction facts through the Form, a pattern of wall, details and ornamental joints. By practicing this thoughts in the real buildings, Kahn tried to gave aura to both the interior space and entity of architecture which is regarded as micro universe like flowers, rocks and human beings.

The main aim of this research is centered on the relation between nature and humans, and is to study the ecological characteristics appearing both in Landscape Architecture, one of the currents of ecological architecture as the architectural solution on the relation between humans and nature, and in our traditional architecture. Through this study, we were able to see that our traditional architecture was influenced by our ancestor's view of nature, and that the foremost feature of our ancestor's view of nature on our traditional architecture is not conflicting with nature, but, instead it is complying with it through seeking harmony with nature. Also we could see that our ancestor's view of nature is similar to Landscape Architecture having come to the fore toward the tendency of modern ecological paradigm in that it is the representation seeking the organic view of nature pursuing the oneness among artificial structure, humans, and nature. That is, we could figure out that various ecological features appearing in modem Landscape Architecture had been represented for a long long time, in a natural fashion, In the manner of space makeup in our traditional architecture. This is the characteristic of our ecological thinking system understanding nature and humans at the same context, and it has come down not only to our everyday living but to the manner of architectural solutions as well. Through this research, we could reconsider the modern value of ecological architecture inherent in our traditional architecture.

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.