This study is on the early historical background and the process of development of modern architecture in Thai, during the period from 1782(King Rama 1) to 1934(King Rama 7). Thai started tn form a connection with western nations from the late 18C, founded the Bangkok Dynasty. Since then, Thai was increasingly influenced by western civilization and this trend included an increasing influence of western architecture. In this paper, the centeral objective is to observe the architectural change during the period from King Rama 1(1782-1809) to King Rama 7(1925-1934). This can be divided into three period. During the first period, from King Rama 1 to King Rama 3(1824-1851), Thai architecture showed a tendency to follow the preceding traditional example and to imitate Chinese architecture. The second period is from King Rama 4(1851-1868) to King Rama 5(1868-1910). During this period, Thai architectural design was increasingly influenced by western concepts, specially European Neo-classicism Style. During the third period, from King Rama 6(1910-1925) to King Rama 7(1925-1934), Thu had been enjoying extensive commerce with western nations. The great developments in the field of architecture during this reign were apparent in the construction of public utilities and facilities. These buildings were designed by western architects. At this time, modern architectural concept of western was introduced.

Cette etude vise a reveler une verite du Nouveau Brutalisme des Smithson (Alison et Peter). Nous examinerons donc d'abord l'universalitf de leur oeuvre representatif, Ecole Secondaire de Hunstanton(projet, 1949; concours, 1950; construction, 1951-1954) et projet de Maison Soho a Londres(1952) comme un mouvement architectural. Et apres nous trouverons la faussete de leur but, realisation de l'ethique architecturale, sur ce mouvement en comparant les oeuvres des Smithson avec les deux constructions considerees souvent comme la categorie du Nouveau Brutalisme, la Calorie d'Art de l'Universite Yale(1951-1953) realisee par Louis I. Kahn(1901-1974) et le Centre Cuturelle de Georges-Pompodou(1971-1977) par Renzo Piano et Richard Rogers. En resultat, l'etique de Nouveau Brutalisme soutenue par les Smithson et defendue par Reyner Banham etait seulement pour cacher low limite architecturale et sa faiblesse. Ce mouvement etait aussi un mouvement personel plutot que general. On ne pourrait pas donc considerer les Smithson comme nouveaux brutalistes.

Dosan Sedans was built in 1560, when Toege I Whang(1500-1571) was 60, as a place in which to study and teach disciples. The building was built to a humble 3-kan system which was a popular form of sodang in the 16th century, There found an enlargement of space by attaching outer walls around three sides which was designed by Toege himself. Minimum in space, moderation in form, conrol of embellishment, hermit scholar's aethetics became basic concept of the architecture of Dosan Sodang. After completion of sodang, Toege wrote many poems about pond, walls, flower bed and natural surroundings like sheer cliff, winding river and even rural daily life of villagers around the building. It could be sud that ,for Toege, architecture was cogniged as a whole complex of building and its surrounding natural, artificial and human circumstances.

The main aim of the paper is to reveal what is the sign in art and architecture and what is difference between technology and art. By keeping in mind the suggestions of Heidegger's four different worlds, we become able to discern or elaborate on four different contexts of signs and modes in which the sign can work. World (1) is not conceptualized by selected relations of some of things' aspects with one another; rather, it is constructed by our sensory impressions. The sign of World (1) simply points to other objects occurring in the situation. World (2) emerges as an ontological term, and signifies, in terms of relations that are now brought systematically forth, the Being of those entities of World (1) which we naively perceive or take for granted. The sign of World (2) signifies a constructed world. World (3) is understood as the 'wherein' or environment of beings whose total activity is proven to be inseparable from their circumstances. The sign of World (3) is to recover the perspicuous silence of World (3). The World (4) is the ontological-existential understanding of worldhood. The sign of World (4) is to reveal the conspicuous silence of World (4). Finally, the paper suggests that art including architecture cannot be the sign of World (1), (2) but the one of World (3).

The reasons why the urban and architectural environment in Korea has become distorted in spite of many cases of experience in developement for last 30years, are deeply rooted in rather having disregarded or omitting the importance of the evaluation than the shortness of the skill or techniques. So now it requires strongly setting new context to improve the recent urban architectural evironment by arranging the confused problems and finding the hidden ones before the real and practical evaluation. The new context proposed in this paper is composed of three contents, that are economics, function, and culture.

Near the Capital Seoul in 19th century, a special architectural form was created by the Buddhist monks who were related with Royal families. Their temples, so called 'won-dang', were constructed as supplicating places for their patrons' happiness and heavenly bliss. Among buildings of a Won-dang temple, 'Great Hall', which was accepted as a new building type, was the most important, the earliest constructed, and the biggest one. This boiling type contained the complex functions of small chaples, living rooms of monks, kitchen and dining, and pilotied pavillions. This Great Hall was located at the front of Won-dang temples, the main worship halls were at the behind. The type of Won-dang was needed for the high female who were its powerful patrons, and was oliginated from the small Buddhist temples in rural areas. And the type was able to be domiciled itself at the Capital areas because of the existing architectural fondness of the regional architects and the patrons in high class.

For many social scientists, the comparative method has been a part of the common enterprise of describing, explaining, and developing theories about socio-cultural phenomena. However, it is rare that comparison has been methodologically considered in architectural history in spite of the usefulness for understanding the similarities and differences among architectural styles. This research emphasizes the importance of comparative methodology in architectural history and proposes an example which can be introduced from the comparative method for social studies. The application in this study is based on the assumption that an architectural phenomenon is a kind of social phenomenon and comparative method in social study can be applied to architectural history. The method is to generate and test hypotheses through establishing functional correlation between variables treated as the objective facts that differentiate one type of building from another.

This study aims 1) to estimate the form of living house of pre-urbanization of Inchon, and 2) to ensure originality of to be achieve urban plan and living space plan which is base on local character by 3) arranging changed character of living space through the urbanization sequence by invest of house in natural village at Pupyung. The character of arranging living space of house at Pupyung is placing Sarang-chae(husband's block of house) instead of making another Haenrang-chae (visitor's block of house) and Sarang-chae is attach importance to Man's living space but today, have disappearing the uses of Sarang-bang (husband's living space) because by Man lives An-bang(originally woman's space). The character of plan is arranging room in both side of Maru(wooden living floor) in spite of different structure, and the uses of plan or room is changing to fit to purpose of according to environment of living. Generally, the structure is made by natural stone and cubed column, and used smaller member cause by rare wood material.

This paper aims to clarify the historical background and the architectural purpose of the buildings in NakSunJae area to the original state. Through the investigation, the clarified facts are as follows. 1. The relation with the buildings for the Crown Prince in the ChangDok Palace By constructing buildings in the NakSunJae area, the spatial conception of the Royal Palace was changed, that is, buildings for the Crown Prince in the ChangDok Palace disappeared and they became to belong to the ChangGyeong Palace. Moreover, by constructing the NakSunJae and its attached buildings, the area for the Crown Prince shifted to use as a private area for the king. 2. The date and the purpose of the construction The NakSunJae area is consisted of three compounds of building: NakSunJae, SukBokHun and SooKangJae. The NakSunJae was constructed for the king HunChong's private occupancy in 1847 and the SukBokHun for a residence of a royal concubine Kim, in 1847. The SooKangJae was originally built in 1785 in the SooKang Palace where the ex-king took up as his residence after abdicate the throne. Later on, it was repaired as the residence of the Queen SoonWon, king HunChong's grandmother, in commemoration for the 60th anniversary of her birth in 1848. 3. Architectural features of the NakSunJae area at the time of construction First, as the NakSunJae area is surrounded by quite high hills in northeast and by low hills in southwest, it is naturally distinguished from its surroundings and gives a cosy feeling. Second, the NakSunJae area shows very untrammeled style of arrangement in general, because it was constructed as a private occupancy for the king. other buildings are arranged in the latticing orderly, nonetheless, they are free by themselves from a strict form and make themselves an area full of variety. Third, the buildings in the NakSunJae area have a characteristic of naivety of common people's houses, because they were not an official but private place for the king, his concubine and his grandmother. Forth, the ornaments in the NakSunJae area are variously, elegantly and harmoniously patterned with the meaning of good luck. Fifth, back garden in the NakSunJae area was made by taking advantage of sloping hills. The back garden is beautifully configurated by arranging various constituent elements of pavilions, tiered flower beds, chimneys, decorated walls, small doors between walls, stoneworks and trees.

How have they preserved the regional historic buildings in Korea? Do they preserve the original value as a historic building. Are there any artificial deformations deteriorating the quality of the buildings? Is the regional system for preservation effective agalnst the artificial deformations of the buildings? These questions are involved in the purposes of this paper. I investigated the historic buildings designated by Kyong-Nam provincial government. As the resuit, variouse patterns of artificial deformation were found. I found that the deformations may deteriorate the original quality of historic building, and it is related somehow to the limitations of regional system for preservation. So I suggest some alternative ideas for preserving the quality of historic buildings against artificial deformation : a. Present system for preservation is not effective for preserving various architectural value such as urban context and landscape, site planning techniques, function of a space, etc. Regional system should be revised for preserving their architectural value or meaning. b. Historic buildings should be classified and should have proper protecting area according to each architectural values or meanings, respectibly: Historic buildings with Urban context and landscape Historic buildings as a part of a complex Historic buildings as a behavorial setting. c. Historic buildings should be graded based on their quality. And standard and criteria for acceptable deformations should be established. d. Periodical inspections by experts should be carried out to check out the deformation.

지하철의 운행에 의한 소음과 진동은 운행로 주위의 주민을 괴롭히는 중요한 요소의 하나이다. 일반적인 건물의 진동은 횡방향의 진동을 많이 고려하고 있으나 지하철의 운행에 의한 건물의 진동은 수직방향의 진동을 주요하게 다루어야 한다. 수직방향의 진동을 고려하기 위한 구조물은 보의 진동이 고려된 모델이어야 한다. 따라서 구조물의 수평방향 진동을 고려하기 위하여 사용된 모델은 수직방향의 진동을 고려하기 위한 모델과 같이 사용될 수 없다. 건물의 수직진동을 고려한 해석을 수행하기 위해서는 보의 관성력을 충분히 고려할 수 있는 모델이 사용되어야 한다. 본 논문에서는 지하철의 운행에 의한 구조물의 수직방향진동을 고려하기 위한 구조물의 해석 모델기법에 대하여 연구한 결과 기둥의 경우 하나이상 보의 경우 두개 이상의 요소로 나누어 해석하는 것이 바람직한 것으로 나타났다.