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.

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.

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.

본 연구에서는 지진하중을 받는 탄성구조물을 대상으로 층전단력 분포에 기초한 마찰감쇠기의 설계방법을 제시하였다. 먼저 마찰감쇠기의 슬립하중(slip-load)을 정규화하는 방법 별로 단자유도 시스템의 수치해석을 수행하고 비교하였다. 이를 통해 슬립하중과 가새 강성의 영향을 파악하였으며, 설치용 가새와 원구조물의 최적강성비를 찾았다. 다음으로는 다양한 고유주기와 층수를 갖는 구조물을 대상으로 수치해석을 통해 마찰감쇠기의 설치 층수와 위치의 결정방법 및 슬립하중의 분배 방법을 도출하였다. 이 과정에서 설치 층수가 포함된 성능지수를 사용하여 슬립하중의 총합으로부터 최적의 설치 층수를 도출하는 경험식을 제시하였다. 마지막으로 실제 지진하중을 사용한 수치해석을 통해 기존의 최적설계 방법과 비교하여 제안된 방법의 우수성을 입증하였다.

In this study, a seismic design methodology for a friction damper based on the story shear force of an elastic building structure is proposed. First, using two normalization methods for the slip-load of a friction damper, numerical analyses of various single-degree-of-freedom systems are performed. From those analyses, the effect of the slip-load and brace stiffness was investigated and the optimal stiffness ratio of the brace versus original structure was found. Second, from the numerical analysis for five multi-story building structures with different natural frequency and the number of story, reasonable decision method for the total number of installation floor, location of installation and distribution of slip-loads are drawn. In addition, an empirical equation on the optimal number of installation floor is proposed. Finally, the superiority of the proposed method compared to the existing design method is verified from the numerical analysis.

The pushover analysis is becoming a popular tool for seismic design of building structures. In this paper the state-of-art on static nonlinear analysis of building structures is presented with the emphasis on the effects of analysis parameters; i. e., lateral load patterns, modeling of members, and analysis computer programs. The analysed results may have variation even if a same structure is analysed. This paper is to investigate how large the variation is and what the main causes of the variation are. The difference of analysed results, the resultant variation of lateral story shear force and flexural strength of structural members are discussed. The pushover analysis procedure are routinely used in the seismic design of building structures, but some problems must yet be clarified, such as the effects to evaluate the parameters of analysis on the basis of a lateral load patterns and modeling of members.

This paper investigates morphological theory as an intellectual framework for research and design. The first part of the paper will review morphological studies in the fields of urban geography, urban planning and architecture, particularly in England from the 1940s to the 1980s. While urban geographers and planners were concerned primarily with town plans, building forms and land use, architectural theoreticians were more interested in the topological relationship between urban and architectural space. The underlying premises and principles of these two approaches will be reviewed. The second part of the paper will focus on typology in Europe and North America. The reinterpretation of typology by Italian architects helped to bridge the gap between individual elements of architecture and the overall form of the city. However, typological theory became less accessible in post-war England and the United States. After 1980, the debate on typology became muted by the onset of vague notions such as functionalism, bio-technical determinism, and contextualism. This paper will propose a redefinition of morphology as a heuristic device, in contrast with the dichotomic view of urban morphology and architectural typology. Morphology will be shown to combine the geometrical and topological; the intentional and accidental; the real and abstract; and a priori and a posteriori. The last part of the paper discusses the lack of comparative theories and methods surrounding the physical form of architecture and the city by Korea commentators. Empirically rooted facility planning, non-comparative historical studies, and iconographic criticism emerged as a central preoccupation of architectural culture between the 1960s and 1980s, a time when international debate on architecture and urbanism was most intense. This paper will give consideration to the built environment as a dynamic physical entity and space as an epiphenomenon of daily urban life, such that collaboration between urban designers, architects, and landscape architects is seen as both beneficial and necessary.

본 연구의 목적은 건축구조물의 지진응답제어를 위한 MR 감쇠기의 크기, 개수 및 최적위치를 결정하는 설계절차를 제안하는 것이다. 기존의 연구에서 제안된 MR 감쇠기의 모델링 방법들의 특성과 차이점을 진동제어효과의 관점에서 분석하였으며, 이 모델 중 해석이 간단하고 이력특성을 모사할 수 있는 이력 이점성 모델을 사용하여 MR 감쇠기의 변수연구를 수행하였다. 건축구조물의 층간에 설치되는MR 감쇠장치의 용량은 지진응답의 경우 구조물의 주기와 감쇠비에 따라 층전단력이 다르게 됨을 고려하여, 20개의 지진하중에 대한 해석으로부터 구한 응답스펙트럼을 이용하여 결정하였으며, 설치 갯수에 따른 제어경향을 분석하였다. MR 감쇠기의 크기, 개수, 그리고 최적위치를 결정하기 위한 방법이 제안되었으며, 기존의 점성감쇠기 설계시 이용되는 층간변위 혹은 층간속도가 가장 큰 층에 순차적으로 설치하는 방법과의 비교를 통해 유효성을 검증하였다. 수치해석결과는 제안된 방법을 사용하여 MR 감쇠기의 크기, 개수, 그리고 위치를 합리적으로 결정할 수 있음을 보여준다

In this paper, the preliminary design procedure of magnetorheological (MR) dampers is developed for controlling the building response induced by seismic excitation. The dynamic characteristics and control effects of the modeling methods of MR dampers such as Bingham, biviscous, hysteretic biviscous, simple Bouc-Wen, Bouc-Wen with mass element, and phenomenological models are investigated. Of these models, hysteretic biviscous model which is simple and describes the hysteretic characteristics, is used for numerical studies. The capacity of MR damper is determined as a portion of not the building weight but the lateral restoring force. A method is proposed for optimal placement and number of MR dampers, and its effectiveness is verified by comparing it with the simplified sequential search algorithm. Numerical results indicate that the capacity, number and the placement can be reasonably determined using the proposed design procedure

Eight years have been passed after the collapse of Sampoong Department Store. Although more than five hundred people were killed at once due to the collapse, many irrational system and specifications which blew that disaster still alive. In this paper, some irtational system and specifications were reviewed. Better rational system and specification were suggested at various levels of design, construction and maintenance of buildings.

본 연구에서는 부분적으로 정상상태 확률과정으로 모델링할 수 있는 가진입력에 대하여 확률적으로 정의된 구조물의 최대응답에 대한 구속조건을 만족시키면서 제어력을 최소화 할 수 있는 최적설계 방법을 제안한다. 최적화 과정에서 안정성의 확보를 위해 제어기를 전상태 피드백 LQR제어기의 형태로 한정하였으며 가중치 행렬을 설계변수로 하고 Riccati 행렬을 매개변수로 하여 목적함수와 구속조건 함수 및 그 기울기를 계산한다. 제안된 방법을 통해 설계된 전상태 피드백 LQR제어기는 목표 응답성능을 만족시킬 수 있었고 이에 필요한 최대 제어력을 확률적으로 정량화하여 제어금기의 제작에 유용한 자료가 될 수 있도록 하였다. 상태변수 추정을 위해 독립적으로 설계된 Kalman 필터와 최적화된 LQR 제어기가 결합된 LQG 제어기 및 그 차수를 축소시킨 제어기는 모두 큰 성능의 저하가 없었으며 따라서 제안된 설계방법을 이용하여 구조물의 최대응답에 관한 구속조건을 만족시키는 출력 피드백 제어기 설계가 충분히 가능함을 확인하였다.

고유진동수와 감쇠비는 지진이나 바람과 같은 동적 횡하중에 대해 구조물의 응답을 결정하는 주요한 특성이다. 본 연구는 지진하중에 대하여 목표응답 수준을 만족하는 구조물의 고유진동수와 감쇠비를 지정하고, 이 값을 실현하는 점탄성 감쇠기 파라미터의 처적분포를 구하는 설계방법을 제안한다. 여기서 지정할 고유진동수와 감쇠비는 목표응답 수준을 만족하는 여러 조합 중 설계조건과 원래 건물의 특성에 따라 결정될 수 있다. 제안한 설계방법은 점탄성 감쇠기의 감성 파라미터를 고유값의 기울기 정보를 바탕으로 분포시키므로 최적 위치와 크기에 대한 정보를 동시에 제공한다. 예제로서 평면 10층 전단 건물을 대상으로 최적설계를 수행하여 지정된 고유값을 실현하는 파라미터의 최적분포를 구하고 이를 통해 제안한 최적 설계의 특성을 확인하였다. 또한 더 나아가 3차원 일방향 비대칭 전단전물에 제안된 최적설계를 수행하여 그에 대한 적용가능성을 확인하였다.

This paper is a study of the Beaux-Arts discipline of architecture, as it was established during the late nineteenth century in America. It focuses on trio particular modes of vision and representation that were at the heart of the discipline. The paper argues that Beaux Arts vision was centered on what may be called 'planar vision'; a mode of seeing through which the multiple aspects of the architectural design imbedded in the plan were read and re-interpreted. Similarly Beaux-Arts training in drawing required its student to draw within the multiple layers of historical traces; the new design being in effect a new layer placed on often unseen traces of monumental precedent. The theoretical basis of this practice was not based on history but on the concept of composition. Composition, in the French tradition was regarded more a matter of practice than theory. The Anglo-American discourse on composition, on the other hand, formed a body of theoretical literature based on formalist assumptions. There was, however, a fundamental gap between these formalist theories of composition and the 'layered' modes of vision and drawing involved in the design process. This practice leaned more on the modern romantic notion of 'intuition' for its theoretical basis, once again forming an immanent conflict with the mimetic practice of classical and historical architecture. The paper draws a picture of a discipline centered on a 'theory of the plan,' a potentially modern discipline integrated with classical forms and details. It was clearly effective as a practice. However, structured by conflicts between theory and practice, history and form, mimesis and intuition, the Beaux-Arts was unable to defend itself at the philosophical and theoretical level the modernists engaged their attacks on this system. At the same time, the paper poses the question of how different modern architecture is from this system. Is not the 'theory of plan,' in its many transformations and guises, still the central discipline of twentieth century modern architecture, and is it not structured by basically the same kind of conflicts and paradox that were immanent to the Beaux-Arts system.

The Unite d'Habitation at Marseilles was an experimental project that Le Corbusier had been waiting for since 1920s in order to explore his ideals and visions in mass housing and city planning. As a leader of the first generation members in CIAM, Le Corbusier tried to give a new form and an order to the Unite d'Habitation at Marseilles in both building design and city planning level. The purpose of this research is to investigate the design characteristics of the Unite d'Habitation at Marseilles in three different levels of built environment with a particular emphasis on the process through which an original form is derived from its contextual settings. In the level of city planning, Le Corbusier aimed to reshape traditional low-rise urban housing by deploying several Unites spaciously. Le Corbusier believed that the spacious deployment of Unites would bring us both the functional economy in the city and the natural amenity in the suburbs. As Unite d'Habitation would be called frequently as vertical garden city, the influence of suburban garden city on Unite d'Habitation is apparent. In the building level, the binomial harmony of individual-collectivity was pursued by providing three different public floors and by combining 23 different family unit types in the Unite d'Habitation at Marseilles. In order to visualize the concept of object-type, family units were prefabricated and inserted into the structural frame of the Unite d'Habitation at Marseilles. Two family units are combined to make a three-story section with street corridor in the middle. This three-story section unit is very original as it has access corridor every third floor and each unit could have considerable depth with the help of the living space of two story height. In consideration of formal and plan similarity as well as contextual edivdence, it is concluded that the three-story section of the Unite d'Habitation is derived more from Narkomfin Apartments than from the monastery at Ema or Immuble Villas.

Computerized visual database construction of architectural precedents has just begun in some research institutes in the world. In Korea the first visual database has shown its testl version by S architectural design firm in september 1996. In this article the author discusses the historical contexts and the recent computerization cases, the traits, the uses and the limits of architectural visual database system of precedents. The forms and contents of data fields in two cases are compared with a focus on the description of architectural traits of each data entry. Compared to the KIA format, the S database has better performance for architectural design reference because it collects more pictures and drawings and larger texts for the field of architectural chracteristics. But this latter also is constrained by its capacity of memory and so lacks the reciprocity of the DOORS in the Graduate School of Design, Harvard University. A visual database system which has more flexible allocation of memory and respondent with the users is yet to be prepared. But this system also should be maintained by some experts in architectural history, theory and criticism, because their knowledge is essential for selection of precedents and revision of the data description. A full-fledged electronic visual database in architecture will not only save much effort for the architect, but also will change the architects' design behavior. Nevertheless this does not mean the automatic promotion of architects' creativity.