In-beop-dang (因法堂) is a building type that can confirm the complex space composition of the hermitage in the late Joseon Period, which is designed to accommodate various functions such as Buddhist priesthood, living spaces, and auditoriums. These facts have been confirmed mainly through plan analysis in many previous researches. However, such a plan composition has the potential to lead to more in-depth research when dealt with consideration of the Korean traditional wooden structure. In particular, the composition of upper structure in In-beop-dang with Toi-maru in front of the On-dol room can be considered from the perspective of structural response to wooden architecture in the Joseon period after the introduction of Toi-maru. Based on the achievements of these prior studies, this paper was conducted to examine the compositional characteristics, including the upper structure of the Wha-jang-am (華藏庵) In-beop-dang. In order to examine the universal aspects of structural type changes to cope with the complex spatial composition of the In-beop-dang, the cases of an in-mountain hermitage of Kim Nyong-sa(金龍寺) Temple, Geum-seon-dae (金仙臺), Yang-jin-am (養眞庵), and Dae-sung-am (大成庵).

The composition of the upper structure, which can be found in the 3-Dori type buildings in Yang-dong Village, varies significantly from time to time. The upper structure of the Gwan-ga-jeong, known as a house in the mid-Joseon Dynasty, consists of a basic 3-Dori type structure in which a beam is placed under 3-Dori and supported with two flat columns. On the other hand, the upper structure of I-hyang-jeong historic house, built in the 17th century, is different in that it has a stud between the two flat columns. The upper structure of Sa-ho-dang historic house, a 19th-century building is different from the upper structure of the buildings of the previous period in that three flat columns were used. As such, the difference in the composition method of the upper structure according to the construction period is closely related to the introduction of the Toi-maru, which is mainly explained by the boundary space. In addition, it can be expected that the introduction of the Toi-maru originated from the influence of the change in the plan. This study was conducted to examine the correlation between the plan and the composition of the boundary space through various typology of the 3-Dori upper structure distributed intensively in Yang-dong Village.

This study was conducted to examine the architectural characteristics of Hak-seong Lee Family's Geun-jae-gong Historic House located in Seok-cheon-ri, Ung-chon-myeon, Ulju-gun, Ulsan. The house is said to have been rebuilt in the early 20th century after it was built in the 18th century, and now there are nine buildings left, including the An-chae, Sa-rang-chae, Sa-dang, storehouses and etc. This house is a large-scale house that is difficult to find similar cases in near region. The division of areas on each building is clear, and it is evaluated that it retains the typical characteristics of the head family in the late Joseon Dynasty in terms of its overall size and layout. In addition, the current wooden structure, which is said to have been rebuilt in the early 20th century, shows the composition method and space utilization method of the 3-Dori type upper structure, which have become more diverse since the late Joseon Dynasty. This has not been dealt with in the previous survey, and should be considered in detail through this paper.

Most of the changes found on the toi-maru of the Sang-chun-heon Historic House indicate that the upper structure of the toi-maru of the late Joseon Dynasty houses where toi-bo was installed was not completed in an instant. Toi-maru with stud is especially typical in 3-Dori type Structure, and can be found in many historic houses in Yang-dong Village, where the many 3-Dori type Structure is located. This type can be interpreted as the intermediate type that began at the eaves was settled as a toi-maru with a separate toi-bo. It seems that the toi-maru in front of the on-dol room at the time of the construction of the Sang-chun-heon historic house would not have been the same as it is now. The members dividing the on-dol room, the walls, and the various incomplete appearances seen in the window composition can be construed as traces of the change. The fact that all three types of houses that occurred during the spread of toi-maru after the mid-Joseon Dynasty can be examined can be added to the existing evaluation of cultural property houses in Yang-dong Village.

In the historical city center where overall development has not been made, it is not difficult to observe the asp ect of the urban change process over time accumulated. Seochon(西村), which collectively refers to 13 legal dong s in the west of Gyeongbokgung Palace, is also considered a representative historical village with high value as a historical and cultural cityscape because of historical context remains throughout the lot. Therefore, research ex amining the process of changing parcels in this area is useful for a more three-dimensional understanding of the presence of several layers of time. In this study, relationship between the opening time of each road, the river co ver process, and the current building establishment process is examined using maps after the pre-modern period and modern era. In addition, to examine the specific change process of individual lots using the old land register, building management ledger and cadastral map.

Young-dang(影堂) is a ritual pavilion where figures of a dedicated person is enshrined. According to literature, establishment of Young-dang architecture is thought to have the affinity with Buddhist tradition in the beginning of its history. A tradition of enshrining figure could be found especially in Buddhism. Until the mid Joseon dynasty, enshrining figure made of wood, clay and bronze was quite often at Young-dang. In Confucian ritual tradition, a pavilion where enshrining ancestor’s sprit tablet called Sadang(祠堂) or Myo(廟). In regarding portrait is a sort of figure, it has to be concerned with Buddhist ritual tradition. For this reaseon, Young-dang started to be distinguished from older aspect of existence in mid Joseon dynasty when the study of Confucian courtesy widely spread. It show the transformation process of Young-dang architecture from Buddhist tradition to Confucian tradition in J oseon dynasty.

Ui-Gum-Bu(義禁府) is regarded as a key organization that reflects the power of the royal authority, mainly because it directly obeys the king’s command and retains the power to punish or pardon government officials for severe crimes such as treason or significant breach of Confucian ethics. For this reason, Ui-Gum-Bu held a higher place in the organizational hierarchy of the government than other similar offices such as Hyung-J o(刑 曹), Sa-Heon-Bu(司憲府) and Po-Do-Cheong(捕盜廳). This characteristic of Ui-Gum-Bu is also evident in the architectural style and composition of the office building. The figures of the Ui-Gum-Bu office is depicted in detail in the paintings listed in Gum-Oh-Gye-Cheop(金吾契帖, a record of Ui-Gum-Bu office meetings, and descriptions in the code book Gum-Oh-Hun-Rog(金吾契帖), both written in 18th century. The purpose of this study is to reveal the overall transition process of the Ui-Gum-Bu office building from the beginning until its demolition in the early 20th century. Based on research materials of 18th century, its architectural composition and characteristics will be dealt in detail.