게임의 배경맵은 게임성을 향상시키기고 게이머에게 게임에 몰입하게 만드는 하나의 요소로서 중요한 역할을 차지한다. 주로 게임 맵의 구성은 지형과 산이나 언덕으로 이루어진 외부 환경과 성이나 건물들로 이루어진 내부 환경이 있다. 본 연구에서는 다양한 장르의 게임 건축물의 활용사례를 조사하여 건축물이 게임 속에서 캐릭터의 모션과 이동에 미치는 영향에 대해 알아본다. 또한 캐릭터의 전투와 미션 수행 혹은 레이싱 게임의 경우 건축물이 어떻게 활용되는지도 조사한다. 이러한 조사를 토대로 향후 게임 환경에서 건축물 맵의 디자인 모델을 제시한다.

중서부지역 청동기시대 전기 주거의 기둥배치, 노지, 저장공, 출입구와 같은 내부구조를 파악하여문화상의 일면을 살펴보았다. 가락동식과 역삼동식 주거지가 노지형태 차이에 의해 구분되는 것과 같이, 주거 내ㆍ외부 구조도 차별된다. 가락동식 주거지는 ‘주심도리+이열-도리ㆍ보식 구조(Ⅰa)’의 우진각형(또는 팔작형) 지붕이며, 역삼동식 주거지는 ‘주심도리식 구조(Ⅲa)’의 맞배형 지붕이 대표적이다. 전자는 상부구조의 안정성이 장점이지만 증축이 상대적으로 힘들고 목재 사용량이 많은 단점을 가진다. 후자는 증축에 매우 용이하지만 지붕 하중을 견디기에는 다소 불안정하다. 따라서 두 형식의 주거는 장ㆍ단점이 모두 존재하기 때문에 취락별로 선택 채용된 것으로 판단된다. 이후 두 구조의단점을 보완하는 점에서 ‘중앙 초석 또는 주열 구조(ⅡㆍⅢcㆍⅢd)’가 등장한 것으로 생각된다.주거의 기둥배치는 선호된 열(도리)×행(보)의 간격이 존재하고 있어, 칸(間)의 개념과 함께 목조건축 기술이 보급되었던 것으로 추정된다. 그리고 벽체는 주심구조에서 판재형 나무를 사용한 형태로바뀌며, 이는 목재가공과 결구 기술의 발전을 보여준다.노는 소형이 주거 안쪽에 설치되고, 중ㆍ대형이 출입구와 인접한 공용공간에 위치한다. 소형은 취사와 난방에 모두 사용되는 노의 기능 가운데 취사에 효율적이며, 난방이 필요하지 않는 시기의 제습과 조명에도 도움이 되었을 것이다. 저장공은 노 반대편인 출입구 주변에 밀집 분포하며, 저장량은 식량자원 공급이 원활하지 않는 겨울과 초봄 정도만 소비할 정도로 여분의 잉여는 존재할 수 없었던 것으로 보인다. 주거 내부구조는 취사공간, 공용공간(작업ㆍ식사ㆍ취침), 저장공간, 출입구 등으로 적극적으로 활용된 것으로 생각된다.청동기시대 전기 대형주거지는 단독 출입구, 집중된 저장공, 노의 사용으로 보아 ‘공동생산ㆍ공동소비’가 이루어진 사회경제 체제로 판단된다. 이후 주거가 소형화되고 내부 저장공이 점차 소멸해 가면서, 생산ㆍ분배ㆍ소비ㆍ잉여 재분배 등과 같은 사회경제 체제가 다각적으로 변화하였다.

In the previous study, the construction guide line of IT infra-structure for a u-City was introduced. However, it is only concentrated on the components and construction procedure for provider-oriented and technology-oriented sensor networks. In this paper the architecture and building process of demander-oriented sensor networks for sustainable u-City service are proposed. In the paper it is described (1) the enhancement methods of the procedure that can be flexibly constructed according to the scale of the project, (2) the methods that can improve the structure from the wireless sensor network such as RFID/USN to the hybrid sensor network, and (3) the consideration factors for providing the sustainable u-City service.

The objective of this study is to find out the recent trends of hanok design based on 58 hanoks appeared in architecture magazines in the last 10 years. The cases are analyzed in terms of location, size, building form, spatial organization, material, roof form, and the ceiling form of living room. The consequences of this study is as follows; Most of the recent hanoks are built in rural area (91.4%), which shows the hanok is not accepted as an urban house type. Hanoks tend to be built in 2 stories whose 2nd floor is smaller than the 1st floor. (34.5%) The preferred size is total floor area of 99.2 ~ 165.2㎡ (62.0%), 3 rooms (46.6%) with a traditional ondol room (60.3%). The buildings with ㄱ-shape (43.1%) and linear-shape (27.6%) are preferred, and the compact plan type similar with apartment house appears (13.8%). In the roof design that greatly influences the appearance of building, the traditional design factors such as half-hipped roof (55.2%), double eaves (27.6%), and eaves curve tend to be sustained. In terms of spatial organization, most of recent hanoks have double-layed plan (74.2%). The living room mostly has separately defined space. (82.8%) The indoor and outdoor tend to be connected by a narrow wooden veranda (39.7%), while some cases don't have any wooden floor space (48.3%). The entrance is adopted as an important spatial element in front part of building (75.9%), and it influences the appearance of building. The living room, the counterpart of the wooden floor hall in traditional hanok, and kitchen tend to be interiorized. In terms of material, the cement roof tile and red clay brick are preferred. Consequently, the walls of recent hanoks have the image of brick structure rather than the wooden frame structure of traditonal hanok.

Balhae(698~926) was the ancient state which opened the Nambuk-guk period with the Unified Silla. But Balhae architecture began to included in the history of Korean architecture only about 15 years ago, such as the books written by Yun Jang-seop or Ju Nam-cheol. I discussed four issues related to Balhae architecture in this paper. First, I criticized the excavation report of 24 stones remains at Jiangdong in Duhua city, and I asserted the ondol site belonged to different period. Second, I also interpreted that the building found on the tombs no.13 and no.14, in the Longhai burial area in Helong city must be a wooden stupa. Third, Balhae played some important roles in the history of ondol. It developed Koguryeo ondol in terms of structure, gave an opportunity to the ruling class to adopt ondol for the first time, and passed the heating system down to the Jurchen, the ancestor of the modern Manchurian. Fourth, the Russian-Korean joint research team excavated seven building sites in Koksharovka 1 fortress from Russian territory these four years, and it is reasonable to assume the fortress was the center of Anbyeon-bu, one of 15 local government districts in Balhae. I guess this buildings were the royal shrine built by resisters after the fall of Balhae, and the vessel stands found there must be used for ancestral memorial ceremony inside them.

The core idea of the critical regionalism could be summarized as a self-conscious synthesis between universal civilization and world culture. After World War Ⅱ, it has been applied to architecture for overcoming the problem of Industrial Capitalism and uniformity of 20th century Modern Architecture. Naturally, religious architecture cannot also be an exception in this cultural trend, thus we can also apply the critical regionalism to the Korean Catholic Church Architecture with the basic premise that the Traditional Western and Modern Style Church Architecture should be regarded as universal civilization, and the Traditional Korean Architecture and endemicity as one of world culture. In the context, this article attempts to analyze the regionality of Korean Modern Catholic Church Architecture constructed between the 19th century and 1980's, and how it has been differently transformed with the view of the critical regionalism. Its analysis will be carried out within three types; transformation of the Traditional Korean Architecture and the influence of Japanese Modern Architecture, representation of the Traditional Korean Architecture, and abstraction of the Traditional Korean Architecture with each advantages and disadvantages.

This study is on the pedagogical convention of architectural history in Korea, especially that of Western Architecture. Recent institutional change in architectural school in Korea has caused overall restructuring of academic program. In spite of extension in the field of history there was no progress of method and way of thinking. There is no change in the point of view to see the western architecture and its history as a unique and specialized phenomenon in the civilization of mankind. Because of no recognition about for what, for whom, and how to, and because of orientalism, the cultural position of western architectural history and its narrative was not asked. With the help of post-colonialism, de-constructivism and critical historiography this paper tries to show the fundamental premise of western architectural history as a myth and show its prejudice as not being justifiable. The background of the discourse there has been a representation effect with regard to knowledge as a power. we need to escape from this kind of cognitional frame With the analysis of the its premise and narrative we can find it is a historical construct that was made in the age of imperialism. In fact it has a lot of false information and problematic point of view. The Identity and originality of western architecture and its history has no logical reason or foundation if we think that it depends on the difference and comparison with other civilization. For example the explanation of its historical origin western architecture has big difference with Islamic architecture in spite of the resemblance each other. This paper try to show several reasons that discourse of western architectural history can not be survived any longer. So we need to reconstruct new pedagogy with deconstruction for the students of non western, or Korean students. Because it has important effect to see and think about architecture and its history.

The purpose of the study, approaching from the aspect of the construction technologies, is to determine the architectural techniques of traditional wood architects in existence, through which the systems and techniques that create the inherent characteristics of Korean architecture are clarified. With understanding traditional construction system and focusing on the fact that built environment results from the consistent standards and technologies of architects, this study inquires into the systematic standard and its formation that present in the process of planning for the overall scale and shape of a building from the study determines dimension of structural members. All the members that constitute the structure are trimmed in advance and assembled in a short period of time on the site. Because of that, the dimensions for trimming and assembling are predetermined according to designated standards in the planning process, therefore consistent standard of computation are in necessity to design shapes and sizes of enormous amount of structural members. This study also shows the standards of measurement employed by architects while planning for structural members of a building, and how the size and range of its composition are developed.

The goal of this paper is to analyze the relationship between pedagogy and the emergence of contemporary Korean architecture after the 1990s. For this purpose, the paper deals with the education and work of two important contemporary Korean architects, Kim Seung Hoy and Choi Wook. Kim and Choi were part of a group of young architects that went abroad in the 1980s to study at the centers of architectural education in Europe and the United States. Through their education and work, the paper discusses the relationship among education, history, and design practice in architecture. During their studies at Michigan University and IUAV in Venice, they were commonly influenced by Colin Rowe through their studios. In the case of Kim Seung Hoy, he was introduced to the Beaux Arts logic of the analytique and esquisse through the teaching of Steven Hurrt, a disciple of Colin Rowe. Choi Wook took studios that involved formal analysis and comparison of Palladio and Le Corbusier. The paper further analyzes their works in Korea by employing the concepts of fragments and systems, ignorance and knowledge. The paper concludes that, in Korean contemporary architecture, fragments and systems, ignorance and knowledge, lie in the middle of ongoing creative process that must distinguished from the West, where architectural history provides an established tradition of systematic knowledge.

The Axes and Adzes are the oldest tools since the beginning of human history which is used to cut the tree and make part of architecture such as boards, square timber etc. Nowadays, these old woodworking tools especially "Jagui(자귀)" (adze) has been almost disappeared at the working site of residential and cultural properties. It is necessary to study Korean traditional woodworking tools to keep Korean traditional skill and technology. It has been reviewed the change of shape of "Jagui(자귀)" (adze) from before Samhan (삼한) period to Joseon Dynasty through excavated relics and paintings and summarize as follows: Based on excavation relics of Dahori, both plate type blade and pocket type blade are used for "Tokki(도끼)" (axe) and "Jagui(자귀)" (adze). The excavated "Jagui(자귀)" (adze) from Jeongbaikri 356 tomb, near Pyongyang is prototype of "Jagui(자귀)" (adze) used nowdays which has almost same shape as well as the insert method of blade and handle. The auxiliary handle is inserted to blade and the main handle is inserted to the auxiliary handle which is different from the method of Chinese and Japanese "Jagui(자귀)" (adze). The length of handle of "Jagui(자귀)" (adze) until late Joseon Dynasty is short by which we assume it is used for a sitting position as hand held Jagui and from that time long handle has been introduced for a standing position which is called "Sunjagui(선자귀)". "Jagui(자귀)" (adze) has been used since the beginning of human history but it is almost disappeared at the most of woodworking site which is the crisis of Korean traditional architecture and we have to do something to keep it.

This study primarily aims to illuminate the characteristics of Meoreum in Korean traditional fitting system according to the respective types and its periodical changes. Using the research findings as a chronological indicator by which to estimate the construction date of the building is the secondary purpose. In this study 42 of Byeoldang and pavilion architecture remaining in Yeongnam district were examined through the field surveys and methods of documentary research. The research results are as follows. First, Meoreum, which is located below the windows or doors, provides protection against the outer wind and has the function to prevent some warm air of the room from flowing outside. Second, Meoreum was recorded as Yoeum(了音), Woneum(遠音), and Maleum(末音) in Yeong-geon-ui-gwe (營建儀軌) of Joseon period. While Yoeum(了 音) was used in Yeong-geon-ui-gwe (營建儀軌) of 1776 and 1856, Woneum(遠音) had been also used continuously since the year of 1800. The word, Maleum(末音) can be seen in Lim-won-gyeong-je-ji (林園經濟志), published in 1827. Woneum(遠音) and Maleum(末音) seem to be the Yi-du(吏讀) types of expression of Meoreum which is being extensively used now. Third, the kinds of Meoreum can be classified as TohMeoreum, TongMeoreum, TongpanMeoreum, and J janeunMeoreum. TongMeoreum and TohMeoreum were mostly used at the front part of Ondol-rooms, the backside of main floor called Daechung(大廳), and at the space between Daechung and rooms in the Pavilions and Byeoldangs(Annexes) that had been built in the early Joseon dynasty. TohMeoreum was usually used at the bottom parts of windows between Daechung and Ondol-rooms. TongpanMeoreum was mainly used in the mid-Joseon period and relatively high height was the distinctive feature of Meoreum at that time. J janeun Meoreum, used mainly in the late Joseon dynasty, has become lower and lower gradually in height since 19th century, so people could enter the room through the windows(fittings). Such changes in Meoreums types has brought about the flow of human traffic directly from Toenmaru, narrow wooden porch running along the outside of a room to Ondol-rooms.

Stained glass, which flowered with Gothic architecture, the climactic era ofMiddle Ages art, conveyed to the faithful theological messages encoded in light, aswell as protecting sacred places from thee elements, made visible the true sun, thatis, the light understood as seen consubstantial with God. The splendid light andbrilliance radiating from the gem-like glass fragments to all intends and purposesmade visible the new Jerusalem on earth. This stained glass with bound formed anexus for the aesthetics and theology of the Middle Ages was to change throughtime and varied ways.Stained glass, overshadowed by painting from the Renaissance till the 18thcentury, came into prominence in the 19th century with the appearance of theEnglish pre-Raphaelite school, the beginnings of art nouveau style, and therestoration of stained glass in French Gothic churches in which Viollet le Ducplayed a central role. Artists such as John Ruskin in the U.K., John la Farge andLouis Comport Tiffany in the U.S. had a great influence on the development of the19th century stained glass, resurrecting stained glass from the lowly status ofcommercial art, and reuniting stained glass decoration with architecture through artnouveau. Due to their efforts, the distinct character of stained glass was restored butits intrinsic religious value in the context of historic church architecture wascompromised.In the 19th century the relation between the church and the artist was not as close as during the Middle Ages or the Renaissance period. Secular artists working withreligious themes had few opportunity to furnish works for churches. Churches, intheir turn, were filled with archaic works following the dictates and styles of the pastand supported academism in religious art. But at the beginning of the 20th century anew wind of reform began to blow through the decadence of church art. As a resultmainly of the reformers in Germany and France, the artists of Europe and the U.S.created stained glass works that reflected the new modern aesthetic and once againrestored the place of stained glass in modern churches through its incorporation intoarchitecture.

If we take account of the ‘Architectural Tradition’ which aims a construction of better environment, we can see that this tradition has ended historically toward Utopia. And the concrete concepts of utopia mainly started on the Renaissance periods. The Utopias were described well in the literatures which contained particularly three representative utopian books in Renaissance period. The one was the most famous novel <Utopia, 1516> by Sir Thomas More and the other were <La citta del sole, 1602> by Tommaso Campanella and <The New Atlantis, 1624> by Francis Bacon. These novels expressed ideal commonwealths in which inhabitants exist under perfect conditions, ideally perfect places or state of things. The plans of utopia are complete projects of image, its goal is an political, social and economical improvement according to the eras. Their utopias mostly had characteristics as follows; their shape of islands were almost circle, their shape of cities were rectangularity or circle and attached importance to geometrical compositions, their structure of cities were self-sufficiency in closed spaces and their architectural characteristics were uniformity, simplicity and non-ornament. And these architectural characteristics are urban and architectural traditions in communist countries. Also their utopian novels had not much explanations to daily lives of people like as birth, death, relative, mental conflict or authority, money, art. So their utopian novels were not practical and had inappropriate aspects.

In Computer Science study, practical experience is gained in the computer laboratory, however the laboratory funding and maintenance require huge resources. This is the main reason why virtual computing laboratory implementations in academic environments have increased our major interest. At University of Ljubljana, we are the only higher education institution using virtual laboratories as an integral part of any Computer Science courses not only in Slovenia but also on the Balkans. Initially we have built our own virtual laboratory. Later, we merged our implementation with NCSU VCL and integrated the new virtual laboratory with learning management system and identity management system. We also plan to integrate it with our student information system. In this paper we present our current implementation and future plans, we discuss how this can improve the learning outcomes and present our experiences and results gained in the spring semester of 2010 when used by more than 300 students who were turned out to have little significant technical difficulties. In order to complete two assignments, the students made 8.9 reservations on average, while the minimum of four was needed to accomplish the obligations. 27.5% of the students needed more than 10 reservations (16.8 on average) and are responsible for 52% of total reservations. Further research is needed to find true causes for that fact. Most popular hour of day was 3 pm and 10 pm, while the least popular was 6 in the morning, when no reservations have been made in the whole observed period of three weeks. Research also shows that the students tend to postpone their duties until just before the deadline. The findings enhance our motivation on further research related to keeping students engaged and active through the course.

The relationships between fashion and architecture have been interactive. Since the fashion has had the role to decide the structure type of urban environment, it is becoming the new sign of space boundary. This study searches the social and cultural characteristics of Nomadism and the relationships among all kinds of changing objects. After then, the module system characteristics are meditated by analyzing the composition method of module system in architecture. Moreover, the study examines the aesthetic values in the fashion and body architecture from artistic aspect. Based on the above discussion, the followings are the characteristics of body architecture as the social structures expressed in modern fashion. The liquidity is the fluid form of dynamic structures. It shows the extended space form which produces the continuity. The transformation is the variable structure by module system and it forms the diversified structural combination. The movement combines the controlling function to be able to regulate and move freely the body related objects. The convergence is the text combination interpenetrated mutually in enlarged space. Through this, the non-linear continuity and the access of the individual factors are shown.

The purpose of this paper is to investigate into the meaning of the New Brutalism sensed in the late church buildings of the Swedish architect Sigurd Lewerentz (1885-1975). St Mark's (1956-64) and St Peter's (1962-66) churches, his grand finale designs, have a unique architectural vocabulary of rough brickwork. The brick treatment is the basis on which Reyner Banham (1966) discussed him concerning the New Brutalism, and the point that this research focuses on. This paper explores the brutalist character of the buildings from two aspects - interpretational level of individual buildings and historical level of a broader view. First, the character of two churches could be interpreted with the phrase of 'play between brutality and sacredness'. The rough surface of brick and mortar in the buildings symbolises brutality and the vault of their chapels' ceiling sacredness. And the two characteristics meet and play on the rough vault surface. Second, in the historical point of view, this paper argues that the buildings made a giant leap for Swedish modern architecture, which had been at a deadlock owing to the compromising attitude of the New Empiricism since 1940s. And the Swedish New Empiricism (or the New Humanism), spread to Britain as "Welfare State architecture" after World War II, brought about reaction of the young British architects such as the Smithsons and became the background that made the new brutalist mood. However, considering that the term of the New Brutalism was first used in Sweden by Hans Asplund, Lewerentz's brutalist late churches - which seemingly had nothing to do with the British nor the Corbusian lineage - are also meaningful in that they confirmed the tendency in its homeland. In conclusion, this paper argues that St Mark's and St Peter's churches with the brutalist characteristics should be regarded as crucial buildings not only in Lewerentz's personal career but also in Swedish and international architectural history.

In the environment of 450mm wafers production known as the next-generation semiconductor production process, one of the most significant features is the full automation over the whole manufacturing processes involved. The full automation system for 450mm

In this paper, we suggest a PLCS-based architecture and operation method for providing interoperability in SBA integrated collaborative environment. Specifically, the suggested architecture is based on the distributed collaborative environment which emplo

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term ‘plastic architecture.’ The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an ‘open’ architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, ‘plastic architecture’ turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in ‘perfect harmony.’ However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.