Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation,” created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow’s theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow’s theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical—the body —, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

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.

The Municipal Building of Busan was the first western-style building of Korea in 1879. It was also the predecessor of Busan Metropolitan City Hall. On the other hand, the Municipal Building of Busan was a symbolic structure that shows the history of Busan. The Municipal Building of Busan has inherited the construction location and site, including the speciality of Choryangwaegwan, and is a good example of the process of inheriting the authority of the former space through the appropriation of the building. The Municipal Building of Busan was relocated to the edge of the coast in 1934 because a small and dilapidated building failed to function properly. The relocation of the Municipal Building of Busan in 1934 was the origin of changing the coastal space in downtown. As a result, landfill sites along the coast were in the limelight and developed into the downtown area of Busan after Korea's liberation.

The purpose of this study is to develop precast concrete modules that can be used as a booth and a single-story building with a large space. This precast concrete module is originally designed to have a hexagonal facade when the upper and lower parts, which are symmetrical about horizontal connection line, are combined. A structural design was conducted to ensure structural safety of these precast concrete modules and to extend the slope of the inclined members as far as possible. Then the finite element analysis was performed to estimate the lateral and vertical deflection of complete precast concrete modular structures. And to verify the structural safety of these precast concrete modules, weight loading tests were conducted on the upper and lower modules respectively.

The planning acumen led by the crown prince stands out during the banquets that were held continually during the reign of Crown Prince Hyomyung around the late Joseon period from 1827 to 1929. If we examine the changes in banquet space during the period that Crown Prince Hyomyung ruled by proxy, the Jagyeongjeon(慈慶 殿) in Changgyeonggung Palace, which was built during the time of King Jeongjo was repaired after the in 1827 during the reign of the crown prince and appeared in its changed form in Muja Jinjakin 1828. It is believed that the Jagyeongjeonwas expanded and repaired during the reign of Crown Prince Hyomyung to conduct banquets for important guests. Jagyeongjeon which was repaired during the crown prince's reign, is a space where banquets were continuously held during the three years that he reigned, and we can see that it is an important space for royalty where the authority of King Sunjo, Queen Sunwon, and Crown Prince Hyomyung was reflected. Yeongyeongdan(演慶堂) was a structure built in 1828, which is after the period when the Jagyeongjeonwas changed in 1827, and it is a space that emerged during the reign of the crown prince. Hwanchwijeong(環翠亭), which was constructed during the time of King Seongjong was changed after 1827 during the reign of Crown Prince Hyomyung and appeared in its changed form in Muja Jinjakin 1828. Hwanchwijeongwas the place where the Crown Prince Hyomyung stayed and planned banquets and it was repaired along with Jagyeongjeonin 1827. During his reign, the political intent of the crown prince was reflected not in superficial political spaces but in spaces where banquets were held and accordingly the main spaces for banquets and their related royal palace locations were changed or newly established. You need to briefly explain what this and Muja Jinjak are. New information is not provided in this paragraph. You have already established why the crown prince renovated the banquets and its significance in the first two paragraphs. You could just add “Jagyeongjeon(慈慶殿), Yeongyeongdan(演慶堂), and Hwanchwijeong(環翠亭) in Changgyeonggung Palace during his reign were changed and renovated during the time when the royal banquets of the 19th century were getting established. It was spaces that reflected the royal family and royal authority” to the end of the second paragraph and it would convey your intended meaning.

본 연구는 건축가 왕슈의 수안산거（水岸山居） 작품에서 나타나는 그의 외부공간의 디자인 철학을 알아보고 설계과정에서 나타나는 시점, 동선, 재료 등의 요소와 연계된 외부공간을 분석하여 왕슈 건축에서 보여지는 공간의 특징을 살펴보는 것이 목적이다. 연구 방법으로 먼저 왕슈의 건축배경 및 원리에 대한 이론을 고찰하여 그의 건축 이론과 작품에 나타난 건축공간의 특징, 동선, 외부공간을 주요 연구내용으로 한다. 분석은 왕슈의 수안산거 건축 작품을 대상으로, 그의 작품집, 수필집, 인터뷰 등을 분석하는 방법으로 연구를 할 것이다. 서론에서 연구의 배경, 목적, 범위, 방법을 제시하고 그의 작품, 건축설계과정, 주요 디자인 어휘를 근거로 분석의 틀을 제시하여, 이 틀을 기준으로 수안산거 건축에 구현된 외부공간의 시점, 동선, 재료 등의 3가지 측면으로 분석·정리한다. 왕슈의 건축에는 3가지 특성이 나타나는데, 첫째, 시점에 의한 외부 공간의 표현으로 이용객의 이동 방향에 따라 다양한 풍경이 펼쳐지는데, 단일시점이 아닌 3개의 다양한 관점(앙시, 심원, 평원)으로 외부공간을 구성하였다. 둘째, 외부공간의 다양한 동선은 이용자의 다양한 시각변화와 공간적 경험을 유도한다. 셋째, 외부공간의 재료구성은 전통을 근거로 아이디어를 추출하여 현대건축 재료와의 조화를 통한 대응 방법을 찾아 문제점을 해결하였다. 중국 건축계의 대표적인 왕슈는 수안산거에 구현된 외부공간을 통하여 본인의 건축디자인과 조경 및 도시를 결합하여 시대적인 가치와 지침을 보여주고 있다.

This research focuses on the life and works of architect Yi Hunwoo, who was active in early 20th century. Yi has been previously mentioned in a few research documents, but not as a main subject of interest. Thanks to digitalized historic databases, the authors of this research were able to access more information about Yi. It was discovered that he was born in Korea in the late 19th century and then attended the Nagoya Higher Technical School in Japan. After repatriation, he participated in a few public projects in Korea as an in-house architect at the Governor-General’s office, then started his own practice and produced his individual projects. He also contributed articles on innovations in residential design to newspapers. Chronologically, his activities as an architect preceeded those of Park Gilyong, who has been conventionally regarded as the first Korean modern architect so far. This research would like to establish Yi Hunwoo as a historic figure whose professional career spanned the earlier stage of the Korean modern architecture, based on the records of his life and professional activities. The authors do not wish to present the architectural analysis nor evaluation of his works, which will be subject to future researches.

The purpose of this study was to analyze the correlation between conservation activities and the development of tourism in the modern period in the Korean peninsula. The main building of Jangansa Temple, located in Mt. Geumgang, was repaired in the 1930s. During the repairs, the Japanese General-Government actively engaged in the development of Mt. Geumgang and raised funds for the operation of the Korean Peninsula through tourism revenue. The repair work was carried out under the influence of the Mt. Geumgang development project. And its influence is revealed by reviewing official documents recording repair work. This study tried to clarify the relationship between development and repair work through official documents.

It can be meaningful that this study attempted to analyze the use cases and forms based on the literature on the painting walls of the Joseon Dynasty, and attempted basic research to prevent disaster damage using traditional elements. This study summarizes the use of the Hwabangbyeok wall of J oseon Dynasty as follows. First, Hwabangbyeok wall was used from the early J oseon Dynasty and was adopted by palaces and other major state facilities to cope with fire and theft. Second, the Hwabangbyeok Wall was also referred to as the wall below the lower part of the wall, and was constructed with the purpose of preventing disasters from outside. Third, in an analysis of the Daeseongjeon shrine of Hyanggyo, many construction cases were identified mainly in the Gyeonggi area, which is assumed to be based on production and construction conditions along with local climatic factors. Fourth, it can be said that the Hwabangbyeok wall was basically adopted to prevent comprehensive disaster risk reduction in case of external intrusion and fire.