ETFE 막재는 Ethylene Tetra Fluoro Ethylene의 약자로 색깔이 없고, 투명한 필름 막이다. ETFE 필름의 장점은 내화학성이 있고, 잘 접히지 않으며, 매우 가볍운 재료라는 것이다. 필름의 두께는 50마이크로 미터에서 300 마이크로 미터 두께가 주로 사용되고, 직포가 없어며 햇빛 투과율이 우수하고 재료의 강도는 다른 막재에 비해서 낮다. ETFE 막재의 인장강도는 40MPa에서 60MPa 정도이고, 인장 변형도는 약 200%에서 400% 정도이다. 본 논문에서는 ETFE 필름 막재의 역학적특성 시험을 수행하였다. 인장 시험으로 부터 인장 변형도, 인장 강도, 응력 변형도 곡선을 구하였고, ETFE 막재의 항복 강도를 결정하여 탄성계수를 구하였다. 그리고 온도하중에 의한 응력-변형도 특성과 반복하중에 대한 필름의 역학적 특성을 분석하였다.

스팬 30m 이상을 갖는 건축물로 한정하여, 1960년대 이후 건립된 국내 공공 대공간 건축물의 발달과정과 건립특성에 대하여 연구하였다. 국내 대공간 건축의 용도와 규모의 현황을 살펴보고 구조방식이 건립된 건축물에 미치는 영향을 살펴보고자 한 것이다. 연구결과, 1980년대-90년대에는 스팬 40-70m 규모의 체육시설이 집중적으로 건립되었으나 2000년 이후에는 용도가 다양화되면서 대규모의 컨벤션센터 건립이 다수 이루어지고 있는 것으로 나타났다. 또한 초기 독특한 구조형태와는 달리 80년대에는 입체트러스가 보편적으로 활용되었고, 2000년 이후에는 형태효과를 고려하여 구조체를 고안하거나 새로운 구조시스템을 활용하는 시도가 보여지고 있다.

Although the royal tomb keeper's house in the late Joseon period did not undergo dramatic changes, overall, the keeper's house of Yeong Mausoleum, the tomb of King Hyojong, and other royal tombs afterward showed the classification of its rooms according to their purpose and the expansion of its size. During King Yeongjo's reign, the tomb keeper's house tended to consist of Jaesil, Anhyangcheong, Jeonsacheong and Haenggak. The size and arrangement pattern of the tomb keeper's house of Yeong Mausoleum were partially maintained in royal mausoleums constructed afterward. Especially Anhyangcheong was first established in the tomb keeper's house of Yeong Mausoleum and its architectural form was maintained until that of Ye Mausoleum, the tomb of King Cheoljong. The tomb keeper's house of Yeong Mausoleum in Yeoju was constructed in 1659 and then moved in 1673 and 1674. In order to bury King Hyojong's wife with King Hyojong, the site of Yeong Mausoleum was moved twice with using almost all materials used for the initial tomb. In addition, as norms related to rites performed at royal tombs were created in the early 20th century, the tomb keeper's house of Yeong Mausoleum was selected as an exemplary tomb keeper's house representing the royal tomb keeper's house of the Joseon era, and it mostly coincides with its remaining arrangement pattern. Through records distributed in relatively similar periods, it is considered that most of the features of royal tomb keeper's house in the Joseon period have been inherited until today and that Yeong Mausoleum has a very higher architectural status as an especially valuable tomb keeper's house among royal tomb keeper's houses in the Joseon era.

Hakbongjongtaek(The head house of Uisong Kim family, 鶴峯宗宅), firstly built in the early 17th century, was moved to its neighboring place in the late 18th century. The man who led the relocation(移建) of the house was the eldest grandson of the family, Jong-soo, Kim. He made an overall plan and also participated in building the house. There remain four Gados(family paintings, 家圖) related to the relocation plan. This paper aims to make an analysis of these Gados, and through the analysis, to find what was the essential point of the relocation plan and how the point was represented in the paintings. The result of analysis is as follows: 1. The main focus of relocation plan was the form of Anchae(the inner house). Anchae was designed as asymmetrical form, and restricted to four kan. Only Andaechung needed to be 6 kan size for religious ceremonies. 2. For the design of Sarangchae, the displacement of large Sarangbang and small Sarangbang was an important issue. There were two ways of layout: parallel type and facing type. The latter was chosen. 3. The representation and techniques of Gado is quite concrete, in spite of differences among them. The expression of doors, windows, attic and kitchen was based on the understanding of space. Also the spatial division, which was expressed line on the grid, was based on the scaled ruler. As we've seen before, painting the relocation plan was a kind of endeavors to make the housing type as a realization of Garye. Also, we can find out that the role of the eldest grandson of the family was quite important to carry out the plan. As well as, it was meaningful to examine Sadaebu (the aristocrat of Chosun)'s perception of housing.

이 연구는 고층건축물이 풍하중을 받을 때 변장비의 변화에 따라 구조축방향으로 풍응답이 어떻게 배분되어 가는지를 규명한 것이다. 변장비가 다른 3종류의 장방형 강체모형을 경계층 풍동 내에 설치하여 풍력실험을 수행하였다. 풍력실험으로부터 얻어진 변동모우멘트계수와 변동모우멘트의 파워스펙트럼밀도를 사용하여 스펙트럼모드해석법에 의하여 고층건축물의 응답을 평가하였고, X축방향의 풍응답과 Y방향의 풍응답을 비교하고 그 차이점을 분석하였다. 결과로부터 대상 고층건축물의 경우 모든 변장비에서 Y방향의 동적인 응답이 X방향 보다 큰 것을 알 수 있었다.

The purpose of this paper is the study on the architectural characteristics revived from the roman architecture, focused on the early renaissance architecture building. The results of study are as follow: 1. The composition system of Domus which is formed of urban house in the Roman period is presented by spatial arrangement of palace architecture centering around atrium in the Renaissance period. Thus plan type of Domus is used by atrium form which is composed of peristyle from the palace and villa in the Renaissance period. 2. The circular temple in the Roman period is composed of element such as podium, stair, peristyle centering around the basic circular plan. Bramante planed to revive above elements for the Tempietto to concept from the circular temple in the Roman period. 3. The triumphal arch in the Roman period is strong monument to the independent building in the city, but thus arch is used of church facade as the important example which is composed with building elevation in the Renaissance period. 4. The composition system and element of Roman temple which is planned to rectangular plan is composed of high podium, stair, portico, prostyle and pediment. The facade plan of church is used by the partial elements and total elements perfectly from the temple in the Roman period. 5. The linearly successive and repetitive composition which is composition system and element of aqueduct arches of same dimension shows to the palace facade, arcade for gallery space and side elevation plan of S.Francesco church. 6. Such as background of Colloseum, Rucellai palace can be called good example which is created by the new architectural form to the creative starting point from the classical architecture from.

The primary object of this study lies in reilluminating the meaning of the Baroque, through studying arts and architecture by means of the features of Baroque aesthetics suggested by Deleuze in his writing 'Le Pli' on the basis of Leibniz's 'Pli' concept. Through this study we can see the following. In the first place, the six features - pli, separation between the inner and the exterior, highs and lows, unfolding, texture and paradigm presented as the features of Baroque aesthetics - have to be understood not as being independent features but as those derived from a series of continuous process of folding and unfolding. In the second place, Deleuze's thinking ranging from the 'Pli' of the Baroque to the paradigm derived on the ground of Leibniz thinking is a dynamic world of folding and unfolding, ultimately seeking unity through the topological changes and succession repeating deterritorization and reterritorization. In the third place, most architectural trends claiming 'Fold Architect' or the 'Pli' of Deleuze as their architectural philosophy are committing errors of mass-producing standardized designs by confining the meaning of Deleuze's 'Pli' concept into a simple reproduction of plied superficial things. With this finding in mind, the concept of folding and unfolding examined through reilluminating the Baroque Architecture where the 'Pli' concept is embodied, suggests to us that the problems of contemporary architecture should be rightened, and shows us that it can become an architectural philosophy which can be concretely realized in architecture.

In this study, I attempted to the architectural design characteristics of Daeung-Jeon in Sudeok Temple. For this purpose, After I set up several assumptions in the basis of the general characteristics of Korean wood architecture, and then, analyzed floor plan, structural formation and section sizes of structure and bracket members in relation to module and unit. As the results, the characteristics of the design process of plan and structure are follows. (1) 1 ja(尺), the unit applied to this building is measured $307.6{\sim}318.3mm$) and the average is 312.9mm (2) It is estimated that the floor plan designed on the basis of the top of columns. By the applied unit, every bay of the front side and the side is each designed by 15 ja and 8.5 ja. (3) The section is composed of piled members which have same section size. As basic module of section size called 'jae(재;材)', it is estimated at width 0.45 ja by height 0.75 ja. And as the secondary module, height between jae and is called 'gyoe(계;)' and it wes designed by three height size of 0.25 ja, 0.27 ja and 0.30 ja, (4) It is estimated that the section plan was designed by the order as follows. Firstly, the horizontal position of purlins wes decided on the basis of the intersection point of long and short rafters, and then the position and the section size of purlins and jangheyo(長舌) wes decided on the basis of the slope of roof and rafters. Secondly, going down from purlins, the members of structure composed of 'jae' and 'gyoe' was repeated. Lastly, for the purpose of linking the structure members located on the center line of adjacent purlins organically, the height of whaban(화반) was controlled.

This study aims to clarify the architectural characteristics of three houses of Choseon Exhibition. Exposition/exhibitions were thought to be a model for the world. It shows the real status of the development, and thinking with visions at that times; therefore, exhibited house models would be a good source for what to be considered for the ideal houses of that times. Through the study, we could find out as belows. 1. The houses exhibited conserved the sitting-on-floor living style, otherwise the most proposals for house improvement suggested a chair-and-table style because of its hygienic quality and integration of the life at home and at work(school, too). 2. The spacial scheme for-family prior over for-guest was emphasized, but models at the exhibition were structured with Japanese traditional spacial program, such as Jashiki(座敷), Kyakunoma(客の間) or Tsuginoma(次の間), which were all Tatami-floored. 3. Through this exhibition, it is clarified that the architectural society in colonial Korea also tried to improve the modern housings, not only direct reception of the developed proposals. These houses was planned with the acceptance of the locality, such like Ondol, a floor heating facility which the Japanese engineer improve the efficiency. 4. Also these exhibited houses became a start to recognize a house as a product, and spurred on commercialization. As the result, we could find out that these exhibited houses accepted the modern housing proposals selectively, and that even if the exhibitions shows the advance in usual these houses were planned with the very conservative notions.

본 논문에서 건축구조물의 풍응답 구현을 위한 선형질량가진기(linear mass shaker, LMS)와 능동동조질량감쇠기(active tuned mass damper, ATMD)를 이용한 가진시스템을 제안한다. 가진시스템을 위한 가진기의 힘은 가진기에 의한 구조물의 목표응답의 전달함수를 사용하여 계산된다. 필터와 포락곡선함수는 예측하지 못한 모드응답에 의한 가진과 초기 과도응답을 제거함으로써 실제 바람에 의한 응답과 가진기에 의한 응답의 오차를 최소화하기 위하여 사용되었다. 수치예제로는 풍동실험을 통한 풍하중이 주어진 76층 벤치마크 구조물을 이용하여 수치해석을 수행하였으며, 그 결과는 특정층에 설치된 가진시스템은 풍하중이 전층에 가진되었을 때의 응답을 근사하게 구현할 수 있음을 보여준다. 제안된 방법에 의해 설계된 가진시스템은 실제 건축구조물의 풍응답 특성을 평가하는데, 그리고 풍하중을 받는 건물의 정확한 수치모델을 얻는데 효과적으로 사용될 수 있다.

In this paper, excitation systems using linear mass shaker (LMS) and active tuned mass damper (ATMD) are presented in order to simulate the wind induced responses of a building structure. The actuator force for the excitation systems is calculated by using the inverse transfer function of a target structural response to the actuator. Filter and envelop function are used such that the error between the wind and actuator induced responses is minimized by preventing the actuator from exciting unexpected modal response and initial transient response. The analyses results from a 76-story benchmark building problem in which wind load obtained by wind tunnel test is given, indicate that the excitation system installed at a specific floor can approximately embody the structural responses induced by the wind load applied to each floor of the structure. The excitation system designed by the proposed method can be effectively used for evaluating the wind response characteristics of a practical building structure and for obtaining an accurate analytical model of the building under wind load.

There are a few hundreds of Jaesil architectures in Andong area, Kyungbook Province. Among them, about 25 of them have elevated pavilion, while all the rest do not have. This paper focus on these jaesils with elevated pavilion, and tried to identify the different types among them, the background of the beginning of these jaesils, as well as eleveted pavilion. Five different types could be clarified, and they could be reinterpreted according to the background cause of the construction of these types. Three major background reasons for the construction of jaesils with elevated pavilion, seems to be: 1) necessity of such pavilion to be able to clomplete the system of Jaesil, 2) borrowing of temple structure where there is not large wooden floor, and 3) eclectic combination of pavilion and main hall (Gangdand 講堂). Such study helps us understand not only the jaesils with eleveted pavilion, but also the general jaesils without eleveted pavilion. The inclusion of eleveted pavilion has a lot to do with the symbolic expression of the family, use of large space for the family gathering, as well as the popular trends of pavilion architecture of the time.

In recent years, the number of complaints about indoor air pollution caused by volatile organic compounds(VOCs) has increased. It is important that evaluating and understanding emission of indoor air pollutant from building materials. The aim of this study was to evaluate emission test methods for liquid phase building materials such as paint, adhesive and sealant, and to determine the emission of total volatile organic compounds(TVOC) from liquid phase building material. The quantity of TVOC emission was measured by a gas chromatography/mass spectrometry (GC/MSD). It was found that liquid phase building materials were classified according to their use and ingredient. The TVOC concentration from oil-based paint was the highest among 8 groups of test materials. The unidentified volatile organic compounds occupied 83.0% of TVOC emission from test materials. The aliphatic hydrocarbons and aromatic hydrocarbons occupied 7.2%, 6.9% of TVOC, respectively. The concentration of TVOC decreased by an increase during emission test period. After 3 days, the concentration of TVOC from paint, adhesive and sealant were about half of the concentration at the first day. The ratio of concentration between 7 days and 1 day was 0.11～0.15 from water-based paint and 0.46～0.48 from epoxy adhesive.

본 연구는 고층건축물의 비틀림방향 응답을 평가하기 위하여 필요한 변동비틀림모멘트계수와 변동비틀림모멘트의 파워스펙트럼밀도의 특성을 확인하는데 목적이 있다. 이러한 특성들을 평가하기 위하여, 다양한 형상비와 변장비를 가진 52개 형상의 공탄성 각주형 모형을 제작한 후 노풍도를 다양하게 변화시켜 풍동실험을 실시하였다. 본 논문에서는 비틀림방향의 변동풍력의 특성을 간단히 설명하였다. 그리 고 그 결과는 대부분 건물의 형상비와 변장비에 의하여 분석되었다.

This paper presents a study on the Palazzo Firenze of B. Ammannati, designed between 1550~1572. He was active in Rome and Firenze in the middle of 16th Century. His most important project, such as Palazzo Pitti, is located in Firenze. But there are some projects that are important as well as Palazzo Pitti in Rome, such as villa Giulia and Palazzo Firenze. Usually, in the history of Western Architecture, the period in which Ammannati was active is denominated as late-Renaissance or Mannerism. In this period there was very important progress in field of artistic theory. There were active many great Masters such as Michelangelo, Vignola and Giulio Romano. But, over the all, the most important characteristic of this period was a transition period between Renaissance and Baroque. This paper try to reveal such characteristics reflected in architectural projects designed in this period, focusing on, over the all, B. Ammannati and his Palazzo Firenze project..

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.

The Industrial Revolution brought a variety of new forms of structure, and as a group they are usually called 'industrial architecture'. Steam engines contributed greatly to architecture with a unique structure called 'water tower' to provide water for steam engines, especially the adoption of it. This study is to examine the changes of the building materials and architectural features of the water towers of railway stations built in the early twentieth century in South Korea. This study also attempts to describe the modern features of the industrial architecture, which did not get a chance to be noticed. Through this examination on water tower, which is a part of industrial architecture with sheer integration of function and pure geometric form, we would like to find the meaning of modern architecture in Korea. As we can see in the Korean oldest railway station water tower constructed in masonry at Yeonsan Station in 1911, early water towers were divided into the masonry machine room and the steel water tank. However, the masonry structure was soon turned into concrete structure with its formal features maintained as it was. The steel water tank was also replaced with concrete structure. As a result, while its basic structure remained, concrete structure had substituted for the every components of water tower. Concrete-built water towers were the high-tech architecture of that time and the most perfect structures built in concrete. Nevertheless, the perfection of the water tower form and the technology it attained were not transferred to other modern and contemporary architecture in South Korea. Since the subject to railway station water towers was the Japanese government, and steam engines were replaced with diesels in the midst of a complicated domestic situation after the independence, the need for water towers in railway stations disappeared and therefore, it became ignored and was difficult to look over the architectural features and values of early railway station water towers.

In this study, the paint, which has very close relationship to the of indoor air quality, was examined for the air pollution leveling test, and using the various passive sampler, the test was evaluated on the regard of TWA(Time Weighted Average). This study is to examine how the air pollution levels differ between the regular paint that is used for public and the new developed environment friendly paint. The consecutive experiments were performed in the small chamber test to investigate the VOCs and formaldehyde, ammonia emissions and characteristics from paint which are commonly used as the complete material of building. In conclustion, the natural paint showed the highest emission of VOCs among the selected paints, and water paint showed the highest contents of ammonia. Formaldehyde showed N.D(Not Detected) in most of tests and found a small amount in vinyl paint however, it was not as bad as to fail the certify level of building materials. It is recommended to constantly develop the chamber system and it will be very much possible to be used for the estimation of indoor air pollutants from the various paints and other complete materials.

The main aim of this research is centered on the relation between nature and humans, and is to study the ecological characteristics appearing both in Landscape Architecture, one of the currents of ecological architecture as the architectural solution on the relation between humans and nature, and in our traditional architecture. Through this study, we were able to see that our traditional architecture was influenced by our ancestor's view of nature, and that the foremost feature of our ancestor's view of nature on our traditional architecture is not conflicting with nature, but, instead it is complying with it through seeking harmony with nature. Also we could see that our ancestor's view of nature is similar to Landscape Architecture having come to the fore toward the tendency of modern ecological paradigm in that it is the representation seeking the organic view of nature pursuing the oneness among artificial structure, humans, and nature. That is, we could figure out that various ecological features appearing in modem Landscape Architecture had been represented for a long long time, in a natural fashion, In the manner of space makeup in our traditional architecture. This is the characteristic of our ecological thinking system understanding nature and humans at the same context, and it has come down not only to our everyday living but to the manner of architectural solutions as well. Through this research, we could reconsider the modern value of ecological architecture inherent in our traditional architecture.