중국의 고건축물(古建築物)은 인류문명중의 걸작으로 고대인 의 출중한 지혜와 정밀한 기예 및 장인정신의 결정체이다. 이 들 건축물의 기세는 성대하며 건축양식의 풍채 또한 독특하며 정교하고 섬세하였다. 특히 중국 강남 지역의 고건축물은 원림 (園林), 수곽(水廓, 水鄕) 등과 청와(靑瓦)와 백벽(白壁)으로 이 루어진 독특한 풍경을 지니고 있다. 또한 그 청와와 백벽으로 이루어진 고건축물 중에서도 강남지역의 독특한 예술매력을 보 여주는 휘파(徽派) 건축이 가장 대표적이다. 오늘날 현대 장신구 디자인에서는 전통문화에 대한 전수와 계승, 그리고 정감 및 예술에 대한 사상의 구현을 더욱 중요시 하고 있다. 이에 본고에서는 강남지역의 청와와 백벽 건축물의 요소를 현대 장신구의 디자인에 유입함을 연구하였다. 휘파(徽 派)건축의 수묵(水墨)양식 건축은 청신하고 아담하며 고풍스러 운 느낌이다. 이는 현대 장신구의 수수하고 진중하며 개성적인 모습으로 전개되어 전통적인 장신구와의 귀족적적이며 화려하 고 고루함 등과 상대적으로 차별이 되었다. 이들 휘파(徽派) 건 축물과 현대 디자인은 예술형식의 융합이며 전통에 대한 추억 이다. 그러므로 본고는 현대 예술 디자인의 창조적인 탐색이다. 이를 바탕으로 장신구 디자인을 탐구하는 동학들에게 새로운 디자인의 창의와 폭넓은 사고에 도움이 되길 바란다.

The purpose of this research is to investigate Korean architects’ perception of the Modern Movement in architecture in the West during the Japanese colonial period, by analyzing two Korean publications in the 1930s: Park Dongjin’s ‘Present Architectural Tendency’ (Dong-A Ilbo, March 1931) and Hong Yunsick’s ‘Trend in the Thought of Moderne Baukunst’ (Chogwang, September 1937). As a result of the investigation, it is confirmed that the two men welcomely accepted the universal modernity, regarding the rational and functional - rather than subjective expressions of the individual - as the key to modern architecture. Although their perception of the Modern Movement in Western architecture was inevitably superficial due to the limited condition of the Japanese colonial period in Korea, there was an obvious advancement in the latter’s perception from the former’s, reflecting the progress in knowledge of it over the six and a half years between the two. Therefore, it is argued that their 1930s’ writings are meaningful as the first Korean publications that illustrate how Korean architectural circles perceived the contemporary architectural movement in the West.

The purpose of this research is to understand Ko Yu-seop’s perception of ‘contemporary emerging architecture’ in the West by investigating into his two early 1930s’ articles: ‘On Emerging Arts, Particularly the Cutting-edge Architecture’ (Jan. 1931) and ‘Russian Architecture’ (Dec. 1932). As a result of the investigation, it is argued that he attempted to systematically describe his contemporary architecture, from the concept of ‘modern’ to representative architectural theories, and his suggested reference list is considered meaningful since it illustrates one aspect of how modern architectural knowledge was transferred to Korea at that time. As his limitation, however, it should be pointed out that a significant part of his writing was a verbatim translation of the Japanese critic Takao Itagaki’s New Art Acquisition (1930). Nevertheless, the two articles give us a valuable understanding related to his socialist tendency, his preferred commune-type city-cum-architecture that reflects the ideology, etc. Hereafter, this understanding needs to be further discussed in both study areas of art history and architectural history in Korea.

Traditional Korean architecture and traditional ships maintained a close relationship with carpenters and tools because wood, the material, was common. This close relationship may have been from the time of ancient architecture and ancient ships. In previous studies, researchers proved the relationship between these two sides through historical records of traditional architecture and traditional ships. This study attempts to prove the structural association using existing remains. As a result, three structural similarities between traditional architecture and traditional ships could be found. First, the types of wood used are similar, and the tools and terms used are similar. Second, the method of distinguishing horizontal and vertical materials and the structure of wood and the method of forming wood are similar. Lastly, the ship carpenters mobilized for the construction of the palace mainly worked on long and curved materials such as the eaves and the ridge of a roof, because this was the work done when the ship was built. Therefore, it can be assumed that the roof structure they created resembles that of the ship.