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).

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.

Recognizing that the debate on the original form of the Seokguram Grotto is closely related to the mythologization of the Seokguram Grotto, which is far from factual understanding, this paper is prepared to restore the Seokguram Grotto based on scientific facts. To this end, we will first analyze its active meaning and fiction from three directions: the founding legend, the rediscovery story, and the concept and discourse of the Line of sight for Buddha statue (對佛像視準線), which have contributed to the mythologization of the Seokguram Grotto. The original restoration of the Seokguram Grotto should be based on a scientific understanding of the Seokguram space. However, past debates and restoration attempts have been based on imagination and not on scientific knowledge. Therefore, Chapter 3 attempts a scientific analysis of the light environment of thr Seokguram Grotto and critically examines the existing errors and realistic mythological images to correct the public's spatial perception of Seokguram's architecture and to propose a rational restoration of Seokguram's architectural space.

지하공간이용은 도심내 부족한 주거, 상업, 공업용지의 공급이라는 물리적 측 면과 경제적, 효율적 측면에서 그 가능성이 매우 높은 공간이며 다중이용시설 과 주거, 업무공간으로 수요가 증가 할 것으로 예상된다. 또한 최근에 발생한 우크라이나와 러시아의 장기 전쟁과 88년만의 폭우로 인한 서울의 인명피해는 사회적으로 지하공간을 대피 및 방재시설로도 활용할 필요성을 역설해 주고 있다. 대피·방재공간, 주거생활 및 업무공간과 관련하여 주거환경, 안전, 소방, 피난등의 시설을 갖춘 쾌적한 지하공간이 필요하게 되었다. 이러한 대피공간, 재해예방시설, 다중이용시설과 주거, 업무공간에 필요한 문제점을 파악하고 건 축법적인 해결 방안을 법률적·제도적 차원에서 접근하여 지하공간이용 활성 화 및 쾌적한 지하공간 환경이 조성되도록 개선점 등을 제시하였고 현실적인 개선사항으로 지하공간이용개발촉진지구 지정에 대한 것 등을 제안하였다.

In this research, the case of modern wooden structures since 1950 with span of 30m or more was investigated and analyzed the construction status and structural planning characteristics of wooden large space architecture. As a result, wooden large space buildings have built around Asia, North America, and Europe, in which cases of ice skating stadiums with span of 30m to 60m were concentrated. In the case of baseball parks and football stadiums, even a span of about 165m was built in a wooden structure. In addition, it was found that the structural systems used in wooden large space structures were a funicular arch and truss structure, in that cases, funicular arch system consisting of radial arrangements was used in the examples exceeded 150m and the two way truss system was also used in long span wooden structures exceeding 100m. As the truss structure with a tie-rod or the flexure+tension structure was partially investigated, it can be seen that various timber structural systems need to be devised and researched. Also, It was investigated that a technique in which some members of the truss are made of steel or a composite member of steel and timber is also possible to develop

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 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.