중국의 전통 문화 유산은 고대 중국의 뛰어난 건축 기술과 미적 감각 을 보여주는 좋은 수단이며, 유구한 전통과 고유한 풍습을 고스란히 반 영하고 있다. 푸젠성 흙보루(土堡)는 주로 복건성에 분포하는 중국의 전 통 가옥 중 하나이며, 지역의 문화적 특성이 뚜렷하게 나타나는 방어용 가옥이다. 본 연구의 목적은 푸젠성 흙보루를 연구의 대상으로 선정하여 푸젠성 흙보루에 나타나는 건축 문화의 특징을 분석하고, 이를 통해 흙 보루 문화의 전승 방법을 제안하는 데 있다. 이를 위해 현장 조사 및 문 헌 분석을 기반으로 푸젠성 흙보루의 역사적, 문화적 배경과 공간 배치 의 측면에서 푸젠성 흙보루의 발생 배경과 건축 문화에 대한 정리 작업 을 진행하였다. 연구결과， 푸젠성 흙보루의 건축 문화에는 역사적 발전 배경, 부지 선정 문화, 공간 배치 문화, 기능적 구성 등 여러 요소가 반 영되어 있는데, 이는 특수한 역사적 배경 및 고유의 환경적 요소가 복합 적으로 결합한 결과이다. 푸젠성 흙보루의 건축 문화는 중국 전통의 건 축 문화에 기반하며, 최종적으로 지역의 자연 및 사회 환경에 적응하며 형성되었다. 본 연구가 지역의 전통 문화 전승과 중국의 전통 주거 문화 유산의 발전에 긍정적인 역할을 할 수 있을거라 기대한다.

Recently, local studies looking at the 'local(region) as a whole' are gradually increasing. The study of local architectural history is important in that it provides specific information that encompasses the local and the entire and clues to three-dimensionalize the time and space in the local. To infer the 'presentness' of each era, reliable data in various fields are needed. Recently, as many databases (DB) and archives, from the 'National Archives of Korea' to other local archives, have been established and publicized, research resources in the local are growing rapidly in quantity and quality. Nevertheless, it is difficult to comprehensively check the data necessary to study the local architectural history(local architectural history research resources). Against this background, this study confirmed the trend of changes in the archive construction environment and the status and problems of local architectural history research resources in places that currently disclose local history research resources among generalized web-archives. Next, the relationship between the actual research on local architectural history was confirmed through the analysis of existing studies and the data used for Jeju. As a result, local studies, local archives, and local architectural history research agree with recent changes in local research trends, and the degree of archival construction has reached the same level as the available research resources except core data in local architectural history research. However, there is a problem that the density of information that can be used is low because the local architectural history research resources that can be obtained are fragmented because there are no archives and construction entities specialized in local architecture. As each archive has entered the stabilization and upgrading stage, the construction of new archives needs to be reconsidered, but it is time to find a detailed way to link related information quickly and accurately, such as private records, to reduce the gap in information needed in terms of research on local architecture and architecture history.

This research takes as its object a body of historical researches by a new generation of French architects in the 1970s, who tried to confront the deep crisis in architecture since the years 1960. The research begins by noting that the ideology of the architect as an autonomous and transcendental subject, an ideology held by the architects of the previous generation, was a main target that young architects wanted to criticize and overcome. From this observation, the research focuses on a antihumanistic project which gave basis for a significant number of historical researches on modern architecture and was the result of a reappropriation of the French structuralism intensively developed in the human and social sciences of that time in France. After a series of textual analyzes, we argue that a new perspective on the city and the relationship of the latter with the architecture on the one hand, and the proposal for an "modest" architect as an alternative figure after rejection of the autonomous and transcendental one on the other hand, have been derived as the outcome of anti-humanist historiographic works. Finally, we assume that these historical adventure gave conceptual basis for postmodern architecture in France, freed from the modern myth of unity of author and that of work of art, but tinted by a moralism requesting modesty to architects.

Historic buildings are history of human kind and a crystal of culture. Therefore, we have a responsibility and obligation to succeed to descendants. Once such heritage is damaged, it is hard to restore its original form. Thus, various attempts to preserve its value and authenticity have been made internationally. Among these, the international preservation tendency of historic building in terms of materials has been given to the preservation of materials as well as the preservation of appearance. In accordance with such trend, Korea also presented an equivalent general principle, and has managed historic buildings with the separate related instruction. The most general method to preserve historic buildings in Korea is a repair work. Since the foundation of Korea, the repair work tendency has been carried out in the principle of phenomenon change and original form maintenance. But, such tendency focuses on the appearance such as style, structure and trimming method, and there is insufficient consideration on the authentic preservation of materials. Accordingly, this study attempts to examine preservation principle and methods in the repair works, and also to investigate the afforestation condition for the restoration work. And, by suggesting preservation method of authentic materials, it aims to prepare the reference for the future repair work.

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.

Choryang Waekwan was the biggest Japanese settlment to house the Japanese diplomatic mission and traders in Korea. Waekwan means Japanese Pavilion literally, but the reality of this Waekwan exceeded much the scale of single architecture. Since Choryang Waekwan was closed in the second half of the nineteenth century, the site of this settlement grew rapidly as the downtown of Busan, which was the first port open to foreign countries in modern Korea. The formation of modern port owes much to the presence of Japanese settlment in Lee Dynasty as long as Choryang was officially designated as the trading port toward Japan and vice versa. Busan is the nearest city to Japan, in fact. Within a day ships could reach Tsushima Island, the island region north of Fukuoka, which played an intermediary role between Seoul and Edo. No architectural remain could be seen on the actual site of Choryang Waekwan. The site has become one of the busiest centers in Busan with quantify of office buildings and shops. The former Busan City Hall was located in this area. The field survey of the site as well as the analysis of historical documents, which were newly found both in Korea and in Japan, enabled to reconstruct the architecture and cityscape of Waekwan by way of computer graphics.

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.