This study compares St. Nicholas' Orthodox Church in Seoul (1968) and St. Dionysios' Orthodox Church in Ulsan (2005), which are Byzantine-style churches under the Korean Orthodox Church, with Hagiya Sophia in Istanbul, a masterpiece of Byzantine architecture. Focusing on the construction method and shape of the dome, which is a major characteristic of Byzantine architecture, this study compares the architectural background of these three churches, the presence and shape of the dome, the presence of drums, and the number and shape of skylights. As a result, it was found that these three churches differ in the construction method of the dome due to differences in different architectural backgrounds and structural methods, and that these structural and morphological differences ultimately determine the atmosphere of the interior space of the cathedral. This study examines two representative Byzantine Orthodox churches in Korea, both designed by the same architect, Zho Chang Han (b. 1936), with a time gap of approximately 40 years between them. It holds particular significance in exploring how the Byzantine dome was constructed differently by analyzing the historical context and structural characteristics of the Orthodox Church.

This study sought to reveal the architectural characteristics of Quonset church built in the Archdiocese of Gwangju, and the conclusions are as follows. The Quonset structure, which was used as a military barracks during World War II and was designed to be easily assembled and disassembled quickly, was used in Damyang, Hwasun, and Gokseong churchs. They were all built in 1958, after the Korean War, and can be related to the historical background of the rapid increase in the number of Catholics. They are utility buildings that can accommodate many believers, that is, large quonsets measuring 40 feet (width) x 100 feet (length). The floor plan was largely divided into two spaces, with about 3/4 reserved for the nave and altar, and the remaining 1/4, or 24 to 30 feet, used as a sacristy or confessional. The cross-section is a semicircle with a radius of 20 feet, framed by 6-inch ribs, and its unique structure, in which bricks are stacked on the outside to form the exterior, makes it different from a typical brick church. Unlike other stone churches built around the same time, Quonset church was not expanded. This may be due to the difficulty in supplying special materials such as the ribs that make up the frame, as well as the absence of relevant experts.

This study aimed to elucidate the architectural characteristics of the cathedral architecture of the Archdiocese of Gwangju, which was completed in the period of liberation and turbulence, and the conclusions are as follows. Gwangju Archdiocese Cathedral, completed during the period of liberation and turbulence, was built with some assistance from the U.S. military or with the efforts of the faithful, and there are a number of factors such as space directing by Aps, the development of a simplified bell tower, the appearance of a stone cathedral, the application of a quenset structure, and an increase in size. show special features The indented apse appears only after liberation, and is a characteristic that appears prominently in stone churches. The simplified form in which the bell was hung by raising the outer wall appeared in the early church shows a change in the composition with a porch in front. The stone church and the quanset-structured church only appeared after liberation and were built only in the 1950s. The size of the cathedral reflects the increase in the number of believers after the Korean War, and the average area is about 1.5 times higher than before liberation. When considering the spacing of the bays as a module, the size plan followed the implicit norm of early cathedral architecture of 36.5m, but gradually decreased to 2.7m and 2.4m.

중국 산서성 오대산 불광사에는 구체적 기록이 남아 있지 않은 독특한 모습의 6각 묘탑이 남아 있다. 각 구성 양식은 구체적인 시대를 비정하기 어려운 측면이 있어 그 조성 배경과 사상적 의미에 대한 접근이 어려웠다. 지금은 없어졌지만 1937년 기록 사진에 남아 있는 조사탑 이층 탑신 직령창 위에 그려진 액방(인방)과 인자 보간(인자형 두공, 인자 화반)의 모습은 남조 중기의 무덤 돌문의 아치형 문미에 표현된 인자 대공의 양식과 유사한데 이를 계승하여 회화적으로 변용된 모습이 당나라 장안의 황족과 귀족 무덤에서 확인된다. 이들과 조사탑의 것을 비교해 보면 8세기 초부터 형태가 유사하며 개원 연간의 것과는 동일한 양식이라 판단된다. 기단부와 평좌 양식도 8세기 전반기를 벗어나지 않는다. 이를 통해 불광사 조사탑의 인자 보간 양식은 당나라 시대의 변화를 거친 것으로 결국 조사탑은 8세기 전반기에 서안, 혹은 중앙 정권의 지원 아래 조성되었을 것이라는 결론에 이른다. 이를 토대로 기존의 관련 자료들을 재검토해 보면 동대전과 조사탑이 있는 사찰의 영역은 오대산과 불광사에 대한 고종과 측천무후의 정치적 움직임과 연관되어 있으며 조사탑은 그러한 배경 속에서 해탈선사의 법손인 업장에 의해 8세기 전반 경에 조성되었을 것이라고 생각한다.

T. S. Eliot’s Four Quartets and Murder in the Cathedral inherited the religious and philosophical tradition of Thomas Aquinas’s Summa Theology and Dante’s Divine Comedy. The Anglo-Catholicism, as distinguished from the Roman Catholicism, thereby may be seen to designate Eliot’s religious identity. Dante’s Divine Comedy shows the apex of his contemplation based upon the intellect. Dante illustrates “paradiso” reaching contemplation by using various lights, and Eliot’s Four Quartets similarly reveals a still point that is a mystical experience filled with much light. In Four Quartets the moment of mystical experience can be seen like those in the works of Thomas Aquinas and Dante belonging to a Catholic tradition that reaches sanctification. The action of Archbishop Thomas Becket in Murder in the Cathedral might just sin as a failure to will in accordance with God, which is the choice of good and evil of human acts interpreted by St. Thomas Aquinas’s Summa Theology. For the true martyr is the person who has become the instrument of God, who has lost his will in the will of God, and who no longer desires anything for himself.

17세기 로마의 전성기 바로크에서 활동했던 프란체스코 보로미니의 건축은 정교하고 복잡한, 하지만 탈 고전주의적인 기하학적 구성으로 잘 알려져 있다. 본 연구는 이 성당의 공사과정상의 문제들을 당대의 정치적 변화와 연동지음으로써 산 티보 성당의 정치적 상징체계의 변화와 그 양상을 제시하려고 하였다. 1642년에 착공되어 1660년에 봉헌된 이 성당은, 그 규모를 고려할 때, 상당한 공사기간을 가 졌다. 이것은 건축을 위한 물리적인 시간의 지연이 아니라, 정치적 역학에 따른 지연이었다. 건축 공간과 구조 속에 투영된 기하학적 그리고 문장학적 요소들은 선행연구들이 인식했던 ‘지혜의 상징’을 넘어서 ‘권력의 상징’이 되었고, 실내와 외부에 추가된 장식물들 또한 이러한 정치적인 의미를 담고 있다.

This article deals with a proportional analysis of Cologne Cathedral with regard to the medieval tradition of geometry and figurate numbers that were commonly used in the medieval period. It first outlines symbolic and geometric notions of the geometry and numbers during the medieval period, and then, interprets the proportional design of the plan and section of the cathedral in analogy with the notion. It concludes that the proportional design of the cathedral was not quite arbitrary but carefully designed for the systematic and symbolic quality of the medieval aesthetic tradition.

Animal Assisted Education (AAE) is goal-directed interventions designed to promote improvement in cognitive functioning of the person(s) involved and in which a specially trained dog-handler team is an integral part of the educational process. AAE is directed and/or delivered by an educational professional with education, licensure, and specialized expertise and within the scope of education. AAE may be provided in a variety of settings, may be group or individual in nature and may be implemented for persons of any age. There are specific educational goals for each individual involved and the process is documented and evaluated. The purpose of this manuscript is to report a pilot study of animal assisted education in Seongdang Elementary School in Iksan City, Jeollabuk-do. We conducted the study of animal assisted education program with 16 elementary school students in Seongdang Elementary School in Iksan City, Jeonbuk. This program had a total of 12 sessions as one secession per a week for a period of 12 weeks, which took around two hours for a session. As the results, we found he positive improvement effects of anxiety, depression, ADHD and, conduct disorder by animal assisted education program. Also, animal assisted education program had a positive impact on the elevation of attention potency, activity and positivity of the subject students. In conclusion, animal assisted education program could be used effectively for the improvement of education efficiency and problem solving for the young students.

The core idea of the critical regionalism could be summarized as a self-conscious synthesis between universal civilization and world culture. After World War Ⅱ, it has been applied to architecture for overcoming the problem of Industrial Capitalism and uniformity of 20th century Modern Architecture. Naturally, religious architecture cannot also be an exception in this cultural trend, thus we can also apply the critical regionalism to the Korean Catholic Church Architecture with the basic premise that the Traditional Western and Modern Style Church Architecture should be regarded as universal civilization, and the Traditional Korean Architecture and endemicity as one of world culture. In the context, this article attempts to analyze the regionality of Korean Modern Catholic Church Architecture constructed between the 19th century and 1980's, and how it has been differently transformed with the view of the critical regionalism. Its analysis will be carried out within three types; transformation of the Traditional Korean Architecture and the influence of Japanese Modern Architecture, representation of the Traditional Korean Architecture, and abstraction of the Traditional Korean Architecture with each advantages and disadvantages.

This study aims at searching the Church Building Type and Design Sources of a German church architect who had designed many churches and other buildings in Korea. P. Alwin Schmid(1904-1978) had designed 188 Catholic buildings in Korea for 20 years from 1958 to 1978. In his works there are many excellent Catholic ritual buildings. It was caused by his conviction on the theology and the principles of Church Architecture. And His remarkable achievement is affected by the works of Dominikus Bo"m(1880-1955) and Rudolf Schwarz(1897-1961). Alwin's 5 plan type is relevant to Schwarz' iconographic model, and their approach to 'light' is much the same. But the Character of inner space is the middle of Dominikus Bo"m and Rudolf Schwarz. His works rotted in the Liturgical Movement had been developed in the line of connection with 20th German church architecture. The works of Dominikus Bo"m and Rudolf Schwarz played the role of the teacher of Alwin Schwarz.

The bricks in Myung Dong Cathedral Church are now deteriorated by the weather such as temperature, humidity, and winds. Thus it is necessary to replace the old bricks to the restored bricks for the load bearing capacity as well as to prevent the penetrations of rains from outside. However the mortar composition is not well defined at this moment and there are literary about the mortar completions. Thus it is necessary to verify the mortar compactions between old bricks and results to bring the restoring the mortar for the replace of new bricks. The particles of mortar was collected from Myung Dong Cathedral Church and particle size was analyzed by the mortar and pestle and mechanicle floater. The X-ray diffraction and XRF of each particles are analyzed. The quartz and feldspar such as albite, kaolinite are observed in large particles(>1mm). However, the clicite was observed at lower than $43{\mu}m$ particles. In XRF analysis, the $SiO_2\;and\;K_2O$ are observed at large particles$(1mm-208{\mu}m)\;and\;CaCO_3$ is observed at small particles$(208-43{\mu}m)\;and\;CaCO_3$ is observed at small particles($208-43{\mu}m$). This is well coincide with XRD results. The optimum volume ratio of lime mortar would be 1: 2 ($CaO: SiO_2$).

The Chapel and Exhibition hall of Chul-du-san-Holy place are considered as the most important work of architect Lee Hee-Tai (1925-1980), and as a work representing Korean architecture in 1960's. What is the reason that these buildings can acquire such a remarkable estimation? This study tries to make clear this reason with an analytic method. These buildings are situated in singular site, in which small mountain comes up alongside with Han-river. Architect laid out the Chapel and Exhibition hall to the memory of 108 saints who died for their faith in this mountain, considering the specificity of the site, the direction of approach stair, and the formation of public space. Architect proposes an opposed composition of form for these two buildings. So the Exhibition hall is characterized by trabeated structure, centripetal force and Apollonian order. It has strictly proportioned facade, which is composed of two 15m-by-l5m squares and subdivided equally in three portions. The Chapel is charaterized by arcuated structure, centrifugal force, and Dionysosian sentiment. In this work, architect Lee Hee-Tai also expressed the locality of Korean architecture with the grammar of column-roof.