이 연구는 2010년대 후반 이후 일본 여성만화에 나타난 집합주택단지의 두 이미지에 대해서 이시야마 사야카의 『천 개의 창문, 천 개의 문』과 미즈나기 도리의 『행복은 먹고 자고 기다리고』를 중심으로 살펴본다. 일 본 대중문화콘텐츠는 집합주택단지를 다양하게 묘사하고 중요하게 다뤄 왔다. 이에 대해 영화를 중심으로 단지 이미지에 관한 연구가 이뤄진다. 그러나 2010년대 이후의 대중문화콘텐츠에서 단지가 어떻게 묘사되는지 에 관한 연구는 부재하다. 따라서 이 논문에서는 선행연구를 통해 단지 이미지의 변천에 대해 논한다. 나아가 2010년대의 이후의 여성만화 속에 서의 단지 이미지에 관해 고찰한다. 지금까지 단지 이미지가 변화해왔어 도 단지는 ‘표준’의 이미지로 대변되었다. 또, ‘고립의 장’으로 그려지거 나 ‘정치의 장’으로 기능했다고 지적됐다. 이 논문에서는 2010년대 후반 이후 일본 여성만화에서는 소위 ‘표준’을 벗어난 연령대와 직업군의 주민 들이 묘사되며, 적당한 거리감 있는 연결을 보이는 탈정치화된 생활 공 동체로 묘사되고 있음을 밝힌다.

Remodeling is an architectural activity that transforms the existing state of specific building which has been aged and clichedinto new state overcoming those aged and cliched state. Remodeling can be a means to increase building’ s physical lifecycle and also a countermeasure to cope with the changes in use that are from social demand, use and technical development. The performance evaluation on the remodeling tenement shall be done by understanding the performance and state of the building before and after remodeling and then it shall represent the improvement in performanc objectively by comparing the differences before and after remodeling. In this aspect, we performed basic research to conduct performance evaluation on the remodeling tenement by comparing and analyzing the performance evaluation and performance certificate systems of Korea and Japan in order to suggest objective evaluation system on the change of tenement building before and after remodeling.

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.

The Villa Mairea (1937-39) designed by Alvar Aalto (1898-1976) has been studied by many researchers from various viewpoints. However, few studies have devoted their attention to the major issue raised by Aalto at the Yale University lecture and "Mairea" article in arkitekten in 1939. The issue is to fuse art with life in the living room with mobile partition walls that can function both as art exhibition walls and as art storage cabinets at the same time. Through this device, he maintained, the client can change displayed pictures easily according to the situation and so "painting and everyday life can evolve in a more direct manner." This paper argues that Aalto's concept originated from Japanese 'tokonoma' in Tetsuro Yoshida's Das japanische Wohnhaus (1935), which he referred to during the project. Differently from other Japanese features in the house, this tokonoma idea is more than formal, but more decisive than passing in driving the plan. And, whether coincidently or not, his idea exactly corresponds to Japanese aesthetes' and critics' own interpretation of the tononoma as the symbolic centre of Japanese people's everyday life. More importantly, however, this art display concept discloses secret strata of modern architecture during the time when the petrified rationalism was still at its power Even through the tokonoma motif alone, we see diverse trails in modern architecture: fusion of the East and the West, fusion of the traditional and the modern, to say nothing of fusion of art with life.