Before the 15th century, the main buildings of the residences of the ruling class in Seoul consisted of Momchae(身梗), Seocheong(西廳), and Naeru(內樓)‧Chimru(寢樓). Based on the equality of the relationship between husband and wife, the couple lived in the main building[Momchae] in the center of the mansion, but based on the individuality of the relationship between husband and wife, each had an area consisting of the same section within the building. Naeru‧Chimru was the two floors bedroom building became a common living space for the minister and wife, upstairs in summer, downstairs in winter. In preparation for large gatherings and important receptions, an open-structured West Hall(西廳) was located on the west side of the mansion. Momchae, Seocheong, and Naeru‧Chimru were the common building types and layouts of the residences of the highest ruling class, including high-ranking officials, until the reign of King Sejong. However, from around the time of King Seongjong, Seocheong and Chimru came to be regarded as privileged and luxurious buildings only allowed for the grand prince's residence. The layout of the bedroom, main building (including Wings), Outer Sarang[外舍廊], and Joyangru[朝陽樓] of Prince Bongrim's mansion built in the first half of the 17th century clearly shows the transitional period when the arrangement of chimru, main building, and western office was disrupted and the layout changed to the Inner main building(Anchae for wife) and Outer main building(Sarangchae for husband).

Julio Romano decorated the facade of his house in Mantua with a statue of Mercury to give expressions to his ideas on painting. Hereby the painter from Rome could show his home to the world as that of a painter. To be concrete, Mercury was the planet god to which visual artists belonged, and so was basically related to visual arts. In his role to deliver diverse features of art works Mercury could also convey concepts and emotions expressed in a picture to the viewer. The power of a painting to arouse certain emotions or move the mind of the viewer was further connected to the role of Mercury as the guide of the human soul. This function again related the Roman god to the characteristic of a portrait to present absent persons to the viewer. Above the statue of Mercury, a Lucian head of the god is seen, so that they together form the central axis of the facade. This seems to emphasize that the theme of the facade decoration was the powerful persuasive forces of eloquence. The two masks on the left could then refer to sources of eloquence, I.e. various beautiful expressions of a language and its generative process. On the other hand, the masks on the right could represent consequences of eloquence, for instance, prudence, evil effects which come about to imprudent listeners, and other influences on listeners. Finally, it would be useful to remind us of a line from On Architecture by Leon Battista Alberti. According to the humanist architect parts of a building which are seen from the outside, like a facade, should be appropriately designed, since the decoration of a house could play a significant role to enhance the fame and honor of the family and its fatherland. This theory of Alberti could have provided the foundation to the facade decoration of the Casa Pippi which proudly presented the profession of painting to the public in visual form.

이 논문은, W. B. 예이츠의 ｢내란기의 명상｣과 데릭 왈콧의 ｢대저택의 몰락｣의 비교 연구로서, 왈콧이 예이츠에게서 많은 것을 빌려왔지만, 시적 기교라기보다는 목적과 태도의 모델로서 빌린 것이라 생각한다. 예이츠의 시에서는, 식민지 유산의 개념들을 빌리고, 그 개념을 다루는 작가개념을 받아들인다. 즉, 영국의 지배에서 독립 후 자신의 나라의 문화적 재건을 인도한다. 날카롭고 관조적 역사관 유지하기 위해 자신을 격리시키는 예이츠의 경향과는 다르게, 왈콧은 예이츠처럼 조국과 거리를 두지만 역사와 식민지적 유산을 객관적으로 이해하기 위해 자신을 고립시키기보다는 서양의 규범과 식민지적 유산을 개방적이고 거침없이 활용한다.

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.