One of the reasons why Louis I. Kahn is regarded as a pioneer of Post-Modern Architecture is that his works are interpreted as Structuralism and Post-structuralism in architecture. A. Lüchinger’s interpretation of Structuralism and M. Benedikt’s interpretation of Post-structuralism; especially Deconstruction Theory, in Kahn’s architecture must be proper cases for understanding this context. However, when we precisely analyze their insistence, several fallacies can be found with their incomplete grasp of Kahn’s architectural thinking. The most problematic thing is that they maximize fallibility with focusing only on the analysis of superficial phenomenon, such as formal composition, disposition of space, decorative features, and so on. Therefore, the meaning of architectural essence toward Post-Modern Architecture which Kahn had pursued during his lifetime is sometimes misinterpreted. For this reason, this paper attempt to reanalyze Kahn’s philosophy of architecture deeply with the view of aesthetics which has a key role in both overcoming their fallacies and illuminating the potentiality of Kahn’s architecture.

The purpose of this study is to classify three-Kan hipped and gable-roofed Buddhist temples with the construction of their eave curve of part chunyeo and examine the characteristics and causes. The conclusions have been drawn as follows: First, there are largely three ways to secure symmetry in eave curve of part chunyeo. One is to obtain symmetry in eave curve of part chunyeo by making the size of eaves curves on well sides the same and forming symmetric curves in the front section along with the side roof and then forming the straight line in the central part (hereinafter referred to as the long straight line section method). The second is a method to enlarge eaves curves in the front and form eaves curves on the roof section to be symmetric (hereinafter referred to as the front is larger than side eaves curves method). The third is the method to make eaves curves in the roof section to be symmetric by adjusting the roof length and making difference between the front and side roof’s length minimum(hereinafter referred to as the roof length-controlling method). Second, there are 16 cases applying two or more methods, and they are the mainstream. Third, there are 12 cases applying the front is larger than side eaves curve method and roof length-controlling method both, which seems to be the most universal. To sum up, they secured symmetry in roof edges considering the construction of seonjayeon and pyeongyeon according to the size of the structure, recognition on the directions of entrance into the area of the building, forms of planes, harmony with structures around, recognition on roof curves in accordance with the size, and also structural faults in the chunyeo part.

It is difficult to build a hipped and gable roof in slender rectangular type due to restraint in variation of lateral length caused by gongpo arranged on the side, purlin space and the form of gable part and aesthetical effect of chunyeo maru. Against this backdrop and with the assumption that this phenomenon is more apparent in roofs of three-bay-kan Buddhist temples with the hipped and gable roof among national treasure Buddhist temples, this study has aimed to prove that a roof can be built in a less slender rectangular type than that of flat form and to present the building methodology and found the following findings. First, The ratio of lateral to longitudinal length of the roof has been adjusted by protruding the chunyeo and the method of adjusting the ratio of lateral to longitudinal length of the roof is considered to be determined depending on the availability of woods to be used in chunyeo. Second, in order to symmetrically arrange the edge of the roof, which is critical from the perspective of construction morphology, the chunyeo angle has been intentionally adjusted to reduce the gap of length between the front roof and the lateral roof. To sum up, the characteristic of the hipped and gable roof, which is difficult to be built in slender rectangular type, is more clearly shown in the roof and it is identified that the length of the front roof and the lateral roof has been intentionally adjusted to achieve the symmetrical arrangement of roofline of the roof edge.

매년 6월~8월이면 아파트 주차장 및 공장마당 아스팔트포장 표면의 골재 탈리현상으로 많은 민원이 제 기되고 있는 실정이다. 이는 주차장 및 공장마당의 경우 일반 도로와 달리 차량 및 지게차 등이 제자리에 서 바퀴를 돌리는 경우가 빈번하기 때문에 여름철 포장 온도가 상승한 시점에서 골재의 탈리가 발생하게 된다. 또한 일반 도로포장의 경우 시공 완료 후 차량들의 통행에 의해 추가 다짐이 진행되지만 주차장의 경우 차량 통행에 의한 다짐이 일반 도로포장에 비해 부족하기 때문에 일반도로 보다 포장의 공극률이 큰 경우가 많다. 이러한 이유로 여름철 주차장 및 공장마당의 골재 탈리현상이 빈번하게 발생하고 있지만 밀 입도 아스팔트 혼합물에 대한 골재탈리 저항성을 평가할 수 있는 시험방법은 없는 현실이다. 이에 본 연 구에서는 배수성 아스팔트 혼합물의 골재 비산 저항성을 평가할 수 있는 칸타브로 시험 방법을 밀입도 아 스팔트 혼합물에 적용하여 평가를 해 보았다. 배수성아스팔트 혼합물에 대한 칸타브로 시험은 20℃에서 진행하지만 본 연구의 경우 여름철 발생되는 밀입도 아스팔트 혼합물의 탈리현상을 모사하기 위하여 6 0℃의 온도에서 진행하였다. 그 이외의 시험방법은 KS F 2492 배수성 아스팔트 혼합물의 칸타브로 시험 방법과 동일하게 진행하였다. 골재탈리 현상에 밀접하게 관련있는 AP함량, 공극률에 대하여 조건을 변화 시켜 시험을 실시하였으며, AP함량의 경우 OAC 및 OAC±0.5% 대해, 공극률의 경우 목표공극률 4%, 7%, 10%에 맞춰 시험을 진행하였다. 시험결과 공극률 보다 AP함량이 골재 탈리에 더 민감하게 반응하였 으며, 공극률의 경우 OAC-0.5% 경우에 대해서는 공극률이 탈리에 미치는 영향이 뚜렸했지만 OAC 및 OAC+0.5%의 경우 공극률 변화에 따른 탈리의 연관성이 뚜렷하게 나타나지 않았다.

Unlike the extrinsic Modern Functionalist, Louis I. Kahn, a modern American architect, had been pursued intrinsic architectural nature based on historicity; The Essence of Architecture, during his lifetime. That is the reason why he is generally called as one of frontiers toward Post-Modern Architecture. However, the actual meaning of his ‘The Essence of Architecture’ is so vague and unclear until today, because not only his complex personal thought and career but various and subjective interpretation by so many later architects and architectural theorists. In the context, this paper attempt to reanalyze and clarify Kahn's idea of ‘The Essence of Architecture’ with the deep and objective view of aesthetics focused on a distinguished contemporary German philosopher, N. Hartman’s idea of phenomenological relation and the stratified structure of a work of art.

Louis I. Kahn is cleary one of 20th century great architects. The character of his philosophy of architecture can be condensed as simple words; Architectural Essence, because the very nature of his work based on historicity is so fundamental. Some contemporary architects and architectural critics regard it as a symbol of Post-Modern Architecture era expressing relative multiplicity or an expression of Heideggerian existentialism, but others do as the attribute of fundamentalist like absolute Plato's Idea. Comparing the former, studies of the latter theme have been executed superficially and somewhat biasedly for last decades. In the context, this paper attempt to reanalyze Kahn's idea of ‘Architectural Essence’ with the deep view of Platonist focused on the concept of binary opposition and causality.

This study set out to compare and analyze the influences Kabbalah, which was Louis I. Kahn's faith as a Jew, on his architecture based on Freud's psychoanalysis that had many exchanges with modernism and contemporary architecture and the analytical psychology of Jung that affected Kahn in examining his architecture and theories. The specific goals of the study were to shed light to Kahn's presence in contemporary architecture anew and establish the methodology of using psychoanalysis in building new theories of architectural planning. When the theories of psychoanalysis were introduced for comparison and analysis purposes, Kahn tried to differentiate his buildings by placing a function or symbolic central space at the heart of a building even though he did adopt a characteristic of modernism architecture, which was placing a core at the centre of plan, for a while. Such a tendency of his was based on Jung's opinions rather than Freud's and affected by Ecole des Beaux-Art. The analysis results also indicate that he conceived "Served Space & Servant Space," "architecture of connection" and "silence and light" that made up the essence of his architectural theory from the relationships between Ayin-Sof, Kabbalah's absolute god, and Sefiroth. It's also very likely that his often use of triangles and circles in his architecture was affected by the Tree of Sefiroth diagram of Kabbalah. His tendency is well reflected in Salk Institute and Philips Exeter Academy Library, where he placed a laboratory or courtyard at the center where a core was supposed to be, created a corridor or courtyard space between those central spaces and the core, and connected them one another with circulation. Thus he succeeded in embodying the concept of Tree of Sefiroth with which to perceive the being of Ayin-Sof into an architectural space, which is well proven with Mikveh Israel Synagogue where he directly applied the Tree of Sefiroth diagram. The synagogue also contained a hollow column that served as an important concept in his late architecture. The hollow column was also the result of him applying the concept of Sefiroth to the place where Ayin-Sof was reduced in Kabbalah.

This study aims to investigate and analyze the plan and structural system of 4 kan(間) by 4 kan(間) square church built in early 20th century. At that time, three kinds of traditional wooden structure church had been built under the circumstances of transitional era : Basilica style such as Ganghwa Anglican Church, ‘ㄱ’ shaped style such as Keumsan Church and 4×4 Square style such as Bukok Church and Jacheon Church that are concerned in this study. Traditional plans and structural system were mixed with new religious function and transformed into korean peculiar style. 4×4 Square style is a residual product in that process. Despite of it, little concerns on it till now. The results of this study are described as follows. 1. The plan of these 4×4 square churches is divided into three areas : cathedra(1×1), attendance(4×2), and intermediation(4×2). The location of cathedra is commonly the opposition part of main gate and projected out of the building. Attendance area was also divided into two, man and woman, because of keeping a distance with each other. 2. The structural system of these 4×4 square churches are somewhat different because of their size and roof style. In the case of Bukok church, 4×4 square fall off 3×3 and 2×2 gradually and turn into paljak(八作) roof, which enable us to get in traditional entering methods. On the contrary, Jacheon church use hipped roof but almost alike pyramidal roof, which could make us not to recognize entering in the aspect of gable part.

Many researches on the typology of 'Maru'(Wooden deck) in Korean traditional houses have mainly focused on the high-class houses in the central region of Korea. They were mainly concerned on defining Maru's typology by social status of the owner, based on the researches regarding its physical and spatial properties. Maru in the high-class traditional houses has been served as an essential architectural feature showing the social status of owners as well as adapting in the region of humid and hot summer. This research investigated the typology of Maru's placement in traditional single houses of four Kan in Chonnam province, which shows many differences in its placement according to the regions. Research results show that the typology of Maru's placement and openness is different with the location of houses within the region. This difference affects on the circulation of movement, which eventually affects on the pattern of space use. The difference is also very likely to be affected by the natural environment of geography and climate of the region.

This paper is a study of the possibility of experience and expression in the architecture of Louis I. Kahn by focusing on the characters of entrance, court and window/wall of his public buildings. In the course of composition, Kahn defined the entrance, court and window/wall as an connecting elements and elements of boundary. The characters revealed by these elements or rooms give the clue to insight Kahn's thought of relation of interior and exterior space or inner and outer space. Following are the characters of these elements. First, a entrance reveals the fact that inner space separates from outer space by connecting these two space and giving the value to inner space as the entity and totality like outer space. The entrance gives its ontological being to human subjects not by vision but experience and expression which is the essence of commonness, that is, Silence. Kahn made the possibility of activity amplify in this common and silent space. Second, this entrance is connected with wide and huge central space not individual spaces of interior space. This extreme procedure of entering makes human subject feel sublime of intoner space. And the central spaces becomes another exterior or another world in the inner world of architecture by the lights from above and by having the boundary wall which shows same pattern of exterior wall. Third, Kahn regarded a window as the giver of lights not as the medium of vision connecting inner space with outer. He tried to connect interior with exterior through the being and character of the light expressed in the interior. And in his buildings, interior space is connected with exterior by expressing the purpose of building, composition of inner space, structural truth and construction facts through the Form, a pattern of wall, details and ornamental joints. By practicing this thoughts in the real buildings, Kahn tried to gave aura to both the interior space and entity of architecture which is regarded as micro universe like flowers, rocks and human beings.

Louis Kahn has overcome the limits of Functionalist Architecture and reconnect the classical tradition to Modern Architecture. With a point of view that his special approach to historical precidents enabled him to contribute broaden the hiorizon of Modern Architecture, this paper trys to investigate and analyse Kahn's typological thoughts and practice in Architecture. In many ways his a priory and metaphysical thoughts on Architecture proved to be very similar to typology of 18th Century Neo-Classicism. And the geometry of Kahn's Architecture play a important role with respects to his typology. As a form-generator and 'parti' his geometry and its composition play a intemediate role to connect Form and Design and to realize the concrete structure. Therefore, the concept of his Form could be called an archetype and geometry be a kind of type in his architecture