본 연구의 목적은 심전도를 활용하여 원룸형 평면 계획 구성에 따른 자율신경계의 반응을 측정하는 것이다. 지금까지의 생리 신호는 대부분 제한된 건축요소에 대해 개별적으로 측정되었고, 이 결과들은 실제의 전체 원룸공간에서 측정된 데이터와는 차이가 있다. 그러므로 보다 동적인 환경에서 인간의 감성을 추출하고자 본 연구를 수행했다. 먼저, 무작위로 수집 된 43 개의 원룸은 욕실과 주방의 위치에 따라 10 가지 유형의 평면 구성으로 분류되었다. 그 다음 건강한 10명의 피험자로부터 평면 구성 변화에 따른 자율신경계의 반응을 측정하였고, 쾌적성 및 선호도에 대한 주관 평가가 시행되었다. 결과적으로 평면 구성 따른 유형별 LF/HF의 평균 비율에는 통계적으로 유의미한 차이가 있었다(p <0.05). 본 연구 결과는 평면의 구성이 원룸의 공간의 질에 영향을 미칠 수 있다는 것을 보여주는 확실한 증거를 제공하며, 이 접근법이 일인가구의 정신 질환을 악화시킬 수 있는 스트레스를 해소하는 데 효과적임을 제시한다. 앞으로 피험자수를 늘려 보다 정확한 통계적 분석을 하고자 한다.

Korean-Chinese is one of the 56 minority groups in the People’s Republic of China. Korean-Chinese is the same origin as the Korean Peninsula. In the mid of 19th century, they, who lived in a part of Joseon, suffered with nature disasters and poverty, therefore they offended against the law, immigrated, and started farming in Ching Dynasty, which is northeast China in the present. Later, Korean’s individual and mass migrations were happened around coastland of Tumen River and Yalu River with the connivance of the law. This thesis is a consideration of how the Korean-Chinese has adapted before and after the liberation from Japanese colonial era to the Chinese socialism and What their Residential Plan Composition and Plan Types in the village. Based on the field research and literature research, introduces the village history, Plan Composition and sample Plan types. Then, Based on this research, it will be the foundation of the future study of the Korean-Chinese’s villages and planning study to conserve the villages.

The aim of this study is to identify the floor plan types of folk houses or traditional vernacular dwellings found in Nagan Folk Village located in Joellanamdo province. Examining the floor plans appeared among 36 vernacular folk houses presumably built in the 19th century in the village by means of the changes in the number of bays of Anche, the mail block of the house, the study was also able to construct a spatial compositional process of floor plan development. The floor plan examination revealed that the basic floor plan type in Nagan folk housing was 'ㅡ' shape, a typical southern dwelling based on the existing classification. This basic type is consisted of three bays or rooms: Jeongji (kitchen), Anbang (large room), and Jageunbang (small room). New spaces or rooms are added to this three room house to expand the house as the residential functions become more complex, such as more living and storage spaces. The expansion appears to have two direction. On the one hand, it has been taken place by inserting Marea, an open wooden floor living space between Anbang and Jageunbang to meet the extended living demand. On the other, Jeongjibang, a second kitchen/storage has been attached to Jeongji outward for extra cooking and storage. This two-way expansion shows the trend of symmetric expansion between cooking, storing space and dwelling space. It can be implied that the arrangement of house rooms has been structurally formulated and shared by the farmer-builders in the 19th century in Nagan village who appeared to be influenced by fixed images for housing.

The aim of this study is to analyze the planar composition of rectangular formation houses in 8 areas, both cities and counties, in the sphere of Andong and to reveal the characteristics of these houses in each region. This study of the rectangular formation of houses and their characteristics will facilitate an understanding of the general trends of housing in Andong cultural area.. In this study, the subject houses are composed of three parts: Bonchae, Anchae, and Sarangchae, and the author classified the planar types of the houses. The differences in the regional planar types were analyzed through visual and statistical methods. The analyzed results reveal the regional characteristics of the rectangular formation houses in terms of their planar aspects in the Andong region. The distribution showed the greatest preference toward one type out of two types of distribution of Bonchae, Anchae, and Sarangchae. The ratio for the higher distribution was approximately 70%, whereas the ratio for the lower distribution was around 20%. For convenience, the type with a higher distribution rate is referred to as the “major type,” and the type with a lower distribution rate is termed the “minor type.’ The complete-type houses (73%) in Bonchae were a major type there, and the symmetric-type houses (73%) in Anchae were the major type in that location. In addition, the corner-type houses (72%) in Sarangchae were the major type . In the regional distribution of major types and minor types in the 8 regional cities and counties, regional differences were noted. The three regional groups can be divided into A, B, and C according to the distribution ratio. Andong, Bonghwa, and Yecheon belong to region A. that shows a variety of distribution types and a dispersive trend. Yeongyang and Yeongdeok belong to region C that shows a simplified trend.Yeongju and Cheongsong belong to region B

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.

In ancient times, architectural design was seen as a critical task in building technologies. Specifically, form, dimension and structural design are of significant. These aspects are associated with each other and to be emerged as a whole. Designing plan dimension was deemed to be the core of design technology due to its close relationship with module system. Thus, its evolution as well as development process typically represents and reflects the spirits and contents of design technologies in ancient China. In China, the materials regarding ancient architectural technology include Yingzaofashi(營造法式) of Song Dynasty and Gongchengzuofazeli(工程做法則例) of Qing Dynasty. They show many aspects concerning materials, structure, scale system and building. In Yingzaofashi, although the length of objects are decided by 'cai(材)' and 'fen(分)', there are no regulations on length, width and height of a building. However, in the construction of ancient buildings, the above mentioned basic scales are very important in both design and construction. The present paper attempts to discuss the significance, namely, the design principles of length, with and height of ancient chinese architecture.

This study is to analyze the geometrical composition system for the plan of S. Pietro by Michelangelo. In the result of study, the plan is based on the geometrical elements of circle square cross, and shaped to symbolize the Universe which consists of the Heaven the Earth the Man. The plan is constituted of the conception of composition into hierarchy and repetition intersecting 45 degree the same sized square with inscribed square in a circle. Such the geometrical composition system can be found out a large number of example to the geometrical composition of architecture and city planning from Vitruvius to Bramante and Da Vinci. This plan is disposed in balance as the regularly proportional system of 1:1, 1:2, 1:3, which is formed the principal space. And the interior space is constituted of the organic space system, expanding to the direction of horizontal, vertical(ascension), development for primary space and secondary space with center in the geometric composition system of altar.