This study chiefly aims to clarify efficient methods considering behavioral pattern of refugees in multi-use facilities which can be applied to architectural planning. Accordance with COVID-19 situation, it is mandatory to check the temperature of visitors as a measure for the prevention of COVID-19 in multiuser facilities. When disaster occurs, for people in multi-use facilities such as medical facilities, museum, concert hall etc, it is difficult to find out short and right route to outside since the spatial characteristics are not familiar to visitors. If we design floor plans and circulation system considering behavioral pattern of refugees we can prevent the spread of disasters when they happen.

Recently, an unprecedented emerging infectious disease has rapidly spread, causing a global shortage of wards. Although various temporary beds have appeared, the supply of wards specializing in infectious diseases is required. Negative pressure isolation wards should maintain their function even after an earthquake. However, the current seismic design standards do not guarantee the negative pressure isolation wards’ operational (OP) performance level. For this reason, some are not included in the design target even though they are non-structural elements that require seismic design. Also, the details of non-structural elements are usually determined during the construction phase. It is often necessary to complete the stability review and reinforcement design for non-structural elements within a short period. Against this background, enhanced performance objectives were set to guarantee the OP non-structural performance level, and a computerized tool was developed to quickly perform the seismic design of non-structural elements in the negative pressure isolation wards. This study created a spreadsheet-based computer tool that reflects the components, installation spacing, and design procedures of non-structural elements. Seismic performance review and design of the example non-structural elements were conducted using the computerized tool. The strength of some components was not sufficient, and it was reinforced. As a result, the time and effort required for strength evaluation, displacement evaluation, and reinforcement design were reduced through computerized tools.

건축은 우리 실제 삶 가운데 존재하지만, 영화·게임 등의 가상세계 속 세상의 배경이 되어 다양한 모습으로 보여진다. 영화와 게임, 애니메이션의 공간 속에서 건축은 영화 미술의 중요한 역할을 하며 애니메이션과 게임 속 가상 세계의 스토리를 흥미롭고 현실감 있게 표현하는 중요한 수단이 되고 있다. 특히 4차 산업혁명 시대의 중요 기술 중 하나인 가상현실과 증강현실 콘텐츠 개발에도 건축은 현실 표현이자 창의적 가공을 통한 결정적 모티브 역할을 담당하고 있다. 또한 최근 게임 제작 분야의 3D모델링 게임제작에 건축전공자와 게임디자이너의 협업을 통한 시너지로 풍부한 콘텐츠가 개발되고 있다. 본 논문에서는 디지털 콘텐츠의 가상세계 속 건축 디자인 사례를 분야별로 분석하고 최신 동향과 앞으로의 활용 방안을 제시하고자 한다.

본 연구는 건축설계 계약에서 이루어지는 구체적인 불공정계약의 관행을 수집하고, 계약서에 드러난 ‘갑’의 절대적 우위를 교정하기 위해 시작되었다. 이를 위해 2009년에 국토부고시로 발표되어 현재 그대로인, 업계에서는 거의 무용지물이나 마찬가지인 ‘건축물의 설계 표준계약서’를 대신해 새로 표준계약서 제정을 제안했다. 또한 표준계약서의 사용을 제도적으로 뒷받침하기 위해 관련법 즉, 건축서비스산업 진흥법, 건축법, 건축사법, 국가계약법, 그리고 ‘공공발주사업에 대한 건축사의 업무범위와 대가기준’ 역시 개정되어야 하고 이를 제안했다. 건축물의 최종 소비자는 불특정 다수인 국민이다. 그러나 건축물의 설계계약서는 사인간의 계약이라며 사적자치의 자유만이 작동되고 있다. 국민의 안전을 담보하는 건축물을 위해서는 이제라도 계약공정의 원칙이 작용하도록 일정 부분 국가가 개입 되어야만 한다. 이러한 법, 제도의 개정이 상호 유기적으로 이루어지고 시스템이 작동되어야 건축물이 건강하고 아름답게 세워질 것이다.

교정시설은 수용자의 교정, 교화를 실천하여 건전한 사회복귀를 도모하고 이를 통해 국민의 안정된 삶을 구현하는 국가적으로 매우 중요한 시설이다. 관리자의 근무, 복지, 감독뿐만 아니라 수용자의 거주, 교육, 작업, 후생, 의료, 체육시설 등 매우 복합적인 기능을 효율적으로 묶어내는 건축계획은 수용자의 효율적인 계호와 동시에 그 인권을 존중하는 균형 잡힌 교정철학을 실천하는 가장 핵심적 조건이다. 이에 본 연구는 교정시설 성능향상을 실현하기 위한 방편으로 먼저 건축프로세스에 주목하고, 그 선진화 방안을 제시하는 것이 목적이었다. 기획단계에서부터 설계 및 시공에 이르기까지 프로세스의 주요단계를 점검하고, 의사 결정 과정과 여러 참여 주체 등을 파악하고 면담하였다. 대안 건축프로세스를 모색하고자 선진사례로 일본 교정시설을 선정하고, 답사와 시설관련 담당자와의 면담을 실행 후 국내 교정시설 건축프로세스 개선을 위해 장, 단기 실천 방안으로 분류하여 다음과 같이 5가지 방안을 제안한다. (1) 일선기관(End User)의 역할 강화를 통한 실무협의회 내실화(단기적 실천방안) (2) 일선기관(End User) 초기 구상단계 참여(단기적 실천방안) (3) 교정시설 건축위원회 구성(예상 준비 기간 6개월~1년) (4) 건축설계표준 개정 및 위상강화(※ 필수적으로 빠른 시일 내에 실행되어야함) (5) 교정기관 내 자체 설계팀 구축(장기적 실천방안)

The structural aesthetics of architecture are becoming an inspirational source for many fashion designers and have been reborn in structural fashion. This study planned to analyze the method of expression of structural aesthetics expressed in modern structural fashion design and the construction method to maximize such an effect on the basis of the construction characteristic of Santiago Calatrava as the representative architect of the structural aesthetic. According to the study, the structural aesthetics expressed in modern structural fashion design are as follows: 1) The symbolical formative aesthetic expressed by symbolical inference and analyzation; 2) the dynamic beauty of physic expressed by visual emphasis and dynamics; and 3) the asymmetric beauty of symmetry expressed by metastasis toward the boundary between balance and imbalance. In addition, to maximize structural aesthetics, we used repetition and a progressive technique based on rhythm, asymmetry, and incision-based variances, such as balance, polygon flux, and inference, and analyzation-based distortion as the structuring principle. The following expression methods for maximizing structural aesthetics were found: 1) symbolical and structural exaggeration of appearance; 2) detail technique expansion and material property diversification; and 3) the three-dimensional transformation of structure and shell expression. Structural fashion design was found to have maximized structural aesthetics by using such expression methods to secure artistic esthetics, destroy existing shapes and patterns, and create unique shapes.

The purpose of this study is to identify the characteristics of the use of the western building system with the change of the architectural design in the Japanese colonial period focused on the facility built by Joseon Government-General in 1910s. Through the 131 cases of governmental building, the tendency of the use of western building system. After 1910, Japanese Imperialism adopted the western wooden building system which main structure was made with combination of small pieces of timber for building the modern governmental facility because of the political and financial intention. So, all facilities were designed similarly by the structural module and the facade was finished by the feather boarding in the same with the ‘sitamitakei-giyohu’ in Japan. the functional requirements of each facility was not revealed. Such an western wooden building system was used until 1920s with the change of the facade by the mortar coating. But, in 1920s-1930s, the building system have begun to change. The use of the brick system caused some changes although the planing concept was still lasted. On the other hand, the use of the reinforced concrete led to more changes on the overall scheme.

Alberti's De re aedificatoria is the earliest case in the history of Italian Renaissance architectural treatises dealing with recovery of antiquity through textual and archaeological pursuits. The key source of the Renaissance theoreticians was Vitruvius' De architectura. However, Alberti was keenly aware of inaccuracy and Hellenization of Latinity in this classical text, and tried to compensate them in his own treatise. Furthermore he claimed a reformed discipline of the architects as well as the patrons, and prescribed how future buildings and cities should be built, based on the proper authority of ancient architecture in proper and intelligible Latin. Such an adaptation of classical usage in order to reestablish a modern norm preceded in his earlier work Momus, a satire on the contemporary Italian society of his own by following the model of Lucian. Alberti's suggestion of proper government in Momus's phrase was expanded in De re aedificatoria, for he consider the buildings are subject to the rules of morality and public interests. He proclaimed that the nature of beauty is the reasoned harmony of every part within a body, and architectural beauty also lies on the harmonized arrangement of all the elements within an individual building and of all individual buildings and facilities within a city. For the architects to execute this task, he formulated the concept of lineanenta, the form derived from the mind in order to prescribe the proper place, numbers, scale, and orders for whole building structure. It is the future oriented city-plans and building designs to serve the public interest and the good of all the individual citizens who make up the City-State that Alberti pursued in his treatise.

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich Wölfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which Wölfflin directly dealt. As for the theoretical literature review, I used Wölfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

This research is a study of fashion design that applied formative features of formal beauty of architecture into clothing design; we focused on Gaudi's architectural style as well as Art Nouveau style that became popular from the end of the 19th century to the beginning of the 20th century. We noted that in general the simple and flat features of cloth impose a limitation on the expression of formal features in clothing design, but a unique diversity of designs can be achieved, evoking a sense of freshness by an ideal combination of flat patterns and draping. The aim of this research is to present a possibility of extending the sphere of design expression by creating threedimensional clothes with pattern-cutting skills and applications of three-dimensional patterns as well as flat patterns found in Gaudi's works of architecture that are distinguished in curvaceousness and formal beauty. As for the research method, we reviewed previous studies by making a close review of books, papers, the pictures and web sites related to this topic. We made our clothes on the basis of this theoretical consideration. We found the following points. First, by presenting a work of fashion inspired by architectural designs, we realized that formal beauty in architect can become a motive for clothing design in a broad scale by noting the formal images, decoration details, and formative features of architectural works. Second, the characteristic lines of Gaudi's architecture are suitable to be adapted for expressing the detailed lines of decoration in clothes. Third, we can express formative beauty in clothes by highlighting the variation of shapes and lines through various attempts of change in background pattern, even though there is a limitation in the availability of cloth material because we must choose pieces of cloth with right texture and thickness that can be cut and sewn appropriately to express formative beauty. Fourth, we confirmed that it was possible to create unique formative designs by a creative application of both flat and three-dimensional cutting.

In this study, I attempted to the architectural design characteristics of Daeung-Jeon in Sudeok Temple. For this purpose, After I set up several assumptions in the basis of the general characteristics of Korean wood architecture, and then, analyzed floor plan, structural formation and section sizes of structure and bracket members in relation to module and unit. As the results, the characteristics of the design process of plan and structure are follows. (1) 1 ja(尺), the unit applied to this building is measured $307.6{\sim}318.3mm$) and the average is 312.9mm (2) It is estimated that the floor plan designed on the basis of the top of columns. By the applied unit, every bay of the front side and the side is each designed by 15 ja and 8.5 ja. (3) The section is composed of piled members which have same section size. As basic module of section size called 'jae(재;材)', it is estimated at width 0.45 ja by height 0.75 ja. And as the secondary module, height between jae and is called 'gyoe(계;)' and it wes designed by three height size of 0.25 ja, 0.27 ja and 0.30 ja, (4) It is estimated that the section plan was designed by the order as follows. Firstly, the horizontal position of purlins wes decided on the basis of the intersection point of long and short rafters, and then the position and the section size of purlins and jangheyo(長舌) wes decided on the basis of the slope of roof and rafters. Secondly, going down from purlins, the members of structure composed of 'jae' and 'gyoe' was repeated. Lastly, for the purpose of linking the structure members located on the center line of adjacent purlins organically, the height of whaban(화반) was controlled.

환경디자인은 다원적이며 복합적이므로 인접학문의 상호관계성을 연구하는 다학제적인 사고와 분석의 틀을 갖추어야만 한다. 본 연구는 환경디자인에 있어서 상징미학의 가치를 인식하기 위한 수단으로써 기호학적 접근 가능성을 제시함이 목적이다. 따라서 기호학을 분 석의 틀로써 설정하고, 커뮤니케이션의 기능을 하는 기호로써 환경디자인이, 인간과 환경 상호관계 속에서 발현되는 상징 의미작용을 표현하고 해석하는 과정을 문헌연구를 통해 도 출하였다. 환경을 지각한다는 것은 기호작용에 의한 의미전달과정이다. 따라서 환경디자인 이 인간 중심의 영역으로서 형식과 내용의 체계를 지닌 상징화의 메카니즘이라고 볼 때, 공 간의 상징성은 기호학의 개념과 코드의 조직원리에 의해 합리적으로 표현할 수 있으므로 기 호학적 접근방법은 타당하다.

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

본 연구의 목적은 건축물의 구조와 형상에 대한 접근방식을 다변화하는 매개로서 다면체를 탐구하고, 건축구조 디자인 요소로서 그 형태구성을 고찰하는 것이다. 따라서 자연계와 건축물에서 드러나는 다면체 형태를 살펴보고, 순수 래티스 다면체로 고찰 대상을 한정하여 그 형태학적 특성을 파악한다. 이를 토대로 건축구조 디자인 요소로서 다면체를 공간적 형태구성에 활용하는 방식을 제시한다.

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.