In contemporary architectural discourse, the concept of space is ubiquitous, yet its historical genesis and theoretical underpinnings in Gottfried Semper's seminal theoretical work remain under explored. This study investigates the reception and integration of Semper’s architectural theory into modern discourse, tracing its trajectory from August Schmarsow, to Nikolaus Pevsner, to Sigfried Giedion. While Semper’s “cladding theory” had initially been understood in terms of both its relation to physical properties and structural and functional values, leading to an expansion of cladding as a new genre of art, i.e. arts and crafts, Semper’s “architectural theory” instead explained cladding theory in terms of space. In disseminating Semper’s theoretical work, Schmarsow was especially important as he himself played an increasingly prominent role in expanding the boundaries of modernist architectural theory and practice from the beginning of the 20th century on.

This research interprets the unique hybridity of the pavilion architecture in the Joseon Dynasty, in which the name and form do not match and the rooms and floors are combined in various ways, through the confucian architectural prototype Muijeongsa(武夷精舍) built by Zhu Xi(朱熹). The architectural representation of Muijeongsa, developed against the background of the mid-Joseon period of active pavilion management by Sarim(士林) groups, the spread of ondols due to the Little Ice Age, and an architectural culture following the footsteps of the Zhu Xi is likely to have influenced the perception and practice of pavilion architecture. In this research, by examining and analyzing the contents of the Muijeongsa Japyeongbyeongseo(武夷精舍雜詠幷序) containing the architectural composition of Muijeongsa, it was confirmed that different types of spaces such as Dang(堂), Jeong(亭), Jae(齋), and Gwan(館) are integrated into Muijeongsa. Based on this, the main examples of the architecture of Jeongsa in the mid-Joseon Dynasty were reinterpreted into four types from the perspective of the combination of Dang and Jeong, and the junction of Jeong and Jeongsa. Dang and Jeong were either juxtaposed as separate buildings or implemented with a relationship of inclusion within one building. And the concept of Jeong, which was considered secondary to Dang, was used as a category that was replaced with the Jeongsa itself. Lastly, the name ‘Jeongsa’ was used, but the location had a strong character of ‘Jeong’, and the architectural form adhered to the form of ‘Dang’, thereby exquisitely reconstructing the composition of Muijeongsa as a single building.

This research focused on the regional and temporal attributes of tuff architecture in Mokpo, spanning the Japanese colonial period and the post-liberation era. It aimed to uncover the distinct regional and temporal features of tuff architecture by integrating concepts from vernacular architecture and regionalism, framed through a lens of critical regionalism. The study traced the historical progression of tuff architecture in Mokpo within this context. A significant part of the research was an in-depth analysis of four constructions by Son Yang-dong, a renowned technician in post-liberation Mokpo, to closely examine the contemporary relevance and regional significance of his work. Tuff, as an indigenous material, distinctly articulates the local architectural character. In line with regional properties of tuff, the material has adeptly responded to contemporary construction needs. This has laid a foundation for the development of innovative building designs and techniques. Tuff architecture is particularly noted for its exhibition of raw material textures, offering a unique aesthetic that diverges from classical Western architectural styles. Importantly, through the examination of Son Yang-dong's contributions, the study highlights the role of Korean builders in an industry dominated by Japanese influences during the colonial period, underscoring a strong regional identity. As a representation of Mokpo, tuff architecture not only upholds and protects regional identity within the broader scope of Western modernization and Japanese impacts but also plays a role in its progressive enhancement.

This research aims to investigate Park Kilyong’s architectural theory and critique of Gyeongseong (Seoul) buildings, expressed in his ‘Overview of Modern Buildings in Gyeongseong’ and ‘Critique of Gyeongseong Buildings’ (Samcheolli, Sept. and Oct. 1935); and ‘Architectural Form of the 100% Function’ and ‘The Modern and Architecture (1)-(4)’ (Dong-A Daily, 28 Jul. to 1 Aug. 1936). As a result, it is confirmed that Park had the functionalist theory of modern architecture, which suggests that Korean architects of the Japanese colonial period were accommodating the contemporary trend of world architecture. However, Park shows his fundamental limitations in the fact that the main content of his articles was a verbatim translation of two Japanese references (Kurata, 1927; Ishihara, 1929) without proper indications. Despite the limitations, his texts are still meaningful since he formed his own architectural theory on the basis of what he translated; and indeed his critique of Gyeongseong buildings, however simple, was based on the theory. This research makes a critical analysis of Park’s functionalist theory from both the 1930s’ and present points of view and compares his commentaries on Gyeongseong architecture with those by Ko Yu-seop (1932) and Hong Yunsick (1937), illustrating how Korea perceived architecture and modernism in 1930s.

The study aims to analyze the geometric characteristics of the pointed arches proposed by Al-Kāshī in his book "Miftāḥ al-Ḥisāb" (Key of Arithmetic) and investigate their planning principles, architectural application, and typological characteristics. Al-Kāshī completed this significant work in 1427 and dedicated it to Ulugh Beg, a Timurid Sultan in Samarkand. In the ninth chapter, titled "Al-‘Imārāt wa al-Abnīya" (Amīr’s Mansion and Building), Al-Kāshī sought to measure the surface areas and volumes of barrel vaults (Azaj) and domes (Qubba). To achieve this, he proposed five kinds of pointed arches (Ṭāq) and analyzed their drawing methods and composition principles. The Īwān and Qubba structures, which are curved architectural elements, hold significant importance in Islamic architecture. However, previous research has predominantly focused on comparing the drawings in Al-Kāshī's book with historical buildings, neglecting the inherent characteristics of the drawings themselves. This study intends to contribute to a deeper understanding of Al-Kāshī's remarkable work and shed light on the geometric aspects of monumental structures in the Timurid Period.

본 논문에서는 외래 문물의 유입이 본격화되었던 조선의 개항 이후 한국의 궁궐건축에 유 입되어 공간을 구성하고 장식했던 청(淸)의 공예품들을 파악하고, 이들의 유입 정황과 양식 특성을 고찰하였다. 조선과 청의 무역은 조청상민수륙무역장정(朝淸商民水陸貿易章程, 1882년)의 체결, 기선회사들의 경쟁, 화상(華商)의 활동 등에 의해 1880년대 이후 크게 증가하였으며, 궁궐 에서 사용될 물품들은 중국 상해와 조선의 인천을 잇는 항로를 통해 청으로부터 유입되었다. 1891년 건립된 경복궁 집옥재(集玉齋)는 건축의 재료(벽돌)와 축조법, 기둥과 현판 그리 고 실내 공간의 문과 격단(隔斷) 장식 등에서 중국 건축의 장식 요소들이 반영되었다. 집옥재 는 청의 영향을 확인할 수 있는 궁궐건축으로써 청의 공예품 유입도 촉진하였을 것으로 판단 된다. 이와 관련하여 현전하는 청의 가구, 도자기, 금속공예품 등을 종합하여 양식 특성을 비 교한 결과 창덕궁에 전하는 중국 가구 일부와 도자기들은 페라나칸(Peranakan)을 대상으로 판매되었던 가구와 법랑자기(琺瑯瓷器)였으며, 청말 광동성(廣東省)을 중심으로 제작되어 전 세계로 판매되었던 광동 가구와 법랑기였다. 조선의 궁궐에 유입된 청대 공예품들은 19세기 이후 중국의 무역항을 통해 전 세계로 확산되었던 중국의 미술품 수출 산업과 밀접한 관련이 있었으며, 판매 대상과 지역에 따른 독특한 양식을 확인할 수 있어 의미가 있다.

중국의 고건축물(古建築物)은 인류문명중의 걸작으로 고대인 의 출중한 지혜와 정밀한 기예 및 장인정신의 결정체이다. 이 들 건축물의 기세는 성대하며 건축양식의 풍채 또한 독특하며 정교하고 섬세하였다. 특히 중국 강남 지역의 고건축물은 원림 (園林), 수곽(水廓, 水鄕) 등과 청와(靑瓦)와 백벽(白壁)으로 이 루어진 독특한 풍경을 지니고 있다. 또한 그 청와와 백벽으로 이루어진 고건축물 중에서도 강남지역의 독특한 예술매력을 보 여주는 휘파(徽派) 건축이 가장 대표적이다. 오늘날 현대 장신구 디자인에서는 전통문화에 대한 전수와 계승, 그리고 정감 및 예술에 대한 사상의 구현을 더욱 중요시 하고 있다. 이에 본고에서는 강남지역의 청와와 백벽 건축물의 요소를 현대 장신구의 디자인에 유입함을 연구하였다. 휘파(徽 派)건축의 수묵(水墨)양식 건축은 청신하고 아담하며 고풍스러 운 느낌이다. 이는 현대 장신구의 수수하고 진중하며 개성적인 모습으로 전개되어 전통적인 장신구와의 귀족적적이며 화려하 고 고루함 등과 상대적으로 차별이 되었다. 이들 휘파(徽派) 건 축물과 현대 디자인은 예술형식의 융합이며 전통에 대한 추억 이다. 그러므로 본고는 현대 예술 디자인의 창조적인 탐색이다. 이를 바탕으로 장신구 디자인을 탐구하는 동학들에게 새로운 디자인의 창의와 폭넓은 사고에 도움이 되길 바란다.