The 1940s and 1950s were a period of both great chaos and great change for the Jeju region. The April 3rd Incident of 1948 and the ensuing Korean War, beginning in 1950, were events that altered society greatly, but very little research has been done on how these events impacted residential architecture. Furthermore, as the related sources and materials from this period are somewhat lacking, there appears to be a need to systematically organize these sources and materials to help us better understand the impact of these events on residential architecture. This research aims to serve as a basis for the conservation and utilization of cultural assets by analyzing the historical sites related to the April 3rd Incident and the distribution of residential architecture from that period. The research was done through analyzing original source documents and by visiting relevant sites. First, for the original source documents, we selected newspaper articles from media organizations and periodicals from administrative organizations that what we deemed to be relatively objective and the most factual. Second, for the on-site visits, we surveyed some still-existing residential architecture and analyzed the testimonies of residents who lived in those areas. Analyses of residential architecture typically include design, space, material, composition and facilities, however our analysis focused primarily on design and space. Based on sources from the April 3rd Incident, we analyzed the residential architecture as being characterized by damage spatial distribution, especially in areas where the leaders of the suppression were concentrated. The regional distribution of lost villages, places of refuge, massacre sites, and fortresses designed primarily for defensive purposes was interesting, but we interpret it to be a reflection of the strategy of suppression by the punitive force. In addition, in order to rebuild the society after the Korean war of the 1950s, refugee camps were constructed and destroyed homes were rebuilt. With the exception of temporary fortress built primarily for defensive purposes,these were built with materials that were totally different from traditional Jeju architecture, such as cement and wood. The most interesting differences, however, were those of design and space composition. This research was limited by the fact that we did not analyze the specific years of completion or the size of the structures, and thus there still remains a need for a survey of diverse source materials and research.

This research takes as its object a body of historical researches by a new generation of French architects in the 1970s, who tried to confront the deep crisis in architecture since the years 1960. The research begins by noting that the ideology of the architect as an autonomous and transcendental subject, an ideology held by the architects of the previous generation, was a main target that young architects wanted to criticize and overcome. From this observation, the research focuses on a antihumanistic project which gave basis for a significant number of historical researches on modern architecture and was the result of a reappropriation of the French structuralism intensively developed in the human and social sciences of that time in France. After a series of textual analyzes, we argue that a new perspective on the city and the relationship of the latter with the architecture on the one hand, and the proposal for an "modest" architect as an alternative figure after rejection of the autonomous and transcendental one on the other hand, have been derived as the outcome of anti-humanist historiographic works. Finally, we assume that these historical adventure gave conceptual basis for postmodern architecture in France, freed from the modern myth of unity of author and that of work of art, but tinted by a moralism requesting modesty to architects.

Main theme of this paper is the evaluation of the historical significance of Luciano Baldessari's exhibition works mainly during the Fifties. In order to understand the formal and logical basis of those project, his relationship with the historical Avant-gardes and the consequences expressed in his pavilion projects for the Breda Industrial Company are analyzed. The first part focuses on the influence of Italian Futurism, German Expressionism and Italian Rationalism on the formation and experience of Baldessari during the interwar years. The encounter with these movements determine the interest but also the principles along which Baldessari represents his idea of object, space and place. Specially his professional activities during Fascism would determine his attitude toward political power and the necessity of autonomy in artistic sphere. In the second part, different themes that Baldessari affronted in each project of Breda Pavilions is analyzed. Another important issue regard the historiography of the contemporary architecture. Often, many important works that lies in the threshold of the disciplines such as painting and sculpture and media art were excluded in the history of architecture just because they do not deal with the architectural object. Recently, many elements such as theatrical project and temporary objects are considered as part of urban reality and architecture with acknowledgment of their capacity to create event and situations. Along this thought, not just the reconfiguration on the territory of architecture in present but also the criterion to evaluate the past history of architecture is changing drastically. This study on the pavilions of Baldessari intends to contribute indirectly on the current issue of dominion of architecture, but also to evaluate objectively recent architecture. Consequently, architectural protagonists such as Baldessari and their ephemeral projects would be evaluated compressively in their multiplicity of significance.

Choryang Waekwan was the biggest Japanese settlment to house the Japanese diplomatic mission and traders in Korea. Waekwan means Japanese Pavilion literally, but the reality of this Waekwan exceeded much the scale of single architecture. Since Choryang Waekwan was closed in the second half of the nineteenth century, the site of this settlement grew rapidly as the downtown of Busan, which was the first port open to foreign countries in modern Korea. The formation of modern port owes much to the presence of Japanese settlment in Lee Dynasty as long as Choryang was officially designated as the trading port toward Japan and vice versa. Busan is the nearest city to Japan, in fact. Within a day ships could reach Tsushima Island, the island region north of Fukuoka, which played an intermediary role between Seoul and Edo. No architectural remain could be seen on the actual site of Choryang Waekwan. The site has become one of the busiest centers in Busan with quantify of office buildings and shops. The former Busan City Hall was located in this area. The field survey of the site as well as the analysis of historical documents, which were newly found both in Korea and in Japan, enabled to reconstruct the architecture and cityscape of Waekwan by way of computer graphics.

The objective of this study is to clarify the early state of modern architecture, specifically mission architecture, with the introduction of the Christianity, and for the goal it deals with the architectural activities of pioneer missionaries. Especially it is a piece in a series of those researches after on Graham Lee, and it is focused on the other representative missionary, R. M. Wilson, A. M. Sharrocks, and C. A. Clark. Although coming in the capacity of a medical doctor or an educator, they should play all kinds of roles, such as carpenters, educators, and officers. For this mission, even they didn't have a professional knowledge for construction, they should carried on to establish mission compounds, only with their experience and informations. In this process they needed to be assisted by Korean carpenters, surely. The architectures born by them-selves are designed with a unique eclectic style compounded with those of Korean traditional and occidental. That is to say, the pioneer missionaries made a profound influence to create a new tradition of modern architecture in Korea, which is called as Korean-occidental eclectic style in the period of transition. Moreover, some pioneer missionary, such as Sharrocks, took a part in education of architectural skills. The educated carpenters seemed to be called from outside, and the unique styles could get spread away. On this point this paper has the meaning to clarify historically the continuous development of the Korean architecture through the survey on their activities, on the contrary of the existed recognition that Korean modern architecture has been evaluated to be imported from outside; therefore having a crevice with the its own architectural tradition.

This study tries to compare the architectural thought of Michel Foucault with that of Manfredo Tafuri in order to make clear the architectural identity as a social institution. In Michel Foucault's case, the archeology of discourse and the geneology of power were central method to understand the history of occidental society since the Renaissance. Four him, architecture is assumed as a mechanism of operation which make the power effectively radiate in th space. He thinks that a new discursive space was arranged since the 18th century in Europe, the architecture played a role to coordinate divers powers. Mafredo Tafuri, architetural historian, depends on the criticism of ideology in search of the relation between the economic system of capitalism and modern architecture and urbanism. He thinks that all architecture is an institution. And any attempt to overthrow the institution, is bound to see itself turned into a positive contribution and into an ideology, So all architectural attempts to conceal the contradiction of capitalism are negated. This different perspective on architecture exposes many points of dispute: historical periodization, disciplinary limit of architecture, understanding of Enlightenment architecture, utopia and heterotopia, etc.

The purpose of this study is to connect the technics and form from ancient to Korea Dynast But in these period there is no buildings remains but paintings, fine arts, and stupas. In the historical materials there are many architectural form and signature revealings, so as a result these analysis, 1)The building showed in paintings of Silla, and Korea Dynasty reflect the architectural style their own Dynasty. 2)In detail, the architecture of Silla and Korea Dynasy was connected with Chinese architectur Liao, Song. But from the 8Century Koreans were succeeded the one of Silla Dynasty and had originility in architectural style. 3)The architectursl style in Silla and Korea Dynasty were very various and very rich content. And we must more serious study of historical materials so that we improve the ancient a middle age of architcture in Korea.

This study is on the early historical background and the process of development of modern architecture in Thai, during the period from 1782(King Rama 1) to 1934(King Rama 7). Thai started tn form a connection with western nations from the late 18C, founded the Bangkok Dynasty. Since then, Thai was increasingly influenced by western civilization and this trend included an increasing influence of western architecture. In this paper, the centeral objective is to observe the architectural change during the period from King Rama 1(1782-1809) to King Rama 7(1925-1934). This can be divided into three period. During the first period, from King Rama 1 to King Rama 3(1824-1851), Thai architecture showed a tendency to follow the preceding traditional example and to imitate Chinese architecture. The second period is from King Rama 4(1851-1868) to King Rama 5(1868-1910). During this period, Thai architectural design was increasingly influenced by western concepts, specially European Neo-classicism Style. During the third period, from King Rama 6(1910-1925) to King Rama 7(1925-1934), Thu had been enjoying extensive commerce with western nations. The great developments in the field of architecture during this reign were apparent in the construction of public utilities and facilities. These buildings were designed by western architects. At this time, modern architectural concept of western was introduced.