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.

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.

A major performance stage carpenter, Jang Insang led performance stages from the 1719 Sukjong Royal Banquet and was confirmed by historical records to be the first craftsman. Lee Wandeuk led the Hwaseong Fortress performance stages of the Jeongjo period and Gichuk Jinchan performance stages of the Sunjo period. The carpenter techniques he used during the Jeongjo period were succeeded to the Sunjo period. Ahn Sungil was the head craftsman who led the performance stages of Jagyeongjeon Jinjak, Muja Jinjak, and Gichuk Jinchan of the Sujo period, under which the foundation for court palace performances was laid. The progression of major carpenters includes Jang Insang of the Sukjong period, Jeon Yoochu of the Yeongjo period, Ahn Sugil of the Sunjo period, Yoon Seoksin of the Heonjong period, Kim Yoonsik of the Gojong period, Lee Jongyoon, Kim Soongil, Seo Sangmook, and Han Sujoon. In addition, the Major Repair of Injeongjeon Hall (1857) of the Cheoljong period was the most important palace construction project for transferring the carpenters’skills. Through this project, Ahn Sungil of the Sunjo period, Kim Myeonggap, Yoon Seoksin of the Heonjong period, Kwon Deuknyang, and Kim Sungil of the Gojong period were able to interact with each other. That is, this major repair project of Injeongjeon Hall reflected the major carpenters’best techniques through performance stage construction, showing the progression of Ahn Sungil, Yoon Seokshin, and Kim Sungil, who led the constructions of Gichuk Jinchan of the Sunjo period (1829), Mushin Jinchan of the Heonjong period (1848), and Jeonghae Jinchan of the Gojong period (1887), the most impressive performance stages of the late Joseon period. The carpenters of the court performance stages participated in important construction projects of the royal palace, reflecting the superior technical skills of the carpenters in the construction of court palace performance stages. The carpenters who played a leading role in the construction of performance stages were able to interact with one another and transfer their excellent technical skills, providing the driving force that allowed court performance stages to blossom into splendid and high-quality court stages in the late Joseon Dynasty.

Modern Joseon Architecture is North Korea's unique building style that interprets Korean traditional architecture in a modern way, and its most distinctive design feature is the Paljak roof that decorates the upper part of the buildings. This paper argues that continuous attempts at characterizing the nature of traditional Korean architecture in the late 1950s and early 1960s developed the theoretical rationale for the exclusive use of the Paljak roof in Modern Joseon Architecture. It also argues that the construction of the Pyongyang Grand Theater and the Okryu Restaurant during this period became a decisive moment for the formalization of the Paljak roof. The double roof rafters and gables and the "cheerful yet solemn" roofline were considered as main characteristic features of the Korean roof and the Paljak roof perfectly fits this description. Particularly, in North Korean society where Kim Il Sung became idolized as an impersonalized deity, an anecdote in which Kim Il Sung fixed a prominent gabled roof in the Pyongyang Grand Theater into a Paljak roof has allowed for the roof to gain an exclusive status. Hence, almost all Modern Joseon Architecture since the 1960s accepted the Paljak roof’s monopoly position, rather than experimenting with other traditional roof types.

This study investigates how the spatial recognition structure is emerging through the case of rectangular plan combined with a combination of Dang-Sil(堂室) and Gong(工) shape roof, and identifies a type of architecture in the early Joseon Dynasty that has never been revealed. The conclusion of this study is as follows. First, the Dang and the Sil are connected to each other, but the architectural elements such as pillars, frame, and windows are distinguished and appear as separate buildings. Second, the distinction between Dang and Sil is evident by the difference in the number of ridges and the shape of the roof. In addition, the roof and roof framework of the independent rooms and the rooms were common in the right angled architecture where the direction and the expandability of each structure were maintained. Third, the construction of the Dang-Sil combined structure, in which two or more structure frameworks were combined with the rectangular combined flat roof structure, gradually changed into a single structure with a single ridge. Fourth, this change means that people of the early Joseon Dynasty recognized the Dang and Sil as separate architecture, but the strict sense of spatial separation has disappeared over time.

Seoul has been watched at its symbolic image which is the capital of one nation. since then Joseon was established. So, most of study about Seoul placed too much emphasis on like next; urban organization, palace, government office and public establishment. On the other hand, it is lacking in study of the individual building, the residential district, the change of building-lot. This study is to make up a deficiency from study of Gaokdohyung(家屋圖形site and floor plan). Gaokdohyung(家屋圖形) is drawings of building lots & houses existed in Hanseongbu漢城府(modem Seoul). It is possessed in Jangseogak and all 24 sheets. It is merely 24sheets but has many urban information in that. Housing of number 116 expressed in Gaokdohyung are consist on the house of Sadaebu士天王(noble class) Joongin中人(middle class) Sangmin常民(commoner), Villa(Byeolseo別墅) and connecting stores etc. Houses in Gaokdohyung has characteristic that most building lot is very specious and owners are variety of social position. The study of Gaokdohyung will progress through analyzing diachronic change of individual building lot & house. In the event, results of this study will help to find out change of urban tissue & architecture. So, i intend to seek for entity of urban tissue and urban house in Joseon Period differ from now, and to study out those have been changed continuously forward now.

This study examines on the structural Methods between purlin and beam at Wooden Architecture in Joseon Dynasty(1372~1910). Through the investigation, it is verified that the structural methods between purlin and beam is the technique utilizing tenon joint(통장부맞춤), Sungeoteok joint(숭어턱맞춤), dovetailed tenon joint(주먹장맞춤). And the methods of tenon joint is followed by the Sungeoteok joint, which is used in the buildings after middle Joseon dynasty. The method of tenon joint(통장부맞춤) is to connect the beam with the purlin by carving out the head of the beam as '一' shape. And the structural methods between Janghyeo(장혀, timber under purlin) and beam is halved joint(반턱맞춤) and tenon joint (통장부맞춤). The buildings in late Goryeo Dynasty and Joseon Dynasty adopted the method of tenon joint between purlin and beam. The method of Sungeoteok joint is to connect the beam with the purlins by carving out the head of the beams '凸' shape. And the structural methods between Janghyeo and beams is halved joint(반턱맞춤) and tenon joint(통장부맞춤), the method of tenon and step joint(통장부턱맞춤), dovetailed joint between beam and Janghyeo to increase the security of shear force.