This study examines the Banja Dancheong style of traditional Korean architecture, with a particular emphasis on the lotus pattern found among the Woomul Banja ceiling patterns. The genesis of Korean ceiling decoration motifs can be traced back to the Goguryeo mural tombs of the mid-4th century. The oldest known examples of Banja Dancheong styles in Korean traditional architecture are Beomja lotus pattern decorated in well-shaped Banja of the Daeungjeon Hall of Bongjeongsa Temple in Andong (1435), the Geungnakbojeon Hall of Muwisa Temple in Gangjin (1430) and the Guksajeon Hall of Songgwangsa Temple (15th century). This Beomja lotus pattern, adorned with the ‘Om Mani Padme Hum’ mantra, emerges as an almost definitive example. Therefore, it is evident that this decorative element stands as a quintessential exemplar of the early style among well-shaped Banja decorations in Korean temple architecture. The Ohwayeonhwadangcho pattern, encapsulating the essence of the lotus motif, is a Dancheong pattern with a lineage that stretches back to the early Joseon Dynasty, where it was initially employed in the Banja wells. This pattern exhibits design characteristics that are perfectly suited to the square Banja wells. The lotus pattern, thus, has been extensively utilized as a decorative motif in palaces, temples, and Confucian architectural structures, evolving continuously from Korea’s Goguryeo period Dancheong patterns to the present day.

Traditional Korean architecture and traditional ships maintained a close relationship with carpenters and tools because wood, the material, was common. This close relationship may have been from the time of ancient architecture and ancient ships. In previous studies, researchers proved the relationship between these two sides through historical records of traditional architecture and traditional ships. This study attempts to prove the structural association using existing remains. As a result, three structural similarities between traditional architecture and traditional ships could be found. First, the types of wood used are similar, and the tools and terms used are similar. Second, the method of distinguishing horizontal and vertical materials and the structure of wood and the method of forming wood are similar. Lastly, the ship carpenters mobilized for the construction of the palace mainly worked on long and curved materials such as the eaves and the ridge of a roof, because this was the work done when the ship was built. Therefore, it can be assumed that the roof structure they created resembles that of the ship.

The Korean architect Chung Guyon(1945∼2011) is the translator of the Korean edition of Gourna: A Tale of Two Villages(1969) written by the Egyptian architect Hassan Fathy(1900∼89). This fact, along with the facts that Chung changed the topic of his graduation thesis(1983) for UPA no.6 in Paris and that he became a supporter of earth architecture after he returned to Korea in 1986, confirms that Chung was strongly influenced by Fathy’s architecture in Gourna project. Therefore, the present paper aims at extracting didactic characteristics of Fathy’s architecture from the book and comparing them with those of Chung’s architecture. The categories of the characteristics extracted from the book (or his architectural activities in the Gourna project) are: clay/earth architecture; communicative and cooperative architecture; and critical stance towards society, and these are commonly found in Chung’s architecture, too, not without differences from Fathy’s owing to the gap between the two architects’ contexts. Reviewing these characteristics, this paper argues that Fathy and Chung tried to improve society in each context, working as both architect and social activist.