This study traces the origin and development of 8-cheok as a standard spatial unit in Korean architecture by examining historical texts. Rooted in ancient Chinese body-based measurement systems, 8-cheok originally represented the average human height. Although its direct anthropometric basis faded over time as measurement units lengthened, 8-cheok remained prominent in both literary and architectural contexts. The palcheok-bang (eight-cheok house), first mentioned in the Samguk Yusa , symbolized a hermit’s dwelling and retained its symbolic meaning throughout the Goryeo period. In the Joseon era, influenced by Neo-Confucian values of restraint and humility, the palcheok-kan (eight-cheok module) emerged as a spatial standard reflecting the moral ideals of the Confucian elite. However, the palcheok-kan competed with other modular units. During the construction of the Seoul city walls, a conversion of 10 cheok per kan was used, while land surveys in the city sometimes adopted 7 cheok per kan . From the 17th century onward, however, the 8-cheok -per-kan conversion gradually gained dominance and became the representative unit. Despite its widespread use, the palcheok-kan was never formally codified by law and remained a customary standard until it disappeared during modern measurement reforms.

In this paper, we examined how large beams were developed in Korea, China, and Japan in the 6th and 8th centuries, and how this pattern affected Korean architecture later. A large inner space was required to symbolize the authority of the emperor and king and to achieve the purpose of enshrinement of a large Buddha statue forming a cluster, and a large beam over 9m was used to implement this. The use of large beams is confirmed from the late 4th century in China and from the late 5th century at the Seoyeongchonsa Temple Site in Nanjing. In Korea, it is identified from the Lecture hall of Neungsan Risa Temple Site in Baekje(567) and from the middle Buddhist shrine Temple in Hwangnyongsa Temple in Silla(584). Goguryeo is presumed to be around the 6th century, a little earlier than that. In Japan, large beams were used for the first time at the the Lecture hall of Bijosa Temple in 588, which was built by a Baekje engineer. From ancient times to the modern era, the inner space length of the Korean, Chinese, and Japanese architecture was exceptional in some cases, but 9-12m was common. This is judged to be the result of the experience of the material limitation of wood and the size of the inner space established in ancient architecture affecting future generations as a precedent.

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.