본 연구는 완상적 특성이 특히 강조되는 정선 구미정원림의 입지 및 조형 및 경관 특성 그리고 구미정사 에 전해지는 ‘9미’와 ‘18경’의 경관특성과 의미를 재검토하고 발굴된 「구미구경」한시의 해석과 표제어 용례를 검토하고자 하였다. 또한 구미정원림을 사생한 현대회화가 총 50점의 그림을 중심으로 한 조망 점을 분석을 통해 구미정사 일원에 대한 향후 국가유산인 명승지정의 방향타가 되는데 일조하고자 하 였다. 구미정원림은 별서원림과 누정원림 그리고 구곡원림의 특성을 복합화한 누정으로서의 지위가 확인되었으며 9미 18경을 비롯한 다양한 승경과 시점 그리고 앙시(仰視), 부감시(俯瞰視) 그리고 수평 시(水平視) 등 다채로운 경관구도를 가진 원림으로서의 특성이 부각되었다. 아울러 문화재적 가치 논 란으로 큰 사회적 문제를 불러일으켰던 명승 성락원(城樂園) 사례를 교훈 삼아 조영자에 대한 보다 정 확하고 구체적 조영 및 향유 과정 등이 밝혀져야 할 것이다. 또한 문화유산 지정 명칭은 원형경관으로 보기 어려운 ‘구미정’ 단독으로는 국가유산 명승지정은 다소 부족하며, “정선 구미정원림 일원” 등으로 유산 명칭을 정리할 필요가 있다. 이에 따른 영문 명칭은 “Garden of Gumi-pavilion and surroundings, Jeongseon” 이 가장 부합할 것으로 판단된다.

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 연구는 김홍도의 「규장각도(奎章閣圖)」와 「동궐도(東闕圖)」를 통해 부용정 일원의 원형적 물상과 전후 변화상을 고찰하는 것으로 부용정(芙蓉亭), 부용지, 주합루, 서향각, 희우정, 사 정기비각, 영화당, 천석정 일대를 대상으로 하였으며 연구의 결과는 다음과 같다. 첫째, 부용 정 관련 고문헌 및 시문 분석을 토대로 부용정, 희우정, 천석정 공간은 주돈이의 애련설이 투 영된 장소로 파악되었다. 희우정과 천석정은 애련설만이 아닌 백성들의 안녕을 바라는 조선 시대 왕들의 마음 즉, 태평성대를 희구하는 마음이 투영되어 조성되었다. 둘째, 부용정 일원은 산세에 의해 북측, 서측, 남측이 이어져 동측으로 열린 위요된 공간을 형성하고 있으며, 동측 에 대(臺)를 쌓아 영화당을 조성하여 비보책으로 지기를 북돋아 주었다. 이와 동시에 사신사 인 좌청룡을 완결시켜 준 것일 뿐 아니라 비대칭적 대칭의 미를 완결시키는 효과를 나타냈다. 셋째, 규장각 일원은 규장각 동쪽, 서쪽, 북쪽은 담장과 문으로 형성되어 있고 남쪽은 취병으 로 담장을 이루어 하나의 독립된 공간을 형성하고 있다. 남문은 어수문(魚水門), 동문은 등현 문(登賢門), 서문은 서성문(西成門)이며, 북문의 이름은 확인되지 않았다. 이들 4개의 문이 풍 수상 사신사(四神砂)의 형태를 이루고 있는 가운데 주변의 자연 지형이 다시 사신사의 형태를 이루어 중복 풍수 양상을 이루고 있다.

고대 중국의 개인장서는 오랜 역사를 지니고 있다. 명대는 국가에서 문연각(文淵 閣)을 설치하여 문헌의 출판과 소장을 엄격하게 관리하였기에 국가 주도의 문헌 출 판 사업이 크게 제한을 받았다. 반면 경제적 번영과 인쇄술의 발달 등으로 인하여 개인 장서가들의 출판 활동은 매우 활발하게 진행되었다. 지금의 강소성 상숙현(常熟 縣)은 명대 경제문화가 가장 발달한 지역 가운데 하나였으며, 출판의 중심지었다. 모 진(毛晋)은 상숙현 출신으로 명말 청초 시기에 활동한 장서가이며 출판가이다. 명대 를 대표하는 개인 장서가이며 출판가인 모진의 고문헌 수집과 출판 활동은 매우 활 발하여 소장 도서가 84,000책에 달하며 출판한 서적도 경사(經史)와 소설, 필기류를 포함하여 600여 종에 달한다. 그가 수집한 선본과 그 선본을 저본으로 한 많은 고문 헌의 출판은 중국 고문헌의 보존과 발전에 있어 매우 중요한 가치를 지닌다. 본고에 서는 모진의 평생 가업인 장서와 출판활동에서 나타난 주요 특징과 중국의 고문헌 정리에 있어 서의 의미를 살펴보고자 한다.

In the 16～17th centuries, the construction of T-shaped pavilion in Gyeongsangbuk-do was centered on the families of the Goseong-Lee clan and Andong-Kwon clan, who had a lot of exchanges with each other near Andong. It can be presumed that the complex structure of the T-shaped pavilion was intended to represent the technology, economic power, and social influence of the clan. After the 18th century, construction areas spread and construction subjects were diversified, but the number of new constructions decreased. It can be seen that T-shaped pavilion was erected and used for public purposes rather than personal reasons in terms of layout or flat scale. The roof of the T-shaped pavilion is very diverse depending on the wooden structure, the height of the roof and the configuration of the apex. The T-shaped pavilion, which combines two parts, has been developed in a way that strengthens not only the appearance but also the structural bonding force. The bonding strength is strengthened through the process of “roof aligning”, “roof bonding”, “structure connection”, and “structure integration”, which shows a similar tendency to the age of actual cases.

The remaining Joongjaesil(中齋室)-type pavilions in the eastern part of the Jirisan Mountain area showed more complex characteristics than those in the western part. The front number of kan(間) had two, three, and four kan (間) types, but the number of kan on the side was consistent with two regardless of the number of kan on the front. The pavillion is classified into 'central type', 'towards the backward type', and 'expanded by backwards type' according to the location of Joongjaesil. Joongjaesil's size, which characterizes the characteristics of Joongjaesil-type Pavilion, is related to the building's front number of kan. Front number of kan. When this space was increased by one space to four spaces, Joongjaesil must have two spaces. The pavilion with four bays in front showed the characteristics of being concentrated in Sancheong and Jinju, the eastern part of the Jirisan Mountain area. In the eastern region, many high pavilions remain, and the upper structure of the pavilion was insignificant, but the flat shape and public construction showed strong locality.

This study aimed to determine how the quality of a pavilion affects participating exhibitors at an overseas Trade Show and to suggest strategies for an organizer of pavilions to operate more effectively so as to increase exhibitors‟ positive outcomes. We constructed a research model and presented some hypotheses. To assess these hypotheses, questionnaires were distributed to exhibitors who had participated in a Korean pavilion at an international Trade Show. SPSS 26.0 software was used to analyze the data. First, the factors that determined the quality of a pavilion were analyzed to assess their effect on participant outcome. The only two factors that were found to influence the quality of a pavilion were the conditions of an exhibitor's booth and the support activities by the organizers. These had positive effects on participating exhibitors‟ outcomes and anticipated future behaviors. To increase the positive outcomes of exhibitors, various changes should be made to improve the conditions of exhibitors‟ booths. The pavilion organizer should also develop other ways to increase the positive outcomes of exhibitors such as local advertising and promotional activities, on-site support activities, invitations to buyers‟ luncheons, promotional catalogs for exhibitors, and activities to attract potential buyers.

This study focuses on the architectural changes of stele pavilion at the royal tombs of Joseon Dynasty. Throughout the survey on overall forty two stele pavilions, they were classified into basic type, expanded type, and 4-side corridor type. Basic type was usually used for general small stela, while expanded type was for extraordinarily large ones. 4-side corridor type, however, turned out to be used for both small and large stela and has appeared only during King Gojong period(高宗年間, 1863-1907). When it was first applied at Geonwolleung(健元陵) in 1870s, the purpose of 4-side corridor type seemed to stabilize the enlarged structure due to the size of the larger stele. Later, 4-side corridor type was repeated for small stela at Hongneung(洪陵) and Yureung(裕陵) in 1898 and 1904 respectively, to express higher dignity of Daehan Empire(大韓帝國). This type of plan continued to other pavilions in the center of Seoul such as Kinyeombijeon(紀念碑殿) and Seokgojeon(石鼓 殿) that were built in 1903 with sophisticated proportion and multiple brackets. This architectural change implies that stele pavilion itself has become more significant than stele inside.

The purpose of this study is to inquire original design and character of dancheong in Yeongnamnu Pavilion which features unusual portraits of twisting dragons and four heavenly creatures. Its artistic value and originality can be found in the portraits of four heavenly creatures which are painted on the interior seonjayeon(fan shape rafter) and in the unique design of crossbeam meoricho(flower decorations on each side of pillars). Yeongnamnu’s crossbeam meoricho is janggu-meoricho type(meoricho with hourglass figure) with full-shape lotus and half-shape flower decorations. And it can be said that, dragon portrait painted on the border of lotus and flower decorations in green and yellow is a very unique style of dancheong, for the reason that it has scarcely been used before and ever since. The portrait of four heavenly creatures painted on each corner of seonjayeon is also found to be unique in design, for the reason that the design has rarely been used throughout history, with only two exceptions in mural tombs of Goguryeo and folding screen in Injeongjeon Hall of Changdeokgung Palace . With its unique and authentic feature along with its rarity in number, the portrait of four heavenly creatures painted on Yeongnamnu can be considered as quite symbolic and important.

In the design of urban rail traffic entrances and ventilation pavilion in the city of Zhengzhou, Henan province, this study tries to explore a kind of regional appearance about the subway entrances and ventilation pavilion design in the new period through the combination of sustainable building ideology [ 1] and local culture. The creation inspiration of the design is from the aspects of humanism, and the design tries to make the building have distinct regional characteristic in the premise of the contemporary feeling with the rational method. The building is located in the central plains , where the cultural resources are very rich. The design tries to choose clements that are from the famous cultural heritage and appeared appropriately in the plan, which to read and promote culture with the perspective of modem style architecture, and also make the subway entrance building have local differences and the identify ability. In the deepening of the design, the green and sustainable thought is the main exploration direction. The design tries to use High-tech building materials, and shows the building texture with the Combination of ETFE (ethylene-tetra-fluoric-ethylene) and steel skeleton, which appear the structure and the form of the building in the new period with the eco-friendly style. At the same time, the design discusses the way of Subway Entrances and the ventilation pavilion in central plains under the constraints of geography, climate and function.

In the design of urban rail traffic entrances and ventilation pavilion in the city of Zhengzhou, Henan province, this study tries to explore a kind of regional appearance about the subway entrances and ventilation pavilion design in the new period through the combination of sustainable building ideology 【1】and local culture. The creation inspiration of the design is from the aspects of humanism, and the design tries to make the building have distinct regional characteristic in the premise of the contemporary feeling with the rational method. The building is located in the central plains，where the cultural resources are very rich. The design tries to choose elements that are from the famous cultural heritage and appeared appropriately in the plan, which to read and promote culture with the perspective of modern style architecture, and also make the subway entrance building have local differences and the identify ability. In the deepening of the design, the green and sustainable thought is the main exploration direction. The design tries to use High-tech building materials, and shows the building texture with the Combination of ETFE (ethylene-tetra-fluoric-ethylene) and steel skeleton, which appear the structure and the form of the building in the new period with the eco-friendly style. At the same time, the design discusses the way of Subway Entrances and the ventilation pavilion in central plains under the constraints of geography, climate and function.