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.

This study primarily aims to illuminate the characteristics of Meoreum in Korean traditional fitting system according to the respective types and its periodical changes. Using the research findings as a chronological indicator by which to estimate the construction date of the building is the secondary purpose. In this study 42 of Byeoldang and pavilion architecture remaining in Yeongnam district were examined through the field surveys and methods of documentary research. The research results are as follows. First, Meoreum, which is located below the windows or doors, provides protection against the outer wind and has the function to prevent some warm air of the room from flowing outside. Second, Meoreum was recorded as Yoeum(了音), Woneum(遠音), and Maleum(末音) in Yeong-geon-ui-gwe (營建儀軌) of Joseon period. While Yoeum(了 音) was used in Yeong-geon-ui-gwe (營建儀軌) of 1776 and 1856, Woneum(遠音) had been also used continuously since the year of 1800. The word, Maleum(末音) can be seen in Lim-won-gyeong-je-ji (林園經濟志), published in 1827. Woneum(遠音) and Maleum(末音) seem to be the Yi-du(吏讀) types of expression of Meoreum which is being extensively used now. Third, the kinds of Meoreum can be classified as TohMeoreum, TongMeoreum, TongpanMeoreum, and J janeunMeoreum. TongMeoreum and TohMeoreum were mostly used at the front part of Ondol-rooms, the backside of main floor called Daechung(大廳), and at the space between Daechung and rooms in the Pavilions and Byeoldangs(Annexes) that had been built in the early Joseon dynasty. TohMeoreum was usually used at the bottom parts of windows between Daechung and Ondol-rooms. TongpanMeoreum was mainly used in the mid-Joseon period and relatively high height was the distinctive feature of Meoreum at that time. J janeun Meoreum, used mainly in the late Joseon dynasty, has become lower and lower gradually in height since 19th century, so people could enter the room through the windows(fittings). Such changes in Meoreums types has brought about the flow of human traffic directly from Toenmaru, narrow wooden porch running along the outside of a room to Ondol-rooms.

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.

There are a few hundreds of Jaesil architectures in Andong area, Kyungbook Province. Among them, about 25 of them have elevated pavilion, while all the rest do not have. This paper focus on these jaesils with elevated pavilion, and tried to identify the different types among them, the background of the beginning of these jaesils, as well as eleveted pavilion. Five different types could be clarified, and they could be reinterpreted according to the background cause of the construction of these types. Three major background reasons for the construction of jaesils with elevated pavilion, seems to be: 1) necessity of such pavilion to be able to clomplete the system of Jaesil, 2) borrowing of temple structure where there is not large wooden floor, and 3) eclectic combination of pavilion and main hall (Gangdand 講堂). Such study helps us understand not only the jaesils with eleveted pavilion, but also the general jaesils without eleveted pavilion. The inclusion of eleveted pavilion has a lot to do with the symbolic expression of the family, use of large space for the family gathering, as well as the popular trends of pavilion architecture of the time.