This research aims to investigate Park Kilyong’s architectural theory and critique of Gyeongseong (Seoul) buildings, expressed in his ‘Overview of Modern Buildings in Gyeongseong’ and ‘Critique of Gyeongseong Buildings’ (Samcheolli, Sept. and Oct. 1935); and ‘Architectural Form of the 100% Function’ and ‘The Modern and Architecture (1)-(4)’ (Dong-A Daily, 28 Jul. to 1 Aug. 1936). As a result, it is confirmed that Park had the functionalist theory of modern architecture, which suggests that Korean architects of the Japanese colonial period were accommodating the contemporary trend of world architecture. However, Park shows his fundamental limitations in the fact that the main content of his articles was a verbatim translation of two Japanese references (Kurata, 1927; Ishihara, 1929) without proper indications. Despite the limitations, his texts are still meaningful since he formed his own architectural theory on the basis of what he translated; and indeed his critique of Gyeongseong buildings, however simple, was based on the theory. This research makes a critical analysis of Park’s functionalist theory from both the 1930s’ and present points of view and compares his commentaries on Gyeongseong architecture with those by Ko Yu-seop (1932) and Hong Yunsick (1937), illustrating how Korea perceived architecture and modernism in 1930s.

본 연구는 1890년대부터 1930년대까지 한국 선교 현장에서 전도부인 들이 직면했지만 밝혀지지 않은 일상의 어려움을 밝혀내어, 토착 교회의 자립을 도모하는 개신교 선교정책인 네비어스 방법(Nevius Methods)의 포괄적인 이해를 목표로 한다. 통상적으로 지배적인 학계의 시점이 전도부 인들의 수고와 업적을 인정하는 것과는 달리, 본 연구는 전도부인들이 겪은 역경이 토착 교회의 자립을 장려했던 네비어스 방법과 밀접하게 연관되어 있음을 주장한다. 네비어스 방법은 토착 교회가 자립하도록 토착 교회가 스스로 토착 교회 사역자를 세우고 생활비를 부담해야 된다고 주장했다. 이 선교정책은 선교사들에게 한국 교회가 빠르게 성장하는 핵심 으로 여겨지고 있었지만 교회가 재정적인 어려움에 직면하게 될 때 교회 계층의 가장 낮은 위치에 있는 전도부인들이 종종 불리한 처우를 받게 되었다. 본 연구는 1차 원자료에 의존하여, 전도부인들의 경험을 철저하게 조사함으로써 토착 교회의 빠른 성장에 대한 선교사들의 열망과 가난한 선교현장의 혹독한 현실과의 격차에 대해 다룬다.

The purpose of this research is to investigate Korean architects’ perception of the Modern Movement in architecture in the West during the Japanese colonial period, by analyzing two Korean publications in the 1930s: Park Dongjin’s ‘Present Architectural Tendency’ (Dong-A Ilbo, March 1931) and Hong Yunsick’s ‘Trend in the Thought of Moderne Baukunst’ (Chogwang, September 1937). As a result of the investigation, it is confirmed that the two men welcomely accepted the universal modernity, regarding the rational and functional - rather than subjective expressions of the individual - as the key to modern architecture. Although their perception of the Modern Movement in Western architecture was inevitably superficial due to the limited condition of the Japanese colonial period in Korea, there was an obvious advancement in the latter’s perception from the former’s, reflecting the progress in knowledge of it over the six and a half years between the two. Therefore, it is argued that their 1930s’ writings are meaningful as the first Korean publications that illustrate how Korean architectural circles perceived the contemporary architectural movement in the West.

The purpose of this research is to understand Ko Yu-seop’s perception of ‘contemporary emerging architecture’ in the West by investigating into his two early 1930s’ articles: ‘On Emerging Arts, Particularly the Cutting-edge Architecture’ (Jan. 1931) and ‘Russian Architecture’ (Dec. 1932). As a result of the investigation, it is argued that he attempted to systematically describe his contemporary architecture, from the concept of ‘modern’ to representative architectural theories, and his suggested reference list is considered meaningful since it illustrates one aspect of how modern architectural knowledge was transferred to Korea at that time. As his limitation, however, it should be pointed out that a significant part of his writing was a verbatim translation of the Japanese critic Takao Itagaki’s New Art Acquisition (1930). Nevertheless, the two articles give us a valuable understanding related to his socialist tendency, his preferred commune-type city-cum-architecture that reflects the ideology, etc. Hereafter, this understanding needs to be further discussed in both study areas of art history and architectural history in Korea.

This study reviewed Korean food recipes and food culture included in English cookbooks issued in the United States from the 1930s to the early 1970s. In the 1930s cookbook, many types of soup were introduced to Korean food under the influence of the Tangban culture in the Joseon dynasty and a brief description of ‘Sinseollo’ culture. The 1940s cookbooks, introduced Korean table settings, food culture, and cooking methods depending on the use of chopsticks. In the 1950s cookbooks, Korean foods were selected to suit a Western table setting, and detailed explanations were included along with ‘cheopsu’ means the number of dishes served in Korean food. More diverse Korean food was introduced within its culture and origins in the 1960s cookbooks. The 1970s cookbooks explained, the characteristics of Korean culinary specialties that differentiated from oriental food. This study of Korean food and culture from Cookbooks issued in the United States from the 1930s to 1970s, where Eastern and Western multiculturalism coexist, can be used as baseline data to understand the identity of modern Korean food culture and the direction of the globalization of Korean food.

한국개신교 선교 50주년을 기념하기 위해 시도된 ‘아빙돈 『단권 성경주석』’ 번역사업은 감리교와 장로교의 일부 외국 선교사와 다수의 한국인 목회자들이 함께 참여한 매우 의미 있는 일이었고, 이 일을 주도한 사람은 감리교의 류형기 목사였다. 그러나 장로교 총회에서는 『단권 성경주석』이 자신들이 추구하는 성경무오설과 축자영감설을 부정한다는 이유로 이를 금서(禁書)로 규정하였다. 그리고 장로교 번역자들에게 자신들의 글을 이후에 재판(再版)이 될 때 『단권 성경주 석』에서 빼도록 강요하였다. 이런 논란에도 불구하고 『단권 성경주석』 이 매우 많이 판매되었다는 점에서 당시에 한국교회에 미치는 파장이 그리 크지 않았던 것으로 보인다. 하지만 그 결과는 본격적인 신학 논쟁 야기와 교회 분열이라는 결과를 초래하였다. 본 논문에서는 1930 년대 있었던 한국개신교 선교 시작 시점에 관한 논란과 50주년 기념사업 으로 진행된 『단권 성경주석』이 초래한 여러 가지 논쟁 과정과 결과를 선교적 관점에서 고찰하고 있다.

The purpose of this study was to analyze the correlation between conservation activities and the development of tourism in the modern period in the Korean peninsula. The main building of Jangansa Temple, located in Mt. Geumgang, was repaired in the 1930s. During the repairs, the Japanese General-Government actively engaged in the development of Mt. Geumgang and raised funds for the operation of the Korean Peninsula through tourism revenue. The repair work was carried out under the influence of the Mt. Geumgang development project. And its influence is revealed by reviewing official documents recording repair work. This study tried to clarify the relationship between development and repair work through official documents.

The purpose of this study is to examine the construction industry of Korea from the 1920s to the 1930s by analyzing activities of construction-contractors trying to overcome the recession of the construction industry and intensified competition in the industry. In this paper, I looked at the activities of Hanazono Sakichi as concrete examples. First of all, with the strategy of the vertical integration, by manufacturing and selling building materials, Hanazono Sakichi expanded his company and the scope of contract business. The second, he attempted to diversify related projects. Through related diversification, he seemed to have earned not only land management profit but also advantages from related construction. These aspects were not only seen by Hanazono’s activities but also by other contractors’. On the other hand, a few contractors have taken over a trust company to secure the funds for land management. Attempts to maximize personal interests through the expansion and diversification of contractors' business can be seen as overcoming the pre-1920s environment, where almost construct works were ordered under the government, and creating opportunities for the private sector to work and make profit by themselves. In the end, it can be mentioned that ‘the contractor’ established ‘the construction industry’ through this process.

The purpose of this study was to determine changes in neighborhoods due to the development of residential districts around Jangchungdan(獎忠壇) altar in Seoul from the 1920s to the 1930s. In the Joseon Dynasty, this area was a protected and sacred area to honor the spirit. The reputation of the area, however, turned into the place to play and take a rest and neighborhoods around Jangchungdan altar were developed as high-grade residential districts with the impression of suburbs during the Japanese colonial period. Residential districts were formed with the destruction of the Hanyang City Wall and the privatization of nation-owned forest, which were physical and symbolic boundaries of Seoul in the Joseon Dynasty.

A new type of women started to appear in Germany during 1920-1930s and unlike his previous work, Klee began to create works, which related to this new type of modern woman. This paper is a study of Klee’s image of New women in the 1920-1930s, and reflects on Klee’s professional achievements and his perception of these times, based on their social background, which was reflected on the shapes of the ‘New women’ that he portrayed. The labor power shortage that resulted in the aftermath of the First World War provided women with employment opportunities and they were therefore able to actively contribute to the economy. Klee recognized the fact that the female gender role that had been limited to being a wife and mother at home, changed drastically as women participated more in politics and social activities. This was illustrated by the diverse images and activities of contemporary women in the performing arts, and portrayed in magazines, newspapers, and film. The liberation of bodies was expressed through dance or gymnastics and the social atmosphere of the time promoted the performances of modern female dancers. Consequently, there was a significant increase in the number of new women who enjoyed dancing and this led to the production of a large number of dance studios and professional dancers. Klee’s images of dancing women shown in his works at the beginning of the 1920s were formed using mysterious and erotic shapes and vibrant lines. However, towards the end of the decade, expressionistic and dark black lines were more prevalent in his dance related works. Clearly repeating straight lines and curves produced geometric and pictorial structures, which expressed perfectly the dynamic motions of dancing women. The 1920s in particular can be said to have been an innovative period of expressionistic dances, and dancers expressed the inner world of human emotions through free movements. The leaping dancers produced by Klee could also be connected to the gymnastics performed at the Bauhaus. At that time, gymnastics was seen as a link between pop culture and the practice of high class art. Overwhelmingly, many participants in gymnastics were women who embraced pop culture and saw themselves as being popular modern women. During the late 1920s, Klee focused on jumping and shifting shapes while concentrating on the creation of geometric abstraction, which meant that the geometrically simplified shapes lost their concreteness and comprised of crosses of planes. Therefore, the gymnastic rhythms that appeared in Klee’s works emphasized movements based on the geometric body shapes, which were connected to an observance of the participants in physical activities.

In this study, we evaluated the chemical and physical properties of structural steel, which is the most basic material for steel structures and reinforcement concrete structures in modern period. We theorized the technical data for the research of technical history of modern heritage structures by analyzing the product system and its quality control of structural steel used in modern historical heritages. The results of this study are as follow; first, the rounded bars were used in most of modern heritage structures. But in the case of Waegwan railroad bridge, the deformed bars were used in spit of not using in Japan after the great earthquake of Kantou. Second, the structural steel was good in terms of quality control, but It has brittle properties because it was not manufactured by heat treatment process.

Early 20th century Singapore was faced with the problem of overcrowding. The attendant problems of a rapid increase in population density, namely the lack of proper housing and sanitation, resulted in the issue of an appropriate residential environment emerging as an important task in urban planning. It was necessary to construct housing estates in order to solve this issue. At that time, the British colonial government attempted to transplant modern technology into the construction process of a residential complex system. However, Singapore’s climate and traditional lifestyle made it impossible to apply the British modern system in a straightforward manner, and in the process, a number of transformations emerged. With a specific focus on the Tiong Bahru estate, one of Singapore’s representative public housing projects, from the 1930s through the 1950s, this study intends to look at the way in which such residential estates were assimilated into local surroundings, and the effect of the transplantation of British concepts of modern housing theory. Therefore, the study is divided into an examination of the estate both before and after the turning point of World War II. This study confirms that the difference between the pre-war and post-war planning strategies for the Tiong Bahru estate were made according to the concept of ‘open space.’