In contemporary architectural discourse, the concept of space is ubiquitous, yet its historical genesis and theoretical underpinnings in Gottfried Semper's seminal theoretical work remain under explored. This study investigates the reception and integration of Semper’s architectural theory into modern discourse, tracing its trajectory from August Schmarsow, to Nikolaus Pevsner, to Sigfried Giedion. While Semper’s “cladding theory” had initially been understood in terms of both its relation to physical properties and structural and functional values, leading to an expansion of cladding as a new genre of art, i.e. arts and crafts, Semper’s “architectural theory” instead explained cladding theory in terms of space. In disseminating Semper’s theoretical work, Schmarsow was especially important as he himself played an increasingly prominent role in expanding the boundaries of modernist architectural theory and practice from the beginning of the 20th century on.

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.

Since he was a leading figure in nineteenth century architecture, Viollet-le-Duc's architectural theory is crucial to the foundation of modern architecture. He has been called a Gothic Revivalist, a Structural Rationalist and a Positivist. The first title was perhaps due to his vigorous restoration of Gothic works such as $N\hat{o}tre$ Dame, but he did not adore the Gothic style just for itself. Rather, he hoped to deduce some principles from the style. So how did he manage this? In his book "Entretiens sur l'Architecture (Lectures on Architecture), published between 1864 and 1872, he mentions using Descartes' four rules for reaching architectural certainty in contrast with the chaotic situation during that modernising period. Furthermore Viollet-le-Duc's theory can be seen as a serious attempt to translates Descartes' philosophical rules into systems of architectural speculation. Descartes' four rules of doubt are anchored in mathematical propositions, and without mathematical distinctions, none of these rules are valid. In other word, mathematics for Viollet is the yardstick of judgement between distinctness and indistinctness. Many architectural problems arise from this view. In this paper, the validities of applying Descartes' method of doubt to architectural discourse will be discussed in order to address the question:-Did Viollet-le-Duc clearly grasp Cartesian method by which memory was erased from the world?

The essence of Chinese landscape architecture is realization of a space that embraces nature and human integrating the openness and encloseness. The concept of landscape architecture that artificially furnishes natural elegance into urban areas coincides with the spiritual basis of Chinese literati-painting which subjectifies the scenery of objective world and entrusts personal feelings on that. In other words, the ultimate ideal of Chinese landscape architecture is embodying the Utopia of confucian intellectual in a city. This paper has tried to shed a light on inter-relationship of literati-painting theory and Chinese landscape architecture theory through comparing them. It is the identical spiritual basis they shared harmoniously that made landscape architecture, poetry and painting possible to meet.