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REFERENCE LINKING PLATFORM OF KOREA S&T JOURNALS
> Journal Vol & Issue
Journal of architectural history
Journal Basic Information
Journal DOI :
Korean Association of Architectural History
Editor in Chief :
Volume & Issues
Volume 16, Issue 6 - Dec 2007
Volume 16, Issue 5 - Oct 2007
Volume 16, Issue 4 - Aug 2007
Volume 16, Issue 3 - Jun 2007
Volume 16, Issue 2 - Apr 2007
Volume 16, Issue 1 - Feb 2007
Selecting the target year
Two Modern Museums in San Francisco: SFMOMA and De Young Museum
Chung, Jin-Soo ;
Journal of architectural history, volume 16, issue 4, 2007, Pages 7~22
In San Francisco, two new museums were recently built in 1995 and 2005. The one is San Francisco Museum of Modern Art designed by Mario Botta and the other is De Young Museum designed by Jacques Herzog & Pierre de Meuron. The urban settings for the museums are compared with each other and theories of the architects are evolved on different branches in the modernist trends. The theories and settings are followed by the representation in the forms, facades, interior spaces and towers. SFMOMA is located on the SoMa area, which was recently developed into a cultural urban core with Moscone Center and Buena Yerba Garden. De Young Museum was rebuilt in the old museum site in the Golden Gate Park. The one is on the context of urban artefacts and the other on the context of natural artefacts. To Botta, the museum in today's city plays a role analogous to that of the cathedral of yesterday. It is a place of common encounter and confrontation. The volume of SFMOMA which is geometrical and symmetric with double pylons. The frontality on the street and public green open space and the axiality of SFMOMA runs through the Buena Yerba Garden over Buena Yerba Center for the Arts are reminded us of an urban core with a religious monument and a city square. The staircase with grandiose design in the atrium seems to work as an altar with lighting from skylight above enhancing the liturgical ambiance. De Young Museum is shaped in a rectangle with long narrow courtyards. Three bands of volumes are juxtaposed and the nature flows into the museum corridors and galleries. The tower is distorted so as to be aligned to the street grids of the surrounding area. The copper panel of De Young Museum and natural context evoke modern concept of "machine in the garden". The two museums from different pedigrees of Modern Architecture are now major landmarks of SF and urban expressions for the 21st century.
A Study on Typology of Maru's Placement in Korean Traditional Single Houses of Four Kan in Chonnam Province
Chang, Dong-Kuk ; Chung, Seong-Kyoon ; Shin, Woong-Ju ; Eun, Chul-Young ; Kim, Soo-In ; Park, Kang-Chul ;
Journal of architectural history, volume 16, issue 4, 2007, Pages 23~36
Many researches on the typology of 'Maru' (Wooden deck) in Korean traditional houses have mainly focused on the high-class houses in the central region of Korea. They were mainly concerned on defining Maru's typology by social status of the owner, based on the researches regarding its physical and spatial properties. Maru in the high-class traditional houses has been served as an essential architectural feature showing the social status of owners as well as adapting in the region of humid and hot summer. This research investigated the typology of Maru's placement in traditional single houses of four Kan in Chonnam province, which shows many differences in its placement according to the regions. Research results show that the typology of Maru's placement and openness is different with the location of houses within the region. This difference affects on the circulation of movement, which eventually affects on the pattern of space use. The difference is also very likely to be affected by the natural environment of geography and climate of the region.
A Study on the plan and the structural system of the '凸'-shaped, the '呂'-shaped and the hexagonal-shaped pit houses
Lee, Seung-Yeon ; Lee, Sang-Hae ;
Journal of architectural history, volume 16, issue 4, 2007, Pages 37~56
The '凸'-shaped, the '呂'-shaped and the hexagonal-shaped pit houses were excavated at the Youngdong area, some location along the upper the Imjin River and Han River between the Iron age and the kingdom of Hanseong Baekje. The aim of this study is to analyze various structural system and developement of the pit house with rectangular plan. It is considered a matter in all its aspects which are plan, scale, aspect, pillar holes, carbonized wood and several traces. These pit houses removes the pillar on the inside or it reduces to secure a wider space, it pursued the chamfered corner, the change of the front, the entrance fixed. Also these adopted diverse structural systems(the chuandou structure, the structural system of columns and beams and a bearing wall). But in the course of time, the Korean wooden architecture is developed gradually the structural system of columns and beams. It is presumed the result that overcome the limit with the close space and pursue the flowing space and compose a group of organizable buildings.
A Study on Space-Divisional Meaning of Stone Entrance Stairs in Bulguksa
Youm, Jung-Seop ;
Journal of architectural history, volume 16, issue 4, 2007, Pages 57~75
Bulguk Temple, one of the national temples, sublimated the high formalism and symbolism into lovely art, and thus be called the pinnacle of Korean architecture. Of many characteristic structures of Bulguk Temple, the stone stereobate and stairs have a great importance in that we can read out the purpose of the architect through their relics. Especially, the stone stairs are noteworthy for they structuralize the intentional space division. The objects of this observation are Yeonwhagyo and Chilbogyo bridges at the entrance of Keungnakjeon precinct, and Cheongwoongyo and Baekwoongyo stairs at the entrance of Daewoongjun precinct. All these relics are the structures that divide the precinct areas on the basis of Buddhist theory and have strong symbolic meanings as well. Although the diverse studies have made on the structures, there are many insufficient aspects for the manifestation of the meanings. In this study, I considered the Buddhist dogmatic meanings of the structures in the formalistic view of the Buddhist architecture. The study was proceeded in the way that the establishments of former studies were fully reflected in it. Through the study, I could confirm that the objects of consideration have the double formalistic meanings and they are strongly structuralizing the symbolism.
Restoration Study of Woljeong-gyo
Nam, Si-Jin ;
Journal of architectural history, volume 16, issue 4, 2007, Pages 77~93
According to documentary records Woljeong-gyo(stone bridge) is built in 760(Silla the 35th King Gyeongdeok 19) and used as original function until 1280(Goryeo the 25th King Chungryeol 6) as Chunyang-gyo. But in those days "Donggyeongjapgi" was published in 1669(Joseon Hyeonjong 10) we assume that it was lost its original function. There are four pier in the type of a ship with the same distance in the middle of river. We can see it is the site of bridge as parts of stonework of bridge are remained. In 1975 the abutments and piers are surveyed and in 1984 stone investigation twice and excavation three times which were to plan restoration were done. Now the restoration of abutments both ends are worked. For restoration of Woljeong-gyo studied documentary records and excavation recoeds were collected and examined. It helped to see the bridge in southern China twice to restore the bridge. Unearthed articles such as yeonham(a kind of member to support roof tiles) and giwa(roof tile) gave decisive clues to assume upper structure of the bridge and from Chinese bridges are helped to type of the bridge. It is certain Woljeong-gyo was ranggyo which means that upper structure was made with wooden members and the stone piers shaped of a ship below and near the abutments both ends another buildings were. Youngjocheok(the architectural measure) of this bridge is similar to gokcheok(the metal measure, 301.84mm) used now that the length of piers is 46choek(尺), the width of that is 9choek(尺), the length between two piers is 42choek(尺), the length between abutment and pier is 38choek(尺). Also we can see that entirely the length of the bridge is 210choek(尺), width is 40choek(尺).
A Study on the Ancient Scale of Measurement Unit Employed in Buildings and Their Sites -Focused on the East and West buildings and their sites of 'Kum-dang' in 'Mi-ruk Sa' temple-
Kim, Young-Phil ; Lee, Sang-Sun ; Lee, Bong-Soo ; Chang, Dong-Kuk ; Park, Kang-Chul ;
Journal of architectural history, volume 16, issue 4, 2007, Pages 95~110
In spite of the increasing significance on a scale of building measurement unit and its system having been used in many areas of architecture, only a few researchers carried out the studies on a specific period. It is even harder to find a research results dealt in view of architecture. This research gives a focus on different types of scales employed in the ancient buildings and their sites, based on the research results of unit scale or scales found in recent excavations. After the review of literature on the scales widely used in the ancient times and of the various types of scales excavated archeologically, a kind of scale unit system that had been widely and extensively employed throughout the period of 'Three Kingdoms' could be revealed. The scale system is possibly able to be applied to estimate the exact scale of buildings and their sites as well in that era. The research results show that the scale and its system employed in the East and West buildings and their sites of 'Kum-dang' in 'Mi-ruk Sa' temple are different from 'Kokuryo' scale that was believed in to be used in the temple. Contrary to the suggestion by excavation report on the type of scale employed in the buildings their sites, a scale of 29 centimeters, similar to that of Tang, was employed. It was also found that one module consists of three 'Chuk's of 88.8 centimeters. Based on this scale system, we could conclude that three modules of the buildings on the front and two and half modules of them on the sides were explained by this scale and its system.
Characteristics of Jaesil(齋室) Architecture with Eleveted Pavilion in Andong Area, Kyungbook Province
Ryu, Kee-Weon ; Kim, Sung-Woo ;
Journal of architectural history, volume 16, issue 4, 2007, Pages 111~130
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.
A Study on the Church Building Type and Design Source of the church architect P. Alwin Schmid - Focused on the Influence of Dominikus Bohm and Rudolf Schwarz -
Kim, Jung-Shin ;
Journal of architectural history, volume 16, issue 4, 2007, Pages 131~148
This study aims at searching the Church Building Type and Design Sources of a German church architect who had designed many churches and other buildings in Korea. P. Alwin Schmid(1904-1978) had designed 188 Catholic buildings in Korea for 20 years from 1958 to 1978. In his works there are many excellent Catholic ritual buildings. It was caused by his conviction on the theology and the principles of Church Architecture. And His remarkable achievement is affected by the works of Dominikus Bom(1880-1955) and Rudolf Schwarz(1897-1961). Alwin's 5 plan type is relevant to Schwarz' iconographic model, and their approach to 'light' is much the same. But the Character of inner space is the middle of Dominikus Bom and Rudolf Schwarz. His works rotted in the Liturgical Movement had been developed in the line of connection with 20th German church architecture. The works of Dominikus Bom and Rudolf Schwarz played the role of the teacher of Alwin Schwarz.