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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
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Volume & Issues
Volume 7, Issue 4 - Dec 1998
Volume 7, Issue 3 - Sep 1998
Volume 7, Issue 2 - Jun 1998
Volume 7, Issue 1 - Mar 1998
Selecting the target year
A Study on the Drawing Representation Methodology of Architectural Plans(建築圖說) in Late chosun Dynasty
Shin, Dong-Cheol ;
Journal of architectural history, volume 7, issue 3, 1998, Pages 9~26
Architectural Drawing has been settled down the very effective means of exchanging their architectural ideas and data on the construction process. However, it was not easy to conserve the original drawings, which aims had been accomplished, at the same time, building was built. The same phenomena were occurred in our traditional architectural construction project, especially before pre-modern age. And do not understand soundly building documentation accepted by craftsmen in the period of earliest Chosun dynasty and how to present their idea and information of architectural as means of sketches and drawings. So, this paper aimed to clarify the drawing occurrence and the development steps of their rendering, representation methodology in the construction process in Sannungdogam-Uuigue, which were the construction documents of government based on the royal family's tomb and building projects in the late Chosun Dynasty. There are three development stages of architectural space representation, pre-drawing stage, drawing occurring stage and drawing settlement stage, They had been adapted unique drawing presentation method which were drawn by artisan, so called Doseol(圖說)and Painter Hwawon(畵員) The results are 1. In the Pre-drawing stage, they had been used the systematic explanation method of character 2. Do not have the evidence of adapting drawing before 17th centry, it was originated in early 17's century started with Onga(甕家). Onga's Drawing was drawn very elementary skill, and became development, settlement and standardization of their drawing representation around 19th century 3. The drawing presented by client's recognition view of space and building, integrated data within a sheet of drawing with practical and hierarchy and using graphic and description.
A Study on the Estimated, Executed Cost of Woodwork in the Construction of the Kyongwoon Palace
Lee, Kweon-Yeong ; Seo, Chi-Sang ; Kim, Soon-Il ;
Journal of architectural history, volume 7, issue 3, 1998, Pages 27~51
One of the characteristics of a good construction is efficiently to use material and manpower related in the construction. From the preplanning stage to the completion one, a program planner must sufficiently consider the whole field of construction in terms of cost. The estimating account books were written and left in the Construction of the Kyongwoon Palace reconstructed in the beginning of 20th century. Trough those books and other related documents, this paper has been concentrated on the estimated, executed cost of woodwork in those days.
A Study on the Types and Changes of the Urban Houses in the Korean Inland during the Period 1910-1945
Kim, Tai-Young ;
Journal of architectural history, volume 7, issue 3, 1998, Pages 53~66
In the meantime, the study of traditional and contemporary house had been produced so many achievements in korea, but modern house is yet to be solved, Accordingly, It is necessary to develop and present the basic research data in order to build up an objective study for urban house in the modern age(1910-1945), Following to a study on the foreigner's house in grid-type settlement of Open Ports, in this research is to investigate and analyze modern houses of urban areas in korean inland, and then clarify types and changes of them. In the first year(
), the modern houses of Central Inland Districts(arrounding river Kumgang)-Kunsan kanggyong Puyo Kongju Pugang Chongju were investigated by the layout of room, the construction and materials, the design and style, etc. In the second year(
), the modern houses of Open Market(開市場)-Seoul Taegu Kwangju Taejon Chonju were conducted to investigate as above. The traditional house transformed by differentiation and addition of room(kan), the various types were respectively adopted for the korean reforming and western cultural house. In the layout of room, the types of plan were gradually concentrated from the single wings of korean traditional house. The korean traditional house was later improved through the introduction of entrance, corridor, and internal toilet/bathroom. But the korean under-floor heating system(andal) and a series of three rooms had been entirely maintained, composed of master bedroom/living room(daechung)/room. And the traditional town house with shop and storage, being built closely to each other and walled up both sides, it had taken gradually the extensive characteristics in itself. By the displacement of shop/dwelling/ storage. the various types were respectively adopted for the separated, multi-storied, and complex type. The type of them was gradually changed to the narrow and linear form. And so with the stockpile of fundamental datas about modern houses in korean urban areas, we expect these results contribute to the knowledge of the spatial characteristics of urban house at present which are required to the understanding of transition as well as types.
A Historical Study on Railroad Station Buildig Design in Korea
Yoon, In-Suk ;
Journal of architectural history, volume 7, issue 3, 1998, Pages 67~86
In this thesis, the Development of Station Buildigs Design during last a hundred years in Korea is analyzed. From the early time to today, several posts of Office of Korean National Railroads have controlled the Station Buildings Design by Standard Drawings. Sometimes, private architects joined in designing the Stations, that have the value as historic architecture. Under the Japanese imperialistic rule, Japanese Officer designed all of the stations ; that can be classified 1) wooden compromise style, 2) renaissance style, 3) northern European house style, 4) general station by standard drawing, 5) Korean house style. 6) modernism style. Especially, Korean house style was not planned to commemorate the old Korean Architecture, but to beguile the Japanese tourists' monotony of the journey in Korea. After the Independence, the Station Buildings are grouped into 1) international style, 2) modernism style with traditional details, 3) Station Complex Buildings. In the future, design of the Railroad Station Building needs to be diversified to satisfy tourists' emotion.
Michel Foucault and Modern Architecture(I) - Words and Things, Words and Architecture -
Pai, Hyung-Min ;
Journal of architectural history, volume 7, issue 3, 1998, Pages 87~105
Surveying the literature of architecture since the nineteenth century, one can identify two dominant but problematic attitudes, among several, that pursue the task of defining what modern architecture is and should be. The first is the search for meaning and the second is the pursuit of form. This study, following Michel Foucault, asserts that the dual formation of meaning and form is a historical product of modernity and belies architecture's uncritical dependence on language since the nineteenth century. This study is a critique and historical analysis of this pernicious reliance, and constitutes a first step towards thinking of alternative relations between 'words and architecture' in the modern world. In reconstructing this problematic, the paper has called on Foucault's seminal The Order of Things. The study follows his construction of the Renaissance, the Classical and the Modern episteme, and in brief fashion, reconstructs the relation between language and architecture in each episteme. In analysing the Modern, the study focuses on Hegel's Lectures on Aesthetics. Hegel placed architecture in a genre hierarchy within which architecture, because of its material basis, was fundamentally limited in its ability to express the Spirit. For Hegel it was, among the arts, poetic language, and beyond art, the language of philosophy, through which the Absolute Spirit could be atttained. Much of post-nineteenth century architecture has remained within the shadow of Hegel, where architecture's materiality is perceived to be a burden, and in order to secure its relevance in modern society, architecture was deemed to pursue the role of language. As the most recent and sophisticated example of architecture's pursuit of form, the paper analyses the work of Peter Eisenman. Though Eisenman's theoretical writings are replete with post-Hegelian rhetoric, his architecture remains dependent upon the model of language, albeit a structuralist one. The paper concludes that ultimately, the pursuit of meaning and form is unable to face the crucial issue of value in modernity. While the former decides to easily what it is, the latter evades the issue itself. The second installment of this ongoing study will pursue a third possibility alluded to by Foucault, where language remains silent, pointing only to its 'ponderous' material existence.
Villard de Honnecourt: the Characteristics and Authors of the Sketchbook
Hong, Seong-Woo ;
Journal of architectural history, volume 7, issue 3, 1998, Pages 107~120
Even though Gothic architecture, one of the most technologically complex sophisticated structural systems, has been interpreted by art and architectural historians since the nineteenth century, we still cannot entirely comprehend either the medieval builder's constructional technique and structural knowledge or the meaning of Gothic architectural elements. The major reason is that contemporaneous written documentation concerning design methods and constructional techniques of medieval architecture is lacking. In 1955, the Bibliotheque Nationale in Paris exhibited the sketchbook of the thirteenth century architect Villard do Honnecourt. After the exhibition, analysis on the architectural drawings of Villard's sketchbook had reported widely. Most of analysis on Villard, however, has been on his drawing and artistic style, and there has been very little published analysis of his profession and question on the author of the sketchbook. Thus, the purpose of this study is to investigate the characteristics of the sketchbook and identify the artist who drew it. The sketchbook poses a number of unsolved questions. There is no doubt that several hands have contributed some drawing with appropriate captions, particularly in the section devoted to the application of practical geometry to problems of masonry and carpentry. Scholars have assumed and revealed that it was not made by only one person, and it dealt too many different fields and styles. Through this study, the sketchbook drawings consist of five different styles and person (original painter, master1, master2, master3, and the last owner), and they, not Villard, just redrew the original drawings and bound the sketchbook. Therefore, Villard de Honnecourt was just a mentor of the sketchbook and he did not participate any writing and drawing in the sketchbook.
A Study on the Characterics of Architectural Education Methodology and Its Background in Hannes Meyer's Bauhaus
Jin, Kyung-Don ; Lee, Kang-Up ;
Journal of architectural history, volume 7, issue 3, 1998, Pages 121~135
This paper aims at understanding the Characterics of Architectural Education Methodology in Hannes Meyer's Bauhaus. Through the analysis of his Bauhaus curriculums, writings and works, especially Co-op designs and buildings, this paper investgates the problems caused by functionality, diagramic organization of modern life and sociality, and grasps the meaning of his works. Meyer realized the possibility of Bauhaus education system resulting from mechanical and technological progress, and pursuited the architecture for the proletarian masses. According to analysis, functionality and critical sociality were adopted to criticize bourgeosie humanistic architecture, it reveals Hannes Meyer's architectural Avant-garde strategy.
The Historical Lesson of the Team 10's Break Away from the CIAM
Lee, Hee-Bong ;
Journal of architectural history, volume 7, issue 3, 1998, Pages 137~149
The purpose of this study is to learn from a lesson of the historical fact, the Team 10's break away from the CIAM, which is selected as the most important event in the whole 20th century architecture by author as a historian. The CIAM, organized in 1928 by leading European architects in order to propose new architecture in the industrial era, expanded to the world, met almost annually with an idea of economic efficiency, new functional order, and industrial production for thirty years. Young architects had conflicted with old established group from 6th congress, and after 10th congress they met independently in 1959; the CIAM was disappeared and the Team 10 was born. Main issue of the break-away was human aspect. The Team 10 started from real man, concept of 'human contact', 'sense of community', and 'belonging' instead of abstract functional order. Although CIAM did not suggest inhumane architecture, their biological criteria with sunlight, air, sufficient site became physical determinism. Critique against the Team 10, unsuccess for making humane architecture leads to underestimation like a generational hegemony struggle. However, architect is not specialist of life but form. Historical reevaluation for Team 10 should be that they are the first group to raise an human issue in architecture. Success or not to solve the problem belongs to another domain. After 1960, modern architecture was attacked from the common people, not clients but 'users'. Academic circle tried to solve the problem with behavioral approach through a clear process, 'design method' and with phenomenological approach on real human experience. However practice became reactionary tendency, to make form a little complex, they became post-modern and deconstruction form. Failure of the Team 10's form proved that a complex form does not necessarily make a good life of people. In the Korean historic situation of colony ruling, confusion of liberation, and the War, we did not know the existence of both CIAM and Team 10. After 1970s' economic development, we have just copied Western form from Modern via Post-Modern to Deconstruction. If we make architecture people mattered, we should start from the basic, learning from the Team's break-away, instead of copying.
A Study on the Formative Years of Le Corbusier -La Chaux-de-Fonds, 1887-1917-
Ryu, Jeon-Hee ;
Journal of architectural history, volume 7, issue 3, 1998, Pages 151~170
This study is about Le Corbusier's early years of loarning and training at La Chaux-de-Fonds. It is an attempt to show how Le Corbusier's groundwork was laid which characterize his work throughout the life. Charles Edouard Jeanneret was trained as a watch engraver and wished to be a painter. C. L'Eplattenier was to play a decisive role in shaping the young introspective boy's future. He encouraged Jeanneret's habit of the close study and observation of nature. Jeanneret was not the product of an established school, but instead made the unusual choice of educating himself. He found two indispensible sources of inspiration in study the past and in contemplating nature. His four years of self-education consisted of extensive reading, summer travels and winter layovers in larger cities-Vienna, Paris, Berlin-while sketching in museums or apprenticing local architects-Pellet, Behrens-. All these impressions then blended together to become part of a comprehensive source book of knowledge and imagination of the later Le Corbusier. A largely self-taught man, he never stopped making notes, drawing and writing, always aspiring to a clearer understanding of the meaning and underlying principles of objects and architecture. Jeanneret's five villas in La Chaux-de-Fonds are barometers which show the sequences of his development and change as an architect. In 1917, being thirty, he uprooted himself from his hometown to get a wider range of opportunities and moved to Paris. By that time Jeanneret was almost ready to blossom into Le Corbusier It was during this formative years of his life that Le Corbusier established the working method, mind-set and philosophical basis that determined the course of an architect in the making.