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This study reveals the absence of standard design guidelines by region through investigation and analysis centered on public design cases by region in Jeollabuk-do and design elements that can reflect the integration, identity, and diversity of public design in each region by five regions. Through this, the following conclusions could be obtained. First, to improve the quality of street facilities in Jeollabuk-do, the design elements (design motif, color, pattern) applicable to the standard design were analyzed by dividing them into five regions. As a design motif, it was possible to extract patterns containing straight lines, sophistication, dignity, and smartness. In the Northeast region, it is comfortable with the motif of the mountain ridge reflecting geographical characteristics, and it can be extracted elements that contain warm and natural colors. In the southeastern region, patterns that reflect design elements were extracted by applying safe, lively, and peaceful colors with the design motif of curves that blend nature and agriculture. In the southwestern region, design pattern elements that highlight nature, history, and culture were extracted with various cultural assets and natural greenery as motifs. Lastly, in the Saemangeum region, the ocean flow and greenery could be used as a design motif to reflect a positive, clear, future-oriented image in the design spot zones by region. Second, based on the standard design elements (design motive, color, pattern) by region extracted for the standard design development of street facilities in each region in Jeollabuk-do, an integrated zone(Form, structure, material, color, functional element) to which regional design guidelines can be applied. Third, an integrated zone (form, structure, material, color, functional elements) was composed. In addition, design spot zones (patterns and colors in city and county units) that can contain the diversity and identity of each region were designated. By designating design spot zones (patterns and colors in city and county units) that can contain the diversity and identity of each region, standard design development plans (integrated pillars, jaywalking prevention fences, roundabouts (urban type, rural type), street trees) Eight standard designs, including protective covers, street planters, flat benches, light benches, visual media for user guidance, and parking zones for personal mobile devices) were presented.

This study attempted to analyze the aspect of seeking a characteristic regeneration of low-rise residential areas through the Urban Regeneration New Deal Project in Seohak-dong Art Village in Jeonju, while the urban regeneration new deal projects are being carried out in various regions, nationwide. Time-series changes in aerial photographs in the study area, age, number of floors, and uses of buildings were examined. The main street structure, lots, and changes in buildings were reviewed, and through this, spatial zones that could extract the unique characteristics of the target area were classified. The characteristics of each area was linked to the proposal of an appropriate regeneration plan through the analysis. This study is meaningful in showing a case of characteristics of low-rise residential areas regeneration plan suitable for the specific region while the number of old low-rise residential areas is increasing.

Seokgojeon(石鼓殿) is a protective pavilion that protects stone drums made in 1902 during the Korean Empire in connection with Emperor Gojong’s Mangyuksun (51‘st birthday) and the commemoration of the 40th anniversary of his reign. During the Japanese colonial period, Seokgojeon was dismantled and transformed into the bell pavilion of Bakmunsa Temple, which was a memorial temple for Ito Hirobumi in 1935. In November 1945, just after liberation, Bakmunsa Temple was burned down, and the Seokgojeon Hall, which was transformed into Jonggak(鐘閣), was relocated to the Changgyeongwon(昌慶苑). Outdoor Stage in 1966, and was dismantled in 1984 due to the Changgyeonggung(昌慶宮) Palace restoration project, and only the members are currently stored. Therefore, this paper intends to use it as a basic research data to examine the style of monumental buildings during the Korean Empire through literature surveys, absence surveys, and case studies of similar buildings during the same period.

In the village, the community consciousness of members appears as a landscape characteristic according to the passage of time. In addition, when the landscape of the village is stabilized, the relationship between members is strengthened. Urban villages change and become outdated depending on social conditions. So, it investigates and analyzes the landscape data of the village and the status of the community. The Jeonju Hanok village, which is the subject of the study, was restored from an slum urban village through urban regeneration projects. The village is a tourist attraction with more than 10 million tourists. However, as the commerce in the village was strengthened, the function of the village was weakening. Also, the existing village landscape was changing for commercial purposes. The current village is in a situation where the restored landscape can be changed again. Therefore, efforts are needed to maintain the landscape of the village and restore its function. Jeonju Hanok village needed a member's perspective, not a resident's perspective. Lastly, the relationship between members can be strengthened only when the village landscape is stable.

This study investigated and analyzed the village space and architectural characteristics of Eoeun Village, Samgye-myeon, Imsil-gun, Jeonbuk. The space of the village was formed based on the idea of feng shui, and the Confucian hierarchical idea determined the location, size, and structure of the building. Recently, clan villages in rural areas have been dismantled and damaged due to population outflow and urbanization. In this situation, Eoeun Village, which preserves the traditional space and residential form at the time of the village's creation, is considered to be worth preserving and studying.

This study is an architectural and landscaping analysis view to rural landscape paintings painted by Vincent van Gogh in the late 19th century. The purpose of this research is to discover the expressive techniques of Western art that Van Gogh's landscape paintings have, and to understand the characteristics of the architectural object in his landscape paintings from February 1888 to April 1889 in Arles, southern France. The method of this study is to analyze the landscape paintings of Van Gogh painted during 15 months in Arles. Among the total paintings in Arles, 47% of the paintings he made were landscapes. The following conclusions have three views. First, Vincent van Gogh was born into a Protestant family in the Netherlands and become an artist in his late twenties. While living in Arles, he painted prolific landscapes. Farming, farmers, and rural area related to normal living are the main subjects of paintings. It can be seen as showing the view that everyday life is sublime and should be included as a unitary value. Second, Gogh's rural landscape paintings were painted with linear and aerial perspective with other the expressive techniques, and plane painting structure that leads to two dimension. Third, from an architectural point of view, Van Gogh's paintings depicted simple vernacular architecture such as traditional rural house, mas, thatched houses, and mills in southern France. This means the normal value of the rural landscape through the eyes of the painter.