This study states that the wood structure of Korean traditional architecture can not only be distinguished from Western architecture but also from Chinese architecture, which can be summarized as follows.
First, studies related to the history of Korean architecture which was mainly focused on wood structure by the Japanese scholars in the early 1900s, classified wood bracket (包) using the terms 'cheonchookyang (天竺樣)' and 'dangyang (唐樣)' based on the location and number of wood brackets. After being set free from the Japanese colonization, such classification formed the basis of the classification of Korean wood structure till now by being renamed as 'Joosimpo (柱心包)' and 'dapo (多包)' by Korean scholars. The study points out the problems related to this classification of appellation.
Second, the study states that when classifying the period of the history of Korean architecture based on wood structure, such classification may differ from the classification based on dynasty, which is resulted from the immanent study in wood architecture itself.
Third, the study states that studies related to wood structure of Korean traditional architecture can contribute in describing the history of Korean architecture in the view of the history of wood structure considering the variation of wood structural system including study concerning wood bracket.
Fourth, as for the opinion that the wood structure of Korean traditional architecture has not fully taken off the influence of the wood structure of Chinese traditional architecture, the study states that the wood structure of Korean traditional architecture differs from that of Chinese traditional architecture in its structural system, and wood bracket structure, and also states which aspects of the wood structure of Korean traditional architecture differs from that of Chinese traditional architecture and how much the wood structure of Korean traditional architecture differs from that of Chinese traditional architecture.
Fifth, the study states that studies related to wood structure must be performed in the view of the East Asian architecture at that time rater than focusing on Chinese architecture which was centered to the Chinese so as to fully understand the real facts on the wood structure of Korean traditional architecture.
Other than what is stated above, there are still many subjects to be studied in the field of wood structure of Korean traditional architecture, which may include the following.
First, studies related to wood structure of traditional architecture must broaden their horizon so that they not only include the task and methodology of wood structure but also include its metaphysical aspect to achieve wood structure. In this regard, it is necessary to find the task and methodology of wood structure and wood aesthetics that were developed and settled based on Korean aesthetical spirit.
Second, the sphere of the studies related to wood structure of traditional architecture which was focused on wood bracket and structural system must be broadened to include joint of wood structure, roof structure, fittings, wood furniture, and the accompanying aesthetical spirit.
Third, ways to continuously succeed the technology of artisans related to wood structure of traditional architecture, which was interrupted by the Japanese colonization, must be considered. For example, artisans who can deal with wood in a traditional technique using plane and adze must be trained. Also. when repairing and fixing the cultural inheritance with new materials, how to maintain the original species of timber must be considered.
Task and methodology of architecture in architecture refers to the task and methodology being used when building a structure using a certain material. Task and methodology of architecture is not only affected by the usefulness and characteristic of the material but is also affected by the technique of the artisan. The artisan's technique is related to the sense of economy and desire for expression. Sense of economy means that the artisan intends to achieve the best stability and durability with the least material and labor, and desire for expression means that the artisan seeks a meaningful form which its culture requires. Therefore, task and methodology of architecture reflect the aesthetical spirit of its culture. The contents and structure of architecture reflecting aesthetical spirit are a way of expressing the task and methodology of architecture. The main force creating the task and methodology is derived from traditional experiences regarding architecture in the past, the influence of different cultural environment under the same age, and the internal craving of the culture or artisan to develop a new technique or expression.