The purposed of this study is searching the characteris-tic of 'Movement' expression by the Moving experience in display space. First, the concept of 'Movement' was defined by visitor's moving experiences according to the time pass and to visual perception. Exhibit cases were analygied to fine the relationships the defined 'Movement' experience with display spaces. But, 'Movement' is related moving experience from the entrance to importance of display space, and that is picked out key word in movement expression. Consequently, two category (visual expression, expres-sion method) to regard on the space design in display space was suggested focused on the concept of 'Movement'.

Placing itself in position of spectators, museum should be able to explain to them what meaning the medium of exhibi-tion has and what role it has to paly. For that, it is an indispensable process to plan an archite-ctural environment and exhibition presentation suitable to the exhibition which are main objects of museum, but as a result of its being reglected by this time, it has been recog-nized as a tigid and formal place closed and estranged from the general public. The authoritarian aspect of museum resulted from its sys-tem negative to the people of our country, while its services have been developed as a place in which one understand a country most quicky. Recently, however, as a movement of participating in the newly changing general trend, the contest of design of the new National Museum was announced publicaly worldwide introducing the Museografia method of planning exhibition presentation after thorough analysis of exhibition, which made it known that an importance is intensely put on the en-vironment of relics and their exhibition. The purpose of the study is to analogize the planning prin-ciple of the interior design of the exhibition room of sculp-tures, placing emphasis on the exhibition presentation intro-ducing Museografia as a way of examining the problems and solving them concerning the existing standardized uni-form method of displaying exhibition. The way of conducting the study are as follows.

Entering into the modern society, the discussion on the role played by and the social position held by museums are forced to take into account the visitors, that is, the general public being real consumers of culture in accord-ance with the enlargement of the study of the visi-tors. The study of a museum has been developed with priori-ty given to the architectural study and exhibition space, but the study of the form of circulation of visitors using the museum is believed to have put an emphasis on the rough form of circulation on the basis of the general and basic theory and the particulars while the discussions on the more concrete method of study and its application are excluded as a basis of approaching in details to exhi-bition plans or producing plans. Consequently, the purpose of the study is to under-stand the problems in the form of circulation in the exist-ing exhibition rooms, and to infer the planning principles of interior design with priority given to the problems in space composition, details of exhibitions, the points in method, recognitions by visitors and the relation of path line as a way of resolving the problem.

Light plays an important role in making a continuity of space and in determining the distinctive expression and char-acter of a space. Particularly, the introduction of natural light derives from our esthetic needs, as well as from the fundamental biologi-cal necessities of human beings. And also, adaptation to time and space is the vital factor of human survival and prosperity. Our visual recognition of light is usually formed not only by practical illumination but by analogy, expection and expe-rienced of lighting itself. As the forecase of natural light is (almost) impossible be-cause of variables such as changing weather, reflection rate of light and the patterns of shade, in designing the introduc-tion of daylight, there should be follow-ed careful considera-tion of the adaptation to such variety and the impet-us of light. The research was conducted to mane a contribution to cre-ate more rich and beautiful interior spaces by studying the characteristic of light which is one of the important factors of interior space design, and by inquiring the way to intro-duce light and its effect through the practical examples of Alvar Aalto, Le Corbusier and Louis I. Kahn.

Memphis originated from Radicalism in Italy came into being in 1981 as a experimental design group. Basically Memphis represented changed concept of design and the task of the designer by innovative design with unusual shapes and colors. What Memphis intended to demon-strate is the diversity of expression of design creativity and possibilities of new stimuli. As a result, Memphis has shown ways of redefining the field of design. In the 1990, the diversity of design movenment reflects the plualism of fragmented, specialized society. Design is faced with new task. It must do more than merely de-fine an object and its function. So from this point of view, this study interpretates ideas of Memphis design theory and attitude.

Frank Lloyd Wright, a master of the 20th Century Ar-chitecture, contributed tremendously in creating a wholly new form of American architecture called Prairie Style. His idea behind the development of the building structur-al system, organic relationships between inner and outer space, horizontal vertical lines, and idea of extending and expanding interior spaces came from nature. He had completed over 390 projects throughout his life and 90% of those projects were residential design. The most typical characteristic shared by many of his residential design was that each design element, whether it is functional or aesthetical, has close relationship to or-ganic nature, human scale, theoretical floor plants, and maximum emphasis on horizontal lines in respect to na-ture. His concept of "flow of spaces" reformed common the-ory of room next to room in a enclosed space. His sense of "wall" was no longer the side of a box. Careful selec-tion of finishing materials, colors, and natural images en-hance the design as well. F.L. Wright was an artist, designer, and architect who believed the exterior space should have direct relationship to the interior space. His architectural philosophy was not only to design exterior of architecture but also to ful-fill his space through the careful development of interior elements such as furniture, and lighting fixture. Even the patterns for leaded glass windows were designed to have unified appearance from outside to inside of the house. The objective of this study was to analyze floor plans, spatial organizations, and interior design elements of the houses which represent the best of F.L. Wright's design principles and philosophy behind Prairie Style. The meth-od used to collect informations for this study was based on books, articles, journals, and actual site visits. actual site visits.

The purpose of this study is to explore how people's evaluation and preference on color palettes differ based on their cultural background. This study used the same color palettes developed by Youngsoon Park and Denise Guerin(1992). Fourteen representative adjectives are used to analyze the meaning evaluation and preference on the six color palletes. 425 undergraduate students are se-lected from Korea, Japan, U.S. and England and ques-tionnaire was used as survey instrument. The results show that there are significant differences among the four countries in the meaning evaluation and preferences on the color palettes and the characteristics of color palettes influence the differences among the countries. The differences among the countries decrease in case of color palettes composed of warm color with low or medium value difference and chroma difference, while the differences increase in case of color palette characterized by strong color contrast with high or medi-um value difference and chroma difference. The result of color meaning evaluation can be catego-rized into Western and Eastern culture. Korea and U.S., and Japan and U.S. showed significant differences in the most words and Korea and Japan showed similarities in the most words. Therefore it can be concluded that cul-tural backgrounds related to race, region and history in-fluence the color meaning evaluation and preference. Fur-ther study should explore the relationship between color and culture using more various color instruments such as color palettes in order to categorize the various aspects of culture.

This thesis focuses on a study of design science, which is of a disciplinary character. And the purpose of such a study is to suggest a new direction to develop aesthetics through an empirical research into environmental psychol-ogy, human behavior, design thought, and the visual qual-ity of environment. The author of this study, since recognizing the necessi-ty of understanding environmental aesthetics as well as the necessity of aesthetics, has done an elementary study of empirical aesthetes, and then obtained some facts as follows: First, it is possible to analyse the visual characteristics immanent in the interrelations between human and envi-ronment by means of applying both the information the-ory of formal perception and expressional value and the perceptual theory of ecology to environmental aesthetics. Second, formal aesthetics is a science about the form and structure and in the meantime, symbolic aesthetics is a science about the environmental patterns giving pleas-ure to mankind and its associative meanings. Accordingly it is same as providing some aesthetic value to the ob-ject of environment design to apply some empirical data of visual quality to environmental design. Through such a process, users are provided or delivered with diverse, visual effect. In conclusion, environmental aesthetics is worthwhile to study, and its purpose is that it, as a framework of use-ful knowledge to the creation of the environment superi-or in quality, be applied to design.