• CRM연구
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• v.3 no.1
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• pp.29-47
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• 2010

This study is intended to examine the effect of characteristics of museum visitors and visit type on perceived relative status, aesthetic responses, and perceived visit benefits, which in turn affect visitor satisfaction and personal and social participatory behaviors. Research was held for four weeks. A total of 308 questionnaires were collected out of 315 distributed. However, additional 15 were excluded due to inadequate responses. The findings of the study are as follows: While museum visitor characteristics yielded significant effects on the perceived relative status and perceived visit benefit, it did not have significant effects on aesthetic responses. Additionally, while visit types showed considerable impact on perceived relative status, it did not yield significant effect on aesthetic responses or the perceived visit benefit. Perceived relative status of a museum had positive effects on aesthetic responses, but not on the perceived visit benefit. Furthermore, while perceived relative status did not have significant effect on visitor satisfaction, it did have evident effects on the aesthetic response and the perceived visit benefit. Lastly, greater visitor satisfaction was confirmed to contribute to greater participatory behavior in various prospective programs and events offered by museums. Hence, it would be imperative for museums to gear their attention to encourage internal participatory behaviors such as visitor education, donation and charity events, which would consequently transcend to viewing museums more as a public space shared by the general public.

• Archives of design research
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• v.12 no.4
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• pp.231-241
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• 1999

This study propose to analyze the design method and the form elements of museums, of works by Richard Meier, and through the analysis, spacial characteristics of museums will be understood. The museum works of Richard Meier, as an exhibition space, not only display the art works efficiently, but they also offer visitors the opportunity to experience the art of architecture, as a cultural space. Richard Meier, when working on the projects, has utilized the design methods and the architectural language, learned from Mies van der Rohe and Le Corbusier, resourcefully. Having the structural grid as basis, the rational rectangular forms were intended for exhibition space, while the circular and partial circular forms of geometry were utilized in formative space. This was able to maintain the balance between functional and formative space. In the museums of his works, the ramp and the glass wall separated from the structure become very important means of expression. The ramps, not only make people to enjoy the interior and exterior of museum, but also able them to see the works of art from different distances and angles repeatedly and the large glass wall reveals the various shapes of interior to exterior. In comparing with the design method and language of two masters mentioned, the design principles and elements, developed by Meier were applied to the site plans, exhibition space planning and elevations to manifest its originality. The design concept, derived from the urban fabric and historical buildings around, gave harmony to the museum with its surroundings, and employing the deformed axis brought variation and the effect of diversion to the site plan. The exhibition space is much vitalized by the well arrangement of various exhibition fixtures in the museum. The exhibion fixtures, which the partitions, shelves, miches, and stages were put together in flexibility, play multiple roles as partitions dividing spaces, as furniture displaying art works, and as elements creating forms. The systematically arranged fixtures, also produce several visual axes and centers, which have visitors appreciate the works of art in various perspectives, hence create a unique environment.