• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.255-264
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• 2006

This study started from the premise that the satisfaction of visitors in large-scaled design-related fair has co-relation with the environmental and contextual factors such as contents, lighting, the number and location of rest area, crowdedness, ventilation and circulation. The research was made in Seoul Living Design Fair 2005. 102 samples from 132 who answered to the questionnaire with likert-scaled and open questions were selected for the data, which were statistically analyzed through SPSS 12.0 program to explore the co-relation between the environmental factors and the satisfaction level of visitors. The findings showed that overall satisfaction level was in the middle of the scale, which means satisfied nor unsatisfied. The visitors showed relatively high satisfaction in the two factors-the contents of the fair and lighting system compared to the other factors such as the number and location of rest area, sign system, ventilation crowdedness and circulation. Even though the visitors had difficulties in circulation and showed various types in circulation, it did not seem to have a significant influence on the overall satisfaction level because it might be offset by the contents of the fair. Also, the visitors showed similar satisfaction level regardless of the type of circulation. It can be concluded that the main factors mentioned above should be considered to achieve higher satisfaction level and provide better environment in the large-scaled fair.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.197-204
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• 2007

In the spatial configuration of room-to-room art museums, openings and walls are important physical factors, and openings are a medium for connecting spaces. Also, by spatially composing walls and openings, spaces can be connected visually and physically, and movements and directions may vary depending on the location or size of walls and openings. In this study, 5 museums are investigated: Sainsbury Wing in London, Gemaldegalerie In Berlin, Alte Pinakotkek in Munich, Neue Pinakothek in Munich, and Staatsgalerie Stuttgart in Stuttgart. Using DepthMap program, the characteristics of visual-spatial composition of each museum are derived by comparing the Connectivity, Visual integration, and Isovist maximum radial. From an analysis of spatial distribution, a relationship with visibility is investigated. The results of this study showed that the combination of visual axial lines affect the spatial configuration of the room-to-room museums. Depending on the location of opening, the museums can be classified as follows: 1) Museums with the 1st visual axial line and the 2nd and 3rd auxiliary visual axial lines ; 2) museums with several equal visual axial lines; and 3) museums with only center axial line.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.05a
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• pp.56-59
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• 2004

The purpose of this study is to clarify the relationship between the behavior of appreciation and spatial configuration in museum, to concentrate upon the difference that is happened according to composition method of convex space. The subject of this study are as follows: 1) The change of spatial configuration by specialization from architectural space to exhibition space in museum. 2) The variety of spatial configurations that is happened according to connectivity condition of the spatial configuration 3) The relationship between the size of convex space and the behavior of appreciation

• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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• pp.90-92
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• 2008

Environmental matters are one of key issues of today's world. At this point, advanced countries are proposing and planning various kinds of policies for sustainable communities. Space designers in those countries are more concerned with regeneration or slow development than development and innovation. As the new government of Korea was started in 2008, it announced 'design Korea project' as key agenda for national competitiveness. But it seems that they are focusing on development of new town than the concept of preservation or regeneration on which most advanced countries put their bases. In these regards, this research starts with the idea that environmental factor in space design is very important and it is directly connected with human survival. With this idea, the researching team created experimental space titled 'regeneration' as one of eco-friendly education program. The team aimed at building up or 'designing one man space-one to one ratio' in deserted place with recycled stuffs. With the idea of 'regeneration' in space, the researcher aims at awakening the sense of environment and putting it into practice in daily living.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.23-34
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• 2019

The space before modern times is fixed and closed, then that after modern times is flexible and open. Based on the concept of space, the modern art exhibition hall gradually shifts from the interior space of a building to the outdoor space, giving birth to the concept of outdoor art pavilion. Based on this background, we analyzed and learned about the latest deformable art pavilions, focused on the investigation of its space performance characteristics and the case analysis, fully understood the design principles of deformable pavilions, and proposed the basic design directions and strategies for future research. Firstly, through learning the theories of transformable space, the characteristics and concept range of deformable space are understood. Secondly, based on the preliminary research and analysis of art pavilions, the performance characteristics are summarized. Thirdly, the pattern of deformable space and the method of reflecting the characteristics of deformable space are investigated based on cases. After summarizing the case analysis, we identified the differences of different art pavilions between deformable modes and space characteristics, and analyzed the causes. This work provides a basis for distinguishing the transformation patterns of the deformable space, and reveals the changes in space concepts and the expansion of space meaning in future architectural space design.

• Korean Institute of Interior Design Journal
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• no.21
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• pp.89-93
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• 1999

A museum architecture has been developed as important representation of a specific period in architectural history. Modern concept of museum architecture has started by Karl Fredrich van Schinkel(1781-1841) through das Altes Museum(1823-1830) back in early 20th century and it continues to be the model for museum architecture for over 30 years. By middle of the 20th century, the movement of redefining new model for the new era on the subject of museum architecture was developed. This development was lead by the three masters of the modern architecture at the time. F.L. Wright, Corbusier, Mies and they were responsible and very active in creating new concepts. Their works in museum design became the prototype and they tried hard to make sure their new concepts to be the stepping stone for further development. This study is to compare the three different museums designed by those masters of the modern architecture, particularly on the issue of the exhibition spaces. The purpose of the study will be focused on the point of interior architecture such as the matters of layout and design characteristics of the exhibition spaces. And it will reveal the impact made by those masters on the advanced development of the current generations of museum designers as well as to describe the prototype of exhibition space. The analyzation was done on FLW's Guggenheim Museum in New York, Corbusier's the National Museum of Western Art in Tokyo, and Mies' Die Neue National Galerie in Berliv. Comparable materials were collected through site visits and reference documents from various publications. It will be ideal if this study can be used for further development in new museum design in this country.

• Information Systems Review
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• v.15 no.2
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• pp.111-127
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• 2013

This research introduces a case of NFC (Near Field Communication)-based exhibition support system for analyzing visitors' POB (Point of Behavior) data gathered from the system. The application of NFC technology to an exhibition space allows visitors new experiences of exposition and exhibitors to collect and analyze data about behaviors of visitors. The NFC-based exhibition support system is applied to the 'Korea Travel Expo 2013.' The visitors' behaviors are analyzed based on collected NFC tag touch data and association rules among booths are extracted. Furthermore, the tag touch data are integrated with the survey data for catching the demographics-based implications.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2003.05a
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• pp.104-111
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• 2003

Today, design is considered to have competitive power for a county, so there has been various efforts such as education, publicity and development, etc. Design has long been a national material, and Korea Institute of Design Promotion(KIDP) was inaugurated for the purpose of education, publicity, development and the management, public ownership, support of the contents. Laying stress on the results, however, the design education for children which would be the heart of a world design power is short of both investment and systematic study of education. Now that the design education for children is being active, the cultural spaces are needed to transform the current system focused on schooling and textbooks into the participating, experiential ones by the interesting, educational, and entertaining presentation. The children design exploratorium should make children have their own feelings, and present communicative methods considering children's cognition and behaviors. So, in this study, I'd like to analyze characteristics of the participating and experiential exhibition, and present a children design exploratorium as an alternative plan by the application of adequate methods to the exhibition medium, and the analysis of current exploratoriums' features case by case. The children design exploratorium is the place to maximize the educational effect of design by children's easier and exciting participation, which would offer an unique exhibition place for children to comprehend designs. In this study, on the basis of the alternative presentation of children design exploratoriums, I would refer to the future direction of the 21st century pavilions, the search for the exhibition items for active design education, and the contribution to practical plans.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.22-32
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• 2013

Today, the museum historical material and mental, physical culture and heritage to preserve the collection and exhibition organization rather than to recognize that culture acts as a community to respond to the subject of the attitude and the ability jeokgeukhwa also due to the trend of the times due to changes in lifestyle education and research, and public participation in culture by expanding the role of dissemination activities are becoming. Museum exhibit these changes as part of a combination of various technologies in the coexistence of digital and analog display direction proactive and aggressive behavior, such as visitors expect to have an evaluation of the public and communicate the expectations of the plan in the exhibition space, the larger the effect can feel. This effective display for visitors to watch the way for a systematic approach to provide direction to the urgent reality. Museum visitors experienced officials to improve the quality of research in a variety of ways spectators began to try and move the action was to put the attention on the characteristics. Visitors to visit the Museum of History and ages, categorized by the type of display any difference in the behavior of the visitor experience and attributes based on what is being investigated for the History Museum's exhibition of any exhibit to visitors that experience and is to an analysis.

• Journal of Digital Convergence
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• v.19 no.5
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• pp.407-414
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• 2021

This study will examine the relationship between women and art education between the 1910s and the 1930s, and how women broke down the feudalistic views on women by changing the perceptions of women and stepped into society through gendered art education. Women tried to restore dignity and realize freedom and equality between men and women through modern education. Nevertheless, women had to receive handicraft education for the cultivation of virtues as part of the Japanese colonial policy and returned to their traditional feminine role. However, this study aims to reveal how a small number of "new women" who studied in Japan took the lead in teaching handicrafts for the independence of women, and how they were officially recognized as in the arts and crafts community and was able to enter the exhibition space through records, interviews, and newspaper articles. In conclusion, this study hopes to provide an opportunity to examine the relationship between handicraft education and femininity, and to consider the role of art education and exhibition in the development of women into social beings.