• Korean Institute of Interior Design Journal
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• no.37
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• pp.48-54
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• 2003

This study investigates great potential of architectural representation drawings for architects as well as designers to realize their design concept into visual forms. In 1988, an exhibition called "Deconstruction in Architecture" at Modern Art Museum, New York, was an important turning point in design representation. The study examines design drawings of architects of deconstructivism to analyze new attitudes toward building forms and programs in contemporary architecture. The study found in the drawings that initially, collages in many different types are often utilized to express simultaneous time and space. Secondly, section drawings become more important to explain ambiguous and complex floor system than before. Thirdly, cinematic montages are utilized to express indeterminate or loose programs. Fourthly, diagrams are utilized to visualize initial conditions and clues of design solution. The study concludes that design drawings are not only representation media admitting of changes and progress but also tools of design creation. creation.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.24 no.10
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• pp.1390-1393
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• 2020

Recently, a hologram-like system and a virtual human to provide a realistic experience has been serviced in various places such as musical performance and museum exhibition. Also, the realistically responded virtual human in the hologram-like system need to be expressed in a way that matches the users' interaction. In this paper, to improve the feeling of being in the same space with a virtual human in the hologram-like system, user's gesture based interactive contents were presented, and the effectiveness of interaction was evaluated. Our approach was found that the gesture based interaction was provided a higher sense of co-presence for immersion with the virtual human.

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.01a
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• pp.489-492
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• 2023

코로나의 영향으로 더욱더 앞당겨진 메타버스에 대한 관심이 뜨거운 상황이다. 특히 사람들이 모이기 어려운 비대면 상황에서 MICE산업은 많은 어려움을 가지고 있다. 이에 MICE산업의 사업분야의 하나인 전시부스를 메타버스 기법을 활용하여 3D 전시부스를 개발하였다. 전시회를 가상의 공산에서 개최하고 참가업체의 기본정보를 바탕으로 부스를 구성하였다. 특히 비대면 상담이 가능한 External Service를 제공하여 비대면 접점을 높였다. 본 연구를 통해 코로나로 인해 직접 만나지 못하는 상황에서도 실제와 같은 부스를 제공하여 효과적인 MICE의 사례로 활용할 수 있다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.106-113
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• 2013

This study aims to establish the identity of traditional Korean gardens and develop a universal way for overseas Koreans and foreigners to have an appropriate understanding of traditional Korean gardens, as part of efforts to distribute and promote the overseas establishment of traditional Korean gardens. The focus of this study is on developing planning and design guidelines to ensure that traditional Korean gardens have individuality when they are established overseas and on establishing directional rules for planners. Although traditional Korean gardens may vary in form according to their purposes and spatial scales, the most important thing is that they should incorporate emotions that are well-matched with Korean landscapes and that their design language should be easily recognizable and understandable to everyone. The basic spatial types of traditional Korean gardens for overseas establishment, which are presented in this study, include the exhibition(fair) type, the garden type and the park type. These basic types serve as prototypes that correspond to the purposes of the gardens. In consideration of the spatial scale, the exhibition(fair) type is set as the minimum unit for composition, and suggested basic facilities include trees, a well, a pond and an island in the pond, flower beds and fences. The results of this study have significance as basic information for planning and designing traditional Korean gardens for overseas establishment.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.208-219
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• 2010

Antique maps are a cultural heritage of recorded information with distinguished pictorial and scientific value. They have been utilized in a variety of academic fields, especially in historical geography, as the most fundamental data to look into the restoration of space or historic changes of area from the past. However, there is no sufficient study on the development of contents using antique maps in the exhibitions. Furthermore, there is almost no content research on the antique maps integrating the academic programs in museums or art galleries. In particular, it is very difficult to find research on the approaches to configure or utilize the exhibition contents related to the Sea of Korea using European antique maps. This study examined the construction of educational contents in order to use the European antique maps including the Sea of Korea as well as Korea itself in the exhibitions. The results of this study may visualize the results of academic research on the territory and territorial waters of Korea and extensively acknowledge them as scientific data all over the world. Furthermore, this study aimed to create the opportunity to increase interest in the Sea of Korea and recognize it again, to find the contents construction to use European antique maps as academic data for exhibition and education in museums or cultural facilities and to provide a basic model for history education using antique maps.

• Journal of Korean Society of Archives and Records Management
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• v.14 no.3
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• pp.127-151
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• 2014

This study aims to share a methodology for locality reproduction by concretely explaining the theoretical model, procedure, and practice of constructing the Port of Busan Image Digital Archive, based on the photographic and postcard images of the Port of Busan, the representative place of Busan. Among the open-source record management programs, Omeka was chosen in implementing the digital archive because of its suitability for image exhibition. After establishing the principles for archive implementation in accordance with the purpose of the archive, a basic investigation was conducted for the record collection. With the consent of the individuals and institutions that possess the related records on the Port of Busan, such as the National Archives of Korea, the Busan Museum, and the City of Busan, original image artifacts were thus collected. The collected artifacts were then described using the Dublin Core metadata and categorized by time period. The Port of Busan was classified through four distinctive spatial characteristics (transportation, historic, industrial, and living spaces). A total of 11 themes for the exhibition was then suggested. The Busan-Shimonoseki Ferry Boat was chosen as an example exhibition of transportation space.

• Conservation Science in Museum
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• v.29
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• pp.99-110
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• 2023

The stone fragments that are missing from the stone cultural heritage have limited use beyond being directly fitted to identify their original position, as they are relatively heavy and bulky, and there is the further risk of secondary physical damage during manual work. Therefore, in this study, morphological relationships between the missing parts and the stone fragments were identified through digital restoration, and a three-dimensional (3D) printed replica was created for use at the exhibition for Stone Buddhas in Four Directions in Hwajeon-ri, Yesan, where 72 stone fragments had been excavated together. First, for the digital restoration, stone fragments of similar shapes were selected after the coordinates of the 3D scanning model were aligned in virtual space. In addition, the stone fragments were printed using a 3D printer to check whether they were physically related to the missing parts. Thus, the original positions of a total of nine stone fragments were identified. To utilize these research results in the exhibition, a 1:1 replica of the Stone Buddhas in Four Directions was produced using 3D printing technology, and the nine stone fragments were also restored to their original positions. The digital technology used in this study is of great importance in that it not only made up for the limitations of the direct manual method but also suggested the possibility of expanding its application to the fields of documentation, restoration, and replication of similar cultural heritage.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.113-125
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• 2018

In recent years, new media art is developing to play its roles as a means of remediation to overturn, reuse, and alter the old technologies rather than technology-dependent art to accept new technologies and use them as artistic tools. Here, the concept of new should mean looking at the old technologies in an indirect way and finding new meanings in them rather than presenting new technologies. The starting point of this study was the concept of spatialization in which the concept of new media art would externalize games from inside to outside the screen in gamification-applied spaces. Participatory new media art adds a platform for viewer's participation and utilizes the entire space of the exhibition hall instead of allowing for simple viewing at the exhibition hall. The study focused on the changes and phenomena in the process of games belonging to the artistic space through the interactivity of gamification. Here, the premise was that gamification meant the "spatialization of games." The study examined several cases of games being altered in the spatialization process to figure out interactivity for viewers and developmental directions for interface design at a gallery.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.1
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• pp.97-102
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• 2020

With the advancement of technology, there are almost no constraints on expression in virtual reality (VR) art; however, it still has some limitations. VR artists can be largely classified into two groups in terms of style. The first group is artists who create their works as a live performance. In this case, a major limitation is that the artist cannot see how the audience reacts to the work because he/she wears a VR device while performing, and the audience cannot fully experience the work, since they view it only on-screen without any VR devices. This problem can be solved if all members of the audience wear VR devices; however, that requires astronomical costs and brings about another problem related to device management. If the price of VR devices decreases as technology develops, it may help solve this problem. The second group is exhibition artists who regularly display their works online. In this case, the limitation is that their work using VR remains only in the virtual digital space. In this case, a solution may be creating space in exhibition halls, and providing VR devices to audience members in existing art exhibitions.

• Journal of Conservation Science
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• v.37 no.5
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• pp.440-450
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• 2021

Temperature and humidity data collection using real-time sensors and data loggers was conducted for integrated pest management in the collection storage and exhibition space of the Jeongnimsaji Museum, Buyeo. The real-time temperature and humidity monitoring system collected measurement data every 30 minutes and enabled real-time confirmation of the data through a linked application. If the temperature and humidity data measured in the real-time temperature and humidity monitoring system exceeds the set range, a push notification was sent to the mobile phone of the person in charge to provide status information to establish a continuous management system. Through this, it was possible to immediately recognize and take action when the temperature range exceeded the recommended relic temperature in August. We performed data visualization on the concentration of airborne fungus in the storage area and the inflow path and density of insects. Based on the recommended criteria presented by the National Institute of Cultural Heritage, The data on the spatial and temporal concentration of airborne fungus inside the collection storage were found to be maintained at a value below the standard recommended by the National Institute of Cultural Heritage (80 CFU/m³). Also, as a result of the insect inflow survey, no insects were captured inside the storage area, and in the case of the exhibition space, insects such as Scutigera coleoptrata, Loxoblemmus arietulus, Diestrammena asynamora, Koreoniscus racovitzai were captured. Based on this, as a result of visualization according to the individual density of captured insects by area, it was confirmed that the main inflow paths of insects were the external entrance and the toilet area.