• 한국실내디자인학회논문집
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• 제22권3호
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• pp.183-194
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• 2013

Exhibition space emphasizes the experience in the space rather than viewing or appreciation of visitors. Because the experience spaces in today's life are limited, people experience rest, comfort, and sometimes extraordinary space experience through exhibition space. Exhibition space has changed from a static place to a space where visitors move and act with the exhibits to freely feel the space. Also, the static space expressed only with illumination and shadow becomes a new space different from daily space for users. This study analyzes the characteristics of phenomenological expression through such user-oriented exhibition space. This study is to analyze the characteristics of phenomenology through the exhibition experience space structure. It is to analyze and study on the characteristics of phenomenological expression of the exhibition experience space structure centered in the opinion of Merlo-Ponti that considers the experience of body among 'characteristics' discussed based on the study of the phenomenological experience published up to date and the viewpoint of Steven Hall that sees light as a subject of creating the space. This study is also considers how the perception of the experiencer is built in the correlation between the phenomenology and exhibition experience space by studying the relationship of the experiencer that is the common point of the exhibition experience space structure and the characteristics of phenomenological expression and analyzing the common point and difference of them. It also focuses on the space of dark whether forming any light rather than looking at the light which is the sense factor among the characteristics of phenomenological expressions. Thus, the purpose of this study is to analyze the case on whether there is any light or not applied to the exhibition experience space grounded by the theoretical materials of Merlo-Ponti and Steven Hall based on the characteristics of phenomenological expressions in the exhibition experience space structure and, based on the result, to set up the basics on the characteristics of phenomenological expressions in the composition of exhibition experience space.

• 한국실내디자인학회논문집
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• 제23권5호
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• pp.139-145
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• 2014

As life is changing, modern people are interested in culture life more than the past and as a result Art Exhibition increases. Nowadays many methods of exhibit are introduced, especially Direct experience. Trick Art Experience exhibition introduced Direct experirence to a work of art for interests and used props, objets, images, and sounds for maximizing experience element. Trick Art Experience exhibition added humor as imitating famous painting and gave a deep impression through the optical illusion technique which make flat structure look three-dimensional structure. Recently, demands for Experience exhibition which are like Trick Art increase. This study figure out pros and cons through a comparison analysis of direction and component about Trick Art Experience exhibition and find a check list about making an audience active about experience. From now on, we have an object about showing design data including customer satisfaction measurement to make various expressions of direction and component about Experience Art through a case analysis. We have firsthand visited case spaces to experience the spaces and prepared a check list for the relevant types of expressions. Referring to the exhibit work classification system, components that correspond to Trick Art Experience exhibition were grouped according to constituting items. Among the types of expressions, the levels of satisfaction with Experience exhibition and Participating exhibit were found to be high and the level of satisfaction with Heart Moving exhibit was found to be low through surveys. Among the components, the levels of satisfaction with stereograms and formative effect elements were found to be high and those of spatial changes and media effects were found to be low through surveys. Therefore, the expressions should be reinforced and the components should be improved.

• 디지털융복합연구
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• 제17권1호
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• pp.319-325
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• 2019

광명시에서 주최한 라스코전시관의 '공룡체험전'은 관람객의 호응에 힘입어 전시기간을 연장할 정도로 인기를 얻고 있다. 이에 본 연구는 체험전시와 인터랙티브 미디어 체험전시의 요소를 분석하고 관람객의 선호도를 파악하고자했다. 먼저 문헌자료를 통해 인터랙티브 미디어와 체험전시에 관해 이론적으로 고찰하였다. 다음으로 전략적 체험 모듈을 기반으로 체험요소를 체험가치에 따라 세부항목을 구분했다. 이를 통해 인터랙티브 미디어 체험전시의 요소는 관람객에게 어떤 영향을 미치는지 파악하였다. 연구결과 체험전시요소를 많이 포함한 프로그램일수록 관람객의 참여율이 더 높고, 체험시간이 더 길다는 것을 알 수 있었다. 또, 다수가 함께 체험하는 인터랙티브 미디어 체험전시가 가치항목을 더 가지고 있는 것으로 나타났다. 다만, 관람객이 머문 시간만으로 관람객의 선호도를 파악하기에는 부족하다는 점에서 한계점을 가진다. 본 연구는 인터랙티브 미디어가 다양한 체험전시에 활용됨으로서 관람객 스스로가 흥미를 가지고 적극적인 참여를 통해 전시 콘텐츠를 이해하고 즐길 수 있는 환경을 마련하는데 그 시사점이 있다.

• 스마트미디어저널
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• 제13권1호
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• pp.76-85
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• 2024

본 연구는 체험형 전시 콘텐츠 관람객의 프레즌스 경험과 이에 따른 효과, 재관람 의도에 대해 살펴보았다. 이를 위해 혜초의 여행기 왕오천축국전, 실크로드 문화유산을 소재로 한 체험형 전시 콘텐츠 관람객 246명을 대상으로 설문조사를 실시하였다. 조사결과, 콘텐츠 소재에 대한 이해 및 관심도는 프레즌스 경험에 영향을 미치지 않았으나 유사한 체험형 전시 관람 경험은 프레즌스 경험에 긍정적인 영향을 미쳤다. 아울러 전시 콘텐츠의 프레즌스 경험이 높을수록 프레즌스의 효과인 각성과 감동도 컸다. 그리고 프레즌스의 효과 중에서 감동은 재관람 의도에도 긍정적인 영향을 주었다. 따라서 향후 체험형의 전시콘텐츠는 이용자들이 프레즌스를 체험하게 하는 기획, 제작, 전시가 필요하다는 사실을 확인하였다.

• 한국실내디자인학회논문집
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• 제19권1호
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• pp.100-111
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• 2010

All of us have no time to predict and prepare for a rapidly-approaching future change in the 21st century, thereby being reality that we feel uneasy about future society. Accordingly, there is necessity for re-consolidating environment and daily culture in preparation for future society, namely, aging society. Given well preparing for super-aging society that will approach in the future, by which this effort becomes what bad luck often brings good luck, our country's role is thought to get probably bigger even in the globally silver industrial market in near future. We need to synthetically recognize a human being's aging psychological and physical conditions through the aging experience exhibition available for publicizing properly this historical phenomenon, and to pay more attention to importance of interaction between a human being and product environment. The experience exhibition is a concept for the exhibition form and the spatial composition, which emphasized interaction, with having escaped from the simply exhibition space. Given trying to communicate information more scientifically with escaping from the conventional exhibition of seeing and listening, it is also important to research Into the basis for exhibition as the experience space based on interaction. After all, a human being's aging is the unavoidably future phenomenon. And, importance of environment, which influences a human being, is very mutual as well. Our country is desired to develop a research on interaction of the exhibition experience space available for broadening recognition of senior-friendly and for properly experiencing this, thereby being an opportunity that the business entity, which plans silver industry, and the academic circles, which research and develop this, do mutually cooperate and can make silver industry grow further.

• 한국콘텐츠학회논문지
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• 제12권11호
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• pp.313-337
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• 2012

본 연구는 최근 들어서 전시회가 활성화됨에 따라 각 전시회는 참관객에게 많은 관심과 만족도를 높이기 위하여 온갖 심혈을 기울이고 있다. 이에 전시회의 물리적 환경과 체험 등에 관한 선행연구들을 바탕으로 연구모형을 도출하고 가설을 설정하였다. 본 연구모형에서 체험의 제공수단으로 물리적 환경이 체험요소에 어떠한 영향을 미치는지를 분석하고, 체험요소가 참관객의 만족도에 어떠한 영향을 미치는지 본 연구에서 규명하여 참관객들의 방문을 증가시키기 위한 체험 요소를 확인하고 참관객의 만족을 높이는 방안을 참가업체에게 유용한 정보를 제공하고자 한다. 전시회의 물리적 환경(접근성, 매력성, 청결성, 편리성, 쾌적성, 인적 서비스)을 독립변수로 설정하였고, 체험(감각적, 감성적, 인지적, 행동적, 관계적 체험)을 매개변수로 하여 참관객의 만족도를 규명하였다. 이를 종합하면 전시회의 물리적 환경은 체험에 영향을 미치며, 체험은 참관객의 만족도에 영향을 미치는 것으로 나타났다. 따라서 전시 주최자들은 전시회를 개최하는데 있어서 각각의 물리적 환경과 체험요소를 충분히 검토하여 참관객의 만족도를 높여야 할 것이다.

• 한국실내디자인학회논문집
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• 제24권6호
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• pp.229-239
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• 2015

The 21st century is a multiplication age and social and cultural phenomena have become diverse and peoples' desires and individuality have become important. Accordingly, the sensibility that reflects human taste is also required in the exhibition space. The exhibitions in this age induce the direct cognition of senses or take interactive forms that contact diverse media and react. The purpose of this research is to define the concept of haptic presentation method in which the audience perceive in the exhibition space by themselves and the visual elements spread into other senses and perceive complexly, and to present the directional nature. To conduct this research, first, this researcher recognized that haptic sensory experiential research by analyzing the roles and transition history of exhibition space is needed for the present age Second, based on philosophical theories, four haptic sensory expression characteristics (medium nature, experiential nature, attractiveness, sensitiveness) were derived by substituting Giles Deleuze's four haptic spatial characteristics (grasping short distance, dispersed gaze, cognition of bodily movement, formation of synesthesia through complex senses) and six formative factors of exhibition space (space, form, size, light, quality of materials, and color). And the effective exhibition presentation methods were analyzed through six cases of experiential exhibition spaces. Accordingly, what matters in the experiential exhibition space is to produce the four characteristics: medium nature, experientiality, attractiveness, and sensitiveness in equilibrium. It is necessary for the designers to reflect it appropriately in producing so that the audience can think and experience by themselves. Accordingly, in this thesis, it could be seen that to produce the haptic production characteristics in the experiential exhibition space in equilibrium is the important factor in the experiential exhibition space. In conclusion, experiences in the exhibition space should be approached with the transcendental haptic presentation method by which even the space of actually unexperienced cognition can be expanded and experienced through the metastasis and tension of various senses. Also, researches on such senses should be developed continuously, and this researcher expects that this will become a stimulant to present a new directivity.

• 한국실내디자인학회논문집
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• 제21권3호
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• pp.136-143
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• 2012

A museum represents a country's history, culture and life. With the development of science and technology, museum is no longer simply a space that concentrates on display and management of the collection but a space for education that visitors can directly experience and feel interest. The purpose of the present study is firstly through theoretical approach and research to grasp the status quo of the exhibition of the National First Level museums located in Beijing, which is the capital city of the People's Republic of China. Secondly, by analyzing the themes of exhibition and the exhibition presentation methods, it is aimed at finding out the problems of the status of museums in China so as to seek the requirements and the direction of improvements. Through this research, it is confirmed that in order to induce more active exhibition participation, the museums should expand the number of direct experience style exhibition presentation methods. Also, the museums in China need technical introduction of new cutting-edge exhibition medium so as to meet emotional demands of spectators and make the most ideal experience environment. Furthermore, it is confirmed that the development of new exhibition themes and the improvement of the museums in aspect of management and operation are necessary.

• 한국실내디자인학회논문집
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• 제13권4호
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• pp.147-155
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• 2004

The purpose of this research is to improve exhibition effectiveness by implementing hands-on exhibition technique that best provides adults with cultural resting place and children with outdoor education which simply supports school curriculum. By completing this research, the museum of natural history will become defined innovative as a place that enables people actively develop creativity For this sake, some of domestic natural science museums were selected as the samples in this study, such as Seodaemun of Natural History, Incheon Standing Science Pavilion and Daejeon National Science Museum, Which all produce experience-based exhibition in relatively brisk manner. First of all, this study attempted to identify the traffic line and behavioral characteristics of spectators who used experience-oriented exhibition through follow-up and observational study Then it divided samples into adults and children group to compare and analyze the ratio of using exhibitions, the ratio of spectators and the sojourn time according to the type of experience-oriented exhibitions. In addition, this study attempted to collect available data about spectators who were in conversation with one another on the other hand, it also attempted to determine any effects on using experience-based exhibition by performing a questionnaire survey, so that it might set up an index for behavioral characteristics the spectators who visit such exhibition.

• 한국융합학회논문지
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• 제11권7호
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• pp.137-144
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• 2020

본 연구에서는 과학박물관의 기본 개념과 역할을 바탕으로 일상생활과 직접 관련 있는 과학 원리의 전시, 교육, 체험의 제공을 목표로 한 '소리 빛' 인터랙션 전시 콘텐츠와 체험 전시공간을 연구 개발해 국립광주과학관의 '소리 빛' 전시 공간에 구현한다. 연구의 범위는 기존 과학관의 체험형 콘텐츠 선행 연구 사례와 현황을 살펴, 과학관 체험형 전시의 조건과 요소를 정의하고 그를 바탕으로 체험형 전시 시나리오와 어린이를 대상으로 한 콘텐츠를 연구 개발했다. 본 연구 개발 콘텐츠의 성과는 첫째, 빛과 소리를 테마로 인터랙티브 홀로그램 체험 콘텐츠를 개발한다. 둘째, 다수의 프로젝터에 의한 프로젝션 매핑을 통해 미디어 파사드 면을 다면화해 시각적으로 넓고 스펙터클한 화면 구성과 애니메이션을 실현한다. 셋째, 다양한 컬러와 소리를 함께 움직이며 관람객과의 상호작용이 가능한 관람객 중심의 전시, 체험을 실현한다. 마지막으로 홀로 스크린을 통한 홀로그램 인터페이스를 통해 인터랙티브 콘텐츠를 제공하여 전시 정보의 단순한 전달이 아닌 관람에 대한 다수 관람객의 적극적 참여를 유도하며 전시 재방문을 증진한다. 일련의 연구를 통해 최근 과학관의 추세인 테마파크적 성격을 지닌 콘텐츠 및 체험 전시공간 연구 개발이 가능했다.