• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.644-654
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• 2013

This study aims to examine the problems that a museum is typically understood as one of cultural facilities in Korea and this phenomenon has been caused from the continued use of the concept of a museum that the Japanese government-general made and indoctrinated. Furthermore, it aims to suggest a new development way of museums through planning the concept of a museum using the concept of contents. Chapter 2 explains a definition of the museum concept and the process of developing from a facility into an institution in modern times. Chapter 3 examines the Korean administrator's perception of a museum on the basis of the concept of a facility and this state stems from habits indoctrinated during the Japanese colonial period. Lastly, chapter 4 examines recent changes of museum concepts under the influence of globalism, post-modernism and the development of digital technology and suggests a development plan of a futuristic museum through planning the concept of a museum using the contents.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.6
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• pp.69-80
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• 2019

This research focuses on 10 modern museums built in Europe near important cultural assets of UNESCO World Heritage level. This study aims to reveal the coexistence of European laminated history and contemporary architecture by considering various aspects of respecting the existing and maintaining their identity as modern buildings, using these cultural assets as a basic concept of planning while minimizing conflicts with the past. The four measures of respecting existing cultural heritage are arranged by showing respect by lowering oneself, sympathizing with others, preparing for harmony with modernity, and communicating by looking at. The measures that reveal the identity of modern buildings are confirmed by classifying them as modern and post-modern approaches, each with several options. Through this study, we have been able to extract useful lessons for us, as well, while the past and present coexist successfully, by taking history as a reliable guide to take a fresh leap from it, rather than as a solidified remnant of inertness.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.165-172
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• 2010

Recently, the recognition is changing about cultural heritage, and the various types of buildings or facilities of modern or contemporary times have been designated as cultural properties after that Registered Cultural Properties System is enforced. The purpose of this study is to survey how the newly born the historic buildings of modern or contemporary times through the remodeling process of the Studio 'Byeol'(the Training Center for Performers of Korean Traditional Music) in the National Theater of Korea so-called a microcosm of performing arts history. In the process, it will examine the merits and demerits of various alternatives and the direction of the remodeling etc., and propose an utilization as a basic data of post evaluation for the remodeling of a historic building. The result are as followings. Firstly, the remodeling that gave a new physical properties to a building can be used a method of conservation and reuse on a historic building. The remodeling of a historic building must be eclectically progress between the owner and the citizen or the economic value and the historicity conservation. And, the remodeling of historic buildings such as the Training Center for Performers of Korean Traditional Music must consider the conservation of the exterior walls in whole or in part at least. Secondly, an architect Lee Hee Tae(李喜泰) who had been to develop his own architectural vocabulary and to test based on the korean traditional architecture and the Training Center for Performers of Korean Traditional Music must be newly evaluated today. Lastly, the remodeling alternatives of the Training Center for Performers of Korean Traditional Music have been analyzed with three types, which is 'repairing only the interior which maintains the size and an appearance of present', 'extending the outer wall to the external column line', 'extending the basement'. And, it was analyzed with the appropriate final decision that it remodels only the interior in the current situation because of a historicity, a budget, a relevant law etc.

• Proceedings of the Mineralogical Society of Korea Conference
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• 2003.05a
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• pp.67-67
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• 2003

The chemical compositions and textural relationships of the Nb-Zr oxide minerals including pyrochlore [ideally (Ca,Na)$_2$Nb$_2$O$\sub$6/(OH,F), with up to 24% UO$_2$ and 16% Ta$_2$O$\sub$5/] and baddeleyite [ideally ZrO$_2$, with up to 6% Nb$_2$O$\sub$5/] in the Sokli carbonatite complex, Kola Peninsula, Arctic are described. These two minerals in carbonatites are the major hosts for the HFSEs such as U, Th, Ta, Nb, Zr and Hf and thus are interest both economically and petrologically. The Sokli carbonatite complex (360-370 Ma) in Northern Finland, which forms a part of the Paleozoic Kola Alkaline Province (KAP), is mainly composed of multi-stages of carbonatite and phoscorite associations (P1-C1 P2-C2, P3-C3, D4 and D5) surrounded by altered ultramafic rocks (olivinite and pyroxenite) and cut by numerous small dikes of ultramafic lamprophyre. The Sokli complex contains the highest concentration in niobium and probably in tantalum, which are economically very important to modern steel technology, among the ultramafic-alkaline complexes of the KAP. Pyrochlore and baddeleyite mostly concentrate in the phoscorites. Pyrochlores in the Sokli complex are generally rounded octahedra and cubes in shape, red brown to grey yellow in color, and 0.2 to 5 mm in size. They are found in all calcite carbonatites, phoscorites and dolomite carbonatites, except P1-C1 rocks. These pyrochlores display remarkable zonations which depend on host rock compositions, and have significant compositional variations with evolution of the Sokli complex. The common variation scheme is that (1) early pyrochlore is highly enriched in U and Ta; (2) these elements decrease abruptly in the intermediate stage, while Th and Ce increase, and (3) late stage pyrochlore is low in U, Ta, Th, and Ce, and correspondingly high in Nb. Baddeleyites in the Sokli complex occur in the early P1-C1 and P2-C2 rocks and rarely in P3. They crystallized earlier than pyrochlores, and occasionally show post-magmatic corrosion and replacement. The FeO and TiO$_2$ contents of baddeleyites are much lower than those of the other terrestrial and lunar baddeleyites, whereas Nb$_2$O$\sub$5/ and Ta$_2$O$\sub$5/ contents are the highest among the reported compositions. Ta/Nb and Zr/Nb ratios of pyrochlores and baddeleyites decrease towards later stage facies, which is in accordance with the whole rock compositions. The variation of Ta/Nb and Zr/Nb ratios of pyrochlores and baddeleyites is considered to be a good indicator to trace an evolution of the carbonatite complexes.