• 한국실내디자인학회논문집
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• 제23호
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• pp.100-108
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• 2000

The study intends to systematically arrange and classify the museum layouts in terms of their structure of exhibition space. The exhibition space, here, means the whole area where visitors are allowed to move and visit in museums. Through this, I tied to understand the characteristics and trends comparing and analyzing international and national exhibition space layout, and then grope the standard in case of establishing museum. The first criteria is based on the point of view that the typical museum experience is made in the exhibition space. Accordingly, the exhibition space can be grouped into two categories; one is 'room type' consisting mostly of individual rooms as in classical museums, and the other is 'open plan type' consisting free standing walls as in miesian free plan. The second criteria is dependent on the way how visitors move about in exhibition spaces. In other words, museum layouts can be categorized in terms of mutual connection between individual spaces including exhibition spaces and corridor spaces designated for the purpose of moving. consequently, the layouts can be categorized into five groups such as 'free plan', 'linear type', 'room to room', 'room & corridor' and 'composition type'. The third criteria is about the overall structure of museum layouts including such elements as whether it contains a certain type of central major space or not and whether and how the exhibition spaces are connected to it. By applying these classificatory criteria, the study analyzed and classified 90 sample of museum layouts in order to understand clearly and succintly the spatial characteristics and implications contained in them.

• 한국의류산업학회지
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• 제11권4호
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• pp.566-573
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• 2009

The purpose of this paper was to collect the information of textile and fashion trade show exhibiting such as the exhibition objectives, trade show selection criteria, reasons for not exhibiting, and exhibition performance. The data were collected from textile and fashion companies which participated in the Preview in Daegu or Seoul Fashion Sourcing Fair, or through the Research Company. The results showed that the most heavily weighted factor among reasons for not exhibiting was "high cost" and the most important exhibiting objective was "identifying the need and the preference of potential customers". "The quality and the quantity of sales lead" was ranked highly among exhibiting selection criteria. Also, the future of exhibition industry was also recognized positively and "effective PR and marketing activities" was assigned high importance among services provided by the organizer.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2008년도 춘계학술발표대회 논문집
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• pp.67-70
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• 2008

The one of the most important thing for the successful realization of display functions in modern exhibition activities is based on exhibition space and the information communication between designers and visitors. Therefore, the information transmission has become an important function of modern exhibition activities. How to transmit information effectively is the key factor of successful exhibition design. However, 'people flow' and 'transportation' are taken as the main issues for a lot of the design works in space design of exhibition. But the information transmission is seldom taken into account as an important factor. The ultimate objective of exhibition design is to transmit the exhibits' information effectively to visitors, so the effective transmission of exhibiting information becomes the most important criteria in exhibition design. The successful exhibition can be well designed through information transmission by means of material objects, a lighting, properties, sounds, color, performance, etc The successful effects of the exhibition also depends on a great extent of the display design and a modeling in exhibition space. Modern exhibition design is getting more importance on the research on forms including basic features and exhibition space relations of forms. This research discusses on the design method that is favorable to information transmission In order to deal with the factor of display and modeling in exhibition space.

• 한국과학예술포럼
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• 제37권4호
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• pp.205-216
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• 2019

본 연구는 박물관 비정형건축형태가 늘어나고 있는 현시점에서 학술적 건축형태계보에 관한 패러다임의 변화를 초래하고 있으며 이에 따른 전시공간에 미치는 영향에 관한 유무의 논증이 요구되어 진다. 따라서 선행되어야 하는 단계로서 비정형 건축형태와 전시공간과의 상관관계를 검증하기 위해 최근 2000년 이후 다양한 박물관 설립 또는 재개관한 사례의 현황분석을 통한 실질적인 비정형 형태의 경향을 파악한다. 이에 전시공간이 관람자의 공간체험에 더욱 효과적인가를 유추하기 위해 비정형건축과 전시공간과의 관계성에 대한 결론을 도출하는데 본 연구의 목적이 있다. 연구방법 및 결과는 다음과 같다. 첫째, 박물관의 비정형건축 형태적 개념 및 건축형태의 분류에 관한 문헌조사와 선행연구의 고찰을 통해 기준을 정립하여 도입하였다. 둘째, 싱가포르, 독일, 네덜란드 등을 직접 방문하여 사례 고찰을 통해 비정형 건축형태와 전시공간의 현황과 특성을 고찰하였다. 이때 Kare Vollers의 비정형 형태기준을 차용하여 분석을 하였다. 셋째, 비정형건축형태와 전시공간과의 관계성을 증명하기 위해 Kare Vollers의 비정형 형태기준과 비정형 전시공간을 중심으로 사례별 크로스 체크하여 결과를 도출하였다. 연구 결과의 내용은 다음과 같다. 첫째, 비정형건축형태의 EX(Extruder)(angle, ortho)와 전시공간 사선형은 유의미한 상관성을 가진다. 이는 싱가포르보다는 네덜란드와 독일에서 92.3% 명확하게 검증되었다. 반면, 전시공간 곡면형은 불명확한 관계성을 보이며 싱가포르 경우 RO(Rotor), FR(Free Shaper), TW(Twister) 등을 통해 곡면형 관계성을 가진다. 둘째, 비정형 건축형태와 전시공간의 사선 및 곡면형이 복합적 형태조합을 가진다. 특히 N-02, G-02는 융합된 형태로써 EX를 기본적 가지며 부분적 다양하게 형태를 함유하여 비정형의 복잡함을 유도하였다. 이와같이 비정형 형태는 다양한 조합으로 무한정의 변형이 가능하며 이를 대응하기 위해 다각도에서의 융합적 접근이 요구된다. 차후 본 연구를 기반으로 박물관의 비정형 건축형태와 전시연출디자인과의 관계성 유무를 논증하고자 한다.

• 미술이론과 현장
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• 제2호
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• 한국실내디자인학회논문집
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• 제22권1호
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• pp.291-298
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• 2013

A science museum responds independently based on the exhibits and exhibition environments as the visitors are different in purposes, interests and demands. Therefore a science museum should be designed keeping it in mind that there are various ways for visitors to perceive and use the exhibition spaces and exhibits. The purpose of this study is to compare and analyze the characteristics of sensory receptors for the exhibits in National Museum of Nature and Science's Global Gallery, Tokyo, in terms of information transmission and to identify the nature of exhibit medium that can affect the perception and recognition of the exhibits by visitors. Through these 9 sensory receptors, human recognizes first with visual, auditory and olfactory senses and reacts using vestibular organ, proprioceptor (stretch), tangoreceptor, themoreceptor, taste and olfactory senses. Human uses these information processing to recolonize the external environment. This process is similar to the visitor's information transmission process for the exhibition medium. By dividing the analysis results per exhibition theme and developing the information transmission processing types per sensory receptor, we could understand that the distribution conditions are closely connected with the composition of the exhibition scenario in the exhibtion area. Especially, the understanding of how the information transmission is made through sensory receptors could can be the criteria that determines on the factors that can identify the exhibition purposes of a science museum which are eduction and understanding.

• 한국실내디자인학회논문집
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• 제16권6호
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• pp.189-196
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• 2007

The purpose of this study is to make a comparative analyzation toward abstracted emotional properties appeared in the museum exhibition spaces designed by the three masters of the modern architecture;Frank Lloyd Wright, Le Corbusier and Mies van der Rohe. In addition, this study will also aim to inquire into how the emotional properties have affected the third generation architects. It is especially expected that the 'emotional tendency' emerging in various fields of the present time can serve as useful information through the analysis of emotional design properties appeared in the exhibition space which is directly linked with the human lives. In order to achieve the purpose of the study, in New York by Wright, in Tokyo by Le Corbusier and in Berlin by Mies Van der Rohe were selected. As for the analyzation methodology to be adopted for deriving the aiming points at the emotional design, five criteria of analyzation have been established in order to understand the properties of the emotional area: they are (1) spatial affordance, (2) human congeniality, (3) emotional factors of the area, (4) constitution of the area and (5) expressive division of the area. Using these criteria, this study will reveal what are some of the emotional characteristics shown in each museums and its analytical result will be useful to apply to future museum design. It is especially expected that the 'emotional tendency' emerging in various fields of the present time can serve as useful information through the analysis of emotional design properties appeared in the exhibition space of design which is directly linked with the human behavior.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.67-74
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• 2010

The purposes of this study are to investigate the dimensions of the sensibility towards a spatial environment perceived by the general public and to present the characteristics of various spaces through empirical analyses. A set of words are selected to describe visitors' perception of a spatial environment based on previous studies, and then they are arranged according to the degree of understanding and suitability. The results of the survey on the sensibility measurement can be summarized as follows: Factor analyses and cluster analyses are conducted on the indicators measuring the general public's perception of the exhibition hall of the Deoksugung Museum, and the following five dimensions are obtained: spatial value, spatial aesthetic, spatial affinity, spatial freshness, and spatial materials. The satisfaction level of visitors regarding the space of the exhibition hall under study is also investigated. A regression analysis is conducted to find a relationship between the satisfaction level of visitors (DV) and the five dimensions (IVs), and the analysis shows that there is a significant relationship. Among the five factors, the 'Spacial Value' and 'Spacial Affinity' are found to Significantly affect visitors' satisfaction. The results of this empirical study show that visitors' affinity towards the exhibition hall of the Deoksugung Art Museum along with the surrounding garden, as well as visitors' appreciation of the social, historical, and cultural value of Deoksugung Palace, are found to greatly affect visitors' overall satisfaction with the spatial environment of the museum.

• 한국멀티미디어학회논문지
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• 제20권4호
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• pp.686-695
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• 2017

The purpose of the study is to analyze the impact of storytelling factor, technical factor and exhibition environment factor on the degree of satisfaction, degree of immersion and immersion types in and . Our findings show that the degree of satisfaction not only has a significant correlation with the degree of immersion, but also influences on the holding power and behavioral intention. According to the results of correlation analyses, three factors have an impact on the degree of satisfaction and immersion. Immersion factors influence negatively on Focused Attention and Heightened Enjoyment, however, the factors effect positively on Temporal Dissociation and Curiosity. As the influence of immersiveness on the degree of satisfaction and immersion, and immersion types have been verified, this study offers a fresh understanding of the importance of immersion factors as evaluation criteria for digital exhibitions.

• 디지털산업정보학회논문지
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• 제11권2호
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• pp.101-112
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• 2015

New media which appeared in accordance with the development of IT technology includes elements of the interaction to be developed as an interactive media. In the field of interactive media which can be most actively applied, there is the filed of experience exhibition based on the active participation of people who experienced. Interactive media applied to the experience exhibition area, in order to have an effective communication that is based on a high degree of immersion, has been utilized as a platform for educational contents. This study is intended to explore the elements of visual perception for developing an optimized interface in the perspective of children who are the main subject of educational contents to present the criteria for the development of an interface for children. Thus, this paper derives the elements by the analysis of the visual perception elements of children and the experiment for the immersion environment. By analyzing the results, this study is to present the criteria of the visual perception elements for the development of interactive media contents for children.