• Journal of the Korean Society of Earth Science Education
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• v.8 no.1
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• pp.98-113
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• 2015

The purpose of this study was to explore how science docents developed their expertise in the context of situated learning where two experienced docents played roles of mentors. Two experienced docents as mentors and six participating docents as mentees interacted in the community to develop exhibition interpretation strategies to be more professional in interacting with visitors through the workshops developed by the researcher. To figure out how docents developed their expertise in exhibit interpretation, the researcher collected the data from docents through observation, artifacts, and interviews as well as surveys. The result of this study included that participating docents formed new perception about scientific inquiry as well as scientific literacy and they developed professional skills of planning, implementing, and reflecting of exhibition interpretation in the context of situated learning, where docents formed alliance one another. It is recognized that participating docents' passions to be professional in exhibition interpretation and two experienced docents' wills as mentors made dynamic interaction in pursuing the same aim of docents' expertise in exhibition interpretation.

• The Journal of Art Theory & Practice
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• no.2
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• pp.147-168
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• 2004

This study examined the role of interpretation with various practices in art museums to seek a new meaning and a concept of art museum today. The exploration of interpretation would he a starting point to discuss about on art museums with professionals in each art-related field. While museums recognize the concept of interpretation and the scope of the functions in different levels, the study focused on the practices of collecting and exhibiting that will entrust the museum new realms of activities toward the audience. In particular, its emphases are set force on the information on the collections via the museum's web sites, interpretation policies, and theories and methodologies in exhibition development. Art museum websites well reflect how museums utilize the new medium to enhance the understanding of art works by providing in-depth art historical information, comprehensive contexts, and subject/concept based search methods. In recent decades, these have enacted changes to expand dimensions of interpretive functions in most museums, particularly in the United States and others. In an administrative perspective, Tate Gallery Interpretation Policy became an good example how an art museum put its interpretation philosophy as the basis of interpreting collection and public programs. Tate established functions of intrepretation and education not only within a task-based team but also as an intrer-divisional coorperation to provide an interpretation scheme of information provisions such as guide brochure, audio tour, multimedia content, and library. New environment and trends of museum exhibition, and its development processes stem from communication theories, object interpretation philosophy, display strategies, and various evaluation techniques through audiences, with the communication theories of Shannon and Weaver, Berlo's SMCR(Source-Message-Channel-Receiver) models were perceived as to understand the mechanism to communicate museum exhibits to visitors Suzan vogel's insight into object display strategy helped to conceive the mechanism of object recontextualization. She emphasized that the museum's practice to construe opinions and impressions through object display should be discreet and critical, therefore, the professionals to plan the exhibition should reveal the intention and their practices. For a prevailing new methodology from the field, the interpretive exhibition development processes are articulated as the front-end, formative, and summative evaluation, futhermore the team process in industrial product management models was adapted. These have turned out to be more interactive with visitors and effective to communicate the exhibition concepts and messages, hence resulting in enriched museum experiences. Finally the study concluded that understanding the aspects of interpretation should help art museums to set a framework for current practices to expand its public dimension. It can provide curators with a critical view to website planning and its content. And obviously, the interpretive exhibition development methodology will lead museum exhibition developers to be skilled in its current approaches to thematic exhibition concerning diverse subjects and topics.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2002.04a
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• pp.71-76
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• 2002

The purpose of exhibition at museum is to provide the space of aesthetic interpretation of arts for visitors as well as performing the role of communications characterized by various elements. Such elements as visual, spacial and physical factors influence the visitors movement directly, on aesthetic interpretation of arts and these elements would be important for design of space, on considering of promoting the relationship between the art exhibition and visitors. Visitor's movement would be influenced by the property of the art materials, the space shape and the situations of environments, and these elements are important to plan the design of exhibition on museum. The aim of this study is to exam the early stage's points of factors and to standard in basic level for visitors behaviors, through surveying the visitors movement in the museum and analysing the space, in order to find out the factors influencing the aesthetic interpretation of arts and the characteristics of physical properties of art materials exhibited.

• Korean Institute of Interior Design Journal
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• v.13 no.4
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• pp.127-137
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• 2004

Since 20th century, the exhibition has expanded to more diverse fields and recognized as the medium which can build network among the Art, Human and society. Space design, although developed within mutual interaction and consideration of environment factors, has been treated without those background. Therefore it is straightforward to examine the exhibition space design synthetically not limit it by the analytical elements. Assuming three main mutual interactions, object human, and environment, we have attempt the typological analysis to the museum exhibition space by studying characteristics. While the exhibition space design has been analyzed through two dimensional interpretation, on this study, we structuralize diverse discussion of the exhibition space design by relation-centered and relative analysis. Therefor we examine the characteristic of design expression through typology of both physical and behavioral feature. In the conclusion, the outcome provides insights into the relationships among object, human and environment and useful measurements to designer who outline exhibition space design.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.272-281
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• 2011

The purpose of this study is to analyze the correlation between spatial space structure and visitors' behavior and interpret visitors' behavior concretely from the aspect of exhibition environments. So, this study intends to qualify spatial space structure with integration, connectivity and control value by utilizing space syntax, limit to tracking score among the analysis index and reinterpret with exhibition density and extend of eyesight among the exhibition environments. The results of this study are as follows; First, in case of museums, tracking score shows plus correlation with connectivity and control value among the space syntax variables and very low correlation with integration. In case of art museums, tracking score shows plus correlation with integration and wide variable is judged to more useful to analyze visitor's behavior than minor variable. Second, museums doesn't make a great effect on visitors' behavior from the aspect of extent of eyesight, but from the aspect of exhibition density, visitors relatively watched evenly without short cut at the early stage of exhibition in spite of high exhibition density. And, they conducted short cut as they went to the middle stage of exhibition on the course of watching although the numerical value of exhibition density is low. Third, in case of art museums, visitors' behavior was relatively influenced by exhibition density, not extent of eyesight. But, as they went to the high level on the course of watching, watching speed became rapid and watching length became short in the place the value of extent of eyesight was high. Its reason is judged to be easy to grasp position or space structure of the next exhibition room visually. Therefore, when the concentration of watching is necessary from the aspect of exhibition, to control exhibition density properly before the space is useful to draw visiting to exhibition space afterward.

• Science of Emotion and Sensibility
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• v.14 no.3
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• pp.415-424
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• 2011

Interactive media art can be said to be art in which audience participation and communication through interaction is considered to be most important Previously the role of the audience is to unilately accepted the artist's message, whereas the role of the audience observing interaction media has been changed to the point of the producer, actively participating in completing the artwork through interaction. This study analyzed the interaction and communication between the audience and interactive media artworks from the audience's point of view (in the view of reception theory) by the investigation of the case of the artworks that were on exhibition. Employing the exhibition interpretation medium with docent explanation and wall text was experienced how to improve audience's communication when they watched the artworks. The docent explained the intention of artists and their artworks in the manner of storytelling and induced the audience to focus naturally on the artworks. As the result, the role of the exhibition interpretation medium was found to be significantly high in enhancing the degree of emotional communication with the artworks, so in this study I attempted to present that the role of the docent is an important factor for enhancing the audience participation and emotional communication through interaction with the artworks.

• Korean Institute of Interior Design Journal
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• no.21
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• pp.42-53
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• 1999

The purpose of this study is to clarify the relationship between the exhibits layout and the spatial organization in exhibition spaces. As an analytical method, the space syntax theory devised by Bill Hillier(1984) was applied for analysing the potential differentiation of exhibition spaces and remodeling method in Seoul City Museum selected for case study. The results are as following. Especially from the convex analysis, axial analysis and exhibits(interpretation); 1) the closed spatial system(1F) has high visibility and high intelligibility in hall area but lacks route continuity, 2) the circulated spatial system(2F) has low global visibility but offers high intelligibility and connectivity due to its coercive circulation, 3) and the organization of exhibition design consists in differentiating space that reintegrates them into another spatial order. Therefore, there process are expected to provide a methodological framework for analysing and interpreting spatial organizations of design, leading to the clear explanation of remodeling.

• Korean Institute of Interior Design Journal
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• v.19 no.4
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• pp.82-89
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• 2010

The studies published up to now, related to the correlation between spatial structure and visitors' behavior in a museum are rather relatively lacking when it comes to the in-depth consideration for the effect of the actual exhibition environment. So the main purpose of this study is to define the correlation between the light environment and the visitors' behavior. Towards this end, this study uses 'space syntax' to quantify the spatial structure with 'integration', 'connectivity' and 'control value'. Meanwhile, 'tracking score' and 'tracking frequency' were selected as the scope among the indices of behavior's analysis. The results of this study are as follows; First, integration and correlation of tracking score and tracking frequency are lowest when it comes to the extra large historical museums where the difference of intensity of illumination by each convex space. Meanwhile, the most considerable effect is exerted by control value. Compared to tracking score, tracking frequency is closely related to 'syntactic variables'. Second, visitors do not take the short cut the dark exhibition space even when very dark exhibition spaces continue after passing through relatively bright space. Analysis of visitors' behavior by control value in the exhibition space composed of this type of intensity of illumination environment is not valid. Third, visitors move to relatively brighter transitional space compared to the exhibition space with low intensity of illumination when passing through dark exhibition continually. Meanwhile, when visitors pass through the exhibition space there is some difference intensity of illumination they move to relatively dark exhibition center among the subsequent exhibition spaces. Accordingly, when the composition of exhibition space that continues onto the environment of low intensity of illumination is inevitable, differentiating intensity of illumination appropriately would be effective in inducing visit to the subsequent exhibition space.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.336-344
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• 2018

This research proposes a suitable classification and analysis standard for digital exhibition to analyze digital exhibition. Through the previous studies on digital exhibition classification, the necessity of the new standard is suggested and the analysis standard which can be easily applied to the change of concept and form of the newly emerging digital exhibition is established. Digital exhibition should take into account the elements of audience participation that naturally arise from exhibition planning and interactive storytelling format. Classification and analysis of existing digital exhibition spaces are conceptual classification based on keywords. This is because traditional exhibition methodology has been applied in the process of classifying exhibitions and works. However, in digital exhibitions, the interactive aspect between exhibition space, works, and visitors become so important that it is necessary to perform a performative classification between the works and the audience in the digital exhibition. Accordingly, the way of participating directly or indirectly in the exhibition classification should be considered based on what the audience feel. In this research, the interpretation of the classification and composition of the exhibition is based on Benjamin's argument which the classification of the sensory experience of the audience and 'Aktualisierung' closely related to the interaction with the audience. We also present analysis standard for digital exhibition according to the structure of the art exhibition narrative based on the narrative structure of Chatman. This classification methodology will provide the exhibition information in a way that can be easily understood by the visitors and it will be a precedent research that secures the expansion and accessibility of the digital exhibition.

• The Journal of Natural Sciences
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• v.15 no.1
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• pp.149-158
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• 2005

These Study for meaning of Skirt Exhibition of Prada who has originality about minimalism, anti design. Her special characteristics of modern design world is very trendy. The latest trend which is deconstruction, nonos tribe, techno-functional of Prada style showed her exhibition. It was very meaningful about Prada fashion and modern design and culture. The various fused fashion items and genres are normally observed in the skirt exhibition. Besides interpretation of light and movement, novelty of modern design would be guided to the exit of modern culture and art, which haver to answer to th e continuous questions.