• The Journal of the Korea Contents Association
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• v.21 no.3
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• pp.88-102
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• 2021

This study focused on the museums mainly holding permanent exhibitions except for the function of special exhibition in museum architectural works. This study aimed to draw the possibility to establish the relation between architectural form and central space of museums, by applying the forms like formal form, informal form, segment form, and diagonal form shown through a case study to total 164 work cases, reclassifying the architectural form into informal form, formal form, semi-formal form, segment form, diagonal form, and linear form, and then analogizing the matter of correlation between architectural form and central space of museums. The relevant contents could be summarized as follows. overall, most of the central spaces according with the informal architectural form of museums were the informal form, which showed 92.7% distribution rate. overall, there were many cases of informal architectural form of museums. Compared to the formal form, the informal architectural form showed the higher correlation with central space. The informal architectural form of museums is estimated to be continuously developing in the future. This study aims to present the basic data aiming for interior architecture design by considering the correlation between central space and architectural form.

• Korea Science and Art Forum
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• v.37 no.4
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• pp.205-216
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• 2019

Today, there have been more museums with architectural freeform structure. From an academic perspective, that caused a change in the paradigm of the genealogy of architectural forms. Accordingly, it has been required to find whether the freeform architecture influences an exhibition space. Therefore, in order to analyze the correlation between freeform architecture and exhibition space, this study looks into the tendency of actual freeform architecture through case analysis after 2000. An exhibition space of museum serves as a socially, culturally, and locally symbolic icon and has the function of delivering information to viewers through the aesthetic presentation of articles on exhibition. This study is meaningful in the point that it drew the conclusion of the correlation between freeform architecture and exhibition space in order to infer that a freeform exhibition space is more effective at viewers' spatial experience. The method and results of this study are presented as follows: Firstly, literature survey on the concept of the freerform architecture of museum and the classification of architectural forms was conducted and previous studies were analyzed in order to establish criteria. Secondly, a case study was conducted through visits to Singapore, Germany, and the Netherlands in order to look into the current state and characteristics of freeform architecture and exhibition space. In this case, Karel Vollers' architectural freeform criteria were used for analysis. Thirdly, to prove the correlation between freeform architecture and exhibition space, each case was cross-checked on the basis of Karel Vollers' architectural freeform criteria and freeform exhibition classification, and then results were drawn. The study results are presented as follows: Firstly, EX(angle, ortho) of freeform architecture had a significant correlation with the diagonal form of exhibition space. That was proved 92.3% accurately more in the Netherlands and Germany than in Singapore. However, the curve form of exhibition space had a unclear correlation. In Singapore case, the curve form correlation was made through RO, FR, and TW. Secondly, freeform architecture had complex-typed combination with the diagonal and curve forms of exhibition space. In particular, N-02 and G-02 had a combination form, basically EX, and partially various forms so as to induce the complexity of free form. As such, architectural freeform makes it possible to achieve infinite transformation in various combinations. For responses, combinational approaches are required in multilateral ways. Based on this study, it will be planned to analyze the correlation between freeform architecture of museum and exhibition presentation.

• Construction Engineering and Management
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• v.20 no.3
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• pp.61-66
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• 2019

• Proceedings of the KAIS Fall Conference
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• 2009.05a
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• pp.565-570
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• 2009

국내의 비정형 건축물은 현재 도입기로, 동대문디자인파크, 전곡선사박물관, 부산국제영화센터 등이 건설 계획 되어지고 있지만 대부분이 실시설계 또는 착공단계에 머물고 있고, 아직까지 구체적인 시공단계에 이른 건축물이 없는 실정으로 비정형외장재의 이중곡률 (Non-Uniform Rational B-Spines)을 반영한 프로토타이핑(Prototyping), 패널화(Panelizing), 현장조립 시 기하학 통제기법, 시공오차 측정기법, As-Planned 도면과 As-Built 도면의 비교를 통한 준공도면의 작성기법 등에 대한 준비가 절실히 필요한 상황이다. 그러나 현재 비정형 건축물의 설계는 초기계획(Concept Design) 단계에서 건축가와 구조기술자의 협업 중요성만 강조되고 있고, 건축물이 비정형화됨에 따라 기하학적으로 설계 및 시공되어야 하는 건축물의 외장재에 대한 설계방법과 시공단계에서 시공품질 확보방안, 시공 하자를 유발시키는 다양한 변수에 대한 대응방안 등은 아직까지도 그 중요성을 인식하지 못하고 있는 실정이다. 따라서 본 연구에서는 비정형 건축물의 설계에 사용되는 Architectural Geometry Control 도구 중 그 활용성이 부각되어 지고 있는 Bentley 사의 Generative Components를 활용하여 비정형 건축물의 이중곡률 곡면외장재의 부재생산을 위한 패널화, 제작도면 추출에 관한 연구를 수행하고자 한다.

• Landscaping Tree
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• s.112
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• pp.38-41
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• 2009

인천경제자유구역 내의 중앙공원이 2009년 9월에 준공하여 일반시민들에게 개장되었다. 센트럴파크는 동고서저와 강으로 대변되는 한반도의 지형적 특색을 담고 있으며 동고서저는 구릉이 있는 산책로와 낮은 잔디밭으로, 강은 수로로, 다도해 남해는 인공 섬이 있는 수변 공간으로 연출돼 있으며 인공으로 조성된 수로에는 수상택시가 다니고 있다. 지하에는 2,700여대가 추자할 수 있는 주차장을 공원과 분리하여 조성하였고 수로주변에는 보행자 산책로, 자전거도로 등이 조정되고 추후 공원 내 박물관 및 생태관이 조성될 예정이다. 센트럴 파크는 인천광역시 송도동 24-5번지 일원에 위치하고 있으며 면적은$411,319m^2$, 사업기간은 2007. 2. 1 ~ 2009. 7. 31, 사업비는 1,900억원(공원 1,200억원, 주차장 700억원)정도이며 주요시설로는 해수 수로, 수상택시 및 무빙스테이지, 지하주차장, 조각원, 정형식 정원, 초지원, 보트하우스, 비지터센터 등이 있다.

• Conservation Science in Museum
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• v.16
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• pp.122-137
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• 2015

White porcelain pitcher with an openwork dragon and cloud design across its surface in the collection of the National Museum of Korea (Deoksu 5531) was acquired in 1915. The restoration has been so far completed only for the mouth of the pitcher. This study discusses a new method based on 3D scanning and printing for the restoration of missing parts in the openwork dragon and cloud design. A strength test was performed on six output materials that have been already commercialized for comparison with the strength of materials used for traditional restoration such as epoxy putty (Quick Wood^®) and epoxy (Araldite AY103+HY956^®). This process confirmed that the digital technology-aided making of a restoration model requires less time and efforts than handmade work, all the while producing a more precise model. More importantly, this method being a non-contact method, it reduces risks associated with handmade work. Another advantage of this method is that digital pre-restoration images can be saved and used for future references. Notwithstanding, future research is needed on how to effectively apply digital technology for restoration of ancient objects and how to evaluate and use 3D output as well as on the method of shaping, joining and coloring the 3D output.

• KOMUNHWA
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• no.61
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• pp.95-128
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• 2003

Shell middens, so called waste sites, are the remains made by files of wastes after the sources are used from the natural and artificial environment. The relic things, excavated in shell middens are usually found to be broken and hard to recognize the ori

• KOMUNHWA
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• no.58
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• pp.25-84
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• 2001

This study investigated about the Panchuk Earth Wall that is the Hardened-Heaped Earth Wall, which was surveyed in the South Korea area. The Panchuk Earth Wall was classified into the 2 types depending on the existence and nonexistence of Seok-yeol(石列), t

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.357-386
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• 2007

At present, thirteen Buddhist bells of Unified Silla are known to the world: Six in Korea, five in Japan and two other bells, and three out of them are impossible to make out its original form. Therefore, we divided the form of Unified Silla Buddhist bells based on the ten other bells, and we tried out to prove the manufacturing technology by the comparison of the research material of Uncheon-dong bell and existing research materials of other bells, in other to find their linkage based on the alloy elemental composition. We divided Unified Silla Buddhist bell into two types: Type I has symmetric apsaras and regular patterns on its face and it was made in early Silla period; type II has asymmetric apsaras and irregular pattern arrangement and made in late Silla period. In particular, Uncheon-dong Buddhist bells is very similar to Komyoji[光明寺] temple bell from ninth century in Japan. It is peculiar that the apsaras on Uncheon-dong bell play vertical music instruments that are never seen in Unified Silla Buddhist bell. Most of Unified Silla Buddhist bell are compounded with Cu-Sn or Cu-Sn-Pb system. From eighth and ninth century, bells were cast with even composition of copper, tin and lead, and the bronze alloy ratio was similar to the record in Gogonggi[考工記], Jurye[周禮], a book from ancient China. Particularly, Uncheon-dong bell is in a rare case of Cu-Sn-Pb-As system. As had been rarely used in Unified Silla Buddhist bells, so we presented the relative research materials. As has the same nature as Pb. Because As easily volatilize at high temperature, it is hard to use. But it has its merit of solidity and durability. Pb enhances fluidity and thereby expresses the patterns more distinct; As makes the bell stronger. The result of lead isotope ratio could not exactly reveal a concrete producing center. However, over the analysis of our samples, hereby we suggest Uncheon-dong bell was made of materials from just one ore deposit.