• Journal of Conservation Science
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• v.29 no.4
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• pp.311-320
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• 2013

The showcase has insufficient temperature control, but it has excellent humidity control. The annual average temperature and relative humidity inside the showcase was $18.8^{\circ}C$ and 60.3%, respectively, and the showcase showed lower temperature and higher humidity than the exhibition room. The temperature inside the showcase appeared with high variation according to the seasons, while relative humidity was ranging from 59% to 61% regardless of the seasons. The showcase showed high temperature and humidity likewise the exhibition room in summer. In addition, lowering of temperature was elevated relative humidity according to the operation of air conditioner in summer. A moisture problem occurred because the temperature and humidity differences between the exhibition room and showcase were large according to the operation of air conditioner in winter. PI for temperature and relative humidity inside the showcase is 18.0%, and it means conservation environment for exhibition is unsuitable. In particular, continuous management of temperature and humidity inside the showcase is required because PI in the summer and winter is less than 1.0%.

• Journal of Conservation Science
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• v.24
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• pp.43-56
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• 2008

When we consolidate the iron artifacts, only we used VM&P Naphtha as solvent of paraloid NAD10. After consolidating the iron artifacts using paraloid NAD10, artifacts were too glossy to exhibit and see. We choose the solvent YK-VMP as solvent of paraloid NAD10 for complementing this defect and examined characterizations of paraloid NAD10 films in each solvent. As a result of evaluation by several surface analysis such as optical microscope, measuring film thickness, adhesive strength, gloss of surface, contact angle, yellowing test and EIS, it is possible to use YK-VMP instead of VM&P Naphtha as solvent of paraloid NAD10, because YK-VMP lowered surface gloss and did not change the effect of consolidation.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.232-246
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• 2008

The museum starts from drawing many visitors by opening remarkable exhibitions, and finally aims to realize the social and educational value. However artifacts on exhibition have antithetic conditions like limitation of collection, problems of preservation, etc. Already the museum exhibited paintings and fine arts reproduced with complete fidelity, so artistic artifacts have meet the aims of exhibition. we would like to make an alternative proposal about costume relics in this way. Costume relics need to reproduce in two ways. The one way is to reproduce with complete fidelity and the other way is to restore the original form. The reproduction and restoration need a concrete survey, historical research, textile like artifacts. Furthermore it is important to reconstruct breakage and discoloration. Permanent exhibition consisted of reproductions helps appreciating as well as protecting artifacts, so exhibition effect will be enhanced.

• The Bulletin of The Korean Astronomical Society
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• v.39 no.1
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• pp.86.2-86.2
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• 2014

양경규일의(兩景揆日儀)는 세 개의 목판을 이용하여 시간과 계절을 알 수 있는 조선후기에 사용한 해시계이다. 이상혁(李尙赫)과 남병철(南秉哲, 1817~1863)은 각각 "규일고(揆日考)"와 "의기집설(儀器輯說)" "양경규일의(兩景揆日儀)"에 이에 대한 설명과 제작법 등을 기술하였다. 현존하는 양경규일의의 유일한 유물은 헌종 15년(1849)에 제작한 것으로 고려대학교박물관에 소장되어 횡표입표일구(橫表立表日晷)라는 이름으로 전시되어 있다. 그러나 아직 세부적인 검토와 연구가 미진하여 많은 문헌과 인터넷 사이트에는 잘못된 설명이 제시되고 있다. 문헌기록을 살펴보면 계절이 표시된 2개의 입판(立版)과 또 다른 2개의 횡판(橫版)으로 구분되어 있다. 각 절후는 13개 곡선의 절후선 사이에 초후(初候) 중후(中候) 말후(末候)로 3등분하여 모두 37개의 절후선이 그려져 있고, 12시(時) 시간을 알리는 표시가 있다. 우리는 이상혁과 남병철의 문헌에 대한 세세한 분석을 통해 과학적 원리분석과 복원 설계 등을 진행하고, 실제 유물을 재현하여 천문학적 검증작업을 통해 과학적 규명을 수행하였다. 아울러 이와 유사한 동서양의 해시계와 서로 비교하였다.

• Journal of Conservation Science
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• v.35 no.3
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• pp.217-225
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• 2019

The chimi(ridge-end tile) of Wangheungsa temple is the oldest in our country. The upper part of the chimi was excavated from the southern side of Wangheungsa temple and the lower part from the northern side. These parts are considered to be portions of the same chimi, because they are similar in shape and are excavated from two sides of the same temple structure. However, the original shape of the chimi cannot be determined owing to substantial deterioration. Hence, in this study, replicas of the deteriorated chimi portions of Wangheungsa temple were fabricated by employing 3D scanning technology and the computer numerical control machining method. While observing the bending phenomenon of the chimi, the proposed model was warped realistically on the basis of the bending direction of the actual chimi. Consequently, the restoration process was modified several times. The results indicated that no gaps can be found between the upper and lower parts, and the corresponding patterns connect naturally. Furthermore, the proposed method is contactless, safe, operable, reproducible, and appropriate for restoration of artifacts. Additionally, the modeling data is semi-permanent. Hence, if modelling data is appropriately applied as per the characteristics of artifacts, it can be utilized in various fields such as virtual exhibitions, hands-on exhibitions, cultural heritage restoration, and production of teaching aids and souvenirs.

• Journal of the Korea Convergence Society
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• v.8 no.5
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• pp.137-143
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• 2017

Augmented reality makes people feel realistic and reduces the damage to cultural properties that can come into contact with the actual cultural heritage. Augmented reality has the advantage that it can show the past appearance of the historical building or relics, the environment, or related information in addition to the current real environment. Despite these values ​and advantages, As a result of researches and analyzes of the Augmented Reality contents of the National Museum, 'palace in my hand', and the Miruksa project In the field of domestic cultural heritage warriors, augmented reality technology has shown a very negative attitude such as simply showing cultural heritage content or using it as a guide. However, various conditions such as display and sensor hardware and technology needed to realize augmented reality more effectively are improving day by day. And If you have various facilities such as the idea of ​adding storytelling to the exhibits and WiFi building, In the near future, it will be equipped with a display system of cultural heritage contents that combines augmented reality with a more complete one.

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
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• 2004.05a
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• pp.229-234
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• 2004

조명기술의 발전에 따라 현대의 조명환경에는 다양한 종류의 광원이 사용되고, 박물관 등에서는 조명에 의한 다양한 연출 효과를 얻기 위해 같은 전시 공간 내에서도 여러 종류의 광원들을 사용한다. 광원마다 전시물에 유해한 성분의 복사비율이 다르고, 여러 성분의 복사에너지가 복합적으로 전시물에 입사되기 때문에 전시물의 관리에 많은 어려움이 따른다. 따라서 박물관에서 전시물의 손상이 어느 정도 일어날 수 있을지를 예측하고, 그에 대한 적절한 대책을 수립하는 등의 박물관 조명의 효과적인 실시를 위해서는, 전시물에 조사되는 광복사량 및 복사분포를 측정하고, 이를 바탕으로 적절한 조명의 형식과 누적조도로서 각 유물을 체계적으로 관리할 수 있는 유지관리 방안을 설정할 필요가 있다. 본 연구에서는 전시조명용으로 많이 사용되는 인공광원과 자연주광을 대상으로, 이들 광원들이 방출하는 복사조도와 자외선을 포함하는 광복사량, 광원의 분광분포 등을 측정하고 그 결과를 분석하였다.

• Proceedings of the KAIS Fall Conference
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• 2007.11a
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• pp.378-381
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• 2007

박물관은 과거의 단순한 유물의 수장과 전시라고 하는 전통적 개념에 더하여 일반 대중에게 휴식과 교양을 제공하는 문화시설로서 현대인의 심리를 충족시키는 사회교육기관으로까지 그 기능이 확대 되고 있다. 이러한 요구에 비하여 현존하는 지역 박물관은 기능을 충족하기 어려운 현실이고 이를 해결할 방안이 모색되어야 할 시점이다. 따라서 본 연구는 이러한 기존 박물관의 현황을 조사, 분석하여 문제점을 파악하고, 이를 바탕으로 기존 박물관의 건축 디자인적 개선점을 제안하고자 한다.

• Journal of Conservation Science
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• v.37 no.5
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• pp.440-450
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• 2021

Temperature and humidity data collection using real-time sensors and data loggers was conducted for integrated pest management in the collection storage and exhibition space of the Jeongnimsaji Museum, Buyeo. The real-time temperature and humidity monitoring system collected measurement data every 30 minutes and enabled real-time confirmation of the data through a linked application. If the temperature and humidity data measured in the real-time temperature and humidity monitoring system exceeds the set range, a push notification was sent to the mobile phone of the person in charge to provide status information to establish a continuous management system. Through this, it was possible to immediately recognize and take action when the temperature range exceeded the recommended relic temperature in August. We performed data visualization on the concentration of airborne fungus in the storage area and the inflow path and density of insects. Based on the recommended criteria presented by the National Institute of Cultural Heritage, The data on the spatial and temporal concentration of airborne fungus inside the collection storage were found to be maintained at a value below the standard recommended by the National Institute of Cultural Heritage (80 CFU/m³). Also, as a result of the insect inflow survey, no insects were captured inside the storage area, and in the case of the exhibition space, insects such as Scutigera coleoptrata, Loxoblemmus arietulus, Diestrammena asynamora, Koreoniscus racovitzai were captured. Based on this, as a result of visualization according to the individual density of captured insects by area, it was confirmed that the main inflow paths of insects were the external entrance and the toilet area.

• Conservation Science in Museum
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• v.19
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• pp.41-52
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• 2018

This paper describes the restoration and display of a large jar coffin at the Naju National Museum. Excavated from Tomb No. 3 at Bokam-ri, Naju, the large jar is 194 cm in height and its rim diameter is 108 cm. The jar had been broken into approximately forty fragments prior to its restoration, and a supporting structure was installed to ensure the safety of the relic during the restoration process. The restoration was conducted inside a visible storage for large jar coffins for approximately three weeks from February 5 to February 27, 2018. Over two weeks during this period, the restoration efforts inside the storage were visible to the public in the permanent exhibition space so that visitors could observe the process in person. This was planned to help visitors understand and arouse their interest in large-sized relics such as jar coffins and the restoration process. This study also investigates the practices of overseas institutions in order to suggest plans for raising public awareness of conservation treatment at conservation science centers.