• Archives of design research
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• v.19 no.1 s.63
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• pp.181-190
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• 2006

This study began with an assumption that virtual museum exhibitions will continue to be created in the future and more knowledge is required about designing effective virtual exhibit designs. This study explored the relationship between virtual exhibitions and visitor's opinions following the viewing of the virtual exhibit in order to determine the components of a well-constructed virtual exhibit design. To address the research problem, this study explored two aspects of virtual exhibit design: 1) what are the components of a well-constructed virtual exhibit, 2) how does viewing the virtual exhibit change visitors' opinions about both physical and virtual museum experiences. The methodology of the study employed surveys, interviews and observations as instruments of data collection. Twenty-five participants were given a survey prior to their viewing of the on-line exhibit, then they were given the opportunity to view the web-site and finally surveyed regarding their opinions. From the 25 participants, six were selected for observation to record behavior exhibited while they viewed the site. In addition, five were interviewed for a better understanding of their responses to various aspects of the virtual exhibit experiences. Data from the surveys was tabulated for descriptive percentages in order to identify numerical patterns of relationship. Observation data was analyzed for simple frequencies in categories of responses and interview data was tape recorded and transcribed into text files. Based on study results, recommendations were made for the future role of interior design in virtual space that stands independent from a physical building and resides only on the Internet.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.26 no.12
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• pp.1838-1845
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• 2022

Due to COVID-19, the face-to-face on-site exhibitions were not held. With this opportunity, technologies such as virtual reality/augmented reality are increasing attention, and these technologies are being used in many fields. In this study, we made a virtual exhibition content which was produced using virtual reality technology. Our virtual exhibition was held in parallel with the on-site exhibition that included the same contents. Also this exhibition provided an opportunity to realistic experience using the head mounted display. In order to provide a high sense of presence, we created an open virtual space and used realistic 3D objects and textures. Although it is a virtual exhibition, the audience can experience a sense of realism like an on-site exhibition. After the exhibition was over, a survey was conducted on the audience who participated in both the on-site exhibition and virtual exhibition to analyze their responses. As a result of the survey, the similarity and immersion of the virtual exhibition were highly evaluated.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2015.07a
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• pp.36-37
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• 2015

본 논문에서는 전시 공간에서 전시 콘텐츠를 그냥 지나치거나 적극적으로 상호작용하려 하지 않는 관람객의 관심과 흥미를 이끌어 내기 위하여 어포던스(affordance, 행위 유발성) 특성을 반영한 인터랙티브 아트 콘텐츠 설계에 관한 내용을 다룬다. 이를 위하여, 우선, HCI 나 인지심리 영역에서 다루고 있는 어포던스 이론을 고찰하고, 특히 전시 공간에 나타나는 어포던스의 요소를 연구한 기존 연구들 분석하였다. 이를 기반으로 사람들의 행동과 흥미를 유발 시킬 수 있는 전시공간에 적합한 어포던스 기반 멀티 모달 인터페이스 설계 방향을 제시하였다. 또한, 제시된 멀티 모달 인터페이스 설계 특성을 반영하여 터치 스크린을 이용한 멀티 모달 미디어 아트 콘텐츠를 설계 제작하였다.

• Smart Media Journal
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• v.11 no.6
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• pp.37-50
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• 2022

This proposes a direction to build and provide an exhibition space based on the metaverse platform so that artists can independently open their own exhibitions in an online environment. Although many artists are produced every year, offline exhibitions are becoming difficult due to not many art galleries, and offline exhibitions are becoming impossible due to Corona, which began at the end of 2019, and online exhibitions are emerging as an alternative. We analyze cases of existing online exhibition methods and visit online exhibition methods such as web, video, and virtual reality and metaverse environment then present a plan for individual exhibitions in consideration of the recent metaverse environment. The proposed metaverse-based personal exhibition method is structured so that artists can construct a space on the metaverse and place their works, and then viewers can freely take a look on it from a remote location. Based on the proposed exhibition direction, the representative metaverse platform was applied to confirm the characteristics and possibilities of exhibition space and composition of works and users' exhibition experience. In the face of the rise of online exhibitions, space can be constructed in the direction the artist pursues in online exhibitions as well as offline exhibitions, but also online exhibitions, and hopes that online exhibitions will become another genre of exhibitions rather than incidental after the end of Covid-19.

• Journal of Digital Convergence
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• v.18 no.3
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• pp.341-348
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• 2020

This study is a basic research towards diffusion of discourse regarding TUI-based experience exhibition. In that purpose this study tries to find out the development type of children's experience exhibition using TUI by analyzing children's experience exhibition phenomena that are changing in digital environment. For the sake of this research, cases of experience exhibitions were analyzed and characteristics were derived based on TUI(Tangible User Interface) and on the types of tangibles. As results of this study, TUI elements were found in the order of interactive planes, connection of bits and atoms, and environmental media and Tangibles were ranked in the order of stuff, planes, devices, and space types. This fact shows that TUI is actively used in experience exhibitions where children's active participation and extended experience is necessary.

• Journal of the Korean association of regional geographers
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• v.11 no.5
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• pp.440-457
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• 2005

The purpose of this study was to examine the importance and satisfaction of exhibition and convention destinations from the MICE(meeting, incentive tour, convention, and exhibition) planners. Overall, four results were revealed from this study. First, considering the importance of selection attributes, soundproofing, lighting, temperature, A V facilities, the space of main convention hall and exhibition were the most important attributes. Second, hypothesis 1 suggested that there were statistically significant differences in the attributes of convention destination selection based on the socio-demographic variables. More specifically, a statistically significant was found in the 17 attributes out of 5 factors and 4 demographic variables. Third, hypothesis 2 suggested that there were statistically significant in the attributes of convention destination selection based on the planning characteristics of MICE. For instance, statistically significants were found 9 attributes out of 5 factors and the 4 planning characteristics. Fourth, the regional space of exhibition and convention was the most influential to the intention to revisit, followed by exhibition and convention facilities and use cost. And also, considering the recommendation to the other MICE planners who recently have used exhibition and convention centers, the facilities was the most influential, followed by use cost and tourism space surrounding exhibition and convention centers.

• Journal of Korean Association for Spatial Structures
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• v.8 no.6
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• pp.85-94
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• 2008

This paper is concerned with the domestic and foreign PV integrated projects in view of structural design. These projects are classified with public and display 6 facilities. The evaluated items are natural integration with building, engineering details and innovative new design. 6 domestic public and display facilities are frequently using isolated supporting system at roof, but show weakness in design integration. But the cases, using the PV panel in the stage of design some display facilities, are increasing. In the other hand, foreign public and display facilities are using the modul connection majorly and the structural and design integration are obtained.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.147-161
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• 2022

This study examined changes in the ecological characteristics and design characteristics of Ban's exhibition space in three representative temporary exhibition halls and three permanent exhibition halls designed by Ban Shigeru since 2000. Through the investigation of the concepts and characteristics of ecological architecture, the design characteristics of exhibition space, the analysis framework of the design characteristics of exhibition space and the design elements of ecological architecture is obtained. The analysis results show that there are big changes between the temporary exhibition space and the permanent exhibition space in terms of building scale, space composition, function, materials and technology. On the one hand, the temporary exhibition space used recyclable materials, such as paper tubes, containers to be assembled on site into a single-layer space focused on display. The assembly method was simple and the construction period was short. After the exhibition, the exhibition space were dismantled. The materials were either transported to the next display site or recycled and reused. On the other hand, the permanent exhibition space used reinforced concrete as the main structure, and used a large amount of wood and glass materials to construct a multi-layered composite cultural space that separated the exhibition space and the leisure space. In terms of ecological characteristics, the building materials of the temporary exhibition space were recycled and no industrial wastes were generated after the demolition. The permanent exhibition hall uses eco-friendly wood for the roof and walls, so it is easy to replace and repair. Both types of exhibition halls are changing ecological architecture in a more sustainable direction by saving resources and energy through natural light and ventilation.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.193-202
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• 2021

HYBE Insight, opened in May 2021, is an exhibition space that visually displays and re-interprets the BTS Universe and its content. The space echoes the identity of BTS as an artist and the specificity of the cultural phenomenon they have generated. This study analyzes HYBE Insight's BTS exhibition by applying new museological theories and discourses. Based on a qualitative research methodology including literature review and observational method, the primary themes of the exhibition are follows: 1) a contextualized exhibition content presenting the identity of BTS and their music, 2) the role of the fandom Army's participation in (re) producing BTS content related to the characteristic of popular music museums, 3) the elements of convergence art and its contemporary implication, 4) and the illumination of cultural value in popular music museum management. As the pivotal theory of new museology suggests, investigating a specific exhibition based on each context it has created is significant. However, those studies, including exhibitions related to popular music/artists, were mostly developed in Western nations. In this respect, HYBE Insight's BTS exhibition provides considerable room to explore. In addition to the recent research on BTS, such as their convergent artistry, socio-cultural influence, the role of Army, and the characteristics of HYBE's content management, this article aims to contribute to the multifaceted research by scrutinizing the BTS exhibition content from the new museology perspective.

• Archives of design research
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• v.12 no.4
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• pp.231-241
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• 1999

This study propose to analyze the design method and the form elements of museums, of works by Richard Meier, and through the analysis, spacial characteristics of museums will be understood. The museum works of Richard Meier, as an exhibition space, not only display the art works efficiently, but they also offer visitors the opportunity to experience the art of architecture, as a cultural space. Richard Meier, when working on the projects, has utilized the design methods and the architectural language, learned from Mies van der Rohe and Le Corbusier, resourcefully. Having the structural grid as basis, the rational rectangular forms were intended for exhibition space, while the circular and partial circular forms of geometry were utilized in formative space. This was able to maintain the balance between functional and formative space. In the museums of his works, the ramp and the glass wall separated from the structure become very important means of expression. The ramps, not only make people to enjoy the interior and exterior of museum, but also able them to see the works of art from different distances and angles repeatedly and the large glass wall reveals the various shapes of interior to exterior. In comparing with the design method and language of two masters mentioned, the design principles and elements, developed by Meier were applied to the site plans, exhibition space planning and elevations to manifest its originality. The design concept, derived from the urban fabric and historical buildings around, gave harmony to the museum with its surroundings, and employing the deformed axis brought variation and the effect of diversion to the site plan. The exhibition space is much vitalized by the well arrangement of various exhibition fixtures in the museum. The exhibion fixtures, which the partitions, shelves, miches, and stages were put together in flexibility, play multiple roles as partitions dividing spaces, as furniture displaying art works, and as elements creating forms. The systematically arranged fixtures, also produce several visual axes and centers, which have visitors appreciate the works of art in various perspectives, hence create a unique environment.