• Proceedings of the Korea Contents Association Conference
• /
• 2014.11a
• /
• pp.311-312
• /
• 2014

다양한 변화를 겪고 있는 박물관에서는 관람객에게 적극적인 체험의 기회를 주고, 이를 통해 관람객과 전시물간의 상호작용에 초점을 맞추고자 노력하고 있다. 특히 역사박물관에서 디오라마전시방법은 한 가지 유물이나 사건에 관한 스토리텔링을 가장 효율적으로 적용할 수 있는 전시방법이다. 그러나 역사박물관의 디오라마전시는 대부분 축소모형을 통해 이루어지며, 스토리의 기 승 전 결의 구분이 명확하지 않다. 이는 관람객의 적극적인 체험을 이끌어 내는데 한계를 가진다. 이에 본 논문에서는 관람객의 주인공화, 배경의 다양화라는 전시 결과를 확인할 수 있었다.

• Proceedings of the Korea Contents Association Conference
• /
• 2016.05a
• /
• pp.89-90
• /
• 2016

지난 10월 문화재청과 KBS, LG전자가 공동으로 기획한 '다시 만난 우리문화 유산전'은 국외문화재를 울트라HD 영상으로 촬영하여 고화질의 디스플레이를 통해 국민들에게 국외의 문화재를 소개하였다. 국외문화재를 만으로 구성된 전시는 국민들에게 지금까지 볼 수 없었던 유물에 대한 정보와 이미지를 제공하여 국외 문화재에 대한 국민들의 관심을 이끌어 냈다. 하지만 관람 방법과 정보 전달적인 측면에서 한계가 있었다. 따라서 '다시 만난 우리 문화 유산전'의 사례를 살펴보고 관람 방법과 정보전달의 방법에 대한 보완점을 찾아야 한다. 앞선 전시에 대한 보완점을 전시에 적용한다면 국외에 있는 우리 문화재에 대한 지속적인 관심과 접근성을 높여 국외문화재에 대한 꾸준한 전시를 유도할 수 있을 것이다 또한 국외문화재를 학술적으로 폭 넓게 사용되어 활발한 연구가 진행되고 전시뿐만 아니라 다른 분야로의 확장을 이끌 수 있다.

• The Journal of the Korea Contents Association
• /
• v.9 no.12
• /
• pp.173-180
• /
• 2009

Increased appetite for art and design due to improving the economic standard of living and industrial community recognized the value of art in the profitable aspect currently demands various exhibitions in various environments. These social needs and changes in corporate culture to meet the rapidly expanding opportunities for artistic exhibitions, and this modern exhibition outside of the conventional gallery requires more for designers to work with various exhibition spaces, and the opportunities are increasing further. Various types of exhibition space in the exhibition planning an unspecified environment best suited to each exhibit space has been designed to require. This comprehensive study of an environmental poster exhibition held in the Seoul Institute of the Arts, MA-block lobby during 2009.06.10-06.19 was a part of the international exchange projects between Seoul Institute of the Arts and California State University, Northridge. Planning and designing throughout the exhibition in an unspecified space for exhibition requires more creativity and flexible approaches than in the general exhibition gallery.

• 한국HCI학회:학술대회논문집
• /
• 2008.02b
• /
• pp.205-209
• /
• 2008

The current representative supporting tool for seeing an exhibition is PDA, which is an information provider that is being activated in famous galleries in the world. It has been successful in making spectators' traffic line for exhibition free and in Overcoming time and spatial restrictions, but it still provides uniform information. And the field of its activities is 'inside' of an exhibition hall so it has some limitations in terms of two-directional communication. In order to overcome such limitations, this study intends to deduce applications for the activation of continuous communication in the changing exhibition environment from before spectators see an exhibition to after they see an exhibition, to design a prototype, and further, to improve the level of the exhibition culture.

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

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

• Archives of design research
• /
• v.13 no.1
• /
• pp.121-130
• /
• 2000

This study can be expressed by gathered and formed into the exhibition space's structure practical progress/ application. For the one model of fascinating exhibition's space thru inter-space's pertinent adjustment, production between spactator and exhibition constituent on an exhibition story-line, I adjusted the focus to follow mentioned methods systematically for the example; An exhibition space is completed to be very impressive and attractive space by proper adjustment and production of M-M/C interface in exhibition storyline. Quantity space is transfered into quality space through the transmission of an exhibition which can be define as the point of an exhibition structure. And also could de transferd into a bodily sensation space that inherent full of interactive constituent. Changeable exhibition constituents (exhibition item and text) that sporadically expatiated (not trimed, the original form) in the process of an exhibition structure draw much higer quality of the optimal solution in optimize process which is given when aggregate again to contextual flow of synthetic exhibition scenario. Reconstruction of individual exhibition constituents to the new story, that is, transference of exhibition text to exhibition context is inspirit to an exhibition by maximize the exhibition effect in connection can be systematized through carrying out an outcentripetalpart. However, since pattern of an exhibition structure that consequtively meet variety spacetime of an exhibittion environmental can't be exist, this study presents centralizing the exhibition plan of Korea communication pavilion of the annual Expo Comm Wireress Korea, sustained process from design proposal, research and analysis to synthesis, development, transmission and management to an example of an applying crystallization.

• The Bulletin of The Korean Astronomical Society
• /
• v.44 no.1
• /
• pp.45.3-45.3
• /
• 2019

아동 청소년을 대상으로 하는 대부분의 '우주'관련 도서들이 아직 현대 천문학을 적극적으로 다루지 못하고 있고, 과학관의 상설전시만으로는 천문우주 분야의 비약적인 발전상을 대중과 공유하는데 한계가 있는 것이 현실이다. IAU 창립 100주년을 맞이하는 시점에서 관람객의 시야를 넓혀주고, 내용에 대한 체험적 인지를 돕는 천문우주 기획전시의 필요성을 느끼고, 태양계로 국한되는 물리적 우주탐사를 넘어 은하와 우주 전체를 연구하는 현대 천문우주과학을 소재로 하고, 실제 연구방법들을 기반으로 한 체험요소를 연출에 담은 전시를 구상 중이다. 이번 기획전에서는 1900년대 이후 주요 연구성과들을 중심으로 인간의 우주에 대한 호기심과 탐구의 흐름에 따라 관람할 수 있도록 전개하되, 천문학자들이 우주를 연구하는 방법의 원리를 단순화한 체험 프로그램을 설계 운영하여 연구성과에 대한 주입식 정보 전달이 아니라 관람객이 주도적으로 과정부터 이해하여 결과를 인지하도록 하고자 한다. 또한 전시 공간을 주제별 연구실로 꾸미고, 실제 과학자들의 연구사적으로 의미 있거나 인간적인 에피소드를 소개하여 관람객들의 관심과 공감을 끌어내고자한다.

• KOMUNHWA
• /
• no.52
• /
• pp.229-251
• /
• 1998

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