• Journal of The Korean Digital Architecture Interior Association
• /
• v.8 no.2
• /
• pp.57-64
• /
• 2008

The walls of art museums become the background of exhibits, and they form a unit space depending on the of each exhibit. In addition, the walls are configured and presented depending on the rhythm of space, or the structure of an axis. In this study, according to the axis composed for each unit space, the presentation methods of walls were classified as follows: The central type, the skewed type, the crossed type, the one-side corridor type, and the two-way corridor type. By analyzing visual configurations formed by the arrangement of each unit space, the value and the hierarchy of walls are discussed To analyze the classified types with the physical change of unit space, the factors of visual integration, connectivity, depth, and visual axis are compared, and various configurations of walls and space change are applied.

• Korean Institute of Interior Design Journal
• /
• v.16 no.5
• /
• pp.63-70
• /
• 2007

A relationship between the museum display wall composition and the visual spatial configuration is investigated in this study. From the previous research, existing types are classified in order to define the exhibition space of room to room. Based on the classification, an open room to room of art museum is defined as a room to room of museum, and the plane of museums is investigated. With the museums under this study, the wall of a room to room exhibition space as well as the visual spatial configuration are analyzed depending on the location of an opening, centering on the composition of unit space. In addition, two types of spatial composition are compared depending on the location of the opening. One type of spatial composition is lied on a straight line with visual continuity, and the visual line is found to be simple. Whereas, the other type has an invisible configuration between spaces due to a criss-crossed opening, so the space is perceived to be closed and disconnected. When comparing these two types, the advantage and disadvantage of each space are compared. As a result, a similar type and size of unit space are derived. In addition, the ratio of the opening compared to the total wall was found to be uniform, and a distribution of the opening and walls were found.

• Journal of Digital Contents Society
• /
• v.19 no.7
• /
• pp.1341-1348
• /
• 2018

In this study, we propose a method for applying the image content to the exhibition space using projection mapping techniques. In a typical exhibition space, the artist exhibits works and displays them unilaterally and by using walls defined as screens. However, the new form of exhibition is not one-sided and changes in the way space is free from constraint. The purpose of the exhibition space is to use walls or various installations, which are elements of the exhibition space, as a key part of the exhibition rather than as a material for the spatial compartment. This type of display is a display element of space and you can enjoy the fun and excitement of the exhibition about the new environment. Various imaging techniques are required to construct an exhibition of images and spaces, among which edge blocking is not formed.

• Korean Institute of Interior Design Journal
• /
• v.16 no.6
• /
• pp.197-204
• /
• 2007

In the spatial configuration of room-to-room art museums, openings and walls are important physical factors, and openings are a medium for connecting spaces. Also, by spatially composing walls and openings, spaces can be connected visually and physically, and movements and directions may vary depending on the location or size of walls and openings. In this study, 5 museums are investigated: Sainsbury Wing in London, Gemaldegalerie In Berlin, Alte Pinakotkek in Munich, Neue Pinakothek in Munich, and Staatsgalerie Stuttgart in Stuttgart. Using DepthMap program, the characteristics of visual-spatial composition of each museum are derived by comparing the Connectivity, Visual integration, and Isovist maximum radial. From an analysis of spatial distribution, a relationship with visibility is investigated. The results of this study showed that the combination of visual axial lines affect the spatial configuration of the room-to-room museums. Depending on the location of opening, the museums can be classified as follows: 1) Museums with the 1st visual axial line and the 2nd and 3rd auxiliary visual axial lines ; 2) museums with several equal visual axial lines; and 3) museums with only center axial line.

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

• KOREAN JOURNAL OF CROP SCIENCE
• /
• v.30 no.3
• /
• pp.301-309
• /
• 1985

This experiment was conducted to know a substantial body of information about the differences of the important forage characteristics; green fodder yield, dry matter yield, TDN%, TDN yield and so forth of the seven cultivars selected as the forage crops (Rye, Triticale, Wheat and Barley) depending on the specific times of cutting stage, on the Wheat and Barley Research Institute from October, 1983 to June, 1984, and the results summarized as follows. Green fodder yield & dry matter weight, when clipped at 20, 30 April and 10 May, of varieties Homil #2 showed the most yielding capacity, but when clipped at 20 May, Suweon#8 (triticale) showed the most green fodder yield whereas Homil #1 the most significant dry matter weight. Plant height, in the cases of Paldanghomil, Homil #1 & Homil #2, showed distinctly longer than that of Bunong, Suweon #8 & Suweon #9 and continued to grow even after the heading date. Dry matter ratio increased with time (Dry matter yield/green fodder yield x100). TDN % decreased but TDN yield increased with time but Homil #1, Homil #2 and Paldanghomil showed relatively the higher values. In the elements of nutrient of cell wall, Suweon #8 & Bungong among 7 cultivars have good quality. The reasonable clipping date of wheat &barley as green fodder crops are 10 May to 20 May, but if clipped before 10 May and 20 May, Homil #2 and Suweon #8 became the promising forage crops, respectively.