• 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.

• The Journal of the Korea Contents Association
• /
• v.5 no.6
• /
• pp.238-247
• /
• 2005

This study was to analyse participant's satisfaction according to the visiting purpose and experiences on the exhibition service, and also to suggest guideline for new standard evaluation in the operating exhibition service. The implications are as follows; firstly, surrounding environment showed significantly for merchandising & information participant's, and also stay cost & tourism service showed up general visiting purpose participant's. Secondly, it was showed significantly a place for refreshment, fire equipments, and ventilation & heating/air conditioning on the exhibition service. Third, government & exhibition authorized person should provide best environment through satisfaction factors in the exhibition service.

• Archives of design research
• /
• v.11 no.3
• /
• pp.58-67
• /
• 1998

Exposition primarily reguires the basic understanding of the mutual effect between the conventional culture and the future-oriented change of society.A number of fundamental and general research articles exist which are related to the exhibition planning and design. Unfortunately, the concrete research works dealing with the large-scale international expositions are hardly found in the literature. In this connection, this research was particularly focused on the special exposition display and planning. The International Exposition, the World Design Exposition and the International Garden and Greenery Exposition were chosen in order to examine the conceptual characteristics as the proper examples creating the fantastic space and developing the new exposition display technigue. The Government Pavilion in the Taejon Expo , 93 was chosen as an example for the exposition planning. An overall research concerning the basic direction and structure of the exposition design, the exposition display and the special system technigue was carried out in order to represent the basic spirit and theme with the most efficient way.

• The Journal of the Korea Contents Association
• /
• v.17 no.5
• /
• pp.153-164
• /
• 2017

This research concurrently conducts literature review and quantitative research methodology in order to compare aesthetic experience of and . From the perspective of viewing attitudes, two types of perception equally coexist in both exhibitions: convergent perception is predominant over distracted perception in IL while distracted perception is higher than convergent perception in MIE. However, the influence of convergent perception on the degree of satisfaction and immersion is proved only in MIE. In terms of roles of viewer, there is a tendency to weigh on passive role in both exhibitions. In particular, it is worth noting that the role is relatively high in MIE. The role of viewer do not correlate with on the degree of satisfaction and immersion, as well as modes of perception. The elements of aesthetic experience are highly rated and the use of previous knowledge acts as a positive influence on the role of viewers in IL. Through this study, we witness the fact that visitors who are familiar with traditional artworks depend upon both modes of perception as well as passive role of viewer in the digital exhibition. In conclusion, remediation through digital technology has blurred the boundary of the dichotomy of a viewing attitude and a role of viewer depending on exhibit media, consequently MIE bears both natures of traditional artworks and digital media.

• The Journal of the Korea Contents Association
• /
• v.22 no.5
• /
• pp.145-154
• /
• 2022

With the real museum changing from a center of viewing to a center of experience and communication, virtual museums have become independent as well as auxiliary and alternative roles for real museums. Therefore, it is necessary to review the concept and meaning of virtual museums and analyze the attributes of each exhibition type. This paper categorizes the exhibition types of virtual museums into four categories and analyzes the interaction methods of each exhibition type. The essential characteristics of interaction subjects affect all four types, but the method of virtual expression is distinguished, and the exhibition type that actively utilizes the virtuality of exhibition space and work expands the user's experience and communication. In this study, various forms and methods of construction of virtual museums can be explored by providing characteristics and considerations for each type of exhibition during the planning and construction of virtual museums.

• Proceedings of the Korean Institute of Interior Design Conference
• /
• 2002.04a
• /
• pp.77-81
• /
• 2002

Today, local museums as well as international museums are varied with scale, foundation purpose and function. Children's museum is particularly designed for special viewers. Therefore, the expression design factors such as plane, cubic side, illuminator, line of flow, color, material and the characteristics of viewers should be considered in planning. A couple of sample museums are selected for this study in order to study the characteristics of viewers. I hope the result of this study will be the basic information for the display design of children's museum.

• Proceedings of the Korea Contents Association Conference
• /
• 2019.05a
• /
• pp.43-44
• /
• 2019

본 연구는 미술전시 관람객의 유형을 분류하고 유형별 특성을 실증적으로 분석하는 것을 목표로 한다. 이를 위해 관람객 유형을 특징짓는 여러 요인을 추출해 설문을 설계하고 실제 미술관 관람객을 대상으로 설문조사를 수행하였다. 설문결과를 토대로 요인분석 및 군집분석을 수행해 '미술 애호 관람객', '학습 추구 관람객', '친교 추구 관람객'으로 명명한 세 가지 유형을 도출하였다. 이에 따른 각 유형의 특성 분석을 통해 관람객 맞춤형 전시관람 콘텐츠 설계시의 시사점을 제시하고자 하였다.

• Journal of The Korean Digital Architecture Interior Association
• /
• v.9 no.2
• /
• pp.17-24
• /
• 2009

Recently people show interest in cultural exhibition space targeting on children from the birth of children to play and education. Accordingly, lately the necessity of professional special exhibition space, which is composed of changeable program fit to the children trend of a growth period, and shows relatively more freedom and adaptability in directing the theme than permanent exhibition, have increased rapidly. Today the social importance of special exhibition for children is emphasized as an alternative that can provide efficiently the expression of freedom and the environment of experimental space which is not filled in existing academy or school. The necessity of special exhibition space for children is raising to the climax at this moment, this study has the meaning to analyze the direction of domestic special exhibition for children progressed in last 1 year, and then to suggest basic guide and direction for future plan of special exhibitions.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
• /
• 2009.05a
• /
• pp.35-38
• /
• 2009

심미적차원의 접근을 통한 영상디자인의 틀을 인간이 가진 오감의 특성을 최대 활용하여 전시상황에 따른 감성문법을 활용하여 감각적이며 사용자중심의 니즈에 맞는 선택적이며 시대흐름에 맞는 패턴분석을 적용하여 감성적인 욕구를 심리적인 방법으로 파악하며 영상으로 접근하는 것이다. 이러한 감성패턴분석들은 VJ(비디오쟈키)의 영상활용과 증강현실, 전시디자인의 광고 또한 건축물에 있어서 효과적인 영상활용법을 적용한 감성디자인의 확장을 보여주고 있다. 오감을 활용한 인터랙티브한 미디어아트에서의 영상활용과 콘서트홀에서의 관객과 소통을 인한 커뮤니케이션장치들이 확장되며 도구들 속에서 진정한 인간의 통합된 감각을 전달하기 위한 감성이 필요하다. 이번 연구를 통하여 감성디자인을 적용한 영상사례들을 살펴보며 소통을 위한 감성디자인의 영상을 활용하여 최적화된 전시디자인에 활용되는 감성적 접근방법과 활용에 대해 이해하고자 한다.

• Proceedings of the Korea Information Processing Society Conference
• /
• 2011.11a
• /
• pp.1021-1023
• /
• 2011

본 논문에서는 현재 많은 사람들에게 각광받고 있는 트릭아트 전시물에 증강현실 기술을 활용한 형태의 서비스 구조 설계를 제안한다. 트릭아트는 기존 전시와의 차별성을 위해 사용자의 참여를 유도하면서, 다양한 표현방식의 전시 정보 제공이 요구된다. 이에 제안하는 서비스 구조 설계는 눈의 착시현상을 이용하는 트릭아트의 각 전시물 특성에 맞춰 마커와 마커리스 방식으로 구분하고 전시 정보를 제공하며, 원활한 서비스 제공을 위해 웹 환경을 기반으로 한다.