• 프린팅코리아
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• v.10 no.9
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• pp.124-125
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• 2011

평가액이 1억 6천만 원에 달하는 우리나라 최고가 희귀 우표와 함께 우리나라 최초의 문위우표를 볼 수 있는 전시화가 열렸다. 바로 2011 대한민국 우표전시회다. 지식경제부 우정사업본부(본부장 김명룡)는 '2011 대한민국 우표전시회'를 지난 7월 28일부터 8월 1일까지 닷새 동안 삼성동 코엑스(COEX) A홀에서 개최했다. 올해로 53회째를 맞는 대한민국우표전시회는 역사와 전통을 자랑하는 국내 최고의 우표전시회로 '우표로 만나는 지구촌 문화'를 주제로 세계문화와 역사를 체험을 할 수 있는 교육문화 공간을 제공하는 등 다양한 프로그램으로 운영됐다.

• Journal of The Korean Digital Architecture Interior Association
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• v.4 no.2
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• pp.1-6
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• 2004

There are many spreading effects that never experienced before due to digital progress of the present age. Digital progress produce innovative changes now in cultural environment, architectural process, exhibition techniques, called the age of digital technology. The functional relation between 'Digital' and' Architecture' must not to be overlooked in field of cyber architecture, further more, space design, so that requests some necessary to build new paradigm for digital presentation and spatial experience.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.583-590
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• 2023

In today's rapidly developing technology, the traditional exhibition format of museums can no longer meet social needs. By analyzing the advantages and key technologies of extended reality technologies such as virtual reality, augmented reality, and hybrid reality, the museum XR exhibition interaction scheme is analyzed. Come to Discovery Museum. In this regard, this study first delves into the concept of XR technology, the concept and influencing factors of tourist experience, and the relationship between the application of XR technology and tourist experience through theoretical investigation. On this basis, representative paleontological museums in China and South Korea were selected, and the actual experience of visitors at the exhibition site and the application of XR technology were investigated through examples. Research has shown that the use of augmented reality technology can achieve seamless integration of virtual and real worlds in paleontological museums, extend viewing space, expand cultural heritage connotations, and revitalize cultural heritage. It provides visitors with a deeper interactive experience, enhances immersion and enriches display methods, making this type of museum more attractive. On this basis, XR technology helps museums achieve Digital transformation, and makes them have the advantages of sustainable development.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2003.05a
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• pp.104-111
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• 2003

Today, design is considered to have competitive power for a county, so there has been various efforts such as education, publicity and development, etc. Design has long been a national material, and Korea Institute of Design Promotion(KIDP) was inaugurated for the purpose of education, publicity, development and the management, public ownership, support of the contents. Laying stress on the results, however, the design education for children which would be the heart of a world design power is short of both investment and systematic study of education. Now that the design education for children is being active, the cultural spaces are needed to transform the current system focused on schooling and textbooks into the participating, experiential ones by the interesting, educational, and entertaining presentation. The children design exploratorium should make children have their own feelings, and present communicative methods considering children's cognition and behaviors. So, in this study, I'd like to analyze characteristics of the participating and experiential exhibition, and present a children design exploratorium as an alternative plan by the application of adequate methods to the exhibition medium, and the analysis of current exploratoriums' features case by case. The children design exploratorium is the place to maximize the educational effect of design by children's easier and exciting participation, which would offer an unique exhibition place for children to comprehend designs. In this study, on the basis of the alternative presentation of children design exploratoriums, I would refer to the future direction of the 21st century pavilions, the search for the exhibition items for active design education, and the contribution to practical plans.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2013.10a
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• pp.566-568
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• 2013

Recently, the government as part of the creation of science for science education policies promoting the activation of the Science Museum. However the lack of infrastructure, budget and human resources are a reality that a lot of difficulties. In past, A field trip of Science Museum was a place of curiosity of youth. However, modern Science Museum has to competition with the online games and theme park in order to achieve the two goals of scientific experience and education, which it needs change display device is required. Looking at the cases of advanced foreign Science Museum is not merely a head of science education experience as a cultural space, provide relaxation and entertainment, and life science area in addition to a variety of genres such as art and fashion exhibits are planning to combine. In this study, the current uniform description panel of exhibition device described in the written text replaced with the digilog book with the age and grade of the visitors by providing a tailored service for scientific knowledge and intellectual curiosity induced measures can claim the satisfaction of visitors is proposed.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.229-239
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• 2015

The 21st century is a multiplication age and social and cultural phenomena have become diverse and peoples' desires and individuality have become important. Accordingly, the sensibility that reflects human taste is also required in the exhibition space. The exhibitions in this age induce the direct cognition of senses or take interactive forms that contact diverse media and react. The purpose of this research is to define the concept of haptic presentation method in which the audience perceive in the exhibition space by themselves and the visual elements spread into other senses and perceive complexly, and to present the directional nature. To conduct this research, first, this researcher recognized that haptic sensory experiential research by analyzing the roles and transition history of exhibition space is needed for the present age Second, based on philosophical theories, four haptic sensory expression characteristics (medium nature, experiential nature, attractiveness, sensitiveness) were derived by substituting Giles Deleuze's four haptic spatial characteristics (grasping short distance, dispersed gaze, cognition of bodily movement, formation of synesthesia through complex senses) and six formative factors of exhibition space (space, form, size, light, quality of materials, and color). And the effective exhibition presentation methods were analyzed through six cases of experiential exhibition spaces. Accordingly, what matters in the experiential exhibition space is to produce the four characteristics: medium nature, experientiality, attractiveness, and sensitiveness in equilibrium. It is necessary for the designers to reflect it appropriately in producing so that the audience can think and experience by themselves. Accordingly, in this thesis, it could be seen that to produce the haptic production characteristics in the experiential exhibition space in equilibrium is the important factor in the experiential exhibition space. In conclusion, experiences in the exhibition space should be approached with the transcendental haptic presentation method by which even the space of actually unexperienced cognition can be expanded and experienced through the metastasis and tension of various senses. Also, researches on such senses should be developed continuously, and this researcher expects that this will become a stimulant to present a new directivity.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.183-194
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• 2013

Exhibition space emphasizes the experience in the space rather than viewing or appreciation of visitors. Because the experience spaces in today's life are limited, people experience rest, comfort, and sometimes extraordinary space experience through exhibition space. Exhibition space has changed from a static place to a space where visitors move and act with the exhibits to freely feel the space. Also, the static space expressed only with illumination and shadow becomes a new space different from daily space for users. This study analyzes the characteristics of phenomenological expression through such user-oriented exhibition space. This study is to analyze the characteristics of phenomenology through the exhibition experience space structure. It is to analyze and study on the characteristics of phenomenological expression of the exhibition experience space structure centered in the opinion of Merlo-Ponti that considers the experience of body among 'characteristics' discussed based on the study of the phenomenological experience published up to date and the viewpoint of Steven Hall that sees light as a subject of creating the space. This study is also considers how the perception of the experiencer is built in the correlation between the phenomenology and exhibition experience space by studying the relationship of the experiencer that is the common point of the exhibition experience space structure and the characteristics of phenomenological expression and analyzing the common point and difference of them. It also focuses on the space of dark whether forming any light rather than looking at the light which is the sense factor among the characteristics of phenomenological expressions. Thus, the purpose of this study is to analyze the case on whether there is any light or not applied to the exhibition experience space grounded by the theoretical materials of Merlo-Ponti and Steven Hall based on the characteristics of phenomenological expressions in the exhibition experience space structure and, based on the result, to set up the basics on the characteristics of phenomenological expressions in the composition of exhibition experience space.

• 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.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.188-189
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• 2004

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