• Architectural research
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• 제3권1호
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• pp.21-27
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• 2001

This study addressing the underlying strategies for Andong municipal museum complex development is in timely view that Andong has obtained a worldwide reputation as a treasury of traditional Korean Confucian culture. Thus far, there has been a tendency that various local museums are proposed to meet architectural aspirations architects and users commonly hold. Overall, though, the major role they play in making overall city image has not been considered in a systematic manner. Based on Lee's (2001) two previous studies, this study summarized the utility of cognitive distance and cognitive map concepts, which are proposed by Kevin Lunch (1976) to evaluate city image, in planning Andong municipal museum complex (AMMC). Sample is stratified into city residents and outsiders, and also into the general public and design-related professionals to see if there is any group difference in constructing their mental image. Three major findings are obtained. First, familiarity, so-called the degree of knowing, is the function of the length of stay in a designated area. That is, the longer people stay in Andong, the more likely they are familiar with its overall environmental aspects. Second, mental proximity of Andong municipal museum complex relative to existing cultural landmarks is closely related to the degree of how people value those landmarks in terms of their significance. Dosan Seowon and Hahoe folk village are most highly valued, which means higher proximity. Third, functional diversity turned out to be the most important design dimension, while display mechanism are least valued. Cognitive simulations of this sort are meaningful in that projected composite image might be a rough first approximation of true public image.

• 대한건축학회논문집:계획계
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• 제35권1호
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• pp.107-115
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• 2019

This research explores a historical trajectory of the Milwaukee Art Museum from its establishment to the third expansion over the last six decades. After established in 1957 by the architect, Eero Saarinen, this museum underwent three expansions led by three different architects including, David Kahler, Santiago Calatrava, and James Shields. Reasons for expanding the museum were varied. A lack of exhibition space, an absence of visual identity, and path interruption problem within urban contexts were the main factors of a series of expansion. Furthermore, this research points out that there are three issues in the process of the expansion. The first is connection issues between the downtown and the lakefront in which the museum has blocked the public flow. The second, there were controversies on the allocation of the expanded space among the main body of the decision including architects, curators, and stakeholders. The last one is relationships among architects. This is related to each architect's attitude toward the museum. Drawing on historical documents and interviews with the regional architects, I argue that the identity and values of the museum have changed over time through the expansions rather than having the invariable.

• 한국실내디자인학회논문집
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• 제20권3호
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• pp.206-214
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• 2011

The premise of this study is that an ultimate objective in planning an exhibition space is visitors' experiences created by a result of their first-hand experiences and responses within an exhibition space, and this result can be recognized in the visitors' movement. Thus, the exhibition layout that can directly affects viewers' main line of flow and movement patterns was examined vis--vis a mutually complementary relation in a triangular composition with the structure of exhibition space and the exhibition contents. This study, with the subjects of standing exhibit halls of Gwacheon National Science Museum, Daejeon National Science Museum, and Tokyo National Museum of Emerging Science and Innovation, analyzed 'the correlation between the configuration of the exhibition area and the visitors' movement. The targeted subjects were analyzed from the perspectives of type of architectural space and organization of the exhibition method, and the purpose of this study was to find a spatial evidence to predict the spectator movement formed within the exhibition halls of science museums. The main indicators used are: Based on the investigation/analysis as described above, the following conclusion could be drawn. Diversity of exhibition environment and spectator movement: besides the two big categories of the types of architectural space and types of exhibition method, the construction of vertical circulation and size and shape of the exhibition space, distribution characteristics of exhibition medium, organization of symbolic space and such other diverse organizations and combinations of exhibition environment are implied to have the capability to alter the scope and degree of predicting spectator movement. As an example, the types of architectural space comprising the wide-area viewing circulation was found to be able to change the system of planar circulation according to the composition of vertical circulation. Along with this, it was implied that the format of architectural space influences the form of the exhibition space, and may also act as a factor directly influencing the diversity and arrangement of the exhibition methods. That is, the spatial elements comprising the exhibition environment acts inter-complexly, and exhibits characteristics of limiting or controlling spectator movement.

• 건축역사연구
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• 제24권3호
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• pp.7-16
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• 2015

It is not easy to clarify the historical perspective of architect through his architecture. Exceptional cases, it will be the time to design a history museum. As an institution, a Museum already became an apparatus to represent the history to it itself. Libeskind's Jewish museum Berlin has been presented as the controversial case most of all. In particular, in that it instead of dealing with history positive, that contains a tragic history, this building is a building that history a unique interpretation of the architect has been a problem. Therefore, it is difficult to find a suitable example to Libeskind's Jewish museum in Berlin to try and look at the problem of the history of contemporary history and interpretation of the architect. In this paper, I am trying to interpret Libeskind's Jewish Museum Berlin through the aesthetics and history philosophy of Theodor Adorno and Walter Benjamin. They are Jewish and the central figures of the Frankfurt School, known as 'critical theorists'. Their critical theory was formed based on the experience of the Jewish genocide and war.

• 한국실내디자인학회논문집
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• 제14권6호
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• pp.177-184
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• 2005

The 21st Century Museum of Contemporary Art, Kanazawa as a regional public culture facility is the place where it is possible to think over the roles and meanings of a museum. The urn of this research is to provide information for exploring a desirable direction of the design of a regional museum by analyzing the architectural meanings and public property of the 21st Century Museum of Contemporary Art, Kanazawa. In addition, we arranged the totes and meanings of a regional museum and the concept of the public property in architecture. We also analyzed the architectural quality and the expression of the public property in this museum, as well as the value and meaning of a museum through field researches. The results of this research are as follows. First, this museum breaks with the existing stereotyped Idea to be a space open to the citizens. It secures a wide public space and provides the convenience of access and every facility for citizens. Second, the floor plan is divided into the interchanging area for citizens and an exhibition area; the outskirts of the inside of the museum are planned to be used free of charge for an interchanging space of citizens as a public-owned space of citizens. Third, the public-owned space of citizens includes a citizen exhibition hall, an art library, a kids studio and rest space, which ate all designed lot everyone to enjoy freely. Last, the exterior shape of the museum is simple but harmonize with the surroundings. It has an unique shape showing the local identity, and its most special properties are the convenience of access, introduction of a free space inside, and security of a huge space for children and citizens.

• 한국실내디자인학회논문집
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• 제25권2호
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• pp.151-162
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• 2016

The purpose of this study is to approach to the phenomenological point of view to explore a design method for providing a variety of spatial experience of the viewer according to the functional changes of the modern museum architecture. For that, this study intends to analysis and consider the Steven Holl's Museum applied to the phenomenological perception for architectural design. The method of this study is summarized as follows: 1) Consider the spatial role and function of the Museum Architecture in the phenomenological approach 2) Study on the phenomenological architectural concepts and expressional method of Steven Holl 3) Finally, propose the utilization for the experiential space that is required to implement the contemporary museum architecture. The results of this study are as follows: 1) Steven Holl's phenomenological architectural concept is the basis of the perception and awareness and has connotations of temporality and it is figured out by the approach to the environment, sense and motion. 2) Steven Holl implement the architecture as a place of experience by connecting between the place and the environment through the development of a variety of scenes and situations and planning the phenomenon of multisensory space. 3) The spatial experience appeared in Steven Holl's museum architecture is implemented through the diversity of the scene, the persistence of the situation, the autonomy of light and color, transparency of the haptic and the potential of the material and geometry.

• 한국산학기술학회논문지
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• 제13권5호
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• pp.2360-2367
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• 2012

건축은 한 나라의 문화적 역량과 자취를 가장 잘 표현해주는 문화유산이다. 그럼에도 불구하고 현재 이 분야의 자료 및 정보들은 많은 부분 소멸되었거나 그럴 위험에 처해있고, 그나마 존재하는 자료들 역시 산재되어 관리되고 있는 열악한 형편이다. 따라서 본 논문은 현재 한국의 건축도시 관련 박물관의 운영 현황을 살펴보고자 한다. 또한 해외 선진사례의 비교분석을 바탕으로 한국적 상황에 맞는 건축박물관의 모델은 어떠해야 하는지를 살펴보고자 한다. 이를 통하여 본 논문에서는 건축박물관의 유형별 특징요소를 도출하고자 한다. 그 결과 본 논문은 박물관의 공간 및 기능구성은 그것의 운영특성에 따라 상당히 좌우되며 이는 아카이브중심, 전시중심, 연구중심의 시설특성으로 반영됨을 밝혔다. 또한 이러한 유형별 특성이 실제 사례에서 어떻게 반영되는가를 분석하기 위하여 MAXXI, Nai 등의 사례를 비교분석하였다. 본 논문은 궁극적으로, 건축박물관의 공간프로그램은 변화 가능하고 미래의 수요에 적응가능한 단계별 프로세스로서 접근하는 것이 합리적임을 사례를 통하여 분석하였다.

• 한국실내디자인학회논문집
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• 제18권4호
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• pp.21-30
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• 2009

This study plans to classify the art museums in accordance with their spatial organization, analyzing their peculiarities each by its type in order to present the reference required for designing an art museums. With confidence, the analyzation as well as the results of the study contents will make worthy contribution for the future art museums. For this purpose, total of 95 art museums have been selected as the objects of analyzation. First of all, their types have been categorized in accordance with the standard of scale and architectural planning. Out of them, 33 museums have been further selected in order to see how the peculiarities of their patterns are outstanding, and then a quantitative analyzation has been made on each of them to see its space structure by utilizing 'Space Syntax'. Finally, a correlation analyzation of space structure peculiarities has been conducted and the spatial organization peculiarities per type is comprehensively arranged in accordance with the architectural planning and Space Syntax in order to present a new spatial organization per space to be used for the basic planning of the art museum. The contents of this analytical study are summarized as follows: A correlation analyzation on the typological features in terms of architectural planning and on the spatial organization features in terms of the Space Syntax has presented four new types of museum spaces: (1) Radial type, (2) Arachnoid-radial type, (3) Linear type, and (4) Grid type, in the light of which the selected 95 art museums have further been analyzed in order for their features to be reclassified.

• 한국실내디자인학회논문집
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• 제21권1호
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• pp.211-219
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• 2012

I.M. Pei, 2nd generation Chinese immigrant to America, has been one of the most recognized architects who designs museum architecture through out the world for completing significant projects such as the East Building of National Gallery of Art(1068-78) as well as Le Grand Louvre Renovation(1983-89) to name a few. His museum architecture, in particular, reveals his detailed consideration on viewer's artistic experience by providing well balanced architecture design to support exhibiting objects while showing his sensitivity on overall functionality of space. In recent projects such as Miho Museum in Japan, Suzhou Museum of China, and Museum of Islamic Art of Qatar, reveals his growing interests in considering "local context" in museum architecture. Therefore, the purpose of this study is focused on analyzing I.M. Pei's three museum projects having its concept focused on local context. Through out the paper, above mentioned museums were analyzed and compared to summarize his design characters and concept including site plan, spatial organization and architectural form. As a result, it is evident that I.M. Pei had put full effort to apply oriental context with modernism through out his museums. In particular, his site plan, spatial organization, and architectural form shows visible connection to comply with nature which is fundamental idea in oriental philosophy. While his basic design philosophy has been borrowed from the tradition, his ultimate design concept shows nature friendliness as well as theoretical system of thoughts and emotion and most of all, his design excellency in representing local context.

• 건축역사연구
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• 제16권4호
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• pp.7-22
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• 2007

In San Francisco, two new museums were recently built in 1995 and 2005. The one is San Francisco Museum of Modern Art designed by Mario Botta and the other is De Young Museum designed by Jacques Herzog & Pierre de Meuron. The urban settings for the museums are compared with each other and theories of the architects are evolved on different branches in the modernist trends. The theories and settings are followed by the representation in the forms, facades, interior spaces and towers. SFMOMA is located on the SoMa area, which was recently developed into a cultural urban core with Moscone Center and Buena Yerba Garden. De Young Museum was rebuilt in the old museum site in the Golden Gate Park. The one is on the context of urban artefacts and the other on the context of natural artefacts. To Botta, the museum in today's city plays a role analogous to that of the cathedral of yesterday. It is a place of common encounter and confrontation. The volume of SFMOMA which is geometrical and symmetric with double pylons. The frontality on the street and public green open space and the axiality of SFMOMA runs through the Buena Yerba Garden over Buena Yerba Center for the Arts are reminded us of an urban core with a religious monument and a city square. The staircase with grandiose design in the atrium seems to work as an altar with lighting from skylight above enhancing the liturgical ambiance. De Young Museum is shaped in a rectangle with long narrow courtyards. Three bands of volumes are juxtaposed and the nature flows into the museum corridors and galleries. The tower is distorted so as to be aligned to the street grids of the surrounding area. The copper panel of De Young Museum and natural context evoke modern concept of "machine in the garden". The two museums from different pedigrees of Modern Architecture are now major landmarks of SF and urban expressions for the 21st century.