• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.265-272
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• 2006

Traditionally exhibition design as been restricted to architectural, interior, and lighting design, but recently it has begun to overlap into environmental, performance, and installation art. Exhibition design also increasingly involves the application of film, fashion, and the new media. In the past, exhibits were arranged and displayed for the visitor to view directly, but with the development of more effective exhibit media a connection has been created between the exhibit and the visitor. However exhibition design has reached the limits of continuous growth without background theory, when now it must take Into consideration the museum's activation and the importance of the exhibition's design. Exhibition design has developed and grown rapidly since the Taejeon Expo in 1993, but it is a difficult development without a theoretical structure. The flow of exhibition design must be systemized, as the systemization of the transition process of exhibition design has not yet been achieved. This study aims to present an arrangement of exhibition design flow, and to investigate the variation factors in the transition process of exhibition design and exhibit medium development, based on the 18 year history of the Independence Hall that introduced the first systematic planning of an exhibition in 1987.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.136-143
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• 2012

A museum represents a country's history, culture and life. With the development of science and technology, museum is no longer simply a space that concentrates on display and management of the collection but a space for education that visitors can directly experience and feel interest. The purpose of the present study is firstly through theoretical approach and research to grasp the status quo of the exhibition of the National First Level museums located in Beijing, which is the capital city of the People's Republic of China. Secondly, by analyzing the themes of exhibition and the exhibition presentation methods, it is aimed at finding out the problems of the status of museums in China so as to seek the requirements and the direction of improvements. Through this research, it is confirmed that in order to induce more active exhibition participation, the museums should expand the number of direct experience style exhibition presentation methods. Also, the museums in China need technical introduction of new cutting-edge exhibition medium so as to meet emotional demands of spectators and make the most ideal experience environment. Furthermore, it is confirmed that the development of new exhibition themes and the improvement of the museums in aspect of management and operation are necessary.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.10
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• pp.4853-4862
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• 2012

In Modern Cities, The 'Cultural spaces or facilities' are the core of the urban activity. And it is the field of urban life which can improve the quality of life and change the human's life style. Also in Contemporary society, Cultural spaces are required to express the social and psychological activity of the city life and the diversity and function of human beings. But most of them are located in the Metropolitan area. In these days, the needs of cultural spaces and facilities in 'Medium sized-cities' are growing. And many development plans are working in practice in that cities to accede to these requirements of social, human and current of the times. They include the exhibition spaces which perform function of the field of art and culture, that have powerful and infinite potentiality of the social development. At this Point, this study suggest that 'Optimum level' of exhibition spaces as Museum and Art-gallery in Medium sized-cities. To achieve this study, two phases are proceeded as follows. First, Check the social needs of it based on theoretical inquiry of Exhibition space. Second, Focused on Medium sized-cities, through a comparison between 12 Domestic cities and 4 Japan's cities. A population of their cities is from 500,000 to 1,000,000. We can get a data for Optimum level of Exhibition space. And last, Suggest the strategies of the location and planning of Exhibition space based on Second phase.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.291-298
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• 2013

A science museum responds independently based on the exhibits and exhibition environments as the visitors are different in purposes, interests and demands. Therefore a science museum should be designed keeping it in mind that there are various ways for visitors to perceive and use the exhibition spaces and exhibits. The purpose of this study is to compare and analyze the characteristics of sensory receptors for the exhibits in National Museum of Nature and Science's Global Gallery, Tokyo, in terms of information transmission and to identify the nature of exhibit medium that can affect the perception and recognition of the exhibits by visitors. Through these 9 sensory receptors, human recognizes first with visual, auditory and olfactory senses and reacts using vestibular organ, proprioceptor (stretch), tangoreceptor, themoreceptor, taste and olfactory senses. Human uses these information processing to recolonize the external environment. This process is similar to the visitor's information transmission process for the exhibition medium. By dividing the analysis results per exhibition theme and developing the information transmission processing types per sensory receptor, we could understand that the distribution conditions are closely connected with the composition of the exhibition scenario in the exhibtion area. Especially, the understanding of how the information transmission is made through sensory receptors could can be the criteria that determines on the factors that can identify the exhibition purposes of a science museum which are eduction and understanding.

• 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.14 no.6 s.53
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• pp.252-259
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• 2005

A modern museum has been changed from a passive place for simply exhibiting arts and antique collections to an interactive place for learning and experiencing culture and information. Such a functional change of the modern museum requires not only reorganizing fundamental characteristics of the modern museum, but also reforming organization of management teams, changing attitudes of staffs and assigning new roles to staffs for accepting the new thought and approach of visitors. That is, the function of the modem museum is not limited to collect arts and antique collections. The fundamental change of the modern museum further requires using the collections as a tool or a medium to provide a cultural exchange between the visitors and the museum, and to give new experience and information to the visitors. After proposing discussion that ' how, what, who is related to the museum? ', the way of thinking the museum is changed from ' collection ' to ' communication '. The change of the modern museum improves an educational role of the museum, and makes the museum as a communicator exchanging information and experience with visitors. In the last analysis, the modern museum is not just an exhibition medium that simply transfers information of the exhibition mediums to public. The modem museum is also a communication medium in order to collect information and transfer the collected information to the visitors. That is, the modern museum should provide various exhibition and communication mediums to the visitors for exchanging information and cultural experience. Therefore, the modern museum requires additional functions processing information suitable to the present environment and level of the museum, and transferring the information to public.

• Archives of design research
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• v.19 no.5 s.67
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• pp.293-302
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• 2006

Since the late 20C, the development of informative electronic technology has expanded human beings' spatial recognition from three-dimension into multi-dimension. Also space has formed mutual organic relation with the human being, since they started having the image responding ability of experience and recognition. The mutual organic relation has appeared in exhibition space aggressively introduced informative electronic technology from existing physical space. Therefore, m carried out a compartive study into the status of exhibition facilities and the form of interaction focusing on exhibition facilities as a medium of interaction between information and users in experiential exhibition space to which informative electronic technology had been introduced. The ultimate purpose of the study was that the phenomena, which had been anticipated from happenings in mutual organic relation between human beings and space, was reflected on space as a place of various communication activities. Hereafter, researches and studies on further exhibition should be continued to clarify the mutual relationship between exhibition space and user trends not only through exhibition space but also through the study of user trends that are changing everyday.

• Korean Institute of Interior Design Journal
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• v.13 no.4
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• pp.127-137
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• 2004

Since 20th century, the exhibition has expanded to more diverse fields and recognized as the medium which can build network among the Art, Human and society. Space design, although developed within mutual interaction and consideration of environment factors, has been treated without those background. Therefore it is straightforward to examine the exhibition space design synthetically not limit it by the analytical elements. Assuming three main mutual interactions, object human, and environment, we have attempt the typological analysis to the museum exhibition space by studying characteristics. While the exhibition space design has been analyzed through two dimensional interpretation, on this study, we structuralize diverse discussion of the exhibition space design by relation-centered and relative analysis. Therefor we examine the characteristic of design expression through typology of both physical and behavioral feature. In the conclusion, the outcome provides insights into the relationships among object, human and environment and useful measurements to designer who outline exhibition space design.

• Korean Institute of Interior Design Journal
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• v.20 no.3
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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.

• Korean Institute of Interior Design Journal
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• no.16
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• pp.190-201
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• 1998

The purpose of this study is to consider the correlational factors of space sections based on the fact the exhibition space plays an important role as a medium of displaying art works. And an another purpose is to investigate the characteristics of various types of exhibition unite space from which In intend to suggest basic sources of exhibition design. I classified domestic and foreign museum which are chosen as objects of study according to form and shape of a section plan. Then comparing exhibition space's form and scale exhibited genre lighting system layout composition display and its correlation with an already established thesis on museum architecture I will infer the characteristics of each type of a space. From these studies proper display conditions requested at the museum are different from the genre and property of the exhibited objects. And lighting system display angel of view and appreciation type affect the exhibition area. The shape of space classifies types of section which cause space's characteristics.