• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.207-214
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• 2012

Today, museum exhibition can be divided into two sub-categories: a. informative exhibition with various useful auxiliary media to convey knowledge and b. appreciative exhibition considering aesthetic conveyance and visual/perceptual environment. In addition to this, the concept of memorial exhibition as a field that tangible and intangible memories are transmitted and reproduced is creating another genre of exhibition. As an example of such a memorial exhibition above, the work of de-constructive architect Daniel Libeskind was selected. Jewish Museum and Imperial War Museum North both of which maximized the exhibition space by grafting architectural language to exhibition narrative were analyzed and compared to see if the same architectural language can be displayed differently in another form of exhibition after being drawn into the exhibition space depending on the changes in time and perspective. Therefore, in the narrative display combining the selection of exhibition contents and storytelling, the formative language of space can confirm that exhibition narrative as an ending structure changed into a retelling story with more extended meanings through interactive factors. Eventually, in this formative narrative, when the display of historical facts and exhibition themes is combined with the architectural language in an exhibition hall according to the approach direction, the memorial exhibition can create a formative language stimulating sensibility in the memories of space and a differentiated formative exhibition space where one is truly moved by oneness of contents.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.222-230
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• 2014

Modern museums introduce a so-called method of 'exhibitions that approach' apart from the scheme of exhibitions in a simple listing type, creating a series of stories based on the original forms of remains put on display, adopting various methods of media access, and enabling the spectators of the museums to find exhibits a little more convincing and understand them more in depth, which might look somewhat isolated from their everyday lives. The configuration of the exhibitions that approach can easily be found in the mode of narrative development of exhibition topics and scenarios, and in this sense, a study on the narrativity of exhibitions is effective for analyzing the exhibition spaces of the museums. Furthermore, an analysis on exhibition spaces may be conducted through the process of forming the messages of exhibition contents and interpreting the narrative structures of the modes of development, and allows people to think that the methods of interpreting the spaces established like this may form an organic complementary relationship with exhibition contents and have a more extended meaning. Thus, this study examines the narrativity of Jeon-gok prehistory museum and the narrative structure systems based on the structuralist narrative theory, approaches the modes of narrative development of the spaces based on semiotic judgment, and aims to understand the structures of the space narrative. In addition, It is another object of the present invention in order to verify the objectivity, throughout the course of additional case studies, to improve the efficiency of future exhibition design.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.108-116
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• 2014

This study is based on the arguments of Sofia Sarah and concept of 'Sequence Narrative' of Nigel Coates, the founder of Nato. Specifically, this study was conducted under the premise that narrative exhibition space will affect the engagement of viewers. As a result of this study, a method of analyzing a science museum's exhibition space was presented using the narrative structure and the following attributes of visuals: sequence of viewing; spatial tension; spatial pace. The findings are as follows. In terms of 'spatial tension', the exhibiton space with the following progression was more likely to provide viewers with in-depth experience: 'raise of tension' - 'change of pace' - detente.' Although the limited sample doesn't lead to verification of the analysis method and conclusion of its significance, the following was clearly revealed: Exhibiton space that utilizes the structure and attributes of a narrative that provides progression and dramatic tension, as if the viewers were watching a film, is more likely to offer in-depth experience than other spaces. In terms of 'phase transition', the following was revealed: Pace variation around the space with the strongest spatial tension could affect the concentration and engagement of viewers. It suggests the following fact: Spatial rhythm and speed variation in the area with the strongest visual emphasis encourage viewers to feel the spatial changes, maintain their concentration, and continue their viewing.

• 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.

• Journal of Satellite, Information and Communications
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• v.9 no.3
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• pp.64-69
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• 2014

Exhibition which was a boring and rigid image once has recently hold a place as an intimate culture to the public such that audiences can feel and participate in exhibition at first hand. Along with this, forms and directions of exhibition become diversified, and various attempts have been made. In addition, with such changes, ways of expressing exhibition contents become diversified as well and ways of inducing sensible and psychological expressions and experience are receiving attention rather than formal and physical expressions. This study aims to provide audiences with ways of being able to more effectively expressing exhibition contents, atmospheres, sensibility and so on by applying lights and colors to in expression of exhibition contents.

• Smart Media Journal
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• v.11 no.8
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• pp.21-28
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• 2022

Currently, as we enter the 21st century, the level and interest of society, culture, economy, and science are rapidly developing, but science education is still struggling. In order to increase the efficiency of science education, it is most important to focus on elementary education based on basic science. Therefore, this study aims to analyze the main causes of Korea's science museum's regression as a museum focusing on experience, interest, and fun such as simple science experience centers and science theme parks. To this end, the influencing factors were identified by applying the algorithm of the actor-based model based on the data on the exhibition space and the exhibition movement of the science museum completed and operated in Korea over the past 5 years, and the problem of the visitor movement in the exhibition space was analyzed through the space system. In this study, it was confirmed that the exhibition environment was the best when the linear plot movement system and the picalesque plot were applied simultaneously in the museum's exhibition narrative theory, and the arrangement of major exhibition spaces, width of exhibition spaces, and separation of spaces for exhibition purposes were derived.

• Smart Media Journal
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• v.12 no.1
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• pp.77-91
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• 2023

Interaction methods and technologies for mutual exploration based on user behavior are evolving variously. Especially, in recent years, with the development of a wide range of sensors, they have developed from contact to non-contact methods. However, developers' senseless definitions of the interaction methods have made the exploration process quite complicated, which rather creates the hassle of users needing to learn the interaction guide defined by the developers before experiencing the exhibition contents. In this context, in order to make visitors smoothly communicate with exhibition contents, a preliminary study on easy interaction for users of various ages is needed, and in particular, research on improving the usability of user interaction is also essential when developing non-contact exhibition contents. So, in this study, a method to reduce the confusion between developers and users was sought by researching non-contact interaction that could be universally interacted with in the field of exhibition contents and proposing behavior designs. First, based on the narrative structure of cultural resources, existing studies were reviewed and the points of interactions as cultural contents were derived. Then the most efficient search process was selected among non-contact behaviors based on hand gestures that allow users to naturally guess and learn interaction methods. Furthermore, on the basis of the meaning of non-linear narrative-based interaction and the analysis results of spatial behavior elements, affordance behavior with high learning effect and efficiency was derived. Through this research process, an action that helps users to understand non-contact interaction naturally in the process of exploring exhibition-type cultural contents and to utilize non-contact interaction in the process of immersion in exhibition contents is proposed as a final model.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.54-79
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• 2024

The purpose of this research is to fill the vacuum created by the tendency of bias towards China among the curators of Korean museums who plan exhibitions focusing on Balhae, and to share with researchers in the countries concerned various supplementary research materials that could deepen their understanding of the history of Balhae. These materials are based on analyses of the details of exhibitions about Balhae held in a particular Russian museum and the characteristics of and changes in the museum's operational policy. Thus, this research focuses mainly on the permanent and special exhibitions held by the Far East History Museum and Reserve, whose collection represents the archaeological achievements of Russia regarding the history of Balhae. The first part of the research focuses on the layout of the exhibitions presented by the museum and the museum's operational policy. It reveals that the museum's permanent exhibitions follow a diachronic arrangement of the local history, while the first and second special exhibitions featured exhibits that were selected from the collections of the Russian Academy of Sciences and arranged according to specific themes. It also examines the museum's policy for operating the exhibitions, focusing on the operational rules, the human resources deployed to run them, and the related educational and PR programs. The second part of the research examines such issues as local politics, economy, education and culture related to the exhibitions on Balhae's history, and connects them to the background and development of the exhibitions. This study reveals that the permanent exhibitions were intended to promote historical awareness of the local area by museum visitors, particularly those who visited the exhibitions while the city was hosting important events such as international summits. It also reveals that the museum's first special exhibition led to the promotion of Korea-Russia cooperation on exchanges in the fields of culture and tourism, whereas the second special exhibition involved no PR efforts or related events, which was probably due to the changes that have occurred in the relationship between Russia and its neighboring countries since then. The final part of the study focuses on the characteristic features of the exhibition narratives, and compares school textbooks on local history and history books for general readers with the contents of the exhibitions. The analysis of the narratives based on the development of time shows that the history of the Mohe (or Malgal) tribes has been combined with that of Balhae, while they are treated separately in school textbooks. As regards political history, the narrative was largely focused on officials in Balhae's central government rather than on Mohe warriors in the border areas. The maps of Balhae presented in the exhibitions highlight the importance of accumulating empirical data. As for the exhibition of material cultures, this study suggests that the museums should obtain more archaeological floral and faunal remains related with agriculture and hunting. It also points out that the narrative on the theme of foreign relations deals with the archaeological relics of Unified Silla together with those of the Turkic tribes. As for the theme of philosophy and culture, the narrative focused on the state ceremonies and rituals of Goguryeo, a theme that has attracted little attention among Korean academic circles and which consequently requires further study. In conclusion, this study is meaningful in that it suggests a number of research topics regarding the development of exhibitions and exhibition narratives about the history of Balhae by a prestigious Russian museum that specializes in this subject.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.198-216
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• 2024

This article reevaluates the National Museum of Korea's pivotal actions during the Korean War in the 1950s and its aftermath. It argues that the evacuation of the museum's collection to Busan and the subsequent exhibition "Masterpieces of Korean Art" in the United States in 1957 were not isolated events, but rather interconnected facets of a larger narrative shaping the museum's trajectory. With newly discovered archival evidence, this study unravels the intricate relationship between these episodes, revealing how the initial Busan evacuation evolved into a strategic U.S.-led touring exhibition. Traditionally, the Busan evacuation has been understood solely as a four-stage relocation of the museum's collections between December 1950 and May 1951. However, this overlooks the broader context, particularly the subsequent U.S. journey. Driven by the war's initial retreat of the war, the Busan evacuation served as a stepping stone for evacuation to Honolulu Museum of Art. The path of evacuation took an unexpected turn when the government redirected the collections to the Honolulu Museum of Art. Initially conceived as a storage solution, public opposition led to a remarkable transformation: the U.S. exhibition. To address public concerns, the evacuation plan was canceled. This shift transformed the planned introduction into a full-fledged traveling exhibition. Subsequently approved by the National Assembly, the U.S. Department of State spearheaded development of the exhibition, marking a distinct strategic cultural policy shift for Korea. Therefore, the Busan evacuation, initially envisioned as a temporary introduction to the U.S., ultimately metamorphosed into a multi-stage U.S. touring exhibition orchestrated by the U.S. Department of State. This reframed narrative sheds new light on the museum's crucial role in navigating a complex postwar landscape, revealing the intricate interplay between cultural preservation, public diplomacy, and strategic national interests.

• The Korean Journal of Archival Studies
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• no.65
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• pp.253-319
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• 2020

Hongdong Herstory in an narrative-based archival activities. This Herstory Workshop designed by a facilitator who is using her love for language and storytelling to empower all voices. Herstory Workshop has been opened at winter every year for a month. The place where the workshop opened is located at farming area. Hongdong Herstory Workshop has been the field where the members of the community having a talk together. 20 women have been participated at the Herstory Workshop. Herstory projects have been published every year. This essay is an trial for rearchiving the herstory projects. This essay focused on the narrative function of archives.