• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.11a
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• pp.44-48
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• 2006

The premise of this study is that an ultimate objective in planning an exhibition space is spectators' experiences shaped by a result of their first-hand experiences and responses within an exhibition space, and this result can be recognized in the spectators' movement. The purpose of this paper is finding out characteristics and differences between amounts and methods of information which gives visitors through sign system as communication design, by this analysis, providing clues necessary for design in museum.

• Korea Science and Art Forum
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• v.29
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• pp.89-100
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• 2017

This research aims to identify spatial features of exhibition hall for trade fair and establish a theoretical model on the effects of these features on the visitor attitudes. Also, it seeks to make suggestions on the service for exhibition environment or marketing activities through empirical analysis. The survey for this research was conducted for one week from Oct. 28 to Nov. 5, 2016 at COEX in Seoul. The 320 questionnaires were distributed to the visitors of the survey period, and all of the questionnaires were returned. Excluding those considered meaningless due to a small number of answered questions, a total of 303 samples were used for empirical analysis. The empirical analysis was conducted through SPSS 24.0. The results showed that each element of spatial features of the exhibition hall has significant effects on the visitor intuitive attitude. On the other hand, only Aesthetic and Convenience of spatial features of the exhibition hall has significant effects on the visitor conative attitude As above, this research conducted empirical researches on the effects of spatial features on visitor attitudes at exhibition hall to provide guidelines for establishing strategic management schemes of exhibition space that provide more convenient and pleasant environment. Also, this research aims to suggest development directions for organizer to provide quality service and environment, turning them into comfortable spaces that communicate with the visitors.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.58-66
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• 2012

In the modern era, perceived as the century of culture, the pure meaning of information in various medium is becoming extinct and the distinction between media and reality being faded away. Such phenomenon is called "simulracre". Gilles Deleuze defines "simulracre" as an event that passes by momentarily. To the modern people, the museum should be sublimated into a space that reflects not only the various surroundings but also education and should be a space that can provide diverse experiences. For museum exhibit communication, storytelling is a method that can meet the need of audience and take one step forward in educational and emotion aspect. Considering such relationship, "event" can be an evidence to build a space by establishing relations with subject and determine the meaning of space. First, characteristics of event and requisite and the theoretical view of storytelling will be examined, followed by the analysis of event storytelling by selecting Holocaust Museum which attempted a new approach that has dealt with what is important to the Jews: 'holocaust'. The purpose of this study is to identify how "event", not remaining as an abstract term, is being present in Holocaust Museum with a new spatial perspective, and to provide the public with a different set of thinking and experience.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.30-37
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• 2010

Dutch artist, Theo van Doesburg had shown short but strong experimental aesthetics in his works through De Stijl movement. He played a leading role for editing De Stijl magazine and performed various formative works such as painting, sculpture, and architecture. In 1923 he opened the first De Stijl exhibition cooperated with Cornelis van Eesteren. In this architecture exhibition he showed rich formal spirits of counter-construction in his major design works, that is Maison Particuliere and Maison D'artiste among three houses projects. Formal characteristics of counter-construction can be summed up under two categories, time and space. Analytical results are as follows; First, the characteristics of counter-construction related to time category include two types of two mode. One is linear aspect of time based on the viewer's movement. The other aspect is simultaneity caused by synoptical effect. These could be proved by the analysis of arrangement of color planes. Secondly, the spatial aspects of counter-construction are produced through two different ways of formal strategies. Van Doesburg arranged cubes in very irregular pattern. This treatment induces ambiguous void and creates feeling of subject's space. And, through deleting, shifting, and extending he could make dynamic spatial effect by interpenetration between in and out. This fluid space thus introduces movements of one's gaze and circulation. He denied traditional classical values which had ruled the western aesthetical discipline for centuries and believed that mankind can reach the realm of universal equilibrium by contrast and tension created by counter-construction. In this vein Theo van Doesburg was an avant-garde artist of Hegelian thoughts who adopted the dialectical method without following the formal characteristics from ancestors.

• Journal of the Korean Home Economics Association
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• v.49 no.4
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• pp.25-35
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• 2011

This study was intended to suggest overseas expansion strategy of Korean fashion character through sensitive space creation. This study reviewed literature, and did internet searching and observation. For the research methods were the analysis of the main retail spaces utilizing character and case study for the classification of collaboration types between retail space and character. As a results, 8 collaboration types between space and character were extracted: collaboration between retail distribution space and character, collaboration between product space and character, collaboration between service space and character, collaboration between experience space and character, collaboration between moving space and character, collaboration between publicity & advertising space and character, and collaboration between exhibition space and character. This study suggested the necessity of consistent identity strategy between character and retail space for a new character brand and the effectiveness of collaboration strategy for enhancement of character brand awareness.

• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.43-51
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• 2014

Over the 30 years of practice, most of David Chipperfield's design projects shows that there are several unique design methods and characteristics applied in the design processes. 'Form Matters' exhibition held in London Design Museum in 2009 was crucial opportunity to summarize his architectural philosophy. The main target of this study is to analyze the Chipperfield's consistent design methods and their meaning based on his architectural philosophy. In chapter 2, his architectural background, early projects and the essence of 'Form Matters' exhibition were studied. In chapter 3, the projects built after 2000 were summarized and main design method that is 'Fragmentation & assemblage' were extracted from them. After selecting 6 case projects, each cases were analyzed in detail based on 3 analytical elements: A) Reason to segment the given volume into smaller volumes, B) Relationship between Fragmentation and Program, C) Relationship between Fragmentation-Assemblage and Interior/Exterior Space. In chapter 5, case analysis were summarized and deep meaning of design method were researched. This study founded that Chipperfield has used Fragmentation-Assemblage method to get 'flexible respond to site conditions', 'appropriate composition of program and space', 'various visual-perceptual experience through intermediary space and materiality'. As a conclusion, his unique design method has a role to logically and aesthetically spatialize all the given contextual situations into a specific architectural 'form'.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.3-12
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• 2008

Most of these cultural spaces are Western architecture which is completely unrelated to our traditional style. In Japan's colonial rule of Korea these Western formation flowed in and passed on by them. Therefore before the understanding of modem cultural space built in Japan's colonial rule of Korea, it's essential to study about the background of the western period in that time, architecture and trend of interior. Due to Great Depression and other reasons the economical modernism of architecture raised in this period. In this thesis, based on such background of period, cultural space has been divided into assembly, theatre and exhibition spaces. Those spaces were studied according to its expressional characteristics and brought to following conclusion from the analysis. The cultural spaces were created around 1930 due to an increase of demand when the modernism started to establish. Like other buildings cultural space expressed modernized elevation and space formation with ferroconcrete building. However until Japan's colonial period the cultural areas were not used for public but for Japanese authority class's social gatherings only. Consequently, unlike other buildings the classical elements that could express these characters were more used in cultural spaces especially in theater and exhibition areas. This distinctiveness didn't appear separately but according to type of rooms in one space. Once more, place like assembly space was expressed with modernism, special or recreation rooms where people pursue a comfort were expressed with decorative style. Also a special theater which was used for only one person was generally expressed with western style to represent the stem character such as power.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.197-204
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• 2007

In the spatial configuration of room-to-room art museums, openings and walls are important physical factors, and openings are a medium for connecting spaces. Also, by spatially composing walls and openings, spaces can be connected visually and physically, and movements and directions may vary depending on the location or size of walls and openings. In this study, 5 museums are investigated: Sainsbury Wing in London, Gemaldegalerie In Berlin, Alte Pinakotkek in Munich, Neue Pinakothek in Munich, and Staatsgalerie Stuttgart in Stuttgart. Using DepthMap program, the characteristics of visual-spatial composition of each museum are derived by comparing the Connectivity, Visual integration, and Isovist maximum radial. From an analysis of spatial distribution, a relationship with visibility is investigated. The results of this study showed that the combination of visual axial lines affect the spatial configuration of the room-to-room museums. Depending on the location of opening, the museums can be classified as follows: 1) Museums with the 1st visual axial line and the 2nd and 3rd auxiliary visual axial lines ; 2) museums with several equal visual axial lines; and 3) museums with only center axial line.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.22-32
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• 2013

Today, the museum historical material and mental, physical culture and heritage to preserve the collection and exhibition organization rather than to recognize that culture acts as a community to respond to the subject of the attitude and the ability jeokgeukhwa also due to the trend of the times due to changes in lifestyle education and research, and public participation in culture by expanding the role of dissemination activities are becoming. Museum exhibit these changes as part of a combination of various technologies in the coexistence of digital and analog display direction proactive and aggressive behavior, such as visitors expect to have an evaluation of the public and communicate the expectations of the plan in the exhibition space, the larger the effect can feel. This effective display for visitors to watch the way for a systematic approach to provide direction to the urgent reality. Museum visitors experienced officials to improve the quality of research in a variety of ways spectators began to try and move the action was to put the attention on the characteristics. Visitors to visit the Museum of History and ages, categorized by the type of display any difference in the behavior of the visitor experience and attributes based on what is being investigated for the History Museum's exhibition of any exhibit to visitors that experience and is to an analysis.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.23-34
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• 2019

The space before modern times is fixed and closed, then that after modern times is flexible and open. Based on the concept of space, the modern art exhibition hall gradually shifts from the interior space of a building to the outdoor space, giving birth to the concept of outdoor art pavilion. Based on this background, we analyzed and learned about the latest deformable art pavilions, focused on the investigation of its space performance characteristics and the case analysis, fully understood the design principles of deformable pavilions, and proposed the basic design directions and strategies for future research. Firstly, through learning the theories of transformable space, the characteristics and concept range of deformable space are understood. Secondly, based on the preliminary research and analysis of art pavilions, the performance characteristics are summarized. Thirdly, the pattern of deformable space and the method of reflecting the characteristics of deformable space are investigated based on cases. After summarizing the case analysis, we identified the differences of different art pavilions between deformable modes and space characteristics, and analyzed the causes. This work provides a basis for distinguishing the transformation patterns of the deformable space, and reveals the changes in space concepts and the expansion of space meaning in future architectural space design.