• Korean Institute of Interior Design Journal
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• v.20 no.4
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• pp.174-182
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• 2011

This study analyzed visitors' behaviors in the viewpoint of Attraction Power and Holding Power of exhibits on the basis of exhibition layout of real science museums. Through the analysis, the study grasped efficiency of analysis index and exhibition environment elements which might have an effect on planning the exhibition space of a large-scale museum and producing detailed ranges of exhibition. The main indicators used are: 1. Attraction Power: it indicates the relative incidence of people who have stopped in front of an object/exhibit during the exhibition tour. It is calculated by dividing the number of people who stop by the total number of people who have visited the museum or gallery. 2. Holding Power: it measures the average time spent in front of an information/communication element. It is calculated by dividing the average time of stay by the time "necessary" to read an element. As a result of analyzing the exhibition areas of National Science Museum (Daejeon) and National Museum of Emerging Science and Innovation(Tokyo), the Holding Power was found to be relatively lower than the Attracting Power. This means that 3.5 out of 10 visitors stop in front of the exhibit in 6 exhibition areas, and among these, only 1/10 is used when compared to the user required time of the exhibits. In other words, like the method of deriving an analysis index, the stage of viewing can be categorized as Attracting Power and Holding Power, and because the stage from Attracting Power to the stage of Holding Power are strongly linked, it shows that it is not easy to display a meaningful result. Except, the general distribution of Attracting Power was shown to be high from the entrance area of the exhibition hall based on the standard of viewing sequence. Also, the Holding Power became sequentially lower according to the sequence of exhibition viewing and displayed a meaningful interrelationship with the distribution ratio of island exhibits. In the case of island exhibition method, it is less influenced by the movement flow of visitors when compared to the wall type method of exhibition and can be understood as an exhibition method that provides spatial chances enabling stopping and viewing.

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.600-608
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• 2016

This research has analyzed the influence of Goyang Flower Exhibition Festival's service quality on emotion, perceived value, satisfaction, and re-visit intention. First of all, the service quality scale was composed with four factors : subsidiary service, exhibition contents, guidance service, space convenience. As the results of influence analysis, four factors had significant influence on attendee's perceived value and positive emotion respectively. Among those four factors, space convenience and guidance service showed high impact. Toward positive emotion. exhibition contents showed most influence while four factors are significantly related. Three factors of exhibition contents, guidance service, space convenience had significant effect on negative emotion. Also, positive emotion and perceived value was analyzed to have significant influence on re-visit intention.

• 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.16 no.6
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• pp.189-196
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• 2007

The purpose of this study is to make a comparative analyzation toward abstracted emotional properties appeared in the museum exhibition spaces designed by the three masters of the modern architecture;Frank Lloyd Wright, Le Corbusier and Mies van der Rohe. In addition, this study will also aim to inquire into how the emotional properties have affected the third generation architects. It is especially expected that the 'emotional tendency' emerging in various fields of the present time can serve as useful information through the analysis of emotional design properties appeared in the exhibition space which is directly linked with the human lives. In order to achieve the purpose of the study, in New York by Wright, in Tokyo by Le Corbusier and in Berlin by Mies Van der Rohe were selected. As for the analyzation methodology to be adopted for deriving the aiming points at the emotional design, five criteria of analyzation have been established in order to understand the properties of the emotional area: they are (1) spatial affordance, (2) human congeniality, (3) emotional factors of the area, (4) constitution of the area and (5) expressive division of the area. Using these criteria, this study will reveal what are some of the emotional characteristics shown in each museums and its analytical result will be useful to apply to future museum design. It is especially expected that the 'emotional tendency' emerging in various fields of the present time can serve as useful information through the analysis of emotional design properties appeared in the exhibition space of design which is directly linked with the human behavior.

• Architectural research
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• v.13 no.3
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• pp.3-10
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• 2011

The Characteristics of space are determined by several factors; however, the element that determines the physical characteristic of floors, walls, and ceiling is the structure. This study constructs a wall to analyze the direct effect that the layout of an exhibition wall has on the element of the wall followed by the structural process and visibility of descriptive analysis and examples of art museums that the shift from a perceptional wall to an experiential wall affected circulation. For elements and formation methods of the wall, first, it is made up of open and closed type exhibition spaces, and it can give abundance in qualitative space rather than a quantitative aspect. Secondly, the directivity of space changes according to the development of the visible axis, thus, directly affects the change in visibility. Thirdly, the difference between spatial structure and visual structure is the difference between the visual axis and spatial structure. The wall formation type followed by the combination method, the simple visible structure, which is the type that possesses the simple combination (Room, Zone, Cluster), repeatedly uses the same size of units of space that is orderly and has few spatial axes and the classification of simple type and simple cluster type, which has few visible axes, also exists. Also, with the complex structure of the maze type it displays the reiterated form of the cluster, which is the space with disorderly combination and has much visible axes and spatial axes. Also, these can be divided into three types: 1) Maze Cluster Type, 2) Cross Road Type, and 3) Open Flexible Type. These wall types lead the various changes in circulation, and even each of the arrangement qualities of the exhibitions should be researched according to its exhibition place type.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.213-220
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• 2006

Le Corbusier (1887-1965) is known as a great architect ranking with such master architects as Frank Lloyd Wright and Mies van der Rohe who produced great architectural achievements in an era from the dawning to the maturity of the modem architecture. His works are marked for their peculiarity in expressing his architectural concept as perceived through his artistic sensibility. He has brought the form of his architecture to perfect through the influence of Purism. His architectural concept has instigated him to construct the relations between structure, form and the notion of space through the 'Dom-ino' structural system and the 'Five Principles of the Modem Architecture.' As a result, he has become such an architect as has ripened his works by adopting the 'Modulor' for human measurement. During the decade from 1929 to 1939, he made public the 'Museum of Unlimited Growth' programs in an attempt to give a concrete form to his concept of 'unlimited space' spreading to all directions, which was actually visualized by the constructions of three art museums, located Ahmedabad and Chandigarh in India and Tokyo in Japan. Although a number of researches have so far been publicized on the works and the architectural ideas of Le Corbusier, no systematic research has yet been released on the idea of 'Museum of Unlimited Growth' as a matter of fact. Therefore, this study has set its purpose to grasp the peculiarities of his exhibition space design through an analysis on the characteristics of the 'Museum of Unlimited Growth' so designed as to reflect the concept of a space, which is centrifugally growing. With this purpose in mind, this research is also to suggest how the design of the 'Museum of Unlimited Growth' would influence the modem museum exhibit space. The contents of this study comprise the consideration on the early ideas of Le Corbusier, the typical features of the growing museum and the analysis as well as the integration of his works.

• Journal of KIISE:Computing Practices and Letters
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• v.13 no.6
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• pp.412-416
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• 2007

In this paper, we present a haptic virtual exhibition space that allows users to interact with 3D graphic objects not only through the sense of sight but also through the sense of touch. The haptic virtual exhibition space offers users in different places some efficient ways to experience the exhibitions of a virtual musical museum using the basic human senses of perception, such as vision, audition, and touch. Depending on 3D graphic objects, we apply different properties to let those feel realistic. We also provide haptic device based navigation which prevents users from rushing between various interfaces: keyboard and mouse. The haptic virtual museum is based on Client-Server architecture and clients are represented in the 3D space in the form of avatars. In this paper, we mainly discuss the design of the haptic virtual exhibition space in detail and in the end, we provide performance analysis in comparison to other similar applications such as QTVR and VRML).

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.05a
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• pp.168-171
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• 2005

A movement of visitor is a practical means that provides a spatial arrangement of exhibits and validity to that principle. Thus, an exhibition of a museum cannot be completed by an intrinsic value of exhibition itself. Rather, the meaning and value of exhibition can be genuinely evaluated by a visitor's experience and reactions. Therefore, focusing on an correlation between exhibits' spatial configuration and a behavior in a museum, this thesis will establish effective indicators of analysis and their validity in predicting a frequency of visitor's visit depending on the structural form of exhibition space.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.166-173
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• 2014

This study analyzed visual-perceptual centrality as a measure to solve the confusion that might occur in visitor's movement in analyzing contemporary museums that have recently expand. Also, this study proposed a new methodology to understand the relationships of the occurrence and convergence of visual-perceptual power. The existing visibility graph analysis mostly ends up in identifying nodes corresponding to the physical environment of museums while the newly proposed visibility graph analysis is a methodology that can analyze the landmark on which the visual-perceptual power occurs and converges, by setting visible space elements as analysis variables, which showed a possibility to draw more reliable results in parallel to the existing analysis, and the results of this analysis are as follows. A public museum located in downtown has a limitation that it cannot but be multi-layered as a way to enlarge for the accommodation of a variety of programs on a limited site. Also, this study found that the problem of visitor orientation occurring in the multi-layer process was solved by a major space which was visual-perceptually void. Also, its types can be summarized into two types: One is setting parameter spaces (ramps, staircases, hallways) linked visual-perceptually to the major space and the other is solving the confusion of the visitor's movement by composing a simple exhibition space. In particular, it is judged that the type solving the confusion of the visitor's movement by composing a simple exhibition space also had a relationship with changes in the characteristics of the exhibited works by period. In addition, it was found that the entrance also appeared in two types: dependent type and independent type in the major space according to the characteristics of the major space.

• Journal of The Korean Digital Architecture Interior Association
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• v.12 no.1
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• pp.15-23
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• 2012

Museums in Korea have a long history of 100 years. It is not too much to say, though, that in fact, they in the history have lasted only for 20 to 30 years. Daejeon World Expo in 1993 and the foundation of local governments in 1995 not only played an important role in the growth of museums, but also affected the spatial development in terms of architecture and exhibition. Based on the theoretical background of museums' historical, formative, and exhibition-spatial changes, this study grasps the changes in public museums established during the last 20 to 30 years, and analyzes the changing roles of museums in the future. The preliminary study shows that the formative and spatial changes of museums partially resulted from the changes in visitors' pattern. Besides, as a result of the utilization of PEST Analysis, a macroscopic competition analysis method, it turned out that the construction of public museums in Korea was promoted with in mind the political and social significance after the establishment of the autonomous government. For unique museums to be established in local regions, it is necessary to proceed with a consistent investigation on museums in various perspectives rather than merely relying on the administrative exhibition services led by the organizations.