• Korea Science and Art Forum
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• v.37 no.4
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• pp.205-216
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• 2019

Today, there have been more museums with architectural freeform structure. From an academic perspective, that caused a change in the paradigm of the genealogy of architectural forms. Accordingly, it has been required to find whether the freeform architecture influences an exhibition space. Therefore, in order to analyze the correlation between freeform architecture and exhibition space, this study looks into the tendency of actual freeform architecture through case analysis after 2000. An exhibition space of museum serves as a socially, culturally, and locally symbolic icon and has the function of delivering information to viewers through the aesthetic presentation of articles on exhibition. This study is meaningful in the point that it drew the conclusion of the correlation between freeform architecture and exhibition space in order to infer that a freeform exhibition space is more effective at viewers' spatial experience. The method and results of this study are presented as follows: Firstly, literature survey on the concept of the freerform architecture of museum and the classification of architectural forms was conducted and previous studies were analyzed in order to establish criteria. Secondly, a case study was conducted through visits to Singapore, Germany, and the Netherlands in order to look into the current state and characteristics of freeform architecture and exhibition space. In this case, Karel Vollers' architectural freeform criteria were used for analysis. Thirdly, to prove the correlation between freeform architecture and exhibition space, each case was cross-checked on the basis of Karel Vollers' architectural freeform criteria and freeform exhibition classification, and then results were drawn. The study results are presented as follows: Firstly, EX(angle, ortho) of freeform architecture had a significant correlation with the diagonal form of exhibition space. That was proved 92.3% accurately more in the Netherlands and Germany than in Singapore. However, the curve form of exhibition space had a unclear correlation. In Singapore case, the curve form correlation was made through RO, FR, and TW. Secondly, freeform architecture had complex-typed combination with the diagonal and curve forms of exhibition space. In particular, N-02 and G-02 had a combination form, basically EX, and partially various forms so as to induce the complexity of free form. As such, architectural freeform makes it possible to achieve infinite transformation in various combinations. For responses, combinational approaches are required in multilateral ways. Based on this study, it will be planned to analyze the correlation between freeform architecture of museum and exhibition presentation.

• Journal of Intelligence and Information Systems
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• v.14 no.4
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• pp.47-68
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• 2008

The aim of this research is to develop a new business model using mobile RFID in exhibition spaces such as museums and art galleries. Using mobile RFID, the exhibition space is expected to be evolved from a simple media space only for the exhibition to an extended space integrating media, commerce and entertainment. This paper proposes a u-Exhibition business model and its scenario in the u-Exhibition space. We discuss the real-world issues for the implementation and show the ways of investigating working conditions for the business model through revenue simulation and analyzing the expected value of tag installed on the exhibition space by so-called 'tag evaluation model.'

• Korean Institute of Interior Design Journal
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• v.20 no.1
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• pp.165-172
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• 2011

Visitors' behaviors within an exhibition space are a substantial means to grant spatial arrangement and validity of exhibits. Therefore, the 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, It was expected that attraction power and holding power of exhibit would be increased when moving line of seeing was inductive. However, when the traffic movements of seeing was inductive, repetitive seeing of exhibit was almost never realized and visitors had a strong tendency which viewed on their way of moving without viewing on their way of stopping. On the other hand, it may mean that density of exhibit is low or size of exhibition space is small that most of exhibits within exhibition space have high attraction power and holding power. As Gwacheon National Science Museum, when a museum is composed of many large-scale exhibit halls, it should be formed by separating the main moving line of seeing from the optional moving line of seeing through visitors' natural choice of exhibit and proper inducement of moving line of seeing. In such structure, exhibition environment of the main moving line has an effect on attraction of exhibit and the use of optional moving line acts as a factor to increase attraction. In addition, it is thought that attribute of exhibit and proper arrangement of rest space within exhibition space will increase holding power of exhibit.

• Korean Institute of Interior Design Journal
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• v.22 no.6
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• pp.11-19
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• 2013

The number of visitors to historic sites and museums in Korea has been on a rapid decrease and in order to search for creative ways to work on the problem, the study proposed a theme park-typed museum with cultural heritage applied and reviewed spatial strategies for such theme park-typed museums. Applied methods of research of this study are as follows. First, in order to understand definitions and current situations of cultural heritage use and theme park-typed museums, the study went thoroughly over all sorts of literature and reports as well as findings of advance researches on how to make a use of cultural heritage. Based on the results of the investigations, the study determined characteristics of the theme park-typed museums with cultural heritage applied which the study was proposing and the characteristics were categorized by type. Considering those characteristics and types gained in the study, the study looked for cultural heritage-based theme parks and museums in the world which were good enough to be used as research subjects in the study from the aspects of profitability and level of awareness. The study examined those theme parks and museums in the world and in the end, it found out ways to adopt the findings to the situations in Korea and discussed expecting effects as well. As to the characteristics of the theme park-typed museums with cultural heritage applied, the study divided those characteristics into mutual cooperation, location, communicability, authenticity, maintainability, education, durability, narrativity, undailiness, interactivity and leisure. The types were categorized into ride, environment direction, cartoon character and souvenir by attraction pattern. When cultural heritage is used actively, it would improve competitiveness of historic cultural sites and museums in return, making people realize the iterative structure of excavation, conservation, maintenance and use of cultural heritage. That would create many kinds of added values, re-discovering culture of the country. At the same time, it would also create a new value of culture as well. Now, it is important for us to do harder with researches on how to evolve museums and exhibition spaces. Considering that, the study is believed to make a contribution to revival of historic sites and museums in Korea but also establishment of scientific strategies.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.7-10
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• 1999

The organization of modern society is suddenly changing from the modern society to the ultra modern informationalized society. Various social members must satisfy cultural and artistic desires to serve museum concept and function to move the informationalized society. A lot of natural history museum in the world build cyber space exhibition lines. Audiences do not directly visit but they view but they view the exhibit, get an education, participate in the cultrue programs and earn the museum's informations. Especially, in the case of national and public museums in Korea, they do not concerned the museum architecture before processing the character and collections of the museum. Cyber museums determine museum character, policy, information, collections converge of opinion voluntary collection and grasp of location, because cyber museum can be finished be4fore the work of the future museum.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.275-286
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• 2021

While art and culture always actively intervene and send messages to social issues and issues, there are critics who say that the way they show them goes against environmental issues. Therefore, this study compared and analyzed the environment-friendly methods applied to four types of exhibitions held at existing domestic art museums in order to derive environmentally sustainable exhibition content planning and operation plans. By deriving the method commonly applied to the four exhibitions, the wooden temporary walls that are discarded through local remanufacturing, use of waste resources, and prefabricated module walls were minimized. In addition, when printing/publishing, there were methods such as grafting eco-friendly inks and materials or avoiding the production of unnecessary printed matter. Based on these common factors, a plan that can be applied to each stage of exhibition hall construction and construction, printing and publishing, and exhibition hall operation was derived. However, it is necessary to approach more diverse cases in the future, and it is necessary to supplement the points to enhance scientific explanatory power in quantitative terms.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.178-187
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• 2008

This study aims to analyze general features and forms of spatial structure of major space in museums and for the scope of this study, set up major space and the surrounding areas structured around major space and for the target of analysis, selected 10 museums of overseas examples from 19th century to 2006. And this study on focus, on the circulation structure and visual structure will be analyzed in qualitative method by focusing on the floor plan and section structures; deepening process of analysis, visual structure will turn into numerical value to analyze the spatial structure of the major space. The results of this study are as follow. First, vertical elements should be critically considered in a circulation plan for functional performance of dimensional circulation distribution in a major space. Second, a plan by location of vertical and horizontal moving elements related to a major space affects a circulation relation more than a connection type between a major space and an exhibition area. Third, it could be categorized into 4 types by considering the features of spatial structure followed by connecting relationship between areas. Fourth, comparable figures were drawn out among large space and surrounding areas but it couldn't draw out types.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.208-219
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• 2010

Antique maps are a cultural heritage of recorded information with distinguished pictorial and scientific value. They have been utilized in a variety of academic fields, especially in historical geography, as the most fundamental data to look into the restoration of space or historic changes of area from the past. However, there is no sufficient study on the development of contents using antique maps in the exhibitions. Furthermore, there is almost no content research on the antique maps integrating the academic programs in museums or art galleries. In particular, it is very difficult to find research on the approaches to configure or utilize the exhibition contents related to the Sea of Korea using European antique maps. This study examined the construction of educational contents in order to use the European antique maps including the Sea of Korea as well as Korea itself in the exhibitions. The results of this study may visualize the results of academic research on the territory and territorial waters of Korea and extensively acknowledge them as scientific data all over the world. Furthermore, this study aimed to create the opportunity to increase interest in the Sea of Korea and recognize it again, to find the contents construction to use European antique maps as academic data for exhibition and education in museums or cultural facilities and to provide a basic model for history education using antique maps.

• Journal of Science of Art and Design
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• v.7
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• pp.105-127
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• 2005

This research is on the characteristics and roles of important cities of Germany based on the history of the modern art museum and its possessions. Especially, it is focusing on the modern art museums in the western Germany including Dusseldorf, Koln, and Frankfrut that have shown economic recovery from the Miracle of Rhine; the capital city of Germany, Berlin, as well as Munich, the second capital city of Germany. Here, it harmonizes with the tradition of the past and simultaneously, it spreads the concept and role of the new museum as a forerunner. After the WWII, this is the most active of supporting investment for art museums and authors from the economic development. Also, it represents Germany with its national promotion of culture and arts. The modern art museums of Germany emphasize the mission that they exist for the people and the nation as well as creation of new art culture. These art museums working for national culture and art development do not simply collect and preserve arts. They induce active involvement from the public and keep in mind of national objectives. Here, art museums become and educational setting for the people and a room for new art culture. This research is on Germany modern art museum and it is composed of important 'public institutions' of Germany that critically influence the growth of world-renown authors. After the unification of Germany, Munchen and the western region became an important places centering around new Berlin modern art museum. They are the best places that show the national objectives and regional characteristics. Also, there are art museum educational curriculum and open space for the people by explaining exhibition plans and contents. Furthermore, there are two characteristics of German modern art museums that are noteworthy. Firstly, there are Berlin's Neue Nationalgalerie, Munchen's Pinakothek de Moderne, and Dusseldorf's 'K20' (Kunstsammlung N-Westfalen K20) that are the roots of modern art. These modern art museums exhibit popular author's collection repeatedly. This has a tendency to standardize audiences' view or to make audiences bored. It is becoming more like a trend for art work to appear and disappear. Despite these problems, German modern art museums play a critical role for a new cultural art creation and for the national identity by attempting to show the works of domestic authors as well as an intensive collection of world-renown authors' works. Secondly, there is a role as a new art museum to work together with people. It strives to continuously educate difficult modem arts, exhibits in an open space stimulating interest, participation, and conversations. From these roles, Hamburger Bahnhof Museum fur Gegenwart or Dusseldorf's 'K21, Frankfurt Museum $f\"{u}r$ Moderne Kunst, $Kf\"{o}ln$ Museum Ludwig are given new attention. Here, they emphasize the importance of communicating with the audiences and provides experiences that are different from the original spaces by showing the architecture tecture style of the art museum. In conclusion, German modern art museums attempt various changes by connecting to art education. With art museum activities, there forms a connection between arts and the lives of people, and from this, creative cultural art focused on the art museum borns. This is not only limited to Germany, the U.S., etc. We, too, should pay attention to new art culture creation from changes of role and function of modern art museums.

• The Journal of Art Theory & Practice
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• no.14
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• pp.7-32
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• 2012

The exhibition was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.