• Korean Institute of Interior Design Journal
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• v.16 no.5
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• pp.63-70
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• 2007

A relationship between the museum display wall composition and the visual spatial configuration is investigated in this study. From the previous research, existing types are classified in order to define the exhibition space of room to room. Based on the classification, an open room to room of art museum is defined as a room to room of museum, and the plane of museums is investigated. With the museums under this study, the wall of a room to room exhibition space as well as the visual spatial configuration are analyzed depending on the location of an opening, centering on the composition of unit space. In addition, two types of spatial composition are compared depending on the location of the opening. One type of spatial composition is lied on a straight line with visual continuity, and the visual line is found to be simple. Whereas, the other type has an invisible configuration between spaces due to a criss-crossed opening, so the space is perceived to be closed and disconnected. When comparing these two types, the advantage and disadvantage of each space are compared. As a result, a similar type and size of unit space are derived. In addition, the ratio of the opening compared to the total wall was found to be uniform, and a distribution of the opening and walls were found.

• Journal of Industrial Convergence
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• v.22 no.1
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• pp.41-54
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• 2024

Contemporary ceramic art as a new art form, how to convey the visual information of contemporary ceramic art works to the audience through the design and display of exhibition space is the primary problem of exhibition space design. Based on the current lack of research on contemporary ceramic art exhibition space design, this study focuses on the characteristics of contemporary ceramic art exhibition space design, in order to achieve the best exhibitions effect of contemporary ceramic art. Firstly, summarize the previous research and examine the "Spirit of Porcelain" -2021 Jingdezhen International Ceramic Art Biennial Exhibition held by the Art Museum of Jingdezhen Ceramic University. From the perspective of human factors engineering, combined with comparative analysis of the overall spatial layout and display space form, the scientific unity of the overall layout of the display space and the flexibility and sustainability of the exhibition space form design are obtained. The theoretical knowledge obtained in this study provides theoretical guidance and important practical significance for the design of contemporary ceramic art exhibition spaces; Simultaneously contributing to the development of contemporary ceramic art exhibition space design in China and even globally.

• Journal of the Korea Computer Graphics Society
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• v.25 no.3
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• pp.43-54
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• 2019

In this paper, we review the applicability of fog screen to implement 'Spatial Augmented Reality' which displays the image on the whole space of real space or in real space by separating display equipment and user, in contrast to the traditional Augmented Reality. Through three exhibitions and one performance, we confirmed t hat the fog screen, which can be passed through, is a suitable material for implementing the Spatial Augment ed Reality. We found that the hologram production was easier than before because of fog screen. Through the questionnaire survey conducted on performers along with the exhibition, we found that only about half of people know what a fog screen is, and about 10% of the total respondents saw the fog screen. In order to investigate the effect of fog screen on the surrounding space, we conducted an experiment to observe the change of humidity according to the time and distance in the Children's Culture Center of the Asian Culture Center. We found that the humidity within a radius of 5m around the fog screen could increase by 2~3%($6,400m^3$ standard). Thus we provided some safety requirement with fog screen when works made of materials vulnerable to moisture such as paint, paper, and wood are exhibited at the same time with fog screen in the exhibition hall.

• Structural Engineering and Mechanics
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• v.40 no.6
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• pp.801-811
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• 2011

A new experimental technique was developed on the plate-inserted welded tubular joints of spatial grid structures. In the experimental technique, a microcomputer controlling instrument of moire intervention (MCIMI) was adopted. A test was designed on the plate-inserted welded tubular joints of spatial grid structures to show the effectiveness of the MCIMI technique. Both traditional electrical measuring technique and MCIMI technique were employed in the test. The test results showed that the MCIMI technique was feasible in the case of the complicated tests on steel structures. The MCIMI technique not only implemented the limitation of traditional electrical measuring technique, but also improved the accuracy of the test. According to the test results, we further examined the plate-inserted welded tubular joints in the cable-stayed spatial grids of the Binhai International Convention & Exhibition in Tianjin, China. The analysis showed the joints are safely designed with adequate conservatism. The research provided a new application of MCIMI in the field of large-scale structure engineering.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.77-85
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• 2007

The space where one's body lives is not only a space as the simple environment that is built with the physical factors, but also a space experienced by a movement accompanied by the concept of body perception including mental activities. In this study, the importance of the body is recognized and the meaning of the space of body perception including mental activities is understood. In this manner, the spatial unfolding phase and expression features are to be investigated through a standard of "What do they change?" by grasping those as a flexible space that changes spatial recognition. The following results have been drawn in this study; First, the application of the flexible concept in the space can give rise to the activities of an experiencing person in terms of being the object of spatial experience and appreciation. Also, the application changes a slightly static concept into a relative and dynamic space by introducing the movement. Second, the establishment of a space by a human's movement is accompanied by all perceptions and enables to perceive the space shape, the space itself and mutual communication between the spaces. Third, the expression of the human's movement in the fixed form of space lies in the extension of the fused spacial area with an observer beyond the physical spatial limitation. As human body intervenes in space, the meaning of the space has become more abundant and diverse and the space will be presented as the arena for sensitive and flexible communication as a responsive space that corresponds.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.34 no.3
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• pp.183-204
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• 2023

The purpose of this study is to present a construction model of Koryoin Larchiveum that considers the space and function of larchiveum, centering on the Koryoin Historical and Cultural Center. To this end, a survey was conducted targeting librarians, archivists, and curators, and multivariate analysis of variance (MANOVA) was conducted to find out the average difference between space and work requirements by institution. In addition, based on the survey, in-depth interviews were conducted with secondary experts (directors, representatives, Koryoin experts, etc.) on spatial components. As a result, first, spatial and functional elements set mainly for functions necessary for Koryoin Larchiveum were derived. Spatial elements include storage, reading rooms, and resting areas for libraries, archives storage rooms and exhibition rooms for archives, and storage and exhibition rooms for cultural centers. Functions (work) were represented by 4 elements: library 3, archives 5, and cultural center. Second, after reviewing the interview, the Koryoin Larchiveum construction model was modified and supplemented. As for the spatial composition, the installation space, work contents, and manpower in charge were presented from the first basement floor to the third floor above the ground.

• 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.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.205-212
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• 2007

It is a world wide tread for museums to become specialized museums emphasizing their characteristics, but Seongbo museums(museums that preserve Buddhist artifacts) are more general and show no specialization or characterization. The purpose of this study is to emphasize the special character of the Seongbo museum which manages and maintains sacred Buddhist cultural artifacts, and to understand the architectural characteristics of the building distribution and interior composition to implement a more systematic spatial composition plan. For our analysis we selected 6 currently operating museums as our subjects, and analyzed the characteristics of their spatial composition through their plans including the plot plans and ground plans. As a result, we found that most of them were small scale museums, and that the character and rank of each building changed according to its positioning. In terms of areas, the museums consisted of exhibition areas, storage areas, maintenance areas, and other miscellaneous areas and were lacking areas for research and education. It is necessary for these museums to possess facilities for managing these cultural artifacts as well as adequate exhibition and storage spaces. Seongbo museums, which are connected with Buddhist temples, must possess differentiated preservation and maintenance methods unlike museums dealing with artifacts that need only be preserved, and must have an area plan suitable to the characteristics of the various artifacts near and around the temple so as to help build our Buddhist cultural heritage in a systematic and continuous matter.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.979-986
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• 2022

In this study, the virtual exhibition using 3D architectural space was analyzed in terms of the viewer's experience. For this purpose, the analysis items of the virtual architectural space include whether the actual architectural space is reproduced, the introduction of surreal elements, the degree of freedom of movement and circulation, the level of photorealism of spatial expression, the level of reproduction of the exhibits and information provision method, and the interaction with other participants. Six virtual exhibition projects designed by a well-known architect were selected and analyzed. Three directions were found through the analysis. First, even when designing a virtual exhibition space with a high degree of freedom, there is a tendency to present a familiar architectural environment. Second, the current method of creating a virtual architectural space is that the method using a 360-degree rendering image and the method using a game engine coexist with pros and cons. Third, the interaction between participants in the virtual exhibition is implemented only by using a game engine. It is expected that the virtual space production environment using the game engine to be developed will become more advantageous in the future.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.05a
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• pp.56-59
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• 2004

The purpose of this study is to clarify the relationship between the behavior of appreciation and spatial configuration in museum, to concentrate upon the difference that is happened according to composition method of convex space. The subject of this study are as follows: 1) The change of spatial configuration by specialization from architectural space to exhibition space in museum. 2) The variety of spatial configurations that is happened according to connectivity condition of the spatial configuration 3) The relationship between the size of convex space and the behavior of appreciation