• 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.

• 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.

• Korean Institute of Interior Design Journal
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• v.24 no.3
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• pp.59-68
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• 2015

As the economical and cultural levels become higher, the public have more various and new cultural desires, leading to an increase in the number and kinds of cultural facilities. Out of all the cultural facilities built in such a trend, art museums are the yardstick for a certain nation's cultural level, and the number of art museums is gradually increasing every year in Korea, as a cultural space where the public can make cultural exchanges with artists. On the contrary to the increasing number of art museums, however, the number of art museum visitors is decreasing every year, so various attempts are made to activate art museums in Korea. Thus, this study aims to seek a plan to activate the space of an art museum by improving the physical movement of art museum visitors, especially targeting small-sized ones out of all the art museums in Korea. For accurate analyses and verifications, this study used the visibility-ERAM program. As a result of analyses, this study found out and reconsidered several problems related to the space of art museums, and based on the results, the researcher could verify the related hypotheses, further comprehending possible errors of the proposed solution to those problems and supplement in a short period of time. Since such an analysis method and process has objective accuracy, it is expected that the results of this study will be used as basic data for future plans to activate the space of art museums.

• The Journal of the Korea Contents Association
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• v.10 no.6
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• pp.205-212
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• 2010

Interest in the augmented reality is growing and increase of Smartphone is changing people's life style. The purpose of this study is to explore application method of image restoration based on augmented reality to museum education. Museum is the proper place that audience, including students could learn culture and history of past time. This study suggests that using smartphone application which is used by image restoration with augmented reality is efficient to museum audience's understanding and interest. A game design for domestic museums is planned. Smartphone application which is used by image restoration with augmented reality also could be utilized for exploring historic sites or enjoying local festivals.

• 보존과학연구
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• s.17
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• pp.123-160
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• 1996

There have been many studies and experiments regarding exhibition lighting. Many experiments on photochemical damaging effect and visibility resulted in a practice limited to assigning light levels and adjusting annual exposure time. The three damaging factors to the artifacts are intrinsicsusceptibility to absorb radiant energy, spectral distribution of light source and intensity of illumination and time of exposure. Dividing all the artfacts into three categories to suggest a recommended illuminance level causes some problems. Blue wool, for example, used as the reference material for susceptibility, is not a standard material representing museum artifacts. In the most light sensitive category, ISO class I or anything below have been excluded. The exposure time of one soure can be three times more than another sourece. The spectral distribution of the light source and the relative spectral responsibility of the artifact are not considered in the practice. So in case of very light sensitive material, the recommended illuminance is only the referring value and it is indispensable to check the characteristic of susceptibility of each artifacts. Daylighting is prevailing method to solve the psychological need of the visitors. However, it sould transparent, and should not diffused, and the green-house effect must be considered. llluminance uniformity should based on the maximum illuminance to handle the limitation of exposure for the conservation of a large sensitive object such as a painting. Damage index is not absolute reference for selecting the lighting source because it is experimented from the paper of low grade then calculated. Visibility should be increased by reducing the visual noiseand by planning of appropriate luminance contrast. This paper reviews the problems with the previous studies and experiment sand the current exhibition lighting design practice. The plan for museum showcase lighting is to check the susceptibility and to raise the visibility simultaneously.

• Korean Institute of Interior Design Journal
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• v.24 no.5
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• pp.144-152
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• 2015

In modern city, art museum is regarded as significant institutions because it includes educational roles beyond the means of facilities for historical exhibitions. Based on these flow, various research of museum's space with view from the operational point to the spatial analysis point has been approached. Moreover, it is required to address human behavior in art museum space on the ground that lots of audience move simultaneously. In the field of interior architecture, it is also necessary to analyze how design elements affect the human behavior directly and use the method of controling a circulation. In this research, based on the role and importance of the basic components of the interior space, re-interprets the exhibition space based on the relevant theory, to comprehensively examine the influence the shape of the space is on the substantially walking behavior. Therefore, first is to determine whether the spatial type corresponding to the position of the connectors in the exhibition space. Second is to conduct the investigation observation for gathering the actual viewing exhibition circulation. Finally, it analyzed whether the observed actual circulation and planned circulation matched. As the result, the position of the connectors is that causes the difference of the spatial configuration, which affects the viewing circulation was found. The significance of the research is to present the form to plans of the interior space as a method of reducing congestion perception of viewing circulation.

• 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.

• Industry Promotion Research
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• v.9 no.3
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• pp.185-192
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• 2024

This study investigates the F&B brand choice attributes preferred by Generation Z and the brand experience of the London Bagel Museum, resulting in the following findings. First, in-depth interviews with Generation Z revealed that they consider 'appearance' and 'sociability' to be the most important factors when choosing an F&B brand. The success of the London Bagel Museum can also be attributed to fulfilling these Generation Z F&B brand choice attributes of 'appearance' and 'sociability.' Additionally, 'taste' was found to have the greatest impact on word-of-mouth and revisit intentions. The brand experience of the London Bagel Museum received the highest score in sensory experience, which can be seen as satisfying the visual stimulation that Generation Z, who value 'appearance,' consider important. This was followed by cognitive experience, emotional experience, and behavioral experience, in that order. The significance of this study lies in providing insights for the development of successful F&B brands by elucidating the F&B brand choice attributes of Generation Z and the brand experience of the London Bagel Museum.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.2 s.121
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• pp.37-48
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• 2007

An exhibit entitled 'Revelatory Landscapes' was held at the San Francisco Museum of Modem Art from May 5 to October 14, 2001. For this Museum's rot off-site outdoor exhibition, five outstanding design teams-Kathryn Gustafson, Hargreaves Associates, Hood Design, Tom Leader Studio, and ADOBE LA-created site-specific installations in Berkeley, Oakland, San Jose, and the San Francisco Bay Area. Each project showcased a hybridization of environmental art and landscape design. The main content revealed through revelatory landscapes were the natural, cultural, and historical palimpsest of the sites-particularly as related to the history of minorities such as Native American, African Americans and Latin Americans-as well as the every day life of ordinary people. To represent these ideas, a juxtaposition of the past and the present was broadly applied. Furthermore, the use of dramatic colors, textures, and forms in consideration of materials coupled with the revelation of natural elements such as wind and sunlight accelerated the effect of this juxtaposition. Every project of the Revelatory Landscapes exhibit requires a phenomenological experience to be appreciated. Via the five senses, these experiences cause a synesthetic experience beyond solely the visual. By examining the projects of 'Revelatory landscapes', the threshold for a new blending between environmental art and landscape design as well as new landscape design strategies that overcome the dichotomy between nature and culture will change and evolve.

• Journal of The Korean Association For Science Education
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• v.24 no.2
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• pp.357-374
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• 2004

This paper described the types and characteristics of educational programs in major natural history museums of the world. Data were collected from the websites, annual reports, and written materials of the Natural History Museum at London, Australian Museum at Sydney, Field Museum of Natural History at Chicago, Smithsonian Museum at Washington D.C, Royal Tyrrell Museum at Canada and American Museum of Natural History at New York. As the result of this study, we presented ten types of educational programs, which were moveable museums, workshops, lecture/courses, festival/events, discovery activities, scientific exploration/research projects, field trips, youth curators/internship, loan materials and camp/tours. We also described the examples equivalent to each program type. The characteristics of educational programs provided by museums as informal learning settings were analyzed in terms of their themes, participation levels, connection with exhibition, relation to curriculum, and learning activity levels. Information in this paper will assist science teachers, museum educators and curators: (1) to design and implement various types and contents of educational programs; (2) to use characteristics of educational programs to assess and develop them; (3) to make important contributions to science education that involves the introduction of various scientific aspects and collections to the public, and the use of programs for science learning and teaching coherent to existing curricula.