• 패션비즈니스
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• 제6권1호
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• pp.102-115
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• 2002

The purposes of this study are to comprehend the internal meaning and the external form in style of Greek statue's clothing in the light of linked solution, and to compare the characterizations of style of Greek statue's clothing with those in Greek Art. For these purpose, the theoretical studies about Greek art are preceded as a framework of this research, and then plastic characteristics of Greek statue's clothing and Greek art are analyzed by the documentary studies, For sources, photographs of Greek statue in Archaeological Museum and Louvre museum are used. The result is as follows. It is demonstrated that the characters of internal meaning in style of Greek art and Greek statue's clothing. The internal meaning of style of Greek art and Greek statue's clothing are as follows 1) Beauty of vital is subject that possessed life and movement and embodied dynamics or inherent power. 2) Beauty of moderation is subject that achieves some of its most impressive and practise a similar economy and restraint. 3) Beauty of character is subject that reveals the character of its wearer and has its own charm and distinction The Greeks clarified beauty by looking for mathematical proportions. It is the interrelation of part with one another, and with the whole, together with the additional element of good colour, which constitutes beauty as perceived by the eyes. The beauty in style of Greek statue's clothing consists of a sense of geometrical pattern, oder, symmetry, proportion, and rhythm.

• 한국실내디자인학회논문집
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• 제15권6호
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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.

• 미술이론과 현장
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• 제2호
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• 한국실내디자인학회논문집
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• 제23권3호
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• pp.212-221
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• 2014

This study aims to analyze and explore phenomenological elements that appear in small-scall art museums with spatial concepts, such as top and bottom, depth, movement, and experienced space on the basis of Merleau-Ponty $Ph\acute{e}nom\acute{e}nologie$ de la perception.' Therefore, small-scale art museums may be regarded as an ideal space that can be analyzed with Merleau-Ponty's phenomenological theory since they should provide viewers with various spatial experiences in a limited space, breaking away from spatial limitations beyond appreciation of artworks. As research subjects, the range of art museums was limited to ones whose designs architectures or interior designers participated in out of all the small-scale art museums constructed after the 1990s, when the concepts and directing methods of spatial experience elements started being applied to art museums. Small-scale art museums chosen as cases were analyzed with Merleau-Ponty's spatial concepts explained earlier, and this study drew conclusions for each one. The significance of this study is that the results of this study can be used as efficient materials to reflect phenomenological elements on planning future small-scale art museums through further studies on various small-scale art museums.

• 예술경영연구
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• 제54호
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• pp.133-153
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• 2020

2019ICOM교토에서 새로운 박물관 정의의 채택 투표가 진행되었다. 문화적 담론으로의 새로운 박물관과 관련한 논의가 이루어지고 있었던 것에 힘입어 ICOM은 2015년 실무위원 구성을 중심으로 MDPP를 창설하고 새로운 박물관 정의를 제안했다. 본 연구는 박물관경영 차원에서 정의의 결정을 앞두고 논의 전개와 쟁점을 살펴보아 공론화하고자 하였다. 박물관 정의는 제트 샌달의 주도로 제안되었으며, 정의 채택에 대한 찬반 의견을 통해 각 국가들의 박물관 경영 전략이 의사결정에 전제되었음을 살펴보았다. 새로운 정의를 받아들일 충분한 논의와 준비의 필요 또한 확인하였다. 연구는 새로운 정의가 채택되면 대응차원에서 박물관이 직면하게 될 경영상 문제를 살펴보았다. 박물관 경영 비전과, 실행, 콘텐츠, 타겟 등의 경영 요소를 분류하고, 발생할 문제들을 예측하였다. 또한 뒤따를 제도적 법적 변화와, 예측을 통해 대비의 필요성을 제기하였다. 본 연구는 오늘날 박물관이 나아가고자 하는 방향성을 이해하고, 대응하기 위한 논의의 시발점으로 그 의미가 있다.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.77-84
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• 2009

Daylighting is one of the major elements in architectural design. It also plays an important role in the museums focused on displaying artistic works. Many architects have tried to predict daylighting performances in exhibition spaces during the design process of museums. The aims of this study are to present the design methods using the computer program RADIANCE that is available for the evaluations of daylighting performances in indoor space and to help architects design daylighting systems for better exhibition spaces of museums. For this study, Seoul Museum of Art was chosen and it was evaluated the recommended illuminance and the impacts of direct sunlight under the conditions of overcast sky and clear sky with sun. According to simulation results, they indicated that the alternative toplight system(sawtooth shape) was more effective for daylighting of exhibition spaces than the existing toplight system(pyramid shape) and this study showed a method to evaluate daylighting effects in exhibition spaces with various shapes of toplight systems.

• International Journal of Contents
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• 제7권3호
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• pp.38-47
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• 2011

The present research has created and evaluated contents capable of work appreciation visitors changing their viewpoints on their will by introducing mobile exhibition exposition devices (iPad) for large exhibition museum. Various exposition contents of usually invisible parts or those provided in accordance with user positions drew visitors' attentions and improved museum experience satisfaction. Utilization of digitalized exhibition information generated activeness in viewing and new communication between exhibition and a visitor instead of the conventional exhibition exposition.

• International Journal of Advanced Culture Technology
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• 제9권2호
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• pp.1-9
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• 2021

Focusing on China's profound historical/cultural heritage, as well as its favorable environment for the expansion of cultural and creative industries (CCIs), this paper considers the unique attributes of Chinese museum cultural and creative products (MCCPs) from the angle of cross-border development, and summarizes the main forms and effects of cross-border innovation in relation to Chinese MCCPs. It also examines the chief problems of Chinese MCCPs' cross-border growth at three levels - the national policy system, product development, and design and marketing - to explore countermeasures and suggestions for cross-border novelties and the advancement of products.

• Journal of Information Processing Systems
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• 제20권3호
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• pp.328-336
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• 2024

Visual communication is widely used and enhanced in modern society, where there is an increasing demand for spirituality. Museum robots are one of many service robots that can replace humans to provide services such as display, interpretation and dialogue. For the improvement of museum guide robots, the paper proposes a human-robot interaction system based on visual communication skills. The system is based on a deep neural mesh structure and utilizes theoretical analysis of computer vision to introduce a Tiny+CBAM mesh structure in the gesture recognition component. This combines basic gestures and gesture states to design and evaluate gesture actions. The test results indicated that the improved Tiny+CBAM mesh structure could enhance the mean average precision value by 13.56% while maintaining a loss of less than 3 frames per second during static basic gesture recognition. After testing the system's dynamic gesture performance, it was found to be over 95% accurate for all items except double click. Additionally, it was 100% accurate for the action displayed on the current page.

• 통상정보연구
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• 제10권1호
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• pp.73-95
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• 2008

The most important instrument to declare oneself publicly in cyberspace is to use a homepage or website. Nowadays most of Korean as well as overseas art museums have their own websites, through which they provide consumers with essential information and strive to declare themselves publicly in cyberspace. A homepage is composed of various components and the most crucial component is the interface. The objective of this paper is to present a proposal to help get a program for efficient website management and consumer satisfaction.