• Korean Institute of Interior Design Journal
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• v.18 no.3
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• pp.3-10
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• 2009

This study looks into the change of the concept of museum and the programs as well from sociocultural point of view Since the very beginning in history, the museum has been a place to educate people with diverse evidences regarding on the human history by preserving legacies of the past. Throughout the long history, the concept of museum and its programs have been revised in accordance with social changes. Consequently, these changes brought the transformation of museums' roles nowadays. The reason is the public in diverse society are so accustomed to stimulus and dynamic cultural changes has induced those change in some senses. The study points that the variation of museum programs are to be developed and museum marketing strategies including global management of art museums should seriously be considered. It also brings new form of museum architecture. The concept of revitalizing museum can expand the band of public and provide them opportunities a place for various cultural activities which can lead a new trend in this society.

• Korean Institute of Interior Design Journal
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• v.20 no.3
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• pp.49-58
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• 2011

The purpose of this study is to find out the way of embodying architectural concept in Nussbaum Museum for complementing present abstract and generalized research. This study tries to examine the close relationship between a certain concept and Nussbaum museum through analyzing architectural characteristics and searching its principles by concrete application of concept. The Architectural concept "Museum without exit", which Libeskind applied to Nussbaum Museum, is based on the dramatic life of Jewish painter Felix Nussbaum with relation to Holocaust, physical background of site and features of program, Libeskind Applied his architectural concept from the beginning to the most parts of the museum. His new museum subverts notions and logic of general features of existing museums. Libeskind's architectural concepts are especially applied to site plan, massing, circulation and spatial configuration. "Museum without exit" creates labyrinth like circulation based on stories including Nussbaum's life, his painting tendency and circumstances of those days. It also realize sensuous space through spatial shape and light control. Although some critics criticize that this museum is not suitable for paint collection because of overwhelming strength of architectural space. However, considering this museum's function of a kind of Holocaust museum beyond personal art gallery, Libeskind's 'museum without exit' shows effective realization of architectural concept for Jewish painter Felix Nussbaum's museum.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.3
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• pp.1236-1240
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• 2014

We propose a robot museum, "ROSIEUM," based on a new concept of museum. Roles of a new concept based museum are being investigated. We also propose a classification scheme for robot contents as museum's collections. This scheme for collecting and displaying robot contents includes the first robots, the delegate robots, the robots with special meanings, the robot experiences and the robot events. Also, types of robot contents are described. Key ideas and scenario for "ROSIEUM" have been presented. Operations of "ROSIEUM" are designed and implemented.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.203-210
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• 2012

Since a private museums started in Europe 17C, many private museums established for high-class people like aristocrats to collect and to keep art works and to appreciate for limited members. After the French Revolution in 18C, the publicity became an important social issue through all European regions, and the museum gradually changed into public ones. Like that, as the concept of museum changed, its social role as well as its function was also changed. The concept of collection and display or preservation changed into the concept of exhibition and appreciation featuring the publicity. With the year-round exhibition, a classical concept, the planned-exhibition, a new active concept set as an important factor for a museum's projects. The latter concept embraces new social issues. Therefore as the space for planned-exhibitions reflecting social issues every season was needed, a museum sets its planned-exhibition space with the changeability, and gradually expands this kind of space in size. It is expected that planned-exhibition spaces characterized as the changeability may give some changes on the flow of a museum's overall space, and may have substantial influences on the flow. To recognize the changes in a planned-exhibition space's influence on the museum, this study selected some national, public museums having the planned-exhibition space, and investigated their influences on each museum's overall space structure through the analysis on space syntax. This study assumed the change of planned-exhibition space as the changes in the number of convex spaces, and measured it. And to understand the planned-exhibition's changes on a museum's overall spaces, such changed assumed as the numeric changes in convex spaces and measured them. In addition, the numeric changes's influence on the overall space structure was analyzed by measuring the overall space's average integration level. Through the above two factors, the 3 research methodologies and analyzed results were drawn out.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.644-654
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• 2013

This study aims to examine the problems that a museum is typically understood as one of cultural facilities in Korea and this phenomenon has been caused from the continued use of the concept of a museum that the Japanese government-general made and indoctrinated. Furthermore, it aims to suggest a new development way of museums through planning the concept of a museum using the concept of contents. Chapter 2 explains a definition of the museum concept and the process of developing from a facility into an institution in modern times. Chapter 3 examines the Korean administrator's perception of a museum on the basis of the concept of a facility and this state stems from habits indoctrinated during the Japanese colonial period. Lastly, chapter 4 examines recent changes of museum concepts under the influence of globalism, post-modernism and the development of digital technology and suggests a development plan of a futuristic museum through planning the concept of a museum using the contents.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.149-157
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• 2013

As a period of pluralism, today's museum architecture has been expanding social and cultural meaning. So, Various expressions are appearing in museum architecture. Accordingly, the museum must be very reproducible and comply with aesthetic requirements. At the same time, museum construction in urban design and features must satisfy professional requirements. SANAA is one of contemporary architects has been decisively deleted existing fixed and functional layout type of program through 'The new hierarchy'. Thus, the experience of the space will vary. Now, museum space is urgently needed than ever before crustal movements. Thus, this study aims to contribute an alternative to the museum space configuration according to the trend of the times through 'The new hierarchy' of SANAA. This paper is limited to the cases of the SANAA's museum architecture. We analyze the characteristics of representation on 'The new hierarchy' appear in the museum space configuration and then, examine the value of the spatial. SANAA's 'New Hierarchy' is going to set the cognitive boundary by expression targeting plane and the surface. It is completely different than the previous boundaries. Characteristics of the expression represents non-centrality, decentrally, non-oriented, uncertainty, non-territorialization, uniformity. It is steady that identity of Space, Human, Environment in Museum. They have a relationship each concept of Independence, autonomy, equality.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.65-72
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• 1998

This study intends to analyze the various spatial structures and characteristics of the museum based on the two of the Renzo Piano's recent projects Menil Collection '||'&'||' Museum and Beyeler Foundation Museum Which defined the direction of the "Third Generation" in museum architecture with reference to the quality of spatial experience and design applications. Comparison and analysis were done on the basic spatial organization floor layout accessibility exhibition area lighting plan and circulation between the two museum. Through the itemized common characteristics of the museum the architect's proposal on meaning and direction of the new museum architecture can be viewed. The contemporary museums distinguish themselves quite clearly from their predecessors and this applies both to their own form and to their spatial organization. As the public demands and requests toward the museum building facility expand everyday the architect must respond by providing multiple types of space where people can experience different atmosphere in each area. One concept he used to create multi experienced area was manipulation of the natural light using by the state-of-the-art techniques of the light filtering system and multi-layering roof system to protect the valuable collections against the direct sunlight. But mainly it was to prove his strong belief in "architecture of light" by creating space with minimized meaning by purposely distinguished area in order to provide maximum support to the physical value of the collection " The connection with nature" is another concept which Piano used to provide the public a tranquil experience through out the architecture which engages in a lively dialogue with art. In spatial organization Piano concerned on functionality which not only concentrated on the visitor's point of view but also on the museum staff's comfort. Unlkie the traditional museum he alternates various size of exhibition areas for spatial hierarchy. Specially the spatial flexibility that the temporary exhibition areas are able to be expanded to the permanent exhibition areas by adjoining t재 spaces differentiate Piano's new museum from the rest. museum from the rest.

• The Journal of Art Theory & Practice
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• no.2
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• pp.147-168
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• 2004

This study examined the role of interpretation with various practices in art museums to seek a new meaning and a concept of art museum today. The exploration of interpretation would he a starting point to discuss about on art museums with professionals in each art-related field. While museums recognize the concept of interpretation and the scope of the functions in different levels, the study focused on the practices of collecting and exhibiting that will entrust the museum new realms of activities toward the audience. In particular, its emphases are set force on the information on the collections via the museum's web sites, interpretation policies, and theories and methodologies in exhibition development. Art museum websites well reflect how museums utilize the new medium to enhance the understanding of art works by providing in-depth art historical information, comprehensive contexts, and subject/concept based search methods. In recent decades, these have enacted changes to expand dimensions of interpretive functions in most museums, particularly in the United States and others. In an administrative perspective, Tate Gallery Interpretation Policy became an good example how an art museum put its interpretation philosophy as the basis of interpreting collection and public programs. Tate established functions of intrepretation and education not only within a task-based team but also as an intrer-divisional coorperation to provide an interpretation scheme of information provisions such as guide brochure, audio tour, multimedia content, and library. New environment and trends of museum exhibition, and its development processes stem from communication theories, object interpretation philosophy, display strategies, and various evaluation techniques through audiences, with the communication theories of Shannon and Weaver, Berlo's SMCR(Source-Message-Channel-Receiver) models were perceived as to understand the mechanism to communicate museum exhibits to visitors Suzan vogel's insight into object display strategy helped to conceive the mechanism of object recontextualization. She emphasized that the museum's practice to construe opinions and impressions through object display should be discreet and critical, therefore, the professionals to plan the exhibition should reveal the intention and their practices. For a prevailing new methodology from the field, the interpretive exhibition development processes are articulated as the front-end, formative, and summative evaluation, futhermore the team process in industrial product management models was adapted. These have turned out to be more interactive with visitors and effective to communicate the exhibition concepts and messages, hence resulting in enriched museum experiences. Finally the study concluded that understanding the aspects of interpretation should help art museums to set a framework for current practices to expand its public dimension. It can provide curators with a critical view to website planning and its content. And obviously, the interpretive exhibition development methodology will lead museum exhibition developers to be skilled in its current approaches to thematic exhibition concerning diverse subjects and topics.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.172-180
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• 2007

Today, games, movies and amusements are the occupation of museums. This study will investigate the current trend of the theme park-style museum, the alternative space of the 21th centuty. Theme parks have moved beyond the concept of park, and they have application in commercial space, medical space, educational space and other areas, even exhibition space in an advanced country. This study researches into the characteristics of the theme park and museum, and how the style of the theme park-style museum is created. Its aim is to analyze the character of theme Park-style museum through case study with a focus on style. The theme park-style museum is an exhibition space with an emphasis on the characteristics of a theme park. The style of a theme park-style museum can be divided into ride-type, food-type, character-type and landscape-type attractions. Attractions are an important element of theme park-style museum. We recognize the new paradigm of museum in the theme park-style museum, but need to propose a method that will apply attraction elements to an exhibition space. The theme park-style museum will continually evolve with new attractions, and it is recommended that museums plan today for these changes.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.238-246
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• 2006

Renzo Piano was first introduced to us when he got together with Richard Rogers and won the Grand Prize on Center George Pompidou Competition in Paris. Since then, he designed number of world renowned museum architecture such as Menil Collection & Museum, The Cy Twombly Gallery, Beyeler Foundation Museum, and most recently the New Pavilion of High Museum of Art. His museum design, in particular, showed very consistent feature which is differentiating the 'Served Space(exhibition area) and the Servant Space(service core or mechanical system area)'. In addition, the way he treats natural light as a special feature within his museum space was nicely done and it is remarkable both in design and engineering side; he always designed a very unique roof structure system to give life and to simulate emotion of light within the space. These are just a few points of his special design characteristics which differentiate him from the rest of the architect working today. While interested by works of Renzo Piano, we found that his work had very close relationship to Louis I. Kahn's design. Specially the way Renzo Piano differentiating serving and servant space and the way he treating natural light. Therefore, the purpose of study is focused on providing typology of museum exhibition organization as well as finding evidence of Louis I. Kahn's influence and concept he has shown in his museum projects through actual site visits and reference research. The method of research was as the following; first to find typology and its characteristics of exhibition space organization of all Renzo Piano's museum projects. Secondly to distinguish projects which show 'differentiated servant and served space'. As the result of this study, it was clear that Renzo Piano had influence of Louis I. Kahn on adopting 'Servant and Served Space' concept. But the research concluded with the facts to approve the uniqueness of Renzo Piane's design concept.