• Korean Institute of Interior Design Journal
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• no.13
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• pp.18-24
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• 1997

Museums after '70's shows remarkable development in public area as well as exhibiiton area. One of the main changes in recent museums is to extend the concept of circulatin area, which regarded solely as a corridor connecting exhibition areas, as a multiple function area with various service facilities. This study aims to outline atypological classification of exhibition area considering with circulation area in museum. On the base of two principal types of exhibition area, that is room type vs open plant type, 30 representative worldwide museums are analyzed and four different types are identified as a result. 1) Loop type as a rotating structure of serial exhibition rooms 2) Cluster type which produce complicated circulation with rooms lied one upon another 3) Centrum type which is specially available to multistory exhibition area 4) Loft type with maximum flexibi쇼 and accessbility.

• The Research Journal of the Costume Culture
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• v.12 no.4
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• pp.591-598
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• 2004

This study examines the effects and influences of fumigation using chemical composite of Methyl Bromide and Ethylene Oxide on the change of strength of excavated dresses. The fabric strength immediately after washing and fumigation increased slightly, but it decreased greatly as the time progressed. The strength of the test sample from Museum A showed a steady decrease with time, while that of Museum B decreased rapidly 5 months later. Compared with the non-fumigated sample, fumigated sample was greater in strength regardless of the time progression, and the strength of sample kept in the exhibit hall was greater than that kept in the storage room. The strength of the fumigated sample was almost same regardless of the three different time periods, before washing, after washing and immediately after fumigation, and it decreased steadily with time, whereas the non-fumigated sample became much weaker in its strength in 10 months after washing. Even 5 months later, the fumigated sample was about as strong as immediately after fumigation, but the strength dropped to a great extent 10 months later.

• Korean Institute of Interior Design Journal
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• no.12
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• pp.67-77
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• 1997

Preservation space is a functionally$\ulcorner$core$\lrcorner$in a museum. Gernerally, it is a common view that collections are exhibited within 5% of total stored collections. So that, part of collections are cycled exhibition space centering around preservation space, and that is a important mechanism of collections circulation in a museum. It is the best way that collections should be $\ulcorner$conserve$\lrcorner$ in a stable condition, but inevitably collections are exposed as stable condition, but inevitably collections are exposed as called $\ulcorner$exhibition$\lrcorner$. For that reason the function of $\ulcorner$exhibition$\lrcorner$. For that reason the function of $\ulcorner$exhibition$\lrcorner$for 'showing' and the function of $\ulcorner$preservation$\lrcorner$for 'conserve'are contrary to each other's concept, so it is principle of scheme that these concepts should be functionally connected with and planned$\ulcorner$match$\lrcorner$. In addition, various studies (for example, comparative analysis of collections, examination of collections for conserved condition or special exhibition, and classification of new item, etc.) are worked in preservation space. Therefore, preservation space should not be considered as a warehouse, should be composed not only$\ulcorner$comfortable place to rest of collections$\lrcorner$but also $\ulcorner$part of study room$\lrcorner$in a museum. So that, environment of museum should be established by plan to preservation and management. The point of plan to museum is that minimize dangerous element for collections, and then develop an essencial element of space for$\ulcorner$conservation$\lrcorner$and$\ulcorner$exhibition$\lrcorner$. The reason why with a few exceptions (buildings which have being exposed or extremely minor part of collections) most of collections have been lasting its life during over hundreds of years with adapting itself to natural features, so scheme of preservation facilities should be made up with understanding and analysis generic character of collections, and then establish proper temperature and humidity environment.

• 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.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.69-76
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• 2008

The purpose of this study is to analyze the interior characteristics of the Yale center for British art by Louis I. Kahn. As his last realized project, the Yale center for British art shows Kahn's latter architectural thoughts about exterior/interior, space/structure and theory/practice. Kahn arranged unit space(room) around two interior courts and laminated them vertically. This spatial configuration is the result of solving the urban context which needed the continuity of street and complicated program including art museum, retail shop, studio and library. Although Kahn adpted severe formal configuration, he added changes to spatial relation. The visualization of architectural system is realized by revealing the relation of the unit space and structure. And this emphasized the presence of the center. The emphasis of tectonic expression is also the characteristics of interior in that structure is the logical part of whole building system rather than concealing object for the exterior of buildings. In the Yale center for British art, interior characteristics are summarized as spatial configuration based on the relation between unit space and two courts, the visualization of structural order, and the relationship between structure and light.

• Journal of Internet of Things and Convergence
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• v.9 no.3
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• pp.69-74
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• 2023

Smart museums based on the growth of online exhibition can be seen as in line with the movement of the 4th Industrial Revolution. By combining art and technologies, they enable viewers to experience culture and art. This study examined the cases of the Dunhuang Museum, the Palace Museum, and the China Arts and Crafts Master Museum to assess or identify how China is leading by accepting the technology of the fourth industry and applying the technology. In common, Chinese smart museums are widely used for collecting enviromental data, establishing integrated digital applications, and preserving collections, services, management, and exhibitions through VR, and AR. Through the case of the Chinese Smart Museum, this study identified the online exhibition as a space that exists in another dimension rather than an image replica with excellent operational utility. Therefore, online exhibitions are the best medium to expand the space, and viewers can explorethe museum's exhibition room and engage with all the contents of the museum without visiting the museum in person. Through the online exhibition of smart museums, visitors and viewers can be transformed into more active cultural consumers and develop collective capabilities.

• Journal of the Korean Society of Earth Science Education
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• v.7 no.1
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• pp.75-90
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• 2014

The purpose of this study was to explore the characteristics of STEAM program developed and implemented by two docents and its educational impact for the use of natural history museum. Two docents developed this program with the help of science educators who ran five times of workshop during five months. The STEAM program implemented in the natural history museum demonstrated the following characteristics. The exhibitions in museum were reached by visitors only for learning science concepts (S) out of five components in STEAM. The other components, T (technology) and E (engineering), were delivered through lectures in the room, not exhibition hall. M (Mathematics)was achieved by guessing the animal's size, or calculating the walking or running speed with the clue of foot prints. The three phases of STEAM program (presentation of context, creatively design the investigation, and emotional touch) were explicitly implemented but partially successful. Two docents participating in this study responded that they formed new or extended the understandings about STEAM education, but they had the difficulties in implementing STEAM program for various type of visitors. All visitors who participated in this study displayed the favorable responses in educational impact by STEAM program in natural history museum. The heavier emphasis on E and T of STEAM program is recommended through community-based learning. In addition, educator professional program through which docents can bridge theory into practice is suggested for revitalization of STEAM education.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.5
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• pp.73-83
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• 2019

The purpose of this study is to analyze the spatial transformational patterns according to the spectator and the exhibition environment and to examine the role of 'the middle space' organically linking the exhibition space with MoA which is a representative example of 'sequential exhibition space'. The concept of sequential exhibition space in MoA is applied not only to building but also to extended continental concepts including neighborhood. MoA's exhibition space consists of the library area and the exhibition area. In particular, the spaces of library area perform a complex function as a quasi-exhibition space, and the exhibition spaces have variable spatial transformation through an associated structure of the library area and the educational area. The types of exhibition space those constitute the sequential exhibition space of MoA appear as 'Room type', 'Free plan type', and 'Gallery type'. Each exhibition space maintains independence, but it is changed according to the situation of exhibition. The flow is based on the spiral induction around the central void space, but with selective circulation considering the visitors. Therefore, through the transformation of the exhibition area and the division of the flow, the whole museum space appears as the area differentiation.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.83-90
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• 2008

This study attempts to understand the arrangement and spatial requisites of art pieces by materializing the visitors' path of movement in the exhibition space, as well as researching their behavior. The purpose of the research is to the guideline for planning the exhibition layout and visitors' circulation can be derived in order to correspond to the visitors' characteristic of movement and circulation-path choice. Although such guideline may have limited use, it is still significant enough to be studied. Taking three Korean art galleries as the subjects of research, this study observes the arrangement of art pieces, movement path of visitors, characteristics of the visitors' behavior and the duration time a visitor takes to view an art piece without moving around in order to understand the arrangement and spatial requisites of art pieces which correspond to the visitors' behavior. The following results have been drawn in this research and analysis; First, when there is an island type exhibition other than the ordinary on-the-wall display in the exhibition space, the visitors' choice of path changes. In short, an island type exhibition seems to be a factor that changes the visitors' path. Second, in the entrance of an exhibition space unit, most of the visitors seem to choose a path which moves counter-clockwise. Third, it is considered that well-known art pieces or art pieces with a big size shall not be displayed on the comer of the exhibition room.

• KOMUNHWA
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• no.70
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• pp.163-178
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• 2007

Among many functions of the museum, the educational function is being emphasized. Museums should actively expand their scope of action through special exhibits or various educational activities. It is through exhibits that museums prove their reason for existence and raise calls for support. Through such activities, university museums should demonstrate the role and reason of existence of a museum inside a university to the members of the university. They should carry out various activities to raise the presence of the museum in the university. That may be the way for university museums, which face many difficulties in reality, to find their breakthrough. Especially in a situation of a low-budget, holding overseas exhibition may be a good opportunity to display the excellence of the Korean culture and, at the same time, publicize the school and the museum. Also, through such overseas exhibition, benchmarking of facilities and activities of advanced museums can be made and networks can be set up with museums around the world. This paper introduces the planning and progressing procedures of exhibitions abroad through the experiences of the Korea University Museum. I sincerely hope that it will contribute to the hereafter development of university museums. Aside from such overseas exhibition, the Korea Foundation has been supporting prestigious foreign museums to establish a Korean exhibition room in order to form a perpetual space to systematically introduce Korean culture and art to foreign audience. Thus far, the National Museum of Korea has stood in the forefront in lending relics to Korean exhibition rooms abroad. I believe it would be a worthwhile activity for the Korea Association of University Museums, which has approximately 100 institutions as its members, to actively participate in the establishment of Korean exhibitions rooms of foreign museums for the development of university museums. Participating in the establishment of Korean exhibition rooms is attractive as it will lead to a constant exchange with foreign museums instead of a one-time exchange. Localization and globalization, which became a big issue about ten years ago, is reality from which university museums cannot be free. In such reality, it is time for university museums to look back on whether they are ready to make their way forward in this era called the century of culture.