• 한국농촌건축학회논문집
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• 제6권2호
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• pp.43-52
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• 2004

The function and role of museum has changed focused on the experience program and visiter's participation in this time. In Comparison with Korean museums, like this visiter's personal experience has special effects through experience programs of museum in Japan. So, I researched cases of Japan and the survey on experience museum programs should summarized three characteristics as followings implied cultural desire about museum directly or indirectly. 1. Experience programs base on the rural community, identity, and tradition. 2. Boso village museum and Tokusima experience museum harmonized with out-space and institutions, prepare various programs, exhibition, and selling of collections. 3. Through experience programs classifying into visiter's experience at first hand and expert's rehearsal according to difficulty of the job, it is sufficient about visiter's demands.

• 박물관보존과학
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• 제19권
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• pp.83-98
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• 2018

본 조사 연구에서는 박물관 사용 조명에 대한 조사 방법이 주로 조도에 국한된 것에서 나아가 조도, 휘도, 연색성 등 좀 더 다양한 항목의 조사를 통해 조명에 대하여 객관적으로 평가하고자 하였다. 특히 이번 조사에서는 박물관 조명이 가지고 있는 문제점을 시각적으로 측정하여 도출하였고, 박물관의 조도 기준에 적합하면서도 쾌적하게 관람할 수 있는 조명에 대하여 제시하고자 하였다. 물론 앞으로도 박물관의 조명은 문화재의 보존이 우선시 되어야 하지만 효과적인 관람을 위해 휘도와 색온도, 연색성 등을 같이 고려하여 조명하는 것이 안전하면서도 효과적인 전시가 될 것이다.

• 보존과학회지
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• 제35권1호
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• pp.51-60
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• 2019

This paper provides quantitative data that describes the evolution of the air quality in the Whale and Sea Museum, located in the Iwate prefecture, collected after the 2011 Great East Japan Earthquake and tsunami. The museum was damaged significantly by the disaster, and restoration works continued for over six years. The air quality in the temporary storage facility and museum was monitored during the rehabilitation process. Evaluation of air quality is carried out by gas chromatography- mass spectrometry, ion chromatography and high-performance liquid chromatography. The results showed that the characteristics of the chemical components differed depending on the measurement locations inside the building. The museum atmosphere tended to be alkaline as the airtightness increased because of the maintenance works at the entrance. It was also determined that it was necessary to study the intake/exhaust routes and to clean them according to the contamination degree. In Japan, there are recommended museum air quality standards for acetic acid, formic acid, alkali, and aldehydes. The results indicated that these standards should not be used as a reference for damaged museums. Furthermore, at the temporary storage facilities for to store the collections during the rehabilitation of the museum, solvents such as ethyl benzene, toluene, and xylene are initially abundant, although they can be reduced by ventilation, while other components such as 2E1H was confirmed in this case are likely to remain.

• 한국콘텐츠학회논문지
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• 제22권8호
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• pp.681-691
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• 2022

본 연구는 우리나라 개화기 이후 해방될 때까지 근대 시기에 발행된 한국기독교 관련 자료를 다수 소장하고 있는 S대학교 한국기독교박물관의 자료목록을 분석하여 이를 대상으로 디지털 아카이브 시스템을 구축하는데 목적이 있다. 한국 근대 시기의 기독교자료에 관한 디지털 아카이브 시스템 구축을 위해 대상 자료에 대한 색인과 메타데이터를 형식에 맞게 작성하였다. 선별된 자료를 디지털화한 후, 메타데이터 정보를 이용하여 데이터베이스를 구축하였고, 실제 시스템은 웹 표준 기반의 관리시스템과 이용자서비스시스템으로 나누어 구축하였다. 디지털 아카이브의 원활한 이용을 위해 내용기반의 검색시스템을 구축하였으며, 한 글자 단위의 검색결과 매칭값을 제공하고 검색어 자동완성 기능을 구현함으로써 이용자의 편의성을 제고하였다. 이를 통해 원문접근이 어려운 박물관 자료를 손쉽게 이용할 수 있도록 디지털화하여 제공함으로써 인문학 콘텐츠의 장기적 발전의 토대를 마련하여 연구자 및 대중들의 자료 접근성 및 활용성을 제고할 수 있는 기반을 마련하였다.

• 한국기록관리학회지
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• 제8권2호
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• pp.75-88
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• 2008

본 연구에서는 국내의 대표적인 박물관, 기록관, 도서관 등 5개 기관을 대상으로 근대 공문서 소장현황, 소장기록물의 특성, 그리고 서비스 현황을 검토하였다. 검토결과, 대부분의 기관이 소장 기록물 전체 목록을 작성하지 못하고 있으며, 웹서비스도 제한되고 있었다. 또한 생산출처가 동일한 기록물군이 2~3개 기관에 분산 보존되고 있는 사례도 있었다. 그 결과, 각 기관에 분산 소장되어 있는 근대 공문서를 효과적으로 정리하고 활용하기 위하여 기록관, 박물관, 도서관 등이 협력해야 할 이유를 확인할 수 있었다.

• 박물관보존과학
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• 제2권
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• pp.41-49
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• 2000

회화유물 보존에 있어서 가장 중요한 관점은 유물의 원형을 찾아 그대로 복원하는 것이다. 복원 방법으로는 전통적인 표장법을 쓰는데 이를 위해서는 X선 및 적외선 촬영, 현미경조사 등과 같은 과학적인 조사와 함께 재료를 선택적으로 사용하는 것이다. 이번 국립중앙박물관 소장 고려불화 '나한도'는 그 원형이 많이 손상되어 있었다. 따라서 보존처리 과정에 있어 그 문제점을 찾아 복원하였고, 표장 형식은 액자에서 족자로 바꾸는 방법을 택하였다. 본고에서는 '나한도'의 사전조사 내용 및 보존처리 과정을 소개하고자 한다.

• 한국의류학회지
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• 제26권10호
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• pp.1424-1435
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• 2002

This study is about women's veils from Chosen period housed in various museums and see how they reflect the escalating inequality between the two sexes based on Confucianism and its social ramifications including the strict rules that kept women from freely communicating or staying in same quarters with men from tender age. I first visited various museums to see what kind of veils they had in their collections and then looked at reproductions, museum catalogues, and other studies to get a better understanding of the designs, colors, and fabrics of the veils in each collection and came to following conclusions:. 1. I looked at 26 veils of 7 different sues both in person and in museum catalogues, and they included a Neouls,3 Myunsas, l2Jahngots,4 Chuneuis,1 Sahkgat 3Junmos, and 1 Garima. Various documents attest to the existence of one more style of veil,1. e. skirt-shaped veil, but there was no specimen of the type. 2. Museums had various types of veils for women, but most of them dated from late Chosun period. 3. Female veils in Chosun period had dearly-defined characteristics depending on their wearers. Each type had its own fabric color, and form, so one could tell the status of the wearer just by looking at it 4. The veils that I found at museums around the country had following characteristics: . Neoul was worn by high-class women and it covered up the face better than other types of veils. Myunsa was also caned Myunsapo, and it featured brilliant gold foils to mark the salted status of the wearer. Jahngot was originally a robe for both sexes but it turned into a type of veil for low-class females in late am period and there were more Jangots in museum collections than my other type of veils. Chuneui has various styles and it has a cotton lining so low-class women wore it to both cover the face and to stay worn Sahkgat was worn by low-class women for its convenience. Junmo was elaborately decorated and showy, and it was worn by courtesans. Garima was worn by courtesans or professional women in medicine, and unlike other type of veils, it showed the face of the wearer.

• 보존과학회지
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• 제34권4호
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• pp.245-257
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• 2018

To investigate the deterioration of textiles with metal thread, I surveyed 40 textile objects, dating from the 11th to the 19th century from Korea, China, Japan, and Central Asia at the Metropolitan Museum of Art, New York. This survey included various types, widths, and thicknesses of metal thread. In addition, deterioration was examined under the microscope and color information was collected using the spectrophotometer. While investigating metal thread in the collections, I fabricated 12 different types of metal samples with metal leaf(24K gold, silver, and copper leaf), adhesive (hide animal glue and a mixture of hide animal glue and iron oxide red), and paper substrate(Korean mulberry and Taiwanese kozo paper). The accelerated deterioration process of those fabricated samples was carried out using a light box(UV and daylight), and a humidity cabinet. In the light experiment with blue scales textile fading card(aka, blue wool standard), the metal leaf began to peel off during the deterioration process with 756,000 lux-hours UV and daylight. In the temperature and humidity experiment, I could observe the reddish tarnish on copper, and some part of it began to peel off. Color reading on the light exposed samples showed that the degree of color change on the surface follows the amount of exposure as it increased over time. On the other hand, color change on the samples after artificial deterioration using temperature and humidity factors showed random change of color with occasional spikes. Distortion of original shape worsened in the samples exposed to temperature and humidity.

• 한국실내디자인학회논문집
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• 제17호
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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.

• 한국의류학회지
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• 제40권5호
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• pp.936-953
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• 2016

This article surveys the meaning and history of fashion museum exhibitions to understand the characteristics that make a fashion museum exhibition special. It explores dress museology and fashion museology in theory, and practice across a range of international case studies that include the Costume Institute at the Metropolitan Museum of Art in New York, Mode Museum in Antwerp, and the Victoria and Albert Museum in London. In particular, it examines how curatorial intervention has developed the interpretation and display techniques of dress within the context of the museum or gallery as well as how fashion has made museums accessible to diverse audiences. For a specific case study, we review the types and roles of fashion exhibitions organized by the Simone Handbag Museum, Seoul. It is the first handbag-centered fashion museum in the world as well as one of the most representative local fashion museums. The museum collection includes fashionable western handbags from rare specimens of the $15^{th}$ century to the latest bags of the $21^{st}$ century, and presents a history of changing fashion cycles and the major socio-cultural shifts that have profoundly affected women's lives in public spaces. Exhibitions show the perspective to a range of curatorial methodologies and show the innovative approaches towards collections and displays with broader fashion issues such as gender, materialism and technology. The article is to help encourage further scholar discourse between fashion museum exhibitions and fashion museology.