• 마케팅과학연구
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• 제10권
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• pp.45-70
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• 2002

The purpose of this study is to obtain more insight into the explanation and prognosis of consumer behavior in real and virtual museums. The analysis focuses on the influence of the museum environment on the museum patrons (rather than on the influence of the art objects). On the basis of the emotional approach to environmental psychology by Mehrabian and Russell (1974), a behavior model has been developed for museums. The model, which is based on the emotional variables pleasure, arousal and dominance (PAD), is also enhanced by cognitive variabies (learning attractiveness, education standard and information demand). The enhancement of the classical model was necessary because cognitive variables play a major role in cultural institutions such as museums: One important objective of museums is the communication of cultural knowledge to visitors. The model is tested empirically using structural equation modeling. 301 visitors were interviewed individually. Two different museum environments were represented using visual stimuli. The theoretical model for museums can be proved empirically. The degree to which the model fits the empirical data was extensively tested. The model showed high compatibility with the data and could be accepted. The study proves that a model can be developed, which explains visitor behavior in museums. The model shows museum designers how museums should be designed to be both emotionally appealing and a learning environment. Based on empirical studies in virtual stores on the Internet, it is discussed whether the research findings in these environments may be applied to virtual museum environments. In order to create an emotionally appealing virtual museum, it is recommended that one uses a 3-dimensional representation to offer various possibilities for interaction and to create a multi-sensual environment that appears highly realistic.

• 한국실내디자인학회논문집
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• 제22권4호
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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.

• 한국실내디자인학회논문집
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• 제19권6호
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• pp.197-205
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• 2010

For the spatial experience of spectators visiting a museum, the route search of trying to follow the spatial structure or production of exhibition and the information search of trying to see are accomplished at the same time. In such process, the spectator's reaction of visual perception produces the result of emotional reaction and action exchanged between human and space by going through the recognition and perception on the target of environment factor. For the spatial experience of a spectator, the reaction of visual perception which interacts according to the exhibit and exhibition environment within space according to viewing purpose, interest and concern of spectator comes out as visual activity which is an activity to understand the spatial information shown as various activities according to spatial structure and unfolding characteristics of the display. The purpose of this study is to identify The Correlation of Spectator Movement Created According to Structural Form of Exhibition Area Based on Interaction between Exhibition Area Structure and Spectator to utilize as basic material while designing museum exhibition using isovist field which is a quantitative analysis tool of spectator's visual behavior and spatial structure at each exhibition area.

• 박물관보존과학
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• 제7권
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• pp.75-87
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• 2006

국립중앙박물관은 2005년 10월 개관과 더불어 수장고 및 전시실의 안정한 보존 환경관리시스템을 확보하였다. 우선 수장고 및 전시실의 온습도와 유해가스를 주기적으로 측정하여 유물에 안정적인 환경을 유지하면서, 전시진열장 등 유물에 유해한 영향을 줄 수 있는 전시보조 재료(천, 종이, 페인트, 풀 등)를 테스트(Oddy test)하여 안정한 재료를 선정하고자 하였다. 또한 생물학적 피해를 미연에 방지하기 위해 수장고 전체를 훈증하였으며, 수장고에 주기적으로 곤충모니터링 트랩을 설치하여 생물에 의한 피해를 예방하고 있다.

• 한국실내디자인학회논문집
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• 제15권3호
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• pp.144-154
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• 2006

Except the time when relics of a museum are exhibited or loaned to the public, they are stored in a storage. In addition, it is common view that collections are exhibited a few of total stored collections in a museum. Therefore, the environmental condition of a storage is an important factor. Hereby, the purpose of this study is to suggest the design guidelines of a storage for conservation of relics in a museum. The results from this study are as follows briefly. First, location of storages has to be located and centralized above ground against preservation environment and additional renovation. Second, for storage size, It is reasonable to secure long-term experimental data after planning about 20% of whole section in present domestic situation. Third, in order to prevent environmental deterioration due to short storage floor space, adequate storage height has to be secured against a mezzanine deck and spare storages need to be planned. Where a mezzanine deck is designed, detailed plans have to be supported for equal micro climate in a storage. Fourth, in respect of environmental control of storages, finish materials with adjustment ability on relative humidity have to be used after the system is installed jointly direct and indirect way by air chamber, considering domestic condition for management of intermittent ventilation.

• 한국실내디자인학회논문집
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• 제14권6호
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• pp.252-259
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• 2005

A modern museum has been changed from a passive place for simply exhibiting arts and antique collections to an interactive place for learning and experiencing culture and information. Such a functional change of the modern museum requires not only reorganizing fundamental characteristics of the modern museum, but also reforming organization of management teams, changing attitudes of staffs and assigning new roles to staffs for accepting the new thought and approach of visitors. That is, the function of the modem museum is not limited to collect arts and antique collections. The fundamental change of the modern museum further requires using the collections as a tool or a medium to provide a cultural exchange between the visitors and the museum, and to give new experience and information to the visitors. After proposing discussion that ' how, what, who is related to the museum? ', the way of thinking the museum is changed from ' collection ' to ' communication '. The change of the modern museum improves an educational role of the museum, and makes the museum as a communicator exchanging information and experience with visitors. In the last analysis, the modern museum is not just an exhibition medium that simply transfers information of the exhibition mediums to public. The modem museum is also a communication medium in order to collect information and transfer the collected information to the visitors. That is, the modern museum should provide various exhibition and communication mediums to the visitors for exchanging information and cultural experience. Therefore, the modern museum requires additional functions processing information suitable to the present environment and level of the museum, and transferring the information to public.

• 한국실내디자인학회논문집
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• 제19권5호
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• pp.67-74
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• 2010

The purposes of this study are to investigate the dimensions of the sensibility towards a spatial environment perceived by the general public and to present the characteristics of various spaces through empirical analyses. A set of words are selected to describe visitors' perception of a spatial environment based on previous studies, and then they are arranged according to the degree of understanding and suitability. The results of the survey on the sensibility measurement can be summarized as follows: Factor analyses and cluster analyses are conducted on the indicators measuring the general public's perception of the exhibition hall of the Deoksugung Museum, and the following five dimensions are obtained: spatial value, spatial aesthetic, spatial affinity, spatial freshness, and spatial materials. The satisfaction level of visitors regarding the space of the exhibition hall under study is also investigated. A regression analysis is conducted to find a relationship between the satisfaction level of visitors (DV) and the five dimensions (IVs), and the analysis shows that there is a significant relationship. Among the five factors, the 'Spacial Value' and 'Spacial Affinity' are found to Significantly affect visitors' satisfaction. The results of this empirical study show that visitors' affinity towards the exhibition hall of the Deoksugung Art Museum along with the surrounding garden, as well as visitors' appreciation of the social, historical, and cultural value of Deoksugung Palace, are found to greatly affect visitors' overall satisfaction with the spatial environment of the museum.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.137-144
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• 2004

Museum in each era and society has its own specific meaning. When a museum is viewed from a cultural perspective, it may be apprehended as more than a functional tool for it also represents the culture of that particular time. The role of museum made across each stages are not simply shifts in architectural style, but indicate an evolution in social role and intrinsic function. The purpose of this study is to comprehend the definition of museum and the variety of exhibition design from the ancient days which the term is called 'museum' is used for the first time to beginning of the 20th century. As a result of this study, we can find that the museum is considered the meaning of the place to change according to the social environment more than the place to the collection, conservation, exhibition, education from the beginning. Accordingly, museums should make continued efforts to set cultural guidelines for the general public.

• Architectural research
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• 제13권1호
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• pp.3-9
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• 2011

To design and construct a museum of art involves the interest of artists, architects, curatorship, management, and local government. More than this direct relationship, museum obliges the public a mission of delivering genuine public experience through art and architecture. However, most of Modern and contemporary architecture has not delivered genuine public experience of integrated art and architecture. Conceptual message of art and perceptual architectural exhibition space has not been integrated easily. Picture frame canvas initiated this schism and institutionalized museum management hampered the creativity of artists. This schism was overcome through artists' questioning of museum culture and creative works that embrace work and its environment. In contemporary culture, installation art and media art necessitates a new museum format which needs not only exhibition, but laboratory and interface space with viewers. This paper will regroup the existing museum according to its use and strategy, and reinterpret progressive museums that fosters young artists, and more than this, will introduce successfully established museums for new forms of art, which are equipped with versatile exhibition spaces, innovative interface between works and viewers, and own laboratory that can produce works of art. These examples will envision a creative method of art and architecture production that can achieve genuine public experience.

• 한국실내디자인학회논문집
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• 제15권2호
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• pp.138-149
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• 2006

A museum's collections is fundamental factors to construct important activity of museum performing a role as cultural facility for learning, education and research. Therefore, conservation of collections through appropriate environments is previously established in step of planing a museum. Hereby, the purpose of this study is to set up the classification of collections and suggest a useful guidance of the storage division in a domestic museum. The results of this study are as follows. First, the main factors of deterioration are temperature and relative humidity in a museum storage, so classification of collections should be set up according to the objective standards of these factors. Second, the classification of collections can be performed as follow: the group for nonorganic materials subdivide metal, chinaware, earthenware, and jade stone, the group for organic materials subdivide leather hair paper fabric, bone horn shell mound and wood herbage and the group for composed materials. Third, for storage division of a domestic museum, basically has to consider that it is reasonable to plan $4{\sim}5$ storages in metal, jade stone, chinaware earthenware, and organic materials of $1{\sim}2$ units in case of a serial of history like archaeological, antique museum. And in case of folk relics of modern and contemporary arts are collected, it is reasonable to plan over 5 storages add composed materials to foregoing classification.