• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.29 no.4
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• pp.37-46
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• 2015

Lighting in a fashion shop has an effect on customers, highlights the products on the shelf, and has become more important. Even though lighting has a significant effect on customers, the studies on fashion shop lighting have primarily focused on how to create lighting which can influence customers' purchase behavior, and their awareness and expectation. On the contrary, it's been hard to find a study on a quantified fashion shop lighting plan considering customer confidence. In a current fashion shop lighting plan, display lighting is planned indiscreetly. Therefore, this study conducted an investigation of the light environment of the current fashion shop and museum exhibits lighting. Through such processes, the possibility of applying fashion store display lighting environments was investigated. Finally, for the assessment of museum exhibitions lighting applying fashion store display lighting environments, a subjective evaluation method using light simulation was proposed.

• Journal of Digital Convergence
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• v.10 no.5
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• pp.333-338
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• 2012

Cultural goods is carrying nature and value above-mentioned a commodity to what a cultural element was commercialized. And it produced for the purpose of manufacture for popular sales and supply, and holding commercial character. Specially, cultural goods of a museum keeps a good memory to a sightseer, and broaden an educational experience, and the source of profit becomes it to a seller a producer. This cultural goods as they all include the artistic historical figurative background that they are displayed directly and got twisted up to collection have background which became a motive. Cultural goods can acquire cultural difference in globalization and have to be based on the soil of cultural heritage, starting around various cultural materials through practical value to a modern life. Internationally, cultural goods using a culture material development have competitiveness of nation as in it. Therefore, Baekje cultural goods need national and positive aid from the government with the customer satisfaction index considering the modern design, an age group, an internal and external commodity as the difficulty of various commodity development and managing museum shop. Furthermore, like overseas museum shop, if we are practically using on-off line, continuous promoting our commodity, and marketing strategy such as a membership system when buy our cultural goods, a special discount event etc., we can contribute to activate local economy as a museum shop when we have responsibility of the function and the part.

• Korean Institute of Interior Design Journal
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• v.23 no.5
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• pp.146-156
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• 2014

This study investigated and analyzed the exhibition, education, operation, and regional linkage program around a case of the National Museum of Ethnology in Netherlands, Germany, Mexico, England, and Japan to suggest necessary directions when constructing the national museum of ethnology of Korea. Interview by visiting the site and email interview were conducted for the investigation and suggestions according to the analysis are as follows. 1) It is necessary for the exhibition program to suggest a comparison exhibition by continent, and to be specific, occupation, style of living, representational culture, religion and view of the world, relation of power, and development culture are essential for the culture contents. 2) The education program needs to be constructed based on the age and level, and specific education program was suggested in this study. 3) Managing library, restaurant, cafe, and museum shop is essential for the operation program, additional service operation was suggested to cover additional financial areas, and professional research workers and professor manpower are necessary. 4) The regional linkage program needs to be composed by considering special qualities of the country and region, and needs to satisfy the expected effect of the local community and local residents.

• Journal of Fashion Business
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• v.12 no.1
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• pp.147-163
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• 2008

This research aims to develop cultural products for professional sales after producing creative products utilizing dinosaur characters, which are the representative exhibited item of dinosaur-centered museum. There are seven museums in Korea whose theme is dinosaur. There are three dinosaur museums among them, Goseong Dinosaur Museum at Kyungnam, Mokpo Natural History Museum, and Seodaemun Museum of Natural History. While inspecting cultural products within the museum shops of these three museums, general products occupy more than 80% of all the products rather than products related to dinosaurs, and has a problem that most products are decorative ones. This resulted from that enterprises supplying these products are not professional ones and are irrelevent to cultural industry; as result, purpose of conveying culture through products is lost. This research develops dinosaur characters utilizing computer 3D techniques in order to imbue unique characteristics to dinosaur museums and informing cultural speciality of our country. In addition, this research presented design method of cultural products by grafting traditional symbols onto these characters, and actually produced 11 items of 5 kinds: toys(dolls), clothes(T-shirts, pajamas, socks), stationery(notebooks, memo), accessaries (bags, umbrellas, handkerchief), and others(cups). On the items above, dinosaur characters are variously utilized in form of printing, embroidery, and stickers by using computer 3D technique. A cultural product is a tangible form which could show variety of cultural characteristics of our nation that could spread the culture through the consumers, and such type of purchasing could increase values of cultural industry by creating economic profits; such points are the significance of this study.

• Review of Culture and Economy
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• v.17 no.2
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• pp.161-184
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• 2014

The dramatic rise of experience space using cultural heritage in modern architecture has been generally acknowledged in recent literature. The present study aims to investigate effective ways to enhance competitiveness in local experience space, with an emphasis on the use of cultural heritage in modern architecture. Using the case of the Sam-Rae Arts Village in Wanju-gun, Jeollabuk, this study analyzes the characteristics of the 4Es in experience economy theory. In order to arrive at findings that represent the variety of perspectives found in this context, qualitative interviews were conducted with three groups: public officials, maintenance staff in the experience center, and field experts. The results of this study revealed that the Visual Media Art Museum and Book Wooks were used for entertainment, the Corpentry Shop for education, the Book Museum for escapism, and the Design Museum Culture $Caf{\acute{e}}$ The O's for aestheticism. Additionally, depending on the commercial potential of the respective experience space, the Corpentry Shop, Book Wooks, and the Culture $Caf{\acute{e}}$ The O's were used for profit purposes while the Design Museum and the Visual Media Art Museum for non-profit. Based on the findings of the present study, effective ways to enhance competitiveness in the local experience space are suggested. First, the public nature of cultural enjoyment may be realized in a field that bears non-profit characteristics. In exhibiting works, the experience space could suggest the extra demonstration. Second, in the for-profit experience hall, the securing of tourists may help to maximize profit. In so doing, a variety of experience programs and activity spaces could be provided internally, while advertisement marketing through mobile and SNS could be reinforced externally.

• The Journal of Art Theory & Practice
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• no.2
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• pp.191-213
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• 2004

The trend of "Blockbuster Exhibitions" over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled "The Commercialization of Blockbuster Exhibitions in Museums," I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum's attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the "hype" that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of "souvenirs" from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to he influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation's tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs, while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In Slim, my dissertation discusses the mechanism of the commercialized "Blockbuster Exhibition" and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.

• Journal of the Korean housing association
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• v.21 no.6
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• pp.31-42
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• 2010

Korean Folk Village was founded in 1974 as the first open-air museum in Korea. It consists of over one hundred traditional Korean houses and buildings. Most of structures in the Village were reproduced or newly constructed in traditional style. Some houses were used as craft shop and folklore performance. Preservation of vernacular architecture by the government began in the late 1960s in Korea. The development of the Village was initiated by the central government for the sake of attracting both the foreign and domestic tourists. Park Chung-hee administration focused on national culture to justify their dictatorship. The government drove a very rapid economic growth in the 1970s and Korean society was in the midst of modernization leaving many traditional landscapes behind in the memory. The Village was aimed to appeal the Korean people's nostalgia and at the same time to combine their folk into the modern nation.

• Korean Institute of Interior Design Journal
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• no.10
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• pp.77-81
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• 1997

The study is for interior design and planning of new c conceptual modern shop(called "Value Conscious Store") t through the history of retail store, and its process is based on m most great cites in USA. The Value Conscious Store has c come into existence for consumer and retailer who have had v various lifestyles and characters. From analysis of new l lifestyle consumer to retailer's strategy. we could find i interesting design solutions and, forecast next concerns for d designing store. Store has been designed up-scaled and opened to give pleasure and comfort and made by a theme to m make unique and strong impact for customers. Also it uses M Multi-Media for excitment, and is designed as exhibition of m museum to lead constomers to new culture and trend. From t these interior trends will go on to next generation with new c concepts : environment and nature, senses and sensibility. T These words will be the new solution for creative and s successful store design by the designer who has environm mentally conscious and social responsibility in his mind. his mind.

• Korean Institute of Interior Design Journal
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• no.37
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• pp.80-87
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• 2003

Contemporary shops play an important role as a place to experience contemporary culture as well as sales and display techniques. This study is to suggest one of the prototypes of character streets consisting of characteristic shops through the analysis of the stores in the SoHo area in New York City. The study found that there are three kinds of characteristic shops preserving the cast-iron architectural environment in the SoHo area. In the first case, the interiors of the shops are partially renovated original lofts keeping decorative columns, white plaster walls and wooden floors. In the second case, the interiors are totally renovated leaving no old traces. This is achieved through wrapping columns and replacing old materials with new ones. In the third case, the interiors are renovated with the different approaches using mixed ideas and materials. The original columns exist but are transformed in this case. In the third case, shops tend to be extra large and complicated. The Prada shop in SoHo by Rem Koolaas is the best example of this case. This shop is the conceptual city, theater and avant-garde museum itself, that is, the place of experiencing contemporary culture.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.25-35
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• 2006

This study investigated the scheme for correctly making Korean fashion design known to the world. It attempted to increase the influence of the Eighteenth Century Costume in contemporary fashion. During the 18th century, France had an almost complete monopoly of fashion. Growing out the fairyland atmosphere of the French Court and often conceived of as ennui by personal vanity, this fashion was a product of an age which sought at any price to live life with supreme grace. Most of the special costume exhibitions in the Metropolitan Museum of Art are planned and directed by Polaire Weissman, Diana Vreeland, Richard Martin, Harold Koda. The Costume Institute has held exhibitions of the Eighteenth Century Costume several times such as "Museum Period Rooms Re-Occupied in Style," "the Eighteenth Century Women," "the Ceaseless Century," "Dangerous Liaisons," etc. Especially, the exhibition of "Dangerous Liaisons" is organized in ten parts such as the Portrait, the Levee, the Music Lesson, the Withdrawing Room, the Broken Vase, the Favorite, the Masked Beauty, the Card Game, the Late Supper, and the Shop. Using the eighteenth century as its touchstone, The Ceaseless Century proceeds differently, not seeking the short distance between a discrete present and the multiple past but rather showing the complicated navigation that comes of revivalism swing to and fro on the timeline of history and sensibility. The designers featured include Karl Lagerfeld, Gianni Versace, Vivienne Westwood, Jean Paul Gaultier, Christian Dior, Cristobal Balencicga, Christian Lacroix, Stella McCartney forChloe, Olivier Theyskens, Alexander McQueen, etc. Therefore, Korean designers should refrain from (Ed-confirm) the foreign collection without a clear purpose and should devote their effort to create with an active attitude.