• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.311-319
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• 2013

Buildings of the de-constructive tendency beyond definite forms are being constructed in countries with economic power, technical skills and open culture because they require social conditions to accommodate those buildings as well as a lot of construction expenses. Frank Gehry and Zaha Hadid can be chosen as the representative architects of de-constructivism series who are currently working hard. Though both of them are architects belonging to the de-constructivism category, their works show different construction due to the differences in architectural philosophy and working ways. Gehry consider Architect as a fine art and enjoy (sculpture) three-dimensional structure work through Rough Model. With increasing demand for landmark atypical buildings, Hadid has been frequently awarded in the recent series of International Competitions and deals with a lot of cultural works. Affected by absolutism, Hadid showed various diagonal lines in her early construction and works based on the theme of dynamics such as lightness, gliding and light contact with the ground etc. Hadid's Architecture which worked under the theme of dynamic contains a variety of diagonal lines that might cause the viewers to have difficulty on spatial awareness, thus It is known that Hadid's Architecture has lower efficiency on the Circulation and difficulty on spatial cognition compared to the typical museum. According to the research findings of the previous paper that space understanding of viewers on Frank Gehry Museum consisting of complicated planes is generally better than that of them on a typical museum, the purpose of this study is to find out the Circulation efficiency and spatial cognition of Hadid Museum by explaining the space structure of dynamic Hadid Museum and the difference compared to typical museum.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.1
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• pp.107-115
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• 2019

This research explores a historical trajectory of the Milwaukee Art Museum from its establishment to the third expansion over the last six decades. After established in 1957 by the architect, Eero Saarinen, this museum underwent three expansions led by three different architects including, David Kahler, Santiago Calatrava, and James Shields. Reasons for expanding the museum were varied. A lack of exhibition space, an absence of visual identity, and path interruption problem within urban contexts were the main factors of a series of expansion. Furthermore, this research points out that there are three issues in the process of the expansion. The first is connection issues between the downtown and the lakefront in which the museum has blocked the public flow. The second, there were controversies on the allocation of the expanded space among the main body of the decision including architects, curators, and stakeholders. The last one is relationships among architects. This is related to each architect's attitude toward the museum. Drawing on historical documents and interviews with the regional architects, I argue that the identity and values of the museum have changed over time through the expansions rather than having the invariable.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.11a
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• pp.66-69
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• 2006

A movement of visitor is a practical means that provides a spatial arrangement of exhibits and validity to that principle. Thus, an exhibition of a museum cannot be completed by an intrinsic value of exhibition itself. Thereby the purpose of this thesis is finding out the relationship between the visitors' pattern and spatial configuration in museum. As a result, as for the visitors' movement, it was grasped that diversified patterns of movements could appear in case the selections of courses are diversified within the environment in that the general understanding about the spaces was easy. That is, the exhibition environment in that general understanding about the spaces is easy because of the low depth of the exhibition space recognized from the entrance of the exhibition space and composition of exhibition space with diversified selections of courses may induce diversity of viewing patterns. That is, it may mean that in such composition of space, visitors may establish viewing courses based on their own purposes of viewing and preference thus they form individual spatial experiences themselves.

• Journal of the Korean Solar Energy Society
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• v.25 no.4
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• pp.93-100
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• 2005

Character and illuminance distribution of daylighting is very important for the architectural plan in museum. Those data show bases for exhibition space design with daylighting and play a decisive role in visual perception of articles and space aesthetic. The goal of this paper was therefore to analyze the illuminance distribution in fine art museum with 3 typical girdle skylight types which are devided according to the art of protection from glare. This Experiment proved that they had a striking contrast with regard to the ratio of daylight illumination and illuminance distribution in spite of the same purpose of those development. The girdle skylight with a translucent glass showed the strongest value of the ratio of daylight illumination, but inequable illuminance distribution in space, excepting the area of the wall. However, the latticed reflector of light refracted daylight in the direction of wall and made illuminance distribution very equable in whole space. The ratio of daylight illumination at the girdle skylight which was located at the verge of the ceiling, was highest at the upper part of the wall and was reduced gradually from there, by way of the middle and under part of the wall, to the center of space.

• 보존과학연구
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• s.16
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• pp.139-154
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• 1995

In this paper the fundamental elements relevant to schematic daylighting design for museum are discussed and suggested. The illuminance difference between outdoor and exhibition space in consideration of the constraints necessary for the conservation of artifacts can be solved by conversion into Luminance. Also it is considered that transition zone in two stages should be provided for adaption before entering exhibition space and overall luminance within the visual field along viewing circulation should be balanced including the apertures designed for introducing the daylight or visual linking.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.188-195
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• 2010

The museum architecture has been developed with new social and cultural movement because of the its representative role of cultural character. After emergence of the modern museum in Korea, the function and role of the museum has been changed and developed especially after increasing role by local government. The cultural desire by the new pace of consumerism has requested museums to undergo with some changes and advancements in their function and programs. This research aims to examine the progress of museum programs in Korea even though it has sort history. The scope of the analysis is discussed the extension of existing and new national museums which could be the measurement of the direction of the policy for museum. These changes have a tendency to correspond to social and cultural demands. Based on the existing program, new programs accommodate education and services which represent the characteristic of the museums. These changes caused the extension of the existing museums and the emergence of the small museums which has special program fields and even influences to expand existing museums for sub-characters. The study for chronological changes could be useful to establish the basic guidelines of the configuration for the museum program and space in the early stages for the new construction.

• Korean Institute of Interior Design Journal
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• v.17 no.4
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• pp.84-91
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• 2008

The objective of this study is to investigate how visitors' behavior change in relation to the pattern of exhibition in art museum. For the purpose Busan Museum of Modern Art was selected as the sample in this study. And two patterns of exhibition, namely the planar exhibition and the three dimensional exhibition, were surveyed using the tracking movement method. The data gathered from random-sampling 60 visitors in a art museum was analyzed by the correlation analysis and T-test. The results are as follows; 1) There is no meaningful difference in visitors' behavior by the exhibition pattern in terms of their viewing area, viewing time, viewing distance, viewing velocity, viewing rate. 2) In contrast, there is meaningful difference in terms of the number of stops by visitors and the time spent without movement to see the objects; visitors stopped more often and stayed longer within the three dimensional exhibition space than the planar exhibition in a art museum. In sum, visitors extrinsically show no big behavioral difference between the planar exhibition and the three dimensional exhibition, but much difference in the way they communicate with objects; they show more active behavior within the three dimensional exhibition space.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.14-22
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• 2012

In regards to museum planning of Korea, it is mainly depending on overseas cases and relevant domestic books without systematic guideline on the space programme in a museum. Therefore, it is urgently required to establish systematic index as it is incapable of proposing detailed analysis and index in accordance with each element. As various problems occurred due to above reason, total floor area of museum was divided by the area of exhibition section, storage section, research section, and public & other area and its ratio was calculated for statistics targeting 614 museums built after 1990's when many public museums were built with the settlement of local self-governing system and the type of museums was diversified. It was again classified into 4 elements of period, region, scale, and type and then the influence of each element on each section of museum was understood through integrated analysis. First, looking into the space programme in regards to total floor area, the floor area ratio of exhibition section, storage section, and research section decreased and the floor area ratio of public & other area increased with the increase in total floor area. It was because not only rest area but also a space to enjoy various cultures, gaining new experience, and accumulate knowledge is located in public & other area. Second, it was revealed that the ratio of exhibition section and storage section has been decreasing since 1990's and ratio of research section and public & other area has been increasing as they can play various roles such as the education and convenience to satisfy cultural desires of visitor in accordance with current trend. Third, it was proved that floor area ratio of exhibition section is lower than storage section in museums located in highly urbanized region. In addition to this, it was revealed that the floor area ratio of research section is in proportion to the population density. As a result of study, significant relation was displayed in scale, era, and region among 4 elements thus it could be utilized as reference for the space programme of domestic museum planning in the future.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.7-10
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• 1999

The organization of modern society is suddenly changing from the modern society to the ultra modern informationalized society. Various social members must satisfy cultural and artistic desires to serve museum concept and function to move the informationalized society. A lot of natural history museum in the world build cyber space exhibition lines. Audiences do not directly visit but they view but they view the exhibit, get an education, participate in the cultrue programs and earn the museum's informations. Especially, in the case of national and public museums in Korea, they do not concerned the museum architecture before processing the character and collections of the museum. Cyber museums determine museum character, policy, information, collections converge of opinion voluntary collection and grasp of location, because cyber museum can be finished be4fore the work of the future museum.

• Korean Institute of Interior Design Journal
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• no.20
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• pp.98-104
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• 1999

This study aims to offer fundamental design strategies for concerning public·service space in museums through comparative analysis between korean and foreign museums. In so doing, it deals with the spatial configuration of public·service space. It suggests that the careful consideration about the public·service space should be taken in order to make the museum public in real sense. Some design strategies suggested in this study can be used as fundamental data for a public museum design, in particular at the early stage of the design process.