• Korean Institute of Interior Design Journal
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• v.20 no.4
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• pp.174-182
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• 2011

This study analyzed visitors' behaviors in the viewpoint of Attraction Power and Holding Power of exhibits on the basis of exhibition layout of real science museums. Through the analysis, the study grasped efficiency of analysis index and exhibition environment elements which might have an effect on planning the exhibition space of a large-scale museum and producing detailed ranges of exhibition. The main indicators used are: 1. Attraction Power: it indicates the relative incidence of people who have stopped in front of an object/exhibit during the exhibition tour. It is calculated by dividing the number of people who stop by the total number of people who have visited the museum or gallery. 2. Holding Power: it measures the average time spent in front of an information/communication element. It is calculated by dividing the average time of stay by the time "necessary" to read an element. As a result of analyzing the exhibition areas of National Science Museum (Daejeon) and National Museum of Emerging Science and Innovation(Tokyo), the Holding Power was found to be relatively lower than the Attracting Power. This means that 3.5 out of 10 visitors stop in front of the exhibit in 6 exhibition areas, and among these, only 1/10 is used when compared to the user required time of the exhibits. In other words, like the method of deriving an analysis index, the stage of viewing can be categorized as Attracting Power and Holding Power, and because the stage from Attracting Power to the stage of Holding Power are strongly linked, it shows that it is not easy to display a meaningful result. Except, the general distribution of Attracting Power was shown to be high from the entrance area of the exhibition hall based on the standard of viewing sequence. Also, the Holding Power became sequentially lower according to the sequence of exhibition viewing and displayed a meaningful interrelationship with the distribution ratio of island exhibits. In the case of island exhibition method, it is less influenced by the movement flow of visitors when compared to the wall type method of exhibition and can be understood as an exhibition method that provides spatial chances enabling stopping and viewing.

• The Journal of Art Theory & Practice
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• no.14
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• pp.7-32
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• 2012

The exhibition was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.329-341
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• 2016

With the introduction of smart phones in the late 2000's, the audio guides of museums have been gradually replaced by the mobile apps of smart phones. Although many studies have been already conducted about the mobile apps in the fields of tourism or finance, it is hard to find empirical research on the mobile docent apps. This study aimed to investigate the influence of the various factors of mobile docent apps on user satisfaction and intention to reuse. For this goal, based on the review of literature and the Technology Acceptance Model (TAM), a research model was constructed that consists of information timeliness, information service quality, ubiquitous access, and interactivity, along with the variables of TAM such as perceived ease of use, and perceived usefulness. A survey was conducted at Rodin museum in the United States where all the information about exhibitions is provided over a smart docent app. 210 surveys were collected, and 204 valid ones were used for analysis. The analysis using structural equation modeling revealed that information timeliness, information service quality, and interactivity have significant influence on perceived ease of use; ubiquitous access and interactivity showed significant impact on perceived usefulness. The perceived ease of use and usefulness then had significant impact on satisfaction and intention to re-use.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.59-72
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• 2000

Dragon robe was defined as a robe on which the principal design consisted of dragon. Dragon patterns have been used on princess robes during T'and Dynasty. In Sung, Dragon-figured robes seem to have an Imperial prerogative. Yuan took over the use of robes with dragons patterns as a definite institition. Ming tried to reject all Yuan innovations, the dragon robe was retained as an unofficial court costume. The Emperor's semiformal robes which at first had four dragon medallions, later had twelve along with the 12 Symbols(십이장문). As Ch'ing dragon robes were only intended fro semiformal use. The Later Ch'ing robes date from after 1719, when the Ch'ien-lung(건륭) introduced 12 Symbols on Ch'ing robes. The Ch'ien-lung laws were disobeyed, notably the ones that specified the number of claws on the dragons. THe Emperor's dragon robe, lung-p'ao, (용포) was described as bright yellow in color, having four slits and horsefoof cuffs. The basic pattern consisted of nin dragons, in addition it had 12 Symbols. The elaborate textile techniques reached their peak in Ch'ing Dynasty-with its Weaving and Dyeing Office in Peking, and this factories at Hangchow(항주), Soochow(소주), and Naking(남경) -helps to explain why the decay of the Ch'ing bureaucracy hastended the decline of dragon robes. In the Ch'ing Dynasty tow terms were used for dragon robe, depending on the number of claws on the dragons. Those with five-clawed dragons were called lung-p'ao, while those with four-clawed dragons were called mang-p'ao(망포). The Court felt compelled to take corrective meausres. It decreeed that Ninisters of State and other officials, who had been bestowed five-clawed lung dragons, must take out one claw. Finally, the sale of ranks and the attendant privilege of wearing dragon robes gradually increased during the 18 th century, reaching its height in the 19 th century, Finally, after the Taiping Rebellion, when the Imperial Treasury was depleted by the wholesale destruction of revenue-producing lands, the Chinese government came to depend on such sales as an important source of revenue and the practice became even more widespread. The ensuing mass production of dragon robes, and the necessity of conforming to the fairly rigid basic pattern established in 1759, resulted in marked deterioration of workmanship, and a comparative monotony of decoration. The patterns on the dragon robes slight changes continued to be made in the ways of representign them. The li shui (입수) portion at the base of the robe become inreasingly wider throughout the 19th century. The background became cluttered with symbols of good fortune, scattered among the clouds and waves. As a result of all this extraneous decoration, the dragons were so crowded that they had to shrink back into the small size that they had originally occupied in the medallons. Kuang-hsu(광저) was a long one, allowing time for the manufacture of numerous robes. Also, it would seem likely that Occidental museums and collections would have a considerable number of his robes, in view of the widespread looting of his palaces during the Allied occupation of Peking in 1900, and the frequent sales of Late Ch'ing imperial textiles by destitute Manchu courtiers in the '20's.

• Archives of design research
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• v.14 no.2
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• pp.197-207
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• 2001

A designed object reveals its meaning and image through form, color and material. Among these three elements, material has more powerful influence with its tactile and visual characteristics. In Korea, traditionally materials itself were mainly used to design artifacts rather than various color or formal decoration. The purpose of this study is to investigate the Korean traditional materials, and to classify them by the characteristics of their texture. For this study, the pictures of Korean traditional artifacts were collected from the national museums and literature. Those are architectural and interior elements, furniture, cloths and textiles, arts and crafts. Total of 533 collected artifacts were classified into seven categories, metal, day, stone, paper, wood, straw, fabric things. : 59 metal things, 115 clay things, 62 stone things, 73 paper things, 80 wood things, 47 straw things, 97 fabric things. Each materials were classified into its forming methods and surface treatment focused on the he characteristics of their surface texture. Throughout this study, the uniqueness of forming method and surface treatment of each materials in Korea has been clarified. And furthermore the classification by this various traditional methods of materials will provide plentiful information and ideas to today's designers of the world.

• Journal of Gifted/Talented Education
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• v.21 no.2
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• pp.547-573
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• 2011

In this study, using a questionnaire about camp programs, we surveyed 375 gifted education institutes, including 285 classes for the gifted, 70 institutes for the gifted at education offices, and 20 institutes for the gifted at universities. The survey questionnaire consists of questions relating to camp design, camp operation, and camp introspection. The questions relating to camp operation are subdivided into questions relating to content, process, product, and learning environment of the camp. In the analysis of camp design, experience-centered camps entailing visits to research institutes, science museums, and so on showed the highest ratio. The camps were generally carried out in summer vacation as two day/one night programs. The average score of camp content was 3.72, that of camp process was 3.78, that of camp product was 3.77, and that of camp environment was 3.58. In the analysis of camp introspection, the item 'a lack of information about diverse camp activities' showed the highest difficult thing. Integrating these results, we suggest that information about diverse camp activities should be developed and supplied and the camp environment strengthen the freedom of students to select camp activities.

• KOMUNHWA
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• no.57
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• pp.195-210
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• 2001

One kiln site of Koryo Earthenware in Hwakok-ri, Ansung was excavated from March 15, 1999 to May 15, 1999 by Museum Team of Ehwa Women's University, and also other one earthenware kiln site was confirmed as exposed figure on the ground. In this study, the

• Journal of Korean Society of Environmental Engineers
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• v.35 no.3
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• pp.192-199
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• 2013

The Tandong-cheon stream is a 7.4 km long small urban stream that passes through Daeduk Science Town in Daejeon Korea. Despite the stream has great potential as an educational and recreational site due to its central location in the science town and science museums nearby, environmental aspect especially for water quality has not been evaluated properly. Through field survey, major pollution sources of the stream were identified and effect of water quality improvement alternatives were evaluated using a QUAL2K water quality model for the stream. The study indicated that controlling major pollution sources of the stream alone may not be sufficient for reaching the water quality target. Therefore, additional pollution control methods are necessary. We applied the developed model to evaluate the effects of a constructed wetland on the terrace land, and analyzed whether the water quality target can be met at the outlet of the stream. It is expected that this study would provide a good reference for environmentally sound management of small urban streams in Korea.

• KOMUNHWA
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• no.70
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• pp.89-108
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• 2007

Stamped-Roof Tiles, the characteristics of Baekje Tiles are one of the most frequently excavated tiles in Iksan. Considering the types and amount of excavation of the Stamped-Roof Tiles unearthed in Iksan area, it seems that these are closely related with a Royal family. The tiles might be manufactured by a particular gorup of file maker since they are produced with same way. Referring the Ganji carved in the Stamped-Roof Tiles, I suppose that the tiles were produced and used in two time periods, the time around enthronement of The King Mu and the second quarter of the 7th century around Gichuk, AD. 629. In addition, Convex Tiles used in Wanggung-ri Site and Mireuk Site was also produced in same time as the Stamped-Roof Tiles, considering there pattern and the amount of excavation. The social background of tile production was analogized based on the technology and the time of the tile manufacture as well as the characteristics of the Stamped-Roof Tiles which represent the Obu and the Ohang. The production of the tiles was supported by Obu which aided the King Mu-oriented construction project the economic capacity of the Royal family was not enough to promote. The tile production system was totally controled by the Royal family and the inspector, neither producer nor donator, examined the quantitation of the tiles and generated the imprint of a seal with the Stamped-Roof Tiles.

• KOMUNHWA
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• no.70
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• pp.5-15
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• 2007

Octagonal green glass bottle with long neck(녹유리장경각병) was found in the tomb of the princess Hwayu who was King Youngjo's daughter by a concubine while the tomb was exhumed and buried in another place around Bucheon City, Gyeonggi-do. This octagonal glass bottle is dark green. It was made in AD 1736-A1795 because it was cngraved an inscription of "건륭년제" the bottom. This glass bottle was taken an X-ray radiography and tested adhesives and restoration materials for the conservation. Loctite 401 was suitable as considering the translucency of the glass bottle, good adhesive property and reversibility of the adhesive so it was chosen. A minute piece of the glass was analyzed the composition and lead isotope ratio. Major chemical composition of the glass bottle consisted of SiO2, K2O, and PbO system and the ratio was 68: 18.5:5.7. Green color of glass bottle was due to Fe2O3 and CuO. When the glass bottle was made, quartz as raw material of silica and K2O as natural saltpeter(KNO3) were utilized. As a result of lead isotope ratio analysis, it was suggested that the galena as raw material of lead for glass making came from the southern part of China. These results are expected to become useful data in background of glass culture and circulation study of old glass.