• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.107-116
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• 2010

In Europe, traditionally the low-rised buildings for public art museum have been constructed since the 18th century like any other buildings and these are because of the technical issue for construction difficulty. Even if the low-rised art museum buildings are still continued for it's construction, gradually the high-rised art museum buildings begin to be build due to the development of contemporary technology in high-dense modern urban space. This tendency of high-rised art museum building in recent years is expected to affect on the interior space of it and most of all the spatial change in conjunction with circulation system variation is remarkable. Because the circulation system in art museum means tourist's spatial experience and it normally controls the experience of knowledge in art museum. This study is to understand how the multi-floored art museums in Europe affect to the spatial structure and how this is related to the circulation system. And also the study raised an issue on what it's social meaning is. Through these analysis the study can provide the meaning of multi-floored art museum and basic indication in art museum planning. To understand this, the study calculated the number of stories, number of vertical circulation and number of ring-structure space. Also the study tired to use space syntax tools, which are connectivity, integration value, integration value in major space, integration value in vertical circulation and intelligibility value. those tools alculated topological transfiguration of the whole space.Throughout the study, it was concluded that the influence of high-rised art museum in Europe changed the spatial structure and circulation system. The topological center of art museum that has been the grand space since 18th century changed to the vertical circulation due to the it's roll of distributing visitors to each floor. It became a starting point of spatial deployment and experience in art museum.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.39-49
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• 2008

Museum Architecture, passing through modem times, have been requested to make changes in order to respond to the necessities of current times as well, so that they come to develop various kinds of programs other than a mere exhibition. That is, museum began recognizing the diversity of activities available in the spaces and the openness to the public. And tried to keep up with the changes by linking the museum buildings with local community in urban architecture as a result. Conversion design is methodology aims at reforming old buildings into a museum or revitalizing buildings of historical significance into exhibition center, so that it made possible to utilize the texts of historical, cultural cities, which in turn contribute to the diversity of urban architecture and protection of buildings in environmental crisis. In the sense, the paper analyzes the life-long contribution and dedication of Carlo Scarpa, an Italian architect, in the conversion of museum architecture, and studies the style, techniques, and features witnessed from his architectural works, and finally offers an insight and a directing post to take advantage of diverse ways likely applicable in our urban architectures. Scarpa's features in his museum architecture are classified as follows: First, contrasting expression of reiteration and side by side to express the continuity of time Second, he conveyed implicated meanings through inserting contracted factors of the locality and traditionality. Third, his interest in formative works and handicraft had an influence on shaping conversion space Finally, expression of accidentally to change of a point of view.

• Advances in Computational Design
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• v.7 no.4
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• pp.321-343
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• 2022

Museum buildings display artefacts for public education and enjoyment, ensuring their long-term safety and the comfort of visitors by following strict indoor environment control protocols using mechanical Heating, Ventilation and Air Conditioning (HVAC) systems to keep the (environmental) variables at a fixed comfort level. Maintaining this requires constant supply of energy currently mostly sourced from the combustion of fossil fuels which exacerbates climate change. However, a review on the effects of the indoor environmental variables on museum artefacts as well as museum visitors revealed that there is no specific point at which artefact deterioration occurs, and that there are wide ranges of conditions that guarantee the long-term safety of artefacts and human comfort. Visits to museum buildings in hot-humid tropical climate of Nigeria revealed that strict indoor environmental practices were adopted. Even when appropriate micro-climatic conditions are provided for artefacts, mechanical HVAC systems remain necessary for visitor comfort because almost no consideration is given to natural ventilation. With the current global push towards energy management, this paper reviewed passive environmental control practices, architectural design strategies, and discusses the adaptation of double skin façade with jali screens, and the notion of smart materials, which can satisfy the range of requirements for the long-term safety of artefacts and levels of human comfort in buildings in hot-humid tropical climate, without mechanical HVAC systems. This review would inspire more discussions on passive, energy efficient, smart and climate responsible popular architecture, challenging current thinking on the impact of the more accepted representative architecture.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.3-11
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• 2014

Light has been considered as one of the most important elements in architectural design. Light provides occupants in buildings a lot of architectural experiences by interrelating the space, shape and other design elements. Especially, natural light is the valuable source to create the better indoor space compared to artificial light. It is a sustainable energy source and offers a more natural environment. It also enables occupants to perceive the form and depth of space. In general. many of architects including Henri Ciriani have tried to design buildings with natural light expecting optimum indoor environment. Therefore, this paper tried to examine the works of Henri Ciriani and analyze how to control the light in his works. For this purpose, two museums designed by Henri Ciriani-Arles Museum of Archaeology and Great War Historical Museum in Peronne - were selected to analyze how Henri Ciriani used light in his design phase and applied it to his museum works. According to the results of the study, it has been proved that Henri Ciriani tried to realize a space continuum through the spatial expansion, openness and closeness by natural light and incorporate the architectural form, interior space and exhibition circulation with natural light in order to create innovative exhibition space in museum buildings.

• 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.

• Korean Institute of Interior Design Journal
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• v.26 no.5
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• pp.16-24
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• 2017

This study examines Safdie's design philosophy: place, purpose, and process and design strategies found in museum buildings. Safdie, influenced by personal background as immigrant, education of McGil University in Canada, apprenticeship from Louis Kahn, is one of the most recognized architects who designed renowned public and cultural buildings after Habitat 67 in Montreal, Canada. In order to reveal design strategies his eight museum buildings has been selected and analyzed in terms of interpretation of context, program presented in floor plan and section design, and the process of integrity found in structure and material. The results of this paper can be summarized as follows: 1) Reflection of existing context and regeneration of the locality has been in a creative way to reinforce the sense of place. 2) The layout of major and gallery space is determined according to the Safdie's interpretation of the site context and this can be categorized into three types. 3) Integration of the innovative structural frame and material has been experimented by using tartan grid and toroid form in the major and gallery spaces. This study is intended to reevaluate the significance of Safdie's design approach to building uniqueness of the site, program and tectonic.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Structural Engineering and Mechanics
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• v.55 no.2
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• pp.413-434
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• 2015

The vibrations caused by metro operation propagate through surrounding soil, further induce secondary vibrations of the nearby underground structures and adjacent buildings. In order to investigate the effects of vibrations caused by metro on use performance of buildings, vibration experiment of Chengdu museum was carried out firstly. Then, the coupling tunnel-soil-structure finite element model was established with software ANSYS detailedly, providing a useful tool for investigating the vibration performances of structures. Furthermore, the dynamic responses and vibration predictions of museum building were obtained respectively by the whole process time-domain analysis and frequency-domain analysis, which were compared with the vibration reference values of museum. Quantitative analyses of the museum building performance were carried out, and the possible tendency and changing laws of vibration level with floors were proposed. Finally, the related vibration isolation measures were compared and discussed. The tests and analysis results show that: The vertical vibration responses almost increased with the increasing of building floors, while weak floors existed for the curve of horizontal vibration; The vertical vibrations were larger than the horizontal vibrations, indicating the vibration performances of building caused by metro were characterized with vertical vibrations; The frequencies of the museum corresponding to the peak vibration levels were around 6~17Hz; The damping effect of structure with 33m-span cantilever on vertical vibration was obvious, however, the damping effect of structure with foundation vibration isolators was not obvious.

• 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.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.46-55
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• 2012

This study aims to analyze the design concepts of Libeskind's Jewish museums through their comparisons for figuring out his design intentions and characteristics in the realization process. Libeskind's realized four Jewish museums are chosen for this study. For more concrete study, their extracting and application process are also reviewed. The comparison of his museum designs can be good examples in that they show different design approaches on the same architectural type, Jewish museum, to tell their something in common from differences. He could realize his architectural thoughts and configuration methods made by experimental drawings for the first time as real buildings through a series of Jewish museum projects. The commonness of Libeskind's Jewish museums lie on their sharing design concept of Jewish 'history and memory', especially Holocaust, and realized as in contrast to surroundings and 'labyrinth' of spatial configuration to maximize spectator's experiences. As Libeskind regards museum architecture as a carrier of 'time and place', he tried to reflect surrounding context including places, cities, persons and events about museum programs. As a result, unprecedented museums which are not related to traditional museum systems about circulation and spatial configuration are suggested for users to experience Jewish life and history through architecture.