코포레이트 시노그래피 연구 - BMW Complex를 중심으로 -

이란표 한국문화공간건축학회 2020 한국문화공간건축학회논문집 Vol.- No.69

Scenography is not only a design tool, but also the sum of design thinking, acting which includes design philosophy, method and practice. As a design philosophy it translates conceptional and material contents into three-dimensional, narrative themed spaces. As a design method and practice it creates an overall composition which makes it possible to experience content with the senses. By constituting a spatial context between content, things and recipient, it sets off objects, charges spaces with significance, choreographs them dramaturgically, and finally encourages the visitors to draw associations and to think ahead. To achieve such a scene-setting force field, the scenography space designer uses a diverse range of staging tools, borrowed from various creative disciplines such as architecture and interior architecture, graphic, light, sound and media design, performing and pictorial arts, but also from film and theater. As a multifaceted and holistic design strategy the scenography is a interdisciplinary platform for the space design that can make it possible to continue ‘espacement’ of every signifying space and to experience it as an embodiment of oneself. The BMW Tower, the BMW Museum and the BMW World, which are landmarks for the automobile company, BMW, and the city Munich, symbolize the BMW’s corporate culture. To arrive a goal that the architecture must reflect the high standards the BMW strives to achieve, it must have been applied a exceptional design philosophy which embraces the revitalizing of the ongoing will for the technological progress, the harmonizing of technique and art, and the lived experience of the automobile culture of the BMW. The optimal method for this philosophy was the scenography which could stage and spatialize all of these. This study aims at analyzing the corporate scenography of the BMW in its examples as the BMW Tower, the BMW Museum and the BMW World and drawing meanings of the scenographic space design of those.

독일 여성 건축가 루시 힐레브란트의 공간메타포 연구

이란표 한국문화공간건축학회 2017 한국문화공간건축학회논문집 Vol.- No.59

The human body can be thought as a kind of receptacle, in which the perceived external environment is changed into the signified. There are two ways to constitute the spacial perceiving and formalization that are performed by the human body. The one is the cognitive way, with which man perceives things through celebral consciousness and unconsciousness and recognizes a space with this perception, and the other the sensitive way, with which man perceives things directly through the senses. Therefore one can say that the human body has not only the aspects of the physical activity but also the aspects of the perception, the emotion, the sense, and the psyche, and that it is necessary not to turn to the hierarchical paradigm of the ratio/the sense, but to the integral paradigm of an all man that unifies the cognitive and the bodily sensitive. The trial of this spacial turn had been already made by the poststructuralists at the end of 20th century. But the space design that was practised according to this body discourse had been come into practised by the german woman architect, Lucy Hillebrand (1906-1997) who had applied the space metaphor of the feminine body to the architectural space paradigm. Although she was neither a architectural theorist nor a specialist of the architectural discourses, she showed an fascinating architectural discourse that preoccupied the de-logocentrist space discourse. This study will elucidate the actual foundations of the space metaphor and the de-logocentrist space construction which are located under the space discourse and its realizations of Lucy Hillebrand. Moreover this study will sound out the frames of the space metaphor of body for the establishment of the operation space of the imageric body in which the traditional architectural paradigm is reorganized and the infinite signifying effects are produced.

공감각적 공간디자인의 방법적인 토대에 관한 이론연구

이란표 한국문화공간건축학회 2021 한국문화공간건축학회논문집 Vol.- No.76

In the modern space design it is emphasized that the designed space must meet the sensual satisfactions of the customers which are multiplicatively entangled each other. Therefore the aspects of creative design that appeals to the multifaceted sense perceptions play an important role for accepting more customers and maintaining the brand identity, and first of all it is shedded light on the synesthetical perception. The key point is to adjust all of perceivable properties of the space design as accurate as possible to the sensual expectations of the customers that are based on their synesthetical perceptions. The synesthetical space design has three aims: The aim of the synesthetical design is to adjust all sense impressions to each other. Through this process can be given a harmonized total impression that corresponds to the desired function. The other aim of the synesthetical design is to accomplish an optimal design on the basis of systematic combinations between the sense areas. Finally the communication between the individual elements of the designed space must be executed through integrating of the sense areas into the design process.

가에 아울렌티의 생성적 공간에 관한 연구

이란표 한국문화공간건축학회 2023 한국문화공간건축학회논문집 Vol.0 No.83

During the post-war period and beyond, an Italian woman architect and designer, Gae Aulenti, sought to make meaningful space designs and influenced architectural landscape in Italy and far beyond Italy. Aulenti's active engagements in the space design from the 1950s and 1960s via the 1970s to the 1980s have formed her own idea of space design which can be described as an idea of generative space design that is based on the spatialization of differences between the pre-existential conditions of the location and the new architecture. This idea implicates that the generative space can be experienced as a spatial power which is generated by the ontological pre-existence of the location that holds the historicity and contextuality of it as an architectural field. Seeking to preserve cultivated and popular traditions as a form of rejection of the petty-bourgeois banality of modernist rationalism, Aulenti’s work features a kind of an architectural band that unites past and present. Most of all, her theatricality which shows a strong and enigmatic propensity for the enhancement of spatial perception comes from an awareness of drawing critical attention to the history of the location and its own memory. The originality of Aulenti’s generative space design is after all in her own endless trial of trying to redesign the future. This study will elucidate the conceptual development and its ground idea of the generative space design of Gae Aulenti by analyzing the characters of her works of space design from the 1950s to the 1980s chronologically.

‘신 건축’의 이념과 역사적 실현에 대한 연구 - 바이센호프 주거단지의 실내건축을 중심으로 -

이란표 한국문화공간건축학회 2022 한국문화공간건축학회논문집 Vol.- No.79

The architectural plan of ‘Weissenhofsiedlung’ in Stuttgart at the beginning of 20th century has started under the motto of ‘rationalisation and typicalisation of the living’ which was at that time in connection with the housing problem and must have brought the greatest satisfaction at the lowest cost. For the architecture and construction of houses as well as for the housing management, it was an immediate and indispensible demand, to use materials and technical furnishings that aim at reducing the house price and simplifying the housing economy. The scheduled support of these efforts meant not only an improvement of metropolitan housing conditions, but also an enhancement of entire housing culture and the strengthening of the national economy. On the same horizon of this planning idea of ‘Weissenhofsiedlung’ has staged Ludwig Mies van der Rohe as the artistic director with the international architects and interior architects of the ‘Werkbund-Ausstellung’ in 1927. Most architects have followed the similar idea of a new architecture which was called ‘Neues Bauen’. It has intended that the architecture and the interior design must consider the gradually differenciating of housing desires and the individual freedom in the type of using a house by designing the spaces which can be shifted rationally and flexiblly and by producing the materials and furnitures which can comply with any legitimate housing interests. Among the architects, Ludwig Mies van der Rohe, Le Corbusier, and Mart Stam, who were based on the idea of ‘Neues Bauen’, have realized this idea in the interior design of the houses that have been respectively commissioned to them. This study is targeted at analysing the characters of the interior designs of these architects and bringing to light the idea of ‘Neues Bauen’ therein. As a methodological process, this study sheds light on the historical backgrounds that constellate around the architectural plan of ‘Weissenhofsiedlung’ and analyzes the interior architectural characters in which the architectural ideas of the representative architects were absorbed. This study results in the following. The idea of ‘Neues Bauen’ of Mies van der Rohe is actualized as the rationalization and typicalization through flexibly divided spatialization, the idea of ‘Neues Bauen’ of Le Corbusier as the standardized dwelling and the fulfillment of beauty, function, and comport, and finally the idea of ‘Neues Bauen’ of Stam as the chilled clearness and the rationalization of the effective and economic domestic chores based on minimal dwelling. These ideas of ‘Neues Bauen’ enabled on the one side the unifying work of architecture and interior architecture, on the other the concrete presentation ‘the macroscopic struggle for the new types of life’.

이미지화 작용으로서 전시 커뮤니케이션의 이론체계와 전시부스 디자인을 통한 실현가능성에 관한 연구

이란표 한국문화공간건축학회 2014 한국문화공간건축학회논문집 Vol.- No.45

The key focus of this study is the experience of non-hierarchical and a-lineal communications in recent trade exhibitions. The examination of the non-hierarchical and a-lineal communication is staged against the existing communication model of ‘sender-message-recipient’. Specifically, the concept of the non-hierarchical and a-lineal communication which is self-referential and self-regulating is taken in its typical form as the imaging operation that can be described as the referential relatedness between senses or the catenation between images. The concept is traced to the late 19th and early 20th century development of the capitalism in which process as its results ‘the effects of enjoying of the commodities’ have turned up. These phenomena, which can be reaffirmed as the circulating effects of the exchange values of the commodities, appear extended to ‘the multi-dimensional imaging operation through the enjoyment and experience of the commodities’ in the age of the globalization that is nothing but the internet-based network system, and their integrated form is the exhibition design. But there is no coherent theoretical grounds for this kind of communication in the present. Therefore by appropriating the communication theories of Luhmann, McLuhann and Manovich that try to grasp the interconnected and multidimensional societies, this study aspires to show that these communication theories can not only contribute to the construction of the theoretical ground for the exhibition communication, but also be actually adapted to the designing of the experience spaces.

유스호스텔 건축공간개선 연구

이란표 한국청소년시설환경학회 2007 청소년시설환경 Vol.5 No.4

공간 시노그래피의 이론적 기초에 관한 연구

이란표 한국문화공간건축학회 2019 한국문화공간건축학회논문집 Vol.- No.66

Since the beginning of the 1990’s the main topic in the fields of culture and arts has changed from the socially and semantically fixed institutions or texts to the actor-oriented activities or actual operations. It has been called as ‘a performative turn’. Based on this conscious movement, it has been built up a kind of new concept for the design of the cultural spaces, i.e., ‘scenography’, which is not confined to the design of the theatrical stages, but can be extended to a platform that performs a dynamic spatial directing in consideration of the performative, narrative and space-formational elements. As a space-formational way in the interdisciplinary context the scenography is a spatial narrative that is formed through the direct participations and experiences of the actors in the basis of the mutual interaction between the concrete and the virtual, the static and the dynamic, the public and the private, and the global and the local. The new form of this scenography which was applied to the space design is the corporate scenography. The main characteristics of the space scenography that can be concretized as a corporate scenography are ‘the eventual’, ‘the processive’, and ‘the constituted’. The space scenography is based on the three theoretical foundations as the discourse of the performative turn, the aesthetics of atmosphere, and the philosophy of spectacle. As regards the discourse of the performative turn it is at stake, how the structualization of the performances as the symbol systems resignifying corporeal praxis can be applied to the space design, as regards the aesthetics of atmosphere, how the main conceptions of the aesthetics of atmosphere can produce the subjective and objective spatialization effects, and as regards the philosophy of spectacle, how the spatilization effects can be operated in the phenomena of spectacle as the realizations of the superficial, the self-sufficient, and the imageric. The representative examples of the space scenography that are analysed according to the conceptions of the above mentioned theoretical foundations are ‘Espaces rythmiques’(1909), ‘Art-of-this-Century-Galerie’(1942), ‘Expo 2000 Hannover’(2000), and ‘Jüdisches Museum‘(1992-2002). 1990년대 초 이래로 문화예술영역에서 주된 주제는 사회적이고 의미론적으로 고정된 제도들이나 텍스트들로부터 행위자 지향적인 활동들과 작용들로 변화되었다. 이러한 변화는 ‘수행적 전환’이라고 불리어졌다. 이러한 의식적 운동에 기초하여 문화공간 디자인을 위한 새로운 컨셉이 형성되었는데, 그것은 바로 ‘시노그래피’였다. 시노그래피는 개념형성의 기원이었던 연극무대 디자인에 한정되지 않고 수행적이고 내러티브적이며 공간구성적인 요소들을 고려하는 가운데 역동적인 공간을 형성시키는 플랫폼으로까지 확장될 수 있었다. 학제적인 맥락에서 공간구성적인 방법으로서 시노그래피는 구체적인 것과 가상적인 것, 정적인 것과 동적인 것, 대중적인 것과 사적인 것 그리고 글로벌한 것과 로컬한 것 간의 상호작용에 기초하여 행위자들의 직접적인 참여와 체험을 통해 형성되는 공간적 내러티브이다. 이러한 시노그래피가 공간디자인에 적용된 새로운 형식이 바로 코포레이트 시노그래피이다. 코포레이트 시노그래피로 구체화될 수 있는 공간시노그래피의 주요특성들은 ‘사건적인 것’, ‘과정적인 것’, ‘구성된 것’이다. 공간시노그래피는 ‘수행적 전환’, ‘분위기의 미학’, ‘스펙터클의 철학’과 같은 세 가지 이론적 토대에 기초해 있다. 수행적 전환과 관련해서는 육체적 실천을 재의미화시키는 상징체계들로서 퍼포먼스들의 구조화가 어떻게 공간디자인에 적용될 수 있는가 하는 점이 논의대상이고, 분위기의 미학과 관련해서는 이행적인 것 내지 사라지는 것과 같은 주요 컨셉들이 주관적이고 객관적인 공간화효과들을 어떻게 산출할 수 있는가 하는 점을 해명하는 것이 문제이며, 스펙터클의 철학과 관련해서는 공간화 효과들이 피상적이고 자족적이며 이미지적인 것의 실현들로서 스펙터클의 현상들 속에서 어떻게 작동될 수 있는지가 해명된다. ‘리듬적 공간’(1909), ‘이 세기의 예술 갤러리’(1942), ‘엑스포 2000 하노버’(2000), ‘유대인 박물관’(1992-2002) 등의 공간디자인 사례들에서 공간 시노그래피의 수행양태들이 어떻게 이루어졌는지를 고찰하는 작업이 이루어진다.

기업의 마케팅 요구에 부합되는 전시부스 디자인 연구 - 청소년 시설 관련 기업들의 전시부스 디자인의 기초를 위하여 -

이란표,김현중 한국청소년시설환경학회 2008 청소년시설환경 Vol.6 No.4

청소년을 위한 미래지향적인 이동공간에 관한 유형 연구

이란표 한국청소년시설환경학회 2009 청소년시설환경 Vol.7 No.4