The History of Interchange between Former E.Germany and N.Korea through the Research on Oral Statements

Myun Kim(김면) 동아시아국제정치학회 2007 국제정치연구 Vol.10 No.2

독일의 문화정책과 국가브랜드 전략

김면(Kim, Myun) 건국대학교 글로컬문화전략연구소 2016 문화콘텐츠연구 Vol.0 No.8

독일은 분권화된 시스템을 토대로 16개 주(州)정부가 주(州)헌법에 따라 문화예술정책을 운용한다. 지방정부는 독자적으로 문화시설들을 운영하며 시민들에 문화활동을 직․간접적으로 진흥하는 역할을 맡는 반면 연방정부는 대외문화정책 및 입법업무를 관장하고 ‘보충성’의 원칙에 따라 조화로운 정책운용을 지향한다. 세계대전과 현대정치사의 격변기를 거치며 독일의 문화정책은 큰 변화를 겪게 된다. 특히 21세기 문화예술정책을 둘러싸고 새롭게 변화하는 환경속에서 점차 연방정부의 역할이 강조되고 새로운 발전전략이 모색되고 있다. 본문에서 20세기 문화정책의 변천과정을 시기별로 정리하고자 한다. 구체적으로 ‘나치집권기’, ‘전후 재건기’, ‘70년대 변혁기’, ‘80년대 경제지향기’, ‘구동독의 정책’과 ‘통일이후 시기’로 나누어, 문화정책의 흐름과 통시적 성격을 핵심슬로건을 통해 분석하였다. 그리고 21세기 독일사회를 둘러싼 환경여건에 따라 독일이 취한 문화정책의 방향이 무엇이며, 그에 따른 내용과 구성이 무엇인지, 그리고 어떤 패러다임으로 전환되었는지 파악하고자 하였다. 2000년대 이후 독일 문화예술정책의 변화는 문화산업의 진흥을 도모하고 있다는 점이다. 메르켈 집권 이후 본격적으로 독일은 문화예술을 경제적 관점에서 국가의 성장 동력으로 인식하고 문화창조산업을 이끌고 있다. 그 과정에서 독일은 21세기에 들어와 금기시되어왔던 국가브랜드를 쓰기 시작했다. 불편한 과거사의 상처를 넘어 글로벌 문화정책을 채택하는 과정에서 새로운 패러다임으로 전환시켜 나아가고 있으며 그 중심에 국가브랜드전략이 중시되고 있음을 고찰할 수 있다. 더불어 독일은 현재 미래의 발전전략으로 문화창조경제를 활용한 국가발전을 이끌고 있음을 알 수 있다. 현재 우리의 상황에 독일의 문화예술정책을 당장 적용하기는 어려워 보인다. 그럼에도 불구하고 통일을 앞서 이루고 유럽연합의 협력관계를 실천하고 있는 독일의 경험사례와 문화전략을 고찰하는 것은 우리에게 보다 더 효율적인 문화예술정책을 구상하고 발전전략을 준비해야 하는 데 있어서 의미 있는 시사점을 얻을 수 있다고 하겠다. Germany was made up of many independent feudal states and city republics that each pursued their own cultural policies and established a host of cultural institutions. Cultural policy in Germany is based on a federal model. It is governed by the principles of decentralisation, subsidiary and plurality. After World War Ⅱ, the Germany has gone through stages, which can be identified by distinct changes in the political environment and golbal impact. Cultural policy evolved diversely and developed along different lines. A hisorical analysis of Germany is used to examine how the nation has dealt with its identity in the past. This is contrasted with the manner in which nation branding has sided the redevelopment of German identity since its 1990 reunification both internally among its citizens, as well as externally from foreign perspectives. The unification of Germany in 1990 produced new cultural tasks, both within the federal Republic of Germany and in its relations with European neighbours, giving greater competence for cultural affairs to the Federal Government. The paper wants to show that nation Branding management has always mattered in German foreign policy, and it wants to find out how this foreign image policy functions and how it has evolved over time. Germany has a long tradition of managing its international image, mostly through its foreign cultural policy. Traditionally, German foreign image politics used to be rather low-key and fairly unspectacular. It was a quiet and patient approach to managing the country’s international image. Rather than seeing foreign cultural policy as an instrument to be used like any other, it was perceived as a long-term contribution to peaceful international relations. However, in the mid 1990s, a louder and less patient approach began to take hold. Germany was openly promoted as an attractive Standort for foreign investment and results were expected to show quickly. To achieve this goal, national Branding campaign came to be applied. As Germany is a nation that has struggled with its identity in the past, this paper seeks to study the methods of nation branding that Germany has implemented in the recent past, and how these practices have helped the nation develop the strong identity it has today.

국내 거주 조선족의 정체성변용과 생활민속의 타자성 연구

김면(Kim, Myun) 건국대학교 인문학연구원 2014 통일인문학 Vol.58 No.-

본 연구는 코리안 디아스포라의 내적 통합문제를 다루면서 국내 이주조선족의 사례를 통해 중국동포의 이질적인 생활실태를 조사하고 어떻게 새로운 통일문화로 극복해 나아가야할지 살펴보고자 했다. 저자는 국내 조선족을 고찰하면서 이들이 다른 환경에서 어떠한 새로운 문화양식을 형성하여 왔고 정체성의 변화를 겪어왔는지 구술을 통해 인식하고자 했다. 구체적으로 국내 조선족이 현재 갖고 있는 민족정체성과 생활문화의 성격을 규명하고자, ‘고향’, ‘전통’, ‘혈연과 종족성’의 개념을 집중적으로 살펴보았다. 국내 조선족은 민족구성원이면서 이중 언어구사자이듯이, 중국과 한국이라는 영역을 사이에 두고 이중적인 정체성을 발현하여왔다. 이들은 과거 한족과의 관계에서 국가정체성을 고민하였고, 한국에서는 변화된 사회로 인해 문화접변을 경험하고 종족정체성의 변용을 경험해야 했다. 분단과 전쟁 그리고 냉전의 격동기를 거치면서 분리되어 살아야 했던 조선족, 이들은 한반도를 떠나 만주에 적응하면서 고단한 디아스포라의 삶을 살아왔다. 다시 조국으로 돌아올 수 있는 기회를 갖게 되었으나 방문한 조상의 고향은 낯선 땅이 되었고 낯선 이방인처럼 아픔을 느껴야 했다. 마지막 장에서 조선족 디아스포라에서 보인 상이한 생활문화의 격차에 대해 향후 연구방법을 모색해보고자 했다. 통일을 위한 시각에서 조선족과 한국인 관계에서 보인 문화적 이질성의 갈등과 정체성의 문제들을 직시할 필요가 있다. 복수적 장소에 귀속된 조선족의 문화적 차이와 그 실체를 인식하면서 이들의 문화창조력을 인정하고 상호이해의 폭을 넓혀가는 과정이 필요하다고 본다. 통일의 과정으로서 과거 민속원형에 집중하기 보다는 현대환경에서 새로이 변용된 조선족의 복합문화적 성격과 그 실체를 인정하고 풍부한 민족문화의 자산으로 만들기 위한 노력이 요구된다고 할 수 있다. The paper examines the transformation of ethnic identity of Korean-Chinese in Korea and tries to discover the cultural otherness in the daily Life. The oral interviews with 15 Korean-Chinese were conducted and the collected data were analyzed. The daily lives of the Korean-Chinese(Chosonjok) were investigated as important socio-cultural contexts in which their ethnic identities are played out. Korea is the home country of their ancestors. They have tried to maintain their Korean identity as members of an ethnic minority group in China. They came to Korea to get opportunities for economic improvement. They expected to share cultural affiliation as a cognate nation. However, they are not integrated to Korean society. In Korean society, they had conflicts caused by differences in their culture. They were asked about their nationalities, and came to realize their status as foreign workers, though they regarded themselves as being the same as Koreans in their homeland. A majority of Korean Chinese don’t perceive themselves as treated equally. The discrimination, caused by cultural differences in language and customs, developed into an barrier between themselves and Koreans. Their identities were changed and transformed since they migrated into Korea. They verified their identity through loose solidarity with Koreans. The Korean-Chinese reproduce their ethnic identities in a variety of ways. They communicated with chinese communities as self-supporting communities to build social networks that enable them to adapt to the Korean way of life. ‘Chosonjok Little Town’ serves as a small Hometown in Seoul as a specific created by those from China. And their alternative identities can be expressed in translocal identities. They want to be treated rightly as Korean compatriot. It is essential to understand that the Korean-Chinese are immersed in their own culture. The current conflicts grows if specific Korean-Chinese experiences are not considered and the specific ways of understanding and life-achievements are not recognized. It is necessary to expand the multicultural knowledge to understand the complexities of their life in Korea.

5.18, 민주주의 위기 그리고 유럽한인의 대응양상

김면(Myun Kim)(金勉) 위기관리 이론과 실천 2013 Crisisonomy Vol.9 No.10

본 논문은 신군부의 등장이후 헌정질서의 위기상황에서 유럽지역을 중심으로 펼친 교민들의 민주화운동과 단체의 활동상을 고찰하였다. 유럽지역 교민들은 미국과 일본과 비교하여 작은 규모이지만 민주화운동을 상대적으로 활발히 전개하였고 그 영향력을 크게 미쳤음을 주목할 필요가 있다. 5.18 민중항쟁의 좌절이후 한국의 민주주의 위기로 인하여 일반교민들은 사회의식에 눈을 떴으며 민주화운동에 참여하도록 하는 계기를 이루었다. 당시 교민들이 민주주의 위기에 대해 어떠한 활동방식을 전개했는지, 자발적인 민주화운동을 통해 국내의 억압된 정책에 어떻게 대응을 했는지 그 양상을 고찰하였다. 이어진 장에서 교민단체가 국제사회에서 현지정당과 시민단체와 연계하여 한국의 민주화에 관한 여론형성을 현지에서 어떻게 이끌어내었는지 밝히고자 하였다. 끝으로 오늘날 교민사회운동이 약화된 상황에서 구심력의 역할을 맡아온 오월민중제의 의미성을 살피고자 했다. This research deals with the democratic movement of Koreans in Europe after the 18th May Democratic Uprising. This work tries to describe the democracy movement of the Koreans abroad and the history of Korean groups in Europe. In particular, the ideas of the groups for the democracy of Korea are analyzed and the movements are explained in the framework of international circumstances. Following the announcement of the Gwangju massacre in 1980 many Koreans had taken part in the demonstration in Europe. In the crisis of democracy the Koreans abroad played a leading role against military dictatorship. The demonstration in Europe is evaluated by the three aspects for the evolving democracy in Korea. The first of the three is that the Uprising induced public participation; Second, the Koreans abroad had fought with different groups for democracy at the international level. Third, the Koreans abroad expanded the citizen movement to the unification movement. The 18th May Gwangju Uprising and succession of its sprit could be called as decisive operator to realize the democracy in Korea. Since May 1987, the memorial May Minjungje is continuously held once a year and is organized by the Preparatory Commission of various groups. The spirit of the Gwangju Uprising has resonated with Koreans in the global movement for democracy and human rights. In this paper Lee Jong-hyun, Kim Jin-hyang, Lee Jun-sik, Kim A-il, Kim Jung-suk, Jang Il-Jung, Yun Un-sub, Choi Young-Suk and Choi Hyun-duk are concretely examined and their activities are described. This study of the democracy movement of the Koreans in Europe has the meaning to lay the foundations in this area of research.

독일민족의 문화전승 -슈바벤알레만지역의 가면민속연구-

김면 ( Kim Myun ) 한국외국어대학교 EU연구소 2002 EU연구 Vol.- No.11

Diese Abhandlung untersucht deutsche traditionelle Masken und Maskenrituale. Die volkskundliche Arbeit versucht den Glauben und das Bewußtsein der Deutschen zu erklären. indem sie die vielfältigen synkretischen Elemente der Tradition in den Vordergrund stellt. Die schwäbisch-alemannischen Maskenspiel sind ein Volksritual. in dem die Lebenskultur der Natur. die den Winter besiegt und die Fruchtbarkeit der Erde nachgeahmt werden. Unter den charakteristischen Masken findet man das symbolische Spiel zwischen dem Surhebel und dem Wüescht: der eine verkörpert den Sommer und der andere stellt den Dämon des Winters dar. Feste und Maskenspiele des Neujahrs stehen in Zusammenhang mit Wünschen um Glück und Segen ftir die kommende Zeit. Indern das Maskenspiel Volkskünste wie Volkstanz und Volksmusik in der regionalen Vielfalt präsentiert. nimmt es durch seinen belebenden Charakter eine wichtige Rolle im Zusammenleben der Gemeinschaft ein und unterbricht den gewohnten Alltagsrhythmus. Es lässt sich feststellen. dass man mit dem Maskenspiel das Gemeinschaftsbewusstsein und das Zugehörigkeitsgeftihl in dem Gebiet vergrößern und die Liebe zur Heimat fördern kann. Das Festspiel zeigt große Ähnlichkeit mit dem koreanischen Maskenspiel auf. Wenn die jeweilige Volkskultur von der Identität und dem Charakter her betrachtet und verglichen wird. kann man die regionalspezifische Eigenschaft in Verbindung mit der allumfassenden Lebensart der Menschheit erfassen.

독일민속학의 흐름과 연구동향 -민중 Volk개념 고찰을 중심으로

김면 ( Myun Kim ) 한국뷔히너학회 2011 뷔히너와 현대문학 Vol.0 No.36

Diese Abhandlung erlautert den Entwicklungsprozess der deutschen Volkskunde und analysiert die Begriffe von Volk in der Wissenschaftsgeschichte konkret. Wie die verschiedenen Namen fur das Fach Volkskunde zeigen, werden diese Begriffe des Volks unterschiedlich verstanden. Es ist daher schwierig, nur mit einer Skizze die Identitat des Volks zu beschreiben. Trotzdem kann dieser Versuch Informationen uber den Charakter und die Merkmale der deutschen Volkskunde geben. Im spaten 18. Jahrhundert erschien die Volkskunde zuerst im Rahmen der Staatswissenschaft fur die systematische Verwaltung von ``Land und Leuten`` durch die Sammlung sozialer Daten und statistischer Forschung. Unter dem Begriff ``Volk`` versteht man als die Bevolkerung im jeweiligen Territorium. Als Forschungsgegenstand wurden die Alltagsphanomene der allgemeinen Landbevolkerung auf der Grundlage der Aufklarung untersucht. In der zweiten Phase beeinflusste die Zeitstromung der Romantik den Zeittrend der Volkskunde. Anhand des romantischen Volksbegriffs wurden als die Trager des Volksgeists im fruhen 19. Jahrhundert die germanische uberlieferte Volkskultur und die Altertumskunde untersucht. Danach versuchte Prof. W. H. Riehl als erster, Volkskunde als eine eigenstandige Wissenschaft zu etablieren. Mit seinen zentralen Begriffen, den groβen vier 4S "Stamm, Sitte, Sprache, Siedlung" betrieb er eine historische und aktuelle Kulturforschung uber das Bauerntum. Im 20. Jahrhundert entstand eine lange Diskussion uber den Begriff des Volks zwischen den Wissenschaftlern. Das nationalsozialistische Regime missbrauchte den Volksbegriff als Propagandamittel. Im Zuge sozialdarwinistischer Vorstellungen wurdeder Begriff Volk in Rassentheorien eingebettet. Nach dem Krieg erfuhr die Volkskunde eine Existenzkrise. Seit 1970 besitzt die deutsche Volkskunde ein neues Aussehen. Die Erkenntnis vom Volksbegriff aus der Perspektive des neuen Standpunkts aus wurde von Prof. Hermann Bausingers Arbeiten an der Universitat Tubingen angeregt. Deswegen veranderten sich die volkskundliche Forschungsperspektive und das Themenspektrum. Die Wissenschaft vom Volk druckt sich nicht nur in der Tradition und im Sinn der Uberlieferung aus, sondern auch in den zeitgenossischen, modernen, sozialen Phanomen und der alltaglichen Praxis menschlichen Denkens. Die Volkskunde offnet sich gegenwartig und uberwindet die Konzentrierung auf volkstumliche Uberbleibsel.

오르세이 미술관 인상파 갤러리의 관람객 중심의 전시환경 개선을 위한 리노베이션

김면 ( Myun Kim ),이주형 ( Joohyung Yi ) 한국공간디자인학회 2016 한국공간디자인학회논문집 Vol.11 No.4

(Background and Purpose) Orsay Museum was a train station built for the Universal Exposition in Paris in 1900. French government had developed a plan to re-purpose as a art gallery in 1973. Orsay museum opened in 1986. More than 3 million people visit each year and it established itself as one of the world``s major art museums. But in 2009-2011, the need for tertiary renovation was raised to improve the environment around the Impressionist gallery. The main purpose is as follows. First, increase the exhibition effect for Impressionist paintings and sculpture. Second, expand the exhibition area and third, ensure natural circulation, including an improvement of the functional aspects. (Method) When visitors experience a certain space at first time, they recognize and accept space rule intuitively. This is called behavioral sciences. In this study, we conducted an analysis of guides to improve the visual aspect based on these three elements : the volume, the intensity of illumination and the color and finishing. Design process is as follow. First, it analyze the problem of the exhibition environment. Second, it sets the spatial orientation of the design through the derived issue. Third, as embodied in the design it present a detailed improvements and rebuilding process for the volume and intensity of illuminance, color and material in space. (Results) First, the improvement of internal volume and the configuration space. Central part of gallery which is used as a main circulation, maintain the original height to be penetrated natural light in the inner space, on the other hand left and right volume is composed of two layers. The upper layer is to be embedded the lighting, and various facilities to manage efficiently the maintenance, and the lower layer was changed to the simple structure to make visitor to concentrate on paintings. Second, The illuminance control system associated with canopy and the artificial lighting was built in order to maintain equally the intensity of illumination varying according to sunrise and sunset or summer and winter and to improve the illumination environment for enjoying the impressionist painting. Third, an improvement of materials and colors. To divide the space according to the function, not only the volume but also the color make the space visualize more clearly. To further enhance the visual effect, the center was used by natural light for the circulation and the dark side space was used as an exhibition zone. (Conclusions) Co-Existence between past and present. Historical value of modern architecture, which is designed by Victor Laloux in 1900, must be preserved and design concept of Gae Aulenti who wanted to create an Impressionist gallery with natural light in 1980 also must be respected. At the same time, through a combination of current technology and design, the value of the Orsay museum was intended to increase. The need for environmental improvement to re-purpose of historical buildings or to overcome the functional limitations of the old architecture will continue to rise as in the present case.

조형적 관점으로서의 연세대 경영관 기부자 벽 디자인 개발

김면 ( Myun Kim ),이주형 ( Joohyung Yi ) 한국공간디자인학회 2016 한국공간디자인학회논문집 Vol.11 No.4

(Background and Purpose) Recently, the culture of donation for the development of educational institutions and non-profit organizations are gradually going to hold the position. Generally, a non-profit organization that exists for the primary purpose of performing a public non-profit activities has been highlighted as an important challenge than what is done to secure stable financing for the smooth activity. Therefore, fiscal applicants, that is aimed at providing a satisfying and rewarding donors for contributions by sponsors will require more strategic marketing concepts to manage to be sponsored. In contrast, effective marketing activities of non-profit organizations are very low, and it is this very lack of development on the donor wall design that can stimulate the motivation of the donor contributions. They make a simple form attached to make a name badge on the wall of the building. This exhibition method doesn``t effectively make donor wall revive as the aesthetic features of space. In this study, we propose a donor wall as a plastic work to meet the identity of the space and to attract the attention of visitors to celebrate the meaning of donation. (Method) Yonsei School of Business completed the construction of the building in commemoration of the 100th anniversary on September 21, 2015, the third floor to the basement, 6 ground floor, a total floor area of about 20,097 m2 in size. Donor wall will be installed at a central atrium where the architectural features of buildings is well reflected and that is located at the center of the first floor. This atrium is a large space that make up the height of about 9m. Various events can be held and various group communities can be stimulated for creativity and communication of Business School students. Process for the donor wall design development is as follows. First, in order to understand a wide range of donor wall, it was conducted theoretical research and case analysis. After architecture and interior architectural environment analysis, a feasibility study was conducted to determine the current number of donor and expected donors in the future. Third, the design concept was derived. from the intent of the school and the essential definition of donation. Fourth, as embodied in the design, start with the selection of the location and size according to the quantity of contribution, then the structure and material choice for developing detail design. (Results) The school provided space for over 1,090 people in view of 492 people who helped to build the School of Business and also the additional future donator who will contribute for the development of school. The donor wall is a symbol of solidarity and to present a vision for the future. To accord with these purpose, spiritual value of donation was reflected to their shape and the donor wall is disposed at an main space of atrium in Business school. The value of the donation is balance in life between members of society through sharing. The definition of donation correspond with the spirit of De Stijl which is the art movement to emphasize the proportion and balance. This sculpture are filled with aesthetic values embodied in the colorless metal frame with horizontality and verticality and was shaped through the sharing and valuable contribution to achieve harmony and balance in society. (Conclusions) Donor wall is not to simply expose a list of donors on the outside but to symbolize the spirit of contribution and to be sought to inform its worth. Through study of the spirit of De Stijl, the sculpture project onto his moral value. Beyond the morphological beauty of sculpture, the true value of design sculptures is to represent its spiritual values contained therein. I look forward that this case is used as a reference when sculpture suggest into the society.

글로벌 허브공항의 스테이테인먼트 공간콘텐츠 특성 연구

김면 ( Kim Myun ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.1

(Background and Purpose) Recently, global hub airports are striving to find a unique brand image that goes beyond the functions of convenient take-off and landing of aircraft and safe and fast procedures. The airport is not a place to go through as part of a trip, but is becoming a place of play and relaxation to enjoy time, and it is evolving into a complex entertainment and cultural space that reflects the functions of theme parks and resorts. Therefore, in this study, the concept of the value-experienced staytainment spatial contents that affects the satisfaction of airport users and the intention to visit again was focused on researching the concept and deriving characteristics. We want to give empirical help in strengthening. (Method) First, the concept of staytainment was established through an understanding of the scope and concept of entertainment. Next, to expand into space, the definition of spatial contents and the investigation of the theoretical system were conducted, and the types and roles were summarized. Second, through consideration, it was expanded to the concept of airport status and classified into facility-oriented (Hardware) and content-oriented (Software) to derive elements and characteristics of the staying spatial contents. Third, the staytainment spatial contents were divided into facility-oriented staytainment and content-oriented staytainment, and classified into design strategic spatial contents and program strategic spatial contents for each type. An analysis tool was presented by applying 15 detailed evaluation elements to the five elements of symbolism, identity, complexity, experience, and connection. Fourth, a case analysis was conducted by selecting a global hub airport for the survey. (Results) As a result of a comprehensive analysis of the top five airports, it was evaluated that the elements of staytainment, which reflected elements of a pleasant experience, were applied evenly along with spatial contents. Based on these results, a global international airport is a content-centered message that reflects a facility-oriented statement that is a harmony of a complex service space through an artistic and aesthetic landmark element and an identity design, and a program based on experience and entertainment that induces customer participation. It can be said that the element of type staytainment is required. (Conclusions) This study is divided into two major categories: design strategy spatial content combined with facility-oriented staytainment elements and program strategic spatial content combined with content-oriented staytainment, depending on the hardware characteristics and software type of the airport. After deriving, detailed items and evaluation elements were derived. This study is expected to be used as a basic guideline as a study to establish a brand identity of an airport and present a continuous direction as a component of the message spatial content for the branding of the airport in the future.

지역자산을 활용한 지역 브랜드 전시관 계획 - 르퓌앙블레의 ‘CIAP’ 건축과 문화유산 재해석 센터 설계를 중심으로 -

김면 ( Kim Myun ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.3

(Background and Purpose) Most cities have abandoned spaces that have lost their original function as industrialization accelerates. Among these, local tangible assets with cultural and historical values can be used for other purposes to make them socially and culturally sustainable. Moreover, they can be used as a new local brand, contributing to the revitalization of the local economy. The purpose of this exhibition hall is to plan a hospital affiliated with the Notre Dame Cathedral of Le Puy-En-Velay in France, which has lost its function, as a regional exhibition hall, contributing to the formation of a local brand and recycling a building registered as a UNESCO World Heritage Site as an exhibition hall. (Method) Through prior research, the definitions of regional assets, as well as the significance and regional brand elements, were derived based on the types of assets. Based on the theory, Le Puy-en-Velay local assets and contents were classified, regional brand elements were extracted, the main theme was selected, and the original function and usage of the detailed exhibition space were combined with the content elements to plan the viewing flow. Finally, to effectively deliver intangible contents, play elements and sensory experience elements were designed. (Results) First, the regional assets and brand elements of Le Puy-en-Velay are classified into three categories: environmental elements, physical elements, and content elements. Second, the main themes of “Pilgrim's Gate,” “Sacred Land,” and “God's Hospital” were derived by making the most of the connection with the old place of the target space. Third, the entrance of the cathedral on the second floor and the wine cellar were used as the first exhibition room, the second floor of the affiliated hospital was the second exhibition room, and the first floor of the affiliated hospital was the third exhibition room, and the main theme was reflected. In addition, to enhance the effect of the indirect experience of local heritage while viewing 13 exhibition halls, exhibition stands and detailed elements were implemented as an exhibition design that can utilize the senses of sight, hearing, touch, and smell, excluding taste. (Conclusions) In recent years, in urban regeneration and urban reorganization projects, there are increasing efforts to improve local assets and use them to form local brands. In particular, in small and medium-sized cities, where population growth is decreasing, it will become increasingly important to develop a new brand using local assets and seek a path for regional and economic development. In this context, I hope that Le Puy-en-Velay “Architecture and Cultural Heritage Reinterpretation Center” exhibition hall development project will be used as an example in planning a regional brand exhibition hall using local assets.