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두보위,홍관선 한국콘텐츠학회 2019 한국콘텐츠학회논문지 Vol.19 No.8
The space before modern times is fixed and closed, then that after modern times is flexible and open. Based on the concept of space, the modern art exhibition hall gradually shifts from the interior space of a building to the outdoor space, giving birth to the concept of outdoor art pavilion. Based on this background, we analyzed and learned about the latest deformable art pavilions, focused on the investigation of its space performance characteristics and the case analysis, fully understood the design principles of deformable pavilions, and proposed the basic design directions and strategies for future research. Firstly, through learning the theories of transformable space, the characteristics and concept range of deformable space are understood. Secondly, based on the preliminary research and analysis of art pavilions, the performance characteristics are summarized. Thirdly, the pattern of deformable space and the method of reflecting the characteristics of deformable space are investigated based on cases. After summarizing the case analysis, we identified the differences of different art pavilions between deformable modes and space characteristics, and analyzed the causes. This work provides a basis for distinguishing the transformation patterns of the deformable space, and reveals the changes in space concepts and the expansion of space meaning in future architectural space design. 근대 이전의 공간이 고정적이고 폐쇄적이었다면, 근대 이후에 지어진 공간의 특성은 융통성과 개방성이라고 할 수 있을 것이다. 이러한 공간 컨셉을 기반으로 현대 예술 전시관 또한 점차 건축물 내부 공간에서 실외 공간으로의 변화를 추구하게 되었으며, 이에 따라 외부 아트 파빌리온이라는 개념이 탄생하게 되었다. 전통예술 전시관과 비교했을 때, 파빌리온은 현재 건축공간의 질서에서 벗어났을 뿐 아니라 창의적인 공간형태를 실현하였다. 따라서 많은 전문가디자이너들은 이를 통해 인간과 자연 사이의 장벽을 깨고자 시도하였다. 이러한 배경을 바탕으로 본 연구는 최근의 가변형 아트 파빌리온을 분석하고자한다. 가변형 아트 파빌리온의 표현특성을 고찰하고 사례를 분석하여 가변형 아트 파빌리온의 디자인 원칙과 원리를 파악하고, 향후 연구될 기본적인 설계의 방향과 전략을 제시하고자 한다. 첫째, 가변형 공간의 이론을 고찰하여 가변형 공간의 특성과 개념 범주를 파악한다. 둘째, 아트 파빌리온 관련 선행연구를 바탕으로 그 표현특성을 정리한다. 또 문헌연구를 통해 아트 파빌리온을 표현특성별로 구분하였다. 셋째, 가변형 공간 형태와 가변형 공간의 특성이 반영된 사례를 통해 연구를 진행한다. 사례분석에서 도출된 결과를 통해 각 아트 파빌리온의 변형방식과 공간특성의 표현방식 상의 차이와 그 나타나는 원인을 파악한다. 본 연구는 가변형 공간의 변형방식을 선별하기 위한 기준 근거를 제시하고, 또 미래 건축공간 디자인측면에서 공간개념의 변화와 공간 의의의 범주를 확장시킬 수 있다.
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예술작품으로서 파빌리온 건축을 통한 전시공간의 확장에 관한 연구 -<젊은 건축가 프로그램>을 중심으로-
이민희 ( Minhee Lee ),황용섭 ( Yongseup Hwang ),김주연 ( Jooyun Kim ) 한국공간디자인학회 2017 한국공간디자인학회논문집 Vol.12 No.3
(Background and Purpose) The concept of what constitutes “art” has expanded in recent years, and the trends in contemporary art have become more diversified and complex. As such, exhibition space has also become an essential element in appreciating art. Exhibition spaces become a work of art in their own right, and the artwork becomes the exhibition space. Various genres of exhibitions beyond the general form of the white cube are being held to represent 20th century contemporary art in the context of its site of exhibition. Within this transformation, new forms of exhibition spaces are appearing in accordance to changes in the concept of what constitutes a contemporary art space. This study surveys the expansion of new exhibition spaces, especially the appearance of art pavilions that combine art and architecture, and the spatial experience of audiences. (Method) This study establishes the concept of pavilion architecture as a work of art and emphasizes possible changes to these spaces by analyzing current trends based on the attributes and features of pavilions like the National Museum of Modern and Contemporary Art (Seoul, Korea), Istanbul Modern, MAXXI (Rome, Italy), and Constructo (Santiago, Chile), which form an international network around the Young Architect Program of MoMA (New York, USA). The main subjects of this study are the spatial interpretation of audience members, and the expressive methods of designing exhibition spaces through different perspectives of analysis on the pavilions arranged at the National Museum of Modern and Contemporary Art (2014 to 2016), the first institution in Asia to participate in the program. (Results) The Young Architect Program brings works of art into everyday spaces through the rendezvous of contemporary art and architecture. Doing so also enables recollection on the intimate relationship between art and life. The pavilion exhibition space can be classified as a work of art according to three elements: the functional element of site-specificity and public concern, ability to use the space variably; aesthetic perspective of appreciating art spatially as the space itself is recognized as a work of art; and spatial interpretation based on the narrative, in accordance with the subjectivity of each pavilion. (Conclusion) It is confirmed that the pavilion construction project in contemporary art expands the audience while suggesting a new concept of contemporary art. The introduction of pavilion architecture as works of art, as in the Young Architect Program, has changed the exhibition space into both a work of art and the subject being viewed. The significance of exhibition spaces today includes the use of these spaces for creating a bond between the art and one`s spatial experience of it. On this account, a follow-up study is necessary to position the pavilion as the newest genre of exhibition space.
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인젤 홈브로이히 미술관에 나타난 장소, 파빌리온, 예술의 특성과 의미 - 튜름, 호헤 갤러리, 라브린트를 중심으로 -
김자영 한국문화공간건축학회 2016 한국문화공간건축학회논문집 Vol.- No.56
Museum Insel Hombroich located in Neuss, Germany is renowned for harmony between hermit-like museum pavilions and tranquil natural environment of Hombroich Island. However, there are specific and elaborate methods of how to translate the existing placeness into pavilion designs as well as how to create unique art exhibition spaces. Main purpose of the study is to examine the spatialization process of place characteristics, the pavilion buildings’ multiple roles and deeper meaning of art. In chapter 2, the philosophy of the founder, Karl Heinrich Müller and the placeness of the site were studied. In chapter 3, the plastic art of the sculptor Erwin Heerich who designed 11 pavilions and major subjects in pavilion design were researched. Based on the study, it is found that there are several significant elements in the whole design process: reinforcement of the existing placeness, geometrical self-completion of pavilions, phenomena of inner spaces, and relationship between space and art. In chapter 4, three case pavilions (Turm, Hohe Galerie and Labyrinth) that can represent different categories were thoroughly studied by using four analytical elements. From the case study result, it is concluded that Museum Insel Hombroich’s art exhibition is contained within the re-structured and spatially phenomenonized nature. Therefore, the final art world is beyond the conventional art and could be called ‘meta-art’ in which human, art and nature are fully integrated. Ultimate goal of the museum is to generate a profound experience of here and now. Museum Insel Hombroich fundamentally questions the fixed notion of art as well as the museum.
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