전시체험공간 구성에서의 현상학적 표현특성에 관한 연구

박은아(Park, eun-a),한혜련(Han, Hae-Ryon) 한국실내디자인학회 2013 한국실내디자인학회논문집 Vol.22 No.3

Exhibition space emphasizes the experience in the space rather than viewing or appreciation of visitors. Because the experience spaces in today’s life are limited, people experience rest, comfort, and sometimes extraordinary space experience through exhibition space. Exhibition space has changed from a static place to a space where visitors move and act with the exhibits to freely feel the space. Also, the static space expressed only with illumination and shadow becomes a new space different from daily space for users. This study analyzes the characteristics of phenomenological expression through such user-oriented exhibition space. This study is to analyze the characteristics of phenomenology through the exhibition experience space structure. It is to analyze and study on the characteristics of phenomenological expression of the exhibition experience space structure centered in the opinion of Merlo-Ponti that considers the experience of body among "characteristics" discussed based on the study of the phenomenological experience published up to date and the viewpoint of Steven Hall that sees light as a subject of creating the space. This study is also considers how the perception of the experiencer is built in the correlation between the phenomenology and exhibition experience space by studying the relationship of the experiencer that is the common point of the exhibition experience space structure and the characteristics of phenomenological expression and analyzing the common point and difference of them. It also focuses on the space of dark whether forming any light rather than looking at the light which is the sense factor among the characteristics of phenomenological expressions. Thus, the purpose of this study is to analyze the case on whether there is any light or not applied to the exhibition experience space grounded by the theoretical materials of Merlo-Ponti and Steven Hall based on the characteristics of phenomenological expressions in the exhibition experience space structure and, based on the result, to set up the basics on the characteristics of phenomenological expressions in the composition of exhibition experience space.

불확정적 미술관 전시공간 경험에 관한 연구

이정아,문정묵 한국문화공간건축학회 2008 한국문화공간건축학회논문집 Vol.- No.21

The Pluralism in the late of the 20th century made the new form of exhibition space to be appeared on the stage. In addition to this, diverse forms of Modern Arts became to be focused and to accomodate these new form of exhibition space appeared to the art museum. The universal knowledge through the geometrical form of exhibition space that is non-spatial background to the art work became to the diverse one, when the space has been changed to the non-geometrical one in an art museum since around 1990. The study is to understand what kind of spatial experience is provided to the visitors of the art museum in conjunction with the 'infiniteness' of exhibition space that is in the plural society after 1990. The spatial experience in an 'infinite' exhibition space is thought to be as being like visually and spatially unpredictable one. Therefore, the visitor experiences a new space through the 'infinite' art museum, with a certain consciousness to the space. This is an identity of a museum space in a plural society and it suggests a direction for the exhibition space in an art museum. The Pluralism in the late of the 20th century made the new form of exhibition space to be appeared on the stage. In addition to this, diverse forms of Modern Arts became to be focused and to accomodate these new form of exhibition space appeared to the art museum. The universal knowledge through the geometrical form of exhibition space that is non-spatial background to the art work became to the diverse one, when the space has been changed to the non-geometrical one in an art museum since around 1990. The study is to understand what kind of spatial experience is provided to the visitors of the art museum in conjunction with the 'infiniteness' of exhibition space that is in the plural society after 1990. The spatial experience in an 'infinite' exhibition space is thought to be as being like visually and spatially unpredictable one. Therefore, the visitor experiences a new space through the 'infinite' art museum, with a certain consciousness to the space. This is an identity of a museum space in a plural society and it suggests a direction for the exhibition space in an art museum.

안도 다다오 전시공간의 구성에 관한 연구

김민정(Kim, Min-Jung),김용성(Kim, Yong-Sung) 한국실내디자인학회 2018 한국실내디자인학회논문집 Vol.27 No.2

The exhibition space is a concept that is used to extract only the function of exhibition in an art museum combined with various cultural facilities. It mediates works, audience, and space. Therefore, it is considered that the exhibition space will not only judge the space by the form of the building, but also the true meaning will appear when the exhibition, the space and the environment coexist. His exhibition space has a story from the outside to the inside and the exhibition. In this study, we try to understand the characteristics of his space by analyzing the way of organizing exhibition and exhibition in his exhibition space. As a result of analyzing the cases suggested on this thesis through this point of view, Ando Tadao represented characteristics of his own exhibition space by harmonizing the demand of each exhibition space with his architecture language. His exhibition space provides the experiential space in the harmony of the nature and artificiality as inpouring the nature into the complex traffic line. And, the exhibition is constituted as a result of fully considering the overall situation of the space environment. He tries uniting the space and art by interpreting the work in the space rather than arranging the works. Consequently, It gives visitors the direct space experience through the intentional traffic line and is becoming an exhibition space that can express the exhibition only in that space as constituting it differently in accordance with the character of work.

시게루 반 전시공간의 생태적 특성과 변화 연구

티엔휘,윤지영 한국콘텐츠학회 2022 한국콘텐츠학회논문지 Vol.22 No.2

This study examined changes in the ecological characteristics and design characteristics of Ban's exhibition space in three representative temporary exhibition halls and three permanent exhibition halls designed by Ban Shigeru since 2000. Through the investigation of the concepts and characteristics of ecological architecture, the design characteristics of exhibition space, the analysis framework of the design characteristics of exhibition space and the design elements of ecological architecture is obtained. The analysis results show that there are big changes between the temporary exhibition space and the permanent exhibition space in terms of building scale, space composition, function, materials and technology. On the one hand, the temporary exhibition space used recyclable materials, such as paper tubes, containers to be assembled on site into a single-layer space focused on display. The assembly method was simple and the construction period was short. After the exhibition, the exhibition space were dismantled. The materials were either transported to the next display site or recycled and reused. On the other hand, the permanent exhibition space used reinforced concrete as the main structure, and used a large amount of wood and glass materials to construct a multi-layered composite cultural space that separated the exhibition space and the leisure space. In terms of ecological characteristics, the building materials of the temporary exhibition space were recycled and no industrial wastes were generated after the demolition. The permanent exhibition hall uses eco-friendly wood for the roof and walls, so it is easy to replace and repair. Both types of exhibition halls are changing ecological architecture in a more sustainable direction by saving resources and energy through natural light and ventilation. 본 연구는 2000년 이후 시게루 반이 설계한 대표적인 임시전시관 3곳과 상설전시관 3곳을 대상으로 반의 전시공간의 생태적 특성과 디자인 특성에 대한 변화를 고찰하였다. 생태건축에 관한 개념 및 특성, 전시공간의 디자인 특성 등에 대한 문헌고찰을 통해 전시공간의 디자인 특성과 생태건축의 디자인요소에 대한 분석틀을 도출하였다. 연구 결과 건축규모, 공간구성, 기능, 재료 및 기술 측면에서 임시전시관과 상설전시관 사이에 큰 변화가 있다. 시게루 반의 임시전시관은 재활용 가능한 재료로 종이튜브, 컨테이너 등을 현장에서 전시 위주의 단층 공간으로 조립해 조립방법이 단순하고 공기가 짧아 전시회가 끝난 후 전시관이 철거되어 그 재료가 다음 전시장으로 옮겨지거나 재활용됐다. 한편 상설전시관은 철근콘크리트를 주체로 하고 목재와 유리재료를 다량으로 사용해 전시공간과 휴게공간을 분리시킨 다층 복합문화공간을 조성했다. 또한 시게루 반의 전시관을 영구건축으로서 친환경적인 재료와 혁신적인 구조기술, 기후설계 개념을 적용하는 등 지속가능한 건축을 실현하고 있다. 생태적 특성 측면에서 임시전시관은 건축자재를 모두 재활용할 수 있어 철거 후 산업폐기물이 발생하지 않았다. 상설전시관은 지붕, 벽면 등에 친환경 목재를 사용해 교체와 보수가 용이하며 두 가지 유형의 전시관은 모두 자연채광과 환기를 통해 자원과 에너지를 절약을 등 생태적 건축을 보다 지속가능한 방향으로 변화시켜 가고 있다.

공간구문론을 이용한 박물관 전시공간 분석

김예람,채정우 한국공간디자인학회 2019 한국공간디자인학회논문집 Vol.14 No.2

(연구배경 및 목적) 문화에 대한 수요가 증대하며 전시공간이 늘어나는 요즘, 전시공간을 정량적으로 분석하기 위해 연구를 시작하게 되었다. 이 연구의 목적은 박물관 전시공간의 정량적 분석에 있으며, 나아가 직관적인 학예사의 전시계획과 공간이 갖는 정량적인 수치를 비교 분석함으로써 앞으로 전시계획에서의 기준점이나 참고사항을 제시하는 데에 궁극적인 목표가 있다. (연구방법) 연구방법으로는 한슨과 힐리어의 공간구문론을 이용하여 전시공간의 공간구조를 정량적으로 분석한다. 공간구문론을 이용하여 얻을 수 있는 값으로는 연결도, 통합도, 명료도 등이 있다. 이 연구에서는 서사적 전개가 필요한 국내 전시공간인 <국립민속박물관>과 <대한민국역사박물관>을 대상으로 공간구문론 분석을 시도한다. 전시공간의 기본적인 평면분석과 함께 공간구문론을 적용한 정량적인 공간 분석을 한 후 실제 전시공간과 비교하여 전시 내러티브의 흐름과 공간구조가 일치하는지, 전시 콘텐츠의 배치가 적절한지에 대해 평가하고 문제점을 파악한다. 이를 통해 전시공간에 대한 제안점을 도출하려 시도한다. (결과) 국립민속박물관을 공간구문론 분석한 바에 따르면, 세 개의 전시실 모두 전시 후반부의 한 단위공간에서 연결도가 가장 높고 전시 중반부의 통합도가 가장 높은 공통점이 있었다. 각 전시실 현황과 비교분석하였을 때 1전시실은 배치의 변화가 필요한 부분이 있었으며, 2전시실은 동선의 유도가 필요한 구역이 있었다. 3전시실은 전시물의 배치와 동선이 적절하여 관람에 어려움이 없었다. 대한민국역사박물관을 분석한 바에 따르면, 시대의 흐름에 따른 전시계획으로 인해 전시공간 전반적으로 연결도가 낮았으며, 국립민속박물관과 마찬가지로 전시 중반부의 통합도가 높게 나타났다. 전시실 현황과 비교분석을 한 결과 1,2,3전시실의 경우 전시실의 주제와 통합도가 높은 공간이 일치하여 관람객 입장에서 정보를 효과적으로 받아들이기 수월하였다. 반면 4전시실의 경우 다른 전시실보다 규모가 작음에도 불구하고 통합도가 높은 공간에서 5개 이상의 산만한 콘텐츠가 배치되어 시정이 필요해 보였다. (결론) 이 연구에서는 공간구문론 분석 결과로 나타나는 정량적 계수를 참고하여 박물관 전시공간의 현황과 비교분석해 봄으로써 정량적이고 정성적인 분석 관점을 모두 적용해 보고자 하였다. 이를 통해 관람자가 혼란스럽지 않게 정보를 받아들이기 위해 전시구조와 전시내용의 짜임에 연결성이 있는지 확인하였다. 전시공간은 초기의 계획과 설치도 중요하지만, 사후검증이 더해져서 연구자들의 제안점을 부분수정으로라도 개선해 나갈 수 있다면 상설전시가 일반적인 박물관의 전시능력을 높여 더욱 더 향상된 전시를 제공할 수 있다고 생각한다. (Background and Purpose) In light of increased demand for culture and the bourgeoning number of exhibition spaces, the purpose of this study is to quantitatively analyze museum' exhibition spaces. More specifically, it attempts to analyze the space syntax of the Folk Museum of Korea and the National Museum of Korean Contemporary History. Further, its ultimate goal is to present evaluation or reference points for future exhibition plans by comparing curators’ intuitive exhibition plans with quantitative measures of space. (Method) As a research method, the spatial structure of the exhibition spaces at the Folk Museum of Korea and the National Museum of Korean Contemporary History were analyzed quantitatively using Hanson and Hillier’s space syntax theory. Some of the values that can be obtained using space syntax theory are connectivity, integration, and intelligibility. (Results) According to an analysis of the spatial syntax of the National Folk Museum, all three exhibition rooms had the highest connection and the highest degree of integration in the middle of the exhibition. This was also true of one unit space at the end of the exhibition. When compared with the original state of each exhibition room, the first exhibition room needed to change its layout, and the second exhibition room had areas requiring circulation guidance. The third exhibition room had no issues, because the arrangement of the exhibits and the exhibition space’s circulation were correct. According to an analysis of the National Museum of Korean Contemporary History, the exhibition space’s overall level of connection was low. This is due to the exhibition’s planning, along with contemporary trends at the time of completion. The integration value of the exhibition’s middle section was high, just like the National Folk Museum. According to a comparative analysis of exhibition room statuses, the first, second, and third exhibition spaces complemented the exhibition room, and had a high degree of integration. This made it easier for visitors to receive information effectively. On the other hand, in the fourth exhibition room, over five contents were scattered in an otherwise highly integrated space. This was true even though it was smaller than other exhibition rooms, a fact which seemed to require correction. (Conclusions) In this study, I attempted to apply both quantitative and qualitative analytical perspectives by comparing and analyzing the present situation of exhibition space in museums. I accomplished this by referring to quantitative coefficients resulting from an analysis of space syntax. While early planning and installation of exhibition space is important, I think long-term exhibitions can provide even better displays by enhancing the capacity of a typical historical museum. This is especially true if post-verification is added, and partial modifications can be improved.

전시 공간의 인터랙션 특성 연구- 상업·비상업 전시 공간 특성 비교 -

김새록,이돈일 한국기초조형학회 2014 기초조형학연구 Vol.15 No.5

현대인은 기존의 단순히 잘 만들어진 기능적이고 물리적인 하드웨어를 넘어 즐거움, 놀라움, 슬픔과 같은 감정의 경험을 극대화 시켜줄 수 있는 새로운 경험을 느끼기를 원한다. 이러한 바람은 공간의 패러다임도 변화시키게 되었다. 물리적인 공간에서 이용자와의 커뮤니케이션을 경험할 수 있는 상호작용의 매개체로 공간을 활용하기 시작한 것이다. 이에 본 연구에서는 이용자와의 인터랙션을 경험할 수 있는 전시 공간디자인 사례를 살펴보고 비상업 전시공간과 상업 전시공간으로 나누어 분석을 하여 전시 공간디자인에서의 인터랙션 특성을 도출하는데 목적을 둔다. 이를 위해 본 연구는 크게 이론정리 및 사례분석으로 진행하며 이를 토대로 평가 모형을 만들어 인터랙션이 전시 공간에 적용될 때, 공간과 사람 사이에 나타나는 상호작용적 표현 특성을 살펴보고 공간 인터랙션 디자인의 핵심 특성인 사용자, 공간, 경험을 통해 비상업 전시공간과 상업 전시공간의 인터랙션 표현 특성에 있어 이용객의 경험창출 요소의 차이가 있는지 분석해 보았다. 평가항목에 따른 분석결과, 인터랙션이 적용되어진 전시 공간 모두 시각적 요소를 활용한 적극적인 몰입을 통해 행위유발을 유도할 수 있었다. 비상업 전시의 경우 이용객마다 다양한 방법으로 의미를 해석하고 연출해 보려 노력할 수 있지만, 상업전시의 경우 전달자의 의도된 경험이 확실히 나타나므로 개인의 경험과 생각에 있어 제한적이었다. 또한 비상업 전시에 비해 빠르고 강하게 이용객과의 상호작용을 꾀하려 하는 등 차이점을 확인할 수 있었다. 기술의 발전과 트렌드 변화를 통해 사용자의 감성욕구에 부합하는 인터랙션기반의 전시 공간디자인의 다양한 활용방법들의 연구를 기대해 본다. The modern man wants a new experience which maximizes experience of emotion like happiness, surprise, and sadness exceeding the existing simply well-made functional and physical hardware. Such wish also changed the paradigm of space. Space began to be used as the medium of interaction in which communication with a user in a physical space can be felt. Therefore this research aims to deduce the characteristic of interaction in exhibition space design through observing exhibition space design cases in which the interaction with the user can be experienced and analyze by dividing to noncommercial exhibition space and commercial exhibition space. For this, this research is conducted mainly through theory summarization and case studies, and based on this, makes an evaluation model hence examining the characteristics of interactional expression between space and human when interaction is applied to exhibition space, and analyses whether there are differences in the user’s experience creation between noncommercial and commercial interaction expression characteristics through the core characteristics of interaction design which are user, space, and experience. As a result of research according to evaluation items, it was possible to induce behavior through active immersion utilizing visual elements in all exhibition spaces to which interaction was applied. In the case of noncommercial exhibition, each user can interpret and present the meaning in a variety of ways, commercial exhibition was restrictive in terms of the individual’s experience and thought because the communicator’s intended experience certainly appears. It was also possible to confirm differences such as planning interaction with the user quicker and stronger than noncommercial exhibition. Research of a variety of utilizing methods of interaction-based exhibition space design that coincides with the user’s emotional desires through the development of technology and trend change is expected.

전시디자인에서 전시참여 속 휴식공간 가능성에 관한 연구 -체험형 인터렉티브 시스템 적용을 중심으로-

이재률 ( Lee Jaelyul ),이정교 ( Lee Junggyo ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.4

(연구배경 및 목적) 최근 전시디자인은 전시공간에서 체험할 수 있는 인터렉티브 시스템을 접목시킨 전시회가 늘어나고 있다. 특히 관람객이 직접 참여하는 전시 방법으로 쌍방향 소통을 할 수 있는 인터렉티브 시스템을 접목시킨 전시회 중심으로 계획되며, 관람객의 참여는 전시 커뮤니케이션 형식에서 중요한 요소가 되었다. 이러한 배경에서 체험형 전시회 참여로 관람객은 더 많은 정보습득과 이해를 위한 상호적 관계가 이루어지는 전시에 대한 참여로 피로가 축적된다. 그래서 관람객의 피로를 최소화 시키기 위해 전시디자인 공간 속에 휴식공간디자인계획은 매우 중요한 환경요소가 되었다. 그러므로 본 연구는 전시공간디자인 속 휴식공간디자인에서 신체적, 심리적, 정신적 서비스를 제공할 수 있는 특성과 요소를 분석하여 전시공간 내부에 휴식공간디자인 계획이 결합할 수 있는 유형과 상호성을 연구하는 것이 목적이다. (연구방법) 본 연구에서는 첫째, 선행연구와 이론적 고찰을 통해 전시디자인의 휴식공간 특성과 피로요소를 추출한다. 둘째, 전시디자인에서 체험형 인터렉티브 유형과 구성요소 및 시스템 특성을 도출한다. 셋째, 전시공간 속 휴식공간디자인의 요소를 피로요소, 휴식형태, 휴식선상개념 세 가지 영역으로 나누어 분석표를 기준으로 비교하여 제안한다. 넷째, 국내외에 있는 사례 5곳을 선정하여 분석표에 대입하며 휴식공간 디자인을 비교 분석하고, 그 결과를 토대로 유의미한 전시디자인의 휴식공간 디자인계획의 가능성을 제안한다. 도출된 특성과 요소를 종합적으로 비교하여 나온 결과를 도출하여 휴식공간디자인계획을 제안한다. (결과) 전시공간 속 휴식공간디자인을 할 때 피로요소, 휴식형태, 휴식선상개념 세 가지 요소 중 휴식선상개념에서 하위개념과 동급개념이 다양한 피로요소와 휴식형태를 포함하며 휴식공간의 기능을 가진다는 것을 확인할 수 있었다. 반대로 휴식선상개념이 상위개념인 곳은 피로요소와 휴식형태에서 많은 요소를 포함하지 못한다는 결과를 도출할 수 있었다. (결론) 이번 연구에서는 전시디자인속에 휴식공간디자인을 결합할 수 있는지를 알아보는 것이 목적이었다. 휴식공간디자인 요소를 피로요소, 휴식형태, 휴식선상개념으로 나누어 분석했고 도출한 결과를 비교했다. 전시공간 내부의 휴식공간디자인은 전시공간을 주된 목적으로 디자인을 하며 휴식공간이 전시공간에서 자연스럽게 연결되어지도록 하위개념과 동급개념으로 접근하여 디자인되어야 한다는 것을 알 수 있었다. 전시디자인에서 휴식공간디자인계획은 하위 개념과 동급개념이 상위개념보다 많은 요소를 포함하고 있다는 것을 발견할 수 있었다. 이번 연구가 향후 전시디자인에서 휴식공간디자인을 함께 계획할 때 기초적인 도움이 되기를 바란다. (Background and Purpose) Recently, exhibition design is increasingly incorporating interactive systems. In particular, it focuses on interaction that allows for two-way communication, and participation of visitors has become an important factor. In this setting, participation in hands-on exhibitions can create fatigue for individuals due to the desire for information acquisition and understanding of various art forms. Therefore, in order to minimize fatigue that may be experienced by participants, the design plan of the rest space is an imperative environmental factor. Therefore, the purpose of this study is to analyze the characteristics and elements that can provide physical and psychological services in exhibition space design, and to study the types and reciprocity of the design plan for rest space. (Method) Firstly, the characteristics of rest space and fatigue elements of exhibition design will be extracted through prior research and theoretical considerations. Secondly, there will be derivation of hands-on interactive types and structural components, and exhibition design system characteristics. Thirdly, the rest space elements in the exhibition space will be divided into three areas: fatigue, resting style, and relaxation concept, which will be proposed by making comparisons based on the analysis table. Finally, five domestic and international cases will be selected, where their rest design plan will be applied to the analysis table and compared and analyzed. Based on the results, the possibility of a meaningful exhibition design plan will be proposed. This will be done by comprehensively comparing the derived characteristics and elements. (Results) When designing a rest space in an exhibition, it was confirmed that the sub-concept and equivalent concepts of the three elements fatigue, rest type, and relaxation concept included various fatigue elements and rest types. Conversely, where the concept of relaxation is the top concept, it was able to produce results that did not include many factors within the fatigue elements and relaxation forms. (Conclusions) The purpose of this study was to find out whether the design of the rest space can be combined with the exhibition’s. The elements of rest space design were analyzed by dividing them into fatigue elements, resting styles, and relaxation concepts where the results were compared using the analysis table. The design of the rest space was created mainly for the purpose of combining it with the exhibition space. From these observations, it is ideal for it to be designed with a sub-concept and equivalent concept, and thus, the rest space can blend naturally in the exhibition space. In the exhibition design, it was found that the sub- and equivalent concept contained more elements than the uppermost concept. This study was conducted in the hopes that it will provide basic guidance in planning a rest space design together in future exhibition designs.

메타버스 전시 기반 거울세계와 가상세계의 비교 분석 - 대표사례의 공간 특성별 특성 비교를 중심으로 -

최병우,한정엽 한국공간디자인학회 2022 한국공간디자인학회논문집 Vol.17 No.8

(Background and Purpose) The market size of online exhibitions is growing. During the COVID-19 Pandemic, the metaverse space showed growth in the exhibition market thanks to the advantages of overcoming cost and physical limitations. Even after the end of the COVID-19 Pandemic, online exhibitions are showing steady growth, and exhibition content is steadily increasing on the Metaverse platform. The metaverse exhibition space has many possibilities compared to the market size and extensibility, but the research on the spatial characteristics suitable for the metaverse type is insufficient. Therefore, this study aims to provide spatial characteristics to build an exhibition space that takes advantage of each metaverse type in the future by classifying the characteristics of the metaverse exhibition space according to the metaverse type. (Method) In the research method, it first defines the theoretical definition of spatial characteristics and their subtypes based on the metaverse exhibition theory. Based on the defined contents, it derives the measures of the exhibition contents selected as representative cases and analyzes the characteristics of the representative space. In the scope of the study, it is limited to the exhibition contents of the metaverse platform that can be accessed in Korea, and each representative case of mirror world and virtual world is selected and analyzed. (Results) This study classified metaverse types into a mirror world and virtual world, and analyzed each representative case with three spatial characteristic measures: formativeness, mobility, and presence. In terms of the formativeness characteristics, the mirror world has physical characteristics such as form, material, and object based on real space, but the virtual space shows a form that ignores the physical basis, which showed the virtuality of formativeness as a different point. In terms of mobility, the mirror world implements the physical mobility of visitors for effective content experience, but the virtual space shows network mobility such as hyper movement due to its high degree of freedom in content experience. In terms of presence characteristics, the mirror world implements real space and functions, allowing visitors feel a presence in reality, but the virtual space allows visitors to feel a virtual presence that cannot be experienced in a real space. (Conclusions) As a result of the analysis, it was possible to derive the differences between the mirror world and the virtual space according to the spatial characteristics of formativeness, mobility, and presence. It is hoped that this study will be able to provide important differences necessary for building a metaverse exhibition space that can be applied in a way appropriate to the spatial characteristics when building an exhibition space in the future.

전시 공간의 인터랙션 특성 연구 ?상업,비상업 전시 공간 특성 비교-

김새록 ( Sae Rok Kim ),이돈일 ( Don Yi Lee ) 한국기초조형학회 2014 기초조형학연구 Vol.15 No.5

현대인은 기존의 단순히 잘 만들어진 기능적이고 물리적인 하드웨어를 넘어 즐거움, 놀라움, 슬픔과 같은 감정의 경험을 극대화 시켜줄 수 있는 새로운 경험을 느끼기를 원한다. 이러한 바람은 공간의 패러다임도 변화시키게 되었다. 물리적인 공간에서 이용자와의 커뮤니케이션을 경험할 수 있는 상호작용의 매개체로 공간을 활용하기 시작한 것이다. 이에 본 연구에서는 이용자와의 인터랙션을 경험할 수 있는 전시 공간디자인 사례를 살펴보고 비상업 전시공간과 상업 전시공간으로 나누어 분석을 하여 전시 공간디자인에서의 인터랙션 특성을 도출하는데 목적을 둔다. 이를 위해 본 연구는 크게 이론정리 및 사례분석으로 진행하며 이를 토대로 평가 모형을 만들어 인터랙션이 전시 공간에 적용될 때, 공간과 사람 사이에 나타나는 상호작용적 표현 특성을 살펴보고 공간 인터랙션 디자인의 핵심 특성인 사용자, 공간, 경험을 통해 비상업 전시공간과 상업 전시공간의 인터랙션 표현 특성에 있어 이용객의 경험창출 요소의 차이가 있는지 분석해 보았다. 평가항목에 따른 분석결과, 인터랙션이 적용되어진 전시 공간 모두 시각적 요소를 활용한 적극적인 몰입을 통해 행위유발을 유도할 수 있었다. 비상업 전시의 경우 이용객마다 다양한 방법으로 의미를 해석하고 연출해 보려 노력할 수 있지만, 상업전시의 경우 전달자의 의도된 경험이 확실히 나타나므로 개인의 경험과 생각에 있어 제한적이었다. 또한 비상업 전시에 비해 빠르고 강하게 이용객과의 상호작용을 꾀하려 하는 등 차이점을 확인할 수 있었다. 기술의 발전과 트렌드 변화를 통해 사용자의 감성욕구에 부합하는 인터랙션기반의 전시 공간디자인의 다양한 활용방법들의 연구를 기대해 본다. The modern man wants a new experience which maximizes experience of emotion like happiness, surprise, and sadness exceeding the existing simply well-made functional and physical hardware. Such wish also changed the paradigm of space. Space began to be used as the medium of interaction in which communication with a user in a physical space can be felt. Therefore this research aims to deduce the characteristic of interaction in exhibition space design through observing exhibition space design cases in which the interaction with the user can be experienced and analyze by dividing to noncommercial exhibition space and commercial exhibition space. For this, this research is conducted mainly through theory summarization and case studies, and based on this, makes an evaluation model hence examining the characteristics of interactional expression between space and human when interaction is applied to exhibition space, and analyses whether there are differences in the user`s experience creation between noncommercial and commercial interaction expression characteristics through the core characteristics of interaction design which are user, space, and experience. As a result of research according to evaluation items, it was possible to induce behavior through active immersion utilizing visual elements in all exhibition spaces to which interaction was applied. In the case of noncommercial exhibition, each user can interpret and present the meaning in a variety of ways, commercial exhibition was restrictive in terms of the individual`s experience and thought because the communicator`s intended experience certainly appears. It was also possible to confirm differences such as planning interaction with the user quicker and stronger than noncommercial exhibition. Research of a variety of utilizing methods of interaction-based exhibition space design that coincides with the user`s emotional desires through the development of technology and trend change is expected.

전시자료의 보존환경을 고려한 국내 역사계박물관 전시공간구성에 관한 연구

정성욱 한국문화공간건축학회 2009 한국문화공간건축학회논문집 Vol.- No.25

The purpose of this study is to suggest the environmental configuration of a exhibition space in a museum for the conservation of collections. With the purpose of this study, examined the condition of conservation which is focused on intensity of illumination, temperature and relative humidity in a exhibition space and analyzed the present condition and status of 7 facilities which is focused on domestic museum of historic relics. Hereupon, the results of this study are as follows. First, for exhibition space, the classification of collections can be performed as follow: the group for nonorganic materials subdivide metal, chinaware, earthenware, and jade․stone, the group for organic materials subdivide leather․hair․paper․fabric, bone․horn․shell mound and wood․herbage. Second, exhibition space should be equipped with sufficient ‘Filtering Space’ before the outdoor, between exhibition spaces and located central territory in a museum facility. Third, in a domestic museum, for environmental division of exhibition spaces basically has to consider that it is reasonable to plan about 3 zone in metal, jade․stone․chinaware․earthenware and organic materials. And environment has to be controlled separately so as to give buffer effect to different environment conditions between exhibition spaces or divide the environment from public space. Fourth, it is necessary to establish a ‘Reference Exhibit Room’ which is formed cellular type for the exhibit room of donation․contribution. And a special exhibit room should be located nearby filtering space. The purpose of this study is to suggest the environmental configuration of a exhibition space in a museum for the conservation of collections. With the purpose of this study, examined the condition of conservation which is focused on intensity of illumination, temperature and relative humidity in a exhibition space and analyzed the present condition and status of 7 facilities which is focused on domestic museum of historic relics. Hereupon, the results of this study are as follows. First, for exhibition space, the classification of collections can be performed as follow: the group for nonorganic materials subdivide metal, chinaware, earthenware, and jade․stone, the group for organic materials subdivide leather․hair․paper․fabric, bone․horn․shell mound and wood․herbage. Second, exhibition space should be equipped with sufficient ‘Filtering Space’ before the outdoor, between exhibition spaces and located central territory in a museum facility. Third, in a domestic museum, for environmental division of exhibition spaces basically has to consider that it is reasonable to plan about 3 zone in metal, jade․stone․chinaware․earthenware and organic materials. And environment has to be controlled separately so as to give buffer effect to different environment conditions between exhibition spaces or divide the environment from public space. Fourth, it is necessary to establish a ‘Reference Exhibit Room’ which is formed cellular type for the exhibit room of donation․contribution. And a special exhibit room should be located nearby filtering space.