박물관 전시디자인 연출유형 및 연출기법에 관한 연구

김원길 ( Kim Wongil ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.4

(Background & Purpose) The exhibition of museums has been gradually changed according to social change and increased visitors’ needs, and the appearance of museum exhibition design has caused huge changes in the museum exhibition. The exhibition designers have produced various contents for raising the visitors’ participation and understanding of exhibition by directing spaces related to the exhibition theme and also using various directing techniques through the spatial planning of exhibition room. The purpose of this study is to provide the basic data for the museum exhibition planning in the future, by analyzing the spatial directing types and directing techniques of museum exhibition, and then drawing each type. (Methods) This study is performed as follows. First, the directing types are researched and analyzed based on the theoretical consideration of museum directing types and exhibitions held in museums. Second, this study conducts the theoretical consideration of directing techniques used by museum designers for maximizing the exhibition directing effects, and also researches and analyzes the types. Third, the directing types and directing techniques are comparatively analyzed based on the case of exhibitions recently held. Fourth, the data necessary for planning or operating the exhibitions is presented by understanding the directing types and directing techniques of exhibition space. (Results) First, in case of civilization exhibition like Exhibition El Dorado, a cultural element was used as a directing type for representing the characteristics of the relevant civilization such as natural environment and cultural patterns, and as technical elements for representing the cultural element, the image media like multimedia, mapping media, and immersive media were mostly used. Second, in case of historical exhibition and thematic exhibition focusing on historical relics, the explanation type for explaining each theme was used as the primary exhibition directing type, and the media were mostly used as a directing technique for increasing the explanatory effects. Especially, the digital media like AI(Artificial Intelligence), AR(Artificial Reality), and IOT(Internet of Things) with the development of the 4th industry, is increasingly used for exhibition directing to raise the visitors’ participation and immersion. When the scale or budget of exhibition is bigger, the percentage of media taking up the exhibition is increasing. (Conclusions) This study analyzed the directing types and directing techniques used for museum exhibition, and also analyzed the process of representation. The results of this study were changed into data by classifying/analyzing them into each exhibition genre, which could be used as a very useful data for exhibition designers to plan museum exhibitions in the future.

[예술경영] 박물관전시를 통한 이용자만족 전략연구: 경기도박물관의 사례연구

김동석(Kim Dong seok),장덕호(Jang Duk hoo) 한국예술경영학회 2007 예술경영연구 Vol.12 No.-

Life is becoming more complex with generational and social changes. In order to counteract to such an environment, museums need to understand open structures with a receptive attitude and provide users with valuable cultural values. Museums especially need to be aware of exhibition characteristic factors and continuously work on finding a method to maximize good ‘exhibition effectiveness,’ and able to change these into ‘user satisfaction.’ However previous studies until now have not focused on relationship factors such as the factors, effects and satisfaction of museum exhibitions. This study analyzes what effects the ‘general exhibition quality’ of a museum have on ‘exhibition effectiveness’ and ‘user satisfaction,’ and what effects ‘exhibition effectiveness’ have on ‘user satisfaction.’ It also analyzes in detail what effects ‘exhibition effectiveness’ and ‘user satisfaction’ have on ‘intension to revisit’ and ‘recommend to others.’ This study aims to reveal useful strategic points to help museums with active counteraction and useful and practical aid for specialized museums. This study makes a study model and hypotheses based on previous studies, and surveys users of Gyeonggi Provincial Museums. SPSS and AMOS are used to analyze the results and verify the hypotheses. The results of the study showed that the overall characteristics of museum exhibition were highly related to ‘tangibles’ and ‘quality of outcome’ factors, but had a low relation to ‘reliability’ and ‘responsiveness.’ The ‘general exhibition quality’ of museums had a significant effect on ‘exhibition effectiveness,’ ‘user satisfaction,’ ‘intension to revisit,’ and ‘exhibition effectiveness’ had a significant effect on ‘user satisfaction,’ ‘intension to revisit’ and ‘recommend to others,’ ‘user satisfaction’ had a significant effect on ‘recommend to others,’ and ‘intension to revisit’ had a significant effect on ‘recommend to others.’ However, ‘general exhibition quality’ had to relation with ‘recommend to others,’ and ‘user satisfaction’ had no relation with ‘intension to revisit.’ This study reveals the relationship between the establishment of an advisable idea of the significance and effect of museum exhibitions, and factors, for museum exhibitions to take on new forms. It also measures the effect between factors to optimize environmental factors of museums in a systematic and scientific way. Such positive analyses helps museums and museum exhibitions to find ways to be continuously active for effective operation, and furthermore aims to present a policy alternative in museum management.

박물관 전시와 사회적 맥락의 함의관계-조선시대 오복(五福)상징 목칠공예품의 전시분석-

엄소연 국립민속박물관 2008 민속학연구 Vol.0 No.22

The article focuses on the decontextualization of the subject of the exhibition, and focuses on describing the presentation of the exhibition and analyzing the meanings of the descriptions and energy factors in context. The exhibition design by the exhibition holder becomes a recreation, and the audience soon realizes that it is just for "show." This research avoided the inquired-about musiography aspects cited in museum exhibition researches, and considered the decontextualization of the exhibited works, linked with the social context. This research was restricted to the five-blessings-symbol woodcrafts from the Joseon period because such woodcrafts represent the decontextualization of modern museum formation in Korea, which is directly related to the history of the National Folk Museum and its exhibited craftworks, as its background. The National Folk Museum of Korea, which has a unique historical background in that it was a modern museum that was created during the Japanese occupation of Korea, has adopted craft nationality mainly in relation to ancient art. The woodcrafts, which make up the majority of the museum's old art pieces, unlike any other art form, are not merely historical products regarded as having normative social usefulness but are complex products of human skills that take on artistic and symbolic forms. The five-blessings-symbol woodcrafts from the Joseon period, especially the utensils, techniques, materials, and patterns, which have been implied as being connected with the changes in the social structure of the post-Joseon period, have already been studied. In this light, the decontextualization of the exhibition of the five-blessings-symbol woodcrafts from the Joseon period at the National Folk Museum could be understood by analyzing the descriptions and energy factors for its significance, and by reading the changes from the original context of the exhibit. In this context, the characteristics of the National Folk Museum, which reflects the history of museum formation in Korea, were examined the exhibition aspects of the five-blessings-symbol woodcrafts from the Joseon period were analyzed in their context and their decontextualized meaning was interpreted. The actual analysis was among those that had been carried out on eight national museums that have permanent displays of articles from the Joseon period, including the National Museum of Korea, the National Folk Museum, and other local museums. Field research on their abstracts and arrangement features, according to the relationship of the signs and energy, was conducted. The exhibition analysis revealed that all the eight historical museums that were analyzed had deviated from the original context and had disconnected energies and descriptions, exhibiting a decontextualization of loss, falling out, and distortion. Granted that the Confucian ideology, which was the basis of the life, culture, and values of the ruling social stratum, was consistent in the Joseon period, the exhibition signs were more applicable to the post-Joseon period or were generalized to speak for the regional or whole folk culture. Such decontextualization of the museum exhibitions of the two aforementioned factors can be recontextualized based on the knowledge, experience, and purpose of the audience. Hence, such understanding and an alternative plan should be requested so that the equilibrium could be maintained.

조선총독부박물관 본관 상설 전시와 식민지 조선 문화 -전시 유물을 중심으로-

김인덕 서울역사편찬원 2010 서울과 역사 Vol.- No.76

근대 역사학에서 식민지 경험은 각종 현재적 문제를 풀어내는 요소를 제공하며 동시에 발전지상주의적 근대성론이 갖고 있는 정치적 목적지향론에 대한 객관적 시점을 제공한다. 동시에 지역의 다양성에 대한 역사적 경험에 대한 객관화를 요구하고 있다고 할 수 있다. 전시는 미학, 흥미위주의 전시와 정보를 제공하는 전시 그리고 아이디어를 제공하는 전시 등이 있다. 조선총독부박물관은 정치적인 의도가 전제된 조직된 왜곡의 현장이었다. 특히 시종일관 관장을 겸임한 藤田亮策과 같이 철저하게 관변학자의 조직적인 지도와 지원이 결정적으로 작용했다. 전시학적인 차원에서의 합리적인 전시는 오브제들 사이의 유사성과 유전학적 관계 보편성에 기초한 전시를 시도하는 것이라고 할 수 있다. 조선총독부박물관 전시는 본질을 흐리는 전시로밖에 설명이 불가능했다. 조선총독부박물관은 위치상으로 볼 때 국가 조선과 조선 황실의 권위를 의도적으로 축소하는 데서 출발했다. 황실을 전시공간으로 만들고 역사성이 일탈된 공예품적 관점의 전시를 의도한 것이 조선총독부박물관이었다. 실제로 조선총독부박물관 본관 전시는 공진회의 미술관을 계승하면서 출발하여 의도된 공간이었다. 조선총독부라는 지배자의 의도가 반영된 전시는 왜곡된 고대사와 축소된 조선시대를 핵심적인 공간으로 했다. 이러한 조선총독부박물관의 본관의 상설전시는 불교, 대외관계, 왜곡된 상징성에 주목하여 한민족 문화의 본질, 시민적 요구, 인간중심주의에 벗어난 식민지적 왜곡을 진행한 ‘식민지 근대’를 보여주는 공간이었다. 핵심적인 전시품은 역사, 문예, 종교, 미술, 공예품과 선사시대의 유물이었는데 비교 전시의 방법을 통해 중국과 인도 및 일본의 유물을 동시에 보여주면서 왜곡된 역사상을 만들어 냈다. 결국 조선총독부박물관의 건립으로 경복궁은 ‘12만여 평의 대박물관’이 되었다. 특히 용도가 바뀐 공진회 미술관을 활용한 조선총독부박물관 본관 상설 전시는 전시 기법에서도 문제가 있었다. 적은 공간에 대량의 유물이 무매개적으로 전시되면서 시대별, 종류별, 나열식 비교전시를 했다. 아울러 전시실 구조와 채광, 조명 등의 시설도 절대 문제를 갖고 있었다. 특히 부수적인 전시 공간으로 경복궁 내의 근정전, 사정전, 수정전 등을 사용한 것은 박물관의 조건으로서는 왜곡된 시설의 본보기라고 할 수 있다. 이상과 같은 조선총독부박물관 본관 전시는 그 내용을 ‘식민 통치 정치’가 장악하여 타율성과 정체성, 일본 문화 중심적 관점의 심미안에 따른 불교 중심의 조선 문화를 강조하는 공간으로 전락했다. Colonial experiences in modern history provide elements solve present problems also provides objectification about political purposeful process that modern doctrine theory’s development for development’ sake included. At the same time, it requests objectification about diversity and historical experiences in region. Exhibitions are displaying esthetics, interests, information, and exhibition that shows ideas. Museum of Japanese government general of Korea is the place where involved political purpose and manipulated distorted museum. In particular, this museum was supported and advised by thorough official scholar such as Fujida Ryosaku who had been director for a long time. Rational exhibition in academic could be explained as exhibition based on relationship between similarities and genetics among objects. Exhibitions in museum of Japanese government general of Korea can only be expressed as losing essence. When seeing the location of museum of Japanese government general of Korea, it started with intention reduce throne and royal authority. Japanese remodeled imperial rooms as exhibition space where displayed relics which lost historical meaning. Indeed, main building exhibition of ‘Museum of Japanese government general of Korea’ was the intended museum that inherit exhibition art gallery. Exhibition in the museum clearly presented ruler’s purpose, Japanese government general of Korea, was mainly about distorted ancient history and scaled chosun history down. Permanent exhibition in main building of museum took notice of Buddhism, international relations, and distorted symbols so that this was the place for showing distorted colonial era essence of Korean culture, demand as a citizen, anthropocentricism. Essential exhibits were the time of the prehistoric age such as history, religious, fine art, literature, handicrafts. Throughout compare with Chinese, Indian artifacts, Japanese made distorted history. To conclude, since the establishment of ‘Museum of Japanese government general of Korea’, Kyung-bok palace became giant museum that involves 98 acre. Especially, there is an exhibit problem that permanent exhibition of main building untilized from art gallery. While many of relics displayed in limited space, they categorized with era, species. Also, structure of exhibition and lightning, skylight had problem as museum. In particular, using Keunjeong-jun, Sajeong-jun, and Sujeong-jun in Kyong-bok palace as displaying space was example of distorting facility and places. Followed exhibition in ‘Museum of Japanese government general of Korea’ eventually determined that Chosun culture as Buddhist in terms of Japanese aesthetic view by colonial ruling in Korea.

DMZ박물관의 전시특성과 다크뮤지엄으로서전시개선방안 연구

김정웅 건국대학교 글로컬문화전략연구소 2022 문화콘텐츠연구 Vol.- No.25

The de-militarized zone (DMZ) Museum, located in Goseong, Gangwon-do,is one of Korea’s representative museums. Despite being located in acivilian-controlled zone, it was popular enough to receive 2 million visitorsin August 2021. The reason for the interest in the DMZ Museum is that thenearby DMZ is relatively unique among conflict zones, with very fewexisting in the world. The DMZ Museum, which uses the DMZ as its topic,talks about the founding philosophy to transform it “From a symbol of warand division to a land of peace and life!” In other words, we approach theDMZ as a place that hopes to shed its negative past and transform to a placeof potential positive future value. The DMZ Museum organizes exhibitionsaccording to its founding philosophy. The DMZ Museum exhibits are dividedinto two main categories. At the beginning of the exhibition, the origin andformation of the DMZ is conveyed. During the middle section, the natureand resources possessed by the DMZ are introduced and emphasized as aplace with high potential. Through this division, ultimately, it proposes aplan for the DMZ to move toward a place of peace and life. The characteristics of the DMZ Museum exhibition are as follows. First,it clearly reveals the cause of the DMZ by directing realistic representations based on chronological exhibitions. Second, it pursues future-oriented valuesto promote peace and life as part of the DMZ landmark. Third, ultimately, itseeks to underline the direction the Republic of Korea should take for thedevelopment and unification of inter-Korean relations. In order to effectivelyutilize these characteristics, the DMZ Museum chooses a method that informsthe history of the past tragedies using dark lighting from the beginning tothe middle of the exhibition, and shows a bright future of peace and lifeusing bright lighting from the middle of the exhibition onwards. TheseDMZ museum exhibitions are faithfully planning exhibitions according tothe founding philosophy and purpose. In particular, it shows the potential ofdark museums to deliver meaningful topics to future generations in that itnot only delivers historical facts, but also pays attention to the potentialvalue of the DMZ and seeks ways to utilize it. However, the exhibition usesgraphic panels and texts that are repeated in the latter half of the exhibition. These should be the key to delivering the message of the theme, however, itnot only lowers the visitor’s ‘exhibition attention’, but also weakens thedelivery of the theme. Therefore, in this study, the exhibition improvement plan to emphasizethe theme in the DMZ museum exhibition is proposed as follows. First, it isproposed that exhibits that focus on ‘personal memory’ as well as publicmemories of tragic events surrounding the DMZ should be actively used. Second, if the first half of the exhibition effectively conveys the cause andhistory of the DMZ through realistic reproduction-oriented production, thesecond half, which talks about the potential of the DMZ and the hope for abright future, should metaphorically convey the theme through CulturalRepresenations. Third, the end of the exhibition, which is directly connected to the ultimate goal of the exhibition, should be recomposed as an exhibition that canimprint the idea of the DMZ as a land of peace and life.

경계를 넘나드는 새로운 박물관 전시전략 -서소문성지역사박물관 전시를 중심으로-

황규진 한국박물관학회 2023 博物館學報 Vol.- No.46

Seosomun Shrine History Museum is a history museum, a memorial museum, and a religious museum. It is an unprecedented museum in Korea that adds the characteristics of an art museum to this ambiguous character. The construction process of the Seosomun Shrine History Museum, which was built at the initiative of the Catholic Diocese of Seoul, was not easy. The Catholic Archdiocese of Seoul’s long-standing efforts to commemorate the Seosomun area, a site of martyrdom for Catholic saints in the late Joseon Dynasty and the first Vatican-approved international pilgrimage site in Asia, have struggled in the face of opposition to turning historical sites into sacred sites for specific religions. do. As public funds from the Seoul Metropolitan Government and Jung-gu are being invested, the argument that it should be a public space for all citizens, not just a space for Catholics, gained strength. Accordingly, the project that was first started under the name of ‘Seosomun Historical Site Tourism Resource Project’ was ‘Seosomun Gate’. By changing the name to ‘History and Culture Park Creation Project’, we found an architectural solution that accommodated both the history museum and the park, and at the same time accepted opposing opinions during the construction process in the exhibition, and recognized Catholicism as a religion rather than a religion. In addition, it was treated from the perspective of a transitional period in various ideological circles, and the history of the late Joseon Dynasty was included in the exhibition, including Seosomun as a historical site. In order to clearly show the purpose of being a cultural space for citizens, an arts committee was formed and an art director was appointed to regularly organize art exhibitions. A strategic choice was made to hold the poem. The exhibition of contemporary contemporary art in museums other than modern art museums is not sudden. It has often been attempted by leading planners as an evocative exhibition that provides a new perspective, and is also a form of exhibition that has recently been attracting attention as it has been called a ‘transhistorical exhibition’. It is often attempted in special exhibitions in Korea as well, but it is a special case when a full-scale and professional art exhibition is held with an art director and curator in charge, such as at the Seosomun Shrine History Museum. Accordingly, this paper serves as a good precedent that can shed light on the future direction of museums in the new museum era, where the values of publicness and diversity must be sought, along with the background to why the Seosomun Shrine History Museum adopted the unique exhibition strategy of ‘museum exhibition in a museum’. Let’s look at the exhibition contents of the Seosomun Shrine History Museum and find out its significance. 서소문성지역사박물관은 역사박물관이면서 메모리얼 박물관이자 종교박물관이다. 이런 중의적 성격에 미술관의 성격을 더한 국내에는 전례 없는 박물관이다. 가톨릭 서울교구의 발의에 의해 건립된 서소문성지역사박물관의 건립과정은 수월하지 않았다. 조선후기 사형터로서 가톨릭 성인들의 순교지이자 아시아 최초의 교황청 승인 국제순례지로 지정된 서소문 일대를 기념하고자 하는 가톨릭 서울대교구의 오랜 노력은 역사 유적지를 특정 종교만을 위해 성지화하는 것에 반대한다는 의견에 부딪혀 고전하게 된다. 서울시와 중구의 공공자금이 투입되는 만큼 가톨릭만을 위한 공간이 아니라 시민 전체를 위한 공공의 공간이어야 한다는 주장이 힘을 얻게 되었고 이에 ‘서소문밖 역사유적지 관광자원화 사업’이란 이름으로 처음 시작된 프로젝트는 ‘서소문역사문화공원 조성사업’으로 이름을 바꾸면서 역사박물관과 공원이라는 두 가지를 모두 수용한 건축적 해법을 찾아냄과 동시에 전시에 있어서도 건립과정에서의 반대의견을 수용하여 천주교를 종교가 아닌 조선후기 서학, 동학 등과 더불어 다양한 사상계의 전환기라는 관점에서 다루며 조선후기 역사를 전시에 담아 역사적 장소로서의 서소문 등을 포함하였고 시민을 위한 문화공간이라는 취지를 뚜렷하게 보여주기 위해 예술위원회를 구성하고 예술감독을 두어 정기적으로 미술기획전시를 개최하는 전략적 선택을 하였다. 현대미술관이 아닌 박물관에서의 동시대 현대미술의 전시는 갑작스러운 일은 아니다. 새로운 시각을 부여하는 환기적 전시로 앞서가는 기획자들에 의해 종종 시도되어왔으며 최근 ‘초역사적(transhistorical) 전시’라는 명칭을 얻으면서 주목받고 있는 전시 형태이기도 하다. 국내에서도 특별전 등에서 종종 시도되고 있는데 서소문성지역사박물관과 같이 예술감독과 담당 학예사를 두고 본격적이고 전문적으로 미술전시를 하는 경우는 특별한 사례라고 하겠다. 이에 본 논문은 공공성과 다양성의 가치를 찾아가야 하는 신박물관시대의 박물관이 나아갈 바를 밝힐 수 있는 좋은 선례로서 서소문성지역사박물관이 ‘박물관에서의 미술관 전시’라는 이색적인 전시전략을 채택하게 된 배경과 함께 서소문성지역사박물관의 전시 내용을 살펴보고 그 의의를 찾아보려고 한다.

해외 자연사박물관의 전시구조 및 공간체계 분석에 관한연구

이승용 ( Lee Seungyong ) 한국공간디자인학회 2020 한국공간디자인학회논문집 Vol.15 No.7

(Background and Purpose) The natural history museums in Korea and abroad, which are operated today, are characterized by the humanities and social and natural environments of each country, and are not greatly influenced by policies of the government and local governments, unlike other museums in history and science. In addition, Korea’s Natural History Museum is experiencing social problems such as a decrease in the number of visitors as compared to a quantitative increase, while the Overseas Natural History Museum has a large number of visitors. Today, the exhibition of the natural history museum is planned as a media-centered structure, and communication between the audience and exhibition planners is expressed in a one-way manner. In view of the reality of the natural history museum, the Korean natural history museum aims to deliver descriptive information that excludes the exhibition system form of narratives, which is a meaningful way of thinking, and shows the form of information and exhibition structure in one-way media-centered structure. In this study, we analyze the exhibition structure and spatial system of the Overseas Natural History Museum to determine why and its characteristics. (Method) This study was conducted on a specialized natural history museum operating overseas, and the purpose of the analysis was to identify problems and characteristics of the exhibition structure, system, and space. In addition, problems and solutions were presented based on results of the research analysis, and the research method was conducted by visiting overseas natural history museums and comparing and analyzing interviews, almanacs and literature, and web surveys with the museum’s director. (Results) It was found that the characteristics of the independent composition of Picalesk were clearly shown in the formality classification system of overseas natural history museums, as the unique characteristics of natural history museums, such as history, environment, and temporal characteristics, were implemented in the exhibition system and space, and the analyzed cases were identified as a result of research analysis. The scope of the exhibition was not limited to the region, so that visitors could effectively accommodate vast amount of information in the form of education. (Conclusions) The purpose of this study was to analyze the exhibition system, structure, and space composition of the Overseas Natural History Museum case and suggest the form of exhibition structure in which visitors can more effectively accept information by drawing up the problems and characteristics of the museum, and to present basic data that can be used when planning exhibitions or constructing spaces in the natural history museum.

박물관 특별전시 연계 교육 프로그램 개발과 운영에 대한 연구–국립중앙박물관 <동아시아의 호랑이 미술> 특별전을 중심으로

최선주 한국미술사교육학회 2019 美術史學 Vol.- No.38

One of the most notable changes in the museum recently is the enrichment of educational functions. The National Museum of Korea conducted 1,631 sessions from 88 educational programs, gathering a total of 160,208 participants in the single year of 2018. To commemorate the 2018 PyeongChang Winter Olympics and Paralympic Games, the National Museum of Korea organized the special exhibition <Tigers in East Asian Art: Korea, Japan, and China>(2018.2.6 ~ 3.18) in cooperation with Tokyo National Museum and the National Museum of China. Based on the exhibition, this study focuses on the development and operation of the exhibition linked education programs conducted by the National Museum of Korea, and seeks ways to develop creative and orignal education programs. The exhibition <Tigers in East Asian Art> features 105 artistic masterpieces depicting tigers from Korean, Japanese, and Chinese art. Ranging from ancient to contemporary times, this exhibition presents paintings, crafts, sculptures and textiles which portray tigers in primitive faiths, Taoism and Buddhism which uncovers symbolism of the tiger in diverse aspects of everyday life. The special exhibition hence explores the origin and development of the tiger motif in art and exhibits a comprehensive history of tigers from all three countries. To develop rich education programs related to this exhibition, the curator in charge of the exhibition, educational researchers, designers, and conservation scientists gathered since the early stages of the exhibition to share in-depth understanding of the concept. After many exchanges in ideas, these discussions became ground for the development of creative and smooth operation of the education programs. The exhibition linked education programs consisted of academic lectures, guided tours, production of exhibition guide books, exhibition of tiger picture books at the Children’s Museum and appreciation education of exhibition works. In means to foster the understanding of the exhibition, education programs not only included academic lectures and guided tours, but also produced study materials and guide books for an interactive atmosphere of the exhibition. In addition, Children’s Museum of the National Museum of Korea held a tiger exhibition and ran a children’s tale program. This was an educational exhibition concentrating on children’s growth development and education, which resulted in great achievements by focusing on improving the overall development of children’s imagination and creativity. Meanwhile by providing a new online exhibition service, the exhibition successfully attracted great attention and contributed in expanding the role of the National Museum. By integrating a virtual reality(VR) experience service, the online exhibition enabled anyone, anywhere, anytime all over the world to enjoy the tiger arts from the exhibition. The museum’s exhibition linked education programs encouraged active participation of the visitors and served more than a purpose to just deliver knowledge. Hence by providing a story to communicate with viewers and enhancing the understanding of the exhibition, these programs have become significant factors that impact visitors to remember the exhibition for a long time. To conclude, the National museum must pay great attention to establishing models for exhibition linked educational programs, while excavating and developing contents suitable for the digital age to share them with other state-run museums. 최근 박물관의 변화 가운데 가장 주목할 만한 것은 교육 기능의 강화이다. 국립중앙박물관에서는 2018년 한 해에 이루어진 교육 프로그램은 88종, 1,631회를 실시하여160,208명의 참가를 이끌어냈다. 국립중앙박물관은 2018평창 동계올림픽·패럴림픽을 기념하기 위해, 일본 도쿄국립박물관, 중국 국가박물관과 공동으로 <동아시아의 호랑이 미술-한국·일본·중국> 특별전(2018.1.26 - 3.18)을 개최했다. 이 특별전시를 중심으로 국립중앙박물관 특별전시 연계 교육 프로그램의 개발과 운영에 대해 살펴보고 참신한 교육 프로그램 개발방안에 대해서 논의해 보았다. 이번 동아시아의 호랑이 미술 전시 구성은 한국, 중국, 일본의 호랑이 미술과 3국의걸작품 비교로 이루어졌다. 고대부터 근현대에 이르기까지 원시신앙과 도교, 불교 관련 호랑이 작품을 비롯하여 생활 속에서 다양한 의미로 변주된 한중일의 회화 38 건, 공예 58건, 조각 5건, 직물 4건, 총 105건 145점을 선보였다. 이 전시와 관련된 교육 프로그램 개발을 위해 전시 기획 단계부터 전시 담당 큐레이터와 교육연구사, 디자이너, 보존과학자 등이 함께 참여하여 전시 컨셉을 충분히 이해하고 이를 바탕으로 심층 토론을 거쳐 창의적인 교육 프로그램을 개발·운영했다. 전시 연계 교육 프로그램은 크게 학술강연회와 전시해설, 전시 가이드 북 제작, 어린이박물관 호랑이 그림책 전시, 전시 작품 감상 교육이다. 특별전시의 이해를 위한 학술강연과 작품해설 이외에도 전시 연계 학습지 제작과 전시 관람 가이드 북을 제작하여체험하는 프로그램을 동시에 진행했다. 또한 국립중앙박물관 어린이박물관에서는 호랑이 전시와 구연동화 프로그램을 운영했다. 이는 어린이의 성장 발달 및 교육에 중심을 둔 교육적 전시로 어린이들의 상상력과 창의성의 전반적인 발달을 향상시키는 데 초점을 두고 운영하여 커다란 성과를가져왔다. 한편 전시에 대한 온라인 전시 서비스를 새롭게 제공하여 특별전시에 대한 관심을이끌어 내었다. 이는 전시실을 직접 방문하지 않아도 온라인 전시감상과 가상 전시실(VR) 체험 서비스를 통해 전 세계인들이 언제 어디서나 호랑이 작품을 관람할 수 있는온라인 전시 서비스로 국립박물관의 역할을 확장시키는 데 기여하고 있다. 박물관의 특별전시 연계 교육 프로그램은 관람객의 주체적이고 능동적인 참여를 유도하며, 단순한 지식전달의 수단이 아닌 관람객들이 소통할 수 있는 이야깃거리를 제공해주며 전시 내용에 대한 이해의 폭을 넓혀 오래도록 전시를 기억하게 하는 중요한요소가 되었다. 국립박물관은 특별전시 연계 교육 프로그램 개발을 위한 모델 구축과 디지털시대에 걸맞은 콘텐츠를 적극 발굴하고 가공하여 국공사립박물관에 공유하는 일에도 많은 관심을 가져야 할 것이다.

기독교박물관의 전시공간 특성에 관한 연구

안진근 ( Jin Keun Ahn ) 한국상품문화디자인학회 2015 상품문화디자인학연구 Vol.42 No.-

기독교박물관은 기독교적인 의미와 가치를 표현하는 동시에 현대사회의 종교문화를 주도하는 중요한 의미를 가지는 전시공간이다. 또한 한국기독교의 역사와 문화 그 속에 존재하는 기독교정신인 공동체, 신앙 활동 등 한국의 기독교문화 전반의 모든 요소들을 수집. 보존하여 연구함으로써 이를 전시하는 중요한 문화공간이기도 하다. 기독교박물관을 찾는 관람객들이 모두 하나님을 믿는 기독교인들은 아니다. 이러한 관람객들에게 감동과 즐거움, 그리고 기독교 전문지식을 함께 제공하는 새로운 개념의 전시공간이 필요하다. 따라서 전시형태 또한 눈으로 보는 전시에만 만족하지 않고, 보다 적극적으로 참여하고, 체험하는 전시연출이 필요하다. 이에 본 연구에서는 한국의 기독교박물관의 전시공간 특성에 관해 연구하고 분석하여, 기독교박물관의 효율적인 전시공간을 제안하는데 목적이 있다. 본 연구에서는 기독교박물관의 전시공간을 파악하고, 사례분석을 통해 기독교박물관의 전시연출계획과 그에 따른 공간의 특성을 분석하여 기독교박물관 고유의 기능과 특징을 살릴 수 있는 전시연출 방법을 제시하고자 한다. 연구의 범위는 한국의 기독교사 관련 문화재 및 자료를 수집·전시하는 기독교박물관의 전시공간을 중심으로 범위를 선정하여 전시공간을 대상으로 전시연출 특성에 관해 연구를 진행하려고 한다. 연구의 방법으로는 기독교박물관과 관련한 선행연구 및 문헌조사를 통한 기독교박물관의 개념과 특성을 정리하고, 한국의 기독교박물관을 대표할 수 있는 여섯 곳의 기독교박물관 전시공간을 방문하여 전시연출 사례연구를 통해 기독교박물관의 특성을 살린 효과적인 전시방법을 제시한다. Christian museums usually provide an exhibition space that plays an important role in leading the religious culture of modern society, as well as expressing the meaning and values of Christianity. And also, it is a very important cultural space where overall factors of Korean Christianity, such as spiritual and religious activities of Christian communities, are preserved and exhibited after those factors that have existed in the history and culture of Korean Christianity are collected and studied. Not all the people visiting a Christian museum are Christians who believe in God. So, it is required to prepare an exhibition space based on a new concept, which may provide the visitors with impression and pleasure, including specialized knowledge about Christianity. Accordingly, it is required to organize an exhibition presentation in which visitors may participate and experience with a positive attitude, as they are not satisfied with the form of exhibition where they can do nothing but watch. Therefore, this study aims to analyze the characteristics of existing exhibition spaces in Korean Christian museums and propose a rational approach to an efficient exhibition space of Christian museums. This study aims to propose a method of exhibition presentation that helps improve the function and promote the characteristics of Christian museum by analyzing the plans for exhibition presentation and characteristic features of Christian museums, including the case studies. The scope of this study is centered around the exhibition space of Christian museums where they collect and display the cultural assets and data related to the history of Korean Christianity, so that the features of exhibition presentation in exhibition space can be studied. The study method is focused on summarizing the concepts and features of Christian museums through reviewing the precedent studies and carrying out a literature search, and visiting the exhibition space of six museums, which may represent the Korean Christian museums, so that it would be possible to present an effective exhibition method that enables us to make the most of museum``s characteristics through case studies on exhibition presentation.

인지체험 극대화를 통한 박물관 디지털 전시공간 특성에 관한 연구 -중국 사례 분석을 중심으로-

장선혁,이정교 한국공간디자인학회 2024 한국공간디자인학회논문집 Vol.19 No.1

(Background and Purpose) Advances in science and technology have led to a significant shift in museum exhibition formats from traditional to digital communication methods. In this context, enhancing the exhibitability of museums and providing highlights in the design of internal exhibition spaces has become crucial. This allows visitors to have an engaging experience by utilizing its advantages while adding fun. Therefore, the purpose of this study is to study the derivation and experience by utilizing the advantages of digital exhibition methods while adding an element of fun. (Method) This study analyzes the definition and characteristics of digital exhibition space in museums and cognitive experience through theoretical consideration of museum exhibition space and cognitive experience. The FGI method was used to verify the characteristics of cognitive experience and museum digital exhibition space based on the previous research. The verification results were used to present an analysis model for the case, based on comprehensive analysis. (Results) The selected cases were chosen to represent Chinese digital museums. According to the results of the comprehensive analysis, among the five museum digital exhibition space characteristics (functionality, interactivity, experientiality, immersion, and diversity), experientiality has a high score and interactivity and diversity have a low score. Among the cognitive experience characteristics (perceptibility, memory, learnability, creativity, and variability), perceptibility and memory have high scores, creativity and variability have low scores, and learnability has the lowest score. (Conclusions) With the development of digital exhibition technology, digital exhibition spaces in museums are becoming more and more diverse. In order to maximize the cognitive experience of museum digital exhibition spaces in the future, it is necessary to diversify the exhibition methods and enhance the interaction with visitors to improve the exhibition experience and immersion, and enrich the cognitive elements in the exhibition space is also an effective means to maximize the cognitive experience. In the future, museum digital exhibition spaces should combine traditional physical exhibition spaces with digital exhibition spaces, and the design of digital exhibition spaces in Chinese museums should emphasize experiences that enrich exhibition means and enhance perception and memory. Enhancing user experience and strengthening cognitive elements through various interactive experience programs is the way to maximize cognitive experience in museum digital exhibition space. This paper proposes this strategy.