• 산업융합연구
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• 제22권1호
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• pp.41-54
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• 2024

현대 도예 예술은 새로운 예술 형식으로서 그에 상응하는 도자기 전시 방법이 요구되는데 전시 공간의 디자인과 전시 방식을 어떻게 활용하여 관객들에게 현대 도예작품의 시각 경험과 다양한 정보를 전달할 것인가에 대한 문제는 전시공간 디자인에서의 일차적인 주요 문제라 할 수 있다. 따라서 본 연구는 현대 도예 예술 전시 공간 디자인의 특성에 초점을 맞추고 있는데 이는 현대 도예작품 전시 공간 디자인에 관한 연구가 부족한 문제점을 해결하고 현대 도예 작품에서 최고의 전시효과를 달성하는 것을 목표로 진행한다. 첫째, 선행 연구의 내용을 요약하고 후속 연구를 위한 이론 근거를 제시하였다. 둘째, 경덕진 도자기 대학교 미술관에서 개최한 <도자기의 정신> 2021 경덕진 국제 도예 예술 비엔날레 현장과 전시자료, 그리고 전시공간자료 등과 관련하여 현장답사를 진행한 후, 인간공학 관점에서 공간의 전체적인 배치와 전시공간의 형태 등을 고찰하고 분석하여 경덕진 도자기 대학교 미술관의 전시공간의 전체적인 배치의 과학적 통일성과 전시공간의 형태적 디자인의 유연성과 지속가능성을 도출하였다. 본 연구에서 얻은 이론 지식은 현대 도예 예술 전시공간의 디자인을 위한 이론 지침에 도움을 줄 수 있어 중요한 실천적 가치를 가진다. 실내 공공 공간 디자인 실천을 위한 지침 제공은 중요한 실용적 의의가 있으며 더 나아가 중국 및 세계 현대 도예 예술 전시공간 디자인의 발전에 도움을 줄 수 있다.

• 한국실내디자인학회논문집
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• 제17권2호
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• pp.83-90
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• 2008

This study attempts to understand the arrangement and spatial requisites of art pieces by materializing the visitors' path of movement in the exhibition space, as well as researching their behavior. The purpose of the research is to the guideline for planning the exhibition layout and visitors' circulation can be derived in order to correspond to the visitors' characteristic of movement and circulation-path choice. Although such guideline may have limited use, it is still significant enough to be studied. Taking three Korean art galleries as the subjects of research, this study observes the arrangement of art pieces, movement path of visitors, characteristics of the visitors' behavior and the duration time a visitor takes to view an art piece without moving around in order to understand the arrangement and spatial requisites of art pieces which correspond to the visitors' behavior. The following results have been drawn in this research and analysis; First, when there is an island type exhibition other than the ordinary on-the-wall display in the exhibition space, the visitors' choice of path changes. In short, an island type exhibition seems to be a factor that changes the visitors' path. Second, in the entrance of an exhibition space unit, most of the visitors seem to choose a path which moves counter-clockwise. Third, it is considered that well-known art pieces or art pieces with a big size shall not be displayed on the comer of the exhibition room.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2003년도 춘계학술발표대회 논문집
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• pp.192-195
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• 2003

Digital art brought about first in 19s6s by Laposky Ben and became a area of new art. Also, digital art gives new possibility to systematize concept and actions in whole art and to invent some media which can carry the sense experience with space. However, reason that has often cynical meaning is appearing in preconception which technology falls off humanity. Because of digital technology, space production can become dreary, so it is necessary to sensuous production that connects digital with space which contains meaning of interior space. The purpose of this study is to find out spare which can be communicated from viewpoint of interaction through spatial substitution and characteristics of various expression production which have been involved newly in digital art area.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2006년도 추계학술발표대회 논문집
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• pp.146-150
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• 2006

The purposed of this study is to analyze the performance-art facilities. Research methods were reference study (interaction, local performance-art facilities) and research on the actual condition (on 4 local performance-art facilities for field investigation). Consequently emotional interractive space design makes people satisfied with their five senses, communication with people increase and enable people to experience something new that they haven't experienced before transcending time and space. Interaction design is designing experience of user through the interaction for human, thing, system, and space. The result of this research is to found out the possibility of emotional interaction design concept applied in public service area as a plan to revitalize the performance-art facilities.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2006년도 추계학술발표대회 논문집
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• pp.141-145
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• 2006

The development of information & communication technology in 21st century along with the mass media In 20th century, the influence of state-of-art culture in our society rapidly increased in these days. This state-of-art culture makes the world becomes single-channeled by network, and there is a big change not only in human life but also in concept and understand for art and space. The development of digital paradigm and media technology is exerting a strong influence on the Ubiquitous computing environment that is being drawn great interest. The ubiquitous is concerned as expansion of media art, and the interactive art which is part of media art has the similarity with the ubiquitous computing environment. In this study, the possibility of connection between the territory of ubiquitous environment which is recently focused and has strong interrelation feature, and the territory of interacting will be examined. Furthermore, possibility of new space design work through seeking the possibility of connection between two territories will be estimated.

• 한국실내디자인학회논문집
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• 제18권4호
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• pp.21-30
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• 2009

This study plans to classify the art museums in accordance with their spatial organization, analyzing their peculiarities each by its type in order to present the reference required for designing an art museums. With confidence, the analyzation as well as the results of the study contents will make worthy contribution for the future art museums. For this purpose, total of 95 art museums have been selected as the objects of analyzation. First of all, their types have been categorized in accordance with the standard of scale and architectural planning. Out of them, 33 museums have been further selected in order to see how the peculiarities of their patterns are outstanding, and then a quantitative analyzation has been made on each of them to see its space structure by utilizing 'Space Syntax'. Finally, a correlation analyzation of space structure peculiarities has been conducted and the spatial organization peculiarities per type is comprehensively arranged in accordance with the architectural planning and Space Syntax in order to present a new spatial organization per space to be used for the basic planning of the art museum. The contents of this analytical study are summarized as follows: A correlation analyzation on the typological features in terms of architectural planning and on the spatial organization features in terms of the Space Syntax has presented four new types of museum spaces: (1) Radial type, (2) Arachnoid-radial type, (3) Linear type, and (4) Grid type, in the light of which the selected 95 art museums have further been analyzed in order for their features to be reclassified.

• 한국실내디자인학회논문집
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• 제23권3호
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• pp.212-221
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• 2014

This study aims to analyze and explore phenomenological elements that appear in small-scall art museums with spatial concepts, such as top and bottom, depth, movement, and experienced space on the basis of Merleau-Ponty $Ph\acute{e}nom\acute{e}nologie$ de la perception.' Therefore, small-scale art museums may be regarded as an ideal space that can be analyzed with Merleau-Ponty's phenomenological theory since they should provide viewers with various spatial experiences in a limited space, breaking away from spatial limitations beyond appreciation of artworks. As research subjects, the range of art museums was limited to ones whose designs architectures or interior designers participated in out of all the small-scale art museums constructed after the 1990s, when the concepts and directing methods of spatial experience elements started being applied to art museums. Small-scale art museums chosen as cases were analyzed with Merleau-Ponty's spatial concepts explained earlier, and this study drew conclusions for each one. The significance of this study is that the results of this study can be used as efficient materials to reflect phenomenological elements on planning future small-scale art museums through further studies on various small-scale art museums.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.86-94
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• 2010

Art-Wall is the term for a surface wall representing artistic expression by using different materials or images in interior spaces. Usually this is the focal point in an interior space and sometimes it called as an image wall. In the new millenium Art-walls began to use in living spaces. While in the early stages of the development, Art-Wall was limited in a living room, in contemporary it spread into overall living spaces using various patterns and materials. Therefore, the research on Art-Walls in contemporary living spaces is essential to understand this development. The purpose of this study is to find out characteristics of patterns on Art-Walls as an imagery element in contemporary interior spaces. To analyze the characteristic, the analysis table for Art-Walls are constructed based on classifications of wallpapers and textiles. Based on this analysis table, 89 examples of Art-Walls from four major periodicals from 2008 to 2009 were examined. As a result of the analysis, in contemporary interior spaces solid-texture pattern is most frequently appeared. Then natural motifs are the next most popular using oversized or irregular layouts. The result shows that naturalistic expression is significant in interior space in 2008 to 2009. Therefore, Art-Walls that adapted diverse patterns are an essential element in contemporary interiors to represent the major concept of the space.

• 미술이론과 현장
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• 제1호
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• pp.49-70
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• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• 복식문화연구
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• 제20권5호
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• pp.782-798
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• 2012

The research aim is to analyze the attributes of fashion as an object of art, and to examine its potential and status as an art of body space. This paper explains the relationship between these two disciplines by focusing on the body as the foundation of fashion and art's concepts, and discusses the intrinsic properties and the approach to the creation of fashion which is expressed through the body. The research begins by analyzing the sociologists thoughts on the body and extracts the characteristics of fashion as a practice of a new art field from the perspective of body creating space. It explains that fashion can most easily transform the body and that this, along with the body itself, possesses the element of creating body space. Fashion is a new avenue for understanding the body that not only includes the human figure but also its movement and spirit approached as a creative activity. The paper will show that fashion chosen as an art activity expresses the changeable and ambiguous body and embraces an unlimited potential of creative activity. This expands the creative field by managing both the inner and outer space of the body. Historical examination, literature review and overview of development of reference materials will establish the theory.