• 한국의류학회지
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• 제48권3호
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• pp.451-466
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• 2024

This study investigated the current statuses of and challenges faced by 19 textile and fashion museums in Seoul and Daegu. Through interviews conducted via email, phone, and face-to-face meetings with museum officials, this research analyzed the prevalent difficulties encountered by the museums based on the concept of the new museum. The results indicate that domestic museums experience different difficulties depending on operating organization rather than collection or exhibition content. This is related to the distribution of museums by operating institutions, as most textile craft museums are private establishments, and, the majority of dress and fashion museums are university-affiliated institutions. Accordingly, this study explored the major problems confronting textile craft, dress and fashion, and accessory museums with a consideration for operating institutions. It proposes improvements in domestic textile and fashion museums through a comparative analysis with overseas museums as new museums.

• 한국실내디자인학회논문집
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• 제12호
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• pp.67-77
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• 1997

Preservation space is a functionally$\ulcorner$core$\lrcorner$in a museum. Gernerally, it is a common view that collections are exhibited within 5% of total stored collections. So that, part of collections are cycled exhibition space centering around preservation space, and that is a important mechanism of collections circulation in a museum. It is the best way that collections should be $\ulcorner$conserve$\lrcorner$ in a stable condition, but inevitably collections are exposed as stable condition, but inevitably collections are exposed as called $\ulcorner$exhibition$\lrcorner$. For that reason the function of $\ulcorner$exhibition$\lrcorner$. For that reason the function of $\ulcorner$exhibition$\lrcorner$for 'showing' and the function of $\ulcorner$preservation$\lrcorner$for 'conserve'are contrary to each other's concept, so it is principle of scheme that these concepts should be functionally connected with and planned$\ulcorner$match$\lrcorner$. In addition, various studies (for example, comparative analysis of collections, examination of collections for conserved condition or special exhibition, and classification of new item, etc.) are worked in preservation space. Therefore, preservation space should not be considered as a warehouse, should be composed not only$\ulcorner$comfortable place to rest of collections$\lrcorner$but also $\ulcorner$part of study room$\lrcorner$in a museum. So that, environment of museum should be established by plan to preservation and management. The point of plan to museum is that minimize dangerous element for collections, and then develop an essencial element of space for$\ulcorner$conservation$\lrcorner$and$\ulcorner$exhibition$\lrcorner$. The reason why with a few exceptions (buildings which have being exposed or extremely minor part of collections) most of collections have been lasting its life during over hundreds of years with adapting itself to natural features, so scheme of preservation facilities should be made up with understanding and analysis generic character of collections, and then establish proper temperature and humidity environment.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.155-162
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• 2007

The purpose of this comparative study is to analyze the characteristics of art museums of Louis I. Kahn. Kahn's main architectural thoughts of 'what it wants to be' and 'how it was done' act as a basis for this research. 'What it wants to be' means the existence of architecture and relates to the concept of 'room'. 'How it was done' shows the tectonic aspects of architecture and construction process to enhance its presence. Detailed items from these two thoughts applied to clarify the order in dynamics, the visualization of construction process, and the relationship between structure and light in the space of Kahn's art museums. Yale university art gallery was the first major project of Kahn and he showed tectonic characters through tetrahedral concrete slab. The unity of structure, space and light can be found in the Kimbell art museum through the vaulted structural unit. Yale center for British art is the best example of the concept of 'room' and 'tectonic' because it clearly shows the unity of spatial and structural system, and their relation to light. As a result, this study tries to find out that Kahn had consistently developed his thoughts of'room' and 'tectonic', and tried to keep them in his art museum designs.

• 한국실내디자인학회논문집
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• 제21권6호
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• pp.92-99
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• 2012

The Norwegian architect, Sverre Fehn who was born in 1924 and died in 2009 designed various buildings in his country. Since he studied architecture, he had been interested in the domestic/local architectural environment as well as international modern movement such as CIAM. Pavilion of the Nordic Nations designed in 1960s gave him world reputation for the peculiar design characteristic in which Scandinavian tradition and modern design were integrated. Fehn introduced his unique architectural philosophy that is called 'Platform Architecture'. This concept is based on the Fehn's long-term interest in the philosophy of Genius Loci and place-specificity. It consists of three theoretical elements: Tectonic of Place, Horizontality of Space and Visual-Perception by Light. This paper focuses on three case projects: Villa Busk in 1990, Norwegian Glacier Museum in 1991, Aukrust Museum in 1993. It is aimed to discover differences as well as similarities of the projects, and ultimately to summarize the cases under the light of 'Platform Architecture'. As a conclusion, it is found that each case project has unique spatializing method to organize the given place and program by 'Platform' architectural design. 'Platform Architecture' is still relevant in the contemporary architecture and interior design because of its deep consideration on place, environment and human.

• 한국콘텐츠학회논문지
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• 제18권10호
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• pp.11-19
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• 2018

본 연구는 가상현실 기술을 이용하여 박물관 내에 멀티모달 경험을 만들 수 있는 스토리텔링에 대한 연구이다. 구체적으로 본 연구는 박물관에서 다양한 관람객들이 직관적인 역사 이야기를 체험하기 위해 필요한 가상현실 기술 기반의 멀티모달 스토리텔링 방식을 논하고자 한다. 이에 따라 현재 박물관을 소재로 하거나 대상으로 만들어진 관련 사례를 분석하여 향후 이용될 수 있는 방식을 조사하였다. 연구방법으로 멀티모달 경험을 만들기 위한 컨셉에 대한 이론적 고찰, 그리고 역사 자료를 가상현실 유관 기술을 통해 시각화한 자료들을 문헌조사하였다. 이를 바탕으로 멀티모달 기반의 스토리텔링에서 필요한 요소들을 파악하고 이를 통해 관련 사례들을 분석하였다. 연구의 결과에서 본 연구는 박물관 내에서 관람객을 위한 역사 주제의 가상현실 기반 멀티모달 환경의 구성요소에 대해 제안하였다. 궁극적으로 본 연구는 역사적 자료가 오디오-비주얼 및 인터랙션 모드와 결합하여 다양한 계층의 관람객 대상의 콘텐츠를 제작하기 위해서 필요한 가상현실 스토리텔링 설계의 구성요소를 제안하는 기초 연구가 되고자 한다.

• 예술경영연구
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• 제59호
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• pp.33-72
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• 2021

본 논문은 팬데믹 상황을 계기로 더욱 급속히 확장되고 있는 디지털 환경 속에서 박물관·미술관의 공공성이 이전과는 다른 새로운 국면을 맞이하고 있음을 살펴보고자 했다. 이를 위해 박물관·미술관 연구의 이론적 지평을 확장적으로 재구성하고, '구글 아트 앤 컬처'에 대한 사례분석을 수행했다. 이론적으로는 박물관·미술관에 대한 디지털 기술의 적용에 관한 기존의 논의들이 내포하고 있는 도구적 관점과 기술낙관주의의 현재성을 검토하고, 이러한 논의들에서 생략되어 온 최근의 박물관·미술관학적 쟁점들, 특히 신자유주의적 정책의 광범위한 확산 속에서 박물관·미술관의 공공성에 관한 규범적 논의들의 수정과 축소로 인한 위기적 인식들을 함께 전면화하려 했다. 이러한 이론적 논의들 위에서 본론에서는 박물관·미술관의 공공성을 규정하는 중요한 개념인 '비영리성'이 어떻게 구글에 의해 중요한 비즈니스 전략으로 채택되어 활용되었는지를 비판적으로 검토했다. 그럼으로써 본 논문은 박물관·미술관에 대한 신자유주의화와 정부의 공공기능 실패, 박물관·미술관의 공공성의 위기, 박물관·미술관의 공공성을 전용하는 새로운 비즈니스 모델을 구축한 구글의 '비영리' 전략 등이 밀접한 연관 관계를 갖고 전개되어 왔음을 논하고자 했다. 그 어떤 기업보다도 첨단 디지털 기술로 무장한 구글 아트 앤 컬처 프로젝트는 박물관·미술관의 공공성을 유용한 수익창출 모델로서 전용하면서, 박물관·미술관의 공공성을 규정하는 마지막 보루라 할 수 있는 '비영리성' 개념을 무력화했다. 그리고 기술낙관주의는 이러한 일련의 기획들을 가속화하고 그에 장벽이 되는 정책과 규제, 신념과 문화를 해체하는 동력이 되고 있다. 그런 점에서 구글 아트 앤컬처는 박물관·미술관의 공공성 개념이 그 어느 때보다도 논쟁적이고 급진적인 전환의 시점에 처해 있음을 환기시키는 중요한 사례라 할 것이다.

• 한국실내디자인학회논문집
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• 제20권3호
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• pp.215-224
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• 2011

Throughout the world, interest in issues relevant to energy, resources, environment, etc, is ever soaring. Therefore, the restoration of modern architecture that fulfilled its epochal function is working as a cultural, historic medium. In addition, it also plays its role in the side of environmental approach and so on. Moreover, the museum, which was only used for the possession of art collections and exhibition purposes, is currently expanding its scale and range as the center of culture and education. Also in reality, with the use of various programs, it is globally pursuing urban vitalizations. This study looks at the meaning of modem architecture restoration as well as its relationship with urban area. Furthermore, the purpose of this study is to look for design method's direction by finding the relevance between modem architecture restoration and museum during the restoration. This study is based on transformation and preservation scale during the restoration of modern architecture. It analyzed plane and design direction. Additionally, this study analyzed the architectural and regional effect caused by restoration. As a result, in accordance with the direction of museum and the usage, scale, structure as well as superficial aging condition of previous architecture, it shows difference in design methods in the process of restoration. The exterior of architecture was restored and preserved to its original form in order to show the symbolical form through historical value. This is essential to the modern museum. On the other hand, the interior of architecture put more value on utilization concept that its preservation and thus was restored accordingly. However, in all the cases, previous architecture were commonly used and even when alterations and additions were made due to aging and their change in usage, they were restored in a way that preserved and harmonized previous architecture. If the design method for restoration of modern architecture selects the restoration method by considering problems related to location, building value, structure, if it is studied from various angles and is restored after considering its usage as a museum, then we will be able to generate cultural and historical synergy effect. Furthermore, apart from architecture, it will have great impact on urban vitalizations.

• 정보관리학회지
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• 제26권2호
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• pp.83-103
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• 2009

1990년부터 2003년까지 운용된, Computer Interchange of Museum Information (CIMI)는 국제 박물관 사회에 메타데이터 산업표준 채택의 개념을 고안해내고, 소개하는 역할을 했다. CIMI 컨소시엄은 이러한 기본임무를 넘어서, 표준구조 (Standard Framework), 프로파일, 테스트베드 (testbeds), 주요 메타데이터 저작물, 다운로드가능 무료 메타데이터 소프트웨어나 프로토콜등을 생산했고, 새로운 프로젝트에 대한 산업적 안내 및 지원을 제공했다. 하지만, CIMI의 가장 중요한 성취물은 아마도 표준기반 접근의 중요성과 유용성과 CIMI 표준 프레임워크의 실행의 필요성에 대한 강조일 것이다. 이로 인해CIMI의 가동기간동안, 박물관들은 각자의 요구를 충족시키기 위해 새로운 표준/모델의 고안이나 소프트웨어의 개발에 따른 비용부담없이, 메타데이터 모델 혹은 표준의 이용법을 습득하는 것으로 각자의 이득을 거둬 들일 수 있었다. 비록 CIMI의 가동은 2003년으로 중단되었지만, 박물관 관련 메타데이터 응용과 연구에 미친 유산과 영향력은 막대하다고 할 수 있다. 본 논문은 CIMI가 박물관 메타데이터 분야 다음 세대 개발자들에게 남긴 유산을 살펴보고 예상되는 후속프로젝트 및 연구를 살펴본다.

• 한국실내디자인학회논문집
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• 제20권3호
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• pp.59-68
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• 2011

As society alters and building ages, many industrial facilities lost their function and abandoned in central city areas, and sometimes creating many problems. However, many European countries successfully transformed those urban decay to vivid cultural hub. The purpose of this study was to analyze a concept and methods of converting idle industrial facilities to successful cultural spaces. A case study of Tate Modern, Baltic Center for Contemporary Art, and Ruhr Museum was conducted using literature review, site visit, and interview methods. Findings indicated that converting historically significant idle industrial facilities to cultural center had not only reused abandoned site but also helped regenerating adjacent urban areas. This article demonstrates the key factors of successful conversion strategies as convenience, participation, placeness, historicity, and accessibly; and thus an effort to actively enhance the strategic factors were demanded in future conversion projects. A continuous studies on exploring extensive cases in various perspectives are required for further generalization in future studies.

• 한국실내디자인학회논문집
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• 제21권2호
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• pp.207-214
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• 2012

Today, museum exhibition can be divided into two sub-categories: a. informative exhibition with various useful auxiliary media to convey knowledge and b. appreciative exhibition considering aesthetic conveyance and visual/perceptual environment. In addition to this, the concept of memorial exhibition as a field that tangible and intangible memories are transmitted and reproduced is creating another genre of exhibition. As an example of such a memorial exhibition above, the work of de-constructive architect Daniel Libeskind was selected. Jewish Museum and Imperial War Museum North both of which maximized the exhibition space by grafting architectural language to exhibition narrative were analyzed and compared to see if the same architectural language can be displayed differently in another form of exhibition after being drawn into the exhibition space depending on the changes in time and perspective. Therefore, in the narrative display combining the selection of exhibition contents and storytelling, the formative language of space can confirm that exhibition narrative as an ending structure changed into a retelling story with more extended meanings through interactive factors. Eventually, in this formative narrative, when the display of historical facts and exhibition themes is combined with the architectural language in an exhibition hall according to the approach direction, the memorial exhibition can create a formative language stimulating sensibility in the memories of space and a differentiated formative exhibition space where one is truly moved by oneness of contents.