• 한국농촌건축학회논문집
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• 제6권1호
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• pp.32-41
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• 2004

Many administrative policies for regional activation have progressed the expansion and improvement of convenience institutions. Most appraisals about rural community influenced by urban life convenience are affirmative, but chasing urban life convenience is a cause of breaking out regional identity. Recently, new rising methods of theme and characteristic to imply regional identity, are ways of regional activation through neighboring network around satellite of rural community. In this study, I research and suggest applicable possible proposal of rural communities in Korea. by survey of neighboring network methods of Asan Live Museum in Japan applied ecomuseum concept for regional activation.

• International journal of advanced smart convergence
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• 제12권4호
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• pp.321-327
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• 2023

The current rapid development of artificial intelligence technology has involved all aspects of the production field. The development of various algorithms and programs has pushed artificial intelligence to a new peak. Due to its complexity and diversity in the field of architectural design, the positive impact of artificial intelligence technology on architectural design is discussed from the perspective of conceptual design. For museums, which are one of the increasingly popular public facilities, the introduction of artificial intelligence technology has provided certain help in assisting the conceptual design of the museum. This article analyzes the theoretical and practical support of artificial intelligence technology in improving conceptual design, analyzing the architectural appearance, structural layout, materials, etc., to increase the feasibility and practicality of assisting conceptual design. It has certain reference significance for building a modern, advanced, international and interactive modern museum.

• 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.

• 미술이론과 현장
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• 제2호
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• pp.191-213
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• 2004

The trend of "Blockbuster Exhibitions" over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled "The Commercialization of Blockbuster Exhibitions in Museums," I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum's attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the "hype" that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of "souvenirs" from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to he influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation's tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs, while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In Slim, my dissertation discusses the mechanism of the commercialized "Blockbuster Exhibition" and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.

• 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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• 제13권5호
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• pp.154-161
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• 2004

When people visit other countries, the first place to go would be either a museum or an art gallery because it might be the most effective way that people could understand culture and history of the place in a short time. It can be alleged that a museum must be an important cultural space because people can experience their life, history and art there. According to these cultural importance, the purpose of this study is to suggest the environmental design of $\boxDr$Design Museum$\boxUl$ through the Transparency of the Cubism. The Transparency means a capability of transmitting light so that objects on the other side can be seen clearly. The Concept of the Transparency could be taken effects in architecture by overlapping facets or space. By understanding formative properties of the Cubism, which especially focused on Transparency, 1 would like to propose the environment as an art and the exhibition-environment as a way of communication. As it were, the study can be valued as a new approach on condition that formative feature is interpreted with modern terms and the ‘Digital technology’ is not used a tool of representation but a tool of thought in terms of design. Moreover, it has a great significance that formative language of the Cubism will be able to be applied to the environmental design through the experimental and creative design process.

• 한국실내디자인학회논문집
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• 제26권2호
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• pp.55-63
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• 2017

Recent projects of Japanese architect, Ito Toyo have been evolved into innovative and experimental stages that are unique and different from other contemporary architects. Since Ito established his own office in 1971, there were several critical changes and developments in terms of architectural philosophy as well as design methods. Particularly, after Sendai Mediatheque, Ito has tended to focus on creating three-dimensional organic body in which architectural form, space, structure, facilities, images are merged all together. With this new type of three-dimensional structure, Ito aims to generate a new notion of architecture as 'living organism'. This paper tried to analyze Ito's new concept of architecture, design process of three-dimensional organic body and its ultimate characteristics and meanings. For the analysis, three projects were selected: Taichung Metropolitan Opera House(2005), Berkeley Art Museum and Pacific Film Archive(2007), The New Deichman Library in Oslo(2008). These projects clearly represent several types of three-dimensional organic body. After the comparative studies, it is found that, in Ito's design process and method, there are unique characters: ambivalent relationship between plan and three-dimensional form, aiming new/hyper reality through complicated collaboration of analogue and digital design tools, and contradictory relationship with surrounding urban context. Although there are some limitations and restrictions, ever-evolving Ito's design concept and methods are very much valid and meaningful in contemporary spatial design in various perspectives.

• 건축역사연구
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• 제12권1호
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• pp.7-24
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• 2003

Considering on the crisis and dilemma of monumentality in Modern architecture, this study analyse the historic reason of decay and new possibility of monumentality within the context of contemporary socio-cultural context. Historically monumentality has been considered as a main substance of High architecture in e tradition of Western Architecture. Difference between building and architecture mainly lies in monumentality which brings about esthetic quality. Usually architects take it granted that the physical and formal characteristics automatically cause the monumentality, But since the modem period the decline of communicative and representative function of architecture made this belief questionable. As Monumentality itself faced the dilemma with the modernity, ironically architects has to response to the task to handle the increasing social demands of monumental building. This study firstly shows the dilemma of monumentality in depth in case of the holocaust museum. Then we analyse the concept of monumentality itself by means of theoretical view of A. Loos and A Riegl We also analyse the change of role which monumental building played in history. Cultural and social change of context, and fundamental change of architecture old way of building a monument impossible. In conclusion this study proposes the new concept and searches new horizon of monumentality with a finding of the otherness of monumentality. Conventional monumental building language has to give way to new approaches. With some examples we already can find a new possibility.

• 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.

• 미술이론과 현장
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• 제10호
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.