• Journal of Digital Convergence
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• v.17 no.9
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• pp.367-373
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• 2019

In modern society, with the changing lifestyle, demand for complex cultural spaces is rising and various cultural spaces are emerging. However, user-centered cultural space research has not yet been shown. In order to find out whether various cultural experience functions and user experience types of complex cultural spaces are being delivered properly, this study compared and analyzed the representative cultural spaces of Korea, 'Starfield Library' and 'ARC.N.BOOK'. User experience analysis tools and individual in-depth interviews were used as research methods. As a result, both spaces responded that commercial space and brand library were out of harmony and that the use of services in complex cultural spaces was inconvenient. This is interpreted as the result of the need for improvement measures in the value and usability of experience provided by the current complex cultural space and is expected to help develop the complex cultural space in the future.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.341-352
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• 2019

Recently, as cultural projects are being carried out in various ways, the interest in the space where culture and arts can be provided is also increasing. Therefore, this study selected and analyzed F1963 in Busan. The purpose of this study is to examine the effects of brand asset factors of brand image, brand awareness, brand asset awareness, and loyalty on customer satisfaction and community development of brand asset in complex cultural space and to examine whether customer satisfaction has a mediating effect on the relationship between brand asset in complex cultural space and community development. As a result of the analysis, brand asset of complex cultural space had a positive effect on the satisfaction of users. Also, brand asset of complex cultural space has a positive effect on community development. The satisfaction that users get from the complex cultural space has a mediating effect on the influence of brand asset of the complex cultural space itself on the community development. The implications of this study suggest that complex cultural space plays an important role in the region, and it is necessary for local communities and local governments to brand complex cultural space through diversity of cultural and artistic activities.

• Korean Association of Arts Management
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• no.53
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• pp.153-177
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• 2020

Arts organizations commonly face a range of operational challenges, from a lack of skilled workers to limited financial resources and thus are dependent on subsidies from the government. Yet, to fully realize their mission arts organizations must both develop strategies to effectively utilize government support and seek a way forward that does not depend on public subsidies. Business diversification, a strategy from corporate management, entails the expansion of products and services, and entry into new industries, enabling companies to disperse risks and increase profits. We propose that business diversification can be effectively applied to arts organization to address the myriad operational difficulties they face. To understand how an arts organization might deploy business diversification we conducted a case study of an organization that is actively pursuing the strategy: Sanwoollim Theater. We interviewed staff members of Sanwoollim including the executive director, as well as selected audiences, to understand how the business diversification model was being applied at Sanwoollim. Our findings indicate that, in a complex arts and cultural space, business diversification is a fresh and flexible new strategy that can enable private cultural arts organizations to thrive sustainably. It is also evident that government support in the initial stages of the process encourages diversification and that successful private arts organizations will leverage government subsidies into a sustainable business plan.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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• pp.116-122
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• 2008

As a model house has attempted a role change from a conceptual perspective as a housing cultural center starting from the 90ties, it began to direct the change into a high end building. In particular, large construction companies have recently invested on an unimagined scale, unlike in the past, in building a model house and pursued the construction of new attractions of cities as well as the upgrade of a brand image by hiring and implementing the designs of celebrity architects or designers. In addition, they have been in pursuit of a change by enhancing the satisfaction and pride of residents by offering spaces and programs for various cultural arts for apartment residents or potential customers and having them participate in those programs. This study aims to expound on the possibility of the utilization of a housing cultural center as a local complex community center by analyzing the spatial organization and the operational program of a housing cultural center appearing since the 90ties. With this aim, the study analyzed the cases of a complex community center and the program and the operational method of a housing cultural center within the case study in order to propose the possibilities for the utilization of a local complex community center. The elevation of the cultural and economic level of citizens and a rapid social change are shown as various demands for welfare, and the subsequent social physical change has led to the expansion of a space as a complex community. A housing cultural center is also directed to grow as a complex community center from the perspective of diverse demands and participations of consumers, and prepares a field for a broad spectrum of communications from the perspective of housing and cities.

• Journal of the Korea Society of Computer and Information
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• v.26 no.10
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• pp.173-177
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• 2021

Culture and art can be said to be an important medium that enhances people's creativity and satisfies our desire for cultural experience as well as emotional cultivation. These arts and culture are spreading all over the world through Hallyu, etc. to this day, and it is naturally positioned as an industry that creates the highest added value. However, rapid industrialization and development of industrialization also provided many negative causes, such as damage to nature due to the decline of factories and equipment industries, pollution and damage to the surrounding environment due to the use of fossil fuels. Therefore, in this study, we investigated the factors necessary for improving the image of the local community and maximizing tourism classes by actively utilizing the idle space abandoned due to industrialization and industrialization as a complex space for culture and art. As a result, empirical analysis was conducted through a total of six factors excluding typology through factor analysis. The results showed that reliability, certainty, and empathy had a positive effect, but responsiveness did not. In addition, the economic effect was found to have a positive effect on customer satisfaction.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.126-141
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• 2015

The purpose of this study is to examine the works of choreographer Philippe $Decoufl{\acute{e}}$ and the performance costumes designer Philippe Guillotel, and identify the intrinsic values shown in the formative characteristics in their works. And it proposes a vision and a direction for the development and performance of modern fashion phenomenon of media convergence performing arts complex. The results were as follows. First, the performance characteristics shown in Philippe $Decoufl{\acute{e}}$'s art pattern applies dynamic improvisation, decategorization reflected in the media interactivity, time and space of a variable scalability, complex artistic genres and transcends cultural boundaries. Second, the characteristics of the performance costume can be described as a co-existence between dynamics of aesthetic layers, 'Media body' represented by the interaction of the compounds with the technology, and integrated variable expandability. And aesthetic values inherent in the performance costumes are summarized as abstraction, playfulness, reproducibility, and theatricality. Modern fashion performance and limited production of the center 'costumes' in the fashion images can be used in diverse ways, and innovative marketing has gone through a change in image production. Metaphysical text of the advanced performance genre can be presented in a new perspective to fashion derivatives 'Media body'. And the aesthetics of popular culture kitsch, the grotesque, and surrealism in theater will produce creative stage direction.

• (The) Research of the performance art and culture
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• no.42
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• pp.107-146
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• 2021

This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.137-151
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• 2012

In 1966, $Seokgatap$ pagoda in $Bulguksa$ temple was damaged by the tomb robbers and was dismantled to fix the damage. In the process, many offerings to Buddha and containers for Sarira(the cremated remains) were found in $Sarigong$(specially designated space for the Sarira casket) inside the second floor of the pagoda. Many fabrics like $Geum$, $Neung$(twill), $Rha$(complex gauze), silk tabby and linen were also excavated. In this study, $Geum$ fabric from the $Seokgatap$ was closely examined. $Geum$ of $seokgatap$ is weft-faced compound weave according to the analysis of its weaving pattern which was wrongly presumed as warp-faced compound weave for some time. Technical analysis of $Geum$: Main: silk, Binding: silk, Proportion: 1 main warp to 1 binding warp, Count: 15 main warps and 15 binding warps per centimeter, Weft: polychrome silk without apparent twist, Colors: yellow, mustard yellow, deep blue, green and purple, Weave: weft-faced compound twill, 1/2 S. $Geum$ of $Seokgatap$ was made in the $8^{th}$ century, since it was weaved in weft-faced compound weave twill which was popular in the $8-9^{th}$ century. And also, the arrangement of the colors was done in the same way of gradation $Geum$ silk which was popular in the $7-8^{th}$ C in China and Japan. Third, we restored the pattern of $Geum$ of the Unified Shilla Dynasty for the first time. It was very difficult to figure out the shape and the size of pattern since the fabric was partially lost and ruined. We tried to draw the diagram of structure with the cross point of the warp and the weft to restore the pattern. By doing so, we could identify two kinds of small flower pattern, palmette and the pattern of repeating vines. Fourth, we could infer that the $Geum$ of $Seokgatap$ was used for $geumdae$(a pouch made of $geum$) by analyzing all the documents and the characteristics of the fabric.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.32-45
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• 2014

The study attempts to interpret original location and landscape composition of Yowol-pavilion Garden under the premise that tablet and poetry are important criteria for inference of unique location and landscape composition of a pavilion garden. The study raises the meaning, status, and value of Yowol Pavilion Garden as a cultural asset. The results of the study are as follows. First, Yowol-pavilion Garden was a place where famous Confucius scholars in Joseon Dynasty in 16th Century, including Kim, Kyung-Woo, the owner of the garden, used to share the taste for the arts and poetries with their colleagues. Along with a main characteristic of Yowol Pavilion Garden as a hideout for the Confucius scholars who stayed away from a political turmoil, the new place characteristic of the garden, a bridgehead for the formation of regional identity, was discovered in the record of "Joseon-Hwanyeo-Seungram Honam-Eupji JangSeong-Eupji", As described in "The first creative poetry of Yowol-pavilion", the intention for the creation of Yowol-pavilion Garden and the motive for its landscape composition is interpreted as a space of rivalry where the world, reality and ideals are mixed up. Second, related to outstanding scenic factors and natural phenomena when taking a view from the pavilion, the name of the house 'Yowol', which means 'Greeting the moon rising on the Mt. Wolbong' is the provision of nature and taste for the arts, and is directly connected to the image of leaving the worldly. In other words, the name was identified to be the one that reflected the intention for landscape composition to follow the provision of nature separating from joy and sorrow of the mundane world. Third, as for the location, it was confirmed through "YeongGwang-Soksu-Yeoji-Seungram" that Yowol-pavilion Garden was a place where the person who made the pavilion prepared for relaxation after stepping down from a government post, and literature and various poetry show that it was also a place of outstanding scenic where Yellow-dragon River meandered facing Mt. Wolbong. Especially, according to an interview with a keeper, the visual perception frequency of the nightscape of Yowol-pavilion Garden is the highest when viewing by considering the east, the direction of Yellow-dragon River, as Suksigak[normal angle's view], towards Yowel-pavilion from the keeper's house. In addition, he said that the most beautiful landscape with high perception strength is when the moon came up from the left side of Yowol-pavilion, cuts across the Lagerstroemia india heal in front of Yowol-pavilion, and crosses the meridian between Mt. Wolbong peaks facing Yowol-pavilion. Currently, the exposure of Yowol-pavilion Garden is $SE\;141.2^{\circ}$, which is almost facing southeast. It is assumed that the exposure of Yowol-pavilion Garden was determined considering the optimized direction for appreciating the trace of the moon and the intention of securing the visibility as well as topographic conditions. Furthermore, it is presumed that the exposure of Yowol-pavilion Garden was determined so that the moon is reflected on the water of Yellow-dragon River and the moon and its reflection form a symmetry. Fourth, currently, Yowol-pavilion Garden is divided into 'inner garden sphere' composed of Yowol-pavilion, meeting place of the clan and administration building, and 'outer garden sphere' which is inclusive of entrance space, Crape Myrtle Community Garden and Pine Tree Forest in the back. Further, Yowol-pavilion Garden has been deteriorated as the edge was expanded to 'Small lake[Yong-so] and Gardens of aquatic plants sphere' and recently-created 'Yellow-dragon Pavilion and park sphere'. Fifth, at the time it was first made, Yowol-pavilion Garden was borderless gardens consisting of mountains and water taking a method of occupying a specific space of nearby nature centering around pavilion by embracing landscape viewed from the pavilion, but interpreted current complex landscapes are identified to be entirely different from landscapes of the original due to 'Different Changes', 'Fragmentation' and 'Apart piece' in many parts. Lastly, considering that Yowol-pavilion Garden belongs to the Cultural Properties Protection Zone, though not the restoration to the landscapes of the original described in tablet and literature record, at least taking a measure from the aspect of land use for minimizing adverse effect on landscape and visual damage is required.