• Asia pacific journal of information systems
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• 제22권3호
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• pp.75-97
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• 2012

Knowledge residing in the heads of employees has always been regarded as one of the most critical resources within a firm. However, many tries to facilitate knowledge transfer among employees has been unsuccessful because of the motivational and cognitive problems between the knowledge source and the recipient. Social capital, which is defined as "the sum of the actual and potential resources embedded within, available through, derived from the network of relationships possessed by an individual or social unit [Nahapiet and Ghoshal, 1998]," is suggested to resolve these motivational and cognitive problems of knowledge transfer. In Social capital theory, there are two research streams. One insists that social capital strengthens group solidarity and brings up cooperative behaviors among group members, such as voluntary help to colleagues. Therefore, social capital can motivate an expert to transfer his/her knowledge to a colleague in need without any direct reward. The other stream insists that social capital provides an access to various resources that the owner of social capital doesn't possess directly. In knowledge transfer context, an employee with social capital can access and learn much knowledge from his/her colleagues. Therefore, social capital provides benefits to both the knowledge source and the recipient in different ways. However, prior research on knowledge transfer and social capital is mostly limited to either of the research stream of social capital and covered only the knowledge source's or the knowledge recipient's perspective. Social network theory which focuses on the structural dimension of social capital provides clear explanation about the in-depth mechanisms of social capital's two different benefits. 'Strong tie' builds up identification, trust, and emotional attachment between the knowledge source and the recipient; therefore, it motivates the knowledge source to transfer his/her knowledge to the recipient. On the other hand, 'weak tie' easily expands to 'diverse' knowledge sources because it does not take much effort to manage. Therefore, the real value of 'weak tie' comes from the 'diverse network structure,' not the 'weak tie' itself. It implies that the two different perspectives on strength of ties can co-exist. For example, an extroverted employee can manage many 'strong' ties with 'various' colleagues. In this regards, the individual-level structure of one's relationships as well as the dyadic-level relationship should be considered together to provide a holistic view of social capital. In addition, interaction effect between individual-level characteristics and dyadic-level characteristics can be examined, too. Based on these arguments, this study has following research questions. (1) How does the social capital of the knowledge source and the recipient influence knowledge transfer respectively? (2) How does the strength of ties between the knowledge source and the recipient influence knowledge transfer? (3) How does the social capital of the knowledge source and the recipient influence the effect of the strength of ties between the knowledge source and the recipient on knowledge transfer? Based on Social capital theory and Social network theory, a multi-level research model is developed to consider both the individual-level social capital of the knowledge source and the recipient and the dyadic-level strength of relationship between the knowledge source and the recipient. 'Cross-classified random effect model,' one of the multi-level analysis methods, is adopted to analyze the survey responses from 337 R&D employees. The results of analysis provide several findings. First, among three dimensions of the knowledge source's social capital, network centrality (i.e., structural dimension) shows the significant direct effect on knowledge transfer. On the other hand, the knowledge recipient's network centrality is not influential. Instead, it strengthens the influence of the strength of ties between the knowledge source and the recipient on knowledge transfer. It means that the knowledge source's network centrality does not directly increase knowledge transfer. Instead, by providing access to various knowledge sources, the network centrality provides only the context where the strong tie between the knowledge source and the recipient leads to effective knowledge transfer. In short, network centrality has indirect effect on knowledge transfer from the knowledge recipient's perspective, while it has direct effect from the knowledge source's perspective. This is the most important contribution of this research. In addition, contrary to the research hypothesis, company tenure of the knowledge recipient negatively influences knowledge transfer. It means that experienced employees do not look for new knowledge and stick to their own knowledge. This is also an interesting result. One of the possible reasons is the hierarchical culture of Korea, such as a fear of losing face in front of subordinates. In a research methodology perspective, multi-level analysis adopted in this study seems to be very promising in management research area which has a multi-level data structure, such as employee-team-department-company. In addition, social network analysis is also a promising research approach with an exploding availability of online social network data.

• 미술이론과 현장
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• 제9호
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• 미술이론과 현장
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• 제14호
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• 호스피스학술지
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• 제6권1호
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• pp.1-11
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• 2006

There are various understandings how to define death. In the context of medicine, death is defined as the irreversible change of the tissue according to the cessation of circulation and respiration. According to the psychologists, a person need to accept the finiteness as a human being and remain conscious that the death is not avoidable. And they say if a person doesn't regard death as unavoidable reality of life he or she will not confront the humanistic death and after all will die like animals. In philosophy, death is viewed as an unwelcome reality in the end of the journey of life. Sociologists usually understand that the society is the organization composed with living persons and human beings which construct and transmit the culture from generation to generation between the both ends of life and death. In society, the generation is changed, maintained, and developed through the phenomenon of death. Although death of human being is natural event in society, the death of a specific person brings a sense of loss, crisis, and anxiety to the communities like family, regional society, nation, and the world. In this context, death is not confined to personal dimension and it can be regarded as a social problem. It is valuable to summarize the religious perspectives on the meaning of death for the better hospice care. In shamanism, there are basic idea that although the flesh of human being disappears, soul never die. If human dies, the flesh of human being disappears but soul never disappear and come back to the origin of soul as it is called chaos. So in shamanism, it is said that shaman can solve the mortified feeling, restore the broken harmony, send the soul to comfortable space- the origin, and guarantee the blessing of descendents. Buddhists regard the death as an essential component through the cycles of life. Through this cycle, human being exits as an endlessly transmigrating being and the death is just a restoration to the original status. In Confucianism, the view on the death based on the philosophy of the "Yin and Yang" and "Five elements". In Buddhist tradition, many believers said the philosophy of "Death is the same as life". Unlike usual thoughts that a god governs "life and death" and "fortune and misfortune", Confucianists deny the governance of a god and emphasize the natural orders in which every phenomenon in the world moves according to the principle. Confucianists understand the death as a natural order with this principle. In Confucianists' belief, the essence of human being remains in their own descendent's lives after the death of ancestor, so in Confucianism there is no concept of immortality of the soul. In the history of Christianity, death has been defined generally as the separation of the immortal soul from the mortal body. In the earlier days of Old Testament, the death is regarded as a disappearance of just a flesh and human never disappear and always live in the relationship with God. Later days in Old Testament, we can find the growing concern for the life after the death because of the entrance of the theodicy. In the New Testament, the death is not regarded as the normal process of the human life and regarded as the abnormal status in which death come to human because of sin as a decisive factor and it should be conquered. In fact, the most of us afraid death because not of the fear of death itself but of the sense of the emptiness and regrets. so many people often make the monument hoping to live forever. But Christian usually regard this behavior as a sinful act because human being usually think themselves as a master of their life and attempt to become immortal in this kind of trial mortal. But if we live with God, we cannot confront such a condition because we aware limits as a mortal human being and entrust everything on Him and want to live according to His guidance. Therefore, in the Christian tradition, the death is regarded as accomplishment of life, fruits of life, invitation to the eternal life, and the last stage of human growth. For human being, the death is the great step of maturation as a human in the final stage of life.

• 근관절건강학회지
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• 제2권1호
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• pp.17-40
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• 1995

Rheumatoid arthritis is the one of the chronic diseases, one of its major symptoms is a chronic pain. Despite developing medical treatment and surgical techniques, it is suggested that to control the pain is the goal of the treatment. But pain is an inner experience and even those closest to the patient cannot truly observe its progress or share in its suffering. The National Academy of Sciences Institute of Medicine's report on Pain and Disability concluded that there is no objective measure of pain-(exactly) no pain thermometer-nor can there ever be one, because the experience of pain is inseparable from personal perception and social influence such as culture. To explore chronic pain experience is to understand the process and property of the patient's perception of pain through the response to pain, the coping with pain, and the adaptation to pain. Therefore a qualitative study was conducted in order to gain an understanding of pain experience of patients with RA in korea. I used naturalistic inquiry as a research methodology, which had 5 axioms, the first is that realities are multiple, constructed, and holistic, the second is that knower and known are interactive, inseparable, the third is only time and context bound working hypotheses(idiographic statements) are possible, the forth is all entities are in a state of mutual simultaneous shaping, so that it is impossible to distinguish causes from effects and the last is that inquiry is value-bound. Purposive sampling was conducted as a sampling. 20 subjects who experienced pain over 10 years, lived in middle-sized city and big city in Korea, and 17 women and 3 men. The subject's age was from 32 to 62 (average 48.8), all were married, living with their spouse and children, except two-one divorced and the other widow before they became ill. I collected data using In depth structured interview. I had interviews two or three times with each subject, and the interviews were conducted at each subject's home. Each interview lasted about two hours an average. A recording was taken with the consent of the subject. I used inductive data analysis-such as unitizing and categorizing. unitizing is a process of coding, whereby raw data are systematically transformed and aggregated into units. Categorizing is a process wherby previously unitized data are organized into categories that provide descriptive or inferential information about the context or setting from which the units were derived. This process is used constant comparative method. The pain controlling process is composed of behavior of pain control. The behaviors of pain control are rearranging of ADL, hiddening role conflict, balancing treatment, and changing social relation. Rearranging of ADL includes diet management, sleep management, and the adjustment of daily life activities. The subjects try to rearrange their daily activities by modified style of motions, rearranging time span & range of activities, using auxillary facilities, and getting help in order to keep on the pace of daily life. Hiddening role conflict means to reduce conflicts between sick role and their role as a family member. In this process, the subjects use two modes, one is to control the pain complaints, and the other is to internalize the value which is to stay home is good for caring her children and being a good mother. To control pain complaints is done by 'enduring', 'understanding' the other family members, or making them undersood in order to reduce pain. Balancing treatment is composed of two aspects. One is to keep the pain within the endurable level, the other is to keep in touch with medical personnel in order to get the information of treatment and emotional support. Changing social relation is made by information seeking and sharing, formation of mutual support relation, and finally simplification of social relationships. The subjects simplify their social relationships by refraining from relations with someone who makes them physically and psychologically strained. In particular the subjects are apt to avoid contact with in-laws, and the change of relation to in-laws results in lessening the family boundary. In the course of this process, they confront the crisis of family confict result in family dissolution. This crisis is related to the threat of self-existence. Findings from this study contribute to understanding the chronic pain experience. To advance this study, we should compare this result with other cases in different cultural contexts. I think to interpret these results, korean cultural background should be considered. Especially the different family concept, more broader family members and kinship network, and the traditional medical knowledge influences patients' behavior.

• 한국과학예술포럼
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• 제29권
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• pp.305-318
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• 2017

도시공간에서 발생하는 범죄를 사회문제로 인식하고 도시환경설계와 관련하여 범죄예방에 관한 공간 디자인연구와 각종 지침 작성 등 구체적 접근 필요성이 증대되고 있다. 이와 관련하여 "환경설계를 통한 범죄예방(Crime Prevention Through Environmental Design: 'CPTED 셉테드' 라고 표기)"의 연구 활동이 활발히 진행되고 있다. 염리동 소금길은 2012년부터 시행되고 있는 '서울시 범죄예방 디자인프로젝트'가 적용된 첫 대상지이다. 사업시행주체와 커뮤니티 구성원의 협업 및 자발적 참여를 통해 지역 환경개선이라는 사업목적이 합리적으로 이루어졌다. 이의 효율성이 입증되어 이후 대상지가 확대되며 각 지자체의 벤치마킹 사례가 되고 있다. 이와 같은 문제해결 노력은 공공미술을 도입하여 낙후지역의 문화증진과 주민참여 유도 등 쾌적한 마을 만들기를 목표로 2009년부터 시행되어오고 있는 '마을미술프로젝트'와 목적과 방향에서 같은 맥락을 보인다. 이러한 흐름은 커뮤니티의 기능과 가치라는 특성을 중심개념으로 다루고 있다는 점에서 주목할 만하다. 본 연구는 거주민의 '삶의 질'을 높이기 위한 CPTED의 효율성 증대 방안으로 커뮤니티퍼니쳐 적용방안을 제안하는데 목적을 두었다. 이를 위해 CPTED와 커뮤니티디자인, 공공미술 관련 문헌과 선행연구를 고찰하고 '범죄예방디자인 프로젝트'와 '마을미술프로젝트'의 대표적 성공 사례지 서울 염리동과 부산 감천문화마을 현장답사를 토대로 문제점과 시사점을 확인했다. 본 연구에서 확인한 두 사례지 공통적 요소는 첫째, 환경의 물리적 조성 외 협업에 의한 커뮤니티 활성화로 지역주민의 '삶'이 중심에 놓이는 환경으로 발전하였다. 둘째. 커뮤니티디자인과 공공미술 도입으로 새로운 공간을 창출하여 많은 이들의 방문으로 마을의 활기와 지역경제 활성화를 이루었다. 셋째, 이로 인해 CPTED 요소중 자연적 감시와 영역성과 통제력, 활동성 증대를 강화시켰다. CPTED의 심리적 측면과 공공미술의 정서적 기능이 '커뮤니티퍼니쳐'와 융합됨으로써 지역민의 사고방식과 정서를 기반으로 하는 특정한 지역적 맥락을 통해 공공공간에 대한 막연하거나 거창한 접근을 지양하고 모두에게 유익한 환경창출이 가능할 것이다. 이와 같이 CPTED와 공공미술의 융복합 성과의 개연성과 시사점은 도시재생을 위한 디자인 전략으로 CPTED 적용 공간 확장 등 범죄예방 인프라 구축을 통한 사회적 비용의 절감 및 시각적 어메니티 구현 방안 제시가 가능할 것으로 기대하고 있다.

• 박물관과 연구
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• 제1권
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• pp.150-173
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• 2024

영남지역은 대략적으로 서기전 2~1세기 무렵부터 청동기시대의 무덤인 지석묘와 석관묘, 석개 토광묘 등에서 군집 목관묘로의 교체, 와질토기와 철기의 등장이라는 획기적인 사회변혁을 맞이하게 된다. 이러한 고고학적 물질자료의 변화는 삼한을 구성하던 '국(國)'의 형성과 관련하여 이후 시기 목곽묘에 이르기까지 연속적으로 다루어져왔다. 본문에서는 이 중에서 본격적으로 철기가 공반되는 군집 목관묘의 출현을 유형화하여 설명한다. 특히 조양동 5호, 다호리 1호 등과 같이 깊은 묘광을 가지고 위세품과 와질토기가 다량 부장되는 것과는 양상이 다른 월성동 유형을 설정하여 목관묘 등장의 배경을 살펴본다. 월성동 유형은 편평편인철부, 장방형 주조철부, 철사, 철착, 철검의 철기구성과 60cm 이하의 얕은 묘광을 가진 세장방형의 소형 목관묘로 대표되며, 토기는 와질토기에 앞서는 장경호, 삼각형점토대토기 발과옹, 두형토기가 주 기종이다. 소량의 청동기가 있지만 위세품은 보이지 않는다. 월성동 유형의 관점에서 의성 탑리리, 경주 하구리, 대구 학정동을 검토하였고 특히 대구 신서동에서는 월성동유형과 이후 단계의 조양동유형이 한 유적 내에서 별도의 공간 분포를 보이는 것을 확인하였다. 이러한 양상 또한 월성동 유형의 유효성을 입증하는 사례이다. 월성동 유형의 등장은 결국 집단의 이주와 연관될 수 밖에 없다. 그 기원을 준왕의 남하로 촉발된 서남부지역 철기문화와의 관계로 볼 것인지 서북한지역으로 볼 것인지에 대한 판단은 유보하지만 어느 쪽이라 할지라도 이후 조양동 유형에 비해서는 집단의 계층적 위계가 낮았던 것으로 판단한다.

• 한국방사선학회논문지
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• 제6권3호
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• pp.159-166
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• 2012

본 연구의 목적은 방사선의 사업적 이용에 따른 방사선발생장치 또는 방사성동위원소 등(이하 방사성동위원소 등)을 운용하는 방사선작업종사자를 대상으로 방사선안전관리와 관련된 지식의 설문 조사하고 이를 체계적으로 추이분석 함으로서 방사선 이용시설 등의 방사선안전 문화를 정착시키기 위함에 있다. 연구 방법은 2011년 08월 01일 부터 09월 05일 까지 861 명의 방사선 종사자를 대상으로 설문 조사를 하였다. 분석 방법으로 설문 응답자의 일반적인 특성과 기관정보는 빈도 분석을 하였으며 방사선안전관리에 대한 지식 수준은 평균과 표준편차를 구하여 각각 비교하였다. 분석 결과 작업 종사자의 방사선 안전 관리에 대한 지식 조사에서는 종사자 모두 높은 수준으로 평가 되었다. 결론적으로 방사선 작업종사자들의 방사선 안전관리와 관련하여 보다 다양한 요인들에 대한 연구들이 수행되어야 하며 작업종사자들의 의식을 높이기 위해서 시기적절한 교육이 필요할 것으로 사료되며, 지속적으로 방사선 작업종사자들을 관리함으로써 효율적인 방사선이용이 될 수 있는 기반이 확립될 것으로 사료된다.

• 한국지역지리학회지
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• 제21권3호
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• pp.529-552
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• 2015

본 연구는 광주 예술의 거리에서 살아온 생활주체들의 경험의 관점에서 거리의 형성 과정과 장소성을 분석하는 것을 목적으로 한다. 이를 위해, 우선 예술의 거리의 지리적 특성과 공간 변화, 광주 예술계의 흐름과 경제 정치적 상황을 검토함으로써, 예술의 거리가 지정되기 이전의 역사를 정리하였다. 다음으로 예술의 거리의 장소성 파악을 위해, 선행 이론적 연구를 바탕으로 물리적, 행태적, 의미적 요소를 도출해내었다. 장소성 형성의 물리적 요소는 행정권력에 의해 드러난 요소와 생활주체가 생각하는 중요한 요소를 종합하여 파악했다. 행태적 요소는 생활주체가 거리에서 경험하는 개인적이고 미시적인 역사적 과정을 심층인터뷰를 통해 파악하였다. 마지막으로 의미적 요소는 의미경합의 장으로서 생활주체들이 경험한 예술의 거리의 역사 속에서, 그들이 거리에 대해 어떻게 인식하고 있는지를 설문조사를 통해 파악하였다. 본 연구를 통해 얻은 시사점은 생활주체의 인식과 관점을 통한 예술의 거리의 장소성 진단을 통해, 거리 정체성 확립과 통합적 장소브랜드 개발, 생활주체 네트워크와 파트너십을 위한 내발적인 장소성 만들기 정책이 필요하다는 점이다.

• 한국실내디자인학회논문집
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• 제23권6호
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• pp.87-94
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• 2014

Today, the growing number of international architects enters the open market of South Korean architecture and interior from exhibition spaces such as art galleries to buildings of major companies. Establishing new local landmarks, their works have a considerable influence on the development of architecture. Among many, French architect Jean-Michel Wilmotte has worked consistently in South Korea. The purpose of this study is to analyze and put together the expression characteristic of the interior design in his exhibition spaces including Gana Art Gallery. Jean-Michel Wilmotte has designed based on the history, culture, society, and arts in France and other European countries, and is influenced by architects like Charles Rennie Mackintosh, Josef Hoffmann, and Carlo Scarpa. Such an influence is shown in the form of contrast between verticality and horizontality as well as the fortification in his modern classical characteristic, which is one of his expression characters. In his work of improving the ancient architecture, Wilmotte is good at creating a modern space through contextual expression, and the textural contrast between materials of the past and the present. Thus I performed an analysis of the expression characteristic of the interior design in National Museum of Contemporary Art of Chiado in Lisbon, Cognac Hennessy Museum in France, Gana Art Gallery in Korea, Mus$\acute{e}$e du Pr$\acute{e}$sident Jacques Chirac in Sarran, France, Ullens Center for Contemporary Art (UCCA) in Beijing, and lastly Mus$\acute{e}$e d'Orsay in Paris. The results show that he maintains the spatial context by applying contemporary design to the preserved existing structure, continues the flow of exhibition through the lightings in the corridors and on the ceiling, and seeks for a balance by adding vertical or horizontal elements to the elevation. In the interior, the staircase and exhibition structure are turned into objects, and the contrasting texture of the wall vitalizes the space. Wilmotte redesigns the space of the past and the present by using indirect joint that allows an organic connection of the old and new structures, and by minimizing the conflict between the two elements through prefabrication. The expression character of his interior design will be potential resources for architects and interior designers to develop their own design languages.