• 한국실내디자인학회논문집
• /
• 제23권1호
• /
• pp.152-161
• /
• 2014

Beijing, the capital city of China, has gradually increased its amount of culture space and has also introduced a diverse range of cultural facilities to improve the satisfaction of its citizens lives. In particular are its art museums, which are a symbol of the urban culture and enrich the cultural life of its citizens and are also expected to play a role as a psychological pivot point. However, in comparison with the characteristics of various ethics, local, and the influence on the museums of China, studies which analyze the exterior of the art museums are not sufficient. This is because previous research has focused too heavily on the interior of the art museums. This paper aims to derive distinction through the analysis of the exterior of several art museums and present design factors and application methodology. This research looks at art museums in China and analyzes the current state of the art museums that have been developed based on the culture of Beijing. Through analyzing the case study of five art museums that have been selected in Beijing we can improve our understanding of Chinese culture space and derive distinct design factors. Distinct factors in the exterior of art museums include connection, culture, geographic features, public, and creation. This study is expected to contribute to that exterior of the art museum will be as a contact zone to form a spatial connection and a cultural symbol that can reflect Beijing's unique culture characteristics.

• 대순사상논총
• /
• 제18권
• /
• pp.191-213
• /
• 2004

The purpose of this essay is to survey the present situation of christian museums and to suggest future direction on the basis of the former result. Firstly, I arranged the present situation of protestant museums as a basic work to secure the importance of religious museums. And I will continue researches about catholic, buddhist, folk museums etc. A christian museum is important in that it is a storehouse of precious data accumulated in the history of modern Korea. However, interest in its value has not been given sufficiently so far despite its importance. Most christian museums are petty in their scale and management. When we consider the historical weight of christian history in the modern Korea, the status of christian museums have to be improved from now on. I classified the types of christian museums in Korea into christian history museum, christian art museum, biblical archeology museum, local churches' history museum, christian figures museum(memorials of famous christians), and mission school(colleges) museums on the basis of contents they possess. It can be said that the representative types among these are christian history museum and biblical archeology museum.

• 한국산학기술학회논문지
• /
• 제17권1호
• /
• pp.654-663
• /
• 2016

지역미술관은 미술자료의 수집, 보존, 연구, 전시, 교육의 기능을 갖추고 지역사회 발전을 위해 비영리적 기관으로 운영되고 있다. 이러한 미술관의 기반인 물리적 환경은 '인간에 의해 창조된 것'을 뜻하며 그 중요성이 강조되고 있다. 본 연구는 강원지역을 중심으로 미술관 물리적환경이 방문만족도에 주는 영향을 살펴보았다. 미술관 서비스 요소는 김홍희 (2012)의 연구를 참고하였고, Parasurama의 SERVQUAL 모형을 근거로 하였다. SPSS 18.0K 통계프로그램을 통해 강원지역 미술관 물리적 환경요인은 주변요인, 관람요인, 인적요인, 시설요인으로 나타났다. 가설검증 결과로 미술관 물리적환경은 전반적인 방문객 만족도와 성별에 따른 방문객 만족도에 정(+)적 영향을 주었고, 요인에 따라 차이가 있음을 확인하였다. 결과를 통해서 강원지역 미술관이 더 나은 물리적 환경을 구축하고 방문객과 지속적으로 소통하기를 기대한다.

• 한국문헌정보학회지
• /
• 제46권2호
• /
• pp.175-197
• /
• 2012

The art museums in South Korea are mostly small-scaled institutions with small amount of art works. Thus, internationally accepted metadata standards such as CDWA and VRA Core may not be efficient to manage their collections. Because of these distinct local characteristics, there is a need to create a set of metadata elements that can be used for the art museum community in the country. This research aims to propose a set of metadata elements customized to fit into the context of small-scaled art museums in South Korea. The construction of the element set was not from scratch but on the basis of existing standards such as CDWA, VRA Core, and Dublin Core. By identifying core elements that are indispensable in describing art works and collecting opinions of experts in art museums, the proposed set of metadata elements is expected to support the operation and management of art works and satisfy the localized needs of the art museum community.

• Architectural research
• /
• 제13권1호
• /
• pp.3-9
• /
• 2011

To design and construct a museum of art involves the interest of artists, architects, curatorship, management, and local government. More than this direct relationship, museum obliges the public a mission of delivering genuine public experience through art and architecture. However, most of Modern and contemporary architecture has not delivered genuine public experience of integrated art and architecture. Conceptual message of art and perceptual architectural exhibition space has not been integrated easily. Picture frame canvas initiated this schism and institutionalized museum management hampered the creativity of artists. This schism was overcome through artists' questioning of museum culture and creative works that embrace work and its environment. In contemporary culture, installation art and media art necessitates a new museum format which needs not only exhibition, but laboratory and interface space with viewers. This paper will regroup the existing museum according to its use and strategy, and reinterpret progressive museums that fosters young artists, and more than this, will introduce successfully established museums for new forms of art, which are equipped with versatile exhibition spaces, innovative interface between works and viewers, and own laboratory that can produce works of art. These examples will envision a creative method of art and architecture production that can achieve genuine public experience.

• 한국실내디자인학회논문집
• /
• 제19권6호
• /
• pp.75-82
• /
• 2010

The purposes of this study are to present the criteria for a sensibility rating scale for measuring the general public's perception of museums' spatial environment, particularly lobby space, through an empirical analysis; and to clarify the characteristics of the presented rating scale in terms of each rating element and factor. For this study, a survey was conducted during September 11-17, 2010, and a total of 370 museum visitors participated in the survey. A sensibility rating scale used for the survey consisted of a total of 32 adjectives selected from a literature review of previous studies. To specify the dimensions of semantic space using the semantic adjectives, words with opposite meanings were analyzed with the semantic differential technique developed by Osgood et al. Using SPSS, a reliability analysis, factor analysis, and cluster analysis were conducted on the data obtained from the survey. The results of this study can be summarized as follows: According to the general public's perception of museum lobbies, five factors were found from the 19 semantic ratings of the Gyeonggido Museum of Modern Art and the 20 semantic ratings of the Seoul Museum of Art, respectively. In the case of Gyeonggido Museum of Modern Art, three additional semantic words of 'orderly', 'open', and 'original', which did not appear in the case of Seoul Museum of Art, were discovered. In the case of Seoul Museum of Art, more detailed semantic words such as 'restrained', 'ordinary', 'concrete', and 'intellectual (rational)' were obtained. Five semantic elements, which describe the two museums, were: Feelings of 'pleasantness', 'value, 'usage', 'aesthetics', and 'materials'. According to a comparative analysis of the two lobby spaces in terms of semantic rating elements, Gyeonggido Museum of Modern Art was perceived to be an orderly, original, open, soft, and female-like space, whereas Seoul Museum of Art was perceived to be aesthetic, restrained, concrete, realistic, intellectual and rational. In the coming years, the results of this study will serve as valuable data for constructing a sensibility rating scale for evaluating spatial environments of museums.

• 예술경영연구
• /
• 제56호
• /
• pp.329-348
• /
• 2020

코로나 바이러스와 관련된 방역 정책에 따라 국내 미술관들은 운영을 전면 중단하거나 제한적인 운영에 시행중이다. 미술관들은 새로운 비대면 상황에 적응하기 위해 노력하는 한편, 온라인 플랫폼을 통해서 뮤지엄의 기능을 유지하고 관람객들과 소통하고 있다. 본 연구는 먼저 비대면 상황 아래 있는 국내외 미술관들의 현황과 쟁점을 살펴보아 공공성을 확보할 수 있는 방법을 제안하고자 하였다. 팬데믹에 대응하는 국내외 미술관 현황 자료들과 통계들을 기반으로 하여 미술관 운영 현황과 온라인 플랫폼 현황을 분석하였으며, 미술관의 공공성을 재고하기 위하여, 뮤지엄의 정의와 한나 아렌트의 공공성 개념을 분석했다. 이를 통하여 민주적 담론을 형성하고 공동체성을 일깨우는데 공공 미술관의 기능이 중요함을 확인하였다. 이를 토대로 비대면 상황 아래 박물관 미술관의 공공성을 위한 세 가지 논의와 시사점을 제시하였다. 먼저 박물관 미술관의 방역 정책에 대하여 논의할 수 있는 공론장과 재정 지원이 필요함을 논하고, 온라인 플랫폼의 적극적 활용 및 목표를 제안하였다. 본 연구는 현재 비대면 상황으로 인하여 미술관들이 겪고 있는 어려움들을 분석하고, 이를 극복하기 위한 방안을 제시하는데 그 의의가 있다.

• 한국실내디자인학회논문집
• /
• 제21권1호
• /
• pp.211-219
• /
• 2012

I.M. Pei, 2nd generation Chinese immigrant to America, has been one of the most recognized architects who designs museum architecture through out the world for completing significant projects such as the East Building of National Gallery of Art(1068-78) as well as Le Grand Louvre Renovation(1983-89) to name a few. His museum architecture, in particular, reveals his detailed consideration on viewer's artistic experience by providing well balanced architecture design to support exhibiting objects while showing his sensitivity on overall functionality of space. In recent projects such as Miho Museum in Japan, Suzhou Museum of China, and Museum of Islamic Art of Qatar, reveals his growing interests in considering "local context" in museum architecture. Therefore, the purpose of this study is focused on analyzing I.M. Pei's three museum projects having its concept focused on local context. Through out the paper, above mentioned museums were analyzed and compared to summarize his design characters and concept including site plan, spatial organization and architectural form. As a result, it is evident that I.M. Pei had put full effort to apply oriental context with modernism through out his museums. In particular, his site plan, spatial organization, and architectural form shows visible connection to comply with nature which is fundamental idea in oriental philosophy. While his basic design philosophy has been borrowed from the tradition, his ultimate design concept shows nature friendliness as well as theoretical system of thoughts and emotion and most of all, his design excellency in representing local context.

• 미술이론과 현장
• /
• 제3호
• /
• pp.51-66
• /
• 2005

With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.

• 한국실내디자인학회논문집
• /
• 제14호
• /
• pp.82-89
• /
• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.