‘비저너리 전시’에 관한 연구

최상명,이재규 한국공간디자인학회 2023 한국공간디자인학회논문집 Vol.18 No.1

(Background and purpose) After the Industrial Revolution, the national will toward industrial design became a common trend in the modern West. The exhibitions, which were held to raise the level of design and art in the country and public enlightenment, brought numerous discussions on ‘good’ design. Claire Bishop referred to exhibition history as a sub-concept of art history in the 2014 Art Forum; the perception that exhibitions do not cross the path of art is widespread. In particular, design exhibitions were not part of exhibition history, and most studies on design and exhibition focused on exhibits and directing, failing to view the design performance and social context. Therefore, this study aims to analyze the characteristics of visionary exhibitions and to consider the possibility of contextualization by inferring the meaning of exhibition and the flow of the role of design. (Method) The study is composed of two chunks: an examination of visionary exhibitions and an analysis of exhibitions, and analyze major industrial design exhibitions to understand the composition and characteristics of the exhibition. In particular, this study aims to reconstruct the social design significance of exhibitions by focusing on exhibitions that propose a new residential form and lifestyle in residential areas. Three exhibitions were selected as research subjects: the British V&A Museum's <Britain Can Make It> exhibition in 1946, the New York Museum of Modern Art’s <Italy, the new Domestic landscape> in 1972, and the Japanese <House Vision> project in 2011. In Chapter 2, it is presented a comprehensive definition of Visionary Exhibition by summarizing the concept of “Visionary” as a formative language, and identified the major trends in Western design history by analyzing exhibitions designed as part of the role of museums and public education with the rise of modern design after the Industrial Revolution. In Chapter 3, it is analyzed comprehensively three exhibitions by focusing on the period and background. (Results) Although the performance and influence of the exhibitions vary, a clear theme of the future house and a vision for reconstruction after a national crisis were found to contain in all three exhibitions, and it is showed that the exhibitions through collaboration between companies and designers had an experimental attitude. It is also noteworthy that the three exhibitions have gradually changed from national planning to voluntary private-sector participation. This aspect has become more pronounced since design discourses began to detect social problems. (Conclusion) By the goal of design to solve the dark and uncertain realities of post-war and post-disaster, this study is meaningful to confirm the exhibition has expanded the discourse on the social role of design through the issue of ‘What is a good design?’ beyond being a medium that reflects the image of the near future. (연구배경 및 목적) 산업디자인을 향한 국가적 의지는 산업혁명 이후 근대 서구의 공통적인 흐름이 되었다. 자국의 디자인 수준과 산업 경쟁력을 끌어올리고 대중을 계몽시키기 위한 의도로 열린 전시들은‘좋은’디자인에 대한 수많은 논의를 가져왔다. 2014년 『아트포럼』에서 클레어 비숍이 전시사를 미술사의 하위 개념으로 칭한 것으로 주지하듯, 전시가 미술의 경로를 넘지못한다는 인식은 매우 지배적이다. 특히 디자인 전시는 학문적 대상이 되지 못했고 전시사에서 소외당하는 경향이 있었으며, 디자인과 전시에 관한 대부분의 연구들은 전시품이나 연출에 초점을 두어 디자인적 성과와 사회적 맥락을 조망하지 못했다. 따라서 본 논문은 전시가 갖는 의미와 디자인이 갖는 시대적 역할의 흐름 들을 추론하여 비저너리 전시의 특징을 분석하고 맥락화 가능성을 고찰시키는 데에 목적이 있다. (연구방법) 연구는 크게 비저너리 전시에 대한 고찰과 전시 분석으로 두 가지 덩어리로 구성되며, 주요 산업 디자인 전시들을 분석하여 비저너리 전시의 구성과 특징을 파악해 볼 것이다. 특히 주거 영역의 새로운 주거형태와 라이프 스타일을 제안하는 전시에 초점을 맞추어 전시가 갖는 사회적 디자인적 의의를 재구성하고자 한다. 1946년 영국V&A의 <브리튼 캔 메이크 잇> 전, 1972년 미국 뉴욕현대미술관(이하 MoMA)의 <이태리, 새로운 주거의 풍경>, 2013년 일본<하우스 비전> 프로젝트, 세 개의 전시를 분석 대상으로 선정한다. 2장에서는 조형 언어로서 ‘비저너리’의 개념 정리를 통해‘비저너리 전시’의 포괄적인 정의를 제시하고, 산업혁명 이후 근대 디자인의 발흥과 함께 디자인 정책 중 하나였던 박물관의역할 및 대중 교육 일환으로 기획되었던 전시 들을 분석하여 서구 디자인사의 큰 흐름 들을 파악한다. 3장에서는 시기와 배경을중심으로 세 개의 전시를 종합적으로 분석한다. (결과) 전시의 성과와 영향력은 차이가 있으나 세 전시 모두 집의 미래라는 뚜렷한 주제 의식이 발견되었고, 국가적 위기 이후의 재건을 향한 비전을 담고 있었으며, 기업과 디자이너의 협업을 통한 전시들이실험적 태도를 지녔음을 알 수 있었다. 또한 세 개의 전시가 국가적 차원의 기획(top-down)에서 점차 민간의 자발적인 참여(bottom-up)의 성격으로 변모했다는 점은 주목할 만하다. 이러한 측면은 디자인 담론들이 사회적 문제를 감지하기 시작한 이후 더욱 뚜렷해졌다. (결론) 본 연구에서는 디자인이 전후(戰後)와 재후(災後) 등의 어둡고 불확실한 현실을 해결해 줄 것이라는 목표는 전시가 근 미래의 이미지를 투영한 매체임을 넘어 “무엇이 좋은 디자인인가?” 라는 쟁점을 통해 디자인의 사회적 역할에 대한 담론을 확장시켰음을 확인했다는 점에 의의를 둔다.

스마트시티를 주제로 한 ICT 박람회의 전시 공간디자인 연구

안주미,최익서 한국공간디자인학회 2025 한국공간디자인학회논문집 Vol.20 No.3

(연구배경 및 목적) 도시화의 가속화와 함께 스마트시티 기술은 도시 문제 해결 및 지속 가능성 확보를 위한 핵심 요소로 부각되고 있으며, 이에 따라 스마트시티 첨단 기술 시장을 선도하려는 세계 각국의 경쟁도 치열해지고 있다. 이러한 흐름 속에서 서울시는 2024년, 스마트시티를 주제로 한 ICT 박람회인 '스마트라이프위크(SLW)'를 출범시켜, 시의 스마트시티 비전을 선포하고 글로벌 협력 기반을 강화하고자 하였다. 행사의 메인 전시인 'SLW 쇼룸'은 관련 기술을 소개하는 핵심 콘텐츠이자, 단순한 정보 전달을 넘어 서울시의 미래 비전을 상징적으로 구현하는 공간을 목표로 한다. 이에 본 디자인 연구는 SLW 쇼룸의 전시 공간디자인 프로젝트를 대상으로, SLW 행사의 아이덴티티를 효과적으로 전달하고 기존 박람회와 차별화된 공간 경험을 도출하는것을 목적으로 한다. (연구방법) 연구는 다음의 방법으로 진행되었다. 먼저 SLW 쇼룸의 전시 콘텐츠 구성과 유사 박람회 전시사례를 분석하고 이를 바탕으로 공간디자인의 기본 방향을 설정하였다. 다음으로 그리드의 공간적 역할과 형태에 따른 특성을검토한 후, 사선 그리드의 조형을 활용한 디자인 컨셉을 수립하고 이를 평면 및 동선계획으로 발전시켰다. 이어서 사선 그리드에서 파생된 조형을 공간의 구성 요소로 발전시켜 존별 세부 디자인을 제시한 뒤 본 디자인 연구의 과정을 종합하여 향후 박람회전시 공간디자인에 참고할 수 있는 시사점을 제시하고자 하였다. (결과) 그 결과 본 연구에서는 사선 그리드가 박람회 전시 공간에서 다음과 같은 긍정적인 효과를 가질 수 있음을 확인하였다. 첫째, 사선 그리드를 활용하여 삼각형, 육각형, 평행사변형 등의탈큐빅 조형을 공간 내에 자연스럽게 형성할 수 있으며, 이는 전시 환경을 보다 역동적이고 독창적인 공간 경험으로 발전시키는데 중요한 역할을 하였다. 둘째, 사선 형태가 가지는 강한 방향성은 방문객의 이동 동선을 효과적으로 유도하고, 주요 전시 존으로의 시각적 접근성을 향상시키는 데 기여하였다. 셋째, 사선 그리드에서 파생된 기하학적 조형 요소를 활용하여 전시 공간 내개방감과 다양한 깊이감을 연출할 수 있었으며, 이를 통해 공간 내 시각적 장벽을 최소화 하고 공간의 연속성을 강화할 수 있었다. 넷째, 사선 그리드를 기반으로 한 일관된 조형 언어를 적용하고, 색채 및 그래픽 요소를 통합적으로 계획함으로써 시각적 통일성을 높이고 박람회의 아이덴티티를 효과적으로 강조할 수 있음을 확인하였다. (결론) 본 연구는 사선 그리드를 활용한 박람회 전시 공간디자인 전략을 제안하고, 이를 SLW 쇼룸 전시 공간디자인 설계를 통해 실제 현장에 적용하는 과정으로 진행되었다. SLW 쇼룸이라는 특정 프로젝트를 중심으로 진행되었기에 연구 결과를 일반화하는 데에는 한계가 있을 수 있다. 그러나 본 연구를 통해 사선 그리드가 기존의 직교형 그리드에 비해 공간 경험의 역동성과 접근성을 높일 수 있음을 확인하였으며, 스마트시티및 첨단 기술 관련 박람회뿐만 아니라 다양한 유형의 공간디자인에도 응용될 가능성을 갖는 다는 점에서 연구의 의의를 찾을 수있다. 공간디자인에 대한 새로운 접근법으로서, 향후 본 디자인 연구의 결과가 보다 창의적이고 혁신적인 공간 연출 방식을 모색하는 데 기여할 수 있을 것으로 기대하는 바이다. (Background and Purpose) As urbanization accelerates, smart city technologies are increasingly regarded as key solutions for addressing urban challenges and ensuring sustainability. Consequently, national and municipal governments worldwide actively compete to lead the advanced smart city technology market. In line with this global trend, Smart Life Week (SLW), announced by the Seoul Metropolitan Government in early 2024, was conceptualized as an ICT exposition focused on smart cities, aiming to present Seoul’s vision for the future of smart cities and strengthen global cooperation. This study investigates the exhibition space design of the SLW Showroom, the main exhibition of the first SLW Exposition, and explores spatial design strategies that effectively convey the identity of the SLW event while offering a unique exhibition experience distinct from conventional trade shows. (Method) The research was conducted through the following methodology. First, an analysis of the SLW Showroom’s exhibition content and similar expositions was carried out to establish fundamental spatial design principles. Subsequently, the spatial role of grids and their geometric characteristics were examined, leading to the development of a diagonal grid-based design concept, which was further refined into spatial and circulation plans. Building upon this foundation, geometric forms derived from diagonal grids were incorporated into various spatial components, resulting in detailed designs for each exhibition zone. Finally, the overall design approach was synthesized, providing insights applicable to future exhibition space designs. (Results) The findings confirm that diagonal grids offer significant advantages in exhibition space design. First, the application of diagonal grids enables the natural formation of non-cubic geometries, such as triangles, hexagons, and parallelograms, fostering a dynamic and immersive exhibition environment. Second, the strong directional attributes of diagonal forms enhance visitor circulation, effectively guiding movement and improving visual accessibility to key exhibition zones. Third, the integration of geometric elements derived from diagonal grids enhances openness and depth, minimizing visual barriers and reinforcing spatial continuity. Lastly, the consistent implementation of a geometric design language, combined with an integrated approach to color schemes and graphical elements, strengthens visual coherence and effectively reinforces the exposition’s identity. (Conclusions) This study proposes a diagonal grid-based exhibition design strategy and applies it to the SLW Showroom spatial design project. Given that the research focuses on a specific case study, there may be limitations in generalizing the findings. However, this study demonstrates that diagonal grids enhance spatial dynamism and accessibility more effectively than traditional orthogonal grids. Furthermore, the findings suggest potential applications of this design approach beyond the smart city and technology expositions to a wide range of exhibition spaces and spatial design projects. As an innovative spatial design methodology, this research is expected to contribute to the development of more creative and dynamic exhibition environments in the future.

전시디자인에서 전시참여 속 휴식공간 가능성에 관한 연구 -체험형 인터렉티브 시스템 적용을 중심으로-

이재률 ( Lee Jaelyul ),이정교 ( Lee Junggyo ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.4

(Background and Purpose) Recently, exhibition design is increasingly incorporating interactive systems. In particular, it focuses on interaction that allows for two-way communication, and participation of visitors has become an important factor. In this setting, participation in hands-on exhibitions can create fatigue for individuals due to the desire for information acquisition and understanding of various art forms. Therefore, in order to minimize fatigue that may be experienced by participants, the design plan of the rest space is an imperative environmental factor. Therefore, the purpose of this study is to analyze the characteristics and elements that can provide physical and psychological services in exhibition space design, and to study the types and reciprocity of the design plan for rest space. (Method) Firstly, the characteristics of rest space and fatigue elements of exhibition design will be extracted through prior research and theoretical considerations. Secondly, there will be derivation of hands-on interactive types and structural components, and exhibition design system characteristics. Thirdly, the rest space elements in the exhibition space will be divided into three areas: fatigue, resting style, and relaxation concept, which will be proposed by making comparisons based on the analysis table. Finally, five domestic and international cases will be selected, where their rest design plan will be applied to the analysis table and compared and analyzed. Based on the results, the possibility of a meaningful exhibition design plan will be proposed. This will be done by comprehensively comparing the derived characteristics and elements. (Results) When designing a rest space in an exhibition, it was confirmed that the sub-concept and equivalent concepts of the three elements fatigue, rest type, and relaxation concept included various fatigue elements and rest types. Conversely, where the concept of relaxation is the top concept, it was able to produce results that did not include many factors within the fatigue elements and relaxation forms. (Conclusions) The purpose of this study was to find out whether the design of the rest space can be combined with the exhibition’s. The elements of rest space design were analyzed by dividing them into fatigue elements, resting styles, and relaxation concepts where the results were compared using the analysis table. The design of the rest space was created mainly for the purpose of combining it with the exhibition space. From these observations, it is ideal for it to be designed with a sub-concept and equivalent concept, and thus, the rest space can blend naturally in the exhibition space. In the exhibition design, it was found that the sub- and equivalent concept contained more elements than the uppermost concept. This study was conducted in the hopes that it will provide basic guidance in planning a rest space design together in future exhibition designs.

지속가능한 전시 디자인 가이드라인 비교연구 - 해외 박물관의 가이드라인을 중심으로 -

안주미,최익서 한국공간디자인학회 2024 한국공간디자인학회논문집 Vol.19 No.5

(연구배경 및 목적) 최근 엔데믹과 경험 경제 트렌드의 영향으로 비상설 전시의 일종인 팝업스토어를 비롯한 전시 활동이 다시 활발해지고 있다. 이는 곧 전시 폐기물의 증가를 의미하는데, 전시 기획에 따라 특수 제작한 전시물은 재활용이 어려워 일괄 폐기되는 경우가 많기 때문이다. 이 같은 전시의 부정적 환경 영향에 대한 우려가 확대됨에 따라 국내 주요 전시기관에서는 다양한 방법으로 전시의 지속가능성을 모색하고 있다. 다만 아직까지 이와 관련한 체계적인 지침은 마련되어 있지 않은 상황이다. 이에 본 연구는 해외의 지속가능한 전시 디자인 가이드라인을 분석하여 국내의 지속가능한 전시 디자인 실천을 위한 지침 수립의 시사점을 도출하는 것을 목적으로 하였다. (연구방법) 본 연구에서는 2020년대 이후 해외 박물관 및 유관 기관에서 작성한 지속가능한 전시 디자인 가이드라인 중 영국 런던디자인뮤지엄의 ‘우리 시대의 전시 디자인: 전시의 환경 영향 저감을 위한 가이드라인’, 미국 캠브리지 세븐의 ‘지속가능한 전시 디자인 및 설치를 위한 툴킷’, 슬로베니아의 팀 퓨처링과 소피 토마스가 작성한 ‘지속가능한 문화 생산: 박물관’ 가이드라인을 연구 대상으로 선정하고 세 가지 가이드라인 각각의 구조와 형식, 지침의 내용을 비교하여 각 가이드라인의 특성, 공통요소와 차별화 지점을 파악하였다. (결과) 분석 결과 첫 번째 사례인 런던디자인뮤지엄의 가이드라인은 전시 전 과정의 탄소배출량을 체계적으로 관리하여 환경영향을 저감한다고 하는 단일한 목적에 집중하는 구체적인 지침을 제공하고 있었다. 두 번째 사례인 캠브리지 세븐의 경우 지속가능성의 영역을 환경을 비롯해 경제, 사회를 포함하는 확장적인 범주로 바라보는 관점을 가지고 세 영역을 아우르는 5가지 세부 목표(인간 건강, 사회의 건강과 형평성, 생태계 건강, 기후 건강, 순환경제)를 지향하는 포괄적인 지침을 제시하고 있었다. 마지막 사례인 팀 퓨처링과 소피 토마스의 가이드라인은 전시 디자인, 그래픽 디자인, 디지털 커뮤니케이션과 디자인이라고 하는 디자인 결과물 영역을 기준으로 가이드라인을 구성하고 전시 디자인에 자원의 수명 연장을 위한 순환구조를 적용하는, 세 가지 사례 중 가장 디자인 중심적인 접근 방식을 가지고 있었다. (결론) 본 연구에서는 세 가이드라인에서 공통적으로 나타나는 지침을 종합해 환경적 측면에서 전시의 환경영향과 자원을 총체적으로 관리하는 시스템적 접근이 중요함을 확인할 수 있었다. 또한 가이드라인의 상호 비교를 통해 전시 디자인에 있어, 지속가능성을 추구하는 다양한 범주가 존재하며 그 관점의 차이에 따라 각 가이드라인의 구성방식과 지침이 달라지는 양상을 확인하였다. 사회, 문화, 경제, 환경 영역을 모두 포함하는 UN의 지속가능 발전목표가 박물관 정책에도 적용되기 시작한 국제적 맥락 속에서 본 연구는 국내 전시 현장에도 지속가능한 전시 디자인 가이드라인 수립이 필요함을 시사하고 본 연구의 결과를 그 실행을 위한 기초자료로 제공하고자 하였다. (Background and Purpose) In recent years, the influence of endemic and experience economy trends has led to a resurgence of exhibition activities, including pop-up stores, which are temporary exhibitions. This resurgence has increased exhibition waste because specially produced exhibition items are often difficult to recycle and are frequently discarded. Concerns about the negative environmental impacts of exhibitions have prompted major exhibition institutions in South Korea to explore various methods of achieving sustainability. However, systematic guidelines for sustainable exhibition design have not yet been established. This study aimed to analyze international guidelines for sustainable exhibition design to derive insights into establishing guidelines for sustainable exhibition practices in South Korea. (Method) This study focused on sustainable exhibition design guidelines developed by international museums and related institutions in the 2020s. The selected guidelines included "Exhibition Design for Our Time: A Guide to Reducing the Environmental Impact of Exhibitions" by the London Design Museum in the UK, "Sustainable Exhibition Design and Construction Toolkit” by Cambridge Seven in the USA, and "Sustainable Cultural Production: Museum" by Tim Futuring and Sophie Thomas in Slovenia. Each guideline was analyzed in terms of its structure, format, and specific directives to identify its unique characteristics, common elements, and distinctive features. (Results) The analysis revealed that the first case, the guideline by the London Design Museum, provides specific directives focused on the singular objective of systematically managing carbon emissions throughout the exhibition process to reduce environmental impacts. The second case, the Cambridge Seven guideline, adopts an expansive view of sustainability, encompassing not only the environment but also the economic and social dimensions. It presents comprehensive guidelines aimed at five specific objectives: human health, social health and equity, ecosystem health, climate health, and the circular economy. Finally, the guideline by Tim Futuring and Sophie Thomas is the most design-centric of the three. It is structured around design outputs such as exhibition design, graphic design, and digital communication, and applies circular economy principles to extend the lifespan of resources in exhibition design. (Conclusions) This study synthesized the common directives found across the three guidelines, highlighting the importance of a systematic approach to comprehensively manage the environmental impact and resources of exhibitions from an environmental perspective. Additionally, a comparative analysis of the guidelines revealed the varying scopes of how sustainability is pursued, with differences in perspectives influencing the structure and directives of each guideline. In the context of the UN's Sustainable Development Goals, which now encompass social, cultural, economic, and environmental domains and are increasingly being applied to museum policies globally, this study underscores the need to establish sustainable exhibition design guidelines in the domestic exhibition field. The findings of this study provide foundational data for the implementation of these guidelines.

2000년 이후 국내 디자인 미술관의 디자인 전시 특징

윤여울(Yeowool Yoon),오창섭(Changsup Oh) 한국디자인학회 2018 디자인학연구 Vol.31 No.1

Background : “Design Museum” and “design exhibitions” appeared in the sociocultural background of the developed consumer culture and the trend of considering the design of as economic value-added means. The purpose of this study is to understand the characteristics of famous design museums in Korea and to analyze the design exhibitions in each museum since 2000. Methods : The subjects were the exhibitions in Hangaram Design Museum, Daerim Art Museum, and Dongdaemun Design Plaza, which are representative museums being actively engaged in design exhibitions until today. The outlines of the exhibition introduced on their websites, articles published in the magazine and newspapers, and museum operation reports mentioning the exhibitions. Results : Design museums have different exhibition characteristics depending on the background of establishment and purpose of operation. When they were analyzed in the analytical framework, it was found that Hangaram Design Museum focused on public design area in its early times, Daerim Museum focused on “exhibitions focusing on fashion and people”, and Dongdaemun Design Plaza focused on large exhibitions and public design contents related to City of Seoul. Based on this, I have summarized the comprehensive characteristics of the exhibitions in the Design Museum as the following four points. First, art exhibitions and design exhibitions are mixed. Second, there is a complex characteristics between the areas of art and design in the contents of the exhibition. Third, there was an emergence of space rental exhibitions making a lot of money in a short period of time. Finally, exhibitions have characteristics focusing on the people representing brands. Conclusions : While each museum has different modes of operation and purposes, there is a common feature that goes back and forth between the survival in the real world such as profit creation and the role of cultural discourses.

기후변화체험을 위한 공간디자인 및 전시연출개발 -청주시 기후변화체험교육관을 중심으로-

이주형(교수) ( Joo Hyoung Yi ),박진호(교신저자,소장) ( Jin Ho Park ) 한국공간디자인학회 2016 한국공간디자인학회논문집 Vol.11 No.3

(Background and Purpose)In recent years, many trial had been made by local autonomous entity guided by the central government plan. These trials are realized by the climate change policy promotion, education, in the exhibition hall for the general public and students. Actually, in local cities many exhibition halls have been renewed or newlly constructed from the ground. For example, Cheongju City changed Wooam Children``s Center, the first theme park of city, into the Climate Change Experience Education Center, which embraced cutural behavior for the green city policy promotion of the city. Cheongju City plans to promote its ``green city`` image through the Climate Change Experience Education Center. By planning exhibition hall for people to understand the climate change, its phenomena, cause, response, and to show what we can do. (Methods) The method of how the design was proceeded is, first, the location and construction status of the Wooam Children``s Center were analyzed and the requirements of the facility were collected, and the local needs for cultural facilities were also analyzed. Second, as an analysis of external environment, the status of domestic climate-related facilities was analyzed and how to differentiate from those facilities was considered, and the trend change of climate environment exhibitions was investigated to set the basic direction of the exhibition. Third, as a design process stage, the exhibition concept is set, and the detailed design of exhibition storyline, space, display were proceeded to be delivered to the visitors as one concept. In the final conclusion, activating tour operation and the integrated operation of the exhibition concept by introducing state-of-the-art media exhibition guide was defined. (Result) Permanent exhibition is divided into two zones; the danger zone which shows the risk of climate change and the opportunity zone which shows the efforts of humans to restore the environment. Inbetween, there is the action zone where visitors can experience the relationship between CO2 and humans and it will conceptualize that each individual``s action will turn danger into opportunity. This is embodied by the exhibition color, lighting, and display media. At the end of the exhibition, the coexistence zone will be placed and visitors will promise to take actions of what they can do in their daily life and the exhibition will be finished. (Conclusion) The main focus of this design plan is to draw active participation from audience, which is implemented through the exhibition theme, design, and experience system. Thus, the advanced audience guidance system become the very essential tool in the communicative part of the design between the exhibition and visitor. It will effectively widen the understanding from audiences and bring out the very best of educational experience in exhibition, working as the effective interactive instrument in exhibition storyline. The active educational outcome through the communicative experience in exhibition can be best achieved by planing the exhibition design, special understanding and the direction as a whole unified process.

디렉터의 성향에 따른 디자인 전시 성격에 관한 연구

김민정,김은혜,손주영 한국기초조형학회 2011 기초조형학연구 Vol.12 No.3

This thesis is focusing on understanding of design exhbition and design planner, and is also clarifying the interrelation between director's career and tendency, and character of exhibition planning through case study. Through the case studies of London Design Museum and London Design Festival, the specifics from the past and present director's background, tendency and planning of the exhibition are compared and analyzed. Based on the literature search through the theses and books, the understanding of the exhibition and its director can be facilitated. In addition, the analysis of each exhibition is carried out mostly through multi-case studies, the way of qualitative research to find out whether the characteristics of the exhibition repeat or not. While Alice Rawdon, the former director of London Design Museum corrected the taste of the masses with visual and decorative elements, Deyan Sudjic, the present director has explored various possibilities of future life. In the case of London Design Festival, Tom Dixon, the director of 2007, participating in the exhibition with his own artistic crafts design works, placed a high value on artistic crafts and made a machine - produceable work. With this, he could contribute powerfully to an improvement in corporate image. On the other hand, Ben Evans who directed the festival from 2008 to 2010, liked nature to be the main theme of the exhibition and his commercial tendency was strongly seen in his works with an emphasis on economic concerns. In this study it shows how much important the director's role works to lead the planning of the exhibition and also gives us a chance to think about how to lead and manage a major design event or museum in the country with ideal strategies. 본 논문은 디자인 전시와 전시 기획자를 이해하고 사례 연구를 통해 디렉터의 경력 및 성향과 전시 기획의 성격 사이에 상관관계가 있음을 밝히고 있다. 사례연구로써 런던 디자인 뮤지엄과 런던 디자인 페스티벌의 사례 연구를 통해 과거와 현재 디렉터의 배경과 성향, 전시 기획을 조사하여 그 특성을 규명하고 비교 분석한다. 논문과 단행본을 통한 문헌 조사를 바탕으로 전시와 전시 기획자의 이해를 돕고, 각각의 전시에 대한 분석은 질적 연구 방법인 다중 사례연구를 주요 분석 방법으로 사용하면서 전시의 성격이 반복되는 지를 살펴보았다. 런던 디자인 뮤지엄의 전 디렉터 앨리스 로스돈은 시각적이고 장식적인 요소로 대중의 흥미를 유발시키는 한편, 현재 디렉터인 데얀 수딕은 테크놀로지적 요소로 미래 생활에 대한 여러 가지 가능성을 탐색하였다. 런던 디자인 페스티벌의 경우, 2007년 디렉터였던 톰 딕슨은 공예적인 디자인 작품을 직접 전시에 참여하는 등 공예적 가치를 추구하며 기계 생산이 가능한 작품을 만들고 이로써 기업과 상품의 이미지를 향상 시키는데 힘썼다. 반면, 2008년부터 2010년까지 총 디렉터를 맡았던 벤 에반스는 자연 친화적인 테마가 돋보였고 경제적인 부분에 작품이 강조된 그의 상업적인 성향이 강하게 나타났다. 본 연구의 결론에서는 전시를 기획하는 리더인 디렉터의 자질이 무엇보다 중요하게 판단이 되며 현재 국내에서 주도하는 디자인 행사 및 뮤지엄을 어떤 전략으로 이끌어가는 것이 바람직한 가를 전망 해본다.

디자인 전시에 있어서 체험성에 관한 연구

박유선,김인성 한국기초조형학회 2008 기초조형학연구 Vol.9 No.6

With the changes in the exhibition environment, recently 'experience'-oriented exhibition, which is more active and positive, and contains the systems of stimulating five senses, is being highlighted in the field of design exhibition, instead of 'appreciation'-oriented exhibition that is quite passive, is focused on the revival of visual experience, and aims at pure aesthetic experience only. Under this circumstance, it is necessary to re-formulate the meaning of 'experience' as the opposite concept of 'appreciation', and the characteristics and the possibility of experience-oriented exhibition. This paper defined experience from various aspects and in addition, it analyzed the concept of experience in relation to the phenomenon of exhibition. Through this, it analogized the relation between the target of experience and the subject of the experience and classified their meanings and cases into: extensity that the memory of experience determines the awareness of space; functional reactivity (interaction, inducement, participation) that the media of exhibition responds to the operations chosen by the spectator of experience; emotional reactivity (communication, directness) that the spectator of experience touches or operates a design through a part of his/her physical body; possibility of ownership that the spectator of experience would like to have a design product through the new experience of exhibition; and virtual actuality that virtual experience is directly experienced through videos or five human senses. Therefore, the characteristics of experience-oriented design exhibition are that in the relationship between things and human beings, between human beings and space, and between things and space, the spectator of experience directly participates in the exhibition through a sensory organ of his/her body. That is, he/she makes a new communication relation with the things that he/she experiences through two-way interaction, and the targets of the design exhibition are selectively consumed and further, get connected to the possibility of ownership, depending on the stimulating system for experience and values that he/she has given meanings to in his/her private life and own space. The design things that have been penetrated into one's living as a form of ownership become daily design, daily cultures, and real life. Therefore, this paper intends to examine the characteristics of experience-oriented design exhibition through the analysis of the concept of 'experience', and further, it purports to clarify the meanings and the values of the possibility and the direction of design exhibition.

인클루시브 디자인 관점에서의 통합적 뮤지엄 전시공간디자인 연구 -시각장애를 중심으로-

백윤아,최정아 한국공간디자인학회 2024 한국공간디자인학회논문집 Vol.19 No.4

(연구배경 및 목적) 최근 뮤지엄 정의가 확장되며 뮤지엄에서 인클루시브 디자인이 중요하게 대두되고 있다. 인클루시브 디자인은 다양성을 중요시하며 통합을 목적으로 하는 사회적 약자를 위한 디자인이다. 시각을 중심으로 하는 뮤지엄에서 시각장애인은 문화소외계층으로 전시관람에 어려움을 겪는다. 이에 본 연구는 문화소외계층인 시각장애인의 문화접근성 향상을 위해 인클루시브 디자인 관점에서 다감각적인 방식의 통합적 뮤지엄 전시공간디자인의 방향을 제시하는 것을 목적으로 연구를 수행하였다. (연구방법) 본 연구는 먼저 인클루시브 디자인 특성과 시각장애인의 감각 및 방향정위 특성에 대한 이론적 고찰을 진행한 후 선행연구를 통해 시각장애인을 위한 인클루시브 전시공간디자인의 구성적 특성으로 이동적인 측면의 물리적 접근성, 그리고 관람적 측면의 다감각적 정보성을 도출하여 수도권 국립 뮤지엄 5곳의 이동공간과 상설전시공간을 분석하였다. (결과) 뮤지엄 이동공간에서 시각장애인을 위한 물리적 접근성은 기준위치를 제외하고 랜드마크, 단서, 정보점, 인지지도를 5곳의 뮤지엄이 모두 지원하고 있었다. 그러나 뮤지엄 전시공간은 이동공간에 비해 물리적 접근성이 부족하였다. 다감각적인 정보성의 경우 5곳 중 4곳에서 전시물 모형을 통해 물리적 특성인 재료와 형태에 대한 정보를 제공하고 있었으나 기능, 제작방법에 대한 정보는 제공하고 있지 않음을 알 수 있었다. (결론) 시각장애인을 위한 인클루시브 디자인 측면에서 통합적 전시공간디자인에 대한 제언은 다음과 같다. 첫째, 뮤지엄 이동공간에서 시각장애인의 물리적 접근성을 강화하기 위해 랜드마크, 단서, 정보점, 기준위치, 인지지도를 다감각적으로 지원해야 한다. 둘째, 뮤지엄 전시공간에서는 물리적 접근성을 고려하여 전시물 위치 파악을 돕는 랜드마크, 공간변화에 대한 시각, 청각적 단서와 재질대비를 통한 기준위치, 이동을 돕는 핸드레일과 사이니지 등의 정보점, 촉지도와 리플렛 등의 인지지도를 지원해야 한다. 마지막으로 뮤지엄에서 시각장애인의 전시 관람을 지원하기 위해 전시물 모형, 촉각 패드 등을 배치하여 형태, 재질, 기능, 제작방법에 대한 다감각적인 정보를 제공해야 한다. 본 연구는 인클루시브 디자인 관점에서 시각장애인을 위한 통합적 뮤지엄 전시공간디자인의 가치와 필요성을 확인할 수 있는 기초연구로써 그 의의가 있다. (Background and Purpose) Recently the definition of the museum has been expanded and inclusive design has emerged in an important method for museums. It is necessary to provide proper services to the socially underprivileged. In a museum centered on sight, the visually impaired are the culturally underprivileged and have difficulty viewing the exhibition. Therefore this study aims to propose a direction for integrated museum exhibition space design from the perspective of inclusive design, using a multisensory approach to improve cultural accessibility for the visually impaired. (Method) This study first conducted a theoretical review of the characteristics of inclusive design and the sensory characteristics of the visually impaired, and then through the previous studies, physical accessibility for mobility and multi-sensory information for appreciation were derived as the main characteristics of inclusive exhibition space design for the visually impaired, and the moving and permanent exhibition spaces of five national museums in the metropolitan area were analyzed. (Results) In terms of inclusive design, all five museums supported landmarks, clues, information stores, and cognitive maps except for the reference location, but the museum exhibition space lacked physical accessibility compared to the moving space. In the case of multisensory information, it was found that 4 out of 5 locations provided information on materials and shapes, which are physical characteristics, through exhibition models, but did not provide information on functions and manufacturing methods. (Conclusions) In terms of inclusive design for the visually impaired, suggestions for integrated exhibition space design are as follows. First, landmarks, clues, information stores, reference locations, and cognitive maps should be provided in a multisensory manner to enhance the physical accessibility for the visually impaired in the museum's moving space. Second, in the museum exhibition space, it is necessary to support landmarks that help identify the location of exhibits in consideration of physical accessibility perspectives on space changes, reference locations through auditory clues and material contrast, information points such as handrails and signage that help movement, and cognitive maps such as tactile maps and leaflets, etc. should be provided. Finally in order to support exhibition viewing for the visually impaired in the museum, exhibition models and tactile pads should be arranged to provide multi-sensory information on shape, material, function, and manufacturing methods. This study is meaningful as a basic study that can confirm the value and necessity of integrated museum exhibition space design for the visually impaired from the perspective of inclusive design.

디지털 네이티브 세대를 위한 전시 디자인 연구 -피아제 이론과 디지털 기술의 융합을 중심으로-

조나현,이민희,김주연 한국공간디자인학회 2024 한국공간디자인학회논문집 Vol.19 No.5

(연구 배경 및 목적) 현대 사회는 디지털 기술의 발전으로 인해 정보 접근성이 크게 향상되었고, 디지털 네이티브 세대는 이러한 변화를 반영하여 기존 세대와 다른 학습 및 인지 스타일을 보인다. 전시 디자인은 방문객에게 정보를 전달하고 교육적 가치를 제공하는 중요한 수단이며, 디지털 기술의 통합은 이러한 목적을 달성하는 데 중요한 역할을 한다. 본 연구는 디지털 기술의 효과적인 활용과 피아제 인지발달이론의 잠재적인 가치를 융합한 전시 디자인 사례 분석을 통해 디지털 네이티브 세대에게 효과적이고 교육적인 전시 디자인 방안 도출을 목적으로 한다. (연구 방법) 본 연구는 디지털 네이티브 세대를 대상으로 하였으며, 피아제 이론과 디지털 기술의 융합을 중심으로, 디지털 네이티브 세대의 특성과 기대, 요구를 분석하였다. 피아제의 인지 발달 이론을 통해 어린이의 발달 과정을 조사하여 전시 디자인에 적용 가능성을 고찰하고, 다양한 디지털 기술이 전시 디자인에 어떻게 활용되고 있는지 사례를 분석한다. (결과) 연구 결과, 디지털 기술을 활용한 전시 디자인은 어린이의 학습 효율성을 증대시키고 교육적 가치를 극대화하는 데 효과적임을 확인했다. 디지털 네이티브 세대는 디지털 기기를 통한 정보 획득과 학습에 익숙하며, 상호작용과 협업을 선호하는 특성을 보인다. 피아제 이론을 적용한 전시 디자인은 어린이의 인지 발달 단계에 맞는 교육적 접근을 가능하게 하여, 어린이 스스로 학습하고 성장할 수 있는 환경을 제공한다. (결론) 본 연구는 디지털 기술과 피아제 이론을 융합한 전시 디자인이 디지털 네이티브 세대에게 효과적이고 몰입감 있는 교육 경험을 제공하고 있음을 보여준다. 디지털 기술을 통합한 전시 디자인은 어린이의 참여와 몰입을 유도하고 학습 경험을 강화하는 데 기여한다. 앞으로의 전시 디자인은 디지털 기술의 적극적인 활용과 인지 발달 이론의 적용을 통해, 어린이의 학습과 발달을 지원하는 더욱 혁신적이고 교육적인 공간을 제공해야 할 것이다. 이를 통해 전시 디자인은 교육적 가치를 더욱 높이고, 디지털 네이티브 세대에게 맞는 효과적인 학습 환경을 조성할 수 있을 것이다. (Background and Purpose) In modern society, access to information has greatly improved due to the development of digital technology. The digital native generation, which has grown up with these advancements, exhibits a different learning and cognitive style compared to previous generations. Exhibition design plays a crucial role in conveying information to visitors and providing educational value. Integrating digital technologies within exhibitions is essential to achieve these goals effectively. The purpose of this study is to derive effective and educational exhibition design methods for the digital native generation. This is accomplished through case analysis of exhibition designs that combine the effective use of digital technology with the potential value of Piaget's theory of cognitive development. (Research Method) This study targets the digital native generation, focusing on the convergence of Piaget's cognitive development theory and digital technology. It aims to analyze the characteristics, expectations, and needs of this generation. Piaget's theory of cognitive development is scrutinized to understand the stages of children's development and its applicability to exhibition design. Various examples of how digital technologies are used in exhibition design are also analyzed. This includes evaluating interactive displays, virtual reality experiences, and other digital tools that cater to different stages of cognitive development as described by Piaget. (Results) The study confirms that exhibition design incorporating digital technology effectively enhances children's learning efficiency and maximizes educational value. Applying Piaget's theory to exhibition design enables an educational approach tailored to the child's specific stage of cognitive development. This provides an environment where children can learn and grow autonomously. Digital technologies such as interactive touch screens, augmented reality, and gamified learning experiences cater to the sensory and interactive preferences of the digital native generation, making learning more engaging and effective. (Conclusions) This study shows that exhibition design combining digital technology and Piaget's theory is providing an effective and immersive educational experience for the digital native generation. Exhibition designs that incorporate digital technology significantly contribute to children's engagement and immersion, thereby enhancing their overall learning experience. To better serve future generations, exhibition designs should focus on creating more innovative and educational spaces. This can be achieved through the active use of advanced digital technologies and the thoughtful application of cognitive development theories. By doing so, exhibition designs will not only further enhance their educational value but also create a more effective and stimulating learning environment that is perfectly suited for the digital native generation. These improvements will ensure that exhibitions remain relevant and impactful, fostering a lifelong love of learning and discovery among children. Consequently, this approach will help cultivate a generation that is well-equipped to navigate and succeed in an increasingly digital world.