박물관 수장고의 유형별 보존환경 특성 고찰 - 국립중앙박물관, 국립민속박물관 파주, 국립경주박물관 영남권 수장고를 중심으로 -

최영주,손종우,임채진 한국문화공간건축학회 2023 한국문화공간건축학회논문집 Vol.0 No.83

The various research directions of museum storage derived from the saturation state of storage were examined and classified into museum storage, off-site storage, open storage, and shared storage. In order to understand the characteristics of each type of museum, the National Museum of Korea, the National Folk Museum of Paju, and the Yeongnam area of the Gyeongju National Museum were selected as the main examples. The environmental characteristics were classified into five categories and compared. The occupancy area per point of the collection is 0.022m2 for the National Museum of Korea, 0.016m2 for the National Folk Museum of Korea in Paju, and 0.009m2 for the Yeongnam Storage in Gyeongju National Museum. All of them are different figures, indicating that it is difficult to express the collection data as a collective occupied area per point. However, it can be said that it is the key to planning the storage space because the size of the storage and the temperature and humidity environment can be planned according to the occupied area of the collection. Therefore, 0.2m2 and 0.02m2 of figures per point, which are currently used to calculate the storage area, are considered not appropriate for storage space planning. Therefore, a follow-up study is needed to suggest guidelines for deriving the occupied area per point of the collection data.

공유형 수장고의 규모추정에 관한 검토

신수진,임채진 한국문화공간건축학회 2022 한국문화공간건축학회논문집 Vol.- No.77

In this study, we proposed the construction of a local museum shared storage according to the increase in public and private museums and the demand for additional museum storage space. We conducted a basic study on volume estimate of general museum shared storage based on 4 main museum and 21 branch museum storage data in Seoul. In order to estimate the volume of the museum shared storage, we took account of the museum storage capacity and property, cover area, rate of increase of museum storage relics. Based on the basic analysis, the occupied area of ​​the complete material and the fragment material calculated, are applied to the materials of Seoul City Museum. The volume estimate was calculated by applying the short-term data amount up to 10 years after the opening and the correction value is added for the museum storage efficiency. Subsequent studies will require work to complement the accuracy of the volume estimation by applying a wider range of cases and time periods.

새로운 박물관 전시 전략으로서의개방형 수장고의 의미

황규진 한국박물관학회 2022 博物館學報 Vol.- No.44

Open storage created with the concept of democratization of museums or open museum, are spreading internationally, receiving positive reviews for the participation and accessibility of visitors to the common cultural heritage of mankind. In addition, major national museums in Korea are promoting the establishment of open storage. Open storage, which emerged as a practical way to promote better access to collections by visitors, has now become an important strategy for museums to attract and interest visitors. The spread of open storage is the result of efforts to show the hidden spaces of the museum that the general public has not seen before, such as the storage, laboratory, and conservation science room, which were spaces behind the stage of exhibitions. In a sense, what the museum wants to show through the open storage is not only the collection, but also the open storage itself. The open storage is a great exhibit in itself. The visual experience of being overwhelmed by the scale of the museum's collection is an awe created by humans, that allows us to measure the time and amount of the accumulated collection seen beyond the object, creating a ‘sublime’ experience that arouses fear or admiration. Most of the previous studies related to open storage are limited to a small number of studies related to education or architecture and design, so conceptual and practical research on the function and meaning of open storage is insufficient. Therefore, in terms of the visitors' appreciation of open storages, the purpose of this study is to find out what kind of intentions museums are building and utilizing open storages, and to draw implications by examining the current state of domestic museum exhibitions. 열린 박물관, 박물관의 민주화라는 개념과 함께 생겨난 개방형 수장고는 인류의 공동 문화유산에 관람객의 참여와 접근성 확대라는 긍정적 평가를 받으면서 국제적으로 확산되고 있고 주요 국내 국립박물관들도 앞 다퉈 개방형 수장고 건립을 추진 중이다. 관람객의 소장품에 대한 보다 나은 접근을 촉진하는 실용적인 방법으로 부상하였던 개방형 수장고는 이제 박물관들의 관람객을 끌어들이고 흥미를 유발하기 위한 중요 전략이 되었다. 개방형 수장고의 확산은 전시라는 무대 뒤편의 공간이었던 수장고와 연구실 보존과학실 등 일반 대중들이 그동안 보지 못했던 박물관의 숨은 공간들을 보여주고자 하는 노력의 결실이다. 어떤 의미에서 박물관이 개방형 수장고를 통해 보여주고자 하는 것은 소장품들이 아니라 개방형 수장고 자체라고 할 수 도 있겠다. 개방형 수장고는 그 자체로 하나의 훌륭한 전시물인 것이다. 박물관의 소장품 규모에 압도당하게 되는 시각적 경험은 대상(object)의 너머로 보이는 축적된 수집의 시간과 양이 가늠되는, 인간에 의해 창조된 외경(畏敬)으로 공포 또는 찬양의 감정을 불러일으켜 ‘숭고(the sublime)’의 경험으로 관람객을 이끈다. 개방형 수장고 관련 선행 연구들이 대부분 교육적 측면 혹은 건축과 디자인 관련 연구에 소수 한정되어 있어, 개방형 수장고에 대한 기능과 의미에 있어 개념적, 실천적 연구는 미흡한 상황이다. 이에 개방형 수장고가 관람객의 감상의 대상이라는 측면에서 박물관들이 어떤 의도로 개방형 수장고를 건립하고 활용하고 있는지 알아보고 국내 박물관 전시현장의 현황을 살펴보면서 시사점을 도출해 보고자 한다.

국내 박물관 개방형 수장고의 전시디자인 사례 연구 - 국립민속박물관 파주 열린 수장고를 중심으로 -

유민지 대한전시디자인학회 2022 전시디자인연구 Vol.19 No.1

In the past, museums were based on the collection and possession of collections, while the paradigm of modern museums has shifted to utilization and sharing of collections. Therefore, a storage, which had been restricted from access for the preservation of collections, is evolving into an accessible and open space. In this regard, the number of open storages that have already been opened or are about to open soon, has been continuously increasing in recent years focusing on national and public museums. However, the role is still focused on ‘storage’ and ‘conservation’, centering on the storage environment and spatial composition of a storage area for the work of storage managers (curators), and simple physical accessibility, so it is insufficient in terms of exhibition and design. This study considered a series of processes and results as a case study on a storage from the multilateral approach in terms of ‘exhibition’ and ‘exhibition design’, which cannot be overlooked in an open storage, as well as in terms of ‘storage’ and ‘preservation’, through which it was confirmed that the open storage should also be established as an integrated environment under the concept of ‘exhibition’ by recognizing and approaching the collections as a content and a medium of communication, and in the process, exhibition design was also an essential element. It is suggested that research on in-depth design methodology should be continued to communicate with various visitors and to share and utilize the contents of the collection by applying more active and three-dimensional planning and design to the open storage to be built in a future. 과거 박물관이 소장품의 수집과 소유에 근간을 두었다면 현대 박물관은 소장품의 활용과 공유로 패러다임이 변화하면서 소장품 보존을 위해 접근이 제한되었던 수장고는 접근 가능한 개방적인 공간으로 진화하고 있다. 이에 등장한 개방형 수장고는 최근 국·공립 박물관을 중심으로 이미 개관되었거나, 곧 개관을 앞두고 있을 정도로 그 수가 지속적으로 증가하는 추세이다. 하지만 여전히 ‘수장’과 ‘보존’의 역할에 집중되어 수장환경과 수장고 관리자(학예사)의 작업을 위한 수장보존영역의 공간 구성에 초점이 맞추어지고 단순한 물리적 접근성 개방에 그치는 등 전시와 디자인 측면은 아쉬운 실정이다. 이에 본 연구는 수장고의 ‘수장’과 ‘보존’은 물론이거니와 개방형 수장고에서 간과할 수 없는 ‘전시’와 ‘전시디자인’의 다각적인 접근을 시도한 실제 사례 연구로 일련의 과정과 결과에 대해 고찰하였다. 이를 통해 개방형 수장고의 소장품을 콘텐츠이자 커뮤니케이션의 매체로서 인식 및 접근하여 ‘전시’라는 개념 아래 통합된 환경으로 구축되어야 하며, 이 과정에서 전시디자인 또한 필수 요소임을 확인할 수 있었다. 앞으로 생겨날 개방형 수장고는 보다 더 적극적이고 입체적인 기획과 디자인이 적용되어, 다양한 관람객과 소통하고 소장품이 지니는 콘텐츠를 공유 및 활용될 수 있도록 심도있는 디자인 방법론의 연구가 지속되어야 할 것을 제언한다.

박물관 수장고의 장르별 규모 계획에 관한 연구

최영주,임채진 한국문화공간건축학회 2024 한국문화공간건축학회논문집 Vol.- No.85

At this point, it is anticipated that the storage space will reach saturation in the near future. A significant number ofinstitutions are seeking to secure storage space from a mid-to-long-term perspective and find various methods under thesepredictions. As part of this, various concepts and perspectives of off-site and shared storage are being discussed. However, forsome institutions, it is difficult to independently prepare off-site storage, suggesting the need for the establishment of regionalshared storage as a new alternative for the increasing amount of relics. In order to construct shared storage, it is judged thatthe basis for the scale plan, which considers the number of relics, the amount of increase, genre classification, and storagecharacteristics based on the data collected in various regions and the attributes of relics, needs to be discussed. Despite theexistence of various storage scale planning methodologies at this point, the size of the building is calculated based on thequantity of relic scores. Four national institutions generally have 0.0072-0.0428㎡/object, and the more commonly used area perused collection of relics is 0.2㎡/object. It has been pointed out that this does not reflect the differences caused by the diversityof size, material, and attributes of museum materials, and the range of errors is excessive. From this perspective, this studybegan with the inference that differences in the properties of museum materials by genre would be more effective as anindicator of scale theory. The purpose of this study was to investigate and analyze two public museums in Seoul, verify thevalidity of this study, and present implications for the final plan for the scale of shared storage.

박물관 수장전시의 개념과 공간 운용에 관한 고찰

김보영,박석수,임채진 한국문화공간건축학회 2018 한국문화공간건축학회논문집 Vol.- No.64

Recently, more museums have been building open storage facilities. This means that the storage itself can be the subject of exhibition and education while showing its inherent function. An analysis of open storage cases at home and abroad in this study shows that museum storage is open to visitors gradually in conjunction with various programs such as its functions, characteristics, exhibition tours, and education. Through the project, we will conduct a study on the use of various concept display. The expanded concept of open storage can be classified into four types of exhibition: storage type, study collection type, open storage type, and tour type. The concept of open storage in the future is seen as an essential element of museum architecture in terms of architectural response to the increase of collections and the sharing of a large number of data. Therefore, the concept of open storage exhibitions should be built into an integrated environment of storage, exhibition, research, education, and museum communication taking into account the above four categories, and architectural suggestions and methods of spatial operation should be explored.

소장품의 활용과 개방형 수장고의 교육적 역할에 대한 연구

양지연 한국문화교육학회 2014 문화예술교육연구 Vol.9 No.4

Museums have historically existed based on the collections and strenghtened selectivity and rational classification of collections and exhibitions. Modern museums have educated and disseminated knowledge to the public according to the Enlightenment traditions. These days, the focus of museums are moving toward use and accessibility of collections from the acquisition of collections. In this respect, 'open storage', termed to refer to publicly accessibly, nonthematic densed displays of storen collections, has been widely developed and discussed since the late 1970s. Open storage is the public medium to enhance physical and intellectual access to the collections, and integrates exhibition, research, education, and conservation functions of museums. This study examined the context and meaning of open storage. Also, the educational roles and functions of open storage were explored. Open storage is not mere a type of exhibitions. Through open storage, museums could implement integral educational roles, communicate the process and functions of museums with the public. Also, open storage encourages museum visitors to discover, compare, and investigate museum's collections on their own and facilitates self directed learning. 뮤지엄은 소장품의 수집과 보존을 기반으로 존재하며, 역사적으로 수집과 전시에 있어 선별성과 체계적인 분류를 강화하고 계몽주의적 지식구조에 의해 선별된 소장품을 대중에게 공개하고 교육하는 방식을 취해 왔다. 오늘날의 뮤지엄은 수집과 보존 이상으로 조상품의 활용과 접근성을 강화하는 방안을 모색하고 있으며, 선별과 해석의 권한을 보다 폭넓은 대중과 공유하는 방향으로 전개되고 있다. 이러한 흐름에서 1970년대 후반 이후 등장한 '개방형 수장고' (open storage)는 소장품을 수장고에 격납하는 형태로 고밀도 전시하고 이를 연구와 교육에 활용되도록 개방함으로써 소장품의 활용도와 뮤지엄의 개방성을 확대하는 매개체로 주목받고 있다. 이 연구에서는 개방형 수장고가 등장한 맥락과 그 의미를 살펴보고, 이론적 배경으로서 소장품의 물질성과 전시 지식구조의 변화를 고찰하였다. 개방형 수장고는 단순히 전시의 한 방법이 아니라 소장품의 개방과 활용을 전제로, 수집, 연구, 보존, 전시, 교육 기능을 통합하는 교육적 성격을 지니며, 뮤지엄의 기능과 과정을 대중과 소통하고, 관람자의 자기주도적인 발견과 비교, 조사연구를 촉진하는 교육적 역할을 수행한다.

뮤지엄 소장품과 대중의 매개 공간으로서 프랑스 개방형 수장고에 관한 연구

박성혜(Park, Sung Hye) 한국전시산업융합연구원 2024 한국과학예술융합학회 Vol.42 No.2

국 · 공립 미술관의 수장고 환경조사 및 공동수장고에 관한연구

조혜진 한국공간디자인학회 2011 한국공간디자인학회논문집 Vol.6 No.2

미술관이 담당하는 기능 중 전시영역이 미술관 중심 업무로 진행되면서, 수집된 작품의 복원과 보존의 중요성을 간과하고 일시적 수장에만 그치는 문제를 발생하고 있다. 따라서, 수집 작품이 문화유산으로써 유물적 가치를 지각하는 인식의 전환과, 복원과 보존을 위한 학과간 연구와 보다 과학적이고 안전한 환경개선을 추구해야 할 때이다.본 연구는 수집 작품을 후대에 안전하게 전해야하는 중간 향유자의 입장에서 수장 환경개선을 위한, 선행연구 및 보고서에서 미술관 최적의 수장환경의 기준을 파악하고, 설문조사 및 자료조사를 방법으로, 국내 국공립미술관의 수장고 현황 및 환경을 비교 분석하였다. 그 결과 연면적 대비 8.72%의 수장 공간은 개관 후 5년이 지나면서 80%이상의 수장율 포화도를 보인다. 증축과 리노베이션으로 수장품을 보존하는 것은 한계에 다다른 것이며, 빠른 기간내 독립된수장고로써의 건립을 추구하여야 한다. 결론적으로, 수집 보존량의 증가를 대비하고, 건축적, 설비환경적 최적의 복원 · 보존센터로써의 공동 수장고의 건립을 제안하고자 한다. The art museum focuses on exhibiting artworks, other functions like restoration and conservation can be overlooked. It is time to review thinking about artworks as cultural heritage, disciplinary research, and a more scientific, safer environment for restoration and preservation. This study includes preceding research into the improvement of storage environments and standards of optimal storage environments from the standpoint of an intermediate organization, bequeathing collections safely to future generations. The study involves a comparative analysis of the current situation and environment of national and public art museum storage. Five years after inauguration, storage space, usually occupying 8.72% of total museum building floor-area has reached an 80% saturation degree. Increasing storage space by extension and renovation is limited, and independent storage should be established as soon as possible. In conclusion, the establishment of joint storage as an optimal restoration and conservation center is proposed to prepare for an increase of collections

국내 뮤지엄 개방형 수장고의 관람객 접근성에 관한 연구- 진입불가형과 진입형 비교를 중심으로 -

이종석,김서연,임호균 한국문화공간건축학회 2021 한국문화공간건축학회논문집 Vol.- No.75

The purpose of this paper is to identify the current status of open storage around domestic museums and to use it as a basic material for future open storage planning by looking at open storage spaces from the perspective of visitor accessibility. Based on prior research, open storage was largely classified as inaccessible type, accessible type and mixed-use type, and eight cases were selected to compare and analyze the accessibility of visitors of inaccessible type and accessible type. The justified-graph analysis showed that the inaccessible type was slightly low accessible than the accessible type. And Visibility Graph Analysis showed that the initial visual recognition was somewhat less, regardless of the type, but high visible integration in corridors and halls adjacent to open storage. Furthermore, spatial planning implications for each type are derived as follows. In case of inaccessible type, it can be composed of two types : creating a part of the existing storage area as an open storage area, and creating an open storage area in a separate space from the storage area. In the case of accessible type, it can be created in two forms : an open storage area and an exhibition area separated on the visitor movements, and an open storage area and an exhibition area connected on the visitor movements.