학술논문
단색화의 표현 특성을 바탕으로 한 다려도 뮤지엄스테이 계획안 : 박서보, 이진우, 정상화 작품을 중심으로 / Daryeodo Museum Stay Design Project based on the Expressive Characteristic of Dansaekhwa : Focusing on the Works of Park Seo-bo, Lee Jin-woo, and Chung Sang-hwa
Document Type
Dissertation/ Thesis
Author
Source
Subject
Language
Korean
Abstract
복합문화공간으로써의 미술관은 대중들로 하여금 예술에 대한 접근성을 높이고 관심을 유발하는 데 기여하고 있다. 그러나 이러한 경향은 미술관의 작품 감상의 장으로써의 역할을 약화시켜 관람객이 작품 하나하나에 깊이 몰입할 기회를 감소시킬 우려가 있다. 현재의 미술관이 예술을 일상 속으로 끌어들여 예술과 일상의 경계를 허물고 있는 만큼, 한편으로는 잠시나마 일상으로부터 벗어나 작품 하나하나를 깊이 감상하며 사색할 수 있는 미술관도 필요할 것으로 사료된다. 따라서 본 논문의 목적은 작품에 깊이 몰입하며 사색하고자 하는 이들에게 타인과 시간에 구애받지 않고 작품을 감상할 수 있는 공간을 제안하는 것이며, 동시에 복잡한 관계에 지친 현대인들에게 잠시나마 일상으로부터 벗어나 삶을 돌아보며 내면을 깊이 들여다볼 기회를 제공하는 것이다. 이러한 맥락에서 비움과 치유의 예술로 자리매김한 단색화의 정서적 가치를 관람객들에게 온전히 전달하기 위한 새로운 예술 감상 공간 계획을 목표로 하였다. 본 논문에서는 뮤지엄스테이를 전시 프로그램과 숙박 프로그램이 연계된 공간으로 한정하고 기존의 사례를 연구하여 각 사례가 가진 한계점과 시사점을 분석하였다. 이를 바탕으로 새로운 예술 감상 공간인 단색화 뮤지엄스테이의 개념을 도출하였다. 디자인 방법으로는 선정한 단색화 작가들의 작업 과정에서 나타나는 물리적 특징들을 건축의 재료 및 조형 언어로 치환하여 적용하였고, 작품에 담긴 내적 특질을 장소와 공간의 시퀀스로 치환하여 적용하였다.
The art museum as a complex cultural space, not just a space to display and appreciate works, is contributing to enhancing access to art and inducing interest from the public. However, this trend may weaken the role of an art museum as a place to appreciate works, reducing the opportunity for visitors to deeply immerse themselves in each work. As the current art museum blurs the boundaries between art and daily life by bringing art into daily life, on the other hand, it is also need to have an art museum where you can deeply appreciate and contemplate each piece of work. Therefore, the purpose of this paper is to propose a space for those who are deeply immersed in the work and want to think about it to appreciate the work regardless of time and to provide people who are tired of complex relationships with an opportunity to escape from their daily lives and look deeply within themselves. In this context, I devised a new art appreciation space to fully convey the emotional value of Dansaekhwa, which has established itself as an art of emptying and healing to visitors. I defined ‘Museum Stay’ as a space linked to exhibition programs and accommodation programs, and studied existing cases to understand the limitations and implications of each case. Based on these data, I derived the concept of ‘Dansaekhwa Museum Stay’ as a new way of art appreciation space. As a design method, the physical characteristics of their works were replaced with the figurative language and materials of spaces, and the internal characteristics of the works were replaced with a sequence of places and spaces.
The art museum as a complex cultural space, not just a space to display and appreciate works, is contributing to enhancing access to art and inducing interest from the public. However, this trend may weaken the role of an art museum as a place to appreciate works, reducing the opportunity for visitors to deeply immerse themselves in each work. As the current art museum blurs the boundaries between art and daily life by bringing art into daily life, on the other hand, it is also need to have an art museum where you can deeply appreciate and contemplate each piece of work. Therefore, the purpose of this paper is to propose a space for those who are deeply immersed in the work and want to think about it to appreciate the work regardless of time and to provide people who are tired of complex relationships with an opportunity to escape from their daily lives and look deeply within themselves. In this context, I devised a new art appreciation space to fully convey the emotional value of Dansaekhwa, which has established itself as an art of emptying and healing to visitors. I defined ‘Museum Stay’ as a space linked to exhibition programs and accommodation programs, and studied existing cases to understand the limitations and implications of each case. Based on these data, I derived the concept of ‘Dansaekhwa Museum Stay’ as a new way of art appreciation space. As a design method, the physical characteristics of their works were replaced with the figurative language and materials of spaces, and the internal characteristics of the works were replaced with a sequence of places and spaces.