• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.46-53
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• 2012

The purpose of present study is that according to the changing tourism environment, detailed cultural environment will be utilized in the active way as systematized theme-based cultural space, and the increase of small theme-based cultural space will contribute to active participation of customers and local development with various programs. TCS was classified to theme-based cultural space contents E5(Education, Entertainment, Experience, Emotion and Economy) in focus of contents in which software is regarded more importantly than hardware, and was analyzed as contents of ten key tourism trend of the future. The present study indicate that experience centered tourism environment stood out in theme-based cultural space, and new era of cultural tourism to which storytelling in focus of emotion is applied will be coming.

• Proceedings of the Korea Society of Design Studies Conference
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• 2000.11a
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• pp.42-43
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• 2000

테마파크의 주요특징은 일상성을 완전히 차단한 상상의 세계이자 비일상적인 유희공간으로서 그곳을 찾은 방문객들은 현실생활에서 벗어나 적극적 참석자의 입장에서 위락시설을 즐긴다는 점이다. 본 연구는 고부가가치 차세대산업 혹은 21세기형 첨단문화산업이라고 불리는 테마파크의 개념을 고찰하고, 다양한 탑승놀이기구 가운데 물리적 운동특성에 따른 대표적인 기구를 선별하여, 그것들의 종류와 탑승자의 신체반응 및 그에 대한 안전사고 요인 등을 조사하였다.(중략)

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.151-162
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• 2015

A theme park is a complex space, in which held is a performance & exhibition event created to make visitors feel fun and a deep impression through a certain theme. Recently, local governments are increasingly planning for theme parks with the aim of local economy revitalization. Accordingly, this paper set up a development model for a Korean culture theme park after deducting success factors for creating a successful theme park through the case of Korean culture theme park. To be concrete, this paper deducted the success factors through literature research and case research as follows: Setting of themes having identity and consistency; programs that can give fun and a deep impression; convenient support facilities reflecting customers' needs; differentiated marketing for progress in customer attraction power; location linked with cultural resources around a theme park and a space for communicating a message; privately-initiated project promotion and the main body of operation; target setting consequent on market segmentation, and demand forecast, etc. A theme park cannot be successfully operated to contribute to local economy revitalization until such success factors should be closely linked and harmonized with each other. In addition, in order for a theme park to make a continued growth, it's required that problems occurring at the operational stage should be endlessly improved, and contents strengthening should be continuously done in line with circumstances of the times and viewers' eye level.

• Cartoon and Animation Studies
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• s.51
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• pp.321-359
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• 2018

A theme park, in general, can be defined as a space that has both 'theme factor' and 'hands-on factor'. But theme parks in Korea are not recognized as having unity even though they provide diverse services, because they lack in a theme factor, which is the essence of a theme park. On the other side of the issue, themes and concepts that a theme park claims to stand for are not consistent, and they fail to provide representative themes as well. For this reason, although a business plan to invite overseas theme parks is pushed ahead, it causes a vicious circle to weaken the competitive edge of domestic theme park industry as well as capital outflow. Consequently, from a theoretical viewpoint, a theme park with no specific theme is in critical situation to be out of the limelight by failing to provide visitors with purposefulness and attract their attention. To overcome the limitations in domestic theme park industry, and to gain profitability and expanded customers lie in heightening their receptiveness through creating unique image of each theme park. With the awareness of the issue, this study aims to propose a theme-centered park which has culture contents in it and to suggest a viable alternative that helps to create hands-on theme parks that reflect customers' receptiveness.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.3
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• pp.115-125
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• 2010

A theme park is not just a recreational space for leisure activities, but also a place of storytelling as collected around abstract boundaries called themes. These stories are 'a space that tells the meaning' that the visitor is looking for and the Robot Land space offers robots, humans, and nature. This study is a description of the design strategy and content of the work which was elected as a subject of the subsequent rank negotiation of the Masan Robot Land design contest for the selection of a private contractor. The focus of the plan is, first, the organizational power of each space and the delivery power of a theme for the history of revisits, which might be considered depending on whether or not the theme park has been successful in the visitor's mind. Second, it is to actively use the potential of Masan, which is not only the key hub of the mechanical industry but also has beautiful coastal resources. First, they created a space that can flexibly react depending on the user's desire and the change of form, minimizing environmental damage by using a linear metabolism that can provide an amalgam of the elemental characteristics of robots, humans, and nature as motifs. They introduced a planting plan for the admissions square, an existing forest, slope, vacation spot, the inside of a complex, and Eco Island, etc. by utilizing symbolic meaning and adjusting to the spatial characteristics of each space. In addition, they sought a detailed space by setting up zones tailored to the use and character of the subject area, having exhibitions and education about robots, vacation facilities for lodgers, various recreational and commercial facilities, and space for utopian gardens as themes. They planned Masan Robot Land to be a true cultural space that creates mental richness on the basis of not only the economical effects but also local emotion.

• Cartoon and Animation Studies
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• s.28
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• pp.235-263
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• 2012

Regarding the theme park business as an area of cultural content business, this study focuses on the trend of pursuing indoor theme parks as a small-scale small capital strategy escaped from the existing approach oriented to large-scale outdoor complex theme parks. It is because although existing large-scale outdoor complex theme parks require the capital with the scale of hundreds of billion won and also high-level technique and the latest operational know-how that they have a great barrier for new entry as well as enormous risk, the rent indoor theme parks succeed in market entry with efficient risk management and flexible market strategies. Thereupon, this study examines the current status of the children's indoor theme park market with Korean characters as their theme as a new market among the indoor theme parks and also investigates the market strategies of this market in the two aspects of expansion: the expansion of Korean characters' property value and the expansion of the local theme park market. For that, this article reviewed the advanced researches on theme parks and divided the types of theme parks existing in Korea with the criteria of classification by space and theme or classification by main users. Also, among the children's indoor theme parks with Korean characters as their theme, this study visited five ones located in the capital area to examine the current status. And about two located in the capital area and also four in the local area, the current data were received from the persons in charge of the companies for analysis. Also, with the subjects of spectators visiting the 'DIBO VILLAGE, Cheonggye-cheon' newly opened on April 25th, 2012, the research on satisfaction was conducted for analysis. Through that, this study analyzed the structure of the existing children's indoor theme park business with Korean characters as their theme and suggested the ground to analyze the effectiveness of market strategies being implemented. It is expected that this study will establish the clues of systematic and profound discussion for the indoor theme park business that can be said to be the niche market of the theme park business and allow the small-scale areal indoor theme parks to be examined as a significant business model for the local theme park industry. In the aspect of character business as well, it is expected that this will give a chance to establish a new model of spatial storytelling expansion in terms of the property value of Korean animation characters.

• Journal of the Korea Convergence Society
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• v.10 no.1
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• pp.123-132
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• 2019

As the rapid pace of modern society, people's daily life is becoming tenser and busier. We need a place to relax and to release our pressure. Coffee shops therefor become one of our best choice. With the strengthening of the expansion of the localized Starbucks coffee shop, it becomes extremely urgent for other coffee shops to enhance the space environment design to become outstanding in the coffee shop market. This paper researches and compares the indoor environment design of Starbucks coffee shops in four cities in China, namely Shanghai, Suzhou, Shenzhen and Beijing and four cities in Korea, namely Busan, Seoul, Seoul and Jeju. By comparing the design characteristics and the style of the interior environment of Korea-China coffee shops, we analyze the various elements of space design and summarize the differences in the environmental design of Korea-China Starbucks coffee shops. Moreover, we propose the strategic direction for the future design and the future development of coffee shops. The survey results show that the indoor environment design of Starbucks coffee brand mainly highlights the regional cultural characteristics. Starbucks shops utilize the fashion culture elements based on the local economic and cultural characteristics, aiming at creating a characteristic coffee brand culture and promoting the vigorous development of the coffee market.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.5
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• pp.24-30
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• 2009

The Sin-Wol filtration plant was an urban infrastructure and off-limits to the public. It is recreated as a representative experiential theme park in the southwest area. It has not only provided places to relax, but has made a new model of urban park by reusing advantages. The current lack of easy access into the park area almost isolates it like a green island. The neighborhood surrounding the park does not have many physical connections to the park to be able to use it. By connecting the surrounding communities with numerous access points into the park and linking the hiking trails and bike paths, the city's need for open space and recreation would be far better satisfied than before. This would allow for the use of the valuable assets of the existing forest and open space.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.1-9
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• 2011

This study concerns the Baekje Traditional Garden, one of the open spaces in the Lotte Resort in the Baekje Historical Reappearance Complex, which is part of the comprehensive plan for specific areas in the Baekje cultural area. The Baekje Traditional Garden has historic value, and its excellent garden style influenced the ancient Japanese gardens. This study dealt with three issues: (1) The context in which Lotte Buyeo Resort accepted the Baekje Traditional Garden, particularly the background and process of such; (2) The original form of the Baekje Traditional Garden; and (3) How the Baekje Traditional Garden should be represented in the open space of the resort. Representation is accomplished in two ways: using the structure of the original garden and in the borrowing of elements. For representation using the structure of the original garden, Imrugak was used as the main entrance space, and Wolsunjung was represented from the Ganbuklee remains. In the rear garden are wave watercourses and other garden facilities of the Wanggungri site in Iksan. Borrowing of elements, on the other hand, was accomplished in the plant plan and detailed development. In addition, mountaintops (three mountains and five mountain summits), a clean stream between mountains, and a pine forest are visualized in the garden. This is the representative landscape of the Taoist hermit world that appeared in the Baekje Gilt Bronze Incense Burner and Landscape pattern. The significance of this study is twofold. First, the Baekje Traditional Garden is a fresh trail because there has been no previous research concerning it. Second, while past research concerning traditional spaces focused on the results of representation, this study focused on the process of representation. This means that this research work tried to extend the study concerning the representation of traditional spaces from the conceptual to the practical approach. This study, however, also has its limitations. The authenticity of the representation suggested in this study may be questioned later because efforts have been made to preserve the original Baekje Traditional Garden. In addition, this study should seek a balance between authenticity on one hand and amusement and diversity of experience on the other, because the site is a resort.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.178-185
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• 2011

The recent development of 3D and its application contents have made it possible for people to experience more various 3D contents such as 3D/4D, VR, 3D ride film, I-max, sensory 3D games at theme parks, large-scale exhibitions, 4D cinemas and Video ride. Among them, Video ride, a motion-based genre, especially is getting more popularity, where viewers are immersed in and get indirect experiences in virtual reality. In this study, the production process of the genre of sensory 3D image getting attention recently and ride film are introduced. In the material selection of 3D images, the space and the setting up which is suitable to the fierce movement of rides are studied and some examples of the realization of creative direction ideas and effective technologies using the functions of Stereo Camera which has been first applied to MAYA 2009 are also illustrated. When experts in this 3D image production create more interesting stories with the cultural diversity and introduce enhanced 3D production techniques for excellent contents, domestic relevant companies will be sufficiently able to compete with their foreign counterparts and further establish their successfully unique and strong domains in the image contents sector.