• Title/Summary/Keyword: Contemporary museum architecture in Korea

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A Study on an application of the theory of 'Placeness' by Christian Norberg Schultz as a Barometer of Analysing Contemporary Museum Architecture in Korea (한국현대 박물관건축의 분석지표로서 슐츠의 '장소성' 이론 적용에 대한 연구)

  • Lee Jung-Wha
    • Korean Institute of Interior Design Journal
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    • v.14 no.5 s.52
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    • pp.262-270
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    • 2005
  • The purpose of this study is to search for the characteristics of the theory of 'placeness' permeated through contemporary museum architecture in Korea, and hereby to prove the possibility of coping with the modernity in Korean architecture. In this study the theory of 'placeness' which is asserted by Christian Norberg Schultz has been adopted in debating contemporary architecture in Korea. Therefor the theory of 'placeness' has been researched to get an angle of vision on the proof of coping with the modernity in Korean architecture. Seven contemporary museum architecture which have been completed since 1990 have been examined in the view of morphology, topology, and typology which are the major factors of 'placeness'. Throughout this case study, the post-modernity in museum architecture in Korea has been proved, which establishes that the 'placeness' is one of the alternatives for contemporary architecture in Korea.

New Museum for New Forms of Art - Focused on "Museum without Walls", and the relationship between art and architecture -

  • Song, Ha-Yub
    • Architectural research
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    • v.13 no.1
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    • pp.3-9
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    • 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.

Investigation of Lighting Conditions and Visitors' Satisfaction in Exhibition Spaces of Museums in Korea - Focused on the 4 Cases of the Seoul Museum, the Mimesis Art Museum, the Seoul Museum of Art in Nowon and the National Museum of Modern and Contemporary Art in Gwacheon -

  • Kim, Chang-Sung
    • KIEAE Journal
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    • v.14 no.5
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    • pp.13-20
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    • 2014
  • Museums have developed various needs of the visitors and exhibits over the past two centuries. Currently, they have multiple functions of display, conservation, research and public education about artworks and cultural events. Therefore, exhibits should be displayed in various ways so that visitors can feel inter-relations with exhibits. The exhibition areas of museums should be provided with the stable lighting environment for visitors and artworks. For the study, I selected four museums, which were the Seoul Museum, the Mimesis Art Museum, the Seoul Museum of Art in Nowon and the National Museum of Modern and Contemporary Art in Gwacheon, and I measured illumination levels of the selected Museums, and then, I surveyed the visitors' responses on the lighting conditions of them. According to the results, the measurements of the illumination levels in the four museums showed that the illumination levels of them were effectively controlled to display the art works. However, the illuminance levels at some areas that drew the natural light as lighting source were much higher than recommended illumination values for museum. In the mean time, the answers of questionnaires showed that the natural light were so effective to light the museums although the natural light provided some areas with high illumination levels.

A Study on the High-Tech Characteristics in Interior of Korean Contemporary Architecture (한국 현대건축의 실내에 나타난 하이테크적 특성에 관한 연구)

  • 남경숙
    • Korean Institute of Interior Design Journal
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    • no.18
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    • pp.87-95
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    • 1999
  • The purpose of this study is to find out the High-Tech characteristics in interior of Korean contemporary architecture. To achieve the purpose of this study, the major contents are as follows: 1. Explaining the concept of High-Tech architecture desigv. 2. Explaining the characteristics of High-Tech architecture design in finding out the expressional and technical characteristics. 3. Analysing the building which have propensity to High-Tech design in Korea by means of the expressional and technical characteristics. 4. finding out the characteristics of High-Tech in Korean interior architecture and contributing to study the High-Tech interior desigv. By analysing the buildings showing High-Tech characteristics in interior of Korean contemporary architecture. The ranking of the High-Tech characteristics is lst new material and lightness, last polychrome. The ranking of the building is lst Posco center, 2nd Samsung traffic museum and Kolon new building.

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New Paradigm in exhibition organization at the National Museum of Contemporary Art ('연구 업무 전담제'를 통해 살펴보는 국립현대미술관 전시 기획의 새로운 패러다임)

  • Choi, Eun-Ju
    • The Journal of Art Theory & Practice
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    • no.3
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    • pp.67-84
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    • 2005
  • Since the evaluation of its intellectual activities and abilities is done by curator's capabilities, planning exhibition is very important as the final result achieved by their own knowledge, information, and research. ARPA(Advanced Research Project on Arts) is suggested as the system which enables curators responding simultaneously to the society in the times, based on its special characteristics. If this system settles well, which means that the curators at NMCA(National Museum of Contemporary Art, Korea) play their roles as the professionals in each of their fields, the goal of consolidating the status of museum as the representative national museum, and building up competent department of curators, will be achieved at the same time. To clarify above, the curators set up the various assignments of research about the types of arts such as painting, Korean painting, sculpture, installation, new-media, design, craft, photogarphy, architecture, etc. And they establish the art objects classified by the regions, such as the Northern American, Southern American, European, Asian, and other Third World countries. They elaborate art objects more on the history, the work, the artist, and the issue of contemporary art. Furthermore, when the curators devote deeper study to those research subjects, they can have the opportunities to design an exhibition upon the research. Today, the museum of art is 'The Place for Communication and Encounter', it is regarded important to share the aesthetical, creative values with current artists, and to understand mutually with the spectators. It is needed to improve the curator's work, in order to meet the demands of the times and even to advance. Because the form of 'exhibition' is the tool that reveals the identity NMCA aiming at, the motivation, the development, and the realization should be leaded by the curators, who are the mainstream of the museum. ARPA is a system for identifying the exhibition like mentioned above. The main purpose of this system is to produce synergy effect, having the researching, collecting work in liaison with planning exhibition. ARPA will be able to improve the quality of exhibition through the way of developing the exhibition, passing through the stable process in the long run. So far, I have referred to a new paradigm of the exhibition design at NMCA via ARPA. Yet, there still remain missions in reality, such as analyzing the previous exhibition and reshuffling personnel and system, which should be done. When these matters settled, these plans would be suggested practically. At this point, it is the most significant that NMCA is attempting to let others aware of the importance of exhibition planning based on research. when the ARPA and exhibition planning is conjoined together successfully, the competent exhibition will be achieved, which can offer a meaningful exhibition to the art world, strengthen infra structure thru exchanging with public museum in the region, and eventually, establish a network with museum in foreign countries.

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A Study on Constructive Characteristic of Media in the Surface of Contemporary Architecture -Focused on Codification and Seriality of de Young Museum and Walker Art Center (현대건축의 외피에 나타난 매체적 구축 특성에 관한 연구 -디 영 뮤지엄과 워커 아트센터에 나타난 코드화와 시리얼화를 중심으로-)

  • Jeon, You-Chang;Kim, Sung-Wook
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.12 no.5
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    • pp.2416-2424
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    • 2011
  • This study focused on the transition from modularity of a mechanical construction system to the seriality in a digital production system in architecture and arguing how digital design process affects the design of surface in the contemporary architecture and development of digital technology actively intermediate surface of architecture and expressive characteristics of media on surface. The analysis of two exhibition facilities of Herzog & de Meuron expose process of fabrication in the surface design and makes possible to implementation of the concept of code to seriality which shows images employed to reveal immediate representation of the perceptual communication with humans and architecture through the role and significance of digital design techniques.

The Coexistence of Laminated History and Modern Architecture in Europe - In Case of Modern Museum Architecture built near important cultural assets of UNESCO World Heritage - (유럽의 적층된 역사와 현대 건축의 공존 - 유네스코 세계유산 수준의 중요한 문화재 인근에 지어진 현대 뮤지엄 건축의 사례를 중심으로 -)

  • Lee, Kwan-Seok
    • Journal of the Architectural Institute of Korea Planning & Design
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    • v.35 no.6
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    • pp.69-80
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    • 2019
  • This research focuses on 10 modern museums built in Europe near important cultural assets of UNESCO World Heritage level. This study aims to reveal the coexistence of European laminated history and contemporary architecture by considering various aspects of respecting the existing and maintaining their identity as modern buildings, using these cultural assets as a basic concept of planning while minimizing conflicts with the past. The four measures of respecting existing cultural heritage are arranged by showing respect by lowering oneself, sympathizing with others, preparing for harmony with modernity, and communicating by looking at. The measures that reveal the identity of modern buildings are confirmed by classifying them as modern and post-modern approaches, each with several options. Through this study, we have been able to extract useful lessons for us, as well, while the past and present coexist successfully, by taking history as a reliable guide to take a fresh leap from it, rather than as a solidified remnant of inertness.

A Study on the Composition characteristics of Space of Contemporary Medium/Small Scale Museum in Korea (한국의 현대 중.소규모 미술관의 공간구성 특성에 관한 연구)

  • 오세두;정운화
    • Korean Institute of Interior Design Journal
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    • no.19
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    • pp.128-135
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    • 1999
  • In 1990s, the necessity of the Korean contemporary medium/small scale gallery as a place of experience rather than that of simple viewing has increased to meet from the requirements of the pluralistic and popularized society. The gallery makes efforts to form a collective street to cope with the influential of the power large scale cultural space as well as finding a novel direction in order to derive the regional sympathy in connection with the culture space of the neighborgood. In this paper, we study the 1990s Korean medium/small scale gallery in two aspects: First, the architectural techniques and elements which are introduces the audience to both interior and exterior spaces constructed by the 1990s gallery architecture, are investigated. The conventional architecture shows the blocking of the neighborhood and the trend of severance when viewing from both the architectural and the civil points. Secondly, we present the design characteristics from the several points of view such as conceptual, spacial, visual angles. The various trends of works in exhibition of the fine arts can provide a means for producing a great deal of variation in recent gallery architecture when viewing from a stage standpoint of exhibition space.

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Expressional Characteristics of Interior Design Presented in Exhibition Spaces of Jean-Michel Wilmotte (장 미쉘 빌모트의 전시공간에 나타난 실내디자인 표현특성)

  • Song, Ga-Hyun;Kim, Moon-Duck
    • Korean Institute of Interior Design Journal
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    • v.23 no.6
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    • pp.87-94
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    • 2014
  • Today, the growing number of international architects enters the open market of South Korean architecture and interior from exhibition spaces such as art galleries to buildings of major companies. Establishing new local landmarks, their works have a considerable influence on the development of architecture. Among many, French architect Jean-Michel Wilmotte has worked consistently in South Korea. The purpose of this study is to analyze and put together the expression characteristic of the interior design in his exhibition spaces including Gana Art Gallery. Jean-Michel Wilmotte has designed based on the history, culture, society, and arts in France and other European countries, and is influenced by architects like Charles Rennie Mackintosh, Josef Hoffmann, and Carlo Scarpa. Such an influence is shown in the form of contrast between verticality and horizontality as well as the fortification in his modern classical characteristic, which is one of his expression characters. In his work of improving the ancient architecture, Wilmotte is good at creating a modern space through contextual expression, and the textural contrast between materials of the past and the present. Thus I performed an analysis of the expression characteristic of the interior design in National Museum of Contemporary Art of Chiado in Lisbon, Cognac Hennessy Museum in France, Gana Art Gallery in Korea, Mus$\acute{e}$e du Pr$\acute{e}$sident Jacques Chirac in Sarran, France, Ullens Center for Contemporary Art (UCCA) in Beijing, and lastly Mus$\acute{e}$e d'Orsay in Paris. The results show that he maintains the spatial context by applying contemporary design to the preserved existing structure, continues the flow of exhibition through the lightings in the corridors and on the ceiling, and seeks for a balance by adding vertical or horizontal elements to the elevation. In the interior, the staircase and exhibition structure are turned into objects, and the contrasting texture of the wall vitalizes the space. Wilmotte redesigns the space of the past and the present by using indirect joint that allows an organic connection of the old and new structures, and by minimizing the conflict between the two elements through prefabrication. The expression character of his interior design will be potential resources for architects and interior designers to develop their own design languages.

The Applicability of Aesthetics of Appropriation for the Discussion on Architectural Plagiarism (건축 표절 논의를 위한 미학의 차용 적용에 관한 연구)

  • Kim, Youngsun;Choi, Jaepil
    • Journal of the Architectural Institute of Korea Planning & Design
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    • v.36 no.5
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    • pp.11-22
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    • 2020
  • It is the juristocracy in architecture to judge the architectural plagiarism by copyright law. The architectural plagiarism should judge by architectural criticism. From the point of the criticism to discuss architectural plagiarism, the study on artistic imitation should be preceding. The current discussion on architectural plagiarism doesn't consider artistic imitation. Therefore, the result of the discussion only focused on whether the building is plagiarizing or not. From the point of architectural criticism, there should be three considerations, which are creation, imitation, and plagiarism. In the study of Aesthetics, it theorized artistic imitation as the appropriation. With the understanding of the appropriation, contemporary art is developing the discourse on plagiarism beyond the boundary of plagiarism fundamentalism. The purpose of this study is to apply the appropriation to the discussion of architectural plagiarism. The study introduces the discourse on architectural plagiarism rather than judging it with copyright law. There so the study categorized the aesthetics standard of appropriation art, then apply it to the architecture cases. The architecture cases subjects of analysis are the glasshouse by Philip Johnson, National Museum of Australia by Howard Raggatt, and the Meiquan 22nd Century in China. At the point of the appropriation theory, the glasshouse is the only architectural appropriation, and others need to apply the evaluation criteria of plagiarism.