무형문화재 전시관 디자인 개발 -밀양아리랑 전시관을 중심으로-

Abstract

(Background and Purpose) Miryang Arirang was registered on the UNESCO Intangible Cultural Heritage of Humanity in December 2012. Miryang City completed the Miryang Arirang Art Center in 2016 and created a space for regular performances. However, an exhibition space was needed to inform the history and information related to Miryang Arirang and provide related materials, and the Miryang Arirang exhibition hall was planned as a solution. (Method) First, at the theoretical review stage, the preceding papers are analyzed to define the concept of intangible cultural assets and exhibition media and the characteristics of each type. Second, at the status analysis stage, the exhibition contents and media of similar projects and the existing space where the exhibition hall will be built are analyzed. Third, in the design concept stage, we proposed an exhibition theme and scenario. Finally, in the space and media composition plan, we proposed contents and media composition for each exhibition corner. (Results) Four exhibition halls were analyzed through similar case analysis. First, Korea’s network-connected convergence media and information retrieval media were applied, while Japanese exhibition halls secured high-quality artifacts and applied individual video and audio media around them. Second, exhibition halls of intangible cultural properties operated a corner where you could perform and experience. Third, it secures and provides data related to the subject of the exhibition, and serves as a specialized cultural archive by recording and preserving the performance scenes as digital image files in the data room. The theme of the exhibition was set to be “Miryang Arirang, the echo of new hope” to express the spirit of Miryang Arirang. The theme of each zone was solved by saying that Ullim, which started as Miryang Arirang, begins in Gyeongsang-do and spreads to the entire Korean Peninsula and the world. In the planning stage of exhibition content, data on the three characteristics of Miryang Arirang as an intangible cultural asset that is historical, artistic, and academic were collected and organized. By rearranging the details organized by three values according to characteristics of the four zones divided in the exhibition concept and thematic planning stage for each zone, the framework of the overall scenario was created. (Conclusions) To design the Miryang Arirang exhibition hall, there are few related artifacts and the quality of the secured artifacts was very poor. In this situation, to plan the exhibition hall, it was necessary to create a space through a complex medium to express historical and artistic values. When designing an intangible cultural heritage exhibition hall in the future, the process and method of securing, reproducing, and reproducing relics should be clearly defined prior to the space and media action plan, which in turn, will lead to providing more persuasive and interesting elements to visitors.