메를로-퐁티의 지각현상학을 통해서 본 현대미술관의 공간특성에 관한 연구 - 전통적 요소가 나타나는 사례를 중심으로 -

Abstract

(Background and Purpose) Human life can be said to be a series of experiences accumulated through the characteristics of the architectural space and human perception. Humans experience various things through the five senses in their lives. Based on that experience, he has communicated and exchanged with the world and developed himself. This aspect is reflected in the architectural space of the Contemporary Art Museum. In the museum, the exhibition space is immersed in the architectural space and the human senses. In this study, we intend to use the characteristics of traditional architecture to enhance human immersion. (Method) Based on the relationship between Meleau-Ponti's perceptual phenomena and traditional elements, the case analysis method is embodied through the spatial perception method and the sensory perception system. It is abbreviated to the language of the most commonly used spatial element through spatial element analysis. We select the subject object hall as a Korean, Chinese, and Japanese contemporary art museum built within 10 years of the appearance of traditional elements. The spatial and architectural elements derived above are used as a framework for research. Based on the review of the case, it reveals what is the phenomenological element of the building and which element is lacking. Ultimately, the architectural space and human beings are not interpreted as individual objects, but seek to suggest the right direction to communicate through restoring spatiality through perception. (Results) In the case of contemporary art museums where traditional elements appear, it can be seen that the spatial elements have multisensory physical environmental conditions that can be experienced not only by the main perception experience, but also by the five senses. It was shown that the same element repetition, light, corridor, and historical events were common in the case. It was found that these elements are architectural elements that appear when the spectator moves from space A to space B along the guided movement line, and should be guided so that the spectator's perception experience is mainly achieved in the transition space when planning the architectural design by perceptual phenomena. (Conclusions) At the planning stage of the museum, the meaning of the exhibition space is sometimes unbalanced. At this time, the correct meaning can be conveyed through the verification of perceptual and spatial characteristics. This study suggests an intermediary space so that humans and space can interact. In the future, it is hoped that the analysis frame derived from this study will contribute to the enhancement of immersion in the works of art museums when planning the construction of the museum. The derived analysis framework could be a guide for this.