유동적 공간(Fluid Space) 개념에 기반한 전시 공간디자인 해석 — 물질성(materiality)에서 경험성(experientiality)으로의 전환을 중심으로—

초록

(Background and Purpose) Contemporary exhibition spaces have evolved beyond neutral containers for displaying objects into experiential environments where meaning is continuously generated through visitors' perception, movement, and participation. Formless media such as light, water, fog, sound, and digital imagery increasingly mediate these experiences, yet existing spatial concepts remain limited in explaining the generative process through which material properties are transformed into experiential meaning. This study proposes Fluid Space as a new conceptual and analytical framework for interpreting contemporary exhibition space based on the notion of fluidity. Water is employed not as the object of analysis but as an ontological archetype for conceptualizing fluidity and explaining the transition from materiality to experientiality. (Method) A literature review was conducted to construct a functional theoretical model integrating Gaston Bachelard's material imagination, Edmund Husserl's phenomenological reduction, and Gilles Deleuze's concept of becoming together with the logic of self-organization. Fluid Space was conceptually distinguished from adjacent concepts, including smooth space, relational space, immersive space, and interactive space. Five analytical dimensions—phenomenon–representation, extension–intension, exterior–interior, reduction–metonymy, and temporality—were operationalized as qualitative analytical criteria and applied to purposively selected case studies: Tadao Ando's Church on the Water and Water Temple, Diller Scofidio + Renfro's Blur Building, Olafur Eliasson's The Weather Project and Riverbed, and teamLab Borderless. (Results) The findings indicate that Fluid Space is not a space that directly represents the physical properties of materials but a process-oriented experiential space in which material qualities are transformed into perceptual experience and continuously regenerated through visitors' perception and temporal change. The analysis identifies four typologies—Condensed, Penetrative, Generative, and Networked Fluid Space—derived from the interaction between the spatial operation of materiality and the visitor's role in experience generation. A conventional white-cube exhibition space was additionally examined as a negative case, demonstrating the discriminative validity of the proposed analytical framework by distinguishing Fluid Space from non-fluid spatial conditions. (Conclusions) This study establishes Fluid Space as a meta-level conceptual framework that interprets exhibition space as a continuous process of materiality, experientiality, and regeneration rather than as a fixed form or a resultant experiential state. By focusing on the generative mechanism through which material properties become experiential meaning and are regenerated over time, the proposed framework extends existing spatial theories and provides both theoretical and practical implications for the interpretation and design of contemporary exhibition environments. Future research should verify the framework through empirical visitor-experience data, inter-rater reliability testing, and applications to VR-, AR-, MR-, and generative AI-based exhibition environments.

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