제1장 서론·················································································1
1. 연구의 배경 및 목적····························································· 1
2. 연구의 범위 및 방법····························································· 5
1) 연구의 범위······································································· 5
2) 연구방법············································································ 6
3. 연구의 주요 내용··································································· 7
제2장 부산-후쿠오카 간 대안적 공간의 연계 방안을 위한 이
론적 자원들 ····································································9
1. 본 연구에서의 대안적 공간에 대한 조작적 정의·············· 9
2. 대안적 공간 간의 연계가 가지는 의미····························· 15
1) 네트워크를 통한 암묵지의 축적··································· 17
2) 문화적 세렌디피티(Serendipity)의 증대···················· 18
3) 제3의 공간으로서의 역할 활성화································ 20
3. 부산-후쿠오카 간 대안적 공간 교류의 개괄적 현황······ 21
제3장 후쿠오카 지역의 대안적 공간의 현황 및 특성····27
1. 아트 스페이스 테트라························································· 27
2. 콘야2023 ··············································································· 30
3. 리노베이션 뮤지엄 레이센소·············································· 34
4. FUCA ···················································································· 37
5. IAF SHOP* ·········································································· 41
6. 스튜디오 쿠라······································································· 43
7. 라이즈업 케야······································································· 47
8. 갤러리 소프·········································································· 50
9. 오퍼레이션 테이블······························································· 53
10. 인포샵 다이도카이 모지코················································ 56
11. 시사점·················································································· 59
제4장 후쿠오카 지역 대안적 공간 관계자들에 대한 Q-test를
통한 현안 인식 조사 ··················································65
1. 조사의 설계·········································································· 67
1) Q 방법론의 특성···························································· 67
2) 연구대상 (P-sample) ···················································· 68
3) Q 항목의 구성 (Q-sample) ········································· 70
4) Q 항목의 분류 (Q-sorting) ········································· 72
2. 부산-후쿠오카 간 대안적 공간 연계에 있어서 현안 인식에
관한 유형화 ··········································································· 74
1) 제1유형: 인재육성과 정보의 플랫폼 필요·················· 74
2) 제2유형: 상시적 접촉 가능성 확보····························· 77
3) 제3유형: 장기적 비전의 결여······································· 80
4) 요약·················································································· 83
제5장 대안적 공간의 연계 방안을 위한 정책과제 및 제언··85
1. 부산-후쿠오카 간의대안적 공간 연계를위한 쟁점 및방향성··· 85
2. 정책과제 및 제언································································· 87
1) 대안적 공간의 지원을 위한 지원 방침의 정립·········· 88
2) 기존의 대안적 공간들의 활성화와 상시적 교류 공간의 구성··· 91
3) 대안적 공간 운영 및 교류 관련 인재 양성과 활용·· 95
4) 이동의 편의를 보장하기 위한 지원 방안의 검토······ 98
5) 아카이브 플랫폼 작업을 통한 부산-후쿠오카 대안적 공
간 연계에 대한 발신기능 구축 ····································· 99
제6장 결론············································································103
Abstract ···················································································108
참고문헌 ················································································109
부록 ·························································································116
<표 Ⅱ-1> 부산의 주요 공공기관 국제문화교류 사업 현황··· 23
<표 Ⅱ-2> 부산회춘프로젝트 참여 공간 및 단체···················· 25
<표 Ⅲ-1> 아트스페이스 테트라 주요 정보····························· 29
<표 Ⅲ-2> 콘야2023의 입주멤버 현황 (2016년 9월) ············· 32
<표 Ⅲ-3> 콘야2023 주요 정보················································· 33
<표 Ⅲ-4> 레이센소 입주멤버 현황 (2016년 9월) ·················· 35
<표 Ⅲ-5> 레이센소의 주요 정보·············································· 37
<표 Ⅲ-6> FUCA 주요 정보······················································ 40
<표 Ⅲ-7> IAF SHOP* 주요 정보············································ 43
<표 Ⅲ-8> 스튜디오 쿠라 주요 정보········································ 46
<표 Ⅲ-9> 라이즈업 케야 주요 정보········································ 49
<표 Ⅲ-10> 갤러리 소프 주요 정보·········································· 52
<표 Ⅲ-11> 오퍼레이션 테이블 주요 정보······························· 55
<표 Ⅲ-12> 다이도카이 모지코 주요 정보······························· 59
<표 Ⅲ-13> 후쿠오카 지역 대안적 공간들 현황 종합············ 60
<표 Ⅳ-1> 조사 대상자 (P-sample) ········································· 68
<표 Ⅳ-2> Q-항목 내용······························································ 71
<표 Ⅳ-3> Q분류 분포도···························································· 73
<표 Ⅳ-4> 도출된 유형별 Eigen value ··································· 74
<표 Ⅳ-5> 제1유형의 Q항목과 표준점수·································· 75
<표 Ⅳ-6> 제2유형의 Q항목과 표준점수·································· 77
<표 Ⅳ-7> 제3유형의 Q항목과 표준점수·································· 80
<표 Ⅴ-1> 부산-후쿠오카 지역 간의 운항 국제편 현황········ 99
<그림 Ⅲ-1> 아트 스페이스 테트라 전경, 2층 공간, 1층 공간·· 29
<그림 Ⅲ-2> 콘야2023 출입구, 갤러리, 401호, 501호 레지던스,
1층 카페 Kasa, 옥상공간···································· 33
<그림 Ⅲ-3> 레이센소 전경, 입구, 현재 공실인 공간, B14‧15 갤러
리, B15-2 요리아이 독서실, A11 프리스페이스·· 37
<그림 Ⅲ-4> FUCA 입구, FUCA BASE 이벤트홀, Enton Works
입구, 스튜디오, FUCAΔLAB, 레지던스 작업실·· 40
<그림 Ⅲ-5> IAF SHOP* 입구, 내부 갤러리 겸 다목적 공간, 수
요 스나쿠 포스터 ·················································· 43
<그림 Ⅲ-6> 스튜디오 쿠라 전경, 간판, 창고갤러리, 어린이 미술
교실, 농촌예술체험, 2016이토시마예농 알림··· 46
<그림 Ⅲ-7> 라이즈업 케야 전경, 내부전경1, 내부전경2, 로프트
공간, 게스트하우스1, 게스트하우스2 ················· 49
<그림 Ⅲ-8> 갤러리 소프 전경, 간판, 내부공간-토크, 내부공간-
전시, 카페, 연극용 공간······································ 52
<그림 Ⅲ-9> 오퍼레이션 테이블 전경, 갤러리, 레지던스 공간·· 55
<그림 Ⅲ-10> 다이도카이 모지코 시장진입로, 전경, 내부공간·· 59
<그림 Ⅴ-1> NO LIMIT 도쿄 자치구 패스포트······················ 98
<그림 Ⅴ-2> 맵 상의 이미지화 가상도··································· 100