자연사 박물관을 비형식교육기관으로 정의하게 될 경우, 가장 먼저 고려하는 것은 형식교육기관과 어떤 형식으로 보조를 맞추고 도움을 주고받을 수 있는가 이다. 이는 전시의 내용과 전시의 형태에서 과학교육과정을 어느 정도로 또한 어떻게 반영하고 있는가를 통해 알아볼 수 있을 것으로 가정하였다. 본 연구에서는 미국 자연사 박물관인 스미소니안 자연사 박물관과 뉴욕의 아메리칸 자연사 박물관의 전시물 중에서 지구과학관련 전시물 461점을 선별하였다. 선발된 전시물의 다양한 측면을 개발된 도구를 이용해 조사하였다. 개발된 교육과정분석틀은 미국 국가과학교육기준(National Science Curriculum Standard; NRC, 1996)과 TIMSS(Third International Mathematics and Science Study; Robitaille et al., 1993)의 과학교육과정 프레임을 근거로 구성하였다. 고려되었던 전시의 특징은 우선 전시의 활동 유형, 전시 기술, 전시 매체, 전시 표현 등이고 아울러 과학의 본성이 어떻게 전시물에 나타나는가를 살펴보았다. 비형식 교육기관으로서의 자연사 박물관의 역할에 대한 잠재력을 본 연구를 통해 재검토하였다.

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.

The German Werkbund, which was founded in 1907, played an important role in the history of modern architecture. Its exhibition 1914 in Cologne is estimated as a meaningful event in the development of modern architecture. Especially two examples, among which were built at that time, are worthy of notice. The one is the 'Modelfactory' by Walter Gropius and the other 'Glashaus' by Bruno Taut. Generally in the Textbook on the history of modern architecture, the Taut's Glashaus is rarely mentioned or described as a early example of some expressionistic architecture, while the Modelfactory by Gropius is regarded as an essential workpiece in the early stage of modern movement. the time of searching alternative not only from rationalistic modernism but also postmodernism and today in the time of plurality, Taut's Glashaus could bring us more interesting and meaningful aspects in architectural design. Through investigating the background in the planning stage and analysing the composition of space, construction, circulation etc. it is to try to understand the building as really as what it was. Furthermore, historical meanings of the building in the modern architecture is reinterpreted in the following aspects; what should be reflected in architecture and how could 'Zeitgeist' be architecturally adopted?

The trend of “Blockbuster Exhibitions” over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled “The Commercialization of Blockbuster Exhibitions in Museums,” I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum’s attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the “hype” that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of “souvenirs” from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to be influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation’s tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs. while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In sum, my dissertation discusses the mechanism of the commercialized “Blockbuster Exhibition” and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can’t overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector’s personal taste or but also by commercial circulations of these reproductions to the public. This relates to Benjamin’s argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public’s quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics’ articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

The Chapel and Exhibition hall of Chul-du-san-Holy place are considered as the most important work of architect Lee Hee-Tai (1925-1980), and as a work representing Korean architecture in 1960's. What is the reason that these buildings can acquire such a remarkable estimation? This study tries to make clear this reason with an analytic method. These buildings are situated in singular site, in which small mountain comes up alongside with Han-river. Architect laid out the Chapel and Exhibition hall to the memory of 108 saints who died for their faith in this mountain, considering the specificity of the site, the direction of approach stair, and the formation of public space. Architect proposes an opposed composition of form for these two buildings. So the Exhibition hall is characterized by trabeated structure, centripetal force and Apollonian order. It has strictly proportioned facade, which is composed of two 15m-by-l5m squares and subdivided equally in three portions. The Chapel is charaterized by arcuated structure, centrifugal force, and Dionysosian sentiment. In this work, architect Lee Hee-Tai also expressed the locality of Korean architecture with the grammar of column-roof.

미술관 교육은 대부분 전시와 연계하여 전시 기획의 방향과 의도에 맞추어 개발된다. 수원시립 미술관은 “예술로서의 삶”의 실천이라는 뚜렷한 교육철학을 바탕으로 2021년 기획전 “< >이 살아가는 새로운 방식”전시와 연계한 비대면 온라인 교육 “미술관 산책”을 개발하였다. 미술관 산책은 COVID-19로 인해 미술관 방문이 어려워진 시기의 비대면 맞춤형 교육 프로그램이다. 비대면 교육이기 때문에 교육용 키트를 사전 제작하여 참여자들에게 배송해주고 교육 활동에 활용할 수 있도록 안내한다. 진행 과정은 온라인 화상회의 프로그램(ZOOM)을 활용해 전시 이해를 위한 1부의 도슨트 전시 해설, 2부 예술 강사와 함께 키트를 활용한 작품 활동 과정으로 계획되었다. 이 프로그램의 목적은 아름다운 작품을 완성하는 것이 아니라 교육 경험을 통해 스스로를 되돌아보고 ‘나’와 연결된 주변을 살펴보자는 의미를 담고 있다. 포스트 코로나 시대를 준비하는 과정에서 수원시립미술관 전시연계 온라인 교육 프로그램 개발과 적용을 통해 참여자들과 의미 있는 예술 경험을 공유하고 삶을 위한 미술관 교육의 가치를 재조명하고자 한다.

In order to improve the social service level of museums, digital media and artificial intelligence have become common application technologies in the field of Museum exhibition. The functional orientation of museums is constantly adjusted with the changes of technological development trend, cultural trend and lifestyle in modern society. The development of mobile Internet and intelligent technology has profoundly subverted people’s way of life. Digital exhibition is rising in line with people’s living habits of obtaining information and social communication. However, from the perspective of the relationship between digital exhibition and audience, there are obvious deficiencies in the research field of digital exhibition activities in the field of functional orientation and meaning innovation. Therefore, this paper attempts to explore the function, narrative and meaning of digital exhibition from the perspective of the audience with the concept of “post Museum” and through the analysis of classic cases in the field of digital exhibition. The purpose of this study is to analyze the function and meaning of digital exhibition from the perspective of the audience, clarify the path of the future development of the museum, and explore the narrative structure of exhibition language in the digital context. The research results will provide new theoretical support and design strategies for future museum exhibition design.

근로시간의 단축과 일과 삶의 균형을 중요시하며 자신을 위한 시간을 갖는 사람들이 늘어나면서 대중의 워크-라이프 밸런 스(Work-Life Balance)에 대한 욕구는 증가하고 있다. 이러한 사회적 변화로 인해 개인의 예술·문화에 대한 다양한 욕구는 새로운 소비시장을 주도하고 있다. 기존의 미술 전시가 갤러리에서 그림을 전시하던 전통적인 전시의 개념에서 퍼포먼스와 인터렉션과 같은 다양한 콘텐츠를 전시하는 공간으로 다변화되고 있다. 또한 과거에 비해 기업이나 지차체에서도 문화시설 확충의 일환으로 공립미술관이나 다양한 개념의 전시공간을 제공하고 있다. 그러나 IT 기술의 발전으로 인해 대부분의 정 보를 온라인을 통해 수집하고 모든 정보들이 네트워크화되는 현시점에서 예술 분야의 전시·대관 산업은 아직까지도 오프라인에 기반을 두고 효율적인 공간 제공 서비스를 제공하지 못하고 있다. 즉 개인 창작활동가의 전시가 활발해지면서 다양한 형태의 전시공간에 대한 요구가 있지만 작가나 독립큐레이터들에게 전시 대관 서비스를 연계시켜주는 웹상의 플랫폼은 존재하지 않고 있다. 현재까지는 개별 갤러리의 홈페이지에 들어가 대관 정보를 확인해야 하는 번거로움이 따른다. 이는 다른 분야에 비해 상당히 폐쇄적인 형태로 신진 작가들의 작품 발표를 어렵게 만들며 문화·예술 분야의 발전을 저해하는 요소로 작용하고 있다. 이에 본 연구는 분산 되있는 전시공간에 대한 정보를 하나의 플랫폼을 통해 제공함으로써 작가들에게는 편리한 전시 대관 서비스를 제공하고 운영상의 어려움을 겪고 있는 갤러리나 대관 시설들에게는 해당 시설에 대한 정보 노출을 보다 효율적으로 할 수 있도록 해 줌으로써, 전반적인 전시사업의 안정성을 꾀할 수 있는 것을 목표로 한다. 이를 위해 통계적 모형의 개발을 위한 과거 자료가 없을 때 유용한 델파이 기법과 ISO/IEC 9126 소프트웨어 품질특성과 척도에 관한 표준 지침을 활용하여 사용성 테스트를 거쳐 전시 대관 웹 플랫폼 제안을 위한 기초 연구를 시행하였다. 연구의 결과로써 국내 전시대관 시설들의 데이터베이스(Database)를 구축하는데 기초자료로 활용될 것으로 기대한다.

1995년 이래 장수성(江蘇省) 문화사업이 신속한 발전을 가져왔고 문화시장이 갈수록 번영해졌다. 그러나 장수성(江蘇省) 문화발전은 현대화건설과 인민들의 다양화된 문화생활에 대한 수요를 다 적응할 수 없다. 문화시스템 개혁의 진전이 비교적 완만하고 문화산업 발전이 부족하며 지역 간 문화경쟁력이 약하기 때문에 총체적 소질을 높여야한다. 지금 장수성의 역사문화를 보호하고 이용하고 널리 알려야 하며 현재 갖추고 있는 문화자원과 물질자원을 재통합해야 한다. 가장전시기술의 활용은 사람 들에게 역사문화유산의 진실성과 완전성을 보여주고 또한 선진적이고 효율적으로 문화를 홍보할 수 있는 수단이다. 이러한 방법은 곧 사라질 문화유적을 영원히 가상환경에 보존할 수 있고 사람들의 호기심을 불러일으켜 더욱 경험하고 싶게 한다. 가상전시시스템이 공공문화에 널리 활용하게 되면 문화 시스템 건설에 금상천화의 작용을 할 수 있다. 공공문화 서비스시스템은 주로 온라인서비스와 오프라인서비스로 나뉘어져 있고 두 가지 서비스의 대상과 전시형식은 크게 다르지만 최종적으로 정보와 서비스를 점진적으로 대중에게 홍보하고 보급한 데 있다. 가상전시시스템을 공공문화 서비스시스템에 활용하면 전통문화의 전파가 더욱 직관적이고 구체적이며 취미성을 갖는다. 가상전시시스템의 영역은 광범위하고 사람들의 일상생활 곳곳에 커다란 영향을 끼칠 수 있다. 현 재 가상전시시스템을 단지 박물관의 디지털 등 전통 가상전시영역에만 활용하는 것이 아니라 더욱 넓 은 영역에서 활용할 수 있다. 가상전시시스템의 활용은 주요: 상품 디자인, 의료와 교육, 사업과 오 락 등을 포함한다. 가상전시시스템의 훌륭한 쌍방향성은 가상 쌍방향시스템 활용을 통한 공공문화서 비스시스템의 적용범위의 사람들을 결정한다. 과거 공공서비스시스템은 단지 현지참관을 할 수 밖에 없고 평면매체를 열람하는 것을 통하여 지식과 서비스를 누리기 때문에 공공서비스시스템은 더 많은 대중들에게 서비스를 제공할 수 없다. 그러나 현재 가상전시시스템을 통하여 취미성, 쌍방향성과 지 속성을 추가하여 여러 업계와 분야의 사람이 온라인의 취미성 전시를 통하여 더욱 편리하고 광범위한 서비스를 누릴 수 있다. 온라인의 가상전시를 통하여 샐러리맨들은 쉬는 시간에 공공서비스전시시스 템을 사용할 수 있어 시간을 대대적으로 절약할 수 있다. 이러한 과정을 통해 공공문화서비스시스템 은 문화전파서비스와 전시작용에 달성했다.

As the interest in and demand for urban agriculture have recently increased, more and more people want to be engaged in urban agriculture. In this respect, horticultural exhibitions held on university campuses can be utilized as a space to share knowledge on and experience urban agriculture. Against this backdrop, this study was conducted to evaluate the satisfaction of visitors with horticultural exhibitions, and to develop strategies to plan a horticultural exhibition based on the results of the evaluation. A survey was conducted in an horticultural exhibition held on the campus of G University in J city in South Gyeongsang Province for three days (May 2-4, 2016). In this survey, a self-administered questionnaire was used, and statistical analysis was performed on a total of 275 collected questionnaires. The satisfaction of visitors with the exhibition was analyzed by content sections and items of information and services. As a result, the level of satisfaction with the section of flower plants (83.7%) and the level of satisfaction with the docent service (78.2%) were the highest respectively. A correlation analysis was conducted between the satisfaction of visitors and their intention to revisit, which can affect the action of the visitors. The correlation of all of the content, information and services of the exhibition with the overall satisfaction and the intention to revisit were positive (+). In particular, among the items of information and services, the satisfaction with activity experience showed the highest correlation with the overall satisfaction (0.659, p<.001) and the intention to revisit (0.519, p<.001). This indicates that activity experience is a very important factor in promoting the overall satisfaction of visitors and their intention to revisit. Therefore, if the demand for the experience and instructive benefits is met by horticultural exhibitions, they can be utilized not just as an event held on a university campus, but also as a means to promote urban agriculture by providing basic information and knowledge about it for local residents. By doing so, it will be also possible to encourage the participation of local residents as well as university students

기독교박물관은 기독교적인 의미와 가치를 표현하는 동시에 현대사회의 종교문화를 주도하는 중요한 의미를 가지는 전시공간이다. 또한 한국기독교의 역사와 문화 그 속에 존재하는 기독교정신인 공동체, 신앙 활동 등 한국의 기독교문화 전반의 모든 요소들을 수집. 보존하여 연구함으로써 이를 전시하는 중요한 문화공간이기도 하다. 기독교박물관을 찾는 관람객들이 모두 하나님을 믿는 기독교인들은 아니다. 이러한 관람객들에게 감동 과 즐거움, 그리고 기독교 전문지식을 함께 제공하는 새로운 개념의 전시공간이 필요하다. 따라서 전시형태 또 한 눈으로 보는 전시에만 만족하지 않고, 보다 적극적으로 참여하고, 체험하는 전시연출이 필요하다. 이에 본 연구에서는 한국의 기독교박물관의 전시공간 특성에 관해 연구하고 분석하여, 기독교박물관의 효율적인 전시 공간을 제안하는데 목적이 있다. 본 연구에서는 기독교박물관의 전시공간을 파악하고, 사례분석을 통해 기독 교박물관의 전시연출계획과 그에 따른 공간의 특성을 분석하여 기독교박물관 고유의 기능과 특징을 살릴 수 있는 전시연출 방법을 제시하고자 한다. 연구의 범위는 한국의 기독교사 관련 문화재 및 자료를 수집·전시하는 기독교박물관의 전시공간을 중심으로 범위를 선정하여 전시공간을 대상으로 전시연출 특성에 관해 연구를 진 행하려고 한다. 연구의 방법으로는 기독교박물관과 관련한 선행연구 및 문헌조사를 통한 기독교박물관의 개념 과 특성을 정리하고, 한국의 기독교박물관을 대표할 수 있는 여섯 곳의 기독교박물관 전시공간을 방문하여 전 시연출 사례연구를 통해 기독교박물관의 특성을 살린 효과적인 전시방법을 제시한다.

This, an association research for design-improvement and model-development of exhibition shops at rural tourism communities, is to secure objective data by analyzing customers' awareness-tendency of and demand for agricultural-specialty exhibition shops. Survey-questions for finding out consumers' awareness-tendency and demand were determined through brainstorming of a professional council, 30 rural communities of which visit-rate by consumers is considerably high were selected for the recruit of 200 consumers. For investigation and analysis, survey and in-depth interview were carried out at the scene with the application of frequency analysis and summarization of their opinions, which revealed that they have a strong will to visit the rural tourism communities for the purchase of agricultural specialties along with the experience of learning-program and on-the-scene direct dealing and that their viewpoint on the direct dealing at the scene was very positive. Also it was confirmed hat their satisfaction with the purchase of agricultural specialties by on-the-scene direct dealing, their pleasure at the purchase, their satisfaction with services and their intention for re-purchase of them were very high while their satisfaction with the exhibition shops was very low. With on-the-scene survey, the consumers' opinions could be listened to in depth. Almost all of them said their satisfaction with the trip to those rural tourism communities was considerably high since they could go to those communities themselves to relieve the stress from their modern life, to experience healing and to see the goods on the scene. Their satisfaction also was attributed to the fact that they have enough trust in purchase along with feeling the warm-heartedness of rural residents. As to their awareness of exhibition shops, they showed a positive response to the on-the-scene direct dealing at rural communities while they, thinking that the space in those exhibition shops was not sufficiently wide, demanded for more systematic counters in more accessible and affordable exhibition shops so that they might be more satisfied with the exhibition shops. Their demand for the necessity of exhibition shops selling agricultural specialties was found to be over 80%, which indicates that the necessity is very high. As to the suitability of function, they have the opinion that the business at those shops had better be focused on sales since they have the understanding of information when they take a trip to the rural communities, while there was another opinion: since agricultural products are seasonal items they should be exhibited and sold at the same time. More than 90% of the respondents had a positive viewpoint on direct dealing of agricultural specialties on the scene, which showed that their response to it was very high. They preferred the permanent shops equipped with roll-around table-booths. In addition, it was revealed that they want systematic exhibition shops in rural communities because they frequent those communities for on-the-scene direct purchase. The preferred type and opinion resulting from estimation of consumers' demands have been reflected for development of practical designs. The structure of variable principles has been designed so that the types of display-case and table-booth might be created. The result of this study is a positive data as a design model which can be utilized at rural communities and will be commercialized for the verification of its validity.

본 연구는 해양레저전시이벤트 서비스품질 불만족이 불평행동 및 재구매의도에 미치는 영향을 분석해 성공적인 해양레저전시이벤트 마케팅 전략 수립의 기초자료를 제공하기 수행되었다. 이러한 연구 목적을 달성하기 위해 본 연구에서는 2012년 G도에서 개최된 해양레저전시이벤트 방문객 350명에 대한 설문조사를 실시하였고 다중회귀분석을 통해 다음과 같은 결론을 도출하였다. 첫째, 해양레저전시이벤트 서비스품질의 불만족 수준은 7점 Likert 척도를 기준으로 3.29점에서 3.85점 사이에 위치하고 있었다. 둘째, 해양레저전시이벤트 서비스 불만족 요인 중 직원, 환경, 전시시설은 불평행동에 유의한 정적 영향을 미치고 있었으며 직원, 환경은 미행동에 유의한 영향을 미치고 있었다. 셋째, 해양레저전시이벤트 서비스품질 불만족 요인 중 전시시설만이 재방문의도 및 타인추천의도에 유의한 부적 영향을 미치고 있었다. 마지막으로 해양레저전시이벤트 방문객의 불평행동 요인은 재방문의도 및 타인추천의도에 유의한 부적 영향을 미치고 있었다. 이러한 연구결과는 해양레저전시이벤트 개최의 성과 지표인 안정적인 방문객 확보를 위한 서비스마케팅 전략 수립의 기초자료를 제공하고 있다.