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Architecture & Urban Research Institute

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³í¹®¸í ½º¸¶Æ®°ø°£ ȯ°æ¿¡¼­ ½Å¿øµµ¿ë °ü·Ã ¹üÁ˸¦ ¸·°í »ç¿ëÀÚ Á¤º¸¸¦ º¸È£ÇÏ´Â µðÀÚÀÎ Àü·«¿¡ °üÇÑ ¿¬±¸ / How Can a Designed Environment Protect Us Against the Threat of Identity Theft?
ÀúÀÚ¸í ÃÖÀ±¼±(Yoon Seon Choi)
¹ßÇà»ç Çѱ¹¼ÁÅ×µåÇÐȸ
¼ö·Ï»çÇ× Çѱ¹¼ÁÅ×µåÇÐȸ ³í¹®Áý(Ä¿¹Â´ÏƼ ¾ÈÀü°ú ȯ°æ¼³°è), Vol.2 No.2 (2011-11)
ÆäÀÌÁö ½ÃÀÛÆäÀÌÁö(124) ÃÑÆäÀÌÁö(12)
ISSN 2093-3428
ÁÖÁ¦ºÐ·ù ȯ°æ¹×¼³ºñ
ÁÖÁ¦¾î ½Å¿øµµ¿ë ; ¹üÁ˸¦ ¸·±â À§ÇÑ µðÀÚÀÎ ; Àΰ£Á᫐ µðÀÚÀÎ ; µðÀÚÀÎ Àü·« ; Identity theft ; Design against Crime ; Critical Design ; Human-centred design
¿ä¾à1 Á¤º¸±â¼úÀÌ ¹ß´ÞÇÔ¿¡ µû¶ó ½Å¿ø(identity)À» ±Ô¸íÇÏ´Â ¹üÀ§´Â µðÁöÅÐÈ­ µÈ °³³äÀû ¹üÁÖ·Î È®´ëµÇ¾ú´Ù. ÀÌ¿Í µ¿½Ã¿¡, °¡»ó °ø°£¿¡¼­ ŸÀÎÀÇ ½Å¿øÀ» µµ¿ëÇØ ºÒ¹ýÀû À̵æÀ» ÃëÇÏ·Á´Â ¹üÁËÀÚÀÇ È°µ¿ ¹üÀ§ ¶ÇÇÑ È®ÀåµÇ°í ÀÖ´Ù. ½Å¿ø µµ¿ë(Identity Theft)¿¡ ÀÇÇÑ ¼Õ½ÇÀÌ ÇØ¸¦ °ÅµìÇÒ¼ö·Ï ´Ã¾î°¡°í, ¿¬¼Ó¼º, ºÒÈ®½Ç¼º¿¡¼­ ºñ·ÔµÈ ÇÇÇØÀÚÀÇ Á¤½ÅÀû, ¹°ÁúÀû ¼Õ½ÇÀº ±× Á¤µµ¿¡ µû¶ó ¹°¸®ÀûÀÎ ¹üÁË¿Í °°°Å³ª ±× ÀÌ»óÀÇ ÇÇÇØ¸¦ ÃÊ·¡Çϰí ÀÖ´Ù. ¾ÈÀüÇÑ µðÁöÅÐ »çȸ¸¦ ±¸ÃàÇϱâ À§ÇØ ±¹È¸ÀÇ ¹ý·ü Á¦Á¤, °³ÀÎÁ¤º¸°ü¸® ÇÁ·Î±×·¥ °³¹ß, Ä·ÆäÀÎ, ±³À°È°µ¿ µî ´Ù¾çÇÑ ºÐ¾ß¿¡¼­ÀÇ ³ë·ÂÀÌ ÀÖ´Ù. ÇÏÁö¸¸ ´ëÁßµé·Î ÇÏ¿©±Ý º¸ÀÌÁö ¾Ê´Â ¹üÁËÀÇ ½É°¢¼ºÀ» ÀνĽÃ۰í, Çൿº¯È­¸¦ À¯µµÇÏ´Â µ¥¿¡´Â ¾î·Á¿òÀÌ ÀÖ´Ù. ¿¹¸¦ µé¸é, µðÀÚÀÎÀÌ °í·ÁµÇÁö ¾ÊÀº °­·ÂÇÑ ¹üÁ˹æÁö ¹æÈ­º®Àº ¹üÁËÀÚÀÇ Á¢±ÙÀ» ¸·´Â µ¿½Ã¿¡ »ç¿ëÀÚÀÇ Á¢±Ù±îÁöµµ Â÷´ÜÇÏ´Â °á°ú¸¦ ³º±âµµ ÇÑ´Ù. ¹üÁËÀÇ °¡´É¼ºÀ» ÁÙÀ̱â À§ÇÑ µðÀÚÀÎ ºÐ¾ß¿¡¼­ÀÇ ¿¬±¸´Â ´Ù¹æ¸éÀ¸·Î ÀÌ·ç¾îÁ® ¿Ô´Ù. 1971³â ¹Ì±¹¿¡¼­ ½ÃÀÛµÈ CPTED¸¦ Áß½ÉÀ¸·Î µðÀÚÀÎ Çаè¿Í »ê¾÷üÀÇ Çù·ÂÀ» ÅëÇÏ¿©, Ãʱ⠵ðÀÚÀÎ ¿¬±¸¿Í ¼³°è¸¦ ÅëÇÑ ¹üÁË¿¹¹æ Ȱµ¿ÀÌ ²ÙÁØÈ÷ ½ÃµµµÇ¾ú´Ù. ´Ù¾çÇÑ Á¦Ç°, ȯ°æ µðÀÚÀÎÀÇ ¼º°øÀûÀÎ »ç·ÊµéÀº, ¹üÁË ¹ß»ýºóµµ¸¦ ÁÙÀ̰í, ÀÌ¿¡ µû¸¥ ºê·£µå °¡Ä¡ »ó½Â, ¹üÁ˹߻ý ÇÇÇØº¹±¸ ºñ¿ëÀý°¨ µî °æÁ¦Àû È¿°ú°¡ ³ô´Ù´Â °ÍÀ» ÀÔÁõÇÏ¿´´Ù. ÇÏÁö¸¸ Áö±Ý±îÁöÀÇ µðÀÚÀÎÀû Á¢±ÙÀº, °­µµ, ¼Ò¸ÅÄ¡±â, ¶Ç´Â Å×·¯¸®Áò µî ¹°¸®Àû ¹üÁË¿¡ ÁýÁߵǾú°í, ÀÌ¿¡ º» ¿¬±¸´Â, µðÀÚÀÎ ¿¬±¸´ë»óÀ» Á¤º¸±â¼úÀÇ ¹ß´Þ¿¡ ÀÇÇØ ±ÞºÎ»óÇÑ ¡®º¸ÀÌÁö ¾Ê´Â Áö´ÉÀû ¹üÁË¡¯·Î È®´ë½Ãų Çʿ伺¿¡ ´ëÇØ ÁÖ¸ñÇÏ¿´´Ù. µðÀÚÀÎ ¹æ¹ý·Ð Áß ÇϳªÀÎ Æ÷Ä¿½º ±×·ì(Focus Group)À» ÅëÇØ ÀÏ¹Ý »ç¶÷µéÀÌ °³ÀÎÁ¤º¸¸¦ ¾î¶»°Ô ÀûÀýÇÏÁö ¾ÊÀº ¹æ¹ýÀ¸·Î °ü¸®Çϰí ÀÖ´ÂÁö, ¶ÇÇÑ »ç¶÷µéÀº ¿©·¯ À¥»çÀÌÆ®ÀÇ ¾ÆÀ̵ð¿Í ºñ¹Ð¹øÈ£ µî º¹ÀâÇÑ °³ÀÎÁ¤º¸¸¦ ´Ù·ç´Â °Í¿¡ ¾î·Á¿òÀ» °Þ°í ÀÖ´Ù´Â ¹®Á¦¸¦ ¹ß°ßÇß´Ù. À¯Àú Æ®¸³(User Trip)°ú ¹üÁË °ÔÀÓ(Crime Game)À» ÅëÇØ ¹°¸®Àû ȯ°æ ¼Ó¿¡¼­ Àΰ£ÀÌ ½Å»ó µµ¿ë¿¡ ³ëÃâµÉ °¡´É¼ºÀ» ¿¹ÃøÇϰí, Çö±ÝÁö±Þ±â ÁÖº¯È¯°æ, ½Å¿ë Ä«µå °è»ê´ë µî, °³ÀÎÁ¤º¸ÀÇ »ç¿ëÀÌ ÀϾ´Â Àå¼ÒÀÇ ºÎÀûÀýÇÑ ÁÖº¯È¯°æÀÇ °³¼± Çʿ伺À» Á¦±âÇÏ¿´´Ù. ½Å¿øµµ¿ëÀ» ¹æÁöÇÏ°í °³ÀÎÁ¤º¸¸¦ º¸È£Çϱâ À§ÇÑ µðÀÚÀÎ Àü·«Àº ´ÙÀ½°ú °°´Ù. ù°, µðÀÚÀÎÀ» ÅëÇÏ¿© º¸ÀÌÁö ¾Ê´Â ¹üÁË¿¡ ´ëÇÑ ½É°¢¼ºÀ» ÀνĽÃŰ°í ´ëÁßµéÀÇ Çൿº¯È­¸¦ À¯µµÇÑ´Ù. 1999³â Anthony DunneÀÌ °í¾ÈÇÑ ºñÆòÀû µðÀÚÀÎ(Critical Design)Àº »çȸÀû, À±¸®Àû, ³íÁ¡¿¡ °üÇÑ Áú¹®À» ´øÁö°í »çȸÀû Åä·ÐÀ» À¯µµÇÏ´Â µðÀÚÀÎÀÇ ¿ªÇÒÀ» ´ã´çÇÏ¿´´Ù. ºñÆòÀû µðÀÚÀÎÀÇ Ã¢ÀÇÀû ¹ß»óÀº »õ·Î¿î °úÇбâ¼ú¿¡ ÀÇÇÑ ¹üÁ˸¦ ½Ã°¢È­, ¹°ÁúÈ­½ÃÅ´À¸·Î½á °¨¼ºÀûÀ¸·Î ´ëÁßÀ» ¼³µæÇÒ °ÍÀÌ´Ù. ´õºÒ¾î, Àΰ£ÀÇ ½É¸®Àû ÇàÀ§Àû Á÷°ü(Intuition)ÀÌ °í·ÁµÈ, Àΰ£ Áß½ÉÀûÀÎ ÀÎÅÍ·ºÆ¼ºê µðÀÚÀÎÀ» ÅëÇØ ´ëÁßµéÀÌ °³ÀÎÁ¤º¸¸¦ °ü¸®ÇÏ´Â ÇàÀ§°¡ ¹ø°Å·Î¿î °ÍÀÌ ¾Æ´Ñ ÀÏ»óÀÇ Áñ°Å¿òÀÌ µÉ ¼ö ÀÖµµ·Ï ÇÔÀ¸·Î½á ½º½º·Î °³ÀÎÁ¤º¸¸¦ º¸È£ÇÒ ¼ö ÀÖµµ·Ï µµ¿ÍÁÖ¾î¾ß ÇÒ °ÍÀÌ´Ù. µÑ°, ÀÏ»ó»ýȰ¿¡¼­ °³ÀÎÁ¤º¸ÀÇ »ç¿ëºóµµ°¡ ³ôÀº Àå¼ÒÀÇ È¯°æÀ» º¸´Ù ¾ÈÀüÇÏ°Ô °³¼±ÇÔÀ¸·Î½á, ¹üÁËÀÇ ±âȸ¸¦ ÁÙ¿©¾ß ÇÑ´Ù. ÀÌ´Â ¹°¸®Àû ¹üÁ˸¦ ÁÙÀ̱â À§ÇÑ CPTEDÀÇ ÀüÅëÀû ¹æ¹ý·Ð¿¡¼­ ±âÀÎÇÑ Àü·«ÀÌ´Ù. ¼Â°, ¹üÁËÀÚ°¡ ŸÀÎÀÇ Á¤º¸¸¦ ÃëÇßÀ» ¶§, ±×°ÍÀ» ¹«¿ëÁö¹°È­ ÇÔÀ¸·Î½á, º¸»óÀÇ ±âȸ¸¦ ÁÙÀ̱â À§ÇÑ ¼­ºñ½º¸¦ µðÀÚÀÎÇÏ´Â °ÍÀÌ´Ù. ½Ç·Ê·Î, ¿µ±¹¿¡¼­´Â ½Å¿ëÄ«µå »ç¿ë½Ã ºñ¹Ð¹øÈ£¸¦ ÀÔ·ÂÇÏ´Â ¡®Chip and PIN¡¯ÀÇ ÁöºÒ¹æ¹ýÀÌ Àǹ«È­µÈ ÀÌÈÄ, ½Å¿ëÄ«µå µµ³­ÀÌ ¶Ç ´Ù¸¥ Ä«µå ¹üÁË·Î À̾îÁö´Â °æ¿ì°¡ 1/3·Î ÁÙ¾îµé¾ú´Ù. »õ·Î¿î ¼­ºñ½ºÀÇ µµÀÔÀº ¹üÁËÀÚµéÀÇ Ä«µå Å»ÃëÀÇ µ¿±â¸¦ ¾àÈ­½ÃŰ´Â °è±â°¡ µÇ¾ú´ø °ÍÀÌ´Ù. µðÀÚÀ̳ÊÀÇ ¿ªÇÒÀº »ç¹°À» âÁ¶ÇÏ´Â °Í»Ó¸¸ÀÌ ¾Æ´Ï¶ó Àΰ£°ú ȯ°æÀ» º¸È£ÇÔ¿¡µµ ÀÖ´Ù. ¿©±â¼­ °¡Àå Áß¿äÇÑ °ÍÀº, Àΰ£ÀÇ Çൿ°ú ½É¸® ºÐ¼®À» ¹ÙÅÁÀ¸·Î Á÷°üÀû Çൿ(intuitive Action)À» µðÀÚÀÎÇÔÀ¸·Î½á, »ç¿ëÀÚ·Î ÇÏ¿©±Ý ÀÚ¿¬½º·´°Ô ÀÚ½ÅÀÇ Á¤º¸¸¦ º¸È£ÇÏ´Â °á°ú¸¦ ÀھƳ¾ ¼ö ÀÖµµ·Ï À¯µµÇØ¾ß ÇÑ´Ù. »ç¿ëÀÚ¿Í Ã·´Ü ±â¼úÀÇ Á¢Á¡¿¡ ÀÖ´Â µðÀÚÀÎÀº ¾ÈÀüÇÑ ½º¸¶Æ®È¯°æÀ» À§ÇùÇÏ´Â ¹üÁËÇàÀ§¸¦ ¸·±â À§ÇØ ÀüÅëÀûÀÎ µðÀÚÀÎ Á¢±Ù¹æ½ÄÀ» ¹ßÀü½Ã۰í, »çȸº¯È­¿¡ µû¸¥ Çõ½ÅÀûÀÎ Àü·«À» ²÷ÀÓ¾øÀÌ °³¹ßÇÏ´Â ¿ªÇÒÀ» ÇØ¾ß ÇÒ °ÍÀÌ´Ù.
¿ä¾à2 The aim of this research is to introduce design strategies to deter identity theft. In a mere decade, an offender commits so called ¡®identity theft¡¯, when he steals a part of other people¡¯s information or assumes another¡¯s name, to take money or other benefits from them. The rate of identity theft has been dramatically increasing over the last few decades. This uncertainty and unpredictability of tracing the crime causes a sense of unease of a victim. The activities of many design groups, such as ¡®CPTED¡¯, ¡®Design against Crime¡¯, and ¡®Secure by Design¡¯, from the theoretical study to the design practice, have been flourishing and the domain of handled crime. They have proved the advantages of design-led solutions against crime as being cost effective and important to protect brand image. This research has emphasised the three strategies of design to alleviate criminal activity to extend designer¡¯s approaches : improving people¡¯s awareness and changing behaviour, reducing the opportunity for identity crime and reducing the rewards of crime. A designer should try to find a way to become a catalyst that provokes people¡¯s natural inclinations, based on an analysis of people¡¯s behaviour and psychology. It would be the responsibility of a designer who is preparing a safer.
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