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Dissertations / Theses on the topic 'Exhibition space'
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1
MASSON, MICHEL NUNES LOPES. "SPACE IN THE ART OBJECT EXHIBITION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5715@1.
Full textAbstract:
O Espaço na Exibição de Obras de Arte é um estudo que visa
entender o papel do espaço expositivo nas exibições de
obras de arte. Assume sua interferência na fruição das
obras como uma ação nos limites do campo do design. Parte
de um estudo histórico e social das exibições para
construir as bases para suas conjecturas, buscando entender
em que medida o design de exibições pode se constituir como
linguagem. Para isso, se vale da dicotomia existente nesse
espaço, a do espaço neutro e ativo, como um de seus
principais pontos de apoio.The Space in Works of Art Exhibition is a study that intends to understand the role of the enviroment in art exhibitions. Assumes it`s interference in the fruition of pieces as an action towards the design field limits. Starts from an historical and social analisys of exhibition to build the basis under it`s proposals, trying to understand how the exhibitions design can be recognized as language. For such, it makes use of the space`s existing dicotomy, the neutral and the active space, as one of it`s pillars.
2
Ozkal, Gunes. "Exhibition Space As The Site Of Isolation, Unification, And Transformation." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607717/index.pdf.
Full textAbstract:
This thesis re-evaluates the exhibition space as a site of &ldquoindeterminacy&rdquo
defined by the dialectical interaction of architectural space and art object. The ways in which different forms of space-object interactions are constructed, and the architectural tools used to accommodate the exhibition event will be the departure points of this investigation. In this respect, the cases of Dia Beacon, Tate Modern and Stazione Leopolda will be analyzed and the means of &ldquo
indeterminacy&rdquo
will be elucidated by using the conceptual tools of &ldquo
isolation&rdquo
, &ldquo
unification&rdquo
and &ldquo
transformation&rdquo
. With the aid of these three cases, the aim of this study is to comprehend the architectural potentials in exhibition practice, which functions in extreme conditions of constantly altering states, environments and relations.
3
Margarella, Robert Jonah. "Festival and Gallery: Exhibition Space for the People of Baltimore." Thesis, Virginia Tech, 1997. http://hdl.handle.net/10919/35485.
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The principle notion of this thesis has been to propel ideas derived through architecture, experience, intuition, and program in order to transform idea into form. The attempts to understand gallery as a place where people can show their work for a short amount of time, allowing for a continual engagement between works and viewers.Master of Architecture
4
Naude, Elmarie. "Embodying space : Capture Image Gallery." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/30248.
Full textAbstract:
The city of Pretoria has a diverse mix of people moving in and around it. This dynamic, ever-changing movement, combined with the city’s cultural diversity, renders it ideal for an investigation into the relationship (or lack thereof) that exists between the moving body and architectural space. The city and its architectural spaces are viewed as static. The human body and its movement is dynamic. These static spaces cannot always accommodate the dynamic movement taking place within and around them. This leads to a lack of dialogue or interaction between the two, causing a tension which is further aggravated by the fact that they are situated within a constantly changing environment. The aim of this thesis is not only to examine the relationship between the city and the human body moving through its architectural spaces, but also to provide the platform for an investigation into the establishment of an active dialogue between the two. CAPTURE is envisaged as an experimental laboratory in the city of Pretoria. It aims to rejuvenate the city’s CBD, as well as to develop and promote arts and culture through the creation of a public exhibition space. It is a design intervention intended to create a space which captures and navigates its users through it, by exposing them to the different functions facilitated within it, as well as to the space and to each other. The introduction of this spatial intervention, informed by the existing pedestrian movement through an identified public thoroughfare, will encourage an active dialogue between the user and the space. Public art, in the form of the photographic image, has been identified as a possible means of communicating the user’s surroundings to him/her. This, in turn, may encourage interaction with, and interpretation of the space.Dissertation (MInt(Prof))--University of Pretoria, 2009.
Architecture
unrestricted
5
Lif, Jakob. "The Royal Barge Museum - Use of Light in Exhibition Space Design." Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280185.
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The Maritime museum is currently investigating possibilities for an exhibition building housing the ceremony boat the “Royal Barge of Sweden” and 18th century King Gustav III’s leisure boats. I hope to influence this debate with this degree project. The architectural theme of the project has been learning about natural light and its relation to exhibition spaces. The initial research phase consisted of museum visits, research into projects by Gunnar Mattson and a historic comparison of the Maritime museum’s exhibition rooms. The proposed building is in Haga park, connecting to an existing jetty below Vasaslätten’s café. A concrete dry dock with an adjacent exhibition space is the main room of the building, making it possible to use the largest barge on the Brunnsviken waters. The rest of the building parts are smaller wooden pavilions on land, exhibiting the boats that are not in use. A variety of spaces and light conditions are offered. The dry dock is approached from a dark narrow entrance and opens to a bright tall space as one walk down a red carpet. The leisure boat pavilions are lit from underneath, giving the impression of the boats floating in another element.
6
Vaughters, Amy Lillian. "Delineated Space." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/58.
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This document is a detailed description of the work produced throughout my graduate study in the Department of Photography and Film at VCU. Topics discussed in relation my photographic process include: stage, memory, character, the forgotten, and nostalgia.
7
Kvitkovský, Martin. "Revitalizace Červeného Kláštora a klášterního muzea." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2011. http://www.nusl.cz/ntk/nusl-215809.
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Architectural solution takes into account the existing shape of objects and functional use of objects. Largely focuses on the completion of the museum interior and obovenie jestvujúcih exposure. Using architectural elements to be linked to the existing condition of the building and its character as national cultural monument and therefore were significantly architectural elements used in a limited range. The main focus was on functional objects and art commissioning. Existing facilities have been made-the insertion of separate objects, more or less dependent on the original space.
8
Caldwell, Andrew E. "Daylighting and exhibition at the High Museum of Art." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23971.
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9
Larsen, Devon P. "Rethinking the Monumental: The Museum as Feminist Space in the Sexual Politics Exhibition, 1996." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001540.
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10
McCann, Therese Marie. "Art, Artifacts, and Residue: The Space of The Exhibition in Ann Hamiltons indigo blue." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529698973965083.
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11
Shanks, David. "IRF UTSTÄLLNINGSHALL." Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-289611.
Full textAbstract:
IRF Utställningshall är en utökning av det befintliga IRF Kiruna. IRF - Institutet för rymdfysik - är en anläggning med både forskning och utbildning relaterat till rymden i allmänhet. Funktionen av utökningen är att fungera som en ständigt förändrande utställning som visar aktuella verk och forskning som görs på IRF, samt att tillhandahålla ett arkiv för lagring av dessa arbeten i framtiden. Utställningen ska vara tillgänglig för allmänheten i syfte att engagera fler medborgare i Kiruna i rymdrelaterade ämnen.Ljus och mörker spelar essentiella roller i detta projekt, vilket hjälper skapa starka kontraster och dynamiska rum i hallen. Under dagen är byggnaden upplyst av kontrollerat dagsljus och på natten av konstgjord belysning. Eftersom dagsljusförhållandena i Kiruna varierar dramatiskt under hela året är både naturliga och konstgjorda ljusförhållanden högst viktiga.Syftet med projektet är att förstärka nyfikenhet och vördnad: Nyfikenhet mot rymdrelaterade ämnen - ämnen som kan hjälpa till att utveckla vår förståelse av universum - liksom vördnad mot vetenskap i sig. En är avsedd att fyllas med vördnad när en går in i utställningshallen, både mot vår värld och de människor som forskar på den. Hur kan detta uppnås genom arkitektur?IRF Exhibition Hall is an extension to the existing IRF Kiruna. IRF - The Institute for Space Physics - is an establishment with both research and education related to space in general. The function of the extension is to act as an ever changing exhibition displaying the current works and research being done at IRF, as well as to supply an archive for storing said works in the future. The exhibition is to be freely accessed by the public, with the aim of engaging more citizens of Kiruna in related subjects.Light and darkness play instrumental roles in this project, creating stark contrasts and dynamic spatialities within the hall. During the day, the building is illuminated by controlled daylight, and by night by artificial illumination. As the daylight conditions in Kiruna vary dramatically throughout the year, both natural and artificial lighting conditions are paramount. The aim of the project is to amplify curiosity and reverence: Curiosity towards space related subjects - subjects that can help progress our understanding of the universe - as well as reverence towards science in itself. One is intended to be filled with awe when entering the exhibition hall, both towards our world and the people researching it. How can this be achieved through architecture?
12
Warpas, Katarzyna Bogusława. "Designing for dream spaces : exploring digitally enhanced space for children's engagement with museum objects." Thesis, University of Wolverhampton, 2013. http://hdl.handle.net/2436/304817.
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This thesis presents an investigation into the potential of digitally enhanced exhibition spaces to foster the engagement of children within family groups with museum objects on display, i.e. where physical contact is prohibited. The main focus is on the influence of digital enhancement on visitors’ engagement with artefacts and not on the digital elements themselves. This study has taken the mixed methods approach. It combines ethnographicallyinformed field studies with a design intervention within an overarching methodology of action research. In the review of literature, research from multiple fields including museum studies, interaction design and play research was brought together and examined from the perspective of exhibition design. This led to the development of the Social Dream Spaces Model. This model, which describes how visitors engage with museum objects, was used as the basis for a design intervention aimed at enhancing children’s engagement with exhibited artefacts. In-gallery participant observations were carried out in Bantock House Museum, Wolverhampton. Insights, based on data analysed from the perspective of the Social Dream Spaces Model, were used to develop a prototype of a digitally enhanced space, which was implemented into the existing exhibition. Data gathered in observations before and after the design intervention were compared in order to determine any changes in visitors’ responses to the exhibition. This study demonstrates the benefit of using the Social Dream Spaces Model for designing digitally enhanced exhibition spaces that promote children’s engagement with artefacts and social contact around them. The findings also confirm that designing subtle and nonintrusive digital enhancement can facilitate intergenerational interaction in exhibition spaces.
13
Berliner, Meghan. "The Role of the Viewer in the Gallery Space." Scholarship @ Claremont, 2009. http://scholarship.claremont.edu/scripps_theses/12.
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My installation, "The Viewers", consists of three life-sized figures and a projected video feed. The figures are placed in and around the gallery space, and the video originates from a hidden camera installed in one of the figures eyes. The first figure that the viewer encounters upon entering the gallery space is hyper-realistic security guard. His position behind the gallery circulation desk, a space which is traditionally assumed not to be an 'art space' allows him to view those entering the gallery while remaining relatively unnoticed. A camera that is installed in his one of his eye sockets and hidden behind sunglasses feeds live images that "he perceives" to another part of the gallery where they are projected. The second figure is a male soldier, positioned covertly on a lighting ledge connected to the ceiling of the gallery. From his high-post, he can clearly view the gallery's occupants through his binoculars, while only being noticeable himself from particular angles. The third figure is a real person dressed as a gorilla. Throughout the evening, he will move through the gallery, viewing and contemplating the artworks and its viewers as well. The purpose of the gorilla is primarily to view the exhibit and the social interaction generated by the gallery setting, but inevitably, viewers will want to interact with him, drawing them into the playful drama of the piece as a whole. Together, and through their individual means of viewing, each figure alludes to the idea of playing a part: the security guard in his fulfillment of the role of a security guard, the soldier in the almost costume-like quality evoked by his camouflage attire, and the gorilla being fairly obviously a performer in costume. That each is in a sense playing a role, and that each has a particular means of viewing the people in the gallery, suggests the additional roles and importance of the fourth element, that of the viewers. My work aims to suggest that the viewers are always playing a part of sorts when viewing an exhibition: the part of the viewer. This references not only the integral nature that the viewer has in defining the meaning of an artwork, but also the role that the viewer agrees to take on – the set of assumptions and mode of viewing the art as ‘art’ – as soon as one enters the gallery space.
14
Kommineni, Rishyak Chowdhary. "Virtually Interactive DAAP." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin162317005355842.
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15
Ozden, Basak. "Transformation Of Architectural Space With The Aid Of Artistic Production." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613361/index.pdf.
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The goal of this thesis is to study the transformation of architectural space with the aid of artistic production. By questioning architectural production as a non-static process open to alteration and intervention, this condition is claimed to enlarge the frontiers of architecture in terms of interdisciplinary contributions and new design methods.
Inspired by the course ARCH 524, conducted by Assoc. Prof. Dr. Aysen Savas in the METU Department of Architecture, this study aims to understand the possible ways of transforming architectural space by the defined function of exhibition. The condition of exhibiting is claimed to manifest a &ldquotemporary&rdquo
and reciprocal relation between the architectural space and the artwork
therefore, it redefines architectural space as a temporary entity open to intervention.For this reason, &ldquo
site-specific artwork&rdquo
is believed to play a pragmatic role in the creation of the &ldquo
new space&rdquo
. This study will focus on the selected works of the artist Esther Stocker. Stocker&rsquo
s productions offer systematic and analytic (re)readings that analyze and decipher spatial qualities. Her productionsare claimed to shift the conventional definitions of architectural terminology and introduce physical, visual and cultural/social levels of understanding both for the built, and the yet-to-be-built space. Throughout this study, the transformation process is commonly referred to as (re)construction, and/or (re)definition, which will, at the end of the process, generate a &ldquo
new space&rdquo
open to continuous transformation. The analysis of the same space will provide new intellectual agents for the promotion of theoretical methods in architectural education and practice.
16
Sundberg, Louise. "Utställningsrum : Hur konstupplevelsen på Liljevalchs konsthall och Fotografiska påverkas av utställningsrummets gestaltning." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-377301.
Full textAbstract:
Exhibition room: How the experience of art is affected by the exhibition room design at Liljevalchs art gallery and Fotografiska. This thesis explores the effect the exhibition design presented in two of Stockholm ́s art galleries has on the viewer. This study investigates Liljevalchs exhibition Vårsalongen and Fotografiskas exhibition The Extraordinary World of Christian Tagliavani. It conducts how the rooms in these two exhibitions relate to each other, and also compare the design of each exhibition room, one by one. This report is based on space syntax theory combined with observations and interviews with both the curators of these two exhibitions and people who has visited both of the exhibition rooms. This analysis show how the exhibition rooms in Liljevalchs and Fotografiska relate to each other. It also shows that the design in the exhibition room, such as the colour on the walls, lights, noises, how the art pieces are hanging as well as the spatial of the room has a big effect on the viewers experience. This thesis describes how these elements above affect the viewer in these two art galleries.
17
De, Villiers Olga-Marie. "The object of experience : a phenomenological approach to exhibition space in the Ditsong : National Museum of Natural History." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/30100.
Full textAbstract:
The study will investigate the creation and manipulation of experience in interior space. With phenomenology as the premise, the object becomes secondary to the experience. The site will be an unutilized vault structure on the Ditsong: National Museum of Natural History grounds in Pretoria. To give expression to experience, the program chosen is an experience based exhibition that adds onto the current exhibition at the museum. The exhibition will change annually to ensure variation for yearly visitors. To facilitate changing the exhibition, the spaces will be designed with the senses as base layers. Each space will be experienced primarily through one of the senses, so that the user becomes more aware of the specific sense in that space. The exhibition that layers onto the sense layer can focus on that sense to convey facts about the subject. The chosen subject for the exhibition detailed in the project is the insect collection. The purpose of the exhibition will be to show how insects use their senses. The senses of the insect will layer onto the basis layer of human senses. Because everything we experience is through our own senses, we can only get an idea of what the insect would experience. There will always be the interlayer of our own senses. Hierdie studie ondersoek die skep en manipulasie van ervaring in die binneruim. Met fenomenologie as uitgangspunt word die objek sekondêr tot die ervaring. Die perseel sal ‘n ongebruikte gewelf struktuur op die Ditsong: Nationale Museum van Natuurlike Geskiedenis se gronde in Pretoria wees. Om uitdrukking te gee aan ervaring is die gekose program ‘n ervaring gebaseerde uitstalling wat toevoeg tot die huidige uit-stalling by die museum. Die uitstalling sal jaarliks verander word om variasie te verseker vir gereelde besoekers. Om die verandering van die uitstalling te vergemaklik, word die ruimtes ontwerp met die sintuie as basis laag. Elke ruimte sal primêr ervaar word deur een van die sintuie sodat die gebruiker bewus word van die spesifieke sintuig in daardie ruimte. Die uitstalling wat gebaseer is op die sintuigbasis kan fokus op daardie sintuig om feite oor die onderwerp oor te dra. Die gekose onderwerp vir die uitstalling uiteengesit in die projek is die insekversameling. Die doel van die uitstalling sal wees om te wys hoe insekte gebruik maak van hulle sintuie. Die sintuie van die insek sal bo op die basis laag van menslike sintuie gevoeg word. Omdat alles wat ons ervaar deur ons eie sintuie geskied, kan ons slegs ‘n idee kry van wat die insek sal ervaar. Daar sal altyd die tussenlaag van ons eie sintuie wees.Mini Dissertation (MInt (Prof))--University of Pretoria, 2010.
Architecture
unrestricted
18
Madanska, Dessislava. "New Rituals : Materials, Objects and Space." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7426.
Full textAbstract:
My project unfolds on three different scales: Materials, Objects and a Space. A research on materials and new technique for their transformation, a creation of functional objects out of the transformed materials, and finally, a spatial environment for the created objects. Real-life site visits to various factories and craftsmen, discussions with makers, sourcing leftover materials, transforming materials into borderline art/design objects are among the key elements of my research methodology. The three scales of my work are unified by the notion of Rituals. My understanding of rituals is not about creating a new religion but focuses rather on the activities in our everyday that can become rituals. It is about finding magic in the mundane. Daily routines and rituals are one of the main things that can keep us grounded, especially in a time of crisis. I believe that material explorations and working with the senses are important and relevant for the field of Spatial design and that my approach to engaging different scales within the project brings something new and yet not vastly explored.
19
Raubenheimer, Hendrieka. "WARP + WEFT : translating textiles into interior architecture - in search for inspiration and continuation of African textile traditions." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/30222.
Full textAbstract:
WARP and WEFT is a textile making guild, intricately woven into KNOOP, the proposed Clothing and Consumer Science building for the University of Pretoria. This building is situated in Hatfield next to the railway line, in close proximity to the Gautrain station and Rissik Station. KNOOP was designed in 2008 by Korine Stegmann in fulfilment of her MArch(Prof) at the University of Pretoria. Therefore, the building in which the intervention is proposed is, to date, only an architectural proposal and has not yet been built. The project was initiated due to a fascination with textiles and the relevance of textiles in interior architecture. This fascination with textiles is ascribed to the following: The first intriguing aspect of textiles is the structure and the underlying construction principles of textiles. The second aspect is the unique character of textiles compared to other building materials. Another interesting notion is the current international textile trend and current re-focus on textiles as a construction material after a long period of being neglected. The current hype about textiles is ascribed to the tactile qualities of textiles, which opposes an increasing movement towards virtualism. The raw and organic production process of handmade textiles is desirable and opposes automated production. Similarly to the Arts and Crafts movement, designers are once more interested in handmade products. Fourthly, textiles used in architecture has the intriguing ability to create an architecture which better relates to fashion in terms of fashion’s ability to easily change and adapt; fashion’s fleeting nature. Lastly, handmade textiles of a specific region have the ability to convey the identity of that specific region. This is a crucial ability to resist globalization and monotony in cultural identity. Appropriately, the fascination of this dissertation is with traditional African handmade textiles and its relevance in interior architecture. The contemporary unbuilt building was selected to demonstrate the value of a collaborative approach between an architect and interior architect prior to construction. The analysis of the architectural proposal shows that the interior architect can effectively recognize the strengths and weaknesses of a building from an interior perspective and enhance and improve these aspects. The aim is also to show that two programmes can function collaborative in one building and that intervention is possible within a building with a fixed programme. The site was selected due to the location and framework it falls within. The location of the site allows for exposure due to the pedestrian demand on the site. Also, the site is advantageously located within close proximity to main transportation nodes. The site falls within the extended Arcadia Arts and Cultural Corridor. The vision for this corridor is a lively and multicultural precinct which hosts a variety of arts and cultural facilities. The vision for these facilities is to portray the zest of local culture, especially to those disembarking the Gautrain. The textile making guild, WARP + WEFT is an important project within this precinct, due to the core concept of the guild to celebrate African textiles. The aim of the guild is to produce contemporary woven textiles which portray the identity of traditional African woven textiles. The vision for WARP + WEFT within the precinct is to exhibit textiles, expose the textile making processes and to create a unique African textile experience for both the public and the users of the guild. The interior intervention will celebrate African textiles by demonstrating how textiles are used to solve and embrace aspects identified through the analysis of the architectural proposal. These aspects include acoustic absorption, solar screening, adding softness, texture and colour to an environment predominantly defined by cold, hard, smooth and monotone surfaces, as well as providing versatile branding elements. The use of textiles in the interior intervention introduces the unique design question of how to design with textiles for a textile related programme, opposed to textiles being used for another programme, such as a theatre or a hotel. It is a matter of “textiles for textiles” instead of “textiles for music” or “textiles for sleeping”. The solution to this unique design problem is to differentiate between spaces which celebrate textiles by acting as a background or blank canvas for the exhibition and production of textiles and spaces which celebrate textiles by becoming textile-like. To create these spatial variations, the exclusive use of textiles is not sufficient. Textiles need to be translated into interior architecture which will be achieved through the following five methods: Translation through metaphor, translation through structure, interpretation of actual textiles, engagement through text and the translation of the unique qualities of textiles. Thus, the aim of the investigation is to celebrate textiles through the application of textiles and through the translation of textiles in interior architecture.Dissertation MInt(Prof)--University of Pretoria, 2012
Architecture
MInt(Prof)
Unrestricted
20
Самутина, Наталья, and Виктория Войтович. "Дизайн внутреннего пространства школьного музея." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18164.
Full textAbstract:
В работе рассмотрены вопросы организации помещений социального пространства – школьного музея ГУО "Средняя школа № 34 г. Витебска" с соблюдением необходимых функциональных, эргономических и социальных требований. Внедрение дизайн-проекта решило проблему повышения эффективности учебно-воспитательного процесса, развития познавательной и творческой активности учащихся, формирования у них навыков ценностно-ориентированного отношения к историко-культурному наследию, приобщения к нему.The paper deals with the organization of the premises of the social space-the school museum of the State Educational Institution "Secondary School No. 34 of Vitebsk" in compliance with the necessary functional, ergonomic and social requirements. The implementation of the design project solved the problem of improving the effectiveness of the educational process, developing the cognitive and creative activity of students, forming their skills of a value-oriented attitude to the historical and cultural heritage, and familiarizing them with it.
21
Erkaya, Gizem. "From Scriptual To Spatial: "." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609236/index.pdf.
Full textAbstract:
This thesis is a critical inquiry of the relationship between the architectural aspects of the museum space and the collection on display, regarding to the concept of flexibility. Inside the museum, displayed object can be thought as a two folded representation which can be termed as labeling. Museum space can be thought as the juxtaposed condition of these two bodies of the object. The flexible spatial organization of the museum space is accepted to support the ephemeral character of labeling. Within this context, the concept of flexibility will be analyzed through the cooperative reading of George Pompidou Center and Grand Egyptian Museum. With the aid of concepts of flexibility and hypertextuality that are adopted in these two cases, the study tries to reveal the relationship between the architectural potentials of museum space and the collection belongs to these particular museums. In that respect, the architectural programs of these competitions will be critically reconsidered in order to reveal how the institutions conceive the collections with their expected physical ramifications.
22
Wallis, James. "Commemoration, memory and the process of display : negotiating the Imperial War Museum's First World War exhibitions, 1964-2014." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/21869.
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This thesis explores the key permanent and temporary First World War exhibitions held at the Imperial War Museum in London over a fifty year period. In so doing, it examines the theoretical, political and intellectual considerations that inform exhibition-making. It thus illuminates the possibilities, challenges and difficulties, of displaying the 'War to End All Wars'. Furthermore, by situating these displays within their respective social, economic and cultural contexts, this produces a critical analysis of past and present practices of display. A study of these public presentations of the First World War enables discussion of the Museum’s primary agendas, and its role as a national public institution. In considering this with the broader effect of generational shifts and the ever-changing impact of the War’s cultural memory on this institution, the thesis investigates how the Imperial War Museum has consistently reinvented itself to produce engaging portrayals of the conflict for changing audiences.
23
Buenafe, Mistén Louise. "Sound - Sense - Space: Might sound affect our experience of a room?" Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21463.
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Syfte: Rapportens syfte är att kartlägga om upplevelsen av ett rum kan förändras beroende på om och vilka ljud som spelas upp i rummet.Metod: I samband med en ljudinstallation på Plattan vid Malmö Högskola har rörelsemönster och beteende för Plattans besökare observerats. Dessutom har flera besökare besvarat en enkät.Resultat: Inga eventuella förändringar i rörelsemönstret eller beteendet för Plattans besökare kan ses som en konsekvens av ljudinstallationen. Det finns inte heller någon skillnad i enkätsvaren beroende på installationen. Slutsats: Resultatet ses som en konsekvens av bristfälliga forskningsmetoder. I rapportens slutsats bildas hypotesen att en installerad ljuddesign inte är en tillräcklig åtgärd i den undersökta typen av miljö. Tesen menar att en förändring av ljudmiljön och påverkan på människors upplevelse av rummet i första hand kräver akustiska åtgärder.
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Rahman, Farahbee. "Perception of spatial volume in daylight entering through devised openings." Thesis, KTH, Ljusdesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-276978.
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The thesis examines the impact of perceived brightness and contrast balance in relation to the spatial volume; physical volume transforming into a perceived volume in light. Two static viewpoints of 20th century’s museum architecture have been tested to observe qualitative features in daylight entering through architecturally devised openings. Anders Liljefors’s “7 parameters of light” based on visual-physical theory and James Gibson’s perception factors relating to our visual field help evaluate the perceived qualities. The thesis directs towards understanding relationship of brightness and contrast perception with the perceived color of space and spaciousness of the architectural volumes. Individual experiment with physical mock-up replicating the spatial volumes in contextual sun altitudes as well as visual representation of analyzing perceptual parameters have been documented and discussed. Also, methodology includes a collective evaluation surveying observers’ perception of “lighting features” and “spatial features” seeing the fish-eye images of the viewpoints as if looking into the physical mock-up. The comparative analysis in this research is an attempt to contemplate qualitative observation tool as an objective reference in relation to the subjective experience for architectural lighting design process. The investigation follows case studies of two exhibition spaces designed by architects - Carlo Scarpa and Louis Kahn addressing both diffuse skylight and direct sunlight entering through architecturally devised openings.
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Sartorelli, César Augusto. "As exposições das arquitetas curadoras Lina Bo Bardi e Gisela Magalhães como linguagem de arquitetura." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-10072014-154205/.
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Este trabalho tem o objetivo de analisar as exposições como um fenômeno de linguagem de arquitetura, pensando a ação de arquitetos curadores como um exercício de ressignificação do espaço onde ela será construída. Neste espaço inicial, denominado espaço base, que tem características físicas, institucionais e simbólicas será processada uma ressignificação, que parte de ideias e programas dentro de uma lógica discursiva. Esta lógica será transposta através do desenho de projeto num dispositivo de comunicação, construído através de uma narrativa espacial. Esta narrativa espacial se dá pelo encadeamento de seus setores parciais, denominados de espaços frases, com o objetivo de facilitar a comunicação do programa previsto. Estes conceitos serão aplicados a dois estudos de caso das exposições mais relevantes de duas arquitetas e curadoras realizadas no Brasil: Lina Bo Bardi e Gisela Magalhães. Como conclusão do trabalho, procurou-se estabelecer similaridades e diferenças na linguagem de arquitetura expositiva de ambas as autoras.This work has the object to analyze the exhibitions as a phenomenon of architectural language, thinking the work of curators architects as an exercise in ressignification the space where it will be built. In this initial space, called base space, which has physical, institutional and symbolic characteristics will be processed with a ressignification, which has the starting point in the ideas and programs within a discursive logic. This logic will be implemented through the architectural project design of a communication device, constructed by a spatial narrative. This space gives the narrative thread of their partial sectors, called phrases spaces, in order to facilitate communication of the planned program. These concepts will be applied to two case studies of the most important exhibitions of two Brazilian curators architects: Lina Bo Bardi and Gisela Magalhaes. The conclusion of this work was to establish similarities and differences in the exhibition architecture language of both authors.
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Lu, Yi. "Directed visibility analysis: three case studies on the relationship between building layout, perception and behavior." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39569.
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This is a study of the spatial affordances of buildings that allow them to organize and transmit cultural ideas and to support the performance of organizational roles. The particular affordances under consideration are those that arise from the manner in which buildings structure the visual fields that are potentially available to a situated observer.
In studying directed visibility patterns, supported by the development of appropriate analytical tools, we focus on a previously specified set of visual targets and ask how many become visible from each occupiable location. Parametric restrictions concerning the direction into which a subject faces and the viewing angle sustained by the target object are also taken into consideration. The aim is to demonstrate how such refinements of visibility analysis, lead to more precise and penetrating insights as to how building users tune their behavior to the spatial affordances of environment, and how the environment impacts their understanding in turn. Three different studies were presented. The fist used directed visibility measures to evaluate the affordances of different nursing-unit designs relative to how well nurses are able to survey patients in different rooms as they go about their duties. The second study focuses on the manner in which nurses and physicians position themselves in a Neuro Intensive Care Unit (ICU), particularly when interacting. The third study investigates how aware exhibition visitors become of the visual structure of environment and how the visibility structure of exhibitions affects the ability of visitors to conceptually group paintings according to their thematic content.
The case studies support the following conclusions.
1) The way in which people position themselves in an environment as they perform their assigned tasks is tuned to the way in which visual fields are structured.
2) The visual structure of environment is contingent upon the interaction between the underlying structure of visual fields and paths of movement.
3) Directed visibility analysis leads to stronger correlations with behavior and performance than generic visibility analysis. This implies that environments are layered. Their underlying spatial structure is charged by the distribution of the contents that are programmatically primary.
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Sannikova, Olga. "Specifická městská vybavenost - urbanistická koncepce areálu Výstaviště Brno." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-394029.
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This thesis has been prepared as urban study BVV in Brno. The project deals with the revitalization of the area, streamlining usage in the long run. The area is delimited to the northeast street Hlinka, southwest Street Bauer. The territory is located near the center of Brno, near the Mendel Square. It is directly connected to the ring road. The main objectives of the project are to restore its original luster campus, thanks to which Brno became known in the world - to create an international cultural and sports science node. Open to the public year-round resort and create new areas of specific housing related to the function of the complex.
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Rubessi, Chiara. "Scénographie et esthétique : étude sur la conception de l’espace cinématographique." Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAL016.
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La présente thèse est consacrée à l’étude de la scénographie par rapport à l’espace. En particulier, l’étude questionne l’espace cinématographique relativement aux éléments qui sont considérés, dans les théories existantes, comme caractérisant et composant l’esthétique du cinéma. L’espace du cinéma trouve sa raison d’être dans la possibilité de placer des situations sociales et intimes extrêmement précises à l’intérieur d’espace définis. Les formes qui habitent l’espace cinématographique, en portant le regard des spectateurs vers des temps et des lieux, proches ou lointains, « énoncent » pour décrire les personnages, leurs actions, mais également le déplacement, les paysages (naturels ou artificiels). La scénographie participe donc à l’espace de la mise en scène en même temps qu’elle l’alimente. Par conséquent, le but de cette étude est de réfléchir sur l’espace de la scénographie, en se familiarisant d’abord avec la notion même de scénographie, en retrouvant l’origine étymologique du terme afin de dessiner la généalogie de l’utilisation du mot à travers le temps dans ses différentes variations. En fait, se familiariser avec les définitions du terme « scénographie » signifie aussi réfléchir à l’usage du terme dans d’autres domaines, c’est-à-dire au théâtre, dans la muséographie et l’exposition. Ensuite à travers un corpus de films sélectionnés, nous analyserons les différents effets que la scénographie autorise à l’intérieur de l’organisation de l’espace cinématographiqueThis thesis focuses on the relationship between scenography and space. More specifically, this study looks at cinematic space with respect to elements that are considered by existing theories as characterizing and forming cinema aesthetics. The purpose of cinema space can be found in its ability to place very precise social and intimate situations within a defined space. By guiding the spectators’ gaze towards times and places, both near and far, the forms that inhabit cinema space “articulate” descriptions of characters, their actions, but also movement and landscapes (natural, or artificial). Scenography is therefore involved in both the staging space and developing said space. Consequently, the goal of this study, a reflection on scenographic space, is twofold. First, the study seeks to identify the etymology of the term and draw a genealogy of its use over time in its many iterations. Familiarizing oneself with the definitions of “scenography” implies looking at how the term is used in other fields, such as theater, museum and exhibition studies. Then, using a corpus of films, an analysis of the different effects scenography allows within the cinema space is undertaken
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Bianchi, Pamela. "Espaces de l'oeuvre, espaces de l'exposition." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080026.
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Réfléchir sur le terme espace signifie, d’abord, être conscient des multiples usages sémantiques et des diversités linguistiques dont il est porteur. Son rapport avec les concepts d’œuvre et d’exposition a été modifié au fur et à mesure des changements statutaires respectifs. En ce sens, cette thèse vise à interroger le statut de l’espace d’exposition face aux propositions artistiques contemporaines. Elle se développe autour des concepts d’espace et de lieu de monstration dans leur relation avec les notions principales d’architecture muséale, d’œuvre et d’exposition, à partir des années 1960 et jusqu’à nos jours. Grâce à une étude évolutive et multidisciplinaire, et sans oublier la généalogie des concepts principaux, cette thèse se nourrit de cas concrets et contemporains pour offrir un panorama des espaces d’exposition, singuliers et alternatifs. Il s’agit d’un travail d’analyse qui a décomposé, étudié et restructuré la notion d’espace d’exposition à partir de ses paramètres fondamentaux et de périodes spécifiques ; cela a permis d’insister sur la présence d’un processus évolutif en chaine (sorte de syllogisme) où, d’abord, l’œuvre se fait exposition, ensuite, l’espace se fait œuvre et, enfin, l’espace se fait exposition. Ainsi, derrière un espace façonnable qui évolue par rapport à l’art qu’il accueille, apparait aussi un espace multifonctionnel (un « hyperespace ») qui réclame un art spécifique et de nouvelles exigences expographiquesFirst, reflect on the space term means be aware of its multiple semantic uses and of its linguistic diversity. His relationship with the concept of artwork and of exhibition has changed in relation to the respective statutory changes. In this sense, this thesis aims to examine the status of the exhibition space in relation to contemporary artistic proposals. In particular, this thesis is developed around the concepts of Space and Place of the exhibition, in their relationship with the main notions of museum architecture, artwork and exhibition, since 1960 until today. With an evolutionary and multidisciplinary study, and not forgetting the genealogy of main concepts, this thesis is also enriched with concrete and contemporary cases offering a particular view on the exhibition spaces, unique and alternative. It is an analysis that tried to decompose, to study and restructure the concept of exhibition space, from its basic parameters, and in relation to specific historical periods. This allowed to insist on the presence of an evolutionary process (type of syllogism), for which, in the first place, the artwork becomes an exhibition, secondly, the space becomes an artwork and, finally, the space becomes an exhibition. Thus, behind a modular space that evolves in relation to the artwork that contains, it appears also a multifunctional space (a "hyperspace") that claims a specific art and new display requirements
30
Zamani, Pegah. "Views across boundaries and groupings across categories the morphology of display in the galleries of the High Museum of Art 1983-2003 /." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/31823.
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Sirová, Kristýna. "Revitalizace Technického muzea v Brně." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2017. http://www.nusl.cz/ntk/nusl-316301.
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Project of revitalization of Technical museum Brno deals with extension of its complex. Museum has not enough capacity to shelter and expose all its large vehicles. The extension of transport museum is designed as an urban complex based on axes. The large architectural scale presents monumental objects as small as collection of toys. Typology is minimalistic and variable so it could react on various demands of exhibitions designers and public. Analytical part examines researches about museum exhibition's evolution and contemporary trends.
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Сав’як, Валерія Вікторівна, and Valeriia Saviak. "Дизайн інтер’єру науково–технічної бібліотеки." Thesis, Національний авіаційний університет, 2021. https://er.nau.edu.ua/handle/NAU/50951.
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1. Архітектурне проектування громадських будівель і споруд, Лінда С.М., 2010.
2. ДБН В.2.2-9;2018 Громадські будинки та споруди. Основні положення.
3. Нойферт Э. Строительное проектирование / Пер. с нем. К.Ш.Фельдмана, Ю.М. Кузьминой; Под ред. З.И. Эстрова и Е.С. Раевой. - 2-е изд. - Москва: Стройиздат, 1991. – 392 с.Новітній тенденції проникають в усі сфери діяльності людини у тому числі і у інтер’єр і формують естетичне сприйняття. З часом воно може змінюватись і потребує реконструкції. Метою роботи є привернення уваги до проблеми занедбаної пам’ятки модернізму, а саме науково-технічної бібліотеки. Будівля має унікальну конструкцію, завдяки якій приміщення концертного залу має неповторювані акустичні властивості і дозволяють почути увесь голосовий діапазон голосів людей та музичних інструментів. Цю проблеми можна вирішити засобами редизайну. Надати простору бібліотеки проектні пропозиції, що покращать експлуатаційні якості даної будівлі, естетичні показники, додати додаткові функції, такі як кафе і виставочний простір. Пропонується зробити освітньо-пізнавальний простір, який допомагав привернути увагу молоді до науки.
The latest trends penetrate into all spheres of human activity, including the interior and form an aesthetic perception. It may change over time and needs to be reconstructed. The aim of the work is to draw attention to the problem of an abandoned monument of modernism, namely the scientific and technical library. The building has a unique design, thanks to which the concert hall has unique acoustic properties and allows you to hear the full range of voices of people and musical instruments. This problem can be solved by means of redesign. Provide the library space with design proposals that will improve the performance of the building, aesthetic performance, add additional features such as a cafe and exhibition space. It is proposed to create an educational and cognitive space that helped draw young people's attention to science.
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Trevelyan, Peter Ross. "Formal confusion: virtuality and utopian space : an exegesis presented with exhibition as fulfillment of the requirements for thesis, Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/867.
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This exegesis details an investigation into the history and evolution of certain technologies, (binary coding, Platonic cosmology, and the linear perspective system) and the extent to which these technologies have distorted or appropriated our perceptions of reality. Special attention is paid to logical inconsistencies in apparently logical systems. The investigation focuses on the purportedly utopian applications of these technologies and the discrepancies that inevitably occurred whenever these ordered systems confronted the chaotic ‘real’ world. Information gleaned from this research then informs an analysis of methods for incorporating these concepts into the author’s installation practice. An explication of recent drawing practice and its reconciliation with installation work will account for and inform a recounting of practical experimentation dealing with form and materials.
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Sears, Cim. "I walk to see, I walk to know: Walking to Wongawol. An exhibition and I walk to see, I walk to know: Walking to Wongawol. An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2356.
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The context of my embodied project, I Walk to See, I Walk to Know: Walking to Wongawol, is an exploration into 1) the absence of Western Desert Aboriginal narratives via the act of walking as knowing and 2) my recently discovered ancestral connections, which were historically erased by the state. The location of my project is Wongawol Station in the Western Desert, Western Australia, where my Indigenous ancestors lived, and whose lives I draw upon to make connections with the narratives and sensations of the desert landscape. I use the methodology of walking to investigate the interconnectivity between body and space/place and how this might be interpreted in relation to my research. For Nandi Chinna (2014), walking defines the body as the sensory vessel that can experience the dimensions of told and untold narratives of life on earth. I further explore the act of walking through the lens of rhythmanalysis—an approach that refers to how movement is a primary way of “engaging with the world” (Chen, 2013, p. 531). This is illustrated by works such as Raban’s Fergus Walking (Chen, 2013), a structural film that experiments within a nonbinary representation of walking within disrupted notions of time and space. Expanding on this idea, I have incorporated Derrida’s concepts of absence/presence within language/text, time and space as informed by his deconstructionism and nonbinary phenomenology to disrupt accepted literary and philosophical dichotomies. Indigenous film maker Thornton (2018) is also examined from the perspective of cinematography techniques in relation to body, memory, history and the land. Anselm Kiefer’s artworks, which convey the effects of Nazi Germany’s holocaust, allow a potent comparison reflecting “an intimate involvement with destruction and apocalypse [which acts] to provoke and keep memory alive” (Spies, 2016, p. 17). Underpinning my practice-led research are the writings of phenomenologists Merleau- Ponty (1962, 2012) and Heidegger (1962), who believe that the body and the world cannot be separated and that the body is essentially the primary place of knowing and interpreting the world (Merleau-Ponty, 2012): “my existence as subjectivity is identical with my existence as a body and with the existence of the world” (p. 431).
The resultant dynamism and potentialities of working with materials to define the place/space of my ancestors comprises the act of walking, field notes, archives, photographic processes, ceramics and print processes. Further, the knowledge gained from acute immersive processes, experiential outcomes in situ and references to government documents characterises this exegesis as preparatory work towards a much larger body of research yet to be undertaken.
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Ferreira, Tatiana Guerra. "Projectar com luz cor e matéria em espaços pré-existentes. Fábrica das artes no antigo convento de S.Paulo, Vila Viçosa, como caso de estudo." Master's thesis, Faculdade de Arquitetura de Lisboa, 2013. http://hdl.handle.net/10400.5/5808.
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Vlčková, Kristýna. "Výškový objekt Brno." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2014. http://www.nusl.cz/ntk/nusl-226753.
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The subject of the diploma thesis is an architectural study, proposing a high-rise building in the city of Brno, located at the intersection of Veveří and Šumavská street. The building is designed as a Creative center, bringing together all the creative professions. To present the art to the general public is proposed a Gallery as an important part of the project. The building height is 143,2 meter with a cubic shape and minimalist facade. A part of the proposal is a an exterior exhibition space.
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Vincent, Frédéric. "L'artiste-curateur. Entre création, diffusion, dispositif et lieux." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H313/document.
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Cette thèse étudie les différents types d'artistes-curateurs qui se manifestent depuis plus de deux siècles au moment où les artistes organisateurs d'expositions sont de plus en plus présents sur la scène artistique contemporaine. Par-delà le phénomène de mode, une vue d'ensemble des artistes-curateurs est dressée, une typologie de ceux-ci proposée. L'ensemble des réflexions et des recherches porte sur les liens entre art et réception de l'art à travers l'étude de la french theory (Gilles Deleuze, Félix Guattari, Jean-François Lyotard, Jacques Rancière, Jacques Derrida), du réalisme spéculatif (Quentin Meillassoux, Graham Harman) et de l'heccéité (Jean Duns Scot). En s'appuyant sur une étude épistémologique, les différents caractères existants de la position d'artiste-curateur sont analysés. À travers des expériences artistiques et curatoriales subjectives, la visibilité des fondements véritables de cette double pratique, assumée comme telle, est pensée. L'objectif est de rendre compte de la définition possible de l'artiste-curateur comme avant tout un créateur de lieu, de dispositifs, et d'espace d'exposition au service des autres. Les rapports qu'entretiennent les artistes avec les commissaires d'expositions sont rendus visibles, tant dans leurs relations harmonieuses que conflictuelles. Des pistes pour l'avenir se conçoivent dans le prolongement de la poétique de la relation développée par Édouard GlissantThis thesis shows that, under various guises, the artist-curator model has been operating for more two centuries when the artists who curate exhibitions are ever more visible on the artistic scene. Across the fashion phenomenon, an overview of the more prominent artist-curators is erected, a typology of these practitioners is proposed. He particularly focuses his reflections and researches on the links between art and theory, the study of the reception of French Theory (Gilles Deleuze, Félix Guattari, Jean-François Lyotard, Jacques Rancière, Jacques Derrida), speculative realism (Quentin Meillassoux, Graham Harman) and haecceity (Jean Duns Scot). Using epistemological methodology and analyzing the state of variables, he details the various characteristics which coexist in the artist-curator position. The author uses his own artistic and curatorial experience : he founded and curates the artist-run space Immanence. He aims to bring to life the real foundations of this double practice. The thesis posits the possible definition of the artistcurator both as the author of a creative act in place visibility and display, and simultaneously as a creator at the service of the others. At the heart, are the relationships between curated artists and artist-curator : the cooperation, consensus and correspondence, as well as the dissent and conflicts. Finally, the author looks to the possible futures drawing from the poetics of relation developed by Édouard Glissant
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Fozard, Roxanne. "Ghostcards of WA: An exhibition of oil paintings on linen – and – Repositioning the Denkbild: A painting investigation into deaths in custody in 21st century Western Australia: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2155.
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Having a personal connection through several family members to the life and work of Ngaanyatjarra Elder Mr Ward, I found his death in custody in outback Western Australia unsettling and incomprehensible. As the circumstances of his death were revealed, I became aware of glaring omissions in the telling of his story and the circumstances that led to his death. Through my engagement with the subsequent media reporting, official documents and personal conversations, I recognised a profound lack of understanding of difference and otherness within a shared history and space in Western Australia. The initial aim of my project was to investigate the incomprehensible through the lens of Ngaanyatjarra Elder Mr Ward’s death; however, ethically, this proved a difficult path to negotiate. Through my research, I came to understand that the continued use of the dominant language of the coloniser, which is embedded in social practices and academic discourse is, in part, continuing to perpetuate white privilege. The ethical problems raised inspired me to develop an approach, which although oblique, would nevertheless enable fresh insight into otherness and difference in a multi-cultural society. The particular concern of this practice-led research project is not to exploit the trauma of others but to raise awareness of this social space through my work, giving rise to new understandings and possible relations.
This research gathered key texts from Walter Benjamin and Theodor Adorno, to facilitate the transfer of the written form of Denkbild, a literary device manipulating the codes of language to visualise the process of thought, into a painting practice. The Denkbild (thought-image) is a Euro-centric genre of exploratory philosophical writing, crafted in response to a society witnessing tremendous change as a result of the devastating impact of WWI and WWII. Through this creative project, the challenge was to re-activate the Denkbild through painting and accompanying text to investigate deaths in custody and interrogate the connected issues of ethics, politics and inequality, which is written into the shared spaces of Western Australia. The Denkbild is then developed further with the addition of Henri Lefebvre’s threedimensional spatial application of dialectical thinking and the creative practice of selected Australian artists. Through this addition, the binary dialectical framework of the Denkbild is expanded to reflect contemporary thinking on the concept of space as a social product. This perspective emerges to enable fresh insight into Aboriginal understandings of space as representing an ‘eternal now’, such that a mutual understanding of space is manifested. My painting practice reflects and informs this transition, as I moved from the painting studio to selected locations to record information and experiences that developed my research position.
To achieve the project’s aims, I engaged in reflexivity and praxis as the methodological tools to guide my research. Through painting, my research extended across interdisciplinary fields including visual arts practices, philosophical history and literature, to interrogate a spatial dynamic, revealing marginalised insights and connecting interrelationships between sites. For the purpose of this research, the paintings, exhibitions and exegesis function on two levels: as an avenue into mediation of Western Australian culture and as a methodological approach to visual art practice. My research culminated in the exhibition, Ghostcards of WA 2017 at the Spectrum Project Space, ECU, Mount Lawley. This project is significant as it renews the Denkbild to further the unique relationship between conceptual and representational categories that binds together experience, object and practice to form an interrogative tool for critical inquiry. In the application of this method to a Western Australian context, new thinking is encouraged through the inclusive reading of space and the collapsing of misunderstandings perpetuated in historicism through a shared recognition of the inherent value of space/sites which— far from being incomprehensible, reactive, nostalgic and solipsistic—are comprehensible, active, prescient, abundant and social.
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Onsal, Basak. "Emergence Of Art Galleries In Ankara A Case Study Of Three Pionerring Galleries In The 1950s." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608100/index.pdf.
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This thesis attempts to analyze the emergence of private art galleries in Turkey by
focusing on specifically the three art galleries, namely Gallery Milar, Helikon Society&rsquos Gallery, and Society of Artlovers&rsquo
Gallery that were opened in Ankara during 1950s. To this aim, both the artistic movements and governmental policies regarding the artistic field are mentioned from a historical point of view. Interviews, analysis of relevant literature, examining periodical magazines, and daily newspapers constitute the main sources of data collecting. In conclusion, in the light of our findings it is decided that the formation of art market and emergence of art galleries in Turkey have quite different characteristics from the western example as a result of its own social, cultural and economic dynamics in the historical frame.
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Tunér, Anni. "Inbjudande flöde på mindre konstutställningar : Hur små utställningslokaler kan få stor betydelse." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-40084.
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This is a study about art exhibitions and the flow of spatial movement within them. The thesis of this work is how to create an active and guiding flow of movement within a smaller exhibition space. Using the methods Timing and Tracking and Spatial Analysis, three different art exhibitions in smaller spaces are studied to see how the flow of spatial movement is created. Former studies about spatial movement and how form and space affect visitors’ behavior by Wineman and Peonies (2010) and Ching and Binggeli (2012) have been taken into account for this study. The results of studying three exhibitions; Paper Art, Nya Målningar and Kemiska Undersökningar, show that the use of walls and furniture positively affects an active and guiding movement even within the limitations of smaller exhibition spaces. Three different examples have been created to show how an active and guiding spatial movement within smaller spaces may be achieved. These examples also visuality represent the spatial movement within a smaller exhibition space. The examples are created in the form of floor-plans and coloured sketches to demonstrate how exhibition designers and artists could effectively use smaller spaces for art exhibitions.
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Levickaitė, Inga. "Etnografinis muziejus kaip ugdymo erdvė: Lietuvos liaudies buities muziejaus atvejis." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20140701_191734-15737.
Full textAbstract:
Tyrimo objektas – etnografinio muziejaus kaip ugdymo erdvės funkcionavimas. Tyrimo tikslas – pasitelkus Lietuvos liaudies buities muziejuje taikomų eksponavimo formų, priemonių, rengiamų edukacinių programų analizę, atskleisti etnografinio muziejaus kaip ugdymo erdvės funkcionavimo specifiką. Tikslui įgyvendinti siekiama šių uždavinių: 1. išsiaiškinti prioritetines muziejų veiklos kryptis Lietuvos muziejų veiklą reglamentuojančiuose dokumentuose ir atskleisti Lietuvos liaudies buities muziejaus veiklos prioritetų ištakas bei kaitą; 2. nustatyti eksponavimo formų Lietuvos liaudies buities muziejuje specifiką; 3. ištirti mokymo bei mokymosi neformalioje Lietuvos liaudies buities aplinkoje galimybes; 4. išsiaiškinti, ar esama komercijos elementų savitoje Lietuvos liaudies buities muziejaus edukacinėje programoje – tradicinėse šventėse; 5. atskleisti ugdymo medijų naudojimo muziejuose kaitą ir tos kaitos pasekmes ugdymo procesui. Paskutiniais dešimtmečiais pasaulinėje praktikoje ugdymas yra laikomas yra visų muziejų veiklos pagrindu. Nors Lietuvos muziejų veiklą reglamentuojančiuose įstatymuose bei Lietuvos liaudies buities muziejaus statute daugiau akcentuojamos paveldosauginės muziejaus kaip institucijos funkcijos, atgavus nepriklausomybę, muziejus pradėjo teikti pirmenybę edukacinei veiklai. Nuo 1991 metų čia rengiamos veikiančios ekspozicijos, kuriose eksponatai naudojami pagal paskirtį. Jos ne tik suteikia lankytojui didesnes išmokimo bei susipažinimo su praeities kontekstu... [toliau žr. visą tekstą]Subject of investigation: The functioning of the ethnographic museum as an educational space. Goal of investigation: To determine the specific nature of the functioning of the ethnographic museum as an educational space through an analysis of the forms and methods of exhibition and educational programs of the Open Air museum of Lithuania. The following tasks were pursued to implement this goal: 1. to determine the fundamental direction of priority activities of museums in documents regulating the activity of Lithuanian museums and to determine the source and changes of priority activities at the Open Air museum of Lithuania; 2. to determine the specific character of forms of exhibition at the Open Air museum of Lithuania; 3. to examine the prospects for learning and teaching within the informal environment of Open Air museum of Lithuania; 4. to determine whether there are commercial elements in the educational program of the Open Air museum of Lithuania, during traditional celebrations; 5. to elucidate changes in the use of educational media at museums and the effects of those changes on the educational process. Over the preceding decades in global practice education has been considered the foundation for all museum activities. Although laws regulating the activities of Lithuanian museums and the statute of the Open Air museum of Lithuania place greater emphasis on the heritage protection functions of the museum as an institution, following Lithuanian independence the museum... [to full text]
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Badár, Tomáš. "Výstavní pavilon." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2019. http://www.nusl.cz/ntk/nusl-392108.
Full textAbstract:
The aim of the work is to design steel structure exhibition pavilion. The building is situated in Brno. The construction is processed in two options. The option A is designed in variant of arched space frame. The internal ground plan dimensions of the building are 42 x 72 meters. Space frame is hinged to the structure of columns. Height in the top of the ship is 16,834 metres. The option B is designed in variant arched truss. The internal ground plan dimensions of the building are 42 x 70 meters. Arched truss is hinged to the structure of columns. Height in the top of the ship is 18,334 metres. The spatial rigidity of the structure is ensured by cross braces. Roof cladding and walls will be made using sandwich panels of KINGSPAN. The main material will be used steel S235.
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George, Jamie. "The sculptural, display, location and forgetful memory." Thesis, Anglia Ruskin University, 2013. http://arro.anglia.ac.uk/312323/.
Full textAbstract:
This thesis explores the nature of contemporary sculptural practices in relation to the broader field of installed sculpture (which deploy articulated, interrelated, but autonomous components) and in the context of recent approaches to both curation and display. The artistic work and attendant commentary constitute a response to the issues of sculptural agency and display raised by both the practice-based outcomes and key works of several contemporary artists: Gabriel Kuri, Gedi Sibony, Melanie Counsell, Marc Camille Chaimowicz and Michael Dean. In a number of exhibitions ‘post-installation’ practices and the function of ‘montage’ sculpture is examined. Through outlining the current landscape of sculptural production and medium specificity a progressive notion of the monument is established. The sculptural artwork is seen to retain a political resistance, as both art-object and thing in the world. An assessment is made of how sculptures produce space within and through their exhibition context, directly related to the production of space as a whole (a social morphology posited by Henri Lefebvre). Applying a conception of time in reference to spatial production opens up the artwork’s potential to draw on complex codes of mnemonic function, which can potentially generate emancipatory agency from ideological issues in late-capitalism. Re-readings of key installed works by Marc Camille Chaimowicz and Mark Dean, through contexts derived from Nietzsche and Mark Fisher, reveal how sculptures can activate specific mnemonic codes, or collective memory. Such art works utilise a ‘forgetful memory’ – a reflexive process of positing, junking and reimagining relationships to cultural information. The body of artistic work produced for this research, intertwined with its critical reflection, makes an original contribution to knowledge by interrogating theoretically and experientially the potentials of ‘the sculptural’, as part of the plural production of art and exhibition-making. By means of practice and its outcomes, the research engages the current dynamics of spatial production and radicality of sculptural objecthood. The work examines the complex relationships between social memory and historicity, with which sculpture in an exhibition environment can engage.
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George, Jamie. "The sculptural, display, location and forgetful memory." Thesis, Anglia Ruskin University, 2013. https://arro.anglia.ac.uk/id/eprint/312323/1/thesis.final.Jamie.George.pdf.
Full textAbstract:
This thesis explores the nature of contemporary sculptural practices in relation to the
broader field of installed sculpture (which deploy articulated, interrelated, but autonomous
components) and in the context of recent approaches to both curation and display. The
artistic work and attendant commentary constitute a response to the issues of sculptural
agency and display raised by both the practice-based outcomes and key works of several
contemporary artists: Gabriel Kuri, Gedi Sibony, Melanie Counsell, Marc Camille
Chaimowicz and Michael Dean. In a number of exhibitions ‘post-installation’ practices and
the function of ‘montage’ sculpture is examined. Through outlining the current landscape of
sculptural production and medium specificity a progressive notion of the monument is
established. The sculptural artwork is seen to retain a political resistance, as both art-object
and thing in the world. An assessment is made of how sculptures produce space within and
through their exhibition context, directly related to the production of space as a whole (a
social morphology posited by Henri Lefebvre). Applying a conception of time in reference
to spatial production opens up the artwork’s potential to draw on complex codes of
mnemonic function, which can potentially generate emancipatory agency from ideological
issues in late-capitalism. Re-readings of key installed works by Marc Camille Chaimowicz
and Mark Dean, through contexts derived from Nietzsche and Mark Fisher, reveal how
sculptures can activate specific mnemonic codes, or collective memory. Such art works
utilise a ‘forgetful memory’ – a reflexive process of positing, junking and reimagining
relationships to cultural information. The body of artistic work produced for this research,
intertwined with its critical reflection, makes an original contribution to knowledge by
interrogating theoretically and experientially the potentials of ‘the sculptural’, as part of the
plural production of art and exhibition-making. By means of practice and its outcomes, the
research engages the current dynamics of spatial production and radicality of sculptural
objecthood. The work examines the complex relationships between social memory and
historicity, with which sculpture in an exhibition environment can engage.
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Chiu, Hsiu-Hsiang, and 邱秀香. "Agent Mechanism on Exhibition Space Design." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/26756850189903117737.
Full textAbstract:
碩士國立成功大學
工業設計學系碩博士班
91
This study proposes a new search model with an agent program, to0 solve the problem that traditional Internet virtual exhibition for real-time interaction. When a visitor input the keywords, the agent program can find out the data and provide the visitor customized information regarding the demonstrating products. The findings of this study are listed as below： （1）The Agent Mechanism can create a variety of themes of the exhibition automatically. （2）The Agent Mechanism can save time of building up the exhibition spaces. （3）This system provides the users a stronger sense of the relations between exhibiting items then the existing virtual exhibition does. （4）This system delivers the richer exhibition information with utilizing multimedia. （5）This system allows the end-users change the exhibiting styles with the customization function. （6）This system facilitates to allocating the exhibition spaces with the artificial intelligent technique.
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Wang, Shao-Chun, and 王少君. "Investigation on the Transformation of Exhibition Space in Animation Exhibition in Taiwan." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/zvyy2j.
Full textAbstract:
碩士國立臺南藝術大學
博物館學與古物維護研究所
106
Currently, the special exhibition in Taiwan gradually increases in quantity, with a tendency to broaden exhibition themes. In particular, audiences make beeline for cartoon, animation and fashion exhibitions. Popular topics such as "Ghibli" and "Minions" are mushrooming everywhere. Under the circumstances, the exhibition types and quality in museum have changed greatly. Some art, culture, history and educational exhibition's box offices are not falling behind cartoon, animation and fashion exhibitions. In the meantime, many alternative spaces have stood out as a new trend in the modern society. These spaces are more flexible and expedient, provoking visitors with new issues. The researcher used secondary data of exhibition themes, space and methods to find out that exhibition space has become a key reason for visitors to make their decisions whether they would like to go to a certain exhibition or not. Therefore, this dissertation discussed animation exhibition phenomenon in contemporary popular culture and the transformation of the exhibition space in Taiwan. Furthermore, the research also tried to look for the reasons for visitors if they want to visit to the exhibition. The research first analyzed animation exhibitions in Taiwan from 2000 to 2018, to investigate the development in museum, art museum and alternative space in recent years. It is therefore concluded that among them, the major destinations in the south of Taiwan are the Kaohsiung Museum of Fine Arts, the National Science and Technology Museum and the Pier-2 Art Center, all in Kaohsiung City. Then through cross examination data collected from in-depth interviews and questionnaire survey, the researcher investigated the relationship between animation exhibition and exhibition space. As a result, "space" indirectly affects the visitor's choice for animation exhibition place. Although the animation exhibition in museums still retains the educational role, because of the diversity of competitors, museums have gradually moved to market-oriented and pay more attention to visitor's demands. To sum up, the arrival of animation exhibitions not only influenced the nature of exhibition culture, but also changed visitor's needs. It has led to the popularization of exhibitions in Taiwan in the new century.
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Sung-hsing, Lee, and 李嵩興. "Maneuverability of space image---Information of popular life exhibition space." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/97855128811450457614.
Full textAbstract:
碩士淡江大學
建築學系
88
In the stage of space image design, "site" is usually an import section to handle. Unlike the "site" which usually exists and represents only part of the picture, the space image of site means continuous space experiences. When experiencing the space, an individual will put together and interpret the meaning of such experience and as such a space image is then formed. As the result, the pictures taken during each stage of design no longer are a tool of recording but a diagrammatic representation of a conceptual space image. These Two-dimensional conceptual images are then used to form applicable three- dimensional space image models. Lastly, much like reassembling the conceptual space diagram of an individual when experiencing a space, these space image models are reassembled to form a conceptual image of space which effects in emphasized space concept and stronger space enjoyment for an individual. The following are the few steps in the design process: 1. Making fragment of space image : using the cutting concept to cut conceptual image from the site. 2. Preparing the Space Image Model : Transforming the Two-dimensional conceptual image into a three- dimensional model. 3. Coding the unit space : Attracting the space coding from the earlier three-dimensional model as an element for next stage model assembly. 4. Assembling the space unit code : Assemble the space coding according to the theme of the site.
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Su, Jyun-Ming, and 蘇俊銘. "A Study of Exhibition Space in Libraries." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/09324673171233686563.
Full textAbstract:
碩士東海大學
建築學系
99
【Abstracte】 The services of modernized library, make the transition with social organization type and pluralism of people's lifes day by day. Increasing socialist education movement、leisure or teaching service spaces and facilities besides traditional service space. Such as: The exhibition room, gallery, auditorium, lecture space and bookstore ,etc. Making the library trend to develop in compounding type function. First, there are some difference about the exhibition space in library, cause the readers have different ways to use it. Advantage analyzes the obtained material with “the questionnaire survey” to know the relation of essence environmental condition and usage. Second, there are differences in setting up the exhibition space in the libraries , affects the way of manage by librarian. By “the questionnaire survey” from the satisfaction of readers about the librarians’ management and operation. Analyze the obtained material to understand the existing substantive service result. Synthesizes disposition superiorly and the shortcoming of each library, affects “the primary factor” services of the exhibition space in library inducted by： 1. “Control post point” of library doesn’t sate. 2. The exhibition space in library disposes for the space that doesn’t disturb the other spaces in the library. 3. The exhibition space plan to the “exhibition room” should have an passageway,then can reduce the disturbance of “the generatrix of the exhibition” rightly to “ the other space generatrix in the library ”. 4. The relations of the exhibition space's patterns and exhibition facilities：Library may attempt to use must adheres firmly-like the exhibition cabinet, may gets rid of lacks the situation changeless. If it considered that uses the hall, the entrance to make the exhibition behavior, it must plan to design carefully exhibition walls and the exhibition cabinets to make an overall that matches with the hall. 5. Exhibition space may plan in “first floor” that make people comfortable to use it. 6. The relations between “passageway generatrix” of the exhibition space and “main generatrix” of library：it needs position in the main generatrix to use the library fundamental space in the library. Key words: University Library；Public Library；Library Architecture；Exhibition Space
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Wang, Hong-Bin, and 王鴻濱. "The Planning of Fire Prevention on Exhibition Space." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/68036430983888491768.
Full textAbstract:
碩士中華大學
建築與都市計畫學系碩士班
87
For those who have been reputing with its five thousand years old historyand grandness, the Chinese cultural assets are among the world''s leadingdomains. Due to our forefather''s life history and wisdom, the cultural assets in Taiwan are thus rare and rich. Because they are easy to be damaged or ruined by fire, the value of the assets will be decreased. Nevertheless the disaster may break once in a while without notice; the job to preserve and well maintain those valuable cultural assets from disaster damage becomes very important. Given that the current regulations on disaster prevention for cultural assets cannot cover every aspect of the exhibition space such as museum, it is believed that a guideline hosted to preserve the cultural assets is essential and necessary. In research of the foreign and local articles on fire prevention for culturalassets and exhibition spaces, a complete set of information may thereforebe organized and analyzed. A comprehensive study on fire prevention planning of cultural assets exhibition space is thus conducted. And the draft"The Planning of Fire Prevention on Exhibition Space" which include the topics of fire prevention planning, fire administration planning, saluge system planning, take sanctuary planning, and smoke control system planning can be initiated. The preceding studies are aimed to produce the draft for disaster prevention planning of the exhibition spaces, which display the cultural assets and the cultural objects. Experts evaluation is conducted through the form of a questionnaire to revise the draft of the concept. The result would serve as a reference for preserving and maintaining the cultural assets, the cultural objects and the exhibition spaces as well. The chapter organization of this research study follows: Chapter 1: motive, purpose, scope, content, method and procedure to conduct this project. Chapter 2: study on definitions of cultural assets exhibition spaces, theorization of building fire,and document of fire prevention. Chapter 3: study on related articles regarding the definition and specialtyof the cultural assets, the categorization of cultural assets and investigation on the material properties, structure type, space pattern, and the plan of some given exhibition spaces. Chapter 4: about characteristics, fire sorts, and considerration for culturalassets exhibition spaces. Chapter 5: analyzed for Delphi expert questionnaires. Chapter 6: a complete set of information may therefore be organized andanalyzed for our cultural assets exhibition spaces. the planning of fire prevention on exhibition space of cultural objects and theexhibition spaces. Chapter 7: conclusion and suggestions.
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Lee, Wen-Sheng, and 李文聖. "Application of RFID on Space Planning of Exhibition." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/50766638190074155779.
Full textAbstract:
碩士大葉大學
資訊管理學系碩士班
97
xhibition space for the distribution of the region, from the previous studies there are many solutions have been related to space planning to visit the wishes of the impact of visitors, visits to the quality, such as efficient and can dynamically adjust the allocation of space, there will be help to improve the visitors to participate in the exhibition of the results obtained with satisfaction, management can also be by a combination of science and technology to reduce the waste of human resources, more efficient management of the exhibition area. We will use RFID information retrieval accuracy and speed advantages, integrated management system used in the regional exhibition, the final space syntax can be used to determine the best settings of space to play a more efficient space management. Main purpose of this study by wireless communication technologies such as RFID, wireless LAN, etc., on the basis of the construction of a regional exhibition of building management system model, the user registered in the RFID tag information, to carry on the body can be used as pass, exhibition tour in a time when RFID tags with mobile visitors, we will build RFID readers in every key area, the reader will be positioned close to the users of induction by RFID tags and reader feedback by The message management system and users can quickly record the location, time, you can use the information collected, in the shortest period so make the best of spatial planning of the area or exhibition space planning rotational reference.