Relevant bibliographies by topics / Museum Exhibition

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Museum Exhibition'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 June 2025

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Journal articles on the topic "Museum Exhibition"

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Puspasari, Shinta. "Pendampingan perancangan ruang pamer museum dr.AK.Gani pada pameran bersama Museum Negeri Sumatera Selatan." ABSYARA: Jurnal Pengabdian Pada Masyarakat 2, no. 2 (2021): 239–45. http://dx.doi.org/10.29408/ab.v2i2.4322.

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A successful exhibition cannot be separated from the proper arrangement of the exhibition space. A good exhibition space arrangement will generate interest from exhibition visitors. Moreover, what if the exhibition is a museum exhibition. The arrangement of museum exhibitions requires a more complex arrangement. South Sumatra Province held a joint exhibition which various state museums throughout South Sumatra attended. Because various museums attend it, a good exhibition space arrangement is needed to present an optimal exhibition space so that it is attractive to visitors and is not inferior to other museums in the exhibition. Therefore, this service aims to assist dr.AK.Gani Museum as a partner to organize its exhibition space to make it more optimal. The community service activities offered at this activity are assistance in designing informative brochures and showing off collections. Exhibition activities went well and safely following health protocols during the COVID-19 pandemic, attended by various students and the general public. The activity method includes focus group discussions, exhibition room design, and effective exhibition space design implementation to produce the dr.AK.Gani Museum exhibition design has been implemented at the 2020 Joint Exhibition at the South Sumatra State Museum
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Shorina, Darina. "PECULIARITIES OF EXHIBITION AREAS DESIGNING OF INSTITUTIONAL MUSEUMS OF WEST SIBERIA (RUSSIA)." Proceedings of Altai State Academy of Culture and Arts, no. 3 (2021): 33–40. http://dx.doi.org/10.32340/2414-9101-2021-3-33-40.

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The paper considers basic methodological principles and theoretical approaches to arranging exhibition spaces of the today's institutional museums operating in West Siberia (Russia). Specifics of departmental museums as a sort of museum formations with debatable classification features is cleared. Description of modern conceptions of subject-spatial designing of exhibition areas in a museum is given; the author of the article outlines her own view on a technology of arranging exhibition in an institutional museum, names typical elements of its topic structure, analyses attractive architectural and artistic decisions in designing museum exhibitions.
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.

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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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Aarbakke, Thea. "Musealiserte relasjoner mellom liv og litteratur på Olav H. Hauge-senteret." Nordisk Museologi 28, no. 1 (2020): 75. http://dx.doi.org/10.5617/nm.7970.

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This article investigates how one of the museums’ foremost communication tools, their exhibitions, negotiates the appearance of the Norwegian poet Olav H. Hauge’s life and literature, and the relations between them, by way of the exhibition’s material components and exhibition technologies. In the exhibition, authorship and author biography intersect and meet as a unique attribute of the exhibition space. How the author’s life and literature are communicated in the exhibitions and how the exhibition technologies affect the stories being told is the main focus of this analysis. Inspired by actor-network theory, the exhibition is analysed by situating museum props and exhibition technologies at the centre of the study.
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Fouché, Florian, and Marianne Mesnil. "The Antidote Museum in practice: an artist and an ethnologist's iew on the Romanian Peasant Museum." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 94–117. http://dx.doi.org/10.57225/martor.2018.23.06.

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During an interview from Autumn 2017, in Bucharest, Marianne Mesnil (ethnologist) and Florian Fouché (artist) talk about their experience at the Romanian Peasant Museum in Bucharest. They are discussing about the museum display experienced by Irina Nicolau (1946-2002) and Horia Bernea (1938-2000): the exhibition hall “The Plague”, the curtains from “Village School”, the manifest “The Antidote Museum”, or the concepts of “father-museums” and “mother-museums”, the exhibition hall “Time”. Starting with their reflections on the Peasant Museum, the discussion turns to the exhibition that Florian Fouché had about the museum, entitled “The Antidote Museum” (Centre d’art Passerelle, Brest,2014), but also to the exhibitions that Irina Nicolau had set up in France, Un village dans une malle (Paris, 1991), and another one in Belgium, Roumanie en miroir, mémoires de tiroir (Treignes, 1997). The article is accompanied by photos taken by Florian Fouché of his exhibition.
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Yasukawa, Keiko, Jacquie Widin, Vic Smith, et al. "Examining Museum Visits as Literacy Events: The role of mediators." Literacy and Numeracy Studies 21, no. 1 (2013): 85–104. http://dx.doi.org/10.5130/lns.v21i1.3331.

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Museum exhibitions are literacy rich environments. Visitors may engage with a range of texts including texts that constitute the exhibition objects themselves, those that convey information about the objects and those that instruct visitors about how the visitors are expected by the museum to navigate through the exhibition. The ways in which visitors engage with these diverse texts are important defining factors of the visitors’ museum experience.For museums, understanding how texts in their exhibitions are influencing the museum experience, and the possibility of a museum experience for the broad public community is important in the fulfilment of their public mission as cultural and education institutions. In this paper, we adopt a view of literacy as a social practice, the perspective of New Literacy Studies (NLS), that offers a fruitful way for museums to consider the interactions between exhibition texts and their audiences. Such considerations, we argue, can inform museums’ approaches to broadening their visitor demographics to more strongly fulfill their public mission. We show that the goals of NLS resonate with some of the goals of the New Museology movement in museum studies, a movement that aims to democratize what museums represent and how. From NLS, we employ the concept of a literacy event to describe an exhibition visit through a literacy lens, and the concept of a literacy mediator to examine the literacy event not exclusively as an individual event, but a collectively produced event. The paper draws on data on how the literacy events of two groups of ‘non-traditional’ visitor groups were mediated in an exhibition, and show how they reveal the range of different literacies that visitors need to negotiate in a museum exhibition.
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WuJiu, Liu, Wahiza Abdul Wahid, and Noor Azly Mohamed Ali. "Digital Innovation in Museum Exhibitions: An Augmented Reality Framework for Dezhou City Museum." International Journal of Art and Design 9, no. 1/SI (2025): 118–33. https://doi.org/10.24191/ijad.v9i1/si.3737.

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Continuity advancement of science and technology, coupled with a surge in cultural consciousness and improved cultural literacy. Recently increase year by year in the number of museums across China. Due to this national trend, Dezhou City in Shandong Province has also established its own museum, primarily dedicated to preserving and exhibiting the city’s historical culture and significant artefacts. It serves as a place for local residents to visit, engage in educational and cultural dissemination, and provide valuable physical and documentary support for researchers studying relevant issues. However, as time progresses, traditional museum exhibitions have become inadequate in meeting the demands of modern visitors. The researcher has designed new exhibitions for the museum using AR (Augmented Reality) technology by taking Dezhou City as a case. This paper outlines the trend of exhibition design using AR technology and emphasises core issues including the accuracy and appropriacy of exhibits and whether the demands of visitors are well catered to. The researchers conducted field surveys and observations by qualitative research methods at the Dezhou Museum, for which the research findings were used to help devise an Augmented Reality (AR)-based exhibition framework. The aim is to investigate how the application of AR technology can help in the digital transformation of Dezhou's museum exhibitions and ultimately design an exhibition framework based on Augmented Reality (AR) technology for the Dezhou City Museum. Exploring the current situation through literature reviews, summarising the forms of AR technology applications, and analysing existing exhibitions and sections on a per-hall basis, the study intends to identify the weight and matching forms for the transformation of the first and the third exhibition halls. The conclusion outlines the design trends and paths for interactive exhibitions and potential research directions.
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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.
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Cao, Kai. "Development and Design Case Function Comparison of Panoramic Roaming System of Virtual Museum Based on Pano2VR." Mobile Information Systems 2022 (July 5, 2022): 1–11. http://dx.doi.org/10.1155/2022/7363221.

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The development of modern information technology gives birth to virtual museums. The exhibition of physical museums is evolving into online virtual exhibition, allowing users to have an immersive experience of museums without leaving home. Through content analysis, this study analyzes the status quo of online virtual museums in China and discovers two major problems: the exhibits are mainly brief introductory graphs and texts, and the exhibition module is independent of the panoramic roaming module. To solve the problems, Pano2VR was used to develop and design a virtual museum panorama roaming system for Hubei Museum. After realizing the map navigation of the museum, photos of the museum were taken on the site and prepared into a panorama. Then, the panorama roaming of the virtual museum was achieved based on Pano2VR. Finally, the results were displayed on the virtual web page of the museum, and real interactive virtual exhibitions were conducted on the website platform. The proposed system enhances the research value of the cultural relics of the Hubei Museum and increases the interaction with users.
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Bernbeck, Reinhard. "The exhibition of architecture and the architecture of an exhibition." Archaeological Dialogues 7, no. 2 (2000): 98–125. http://dx.doi.org/10.1017/s1380203800001665.

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AbstractOne of the major archaeological museums, the Pergamon Museum in Berlin, serves as an example to discuss present problems of museology. I argue that the development of museums has to be analysed from a combination of perspectives, including an historical one, that of visitors and of museum staff. In a first section, the paper outlines the history of the Pergamon Museum, including an institutional history and the larger socio–political framework. To highlight the range of possibilities of understanding, I give two readings of the museum from the viewpoints of differently oriented visitors, one colonialist, the other postmodern. I then consider current debates among curators and distinguish between two main exhibition strategies, one pragmatist, the other purist. Finally, I discuss the larger framework in which museums exist, which shows their problematic status. Using critical theory's distinction between culture industry and affirmative (elite) culture, I show that the Pergamon and other museums survive today only through an uneasy compromise between these two extreme poles of culture.
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Dissertations / Theses on the topic "Museum Exhibition"

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McCormack, Bernadette. "Blockbustering Australian style: Evolution of the blockbuster exhibition in Australian museums." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/200164/1/Bernadette_McCormack_Thesis.pdf.

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This research critically evaluates the development of the blockbuster exhibition within an Australian museum context. Drawing on semi-structured interviews, reflective practice, and critical historiography, this research argues that current iterations of the blockbuster genre have given rise to a new ecology of 'attractor' exhibitions that are fundamental to visitor engagement strategies in the 21st century Australian museum. These findings are then operationalised in a practical field guide for the implementation of blockbuster exhibitions, providing new knowledge for the Australian museum practitioner to employ in contemporary industry practice.
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Steyn, Sune-Marie. "A contemporary museum experience : the design of a new satellite museum for the Ditsong: National Museum of Cultural History in Pretoria." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/30284.

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This dissertation originated from an interest in museum architecture and the desire to improve museum experiences for the inhabitants of Pretoria. The city is in need of a museum that does not distinguish between different cultures and backgrounds, and that provides an experience that a regular city user can relate to. This dissertation aims to address this need with the creation of a museum that relies on a chance museum encounter in an everyday place. This museum encounter will enrich people’s daily city experiences and provide opportunity for self-reflection and contemplation. The dissertation proposes a new satellite museum for the existing Ditsong: National Museum of Cultural History as a method of exposing the public to this museum. This satellite museum will function as a branch of the larger museum. The aim of this satellite museum is to provide regular users of the city with an unexpected museum experience. This dissertation considers what a contemporary museum in the inner city of Pretoria should be in terms of function and architectural implementation. The document investigates contemporary trends in museum architecture and evaluates existing museums in Pretoria. It also includes an investigation into culture in South Africa and into the relation of the satellite museum to its context. The study concludes that a contemporary museum experience is one that facilitates continuous change, and provides a spatial experience that blurs the threshold between the new museum and existing public space.<br>Dissertation (MInt(Prof))--University of Pretoria, 2011.<br>Architecture<br>unrestricted
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Hollis, Alan D. "Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.

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Bucciantini, Alima Maria. "Museum, exhibition, object : artefactual narratives and their dilemmas in the National Museum of Scotland." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/7983.

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National museums are spaces where stories of the past are told through the display and interpretation of material culture. The narratives that are created in this way reflect the ways in which the nation wants to be seen at that particular moment, and are often embedded in the larger political and social contexts of that time. This thesis looks at the National Museum of Scotland as having three levels of narrative: that of the museum as a physical space and national institution, that of the temporary exhibitions it hosts and develops, and, most crucially, as a collection of important and iconic objects. By tracing the artefacts that were given a central role in various exhibitions over the life of the museum, the narratives of nation and history which were most valuable at that time can be uncovered. The two permanent and five temporary exhibitions profiled in this work act as windows into the life of the museum, and the goals and challenges it had at that moment. The thesis begins with the story of museum history in Scotland, from the 1780 formation of the Society of Antiquaries of Scotland to the debates in the 1990s about the potential form and contents of a new Museum of Scotland. From there we look at two temporary exhibitions in the 1980s which inspired the Museum of Scotland, before examining some more recent temporary and touring exhibitions – a pair that came to Scotland from Russia, and one that left Edinburgh to travel among other Scottish museums. The final chapter returns to the realm of what it means to have a national museum, as it investigates the 2006 rebranding that changed the Museum of Scotland into the National Museum of Scotland, and what the new nomenclature signals about the objects and narratives within. All together, this work is both the story of a particular national museum and an investigation into the ways in which national history is continuously made and remade for the public through the display of artefacts from the past.
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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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Lin, Chung-Hung. "Establishing a development process for science museum exhibition design." Thesis, Birmingham City University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272155.

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As museum exhibition design becomes technically complex and design teams more specialised and fragmented, the need to plan, co-ordinate and increase the quality of the design process is becoming more important. According to a preliminary analysis of science museums, multi-disciplinary, targeted, technology-based exhibits are replacing traditional object based displays; therefore, a specifically multi-disciplinary model is necessary to develop a workable museum exhibitiond design process (MEDP) model. This research explores the theoryo of design processes and museum exhibitions as a means of developing an MEDP model and takes a comprehensive look at how design process models are currently used in developing museum exhibitions. It aims at establishin ga process model specifically for inter-disciplinary exhibition design work in science museums, which is theory-base and can be used as a prescriptive design aid to enhance the effective use of design information. Research methods comprise an exploratory study of literature and collected data, the development of surveys and case studies and their analysis in terms of MEDP methodology. The research examines theoretical (architectural, product and exhibition) models and develops a small number of case studies showing how design concepts are managed in real-world practice. A live case 'The Discovery Centre at Millennium Point' was used to observe two exhibition design projects in progress and to provide an overview of practical processs in design development. In addition, other case studies of `completed' museum exhibition design projects were developed by physical site surveys, questionnaires and interviews. The MEDP model is constructed from data flow diagrams generically representing the tasks involved and the associated information flows in a consistent manner and was evaluated for its concept development capability by designers and curators. Future development is also considered in relation to museology, design management and project management.
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McManus, Paulette Marion. "Communication with and between visitors to a science museum." Thesis, King's College London (University of London), 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295042.

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Quinn, Lisa A. "Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.

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Kraeutler, Hadwig. "Otto Neurath - Museum and exhibition work: Spaces (designed) for communication." Thesis, University of Leicester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488923.

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Giraldo, Verónica. "Here we are building a museum together: An interactive exhibition." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22327.

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It has been established by several studies that interactive exhibitions in museums bring many benefits to the experience of its visitors. This thesis explores how to make the exhibition Människor och idéer i rörelse (People and Ideas in Motion) interactive. This exhibition took place at the Workroom of Rörelsernas Museum (Museum of Movements) in Malmö. The exhibition was designed so that no one needed to go inside, but rather view and interact with the content of the exhibition from the street, which was displayed on the windows of the Workroom.Through a context-based design approach, the design process consisted of three main phases: inspiration, ideation and implementation. Throughout the design process, it was defined that in order to maintain the distance measures needed, it was adamant to employ technology as a design material. Following a number of testings, the specific technologies that were to be used were defined, namely capacitive sensors. Following this, the project delves into the steps needed in order to define the output of sensors. The final product consisted of four sensors. Two of these were connected to surprise boxes that enhanced the visual content of the exhibition. The other two were connected to a sound system that employed the windows as speakers, providing extra information about the museum and the exhibition.
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Books on the topic "Museum Exhibition"

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Sharon, Macdonald, and Basu Paul, eds. Exhibition experiments. Blackwell Pub., 2007.

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1962-, Blais Andrée, ed. Text in the exhibition medium. Société des musées québécois, 1995.

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Pyŏng-hwa, Yun. Hagyesa rŭl wihan chŏnsi kihoek immun: Museum exhibition. 3rd ed. Yemunsa, 2014.

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Macdonald, Sharon. Museum visiting: A science exhibition case study. Dept. of Sociology and Social Anthropology, Keele University, 1993.

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1949-, Armstrong Richard, and Whitney Museum of American Art., eds. 1989 Biennial exhibition. Whitney Museum of American Art, 1989.

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Imperial War Museum (Great Britain). Imperial War Museum Holocaust exhibition. Imperial War Museum, 2000.

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Benedict, James S. Exhibition from a poem museum. JB Press, 1993.

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Guicciardini & Magni architetti, ed. Guicciardini & Magni architetti exhibition and museum design. Electa, 2019.

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American Association of Museums. Technical Information Service., ed. Exhibition planning and management: Reprints from NAME's Recent and recommended. American Association of Museums, Technical Information Service, 2001.

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Dernie, David. Exhibition design. W.W. Norton, 2006.

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Book chapters on the topic "Museum Exhibition"

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Pietrobruno, Sheenagh. "Tales of the Viking Helmet: Narrative Shifts from Museum Exhibitions to Personalised Search Requests." In Museum Digitisations and Emerging Curatorial Agencies Online. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_3.

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AbstractThe stories of museum objects on YouTube can counter and support those advanced by museums. How the narratives of the Viking helmet on YouTube reflect or differ from those put forward by the Swedish History Museum’s Viking exhibitions is approached through a previous methodological study that investigated the issue of location in the personalisation of historical narratives of museum objects on YouTube search engine result pages (SERPs) (Pietrobruno 2021). This revised method combining language with location brings together two media forms—actual museum exhibitions and personalised YouTube SERPs. The philosophy behind their interconnection is rooted in how the personalised content of SERPs produce meaning and museum exhibitions employ forms of individual customisation to generate meaning by enabling visitors to personalise their exhibition experience.
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Ohm, Tillmann. "Algorithmic Exhibition-Making." In Edition Museum. transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-019.

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This paper characterizes the potential of networks and embeddings for curatorial selection processes using the case of our algorithmically curated exhibition at HALLE 14-Center for Contemporary Art Leipzig. The curatorial process involved the construction of an undirected bipartite network of artworks and associated keywords, further enriched with keyword embeddings based on the ConceptNet Numberbatch dataset. The algorithmic selection of artworks was initially topic-guided and based on keyword associations. Three distinct communities within the network were then used to divide the exhibition into subtopics. Visualizing these communities created a coherent, conceptually focussed display serving both curators and visitors, demonstrating as such the capacity of network-based analysis in curatorial practice.
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Karbe, Ariane. "Exhibition analyses." In Museum Exhibitions and Suspense. Routledge, 2022. http://dx.doi.org/10.4324/781003153962-7.

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Kong, Da. "Exhibition diplomacy." In The Museum in Asia. Routledge, 2024. https://doi.org/10.4324/9780367815264-17.

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Witcomb, Andrea. "Towards a Cosmopolitical Exhibition Practice." In Edition Museum. transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839455142-010.

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Ezrati, Jean-Jacques. "Museum and Exhibition Lighting." In Handbook of Advanced Lighting Technology. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-00176-0_56.

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Ezrati, Jean-Jacques. "Museum and Exhibition Lighting." In Handbook of Advanced Lighting Technology. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00295-8_56-1.

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Woodbury, Sara. "Exhibition Work." In Histories of Exhibition Design in the Museum. Routledge, 2023. http://dx.doi.org/10.4324/9781003245377-3.

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Lazzeretti, Cecilia. "Evolution of Exhibition Titles." In The Language of Museum Communication. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57149-6_7.

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Kahn, Alison L. "The Pontifical Missionary Exhibition (1925): The Last Great Nineteenth-Century Exhibition." In Imperial Museum Dynasties in Europe. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-3189-7_7.

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Conference papers on the topic "Museum Exhibition"

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She, Yuqin. "Optimization of Museum Exhibition Space Design based on Graph Neural Network." In 2025 International Conference on Intelligent Systems and Computational Networks (ICISCN). IEEE, 2025. https://doi.org/10.1109/iciscn64258.2025.10934319.

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Hao, Xiaoyan, and Yansu Wang. "Application of Digital Twin and Meta-Universe Technology in Museum Exhibition Design." In 2024 International Conference on Telecommunications and Power Electronics (TELEPE). IEEE, 2024. http://dx.doi.org/10.1109/telepe64216.2024.00053.

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Grizante de Andrade, Daniel. "Immaterial Collections, Ephemeral Exhibitions: animations in exhibition design." In LINK 2024 Conference Proceedings. Tuwhera, 2024. https://doi.org/10.24135/link2024.v5i1.233.

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The research is about the use of animations in the design of exhibitions in intangible-themed museums, which are seen as spectacular and are becoming increasingly popular nowadays. Animation, a language that has always been close to the universe of children, media manifestations, entertainment and fantasy, comes up against the museum, an institution with social authority, centred on its concern with reality and the historical document. The collision between these two worlds gave rise to this research. It starts by investigating the museum universe, with a view to technological use and the relationship between the museum, society, entertainment, leisure and education. The culture of design is brought into the discussion and how it is linked to the design of exhibitions relating to intangible heritage. Exposure design is brought into tension with the experiences and strategies of fruition and creation in cinema and television. The concepts of immateriality and ephemerality are also explored. It also explores the concept of animation and the interface between reality and fantasy, looking at differences and similarities in relation to live action cinema and the existence of documentary and educational animations. Animation is understood within the culture of design, with practices and uses in the media universe, coming to the conclusion that its main contemporary characteristic is experimentation. It concludes with an analysis of two museums in São Paulo: the São Paulo State Immigration Museum and the Portuguese Language Museum, observing, based on the concepts studied, the uses given to animations in the exhibition design projects of the two institutions.
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Spadoni, Elena, Marina Carulli, and Monica Bordegoni. "Virtual Reality to Improve the User Experience of Traditional Museums." In ASME 2020 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/detc2020-22413.

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Abstract Museums have been subjected to important changes in the approach they use to involve visitors. Among the other trends, storytelling and interactive exhibitions are two of the most used approaches used to make exhibitions more interesting for users. Virtual Reality and Augmented Reality methods can be effectively used in the context of a museum exhibition to support both storytelling and interaction. The primary objective of the use of these technologies is to make the visit of museums much more engaging, and suitable for different types of visitors. Among the several museums that are moving in this direction, there is the Museo Astronomico di Brera. The museum mainly consists of a corridor, hosting instruments used by astronomers, and the Cupola Schiaparelli, which is an observatory dome. The aim of the research presented in this paper is to develop an interactive Virtual Reality application to be used for improving the users’ experience of visits to the Museo Astronomico di Brera. Specifically, the paper presents a VR application to virtually visit the Dome. Preliminary tests have been carried out for evaluating the users’ sense of presence in the VR environment. An analysis of the collected data is presented in the paper.
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Salim, Polniwati, Sri Rachmayanti, and Christianto Roesli. "Designing Interactive Museum Exhibition." In BINUS Joint International Conference. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0010006302690272.

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Schaeffer, Jennie, and Rikard Lindell. "Arduino in Museum Exhibition." In TEI '15: Ninth International Conference on Tangible, Embedded, and Embodied Interaction. ACM, 2015. http://dx.doi.org/10.1145/2677199.2687896.

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Lee, Chia-Fen, and Min-Yuan Ma. "Research on the attractiveness factors of international exhibition cultural products: a case study of art museum in Taiwan." In 9th International Conference on Kansei Engineering and Emotion Research (KEER2022). Kansei Engineering and Emotion Research (KEER), 2022. http://dx.doi.org/10.5821/conference-9788419184849.62.

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In recent years, due to the active development of cultural and creative industries in Taiwan, cultural elements in exhibitions are often used in product design. Generally speaking, cultural and creative design elements exist in ordinary life and can be found in specific life. Although Tainan Art Museum in Taiwan aims to promote local art, it introduces a special exhibition of Japanese contemporary artist Yoshitomo Nara for the purpose of promoting modern art. Taking this special exhibition as a case, this research aims to analyze the attractiveness of the commodities in transnational exhibitions and discuss the essential spirit of the intercultural commodities. The research results put forward four attractiveness, that are practical feeling, satisfied feeling, mysterious feeling and unique feeling, for the formation of museum cultural commodities, can be used as a reference for the future product development and selection of art museums.
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Granados González, Jerónimo. "Captando la mirada. Publicidad y reclamo en el espacio expositivo de Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.699.

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Resumen: Dentro de la obra de Le Corbusier, el espacio expositivo fue un tema ampliamente desarrollado. La idea de generar un prototipo teórico de museo, por ejemplo, fue recurrente a lo largo de toda su obra, como una idea latente, en gestación, a la espera del momento para ser llevada a la realidad de la construcción. En el caso concreto del museo de crecimiento ilimitado, desarrollado teóricamente a lo largo de la década de 1930, los pocos ejemplos construidos son ejecutados a partir de los años cincuenta. Al realizar una compilación de los ejemplos de espacios expositivos proyectados por Le Corbusier, siguiendo líneas tipológicas similares, en donde se incluyan no solo museos, sino también, pabellones y salas de exposición, montajes expositivos e, incluso, propuestas comerciales (donde lo expuesto es una mercancía), se constata que el número total de obras supera las ochenta, abarcando proyectos desde 1910 (la sala de exposiciones del Taller de artistas) hasta la muerte de Le Corbusier en 1965, con el último ejemplo proyectado: el museo del siglo XX en Nanterre. A la hora de analizar las distintas estrategias proyectuales empleadas por el maestro a la hora de enfocar la arquitectura expositiva, un punto interesante es el reclamo publicitario, la propaganda y la captación del interés de los visitantes, la relación con el diseño gráfico y la publicidad, el empleo del color, el grafismo o la cartelería. Todos estos aspectos son especialmente relevantes en el caso de pabellones de exposición y pabellones para marcas comerciales. Abstract: Within the work of Le Corbusier, the exhibition space was a theme widely developed. For example, the idea of a theoretical prototype of the museum was recurrent throughout his work, as a latent idea, waiting for the time to be taken to the reality of construction. In the case of the museum of unlimited growth, theoretically developed throughout the 1930s, the few built examples are executed from the fifties. In carrying out a compilation of examples of exhibition spaces designed by Le Corbusier, following similar typological lines, where not only museums but also pavilions, exhibition halls, expositions and even commercial proposals are included, we find that the total number of works exceeds eighty, covering projects since 1910 (the exhibition hall of the Ateliers d’Artistes) to the death of Le Corbusier in 1965, with the final example: the Museum of the 20th Century in Nanterre. When analyzing the different design strategies employed by the Master at the exhibition architecture, an interesting point is the study of advertising, propaganda (attracting the interest of visitors), the relationship with graphic design, and the use of color, graphics and signage. All these aspects are especially relevant in the case of exhibition halls and pavilions for trademarks. Palabras clave: pabellones; exposiciones; museos; publicidad. Keywords: pavilions; exhibitions; museums; advertising. DOI: http://dx.doi.org/10.4995/LC2015.2015.699
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Zhang, Haitang. "Reinventing the Virtual Museum Post-Pandemic: An Audience-Centric Approach to Enhancing Virtual Exhibitions of Intangible Cultural Heritage." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004964.

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Virtual environments have been extensively utilized in museums. During the COVID-19 pandemic, museums in China, both primary and secondary, organized virtual exhibition halls and digital collection retrieval functions. These efforts played a crucial role in facilitating public engagement with traditional culture. However, post-pandemic, public interest in online museums has significantly waned, highlighting the limitations of virtual museums in representing intangible cultural heritage.This study introduces an audience-centered approach to virtual museum design, specifically tailored to the features of intangible cultural heritage such as folk songs and dances. It incorporates Kano, AHP and AD design theories to develop the museum's virtual exhibition method. The process began with identifying 207 audience needs through research, which were then classified using the Kano model. The AHP method was employed to determine the relative importance of various user needs, emphasizing information collection, preservation, display and viewing modes, visual aesthetics, entertainment, public education, and social attributes in virtual museums. To align the design parameters of the virtual museum, the study established a mapping between the museum's functional domain and the design domain, guided by the AD theory's principle of independence. This facilitated a step-by-step evaluation of perceptual and rational solutions through a matrix, clarifying the functional scope and design methods for the virtual museum. This research offers valuable insights for virtual museum design and development, providing a reference for future virtual space projects and enhancing the representation of intangible cultural heritage in digital formats.
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AbdulAzeez Ahmed, Sumaya, and Emad Hani Ismaeel. "Enhancing Visitor Engagement: A Comparative Study of ‎Spatial Configuration in International Museum." In 5th International Conference on Architectural and Civil Engineering Sciences (CIC-ICACE'25). Cihan University-Erbil, 2025. https://doi.org/10.24086/icace2025/paper.1650.

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Abstract—‎This research investigates the impact of spatial configuration on visitor engagement within museum environments. Employing the space syntax tool Depthmap, the study quantitatively analyzes spatial metrics such as visibility and connectivity across various museums, including the Guggenheim Museum in New York. To evaluate the influence of these spatial indicators on visitor engagement, the study incorporates qualitative data from online reviews and social media comments. The findings reveal that visibility exerts a more significant influence on visitor engagement compared to connectivity, indicating that unobstructed sightlines to exhibitions enhance visitor satisfaction. The study concludes that to optimize the visitor experience, museum design should integrate aesthetically pleasing elements while strategically balancing spatial layouts to promote visibility and ease of navigation.‎ KEYWORDS: Museum Building, Exhibition, Spatial Configuration, Visibility, ‎connectivity, Visitor Engagements. ‎
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Reports on the topic "Museum Exhibition"

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Hertrich, André. The Atomic Bomb Victims in Nagasaki and Hiroshima on Display: Differing Exhibition Strategies and International Trends in Musealization. Austrian Academy of Sciences, 2024. http://dx.doi.org/10.1553/0x003f56e7.

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The Japanese cities Hiroshima and Nagasaki represent the horrors of war as places of the hundred-thousandfold killing of humans with scientific and industrial means. And as such Hiroshima and Nagasaki (to a lesser degree) became dominant symbols within global memory culture. In my paper I will juxtapose this form of commemoration with what Jeffrey Alexander claimed was an ongoing universalization of the Holocaust as a symbol of radical evil. This universalization also supposedly led to the globalization of aesthetic standards in museum designs of memorial museums worldwide, deriving from Holocaust memorials such as Yad Vashem or the United States Holocaust Memorial Museum as role models. After taking a closer look at the focal points of the atomic bomb memorialization: Hiroshima Peace Memorial Museum and Nagasaki Atomic Bomb Museum, respectively, I will cite international trends of an increasing focus on the fate of individuals since the 2000s, and analyze the representation of victims of the atomic bombings. As there are significant differences in terms of individualization and emotionalization between both exhibitions, I will place a specific focus on pointing out the differences between the two museums, such as the finding that photos of individual victims play a far greater role in Hiroshima. Outlining the in-situ memoryscapes of the atomic bomb destruction, my eventual goal is to discern various influences on the exhibition and to ask whether elements of Holocaust musealization served as role model in aesthetics and design and how genuine "atomic" tropes and modes of display look like.
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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Gallegos de Donoso, Magdalena. The Development of Sculpture in the Quito School. Inter-American Development Bank, 1994. http://dx.doi.org/10.18235/0007914.

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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention &amp; Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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