Relevant bibliographies by topics / Museum exhibition design

Contents

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

Academic literature on the topic 'Museum exhibition design'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Museum exhibition design"

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Wulandari, Anak Agung Ayu, Ade Ariyani Sari Fajarwati, and Fauzia Latif. "The Relationship of Exhibition Space Design and the Success of Delivering Messages to Museum Visitors in Jakarta." Humaniora 8, no. 3 (October 19, 2017): 219. http://dx.doi.org/10.21512/humaniora.v8i3.3634.

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The research explored exhibition space designs, particularly the interior design elements such as circulation, lighting, and display techniques to find out whether the design elements corresponded the design principles and to find out which museum had the most ideal exhibition design that was able to deliver exhibition messages to the audience. The research applied qualitative method with case study approach in three museums in Jakarta, those were National Museums, Bank of Indonesia museum, and museum of Fine Art and Ceramic as case studies and qualitative data collecting methods through observations to get real-settings information. Data analysis and comparison of various interior elements shows that from the three case studies only Bank of Indonesia Museum has an integrated exhibition space using various interior elements; circulation and lighting design as well as display technique that support the success of a museum to deliver exhibition messages to their visitor. It can stimulate visitors senses visually, auditory, and kinetic.
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Message, Bill. "Museum exhibition planning and design." Museum Management and Curatorship 29, no. 1 (December 16, 2013): 83–84. http://dx.doi.org/10.1080/09647775.2014.869850.

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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.

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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.
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Liebhold, Peter. "The Washington City Museum." Public Historian 26, no. 4 (2004): 73–82. http://dx.doi.org/10.1525/tph.2004.26.4.73.

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Overview Exhibition: Washington Perspectives; Multimedia-show: Washington Stories. Exhibition team: Barbara Franco, president and CEO; Susan Schreiber, vice president for programs; Jill Connors-Joyner and Laura Schiavo, exhibitions curators; GSM Design of Montreal, Canada, designer. City Museum of Washington, D.C., May 2003–present. www.citymuseumdc.org
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Forero Parra, Michael Andrés. "Museum Making: pensando el quehacer museográfico." Intervención Revista Internacional de Conservación Restauración y Museología 1, no. 1 (May 1, 2010): 94–97. http://dx.doi.org/10.30763/intervencion.2014.10.127.

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Jagielska-Burduk, Alicja, and Andrzej Jakubowski. "“Narrative Museums” and Curators’ Rights: The Protection of a Museum Exhibition and Its Scenario under Polish Law." Santander Art and Culture Law Review, no. 2 (6) (2020): 151–76. http://dx.doi.org/10.4467/2450050xsnr.20.014.13017.

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Since at least the 1990s, museums have expanded to cover a variety of societal functions, often enabling inclusive and participatory spaces for critical dialogue about the past and the future, and bridging together various narratives and cultural experiences, contributing to social cohesion and reconciliation. The new functions of museums, involving novel technological forms of display and communication, pose several legal questions concerning the management of such institutions, their resources, and exhibitions, including issues of copyright and other intellectual property rights. While referring to a recent case concerning an alleged infringement of the moral rights of the authors of the permanent exhibition of the Museum of the Second World War in Gdansk (MWII), this article examines the scope of copyright protection in new, so-called, “narrative” museums under Polish law. First it briefly scrutinizes main facts and circumstances of this case. Secondly, it discusses the current legal framework on the copyright protection of museum exhibitions under Polish law. Next, in light of the judgment rendered in the MWII case, the standard of legal protection of moral interests resulting from a museum exhibition’s design and its scenario (script) is explored. Finally, the article concludes with a set of observations concerning the extent to which copyright law may serve as a tool for protecting the integrity of museum exhibitions and their original conceptual design.
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Macdonald, S. "Interconnecting: museum visiting and exhibition design." CoDesign 3, sup1 (January 2007): 149–62. http://dx.doi.org/10.1080/15710880701311502.

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Severin, Viktor D. "Designing Museum Display, With the Examples Provided by Museum “Kharkiv Region in the Great Patriotic War, 1941-1945”." Observatory of Culture, no. 2 (April 28, 2015): 109–13. http://dx.doi.org/10.25281/2072-3156-2015-0-2-109-113.

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Studies efficient approaches to artistic organisation of the exhibition «Kharkiv in the Great Patriotic War, 1941-1945». The author proposes a definition of museum exhibition’s role, describes the ways and means of producing its artistic image, analyses the design and process of creating the museum exhibition.
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Hartanto, Ignatius Soekarno, Ahadiat Joedawinata, and Sangayu Ketut Laksemi Nilotama. "KAJIAN MEDIA INFORMASI PANEL DISPLAY PADA PAMERAN MUSEUM BANK INDONESIA." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 3, no. 1 (November 1, 2020): 39. http://dx.doi.org/10.25105/jsrr.v3i1.8300.

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<p>The Study Of Information Media Panel Display At Museum Bank Ndonesia. Excellence in terms of<br />education for visitors is manifested by the Bank Indonesia Museum in the form of exhibitions that<br />represent real places or places where historical events have occurred. Of course visitors and visitors just<br />walk around and have a look, in terms of education. Various forms of exhibition display are designed and<br />depicted diachronic (timeline), through visual displays and display panels containing narratives that<br />guide visitors around to find information conveyed by the Bank Indonesia Museum. The uniqueness<br />of the visual information pattern from the panel display in the Bank Indonesia Museum exhibition is<br />interesting to be appointed as the object of research, because the information in the form of narrative<br />stories from Bank Indonesia is conveyed and described in detail in the panels used.<br />Consideration in achieving this, an approach is made through graphic design studies with regard<br />to information design and editorial design. The initial step of observation is in the field, by looking<br />at and sorting out the tendency of the panel displays used in conveying information in the form of<br />narratives and literature studies carried out as a theoretical basis relating to museums and exhibitions,<br />media, information, graphic information media, etc. The next stage is an analysis of visual information<br />patterns from the display panel of the Bank Indonesia Museum which is carried out based on a graphic<br />design approach with regard to information design and editorial design. The approach used is set on<br />the arrangement of grid patterns, hierarchies of information, utilization of graphic processing, and<br />utilization of narrative forms of information.<br />From the graphic design approach revolving around information and editorial design with regard to<br />exhibitions, it was found that the display pattern of the exhibition’s visual information panel that entered<br />the Museum Bank Indonesia exhibition had a clear and structured hierarchy of information delivery,<br />continuous graphic display with the narrative found, and Arrangement and utilization of media size or<br />layout between narrative content and graphic processing content.</p>
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Kalumpahaiti, Kanpat. "Graphic Design Methods of a Science Museum Exhibition for Children." International Journal of Creative and Arts Studies 5, no. 2 (December 26, 2018): 53–65. http://dx.doi.org/10.24821/ijcas.v5i2.2411.

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The graphic design is essential for the science museum exhibition affecting the perception and motivation of children to learn and discover a science experience. the research aims to study the graphic design methods of science museum exhibition for children, to propose the new approach of the graphic design which the most efficient expression to motivate learning of children from age 6 to 9 years old, and to design the graphics module within the temporary exhibition space. this article is the 1st phase to observe the graphic design methods of the science museum exhibition by using the fieldwork case study analysing of literature by selected 27 exhibits from the united Kingdom, Japan, and thailand to compare. also, interviews the 7 experts who are a stakeholder with the research. the result indicated that the graphic design approach of all exhibitions with the consistent. However, the mood and tone vary depending on the exhibit presented, and the role of graphics is different because of the socio-cultural context of each country. the conclusion can be drawn that the study result can be the guide or sources inspiration of further artistic creation and design that is attracting children the further stage of development.
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Dissertations / Theses on the topic "Museum exhibition design"

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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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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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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.
Dissertation (MInt(Prof))--University of Pretoria, 2011.
Architecture
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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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Chen, Jingyu Chen. "Design, Implementation and Evaluation of a Mobile Exhibition Guide." The University of Waikato, 2007. http://hdl.handle.net/10289/2401.

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As mobile devices are increasingly merging into our daily lives, exhibition ser- vices are also facing innovation based on the newly available technologies. Our project addresses these new circumstances. We developed a mobile exhibition guide for the exhibition called quot;Mrs Brown's Big Day Out: Hamilton Women in the 1950squot;. That is organized by the Waikato Museum. The proposed sys- tem re-uses the TIP(Tourist Information Provider) system's framework and provides information via mobile devices to visitors on Victoria Street, which is an outdoor part of the exhibition. The information about a sight will be delivered according to visitors' current locations and their interests. We would also like to examine the possibility of re-using our TIP system within the application area of exhibition guide. Therefore, we built the mobile exhibition guide system under the TIP system's framework and developed corresponding services that tailored the system to the requirements of visitors and the exhibition organizer. During the development, we faced a number of challenges, especially, modeling the unknown and unstructured exhibition data into the TIP database. The development process as well as the implementation and evaluation are detailed in this report.
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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.
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Hamalainen, Bonnie. "Stories in Stone: Interpreting history in the context of a museum exhibition." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/10.

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This project examines opportunities for history exhibition design practices. Research into museum studies and creative work in typography, photography, graphic design and architecture result in curation and design of a prototypical exhibit about the granite quarrying industry of Stonington, Maine.
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Zajaczkowski, Erica Lea. "Information, Design, and Technology:How They Work Together to Inform a Museum Visitor." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1407780595.

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Piehl, Jona. "Reframing exhibition graphic design : an exploration of the multiple roles of graphic design and its impact on storytelling in museum exhibitions." Thesis, University of the Arts London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.720018.

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Hall, Sebastian. "Creating Strong Cross Media Concepts for Museum Exhibitions." Thesis, Umeå universitet, Institutionen för informatik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-73243.

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In this paper I argue that, in an effort to create novel cross media exhibition concepts, museums should use service design. By realigning their organizations and embrace the fact that what they are offering is indeed a service, they can gain a new outlook and generate new ideas about how to create novel cross media exhibition concepts. I also suggest that treating the exhibition in a similar way that film studios treat franchises could help shift the mindset and make it cross media-centric. In order to arrive at these conclusions I performed an observational study and conducted qualitative interviews with museum professionals working in various museums in Sweden. The observational study was designed to get a grasp of the current state of digital artefacts in Swedish museums whereas the interviews were aimed towards identifying attitudes as well as knowledge of current opportunities and obstacles. The observational study taught me that instances of rich, meaningful interactions with ties to an overall concept was not common, and that there is definitely opportunities to think differently about delivering these types of distributed user experiences. The interviews gave me a greater understanding of the intricacies of the field of cultural preservation and museums, as well as insight into some of the reasons why things are the way they currently are. Using service design to align these organizations could perhaps aid with some of these reasons.
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Books on the topic "Museum exhibition design"

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Exhibition design. New York: W.W. Norton, 2006.

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Dernie, David. Exhibition design. New York: W.W. Norton, 2006.

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Exhibition design. New York, NY: W.W. Norton, 2005.

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Dernie, David. Exhibition design. London: Laurence King, 2006.

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Dernie, David. Exhibition design. New York: W.W. Norton, 2006.

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Vegesack, Alexander von. Bořek Šípek: The nearness of the far : architecture-design : Vitra Design Museum. Weil am Rhein, Germany: Vitra Design Museum, 1992.

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Taehan Min'guk usu chŏnsi tijain: The best of exhibition design. Sŏul-si: (Sa) Taehan Chŏnsi Tijain Hakhoe, 2014.

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Lin, Chung-Hung. Establishing a development process for science museum exhibition design. Birmingham: University of Central England in Birmingham, 2002.

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Museum, Design. Archigram exhibition at the Design Museum, London: April 2004. London: Design Museum, 2004.

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Exhibitions and displays: Museum design concepts, brand presentation, trade show design. Basel: Birkhäuser, 2009.

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Book chapters on the topic "Museum exhibition design"

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Choi, Hee-soo, and Dong-suk Yi. "Mixed Reality in Museum Exhibition Design." In Communications in Computer and Information Science, 273–79. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-35521-9_40.

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Soga, Asako, and Takuzi Suzuki. "VR Appreciation System for Fountain Pens and Analysis of User Behaviors in Museum Exhibition." In Design, User Experience, and Usability. Design for Contemporary Interactive Environments, 532–41. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49760-6_38.

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Bai, Gang, and Yue Qi. "An Interactive 3D Exhibition System with Global Illumination for Digital Museum." In Learning by Playing. Game-based Education System Design and Development, 85–92. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-03364-3_10.

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Gao, Xue, Xinyue Wang, Benzhi Yang, and Yue Liu. "Design of a Computer-Aided-Design System for Museum Exhibition Based on Virtual Reality." In Communications in Computer and Information Science, 157–67. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-7389-2_16.

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Gu, Binli, and Yasuyuki Hirai. "Influence of Art Museum Exhibition Space Design on the Emotions of the Viewer." In Advances in Intelligent Systems and Computing, 237–49. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94944-4_27.

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Jung, Nak-hyun, and Jeong-Ah Choi. "A Study on Exhibition Design of the Playing Environment Based Science Museum for Preschoolers." In Communications in Computer and Information Science, 285–91. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-35521-9_42.

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Luo, Dai, Xiangcheng Wei, and Le Chang. "Design and Research of Museum Matching Digital Applicationlication Based on Exhibition Content and User Demand." In Lecture Notes in Computer Science, 209–20. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23538-3_16.

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Li, Xiaolin, and Xinxiong Liu. "The Design Conception of the Parent-Child Education Exhibition in the China Science and Technology Museum." In Advances in Intelligent Systems and Computing, 102–10. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94601-6_12.

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Ayukawa, Carla, and Lois Frankel. "An Interdisciplinary Approach to Accessible Museum Exhibitions." In Advances in Industrial Design, 475–83. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51194-4_62.

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Alelis, Genevieve, Ania Bobrowicz, and Chee Siang Ang. "Exhibiting Emotion: Capturing Visitors’ Emotional Responses to Museum Artefacts." In Design, User Experience, and Usability. User Experience in Novel Technological Environments, 429–38. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39238-2_47.

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Conference papers on the topic "Museum exhibition design"

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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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Borsotti, Marco. "From the invisible from the everyday, the unmentionable towards narrative strategies to explain, understand, remember. New Perspectives on Cultural Preservation." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3211.

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This proposal takes into consideration three categories of unusual narrative, connected to human life - the invisible, the everyday and the unmentionable - often placed in the outer fringe of our attention or completely ignored. The invisible: that which inhabits our world and often influences our lives, even though escaping our awareness because active in dimensions that we cannot see or do not know to guess. The everyday: what accompanies us in every moment of our lives and that produces in us a habit that makes it obvious (and then again, but otherwise invisible). The unmentionable: what happened at some time and somewhere, and the memory of which, for convenience, hypocrisy or convenience, has been removed or put on the edge of our life (and therefore to the visible limits), These categories have been chosen because of paradigmatic of new experiences on Cultural Preservation. The comprehension of the fundamental value of intangible cultural heritage, which came less than ten years ago to be part of the definition of "museum" written by ICOM (International Council of Museums), indeed, has opened new perspectives in the field of curating and of exhibition design, often destabilizing and unexpectedly coincident. Therefore we needs updated languages, more interactive and interdisciplinary towards the construction of a real design of the intangible cultures, able to reflect (and make reflect) on at first sight marginal phenomena, preserving their value of social and historical testimony and making it comprehensible to an audience as broad as possible. The new methods of staging these tales turn the apparent immateriality of knowledge of their socio-cultural values into occasion of development solutions, in form of exhibition design products and related services. We will examine as case studies, among others: for the invisible - l’Amterdam Micropia Musem (ART+COM studios), the World Water Museum (Keti Haliori), the Water Museum (P-06 atelier); for the everyday - the Museum of Broken Relationships (Vištica and Grubišić), the Museum of Obsolete Objects (Jung von Matt), The Museum of Everyday Life (Tidens Samling) for the unmentionable - the Museo Laboratorio della Mente (Studio Azzurro), the Memoria y Tolerancia Museum (Arditti+RDT).DOI: http://dx.doi.org/10.4995/IFDP.2016.3211
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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. Valencia: 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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Weng, Lifen. "Application of Interactive Design in Museum Exhibition." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.125.

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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
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Chuanrong, Chen. "The Application of Interactive Design in Museum Exhibition Space." In 2017 9th International Conference on Measuring Technology and Mechatronics Automation (ICMTMA). IEEE, 2017. http://dx.doi.org/10.1109/icmtma.2017.0096.

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Chuanrong, Chen. "The Application of Interactive Design in Museum Exhibition Space." In 2017 9th International Conference on Measuring Technology and Mechatronics Automation (ICMTMA). IEEE, 2017. http://dx.doi.org/10.1109/icmtma.2017.0020.

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Balsa, Raquel, Francisco Providência, and Fátima Pombo. "Machine Art Exhibition, MoMA 1934 Artifacts of use displayed in the museum." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0014.

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Wang, Jinxiu. "Application and Design of New Media in Museum Exhibition and Display." In 2015 4th National Conference on Electrical, Electronics and Computer Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/nceece-15.2016.35.

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Shi, Yali. "Application of Multimedia Technology in the Exhibition Design of Memorial Museum." In Proceedings of the 2018 International Workshop on Education Reform and Social Sciences (ERSS 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/erss-18.2019.162.

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Reports on the topic "Museum exhibition design"

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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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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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