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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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Green, Denise Nicole, Jenny Leigh Du Puis, Lynda May Xepoleas, Chris Hesselbein, Katherine Greder, Victoria Pietsch, Rachel R. Getman, and Jessica Guadalupe Estrada. "Fashion Exhibitions as Scholarship: Evaluation Criteria for Peer Review." Clothing and Textiles Research Journal 39, no. 1 (November 22, 2019): 71–86. http://dx.doi.org/10.1177/0887302x19888018.
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Curated exhibitions are places where research practice, creative design, storytelling, and aesthetics converge. In this article, we use the term “fashion exhibition” to refer to the organized display of extant dress-related items within museums or other public spaces. Curation, as a form of creative design research, produces numerous outcomes including museum exhibitions, digital archives, and associated publications; however, our field has not yet established a method to peer review fashion exhibitions. In this article, we build upon the work of previous scholars to propose criteria for evaluating fashion exhibitions. In doing so, we aim to elevate the scholarly status of fashion exhibitions, particularly those mounted by modestly funded institutions, and use the recent fashion exhibition, “Women Empowered: Fashions from the Frontline,” as an example to illustrate our argument.
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Popescu, Diana I. "The Potency of Design in Holocaust Exhibitions. A Case Study of The Imperial War Museum’s Holocaust Exhibition (2000)." Museum and Society 18, no. 2 (July 4, 2020): 218–42. http://dx.doi.org/10.29311/mas.v18i2.3357.
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Holocaust exhibitions are known for their unique iconography, often constructed by means of exhibition design. This article focuses on how visitors construct meaning based on display choices made by exhibitions designers. It presents insights from an audience research study which was conducted with young visitors of The Holocaust Exhibition at the Imperial War Museum in London. It addresses how design choices impact on the visitor’s engagement and understanding of the Holocaust Exhibition. By drawing on visitor comments, this article shows that design plays a significant role in shaping visitors’ understanding of the Holocaust, as well as their level of engagement, focus and emotional response. It further makes several practical suggestions, informed by visitor feedback, regarding the development of new Holocaust exhibition designs.
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Demir, Cigdem. "Graphic Design for a Permanent Exhibition: Exhibition Design of the Museum Mimar Kemaleddin." Procedia - Social and Behavioral Sciences 51 (2012): 495–500. http://dx.doi.org/10.1016/j.sbspro.2012.08.195.
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Rentschler, Ruth, Kerrie Bridson, and Jody Evans. "Exhibitions as sub-brands: an exploratory study." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 45–66. http://dx.doi.org/10.1108/am-07-2014-0023.
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Purpose – The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand? Design/methodology/approach – Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions. Findings – The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity. Practical implications – These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective. Social implications – Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature. Originality/value – The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.
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Behal, T. O. "The features of using the interactive museum expositions in modern exhibition practice." Science and Education a New Dimension IX(254), no. 46 (June 30, 2021): 15–17. http://dx.doi.org/10.31174/send-hs2021-254ix46-03.
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The article analyzes the characteristic features of the interactive museum exposition as an integral part of the museum space. The main factors influencing the development and improvement of the modern museum exposition in general are substantiated. Based on the analysis of exposition solutions of European museums, the main models of multimedia technologies that can be used in the design of interactive museum expositions are proposed.
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Chen, Xuan. "Surveying the music playback experience of museum audiences based on perceived quality and perceived value." Electronic Library 37, no. 5 (October 7, 2019): 878–92. http://dx.doi.org/10.1108/el-03-2019-0061.
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Purpose The improvement of museum service quality and efficiency is a hot issue in recent years. This paper aims to explore the influencing factors of museum audience satisfaction with music playing experience and provide empirical support for the improvement of museum service quality. Design/methodology/approach In this study, first, the basic theory of customer satisfaction and the basic theory of structural equation model are introduced. Different types of music have different effects on audience experience. At the same time, for different types of museums, different exhibition halls in the same museum and different types of exhibitions, the use of music should be tailored to local conditions. Then, a questionnaire survey is conducted to investigate the satisfaction of the audience of Hunan Museum with their music playing experience, and the survey data are collected and sorted out. Structural equation model (SEM) is used to study the customer satisfaction of Museum audiences' music playing experience, so as to find out the factors that have the greatest impact on the satisfaction and put forward corresponding improvement suggestions. Findings The results show that perceived value and perceived quality have the greatest impact on customer satisfaction. Research limitations/implications Museum audience satisfaction model involves many variables and has complex relationships. Therefore, there are still many shortcomings in this study. Practical implications Therefore, this study has important practical significance for museums to serve the society, improve the level of exhibition and realize their own value. By improving the exhibition environment and paying attention to the complaints of the audience, the satisfaction of the audience can be improved. Originality/value The structural equation model is applied to the study of museum customer satisfaction.
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Hughes, Sarah Anne. "Contemporary publishing by national museums and art galleries in the UK and its future." Art Libraries Journal 39, no. 3 (2014): 34–41. http://dx.doi.org/10.1017/s0307472200018423.
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Changes in the format, design and content of museum and art gallery exhibition catalogues can be traced to the visibility and popularity of these souvenirs for the block-buster exhibitions of the 1970s. The increased museum revenue from these book sales and the need, perceived by the publishers recruited to museum staff from a trade background, to address the interests of a more diverse audience are identified as the two main instigators of these changes. The resulting exhibition catalogues play down the scholarly apparatus, offer more images particularly to enhance the reader’s contextual understanding and, in some cases, ameliorate the academic register of the writing. The uses made of exhibition books by institutions, their associated sponsors and museum visitors is commented on.
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Karm, Svetlana, and Art Leete. "Uurali kaja Eesti Rahva Muuseumis." Eesti Rahva Muuseumi aastaraamat, no. 61 (October 11, 2018): 14–43. http://dx.doi.org/10.33302/ermar-2018-001.
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The Echo of the Urals exhibition at the Estonian National Museum Our objective was to analyse the process of preparing the Echo of the Urals permanent exhibition we produced for the Estonian National Museum. We focused on the historical background of the exhibition and the methodological and ideological positions that the exhibition committee relied on. In this article, we dealt with how the concept for the exhibition developed and the principles for the technical solutions used at the exhibition. We also tried to analyse the retrospective views taken by the exhibition’s content and design committees regarding their work. Many previous Finno-Ugric permanent exhibitions at the Estonian National Museum had focused on presenting folk art, and this aspiration was reflected even in the titles of the exhibitions. Moreover, the Finno-Ugric scholars at the National Museum also tried to use the exhibitions to gain an overview of the existing materials at the museum concerning a specific ethnic group. Such exhibitions also focused on the Finno-Ugric people and so as representative a set of artefacts as possible was placed on display, systematised in the spirit of scientific objectivity. From the second half of the 1990s on, the museum’s researchers started producing exhibitions on more experimental themes as well, testing the suitability of various ideas for an ethnographic exhibit. Some ideas are exciting on paper while artefacts can fail to express more abstract qualities. Our permanent exhibition was based on the historical legacy, and we tried to find a simple, relevant starting idea for the exhibition that made full use of the museum’s collections. After discussions, we chose Echo of the Urals as the title of the exhibition. In doing so, we tried to refer in a lyrical vein to the idea of an original home for the Finno-Ugrians and allow different peoples to be introduced in a single framework. The idea of linguistic kinship may be easy to understand for scholars and many Finno-Ugrians, but we also thought about visitors who did not know anything about the topic. We devoted the main part of the exhibit to the ethnographic representation of gender roles, trying to get viewers to think about everyday gender roles and cultural differences. We hoped that presenting the cultural roles of males and females would be a simple starting idea that would also be of interest to many. The exhibition design had to be state-of-the-art, a finely tuned machine, at the same time creating emotionally gripping, seemingly semi-natural ethnographic attractions. As a result of our research, we found that although we tried to create an emotionally captivating and conceptually balanced exhibition, we were criticised in the critical reception for allegedly haphazard choices (the gender theme was criticised) and having a romantic aim to find beauty (to the detriment of reflecting the situation faced by indigenous cultures today). Our analysis of the making of our ethnographic exhibition with ambitious and seemingly conflicting or even simultaneously unattainable goals is limited by the lack of a bystander’s perspective and the lack of temporal distance between the completion of the exhibition and the our meta-research. Our main conclusion regarding the process of creating the exhibition consists of thorough conceptualisation intertwined with intuitive aesthetic and intellectual prediction.
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Zbuchea, Alexandra, and Loredana Ivan. "Painting Shades of Gray: How to Communicate the History of Communism in Museums." Romanian Journal of Communication and Public Relations 17, no. 2 (July 1, 2015): 21. http://dx.doi.org/10.21018/rjcpr.2015.2.14.
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<p>Communication of sciences / arts lies at the core of a museum public activity. It is a special type of communication, meant to make the collections and the domain of the expertise of the museum accessible to a wide public in order to fulfill the special cultural and social role that museums have in the contemporary society. This cannot be achieved without the cooperation of visitors, as well as the museum stakeholders. For fruitful relationships, museums have to design their activity and public offer taking into account the characteristics as well as the interests of various segments of its audience. The present paper discusses the prerequisites for a successful museum exhibition. Special attention is given to designing an effective exhibition on the history of communism. By investigating the profile of the potential visitors for such an exhibition, the paper draws a framework to be considered when designing it. The discussion is timely, since in the last few years there are discussions and initiatives related with the establishment of a museum of communism.</p>
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Reidla, Jana. "Who Is Leading the Project? A Comparative Study of Exhibition Production Practices at National Museums in Finland and the Baltic States." Museum and Society 18, no. 4 (October 30, 2020): 368–85. http://dx.doi.org/10.29311/mas.v18i4.3456.
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This paper presents research into exhibition-production practices at five national museums of four Baltic Sea region countries. The focus is the changes wrought by the expansion of exhibition teams, and how researchers in the curatorial role perceive their position, especially in relation to designers and project leaders. The analysis of semi-structured interviews with museum professionals showed exhibition production at museums comprise two models: A) curator-driven, and B) manager-driven. In Model A, the curator’s knowledge of museum collections is dominant. The curator creates the concept, and subsequently leads the exhibition project. The curator is the decision maker. In Model B, the field of communication is dominant. Managers are in charge of the design concept and fulfilling the exhibition. Managers are the decision makers. Curators feel their credibility as experts suffers and their competencies are underexploited, as they no longer have either authorship or leadership responsibilities.
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Yoon, Yeowool, and Changsup Oh. "Characteristics of Design Exhibition of Domestic Design Museum since 2000." Archives of Design Research 31, no. 1 (February 28, 2018): 225–35. http://dx.doi.org/10.15187/adr.2018.02.31.1.225.
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Silva Neto, Alceu Paulo, and Priscila Almeida Cunha Arantes. "Design gráfico na exposição Renato Russo: reflexões sobre a comunicação visual | Graphic design at Renato Russo exhibition: reflections regarding visual communication." InfoDesign - Revista Brasileira de Design da Informação 17, no. 2 (November 25, 2020): 14–28. http://dx.doi.org/10.51358/id.v17i2.794.
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Renato Manfredini Júnior ou Renato Russo, cantor e compositor, teve uma exposição inteiramente dedicada a sua vida e produção, no ano de 2017, no Museu de Imagem e do Som - MIS, na cidade de São Paulo. A exposição contou com um design de cenografia e expografia desenvolvidos exclusivamente para o evento que somados a um projeto de design gráfico dividiram uma linguagem relacionada ao artista. A partir de textos de Herreman (2004), Screven (1992) e Dean (1996) onde o tema sobre exposições e linguagem gráfica são discutidos pretende-se uma aplicação dos conceitos enquanto confrontados com os itens presentes na exposição e comentados à luz de Lupton e Phillips (2008).*****The achievement of singer and composer Renato Manfredini Júnior, or Renato Russo, was the theme of an exhibition at the Museum of Image and Sound - MIS-SP, in 2017, in the city of São Paulo.The exhibition featured the design of scenography and expography developed exclusively for the event. Both, added to the graphic design project applied to the ambience, share a single stylistic language related to the artist. Thus, the objective of this article is to discuss how graphic creations are inserted in environmental design and their relationship with the exhibition and expography, in view of the scarcity of descriptive material regarding the field of temporary exhibitions. Therefore, contributing to bring information design closer to ephemeral practices, something already adjacent to the museal sector. For this purpose, references developed by authors like Herreman (2015), Screven (1992), Lupton and Phillips (2008) and Dean (1996) are mentioned.
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Zhou, Kai Feng, and Jian She Wang. "Application of Digital Media Technology in Exhibition Design for the Geological Museum." Advanced Materials Research 989-994 (July 2014): 5407–10. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.5407.
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The digital technology has been brought a profound social change to human, especially in the digital display technology. In order to explore the application of Digital exhibition in geological museum field, the author applies by the "building roaming + picture + text" way to the audience on the Architectural layout and displayed content of Henan Geological Museum, not the traditional construction roaming form, according to the "Henan Provincial Geological Museum exhibition design" case.
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Wallace, Eloise, and Kay Morris Matthews. "The partnering of museums and academics: working together on history that matters." History of Education Review 47, no. 2 (October 1, 2018): 119–30. http://dx.doi.org/10.1108/her-12-2017-0028.
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Purpose Museums and academics collaborating to create knowledge and learning opportunities is a current innovative strand of museum theory and practice. Working together across boundaries, incorporating a range of communication tools both inside and outside of the exhibition, the objective is to make the past more accessible to adults and children alike. The paper reflects the authors’ respective recent experiences of presenting alternative perspectives and interpretations on history that mattered, namely, a unique exhibition and publication entitled Recovery: Women’s Overseas Service in World War One. The authors offer a number of “signposts” for museums and academics to consider ahead of embarking on collaborative projects. The paper aims to discuss these issues. Design/methodology/approach Theorising and reflecting on the research and curation of a public history museum exhibition that included high levels of community engagement. Findings The authors offer a number of “signposts” for museums and academics to consider ahead of embarking on collaborative projects utilising a collective impact framework and argue that these “signposts” are likely pre-requisites for successful museum-academic partnerships. Originality/value Successful partnerships and collaborations between the museum and the tertiary sector do not happen through goodwill and shared philosophies alone. This paper reflects the authors’ respective recent experiences of presenting alternative perspectives and interpretations on history that mattered, namely, a unique exhibition and publication entitled Recovery: Women’s Overseas Service in World War One.
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Wulandari, Anak Agung Ayu. "Dasar-Dasar Perencanaan Interior Museum." Humaniora 5, no. 1 (April 1, 2014): 246. http://dx.doi.org/10.21512/humaniora.v5i1.3016.
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Old, haunted, dark and poorly maintained are the impressions of Indonesian museums. Unlike foreign museums which are always crowded with visitors, Indonesian museums are always quiet and deserted. The biggest challenge for museums today is recognise that museums are for people and that their future depends on developing themselves to meet the needs of the people. Thus, Indonesian museums need to develop and apply mass communication model combined with the interpersonal communication model where in this type of communication visitors are allowed to participate in the exhibition and become part of the exhibition since this is what nowadays visitors desired to do. With a better planned exhibition interior design, following the basic design principles such as transforming space with harmony, creating room atmosfer, pacing and circulation, suitable lighting design and display as well as using appropriate presetantion technique combined with technology and multimedia, an exhibition will become a more interactive and attractive that will meet visitor’s expectation
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Agaronov, Alen, May May Leung, Jeanette M. Garcia, Amy Kwan, Ming-Chin Yeh, Christina Zarcadoolas, and Charles S. Platkin. "Feasibility and Reliability of the System for Observing Play and Leisure Activity in Youth (SOPLAY) for Measuring Moderate to Vigorous Physical Activity in Children Visiting an Interactive Children’s Museum Exhibition." American Journal of Health Promotion 32, no. 1 (October 5, 2016): 210–14. http://dx.doi.org/10.1177/0890117116671074.
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Purpose: To test the feasibility and reliability of a direct observation method for measuring moderate to vigorous physical activity (MVPA) in children visiting an interactive children’s museum exhibition. Design: Direct observation was used to assess MVPA in children visiting an interactive children’s museum exhibition on 2 weekend days in winter 2013. Setting: The Children’s Museum of Manhattan’s EatSleepPlay™: Building Health Every Day exhibition. Participants: Children (group level) visiting the museum exhibition. Measures: System for Observing Play and Leisure Activity in Youth (SOPLAY). Analyses: Interobserver reliability was analyzed for MVPA and activity type. Two-group analyses were conducted using a series of Wilcoxon rank sum tests. Results: A total of 545 children were observed over 288 observations. No significant differences were found between observers for MVPA ( r = .91, P = .6804) or activity type (κ = .90, P = .6334). Children participated in MVPA during 35.2% of all observations. No significant differences were found for participation in MVPA between boys (37.6%) and girls (32.8%, P = .1589). Conclusion: The SOPLAY may be a useful tool for measuring MVPA in interactive children’s museum exhibitions. Research with multiple museum settings and diverse groups of children over longer periods of time is warranted to further establish the feasibility and reliability of the SOPLAY for measuring MVPA in this novel setting.
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Burlina, Elena. "From Bonn to Yekaterinburg: chronotope of the modern museum." KANT Social Sciences & Humanities, no. 7 (July 2021): 68–78. http://dx.doi.org/10.24923/2305-8757.2021-7.7.
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The article is devoted to the comparative analysis of innovative trends in domestic and foreign museums. The analysis is interdisciplinary and methodological in nature. The main purpose of the article is to show examples of fundamental changes and the communicative nature of museum forms, dictated by the massization of museums, which changed the quantitative and qualitative composition of the public. According to the author, the museum includes directing and design necessary for communication with the mass audience. In this aspect, the article analyzes the exposition principles of two museums located in different countries. The philosophical foundations of one of the most authoritative museum centers in Europe: the "House of German History" in Bonn are presented in the most detailed way. Noting the integrity of the exhibition in the "House of German History", the author identifies several key principles of the museum exhibition: including:"museum drama", "path", "local space" (chronotope). These staging techniques are comparable to the "Yeltsin Center": the path through 7 rooms is the basis of the exhibition. "Problem Rooms" and the chronotope "Paths" form a common dramatic concept. The scientific novelty of the article also lies in the substantiation of the connection between the museum's drama and mass character. The flow of visitors could not but influence the choice of techniques that are easily read by the mass audience.
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Lo, Patrick, Holly H. Y. Chan, Angel W. M. Tang, Dickson K. W. Chiu, Allan Cho, Eric W. K. See-To, Kevin K. W. Ho, Minying He, Sarah Kenderdine, and Jeffrey Shaw. "Visualising and revitalising traditional Chinese martial arts." Library Hi Tech 37, no. 2 (June 17, 2019): 273–92. http://dx.doi.org/10.1108/lht-05-2018-0071.
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Purpose The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong. Design/methodology/approach A questionnaire survey in both online and paper-based formats was used for identifying visitors’ experiences in the interactions with the multimedia technologies. For this research study, a questionnaire, consisting of 26 items, was set out to measure the visitors’ experiences at the Exhibition. Since the Exhibition was about presenting a centuries-old Chinese cultural heritage, Hakka Kungfu via the use multimedia technologies, in the context of establishing a dialogue between the past and present, the researchers included questionnaire items that were devoted to enquire about the level of understanding, knowledge and enjoyment, and visitors’ new knowledge about Hong Kong history and culture was successfully disseminated to the respondents at the end of the questionnaire. Findings A total of 209 completed questionnaires were collected at this Hakka Kungfu Exhibition. The findings reveal that the exhibits did attract people at all ages. This Exhibition gave the visitors a sense of interest and wonder in the object and information presented in the Exhibition. Findings of this study also reveal that this Exhibition has successfully attracted a large number of female visitors, as well as visitors who have never taken any martial arts training. In addition, visitors’ Exhibition experience was found to be memorable, as well as enjoyable. Furthermore, visitors’ experience within the Exhibition suggested that it was entertaining, as well as educational. By creating a long-lasting impact on the minds of these Exhibition visitors about the connections between and relevance of traditional Chinese Kungfu, their collective cultural identity, as well as the contemporary society we live in. The Exhibition exemplified the successful integration of the presentation of Kungfu as a form of cultural heritage with engagement-creating technology, in which technology is unobtrusive but effective. Originality/value Although it is already a global trend for the museums to integrate multimedia technologies into their exhibitions, research on the situation and feedback of multimedia technology used in the museum exhibitions in Hong Kong is scarce as well as scattered. Findings of this study could help identify various factors involved in audience participation, thereby exploring the possibility of building a contact point/space for traditional Chinese Kungfu as an intangible cultural heritage, via the integration of the latest media technologies. In particular, the development of multimedia technologies has become increasingly important to museums, and museum professionals have been exploring how digital and communication technologies can be developed to offer visitors a more interactive, personalized museum experience. In general, despite the growing interest in deploying digital technology as interpretation devices in museums and galleries, there are relatively few studies that examine how visitors, both alone and with others, use new technologies when exploring the museum contents.
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Kamaruddin, Norfadilah. "An Empirical Understanding On Types Of Museum Exhibition Design." International Journal of Scientific and Research Publications (IJSRP) 9, no. 10 (October 12, 2019): p9470. http://dx.doi.org/10.29322/ijsrp.9.10.2019.p9470.
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Mussies, Martine. "A Ludomusicologist Goes to the Museum." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 125–32. http://dx.doi.org/10.1525/jsmg.2020.1.1.125.
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From September 2018 to February 2019, the famous Victoria and Albert Museum in London hosted Videogames: Design/Play/Disrupt, a major exhibition on contemporary video game design and culture. Announced as “a unique insight into the design process behind a selection of groundbreaking contemporary videogames,” this immersive exhibition was the end presentation of a project that took four years to undertake. Dutch PhD student Martine Mussies went over the Channel to take a look and write down her experiences for this first issue of the Journal of Sound and Music in Games.
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Sauge, Birgitte. "Arkitektur og utstillinger som berører. En studie av nyere basisutstillinger i norske kunst- og kunstindustrimuseer." Nordlit, no. 36 (December 10, 2015): 293. http://dx.doi.org/10.7557/13.3695.
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<p>The intention with this article is to describe current exhibition practices at some Norwegian fine art- and design museums and to relate these practices to the visitors and their experiences, by comparing data concerning the plans and interior designs of gallery rooms and the organization of the displays.</p><p>This investigation is based on data from a survey of 19 permanent exhibitions in 12 fine arts and design museums, conducted in 2011–12; the Norwegian museum architecture and museum displays with its more than 100 year old traditions; and Charlotte Klonk’s book <em>Spaces of Experience: Art Gallery Spaces from 1800–2000</em>.</p><p>The survey shows that the purpose built museums to a large extent have kept their original layout and the organization of rooms. The non-purpose built museums tend to imitate the museums from the 1800s, within the limits of their given architecture. Different types of specially designed rooms are found in all buildings, regardless of age and purposes. Regarding the organization of displays, the most frequent principle is a combination of historically chronological types and themes. Almost as frequent are strictly historical chronological displays and thematic displays without any historical narrative.</p><p>Hence, the comparisons reveal that there are no fixed patterns regarding the historical types and the conventions concerning the relationship between the museum architecture and organization of the displays, which lead to the conclusion that today there is no general curatorial strategy in Norwegian fine art- and design museums with regard to the visitors’ experiences.</p>
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Ahmad, Shamsidar, Mohamed Yusoff Abbas, Mohd Zafrullah Mohd. Taib, and Mawar Masri. "The Shaping of Knowledge: Communication of meaning through museum exhibition design." Asian Journal of Environment-Behaviour Studies 3, no. 10 (August 24, 2018): 178–86. http://dx.doi.org/10.21834/aje-bs.v3i10.325.
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The primary objective of museum management in shaping of knowledge can be achieved by a communication of meaning through quality displays of the permanent collection or temporary exhibitions, the specimens of a continent or the interactive apparatus of science. This paper looks at research derived primarily from the museum scholars and experts with academics working in the field of visitor studies towards developing exhibits that facilitated visitor learning. These findings are recast the approach in order to offer an integrated framework for visitor behavior has implications for service management of the service encounter at the museum in Malaysia.
Keywords: Museum exhibitions design; communication of meaning; shaping of knowledge; quality of life.
eISSN 2514-751X © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.
DOI: https://doi.org/10.21834/aje-bs.v3i10.325
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Brych, Mariia. "FREE SPACE AS AN ELEMENT OF OPEN-AIR MUSEUMS’ EXHIBITION." Current problems of architecture and urban planning, no. 60 (April 26, 2021): 23–35. http://dx.doi.org/10.32347/2077-3455.2021.60.23-35.
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In the area of architectural heritage preservation, the leveling of monument objects’ environment is an important problem. The essence of the monuments is laid not only in their material structure but also in a historically formed environment and spatial configuration that exhibits their historical and cultural content, enriches artistic properties.
Open-air museums are specific institutions that are characterized by the use of not only monumental volumes and structures but also the free space between them. Cultural landscapes - lands of estates and residences, parks in palace ensembles, territories of monastic complexes, industrial landscapes, memorial places, and archaeological complexes become elements of the exhibition. Features of exhibition space organization in open-air museums are not sufficiently highlighted in scientific literature.
Depending on the selected exhibition concept, a set of activities of the museum is determined and the museum zoning occurs. The use of free spaces is divided into two levels depending on the scale – urban planning and architectural. The urban planning level is responsible for the environmental design of the overall space of the ensemble or the complex of monuments. The architectural level of open-air museum formation envisages the organization of existing buildings, structures, and areas between them.
On the urban-planning level, it is important to ensure the convenience of the visual perception of the complex: to reveal the most interesting fragments of the environment and visual connections, to emphasize the basic aesthetic, associative, symbolic, and practical properties of cultural landscapes within the open-air museum. On the architectural level of organization, free spaces become the basis for many activities - various educational, cultural, and entertainment events.
Free space in museums serves as an exhibit, an element of activity processes and various events, and also serves as a basic tool for detecting and emphasizing the characteristic features of exhibited complexes and ensembles.
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Macchia, Teresa, Giacomo Poderi, and Vincenzo D'Andrea. "Infrastructuring Knowledge in Cultural Infrastructure." International Journal of Sociotechnology and Knowledge Development 7, no. 1 (January 2015): 16–32. http://dx.doi.org/10.4018/ijskd.2015010102.
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This paper discusses infrastructuring as an informal experience of Participatory Design in the context of museums. The authors describe “participation” as an embedded and stable parameter for looking at museums sustainability. Their standpoint is that museums develop and encourage knowledge through participative and interrelated relationships among various actors. Thus, the value of participation intersects the concept of infrastructuring, which implies the ongoing feature, the hybridity of networks and the complexity of the context, and consider together human and non-human. Describing visitors' participation in infrastructuring processes, the authors underline the unprofessional and unplanned stage of design process in order to stimulate new direction on designing museum exhibition and for planning the introduction of interactive technologies in the museum environment.
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Borsotti, Marco, and Letizia Bollini. "Reshaping exhibition and museum design through digital technologies: a multimodal approach." International Journal of Virtual Reality 8, no. 3 (January 1, 2009): 25–31. http://dx.doi.org/10.20870/ijvr.2009.8.3.2738.
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Exhibition design as preferential research framework in redefining interior spaces value-ratio in contemporary architecture debate: the merging end integration approach introduced by communication and performative exhibition practices is redesigning culturally and physically the pre-existing spaces. Exhibition design research innovative carrying out planning approach for changing strategies simultaneity knowledge spreading. In this way it became the most interesting and topical interior design project act, able to translate performing spaces into crossing experience built also with meanings dissemination and "surfing" knowledge method. The exhibition design direction is a different tool to control and develop multimodal approach to interior territories whose outcome fit to new social landscapes The Installation of an exhibition space meaning is now coming into sight as work-in-progress multi-disciplinary range, increasingly complex. The experiential element (whom exponential use of digital solution is just an exterior consequence) will increasing more and more and will bring to ostensive solutions development looking to new classifying parameters capable in enclosing several simultaneous organizing relationships. These parameters represents many super-structural rationalization process aptitudes that draw close true courses and imaginary tours, into complex changeable landscapes where raise to the surface place, objects and viewers sense and myths, made by production act, supervising to thoughts and actions as independent and symbiotic designer and visitor condition.
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Micoli, Laura Loredana, Giandomenico Caruso, and Gabriele Guidi. "Design of Digital Interaction for Complex Museum Collections." Multimodal Technologies and Interaction 4, no. 2 (June 22, 2020): 31. http://dx.doi.org/10.3390/mti4020031.
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Interactive multimedia applications in museums generally aim at integrating into the exhibition complementary information delivered through engaging narratives. This article discusses a possible approach for effectively designing an interactive app for museum collections whose physical pieces are mutually related by multiple and articulated logical interconnections referring to elements of immaterial cultural heritage that would not be easy to bring to the public with traditional means. As proof of this concept, a specific case related to ancient Egyptian civilization has been developed. A collection of Egyptian artifacts such as mummies, coffins, and amulets, associated with symbols, divinities, and magic spells through the structured funerary ritual typical of that civilization, has been explained through a virtual application based on the concepts discussed in the methodological section.
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Zidianakis, Emmanouil, Nikolaos Partarakis, Stavroula Ntoa, Antonis Dimopoulos, Stella Kopidaki, Anastasia Ntagianta, Emmanouil Ntafotis, et al. "The Invisible Museum: A User-Centric Platform for Creating Virtual 3D Exhibitions with VR Support." Electronics 10, no. 3 (February 2, 2021): 363. http://dx.doi.org/10.3390/electronics10030363.
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With the ever-advancing availability of digitized museum artifacts, the question of how to make the vast collection of exhibits accessible and explorable beyond what museums traditionally offer via their websites and exposed databases has recently gained increased attention. This research work introduces the Invisible Museum: a user-centric platform that allows users to create interactive and immersive virtual 3D/VR exhibitions using a unified collaborative authoring environment. The platform itself was designed following a Human-Centered Design approach, with the active participation of museum curators and end-users. Content representation adheres to domain standards such as International Committee for Documentation of the International Council of Museums (CIDOC-CRM) and the Europeana Data Model and exploits state-of-the-art deep learning technologies to assist the curators by generating ontology bindings for textual data. The platform enables the formulation and semantic representation of narratives that guide storytelling experiences and bind the presented artifacts with their socio-historic context. Main contributions are pertinent to the fields of (a) user-designed dynamic virtual exhibitions, (b) personalized suggestions and exhibition tours, (c) visualization in web-based 3D/VR technologies, and (d) immersive navigation and interaction. The Invisible Museum has been evaluated using a combination of different methodologies, ensuring the delivery of a high-quality user experience, leading to valuable lessons learned, which are discussed in the article.
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Tsai, Tung-Chung, Yao-Ming Chu, Tsuey-Ling Wu, and Mei-Chen Chang. "Multi-Approach Activity Design and Effects Analysis for Science Museums." International Journal of Innovation in the Digital Economy 5, no. 2 (April 2014): 55–64. http://dx.doi.org/10.4018/ijide.2014040106.
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Science museums not only function as collection, exhibition, research, and leisure locations, but are also important sites for education. Thus, science museums often organize various activities to educate the public and deliver various key concepts. Museums organize diverse activities, such as exhibitions, lectures, hands-on activities, tours, demonstrations, and drama. Subsequently, to highlight issues related to energy saving and carbon reduction (ESCR), the National Science and Technology Museum (NSTM) organized a 3-day workshop, recruiting 60 students from 2 high schools to participate in diverse promotional activities. For high school students, this diverse educational promotion method is seldom experienced in formal education; thus, presenting an extremely rare opportunity. For museums, designing activities specifically for high school students is also uncommon. Therefore, the effectiveness of using a high school-specific multi-approach activity design to promote education objectives has yet to be determined. This study analyzes the participants' level of acceptance and learning effectiveness regarding the various ESCR activities. Data were collected using questionnaire surveys, activity feedback, interviews, and observation records. Subsequently, these data were qualitatively and quantitatively analyzed to determine the students' acceptance levels and learning effectiveness regarding the various activities.
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Yang, Eunna. "A Study on Exhibition Design of Hyangchon-dong Reminiscence Museum." Journal of Integrated Design Research 13, no. 2 (June 2014): 135–45. http://dx.doi.org/10.21195/jidr.2014.13.2.012.
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Peppler, Kylie, Anna Keune, and Ariel Han. "Cultivating data visualization literacy in museums." Information and Learning Sciences 122, no. 1/2 (April 2, 2021): 1–16. http://dx.doi.org/10.1108/ils-04-2020-0132.
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Purpose This paper aims to explore what design aspects can support data visualization literacy within science museums. Design/methodology/approach The qualitative study thematically analyzes video data of 11 visitor groups as they engage with reading and writing of data visualization through a science museum exhibition that features real-time and uncurated data. Findings Findings present how the design aspects of the exhibit led to identifying single data records, data patterns, mismeasurements and distribution rate. Research limitations/implications The findings preface how to study data visualization literacy learning in short museum interactions. Practical implications Practically, the findings point toward design implications for facilitating data visualization literacy in museum exhibits. Originality/value The originality of the study lays in the way the exhibit supports engagement with data visualization literacy with uncurated data records.
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Trias, Pol, and Alex Bordanova. "Death Inc." Temes de Disseny, no. 35 (July 25, 2019): 170–77. http://dx.doi.org/10.46467/tdd35.2019.170-177.
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On March 23, 2018, the exhibition "Design Does* for better and for worse" opened at the Museu del Disseny de Barcelona (Design Museum). The exhibition was steered through questions that provoked discussion about the roles and responsibilities of design in our society. It featured open-ended questions, with neither a right nor a wrong answer. Questions such as: should everything be automated?
With this question Design Does* presented the piece Death Inc., a reflection on design applied to the arms industry. The exploration of a new style of killing that arises from the incorporation of image recognition technologies to military robots. The death of a human by a machine’s hands and decision.
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Xu, Shan Shan, Wei Lu Lv, and Zhi Kui Cao. "Experimental Space Imagery Design." Advanced Materials Research 694-697 (May 2013): 3292–97. http://dx.doi.org/10.4028/www.scientific.net/amr.694-697.3292.
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A narrative environment is a space, whether physical or virtual, in which stories can unfold. A physicalnarrative environment might be an exhibition area within a museum, or a foyer of a retail space, or the public spacesaround a building - anywhere in short where stories can be told in space.
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Portnova, Tatiana V. "Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–6. http://dx.doi.org/10.1145/3460456.
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The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.
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Ouyang, Ke Sai, Si Liang Lu, Shang Bin Zhang, and Fan Rang Kong. "Design of a Chaos Phenomenon Exhibition System." Applied Mechanics and Materials 511-512 (February 2014): 679–82. http://dx.doi.org/10.4028/www.scientific.net/amm.511-512.679.
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This paper introduces a design of an interactive machine named Chaos Phenomenon Exhibition System (CPES). The CPES is a mechatronics system that consists of 180 independent modules, and each of them is a 2-Degree Of Freedom (DOF) machine which can realize forward and backward stretch on the horizontal plane, and clockwise and counterclockwise rotation synchronously. With the help of some sensors, the CPES can exhibit the effect of chaotic changes via the movements of the 180 modules. In this paper, the hardware (includes the mechanical structure and the electrical system) designs were introduced firstly. Subsequently, an algorithm was proposed to control the modules movement for exhibition of the chaos phenomenon. Finally, some improvements were conducted based on system simulation and field debugging. The CPES has been exhibited in a science museum in China and it is admired by lots of audiences.
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Bashirova, Elza, Elena Denisenko, Kamilla Akhmetova, and Vilnur Kadirov. "Museum and center for contemporary art: design principles and functional features." E3S Web of Conferences 274 (2021): 01019. http://dx.doi.org/10.1051/e3sconf/202127401019.
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The article discusses the topical issue of the establishment of museum and center for contemporary art. The objective of the research is to analyze the historical background of contemporary art museums; to review the world design practice of them according to urban planning, functional, architectural and expositional criteria; to reveal functional features’ trends and to identify the design principles of an advanced center for contemporary art. We collected more than 45 leading examples to compile a matrix using classification and analysis methods. As a result, we reached the museums’ functional features: administrative, exhibition, educational, recreational are fixed functions; storage and research functions are optional; cultural and entertainment are particularly additional functions. At first, art museums and centers are focused on adaption to visitors and intersection with them, secondly, on the exhibit. To sum up, we define the design principles of the ideal architectural model on the basis of urban planning, architectural, sociocultural and technological radicals. In conclusion, it is revealed that contemporary art centers have absorbed most of the historical functions of the museum and today are one of the developed types of the multifunctional architecture.
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Macdonald, Sharon, Christine Gerbich, and Margareta Von Oswald. "No Museum is an Island: Ethnography beyond Methodological Containerism." Museum and Society 16, no. 2 (July 30, 2018): 138–56. http://dx.doi.org/10.29311/mas.v16i2.2788.
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This article addresses the question of how to go beyond the conceptualisation of museums as islands in museum ethnography without losing the ethnographic depth and insights that such research can provide. Discussing existing ethnographic research in museums, the ethnographic turn in organization studies, and methodological innovation that seeks to go beyond bounded locations in anthropology, we offer a new museum methodology that retains ethnography’s capacity to grasp the often overlooked workings of organizational life – such as the informal relations, uncodified activities, chance events and feelings – while also avoiding ‘methodological containerism’, that is, the taking of the museum as an organization for granted. We then present a project design for a multi-sited, multi-linked, multi-researcher ethnography to respond to this; together with its specific realisation as the Making Differences project currently underway on Berlin’s Museum Island. Drawing on three sub-projects of this large ethnography – concerned with exhibition-making in the Museum of Islamic Art, in the Ethnological Museum in preparation for the Humboldt Forum (a high profile and contested cultural development due to open in 2019) and a new exhibition about Berlin, also for the Humboldt Forum – we highlight the importance of what happens beyond the ‘container,’ the discretion of what we even take to be the ‘container’, and how ‘organization-ness’ of various kinds is ‘done’ or ‘achieved’. We do this in part through an analysis of organigrams at play in our research fields, showing what these variously reveal, hide and suggest. Understanding museums, and organizations more generally, in this way, we argue, brings insight both to some of the specific developments that we are analysing as well as to museum and organization studies more widely.
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Lu, Chunchen, and Xinyue Zhang. "Museum Landscape Design based on the Combination of Art and Technology." E3S Web of Conferences 179 (2020): 02130. http://dx.doi.org/10.1051/e3sconf/202017902130.
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With the view of solving the problems of development and innovation in museum landscape design, this paper, starting from the function of landscape, puts forward a strategy of combining art with science and technology. It takes static landscape and dynamic landscape as the starting point of design, and uses the design method of functional zoning optimization. It treats the fire museum as the theme, and makes landscape art modeling by using foam, cement, brick, steel wire and other materials. It combines intelligent fire control system and virtual technology to carry out fire escape experiment in art environment. The experimental result goes to show that artistic means are conducive to enhancing immersive experience, and scientific and technological means are conducive to improving the depth and dimension of experience. The museum landscape design based on the combination of art and science can help the value promotion of exhibition knowledge, landscape knowledge, exhibition hall education, science, art and interest. The combination of art and science and technology, which is the new trend of landscape design, provides a better comprehensive solution for the innovation in museum landscape design.
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Martin, Marcella, and Federica Vacca. "Heritage narratives in the digital era." Research Journal of Textile and Apparel 22, no. 4 (December 3, 2018): 335–51. http://dx.doi.org/10.1108/rjta-02-2018-0015.
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Purpose By considering the role of technology in museum archives and exhibitions, as well as company archives and production, this paper aims to present that digital technologies offer new approaches and tools to consider fashion know-how, traditions and memories. Design/methodology/approach Through an extensive literature review and a close consideration of multiple sources, this paper analyzes fashion, tradition and knowledge creation through the lens of museum and company archives. A section on museum archives analyzes the role of fashion in the museum and the use of technology in cataloging, online resources and exhibitions for knowledge transfer of fashion history. The second half of the paper considers the relationship between heritage, company archives and technology in branding and consumer engagement. Findings The paper summarizes recent scholarship in the fields of fashion archives and demonstrates the still current importance of heritage in generating new design and exhibition practices. Despite having its roots in the past, heritage demonstrates continuity with the present and looks to the future with the same devotion and commitment, thus guaranteeing quality and authenticity for both museum collections and company productions. Originality/value Through a case study methodology, this paper presents how digital technologies can offer new approaches and tools in museum archives and exhibitions, as well as in company archives and collection development, to reconsider and translate fashion know-how, traditions and memories in the digital era.
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Marchand, Marie-Ève. "L’impossible « chambre des horreurs » du Museum of Ornamental Art : une archéologie du design criminel." RACAR : Revue d'art canadienne 39, no. 1 (August 14, 2014): 40–51. http://dx.doi.org/10.7202/1026201ar.
Full textAbstract:
In 1852, the Museum of Ornamental Art, today the Victoria and Albert Museum, opened its doors to the public. Taking part in a general reform of the British art and design education system, the museum sought to instill what were considered good design principles. To do so, a museographic strategy that proved to be as popular as it was controversial was chosen: the exhibition gallery entitled “Decorations on False Principles,” which immediately became known as the “Chamber of Horrors.” This gallery, a dogmatic expression of the functionalist conception of ornament advocated by the museum, referred through its nickname to another then famous Chamber of Horrors, the one in Mme Tussaud’s wax museum. In this paper, I will first argue that the Museum of Ornamental Art’s Chamber of Horrors is an early example of the association of ornament with crime that reappears in later design theories. Second, by examining the means taken to transmit the idea of the criminalization of ornaments designed after “bad principles,” I demonstrate why the concept of the Chamber of Horrors is in itself doomed to failure. I thus analyze this uncommon exhibition as a manifestation of the museum’s aesthetic philosophy and mechanisms at a time when the institution’s modalities were still in the process of elaboration.