Journal articles: 'Museum exhibition planning'

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Bernbeck, Reinhard. "The exhibition of architecture and the architecture of an exhibition." Archaeological Dialogues 7, no. 2 (2000): 98–125. http://dx.doi.org/10.1017/s1380203800001665.

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

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Message, Bill. "Museum exhibition planning and design." Museum Management and Curatorship 29, no. 1 (2013): 83–84. http://dx.doi.org/10.1080/09647775.2014.869850.

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Ahmad, Shamsidar, Mohamed Yusoff Abbas, Wan Zaiyana Mohd. Yusof, and Mohd Zafrullah Mohd. Taib. "Creating Museum Exhibition: What the public want?" Asian Journal of Behavioural Studies 3, no. 11 (2018): 27. http://dx.doi.org/10.21834/ajbes.v3i11.98.

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The purpose of this paper is the identification of issues from the perspective views of museum scholars and experts toward creating direction in developing museum exhibitions in Malaysia for public learning. Recently, museums have developed a strong interest in technology as their path more towards of leisure industries. However, there are contradicting opinions arising between using “traditional” approach and “interactive” technology exhibition techniques for visitor learning. This paper initiates a search for such literature and identifies key concepts for further deliberations. Finally, these findings are intended to formulate the best-practice on learning “tool” in a museum exhibition practice.Keywords: Museum; museum learning and museum exhibition. eISSN 2398-4295 © 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. http://dx.doi.org/10.21834/ajbes.v3i11.98

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Wessman, Anna, Xenia Zeiler, Suzie Thomas, and Pilvi Vainonen. "The Durga Puja pop-up exhibition at the National Museum of Finland. Designing and hosting an exhibition as university educationmuseum collaboration." Nordisk Museologi 29, no. 2 (2020): 96. http://dx.doi.org/10.5617/nm.8445.

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In autumn 2018, eight Museum Studies students from the University of Helsinki had the opportunity to put theory into practice and to gain hands-on experience making a real exhibition. The ‘Museum Content Planning’ course was a collaborative project between the National Museum of Finland and the university in which the students, together with the museum staff, built a pop-up exhibition about the Indian festival Durga Puja in only five weeks. The exhibition showed in the National Museum for two weeks, and the students were involved in most stages of the exhibition’s development. They also blogged about their learning experience. In this case study, we present our reflections on both the benefits and challenges of collaboratively creating an exhibition, which is simultaneously an accredited learning experience for university students.

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Kellner, Alexander Wilhelm Armin. "Museus e a divulgação científica no campo da paleontologia." Anuário do Instituto de Geociências 28, no. 1 (2005): 116–30. http://dx.doi.org/10.11137/2005_1_116-130.

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Museums are generally regarded as having high potential for science communication. In Brazil, however, those institutions are still far away from accomplishing this mission, particularly regarding paleontology. Here we discuss several aspects regarding science communication and museums. The three main activities associated to museums are research, repositories of collections and exhibitions. The collections of the Brazilian museums and the exhibits tend to be poor when compared with similar European and North American institutions, causing a distance between museum and society. Among the attempts of changing this picture, the Museu Nacional/UFRJ, in collaboration with the Museu de Ciência da Terra (DNPM), has organized in 1999 the temporary exhibition THE TIME OF THE DINOSAURS, which turned out to be the most visited exposition regarding fossils organized in the country so far. Among the several benefits of this exhibit was to increase the interest of the population regarding paleontology. This experience has shown that the museum must interact more strongly with the society in order to fully develop its potential of science communication.

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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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Wang, Siyi. "Museum as a Sensory Space: A Discussion of Communication Effect of Multi-Senses in Taizhou Museum." Sustainability 12, no. 7 (2020): 3061. http://dx.doi.org/10.3390/su12073061.

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Museums are much more than repositories of cultural relics to be preserved for the future. They are centers of learning, community centers, social hubs—even places of healing and contemplation. The museum experience is a multilayered journey that is proprioceptive, sensory, aesthetic and social. In this context, this study takes the case of the ‘People at the Seashore’ multisensory area in the folk exhibition of Taizhou Museum, applies three data collection techniques (questionnaire, in-depth interview and observation) to assess various types of experiences (object, cognitive, social and introspective) and effects (visceral, cognitive and emotional) in the museum, and analyzes the practical effect and relative merits of the multisensory approaches used in this exhibition through the lens of communication effect. Accordingly, multi-senses acquire creative significances upon the attractive and holding power of museum exhibitions, specifically the emotional relevance and resonances. Thus, museums should be more concerned with the connection and complex interaction between senses and experience, meanwhile be active with visual, auditory, olfactory, taste and proprioceptive experiences and engage in the potential impact on visitors from cognitive and emotional aspects, which is an important trend for the museum’s future development and also the vision of this study.

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Drummond, Di. "Exhibition and Museum Review." Journal of Transport History 33, no. 2 (2012): 260–62. http://dx.doi.org/10.7227/tjth.33.2.8.

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O’Reilly, Chiara, and Anna Lawrenson. "Revenue, relevance and reflecting community: Blockbusters at the Art Galley of NSW." Museum and Society 12, no. 3 (2015): 157–70. http://dx.doi.org/10.29311/mas.v12i3.257.

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Museums are judged not solely on the basis of their exhibition quality and collection care but, within a corporate model, they are also judged on quantitative measures such as audience numbers and, in turn, their financial viability. Programming has, therefore, become a major focus of forward planning and the basis for funding development. Blockbuster exhibitions, strategically placed throughout annual programs, have been a common way to increase audience numbers and sustain support. In more recent times, the blockbuster model has developed to address more complex measures of success beyond their quantifiable benefits. In addition to the aim of increasing visitor numbers, the blockbuster exhibition and its associated public and education programs, have been effectively utilized as a means of broadening and diversifying audiences. Such efforts help museums to meet expectations, often set by governments, to address and reflect the diverse demographic communities within which they are situated and to whom they serve.The Art Gallery of New South Wales (AGNSW) in Australia provides one such example of a museum that is working creatively within the blockbuster model in order to present exhibitions that build on their collection strengths and existing programs, attract large audiences and engage diverse audiences by focusing on community building. This paper uses the AGNSW blockbuster exhibition The First Emperor: China’s Entombed Warriors, to examine the role of this format in contemporary museums more broadly. We use this exhibition as a frame by which to analyse how the Gallery has modified the blockbuster model, and indeed built on it, in order to target geographically and culturally diverse audiences. We argue that this has been effectively achieved as a result of the Gallery building blockbusters around their curatorial and collection strengths, by working with external organizations and community groups and by offering a range of activities and opportunities for engagement both within the museum and outside of its boundaries. This exhibition proves that when blockbusters are used creatively to support museum wide efforts to engage culturally and linguistically diverse audiences they can achieve success that is both quantitative and qualitative.

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Sapto, A., U. Nafi’ah, B. Suprapta, J. Sayono, H. Renalia, and M. N. Alfahmi. "Digitization planning for museum exhibition the learning museum of Universitas Negeri Malang." IOP Conference Series: Earth and Environmental Science 485 (June 3, 2020): 012115. http://dx.doi.org/10.1088/1755-1315/485/1/012115.

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Turner, Christopher. "Making Native Space: Cultural Politics, Historical Narrative, and Community Curation at the National Museum of the American Indian." Practicing Anthropology 33, no. 2 (2011): 40–44. http://dx.doi.org/10.17730/praa.33.2.812j276564248333.

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The work of presenting native history in the museum setting is always challenging; a commitment to prioritizing native perspectives and interests in a national museum is all the more so. Certainly, any museum is today a multilayered space of representational possibilities, and thus creating exhibitions in collaboration with native constituents is a dynamic and challenging task. This article is a summary of current exhibition planning strategies at the National Museum of the American Indian (NMAI), which having developed a model collaborative approach for its opening exhibitions, is now in the unusual position of needing to scrutinize that model of "community curation," and to consider other strategies for resolution of representational issues and educational mandates as we develop our next major exhibitions.

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Crooke, Elizabeth. "The Construction of Meanings in Museums." Archaeological Dialogues 7, no. 2 (2000): 130–32. http://dx.doi.org/10.1017/s1380203800001689.

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The museum is a construct; the collections and the physical building are enclosed by a structure, invisible to the eye, which is created by the context in which the museum is being viewed. The nature of that structure will depend on the viewer; he or she will make his or her own meanings. Reinhard Bernbeck, in his paperThe exhibition of architecture and the architecture of an exhibition, has investigated how the Pergamon Museum can simultaneously mean different things to different people, according to their cultural perspective. What is at the core of this is the political and social nature of museums, and one of the most dominant aspects of this is the demonstration of power. This determines how the museum collects, interprets and displays both the objects and itself, and is related to both Bernbeck's colonial and postmodern readings of the museum, as well has his discussion of ‘pragmatist’ and ‘purist’ approaches to museums in general. Though his paper is based on a case study of the Pergamon Museum in Berlin, the issues he raised are applicable to museums elsewhere. In this response to his paper, I am going to look at what this demonstration of power reflects about what museums mean and how they function and relate Bernbeck's evaluation to museum development I am most familiar with, that in Ireland.

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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.

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Kay, Jon. "Traditional Arts Indiana’s Bicentennial Exhibition." Museum Anthropology Review 13, no. 1 (2019): 11–31. http://dx.doi.org/10.14434/mar.v13i1.24990.

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This project report describes the planning, creation and touring of a 26-panel traveling exhibition about Indiana folk arts staged for the bicentennial of Indiana’s statehood. The exhibition, its catalogue, and related public programs were produced by Traditional Arts Indiana, Indiana’s official traditional arts service organization based at the Mathers Museum of World Cultures, Indiana University, Bloomington.

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Zhang, Heng, Po-Chien Chang, and Ming-Fong Tsai. "How Physical Environment Impacts Visitors’ Behavior in Learning-Based Tourism—The Example of Technology Museum." Sustainability 10, no. 11 (2018): 3880. http://dx.doi.org/10.3390/su10113880.

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Visiting a museum is a popular activity in the tourism industry, especially in cultural and learning-based tourism. To help plan museums effectively, this study investigated the underlying motivations and constraints and their impact on the perceived physical environment and visitor satisfaction toward a museum. The results suggest that the physical environment of museums serves as an axial mediator among motivations, constraints and visitor satisfaction. Six essential factors of physical environment are affected by motivations and constraints, further affecting visitor satisfaction in various patterns, in which architectural planning, exhibition, external environment, and entrance are clearly affected by basic motivations and constraints. Under motivations, family education and self-development are the most two profound influences on enhancing visitor satisfaction through the physical environment. Shops and café are worth special attention in meeting motivation of attractiveness, occasion and social interaction. The results could support the planning and design of a satisfactory museum.

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Jones-Edman, Genevieve, Jessica C. Lewis, and Bernadette Worrell-Johnson. "Keeping up with best practices: Library exhibitions at a university library in a small island developing state." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (2019): 59–76. http://dx.doi.org/10.1177/0955749019876118.

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Libraries over the years have developed best practices for planning, organising, promoting and evaluating exhibitions. Many are based on practices in museums. These best practices have been written into policies and shared with libraries worldwide. However, just as there has been an acknowledgement that some museum practices must be modified to suit the needs of libraries, the same applies to exhibition best practices across countries and libraries with different budgets. Small island developing states are particularly challenged by, among other things, limited resources, high cost of transportation and energy and vulnerability to natural disasters, which can have a direct or indirect impact on libraries and their ability to carry out functions like curating exhibitions. The University of the West Indies (UWI), Mona Library, located on the island of Jamaica and founded in 1948, has a long tradition of curating exhibitions. Planning and executing physical exhibitions at The UWI are guided by Library-adapted policies and guides, recently formalised in an exhibition policy. A review of some of the exhibitions curated by The UWI Mona show that the physical exhibits are, for the most part, executed in keeping with international best practices, but the Library has had to make adjustments primarily because of financial challenges. These financial challenges affect the availability of resources for exhibits, exhibition space, dedicated exhibition staff, how special collections items are used and the magnitude of exhibitions mounted. Exhibition reports, annual reports, photographs and visitor comments books reveal that the Library attempts to follow best practices with regards to planning, designing, executing and evaluating physical exhibitions. On the other hand, the Library is in the early stages of converting its physical exhibitions to digital formats but may have to establish more formal guidelines to ensure that online exhibitions are planned, designed and evaluated in keeping with international best practices to be successful. Successful exhibitions not only satisfy Library organisers and ‘edutain’ users but also build a good reputation for the Library and lead to further collaboration with faculty and benefit students, administrators and sometimes the general public. These practices at The UWI that are guided by policies can serve as an example to other institutions with small budgets on how to successfully plan and deliver physical exhibitions and build relationships with faculty and the wider community. The Library would need to ensure that formal guidelines and practices are followed for online exhibitions to be as effective and successful.

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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 (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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Hodzhayan, E. "Improvement of Museum Exhibition Planning Processes Based on Project Management Methods." Scientific Research and Development. Economics 8, no. 5 (2020): 57–63. http://dx.doi.org/10.12737/2587-9111-2020-57-63.

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The urgency of development management to ensure competitiveness of culture institutions in conditions of transition to market conditions of managing. The basic principles of integration mechanism of project management in traditional management system of culture institution are analyzed. The ideas about the art project are generalized. The possibilities of a harmonious combination of process and project approaches to the management of culture institution are analyzed. In article using methods of network planning on the example of managing exhibition activity of the museum is considered. This allowed to design effective organization of works on exhibition design.

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Zotti, Georg, Florian Schaukowitsch, and Michael Wimmer. "The Skyscape Planetarium." Culture and Cosmos 21, no. 1 and 2 (2017): 269–81. http://dx.doi.org/10.46472/cc.01221.0629.

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Communicating scientific topics in state of the art exhibitions frequently involves the creation of impressive visual installations. In the exhibition ‘STONEHENGE. A Hidden Landscape.’ in the MAMUZ museum for prehistory in Mistelbach, Lower Austria, LBI ArchPro presents recent research results from the Stonehenge Hidden Landscape Project. A central element of the exhibition which extends over two floors connected with open staircases is an assembly of original-sized replica of several stones of the central trilithon horseshoe which is seen from both floors. In the upper floor, visitors are at eye level with the lintels, and on a huge curved projection screen which extends along the long wall of the hall they can experience the view out over the Sarsen circle into the surrounding landscape. This paper describes the planning and creation of this part of the exhibition, and some first impressions after opening.

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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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FABA, PAULINA. "Paradoxes of the Museification of the Past in Nineteenth-Century Chile: The Case of the Coloniaje Exhibition of 1873." Journal of Latin American Studies 50, no. 4 (2018): 951–75. http://dx.doi.org/10.1017/s0022216x18000305.

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AbstractThe Coloniaje Exhibition, held in September 1873 in Santiago, Chile, represents a milestone in the history of Chilean museums. As the first retrospective display of the history of the Chilean nation, it was an important precedent for the collections that led to the construction of the National Historical Museum in 1911. By examining the ideas associated with the history of the colonial era and the museography related to the exhibition, this article analyses the ambiguous ways in which the Coloniaje Exhibition mobilised the colonial past in the context of the ascendancy of liberalism and the transformation of Santiago's urban social life. Situated between alienation and identification – between critiquing the colonial system and celebrating its imprint on Chilean society – the Coloniaje Exhibition is important for the understanding of postcolonial societies in Latin America.

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Huang, Xianfeng, and Shangyu Zhu. "Optimization of Daylighting Pattern of Museum Sculpture Exhibition Hall." Sustainability 13, no. 4 (2021): 1918. http://dx.doi.org/10.3390/su13041918.

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In this study, based on the current daylighting situation of a museum sculpture exhibition hall, the exhibition space is classified according to the daylighting requirements of the sculptures. Additionally, the daylighting pattern for the sculpture exhibition hall and the display layout of the exhibits are summarized. The daylighting parameters of the exhibition space under different scenarios are calculated. The exhibition space is simulated and analyzed under three daylighting conditions (flat skylights, flat skylights with side windows, and flat skylights with high side windows), and the daylighting parameters are optimized based on the daylighting patterns and components. It is discovered that with the combination of flat skylights and high side windows, the daylight factor (DF) and uniformity of daylighting (UD) of the sculpture exhibition as well as glare rating of the windows are the most favorable. Therefore, the appropriate daylighting pattern and components are determined, and the corresponding optimization strategy for daylighting is proposed. The results show that the daylighting optimization strategy proposed herein can improve the daylighting quality of the museum sculpture exhibition space and yield a suitable light environment.

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SENDA, Mitsuru, Naohito SHINO, Tsutomu YATA, and Yumi SUZUKI. "A STUDY ON ARCHITECTURAL PLANNING OF ART MUSEUM EXHIBITION ROOMS : Relationship between exhibition wall arrangement and visitors' estimation." Journal of Architecture and Planning (Transactions of AIJ) 64, no. 517 (1999): 145–49. http://dx.doi.org/10.3130/aija.64.145_3.

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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 (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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Fan, Lin Pey, and Tzu How Chu. "Optimal Planning Method for Large-Scale Historical Exhibits in the Taiwan Railway Museum." Applied Sciences 11, no. 5 (2021): 2424. http://dx.doi.org/10.3390/app11052424.

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The curation design of cultural heritage sites, such as museums, influence the level of visitor satisfaction and the possibility of revisitation; therefore, an efficient exhibit layout is critical. The difficulty of determining the behavior of visitors and the layout of galleries means that exhibition layout is a knowledge-intensive, time-consuming process. The progressive development of machine learning provides a low-cost and highly flexible workflow in the management of museums, compared to traditional curation design. For example, the facility’s optimal layout, floor, and furniture arrangement can be obtained through the repeated adjustment of artificial intelligence algorithms within a relatively short time. In particular, an optimal planning method is indispensable for the immense and heavy trains in the railway museum. In this study, we created an innovative strategy to integrate the domain knowledge of exhibit displaying, spatial planning, and machine learning to establish a customized recommendation scheme. Guided by an interactive experience model and the morphology of point–line–plane–stereo, we obtained three aspects (visitors, objects, and space), 12 dimensions (orientation, visiting time, visual distance, centrality, main path, district, capacity, etc.), 30 physical principles, 24 suggestions, and five main procedures to implement layout patterns and templates to create an exhibit layout guide for the National Railway Museum of Taiwan, which is currently being transferred from the railway workshop for the sake of preserving the rail culture heritage. Our results are suitable and extendible to different museums by adjusting the criteria used to establish a new recommendation scheme.

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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 (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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Wang, Yun-Ciao, Chin-Ling Chen, and Yong-Yuan Deng. "Museum-Authorization of Digital Rights: A Sustainable and Traceable Cultural Relics Exhibition Mechanism." Sustainability 13, no. 4 (2021): 2046. http://dx.doi.org/10.3390/su13042046.

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The digital rights management of museums is a mechanism that protects digital content from being abused by controlling and managing its usage rights. Traditional museums attach importance to the collection, display, research, and education functions of “objects”. In response to natural or man-made disasters, people are often caught off guard, destroying material, intangible assets, and spiritual symbolism. Therefore, with the advancement of digital technology, this research is based on the mechanism of blockchain, through the authorization of cryptographic proxy re-encryption, and proposes a new method for the preservation and authorization of digital content in museums, which can effectively display, store, and promote “important cultural relics and digital archives”. In this research, the Elliptic Curve Digital Signature Algorithm (ECDSA), blockchain, and smart contracts are used to design a sustainable and traceable cultural relic exhibition mechanism. The proposed scheme achieves publicly verifiable, transparency, unforgeability, traceability, non-repudiation, standardization of stored data, timeliness, etc., goals. It is the museum’s preservation and innovation approach for the unpredictable future. Through appropriate preservation and management mechanisms, it has extremely important practical significance for the protection of museum collections, the inheritance of historical and cultural heritage, and the expansion of social education.

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Winchester, Juti A. "New Western History Doesn't Have to Hurt: Revisionism at the Buffalo Bill Museum." Public Historian 31, no. 4 (2009): 77–79. http://dx.doi.org/10.1525/tph.2009.31.4.77.

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Abstract In early exhibition planning, Buffalo Bill Museum curatorial staff hoped to center a reinstallation around William F. Cody while reflecting thinking influenced by study of New Western History. Gallery planning included consultation with historical experts including a Lakota historian and Wild West Show Indian descendant. One section of the museum was set aside to feature a Lakota point of view concerning Indian participation in Buffalo Bill's Wild West. Visitor studies regarding the plan showed the museum's board and staff that taking a broader approach to Cody's life and including a Lakota voice would not engender public scandal but instead would pique visitor interest.

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Kwiatkowski, Piotr Tadeusz, Anna Pokrzywa, and Beata Nessel-Łukasik. "Wykorzystanie konsultacji społecznych w procesie tworzenia modelu muzeum partycypacyjnego." Kultura i Społeczeństwo 59, no. 3 (2015): 165–88. http://dx.doi.org/10.35757/kis.2015.59.3.8.

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The subject of this article is the use of public consultations in the process of planning a participatory museum. The authors start by mentioning current discussions about participation in culture and debates among museum curators, culture experts, and sociologists concerning a new type of museum. In this context, they present Nina Simon’s idea of a participatory museum, which is a theoretic frame of reference for the long-term activities of the Józef Piłsudski Museum in Sulejówek, an institution desiring to establish a modern participatory museum in a certain social context. At the end, the results of the public consultations are presented. The data shows that one condition for the creation of a participatory museum is an effective, institutionalized, interactive system of communication. Three areas connected with the local community in which the museum could develop participatory projects were also indicated: the joint creation of memorial sites, community integration, and exhibition and educational activities.

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Chipangura, Njabulo, Patrick Bond, and Steven Sack. "Critical representations of Southern African inequality: Transcending outmoded exhibition and museum politics." Development Southern Africa 36, no. 6 (2019): 767–87. http://dx.doi.org/10.1080/0376835x.2019.1709046.

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Chen, Yu-Hsun, Guan-Chen Chen, Ching-Tai Wu, et al. "Object Investigation of Industrial Heritage: The Forging and Metallurgy Shop in Taipei Railway Workshop." Applied Sciences 10, no. 7 (2020): 2408. http://dx.doi.org/10.3390/app10072408.

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As a special plant for train maintenance in northern Taiwan, the Taipei Railway Workshop was founded in 1885 and moved in 2011, reflecting the changes in Taiwan’s history, transportation, and industrial technology. Now, it is planned to change the maintenance plant into a railway museum in the form of an in situ site. This study briefly introduces the historical background and present situation of the Taipei Railway Workshop and takes its forging workshop as the object for investigation and exhibition planning. According to the preservation and maintenance methods of the cultural heritage of the museum, the investigation process proposed includes four steps: Site exploration, object registration, object research, and exhibition planning. The work area in the plant is divided into shaping and forging areas, as based on the categories of the machines on the site of the forging workshop. In this study, a total of 85 industrial relics in the forging workshop are registered for systematic research. The working conditions, including machine parts for train maintenance, manufacturing processes of parts, and the relationship between in-line on-site machines and tools, of the forging workshop before closing are restored, as based on the principles of machine manufacturing, literature, and retired workers’ oral histories. Finally, an in situ exhibition plan of the forging workshop is put forward based on the results of the object research.

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Glen, Alexander. "Norwegian War Museum exhibition on Allied operations in Svalbard, 1942–1945." Polar Record 26, no. 156 (1990): 47. http://dx.doi.org/10.1017/s0032247400022804.

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Nechita, Florin, and Catalina-Ionela Rezeanu. "Augmenting Museum Communication Services to Create Young Audiences." Sustainability 11, no. 20 (2019): 5830. http://dx.doi.org/10.3390/su11205830.

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The aim of this paper is to demonstrate how museums use Augmented Reality (AR) to enhance communication services with their audiences and attract new ones. Still, there is no definite answer to how young audiences perceive the educational effects of experiencing this augmented space of communication as an immersive medium. This study is based on a survey of 400 students after they visited an AR technology-enhanced exhibition held by a local history museum. Two stimulus–response marketing scale metrics, widely used to assess TV commercials, were adapted for AR experiences and validated. The mediation analysis revealed an intervening emotional mechanism, in which the multisensory AR experience has educational effects through entertainment and empathy. An improved stimulus–response empirical model is proposed, in which AR technologies, as environmental multisensory stimuli, produce cognitive responses through emotional immersion. The findings have significance in improving how museums encode their message using AR technologies as a secondary communication medium with young audiences. This study could help museum professionals and application developers to find AR implementation solutions as service tools to enhancing user experience by using a widely tested scale for evaluating TV commercials applied to measure AR experiences.

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NOMURA, Tota, Kazuoki OHARA, Kwang Bum PARK, Hidehiko OGAWA, Hiroshi SHINDO, and Koji NISHIMIYA. "THE VISITORS' BEHAVIOURS CAUSED BY THE EXHIBITION AND THE CURATOR'S EXPLANATION IN MUSEUM : Study on architectural planning for museum Part V." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 445 (1993): 73–81. http://dx.doi.org/10.3130/aijax.445.0_73.

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Lucchi, Elena. "Environmental Risk Management for Museums in Historic Buildings through an Innovative Approach: A Case Study of the Pinacoteca di Brera in Milan (Italy)." Sustainability 12, no. 12 (2020): 5155. http://dx.doi.org/10.3390/su12125155.

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In the contemporary age, museums are dealing with unexpected challenges, related to the transformation of social structures, educative methods and cultural diffusion. The conversion of heritage buildings into exhibition halls and the renovation of existent exhibits involve a series of environmental risks and preservation issues. The study aims to demonstrate that conservation and human comfort are mutually compatible, when based on rational planning, interdisciplinary cooperation, and extensive knowledge of the features of buildings and collections. This study carries out an operative strategy for assessing and managing the environmental risks in museum buildings. To validate its suitability, it is applied to the Pinacoteca di Brera in Milan (Italy), an old palace completely reshaped in the 20th century following the typical design concepts of the “Modern Movement of Architecture” (e.g., rational planning, use of innovative technologies and materials, profusion of natural light integrated with artificial lighting, etc.). Several solutions adopted in these years caused both heritage decay and human discomfort. In addition, the insertion of new functions required a complete modification of the original design project. For this reason, the proposed tool supports the environmental risk management connected with these transformations, also defining clear maintenance guidelines, and planning low-engineering and low-impact solutions to satisfy, in a practical way, the daily needs of conservators, heritage authorities and designers. Furthermore, technical skills and the awareness of museum staff has been improved.

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Woo Sangki. "A Study on the exhibition space of the Science museum -the planning focused on the process and components of Experiential exhibition space." Journal of Korea Intitute of Spatial Design 7, no. 2 (2012): 51–60. http://dx.doi.org/10.35216/kisd.2012.7.2.51.

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Baldock, Janine. "Science is... at the Birmingham Museum of Science and Industry." Public Understanding of Science 4, no. 3 (1995): 285–98. http://dx.doi.org/10.1088/0963-6625/4/3/006.

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Science interpretation in museums has, until now, largely focused on the products of science—the technological artefacts of our scientific past and the scientific phenomena presented in hands-on galleries. Little, if anything, is said about the process of science—what it is, how it's done, who does it, and why. For this reason, the Birmingham Museum of Science and Industry is planning a new gallery based on science itself. Science is... will interpret science from a cultural perspective by looking at how culture affects science, and how changes in scientific thought have changed our own views of ourselves and the world around us. The objectives of the exhibition are: to raise awareness that science is a key part of our culture; to increase understanding of the method, history and philosophy of science and the scientific community; and to promote realistic images of science and scientists. Using the example of the Copernican Revolution, part of the gallery will focus on changing ideas in science, how change is affected by culture, and the consequences of accepting new scientific theories.

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Pullan, Nicola. "Anastasia's Journeys: Two Voices in a Limited Space." Public History Review 20 (December 31, 2013): 104–14. http://dx.doi.org/10.5130/phrj.v20i0.2719.

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Anastasia’s Journeys was a temporary exhibition in the Australian History Museum, Macquarie University, Australia. Developed from the oral history of a post-World War Two Russian immigrant who survived Stalin’s policies of forced collectivisation and engineered famine, the display communicated primarily through audio tracks, supported by text panels and objects. This article articulates the creative tensions between theory and practice of public history which were encountered when planning the target audience, content, and design of the exhibition. It describes the process by which the oral history was placed at the centre of the presentation while objects were used both to illustrate changing social situations and introduce an opposing interpretation. The attributes of the oral history which made it suitable for an audio presentation are then discussed.

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Sulthon, Muhammad. "The Redesign of the Patiayam Kudus Archaeological Museum with an Architectural Approach to Regionalism." Natural Sciences Engineering and Technology Journal 1, no. 1 (2021): 6–11. http://dx.doi.org/10.37275/nasetjournal.v1i1.2.

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Museum is an institution intended for the general public whose function is to collect, maintain, and present and preserve the cultural heritage of the community for research, education, recreation, and exhibition purposes. Regionalism architecture is an architecture that advocates the appearance of a building which is the result of a compound of internationalism with modern cultural and technological patterns, values and nuances of tradition that are still embraced by the local community. The Patiayam Archaeological Site is an ancient site in the Patiayam Mountains, Kancilan Hamlet, Terban Village, Jekulo District, Kudus Regency. About 4,000 fossils were found in Patiayam. Some of the elephant tusks are placed in the Ronggowarsito Museum, Semarang. With so many fossils, it will not be stored properly because there is not enough space. If this continues, it is not impossible if the fossil which is a cultural heritage will become extinct. This study aims to provide a planning concept for the Patiayam Kudus Archaeological Museum.

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Rössig, Wiebke, and Lisa Debora Jahn. "The Open Planning Laboratory at the Museum für Naturkunde – Experiences From First Attempts in a Participative Exhibition Planning and Working in Public." Curator: The Museum Journal 62, no. 4 (2019): 527–44. http://dx.doi.org/10.1111/cura.12343.

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LIN, Chejin, and Kaichiro KURIHARA. "THE TYPE OF EXHIBITION ACTIVITY AND ITS CHARACTERISTICTS : Part 1. A study on the planning of art museum." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 421 (1991): 63–73. http://dx.doi.org/10.3130/aijax.421.0_63.

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BLAIR, SHEILA. "The Many Questions of Islamic Art." International Journal of Middle East Studies 39, no. 3 (2007): 336–37. http://dx.doi.org/10.1017/s0020743807070468.

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This luster bowl, made by the Persian potter Abu Zayd in February–March 1204 (Jumada II 600), exemplifies the broad range of questions that can be raised by Islamic art. The first question is that of provenance. The bowl appeared on the art market in 2001, unknown and undocumented but in virtually perfect condition. A battery of tests supports its authenticity. Jonathan Bloom and I included it in the exhibition Cosmophilia: Islamic Art from the David Collection, Copenhagen, which we organized for the McMullen Museum, Boston College, and which was on view until 20 May 2007 at the Smart Museum, University of Chicago. However, we are in the dark about where the bowl has been in the eight centuries since it was made.

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Nielsen, Sigurd Solhaug, Gunhild Setten, and Jørgen Klein. "Producing global awareness? An analysis of Norwegian pupils’ negotiations of images in a museum exhibition." Norsk Geografisk Tidsskrift - Norwegian Journal of Geography 74, no. 2 (2020): 75–87. http://dx.doi.org/10.1080/00291951.2020.1765860.

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Martinović, Marija. "Exhibition space of remembrance: Rhythmanalysis of memorial park Kragujevački oktobar." SAJ - Serbian Architectural Journal 5, no. 3 (2013): 306–29. http://dx.doi.org/10.5937/saj1303306m.

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War memorial architecture that emerged after World War II was a significant part of the building program of Yugoslavia. Marking the war events (traumas) is an important constituent of memory, and thus participates in the construction of contemporary knowledge regarding a given historical period. The aim of this paper is to present the influence of legislation and politics on the formation of the image of society and history of that period, through the analysis of the case study of Memorial park Kragujevački Oktobar in Šumarice, Kragujevac. After WWII, the dominant tendency in Yugoslav planning of memorials was to establish a new form of memorial park. Even though the building requirements in this case were clear, they were not carried out consistently, which left to the memorial incomplete. Nevertheless, within the Memorial park and Memorial museum in the park, there are several pieces of art of the highest quality, completed through a synthesis of different art disciplines. The influence of decisions of the authorities on the development of the Memorial park and the creation of its art will be described through the methodology of rhythmanalysis. The same analysis will be applied to determine how the construction of the park impacted the local community

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Tewdwr-Jones, Mark, Dhruv Sookhoo, and Robert Freestone. "From Geddes’ city museum to Farrell’s urban room: past, present, and future at the Newcastle City Futures exhibition." Planning Perspectives 35, no. 2 (2019): 277–97. http://dx.doi.org/10.1080/02665433.2019.1570475.

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KANO, Takashi, and Akitoshi MATUMOTO. "A STUDY ON THE ARCHITECTUAL PLANNING FOR MUSEUM FROM THE VIEW POINTS OF THE METHOD OF EXHIBITION AND BEHAVIOR OF APPRECIATION : Study on the layout of exhibition and the shape of exhibition room." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 454 (1993): 55–64. http://dx.doi.org/10.3130/aijax.454.0_55.

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Yanchenko, Volodymyr. "THE MUSEUM OF WOODEN INDUSTRY IN THE PARK ‘KYIVAN RUS’." City History, Culture, Society, no. 3 (October 30, 2017): 136–55. http://dx.doi.org/10.15407/mics2019.03.136.

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The article is devoted to the created in the Park «Kievan Rus» Museum ofWooden Architecture. The reader can get acquainted with this unique phenomenonin the modern museum world as a project restoring ancient Kyiv («city of Vladimir») in 1: 1 scale.Modern experience supply objective information and historical reconstructions(individual subjects, objects, and even entire urban locations) includeproviding opportunities to experience the atmosphere and the specificsof Kievan Rus in all its fullness. The perfect opportunity to achieve this is areproduction of the image of the medieval city, but not on the monitors andmodels, but as in the original. Experience of the solution to the problem is amuseum complex in the open air - «Park Kievan Rus». Today we can confidentlyassert that the ambitious project of PKR to reproduce the ancientcapital grew to a powerful research center, which deals with a wide range ofproblems associated with medieval history, archaeology, and museology.The author presents the basic features of the museum complex areas - reconstructionand construction of fortifications and sacral buildings, housingand commercial complexes, street network planning and other constants medievalcity.One of the scientific and educational activities PKR is the creation ofmuseums on its territory. One of these new museums - the Museum of WoodenArchitecture. The museum is unique because it exhibits archaeological artifacts, reconstructed models of ancient structures housing, replicas of ancienttools of the carpenter.According to archeological data, the main types of woodworking toolsand their range took constant shape in the X - XI and remained unchangeduntil the XVIII century. The exhibition features tools that can be consideredreplicas of ancient counterparts, their identity is proven by archaeologicalartifacts. The basis of the comparative analysis underlying the developmentof V. Kharlamov. Among the exhibited things can be identified replica tesla,boats, planes, drills, saws, hammers and others.Archaeological studies in recent years finally convince us wide distributionin Old Kiev namely carcass type residential buildings. Therefore, thirdmainline presents the reconstruction ofsome ancient frame, frame layout design method vrubky «v oblo», layoutwindows and roof of the home.

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Katz, Dana. "Barbarism Begins at Home: Islamic Art on Display in Palermo's Museo Nazionale and Sicilian Ethnography at the 1891‐92 Esposizione Nazionale." International Journal of Islamic Architecture 9, no. 1 (2020): 91–117. http://dx.doi.org/10.1386/ijia_00005_1.

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Abstract In the last quarter of the nineteenth century, Palermo's Museo Nazionale (National Museum) displayed one of the earliest institutional collections of Islamic art in Western Europe. The museum's director, Antonino Salinas, exhibited objects demonstrating the island's material heritage, including its two-and-a-half centuries of rule by North African dynasties during the medieval period. The prevailing perception elsewhere in post-unification Italy ‐ that Sicily was ungovernable and barbaric in nature ‐ heightened the display's significance. Another exhibition that many Italians would have perceived as representing the 'other' was the Mostra Etnografica Siciliana (Sicilian Ethnographic Exhibition), which the folklorist Giuseppe Pitrè created for the 1891‐92 Palermo Esposizione Nazionale (National Exposition). Highlighting Sicily's volatile image, the Italian press implicitly equated Pitrè's show with the so-called Abyssinian Village, which stood in the exposition fairgrounds and marked the establishment of Italy's first colony in Eritrea at a time of unprecedented imperial expansion. At the National Museum, Salinas remained undeterred, and despite associations of the island's conditions with Africa, he expanded its Islamic holdings. Likewise, Pitrè exhibited costumes, tools, and devotional objects that further accentuated regional differences at the National Exposition. In both displays, Salinas and Pitrè presented what they conceived as Sicily's unique cultural and historical patrimony.

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Lee, Soomi. "On the Planning and Achievement of The Special Exhibition, “Goryeo: The Glory of Korea” of the National Museum of Korea." Journal of Korean Medieval History 58 (August 31, 2019): 73–91. http://dx.doi.org/10.35863/jkmh.58.3.

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Yaremenko, I. S. "MODERN TRENDS IN THE PLANETARIAN ARCHITECTURE." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 35–48. http://dx.doi.org/10.31650/2519-4208-2020-20-35-48.

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In the last decades of the twentieth century - the beginning of the twenty-first in the various countries of the world, the active construction of planetariums has continued. Modern planetariums are becoming multifunctional objects, where not only lectures and training sessions with a picture of the starry sky are held, but various social and scientific events, conferences, exhibitions, circle-studio classes, etc. can be held. Planetariums are often included in scientific, educational, museum -exhibition or entertainment complexes, while providing maximum comfort and a variety of additional services for visitors. The projection technique used in stellar halls has changed significantly - from optical-mechanical devices, the planetarium is moving to the use of optical-electronic devices, which opens up new possibilities for a more detailed and effective demonstration of the phenomena and processes occurring in the Universe. In this regard, the requirements for architectural and planning decisions have been changing; innovations in volumet-ric-compositional and constructive solutions of planetariums appear. Since recommendations on the design of this type of building were issued more than thirty years ago, it is necessary, based on an analysis of modern experience in the design, construction and operation of planetariums, to develop recommendations for improving the architectural and planning decisions of these objects for further use in modern design practice and educational design.

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Journal articles on the topic 'Museum exhibition planning'

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