scholarly journals Imersão na paisagem em jardins zoológicos: o projeto das exposições | Landscape immersion in zoological gardens: the exhibition design

2021 ◽  
Vol 19 ◽  
Author(s):  
Samantha Balleste
Keyword(s):  

   Os jardins zoológicos atuais têm como um de seus principais objetivos a educação dos seus visitantes, e, para a efetivação deste, desde a década de 1970 têm-se aplicado nas exposições um conceito deno­minado como imersão na paisagem. Entretanto, no Brasil não há uma área de conhecimento específico sobre o projeto de jardins zoológicos; portanto, há pouca aplicabilidade desses conceitos no país. Desse modo, este estudo tem como objetivo definir as características conceituais dos projetos de imersão na paisagem nos jardins zoológicos contemporâ­neos, por meio de uma revisão bibliográfica, para oferecer um maior embasamento teórico aos arqui­tetos e demais profissionais responsáveis pelo pro­jeto de exposições zoológicas. Como resultado, foi constatado que a imersão na paisagem tem como objetivo final a apresentação dos animais de forma respeitosa, de modo que sua razão de ser e seus direitos sejam evidentes para os visitantes. A prin­cipal característica do projeto refere-se à percepção da continuidade na paisagem, sendo esta imprevi­sível e misteriosa, réplica do habitat dos animais; as barreiras ou limites dos recintos são discretas, pouco perceptíveis pelos visitantes, os quais parecem com­partilhar o mesmo ambiente dos animais. Existem vários pontos de observação nas exposições, e a visualização cruzada entre os visitantes é evitada. Destaca-se que atualmente a imersão na paisagem é considerada por muitos especialistas como o único tipo apropriado de exposição de animais. Assim, espera-se que os resultados aqui apresentados contribuam para a qualificação dos profissionais no Brasil, e que o embasamento teórico os auxilie para que não façam apenas cópias dos projetos de outros jardins zoológicos, muitas vezes ultrapassados.

Author(s):  
Mariya T. Maistrovskaya ◽  
◽  

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.


Author(s):  
Caroline Claisse ◽  
Daniela Petrelli ◽  
Luigina Ciolfi ◽  
Nick Dulake ◽  
Mark T. Marshall ◽  
...  

October ◽  
2014 ◽  
Vol 150 ◽  
pp. 87-112
Author(s):  
Kevin Lotery

The story, as Richard Hamilton told it years later, begins with something of an insult. Upon viewing Hamilton's 1955 exhibition Man, Machine, and Motion, Victor Pasmore, the Constructivist sculptor and Hamilton's then-colleague at King's College in Newcast le, delivered a snide quasi-compliment, dismissing the iconographical content (and main attraction) of the project only to praise the mere apparatus of exhibiting—the bracket and framing system that Hamilton had invented to exhibit his imposing photographic enlargements of men and their technical prostheses. “It would have been very good,” Pasmore is purport-ed to have said, “if it hadn't been for all those photographs.”2 But clearly the exhibition intrigued Pasmore, who would approach Hamilton later in the hope of collaborating with the younger artist. Hamilton recalls: Remembering his comment on Man, Machine and Motion I proposed that we might make a show which would be its own justification: no theme, no subject, not a display of things or ideas—pure abstract exhibition.3


2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Andreas Etges ◽  
Irmgard Zündorf ◽  
Paweł Machcewicz

AbstractThe Polish museum landscape has turned into a battleground between politicians and historians. Much of that has focused on the highly praised Museum of the Second World War in Gdańsk which opened in March 2017. Its founding director Pawel Machcewicz was dismissed when the conservative-nationalist party “Law and Justice” came to power. The article and the interview with Machcewicz discuss that story, the founding and exhibition design of other Polish history museums as well as the politics of history in Poland and beyond.


Author(s):  
Pablo Gobira ◽  
Antônio Mozelli

This paper aims to report the experience and challenges of the research group Laboratory of Front Poetics (LabFront, CNPq/UEMG) in exhibiting an immersive virtual reality installation during events and festivals of digital arts in Brazil. In this article, questions are raised regarding traditional exhibition processes and those where digital technologies are used. Although our focus is on the Brazilian context, similar difficulties and problems in exhibition design can be seen in other places, such as Latin American and European countries. We will base the discussion on our experience of exhibiting Olhe para você (2016) [Look at yourself], an immersive virtual reality work developed by one of the teams of the research group LabFront.


2009 ◽  
Vol 8 (3) ◽  
pp. 25-31 ◽  
Author(s):  
Marco Borsotti ◽  
Letizia Bollini

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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