New Museum Design | ScienceGate

Konferanse: Nodem 06: Nordic Digital Excellence in Museums

Nordisk Museologi ◽

10.5617/nm.3289 ◽

1970 ◽

pp. 131

Author(s):

Tore Slaatta

Keyword(s):

Digital Design ◽

Research Papers ◽

Software Developers ◽

Digital Museum ◽

Academic Fields ◽

Wide Range ◽

Museum Design ◽

Set Up

The article reports from NODEM 06, the Nordic Digital Excellence in Museums Conference, which was held in Oslo on 7–9 December 2006. The NODEM conference was set up to promote interaction and learning enhanced by technology and digital design in museums.The conference had an impressive, ambitious programme and proved to be a successful meeting involving Nordic and International scholars from a total of 13 countries, museum researchers and curators, hardware and software developers, designers, consultants and students from a wide range of academic fields, institutions and organisations. Keynote speakers from the EPOCH network, and from the field of digital museum design in Ireland and Australia, were invited, and research papers about 30 ongoing projects featuring digital mediation in museums were presented, with a critical focus that provided a thorough presentation and discussion of the main contributions and themes.

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Reshaping exhibition and museum design through digital technologies: a multimodal approach

International Journal of Virtual Reality ◽

10.20870/ijvr.2009.8.3.2738 ◽

2009 ◽

Vol 8 (3) ◽

pp. 25-31 ◽

Cited By ~ 2

Author(s):

Marco Borsotti ◽

Letizia Bollini

Keyword(s):

Interior Design ◽

Design Research ◽

Exhibition Design ◽

Multimodal Approach ◽

Exhibition Space ◽

Interior Spaces ◽

Planning Approach ◽

Museum Design ◽

Contemporary Architecture ◽

Social Landscapes

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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MUSEUM SONGKET PALEMBANG DENGAN PENDEKATAN ARSITEKTUR NEO-VERNAKULAR

Arsitektura ◽

10.20961/arst.v14i2.9046 ◽

2017 ◽

Vol 14 (2) ◽

Author(s):

Abdul Aziz Arrosyid ◽

Samsudi Samsudi ◽

Ummul Mustaqimah

Keyword(s):

Intellectual Property ◽

Property Rights ◽

Cultural Heritage ◽

Cultural Values ◽

Intellectual Property Rights ◽

Architectural Design ◽

Raw Materials ◽

Vernacular Architecture ◽

Museum Design ◽

Limited Process

Traditional weaving as a national cultural heritage is being abandoned, including songket in Palembang city. Songket weaving craft has been abandoned due to the limited process of the making, expensive raw materials, and competitiveness, either other crafters or modern weaving. There are hundreds of Palembang songket motifs that have not been documented and collected well. Only 77 motifs which have been registered as intellectual property rights. The lack attention of this matter would give possibility for neighboring countries to claim it such an accident ever exist. Songket Museum is needed as conservation center, exhibition, research, and songket craft workshop. Neo-Vernacular Architecture approach is used to make museum architectural design which is in line the cultural values of Palembang in contemporary design. The design issue is how to apply the principles of Neo-Vernacular Architecture into Palembang Songket Museum design. The method is designing the museum by taking both the physical and non-physical elements of local culture. Beside, re-interpretation the shape and philosophycal value of local architecture and Palembang songket are apllied in a new composition of Neo-Vernacular Architecture. The result is a design of Palembang Songket Museum which applies Neo-Vernacular Architecture principles. Keywords: Architecture, Neo-Vernacular, Palembang Songket, Songket Museum.

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The Labyrinthine Aesthetic in Contemporary Museum Design

Exhibition Experiments ◽

10.1002/9780470696118.ch2 ◽

2008 ◽

pp. 47-70 ◽

Cited By ~ 7

Author(s):

Paul Basu

Keyword(s):

Museum Design

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Green Museum Design: Is It Good for Collections?

Collections ◽

10.1177/155019060600200303 ◽

2006 ◽

Vol 2 (3) ◽

pp. 181-193

Author(s):

Roberta Faul-Zeitler

Keyword(s):

Museum Design ◽

Good For

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The journey as concept for digital museum design

Digital Creativity ◽

10.1080/14626268.2014.904365 ◽

2014 ◽

Vol 25 (3) ◽

pp. 275-282 ◽

Cited By ~ 2

Author(s):

Gunhild Varvin ◽

Hilde Fauskerud ◽

Ida Klingvall ◽

Lin Stafne-Pfisterer ◽

Ida Sannes Hansen ◽

...

Keyword(s):

Digital Museum ◽

Museum Design

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Some recent trends in museum design and the New National Archaeological Museum of Jordan

International Journal of Museum Management and Curatorship ◽

10.1016/0260-4779(83)90027-4 ◽

1983 ◽

Vol 2 (3) ◽

pp. 257-264

Author(s):

M Brawne

Keyword(s):

Museum Design ◽

Recent Trends

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MUSEUM DESIGN WITH SPECIAL REFERENCE TO THE TROPICS

Studies in Conservation ◽

10.1179/sic.1967.s023 ◽

1967 ◽

Vol 12 (supplement1) ◽

pp. 183-189

Author(s):

Jane B. Drew

Keyword(s):

Special Reference ◽

Museum Design ◽

The Tropics

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Providing Access to Engagement in Learning: The Potential of Universal Design for Learning in Museum Design

Curator The Museum Journal ◽

10.1111/cura.12030 ◽

2013 ◽

Vol 56 (3) ◽

pp. 307-321 ◽

Cited By ~ 14

Author(s):

Gabrielle Rappolt-Schlichtmann ◽

Samantha G. Daley

Keyword(s):

Universal Design ◽

Universal Design For Learning ◽

Design For Learning ◽

Museum Design

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An American in Medieval Paris. The Impact of Europe on Early American Collectors of Medieval Art

Acta ad archaeologiam et artium historiam pertinentia ◽

10.5617/acta.5724 ◽

1970 ◽

Vol 18 ◽

pp. 323-344

Author(s):

Elizabeth Smith

Keyword(s):

Middle Ages ◽

Medieval Art ◽

Stained Glass ◽

Early American ◽

Museum Design ◽

Architectural Sculpture ◽

Hard Evidence ◽

Major Trend ◽

The 19Th Century ◽

The Impact

The title of this article refers specifically to the time spent in Paris by early American collectors of medieval art, but it is also meant to evoke the American response to the medieval antiquities of Paris, to those of France, and to those of Europe in general. Focusing on seven Americans, whose sojourns in Europe – some brief, some extended – roughly span the entire course of the 19th century, this article seeks to understand what made these men turn towards medieval art at a time when most Americans were barely aware of its existence and didn’t care for it if they were. Proceeding chronologically from the earliest collector to the latest, it reexamines the available evidence, using first-hand testimony where possible, in the hope of gleaning some new insights into the impact of Europe on their collecting. Beginning with William Poyntell, who acquired stained glass from the Sainte-Chapelle while in Paris in 1803, it continues with Robert Gilmor, who in 1807 purchased a Book of Hours from the Workshop of the Boucicaut Master; it then turns to two collectors of Italian “Primitices”, Thomas Jefferson Bryan and James Jackson Jarves; to J. Pierpoint Morgan and Henry Walters, the two greatest American collectors of medieval art; and concludes with the sculptor George Grey Barnard, whose precocious appreciation of Romanesque architectural sculpture started a major trend in both collecting and museum design. Although hard evidence for the direct impact of a European experience on the collecting psyche of these men is slight, they all spent “quality time” in Europe, and in all of them, to varying degrees, we can observe reflections of “medieval Paris”. Henry Adams describes the powerful effect of his first taste of Antwerp in 1858 as “education only sensual”. But since it is a sensual appreciation that must underlie the impulse to collect works of art, then we can be permitted to see the direct experience of Europe as having provided these early American collectors with a sense of the reality of the Middle Ages.

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