La imagen como materia y material. Arquitecturas avanzadas y experimentación audiovisual desde la mirada inclusiva de Herbert Bayer.

Desde mediados del siglo XX se observa una proliferación de singulares prácticas arquitectónicas basadas en la incorporación de sistemas de información mediática como ingrediente fundamental. En este contexto, la investigación busca revelar el hilo de Ariadna que nos conduce desde la figura de Herbert Bayer y su influyente esquema gráfico de Fundamentals of Exhibition Design (1939), hasta la presencia de la imagen en movimiento en el diseño arquitectónico más contemporáneo, entendida ésta, como materia y material conceptual. Concretamente mediante el análisis de tres líneas principales cuya relación se pretende desarrollar: por una parte, las aportaciones de Herbert Bayer en el campo visual y del diseño expositivo; por otra, las experiencias pioneras de hibridación entre arquitectura, teatro y video proyecciones de los años 50; y finalmente, el estudio de proyectos de fin de siglo en los que lo audiovisual constituye un soporte decisivo en la definición arquitectónica. Mediante la revisión bibliográfica como método de trabajo, apoyada de un análisis intencional de ejemplos, se procura justificar el vínculo entre los anteriores enfoques. Las conclusiones apuntan al linaje de la fusión de los mundos físico y virtual en la arquitectura, a través de la imagen en movimiento insertada en su diseño.

Pendampingan perancangan ruang pamer museum dr.AK.Gani pada pameran bersama Museum Negeri Sumatera Selatan

A successful exhibition cannot be separated from the proper arrangement of the exhibition space. A good exhibition space arrangement will generate interest from exhibition visitors. Moreover, what if the exhibition is a museum exhibition. The arrangement of museum exhibitions requires a more complex arrangement. South Sumatra Province held a joint exhibition which various state museums throughout South Sumatra attended. Because various museums attend it, a good exhibition space arrangement is needed to present an optimal exhibition space so that it is attractive to visitors and is not inferior to other museums in the exhibition. Therefore, this service aims to assist dr.AK.Gani Museum as a partner to organize its exhibition space to make it more optimal. The community service activities offered at this activity are assistance in designing informative brochures and showing off collections. Exhibition activities went well and safely following health protocols during the COVID-19 pandemic, attended by various students and the general public. The activity method includes focus group discussions, exhibition room design, and effective exhibition space design implementation to produce the dr.AK.Gani Museum exhibition design has been implemented at the 2020 Joint Exhibition at the South Sumatra State Museum

Designing, Realizing, Running, and Evaluating Virtual Museum – a Survey on Innovative Concepts and Technologies

This paper presents a survey of innovative concepts and technologies involved in virtual museums (ViM) that shows their advantages and disadvantages in comparison with physical museums. We describe important lessons learned during the creation of three major virtual museums between 2010 and 2020 with partners at universities from Armenia, Germany, and Chile. Based on their categories and features, we distinguish between content-, communication- and collaboration-centric museums with a special focus on learning and co-curation. We give an overview of a generative approach to ViMs using the ViMCOX metadata format, the curator software suite ViMEDEAS, and a comprehensive validation and verification management. Theoretical considerations include exhibition design and new room concepts, positioning objects in their context, artwork authenticity, digital instances and rights management, distributed items, private museum and universal access, immersion, and tour and interaction design for people of all ages. As a result, this survey identifies different approaches and advocates for stakeholders’ collaboration throughout the life cycle in determining the ViM's direction and evolution, its concepts, collection type, and the technologies used with their requirements and evaluation methods. The paper ends with a brief perspective on the use of artificial intelligence in ViMs.

Review on the Display Design of Historical Museums

Historical museum is very important for patriotic education and social development. In order to improve the quality of the people, realize their thoughts and the development of the future of society, museums and memorial halls with historical themes are playing their role. When they visit, people can feel the patriotic and revolutionary spirit in the long history and gain strength. The exhibition design of the museum will add icing on the cake, explore innovative design, get rid of the old tradition, make people have a stronger sense of substitution, and give full play to the spirit of learning. Our group tried to combine the modern style with the traditional historical memorial hall, so that the memorial hall can play its role of patriotism education, promote social development, improve the quality and ideological consciousness of the people, so that people can feel the patriotism and revolutionary spirit in the long history when browsing and visiting.

Mnemonic Fakery and Other Interpretive Strategies: Reclaiming Shingwauk Hall through Ethical Spectacle

Providing a glimpse of the ongoing wrestle with ethics and practice involved in the Reclaiming Shingwauk Hall exhibition, an iterative residential school Survivor-led reclamation project, this article considers critical methods for implementing museal projects reckoning with difficult knowledge, and the ethical latitude they require. Doing so, it discusses risks of misrepresentation/recognition and the necessity of hopeful wounding, exposing the manipulations, fakery, and the prosthetic memories that exhibitions with great affective force produce. Exploring a range of exhibition-focused museal strategies that seek both to redress and prevent the recurrence of genocide and mass violence, this article articulates the tensions between i) affective power and cultural safety, ii) absence and presence, and iii) prosthetic and “authentic” memory that permeate the process of exhibition design. Returning to the evidentiary landscape of the Shingwauk Indian Residential School, interventions hybridizing examples discussed, putting them into the service of Survivors, offer a direction for future reclamation.

Wonderful Worth & Worthy Wonder: The revival of a forgotten concept to strike a balance in technological exhibition design

<p>As museums develop their roles as social and political forces, the role of the exhibition designer has evolved and become more complex. The new role demands increased consideration as new technologies impact the demand for recreational learning experiences (Lake-Hammond & White, 2015). Nearly thirty years ago Pulitzer Prize-winning author Stephen Greenblatt introduced the terms ‘resonance and wonder’ to describe the viewer’s experience and connection to the exhibits. Greenblatt asserted both ‘resonance and wonder’ as essential to an exhibition experience but stressed the need for a balance between the two (1991). The significance of Greenblatt’s perspective has become more prominent with the current shift in museum exhibitions that engage technological forms of representation. This study asserts that Greenblatt’s argument continues to be relevant today, as museum professionals arbitrate the balances and imbalances posed between resonance, now interpreted as worth, and wonder. The terms were first defined through thematic analysis to identify consistent elements that produce the concepts and further applied to the narrative analysis on perspectives of technological integration in museums. Using the broader contemporary definitions of ‘wonder and worth’ this research then applied what was learned from the literature to a physical context by analysing use of wonder and worth in two current exhibitions; Te Papa’s 2015 “Gallipoli: Scale of Our War” and Cooper-Hewitt Design Museum’s 2014 interactive pen design. In doing so the main finding suggested that the balance of wonder and worth can be achieved through encouraging a human connection and empathy which can be extended with the use of new technologies that are appropriate for the intent of the exhibit. These findings were delivered in the form of a manifesto to facilitate the exhibition design process, encourage consideration for the balance between wonder and worth and lessen the stigma around technological representation in museums.</p>

Wonderful Worth & Worthy Wonder: The revival of a forgotten concept to strike a balance in technological exhibition design

<p>As museums develop their roles as social and political forces, the role of the exhibition designer has evolved and become more complex. The new role demands increased consideration as new technologies impact the demand for recreational learning experiences (Lake-Hammond & White, 2015). Nearly thirty years ago Pulitzer Prize-winning author Stephen Greenblatt introduced the terms ‘resonance and wonder’ to describe the viewer’s experience and connection to the exhibits. Greenblatt asserted both ‘resonance and wonder’ as essential to an exhibition experience but stressed the need for a balance between the two (1991). The significance of Greenblatt’s perspective has become more prominent with the current shift in museum exhibitions that engage technological forms of representation. This study asserts that Greenblatt’s argument continues to be relevant today, as museum professionals arbitrate the balances and imbalances posed between resonance, now interpreted as worth, and wonder. The terms were first defined through thematic analysis to identify consistent elements that produce the concepts and further applied to the narrative analysis on perspectives of technological integration in museums. Using the broader contemporary definitions of ‘wonder and worth’ this research then applied what was learned from the literature to a physical context by analysing use of wonder and worth in two current exhibitions; Te Papa’s 2015 “Gallipoli: Scale of Our War” and Cooper-Hewitt Design Museum’s 2014 interactive pen design. In doing so the main finding suggested that the balance of wonder and worth can be achieved through encouraging a human connection and empathy which can be extended with the use of new technologies that are appropriate for the intent of the exhibit. These findings were delivered in the form of a manifesto to facilitate the exhibition design process, encourage consideration for the balance between wonder and worth and lessen the stigma around technological representation in museums.</p>

Exhibition Development in Auckland Libraries

<p>Throughout New Zealand’s public library sector, librarians, particularly those responsible for special collections, maintain and create exhibitions. They aim to reflect the depth and richness of our history, cultural heritage and society. Due to the immeasurable value of cultural heritage, it needs to be presented effectively, not only for aesthetic and preservation purposes, but also for the betterment of society. Therefore the objective of this study is to explore how exhibition principles are being applied to exhibition development and presentation in Auckland Libraries. This study will not only focus on the principles behind physical layout of the exhibitions, and selection of objects on display, it will also attempt to place exhibition design into a wider context. It will do this by exploring how library exhibitions reflect public policy, and how exhibition designers perceive their social and cultural responsibilities as representatives of public libraries. Herein lies the value of the proposed study; it will allow better informed practices by exploring the use of exhibition design principles, and the application of public policy in public.</p>