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11	As exposições das arquitetas curadoras Lina Bo Bardi e Gisela Magalhães como linguagem de arquitetura / The exhibits of the architects curators Lina Bo Bardi and Gisela Magalhães as architectural language Sartorelli, César Augusto 07 May 2014 (has links) Este trabalho tem o objetivo de analisar as exposições como um fenômeno de linguagem de arquitetura, pensando a ação de arquitetos curadores como um exercício de ressignificação do espaço onde ela será construída. Neste espaço inicial, denominado espaço base, que tem características físicas, institucionais e simbólicas será processada uma ressignificação, que parte de ideias e programas dentro de uma lógica discursiva. Esta lógica será transposta através do desenho de projeto num dispositivo de comunicação, construído através de uma narrativa espacial. Esta narrativa espacial se dá pelo encadeamento de seus setores parciais, denominados de espaços frases, com o objetivo de facilitar a comunicação do programa previsto. Estes conceitos serão aplicados a dois estudos de caso das exposições mais relevantes de duas arquitetas e curadoras realizadas no Brasil: Lina Bo Bardi e Gisela Magalhães. Como conclusão do trabalho, procurou-se estabelecer similaridades e diferenças na linguagem de arquitetura expositiva de ambas as autoras. / This work has the object to analyze the exhibitions as a phenomenon of architectural language, thinking the work of curators architects as an exercise in ressignification the space where it will be built. In this initial space, called base space, which has physical, institutional and symbolic characteristics will be processed with a ressignification, which has the starting point in the ideas and programs within a discursive logic. This logic will be implemented through the architectural project design of a communication device, constructed by a spatial narrative. This space gives the narrative thread of their partial sectors, called phrases spaces, in order to facilitate communication of the planned program. These concepts will be applied to two case studies of the most important exhibitions of two Brazilian curators architects: Lina Bo Bardi and Gisela Magalhaes. The conclusion of this work was to establish similarities and differences in the exhibition architecture language of both authors. Aquitetos Architects Architecture Arquitetura Curadores Curadoria museológica Curators Espaço expositivo Exhibit design Exhibition space Exhibitions Exposições Exposições permanentes Language Linguagem Museografia Museum curatorship Narrativa Narrative Permanent Exhibitions
12	Storytelling memories : a tangible connection to bomber command veterans : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Design at Massey University, Wellington, New Zealand Marriott, Tanya January 2009 (has links) As we pass the 6oth anniversary of the end of World War Two (WW2) historians are diligently collecting the memoirs of veterans to preserve for future generations. Public archives of memorabilia, letters, photos and artefacts, in the process of digitisation are complimenting the stone memorials of the past. This material culture of memory discusses human interaction. “The poor, the rich, the brave and the afraid, the hero and the deserter” (Moriarty, 1999, p 654). In contemporary museum culture this digitised information is presented in either web-based systems, or interactive kiosks. However, this approach to packaging memories and historical data often leaves out much of the depth of the topic information, skimming the surface of the knowledge conveyed. New solutions to memory and artefact display have been developed effectively in the Churchill room’s exhibit designed by Small Design (Kabat,2008) and Memory Miner (Memory Miner, 2008), a home-based memory archive programme by John Fox. Both convey the memories and artefacts upon a mapped interface, using our desire to discover and connect with memories to navigate the narrative in a self-guided format. The Storytelling Memories project seeks to build on current research to formulate an interactive platform of memory immersion and experience within a museum environment. The project utilises a touch sensitive surface as an interface between the viewer and the memories. A physical controller, when placed near the interface surface will “unlock” contained memories, enabling an open-ended storytelling experience. The design encourages the user to interact directly with the memories to create their own dialogue, with the intention of developing a more emotive, personal connection to the Veteran. World War Two museum exhibit design war veterans interactive platform
13	Storytelling memories : a tangible connection to bomber command veterans : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Design at Massey University, Wellington, New Zealand Marriott, Tanya January 2009 (has links) As we pass the 6oth anniversary of the end of World War Two (WW2) historians are diligently collecting the memoirs of veterans to preserve for future generations. Public archives of memorabilia, letters, photos and artefacts, in the process of digitisation are complimenting the stone memorials of the past. This material culture of memory discusses human interaction. “The poor, the rich, the brave and the afraid, the hero and the deserter” (Moriarty, 1999, p 654). In contemporary museum culture this digitised information is presented in either web-based systems, or interactive kiosks. However, this approach to packaging memories and historical data often leaves out much of the depth of the topic information, skimming the surface of the knowledge conveyed. New solutions to memory and artefact display have been developed effectively in the Churchill room’s exhibit designed by Small Design (Kabat,2008) and Memory Miner (Memory Miner, 2008), a home-based memory archive programme by John Fox. Both convey the memories and artefacts upon a mapped interface, using our desire to discover and connect with memories to navigate the narrative in a self-guided format. The Storytelling Memories project seeks to build on current research to formulate an interactive platform of memory immersion and experience within a museum environment. The project utilises a touch sensitive surface as an interface between the viewer and the memories. A physical controller, when placed near the interface surface will “unlock” contained memories, enabling an open-ended storytelling experience. The design encourages the user to interact directly with the memories to create their own dialogue, with the intention of developing a more emotive, personal connection to the Veteran. World War Two museum exhibit design war veterans interactive platform
14	Storytelling memories : a tangible connection to bomber command veterans : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Design at Massey University, Wellington, New Zealand Marriott, Tanya January 2009 (has links) As we pass the 6oth anniversary of the end of World War Two (WW2) historians are diligently collecting the memoirs of veterans to preserve for future generations. Public archives of memorabilia, letters, photos and artefacts, in the process of digitisation are complimenting the stone memorials of the past. This material culture of memory discusses human interaction. “The poor, the rich, the brave and the afraid, the hero and the deserter” (Moriarty, 1999, p 654). In contemporary museum culture this digitised information is presented in either web-based systems, or interactive kiosks. However, this approach to packaging memories and historical data often leaves out much of the depth of the topic information, skimming the surface of the knowledge conveyed. New solutions to memory and artefact display have been developed effectively in the Churchill room’s exhibit designed by Small Design (Kabat,2008) and Memory Miner (Memory Miner, 2008), a home-based memory archive programme by John Fox. Both convey the memories and artefacts upon a mapped interface, using our desire to discover and connect with memories to navigate the narrative in a self-guided format. The Storytelling Memories project seeks to build on current research to formulate an interactive platform of memory immersion and experience within a museum environment. The project utilises a touch sensitive surface as an interface between the viewer and the memories. A physical controller, when placed near the interface surface will “unlock” contained memories, enabling an open-ended storytelling experience. The design encourages the user to interact directly with the memories to create their own dialogue, with the intention of developing a more emotive, personal connection to the Veteran. World War Two museum exhibit design war veterans interactive platform
15	Exhibit Construction: Conservation, Preservation, Materials, and Design Focus on the Pro Football Hall of Fame Canton, Ohio Lake, Christy 09 December 2011 (has links) No description available. American History Archaeology Arts Management Conservation Design Fine Arts History Modern History Museums Museum Studies Sports Management museum exhibit preservation artifact exhibit design conservation
16	High Priority Design Values Used by Successful Children's Museum Exhibit Developers: A Multiple Case Study Analysis of Expert Opinions Ashton, Stephen D. 20 April 2011 (has links) (PDF) The following qualitative study sought to answer three questions: (1) What are the high priority design values used by expert exhibit developers to create meaningful exhibits at children's museums? (2) How do exhibit developers prioritize these design values? (3) What are the desirable outcomes that exhibit developers seek to achieve with the guests who interact with the exhibits? These questions were answered through interviews with children's museum exhibit developers, personal observations, and artifact analysis. The data collected was organized into four cases, each representing a different children's museum and corresponding exhibit developer. The cases were then compared against each other using multiple case study analysis as described by Stake (2006). The data revealed that most of the developers designed exhibits which promoted family learning by encouraging meaningful interactions between parents and children. Other high priority design values used by exhibit developers included physical engagement, multiple entry points, simplicity, durability, multisensory engagement, staff and volunteer facilitation, safety, and immersive environments. Successful museum exhibits empowered guests and were always created using multiple design values. This thesis may be downloaded for free at http://etd.byu.edu. museums children's museums family learning exhibit design exhibit development design values desirable outcomes physical engagement immersive environments multisensory engagement facilitation Educational Psychology
17	Zoo exhibit design: the influence of animal visibility on visitor experience Plaatsman, Michelle 09 September 2008 (has links) Naturalistic exhibits have become popular among zoo designers as well as zoo visitors. However, one problem associated with naturalistic exhibits is that many times visitors cannot see the animals. The primary purpose of this study was to examine the effect of this lack of visibility on visitor experience. Other goals of this study were 1) to theorize the relationship between visitor experience and exhibit design, 2) to present the implications of this study on current practices in zoo exhibit design, and 3) to provide a series of design recommendations which will enhance current design practices. The results of this study suggest that there is a significant relationship between animal visibility and visitor experience. Most importantly, the results indicate that animal visibility can significantly influence how visitors use the interpretive materials associated with the exhibits. These results are important because a primary zoo objective is visitor education through sign readership. The most valuable contributions made by this study are 1) the theory proposed in this thesis which provides designers a stronger theoretical foundation from which to begin the design of zoo exhibits, 2) the findings provide additional empirical data in identifying qualities of exhibits which stimulate visitors to read, and 3) the findings provide researchers additional evidence concerning what factors of an exhibit are most significant in influencing visitor attitudes. / Master of Landscape Architecture zoo design exhibit design naturalistic exhibits interpretation visitor survey visitor behavior visitor education visitor attitudes visitor satisfaction LD5655.V855 1996.P533
18	Stories in Stone: Interpreting history in the context of a museum exhibition Hamalainen, Bonnie 01 January 2005 (has links) This project examines opportunities for history exhibition design practices. Research into museum studies and creative work in typography, photography, graphic design and architecture result in curation and design of a prototypical exhibit about the granite quarrying industry of Stonington, Maine. artefact artifact audience curate curator curatorial design designer exhibit exhibition granite granite quarrying graphic design history interpretation interpretive exhibit design museum museum studies narrative narrative form precedent precedents prototype quarry quarrying industry stone cutting typography typographic form user-centered design visitor visual communication Architecture Art and Design Arts and Humanities
19	PRESERVING, INTERPRETING, AND DISPLAYING MENTAL HEALTH HISTORY: ESTABLISHING THE PATTON STATE HOSPITAL MUSEUM AND ARCHIVE Long, Shannon Rene 01 June 2015 (has links) There are few museums in the western half of the United States that provide an opportunity to educate the public about the history of mental health care. Recently, a mental health museum and archive of artifacts, photographs, and documents was established on the grounds of Patton State Hospital in Highland, California. The purpose of this paper is to reflect on the establishment of this museum and archive and to provide an account of the 125 year history of Patton State Hospital. Understanding the history of Patton provides an opportunity to understand the history of mental health care in the United States from the late 19th century to the present. The establishment of this museum and archive became a joint initiative between Patton and California State University, San Bernardino’s History Department in January 2014. The museum and archive are meant to provide an educational venue that will increase awareness of the plight of the mentally ill, decrease stigmatization of those afflicted with mental illness, and further efforts to improve the care of patients through preservation and display of the artifacts, photographs, and documents related to Patton’s history. The goal of this paper is to assist future public historians with the design and establishment of a museum and/or archive, be it related to mental health history or to projects with other themes, and to provide information to other mental health facilities that wish to establish their own museums. Mental Health History Public History Museum Archive Patton State Hospital Exhibit Design Archival Science Civic and Community Engagement Collection Development and Management Other Social and Behavioral Sciences Psychiatric and Mental Health Psychology Public History Social Work
20	Communicating science : developing an exhibit with scientists and educators Lemagie, Emily 28 October 2011 (has links) Outreach is a small, but significant component to modern research. Developing an exhibit for public display can be an effective way to communicate science to broad audiences, although it may be a less familiar method to scientists than writing papers or giving presentations. I outline the process of developing an interactive exhibit for outreach, and evaluate and discuss the effectiveness of a computer exhibit designed to communicate estuary currents and scientific modeling using Olympia Oyster restoration in the Yaquina Bay estuary as a theme. I summarize the results of this project in three primary recommendations: 1) exhibit developers should be deliberate in the decision to use a computer and only select this media if it is determined to be the best for communicating exhibit learning outcomes, 2) the design of visualizations to convey research results should be carefully modified from their scientific forms to best meet the exhibit learning outcomes and expectations of the exhibit audience, and 3) scientists should play an integral role in the development of scientific content-based exhibits, but their expertise, and the range of expertise from other members of the exhibit development team, should be strategically utilized. / Graduation date: 2012 Exhibit Exhibit Development Exhibit Design Education Marine Education Marine Interpretation Science Interpretation Informal Science Environmental Interpretation Environmental Outreach Science Education Communicating Science Estuary Interpretation Communication Outreach Science Outreach Free-Choice Learning Informal Education Informal Science Estuary Education Museum Exhibit Interactive Kiosk Computer Exhibit Computer Interface Interactive Touchscreen Kiosk Marine Science Exhibit Computer Display Interactive Exhibit Interactive Visualization Current Simulation Scientific Model Numerical Model Estuary Science Visitor Center Marine Science Center Visitor Behavior Museum Hatfield Marine Science Center Science Center Emily Lemagie Oregon Sea Grant Education Kiosk Educational Kiosk Computer Kiosk Science Communication Touchscreen Interface Backwards Design Tidulator Museum exhibits -- Oregon -- Newport Hatfield Marine Science Center

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