Este estudo trata de exposições de fins educativos que tenham como objetivo oferecer uma reflexão sobre design. Para tanto, importa conceber a exposição como modalidade de projeto, o que torna oportuna a fundamentação teórica em design de exposição, alternativa na área do design gráfico-ambiental. As bases conceituais do trabalho compreendem a exposição como produto que constitui variável na percepção dos visitantes. O objetivo geral é elaborar critérios projetuais a partir da análise, em três estudos, sobre as ações de organizadores e designers, com vistas à comunicação com o público. A pesquisa é de caráter exploratório, para a qual lançamos mão de entrevistas semi-estruturadas. Os casos analisados, em três cidades do país, nos anos de 2010 e 2011, revelaram que, além de contribuir para a difusão do design, estes eventos constituem modos de refletir sobre os desafios do design e o papel do designer na contemporaneidade. / This study concerns educative exhibitions that aim to offer a reflection on design. Therefore the exhibition is conceived as a design type of project, which makes timely the theoretical foundations on exhibition design, an alternative in environmental-graphic design. The conceptual basis comprehends the exhibition as a product which is a variable in the visitors’ perception. The aim is to generate project criteria throughout the analysis in three studies regarding the actions of organizers and designers, considering the communication with the audience. The research is of exploratory kind, to which we lay hold of semi-structured interviews. The cases analyzed in three Brazilian cities during the years of 2010 and 2011 revealed that, besides its contribution to the diffusion of design, these events consist ways of reflecting about the challenges of design and the designer's role in contemporary society.

Att använda djur inom turismindustrin är vanligt, trots det har lite forskning inom ämnet riktats mot människors etiska hänseenden. Turistaktiviteter som elefantridning, gå på delfinshow eller besöka djurparker är vanliga inslag under semestern. Denna uppsats syftar till att studera djurattraktioner utifrån olika svenska intressenters perspektiv och dess uppfattningar om djurattraktioner. Studien utgår från en kvalitativ metod där intervjuer har genomförts med följande intressenter: Kolmården djurpark, djurrättsorganisationen Djurens Rätt, researrangören NAZAR, samt besökare av djurattraktioner. Utöver det har även en platsobservation gjorts samt enkätfrågor delats ut på Kolmården. De valda teorierna för studien utgår från två huvudteman vilket är följande: “Djur och etik” samt “Djurens utrymmen i förhållande till besökarnas upplevelser”. I resultatavsnittet får läsaren ta del av de olika intressenternas syn på djurattraktioner inom turismen. Kapitlet presenteras med resultat utifrån producenternas perspektiv för att sedan övergå till besökarnas. Därefter analyseras resultatet i förhållande till tidigare forskning och teori. Slutsatsen av studien redovisas i det sista kapitlet med tillhörande diskussion. Resultatet visar att djurens välbefinnande är av största vikt för samtliga intressenter men att det finns olika uppfattningar om vilket tillvägagångssätt som är bäst för att säkerställa djurens välbefinnande i framtiden. / Using animals in the tourism industry is common, although some research on the subject has been directed towards people's ethical concerns. Tourist activities such as elephant riding, dolphin shows or visiting zoos are common features during the holidays. In this study, we will try to provide new knowledge about how visitors relate to and argue about animal attractions. This paper aims to study animal attractions based on the views of different Swedish stakeholders and their views on animal attractions related to tourism. The study is based on a qualitative method where interviews have been conducted with the following stakeholders: Kolmården zoo, animal rights organization Djurens Rätt, tour operator NAZAR, as well as regular visitors of animal attractions. In addition to this, a site observation has also been made and questionnaires were distributed at Kolmården zoo. The chosen theories for the study are based on two main themes which are: “Animals and ethics” as well as “Animal spaces in relation to visitor’s experiences”. In the result chapter, each stakeholder’s view of animal tourist attractions is presented. The chapter starts with the results based on the producer's perspective and then switched to the visitors. Thereafter, the result is analyzed in relation to previous research and theory. The conclusion of the study is presented in the last chapter, along with an accompanying discussion. The results shows that animal welfare is the most important to all stakeholders but there are different perceptions how to ensure the future for the animals.

This is a thesis in information design focusing on spatial design. This project is a collaboration with visitor center Bergmancenter on Fårö, who has asked for an interactive aspect to their permanent exhibition Fårö – Ingmar Bergman’s Filmic landscape. Bergmancenter is open for the public during the summer season, May to September. Fårö, which has a population of 500, is a popular destination, which makes the number of inhabitants increase significantly during the summer. Tourism significantly affects Bergmancenter. This work will be based on how exhibition content can be shaped so that it benefits the users who visit Bergmancenter as a quick stop on their way through Fårö, a crowd of users with different conditions in previous knowledge, interests and motivation. The work is partly based on theories in exhibition design – storytelling, hierarchies and multimodality. The design concept is based on culture –and media consumption and aims to meet the user’s interests, motives and motivations. By compressing information, distributing it on the user’s terms and allowing the user to create their own experience, the concept allows the user to discover the cinematic landscape on Fårö through the auteur Ingmar Bergman. / Detta är ett examensarbete inom informationsdesign med inriktning på rumslig gestaltning. Projektet görs i samarbete med besökscentret Bergmancenter på Fårö, som önskat skapa en interaktiv aspekt till sin basutställning Fårö – Ingmar Bergmans filmiska landskap. Bergmancenter har öppet för allmänheten under sommarsäsongen, maj till september. Fårö, som är ett populärt resmål har 500 invånare, ett antal som ökar markant under sommarsäsongen. Turismen påverkar Bergmancenter signifikant. Arbetet kommer att utgå från hur utställningsinnehållet kan formas så att det kan gynnar användarna som besöker Bergmancenter som ett stopp på vägen genom Fårö, en användarskara med olika förutsättningar när det kommer till förkunskaper, intresse och motivation. Arbetet grundar sig bland annat i teorier inom utställningsdesign – storytelling, hierarkier och multimodalitet. Designkonceptet baserar sig på unga vuxnas kultur- och mediekonsumtion och syftar till att möta användarens intressen, motiv och drivkrafter. Genom att komprimera information, distribuera den på användarens villkor och låta användaren skapa sin egen upplevelse kan konceptförslaget få användaren att upptäcka det filmiska landskapet på Fårö genom auteuren Ingmar Bergman.

Touching history – to create interesting entrances is a thesis in the field of information design focusing on spatial design. Many museum experiences have been characterized by the gaze. Different barriers in forms of showcases, ropes and exhortations have made the visitor into an observer. With the digitalization this has become even more noticeable. But humans, no matter how young or old, are still physical beings with different senses which offer different ways to experience the world, also in regards of museum experiences. The purpose of this study is to investigate the haptic experience of an object as an information channel in exhibitions. This has been done to investigate if information that is communicated in the interaction between the body and the object has any significance for children’s interest in history.  The scientific theoretical basis for the study focuses, among other things, on the correlation between cognition, emotion and the physical body. This means theories in embodied cognition and haptic perception and previous research about sensory experiences in museums. The purpose for the methodological work has been to thoroughly explore the subject. The work includes interviews through video call, telephone and e-mail with persons working in the museum sector. This to establish the study firmly into the field it aims to explore, and from a museum perspective receive experiences and important inputs. Moreover different workshops and one prototype test have been conducted, this to explore and get an understanding of the subject from the users perspective and to meet their needs. The workshops and the prototype test have been conducted in collaboration with school classes.  With support from theories, previous research and methodological work a design has been created that aims to provide and make haptic experiences available in an exhibition context. This to arouse interest in children, so that the interest works as an entrance in regards to wanting to know more about history. / Att känna historien – ett skapande av intresseväckande ingångar för barn är ett examensarbete inom informationsdesign med inriktning mot rumslig gestaltning. Många museiutställningar har under en tid präglats av visuella intryck, där olika barriärer i form av montrar, rep och förmaningar gjort besökaren till en betraktare. Detta har genom digitaliseringar av museibesök blivit allt mer påtagligt. Samtidigt är människan, gammal som ung, en fysisk varelse med flera sinnen vilka erbjuder en möjlighet att uppleva världen på flera olika sätt, så även med avseende på museibesöket. Studien syftar till att utforska den haptiska upplevelsen av föremål som informationskanal i utställningssammanhang. Detta har gjorts för att undersöka huruvida information som erhålls i samspelet mellan kropp och föremål har betydelse för barns intresse av historia.   Studiens vetenskapliga teoretiska grund fokuserar främst på samspelet mellan kognition, emotion och den fysiska kroppen. Det innebär teorier om förkroppsligad kognition och haptisk perception samt tidigare forskning om betydelsen av sensoriska upplevelser i museisammanhang. Studiens metodiska arbete har syftat till att utforska ämnet från grunden. Arbetet har inbegripit intervjuer via videosamtal, telefon och mejl med personer verksamma inom museisektorn. Detta för att förankra arbetet i det område vilket det avser att utforska och utifrån ett museiperspektiv erhålla erfarenheter och betydelsefulla insikter. Därtill har olika workshops och ett prototyptest genomförts, detta för att utforska och förstå ämnet ur användarens perspektiv och förankra gestalningsförslaget i de behov som föreligger. Genomförande av workshops och prototyptest har skett tillsammans med två skolklasser.   Med stöd i teori och tidigare forskning samt metodiskt arbete har ett gestaltningsförslag för ett utställningsrum arbetats fram som syftar till att tillhandahålla och tillgängliggöra haptiska upplevelser av föremål i utställningssammanhang. Detta för att väcka intresse hos barn, ett intresse som i sin tur är tänkt att fungerar som ingångar till att vilja veta mer om historien.

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Propolis – Creating and using an immersive 2D honey bee environment to educate children between the ages of 3-10, about the importance of honey bees. This capstone project will showcase this researcher's skills in graphic design, spatial sound, architecture, exhibition design, and character illustration. Within this structure, individuals will be able to observe, determine, and make comparisons between a healthy bee colony and one that is fragile and dying. / Master of Fine Arts / "Honey bees have been on the decline. As of 2016, eight species of bees made it on the United States (U.S.) endangered species list. It reported that the decline of pollinators is due to industrial agriculture, parasites, pathogens, and climate change" (Contributors 2020). The loss of habitat and lack of nectar is due to monocultures and bee-killing pesticides. These are significant threats to honey bees and wild pollinators. There is a need for good, clean food providing for a healthy existence for the honey bee. When bees have proper nutrients, the result is a healthy hive that gives mature bees a better chance to fight off diseases. To showcase the life of a honey bee, this researcher created an immersive environment that simulates a hive structure. The structure, along with the motion graphics and critical takeaway printed pieces, is to help children between the ages of 3-10 understand the importance of honey bees. By comparing healthy and unhealthy bees in their natural habitat in an illustration format, the children could empathize with the honey bees. Hopefully, they will one day change the fate of these amazing creatures. The immersive environment will emulate a spatial audio, 2D character illustration, and animation projected onto a honeycomb structure. Custom seed packets and a brochure will accompany the immersive environment to allow the children to plant a bee-friendly garden and to learn more about the honey bees. This capstone project will showcase the researcher's skills in graphic design, spatial sound, architecture, exhibition design, and character illustration. This structure will allow individuals to observe, determine, and make comparisons between a healthy colony and one that is fragile and dying.

Through inquiry, experience, and discovery, this practicum reveals the landscape of Old Wives Lake, Saskatchewan and the prairie pothole region that surrounds it. It is my intention for this work to become a device for the revealing of unseen forces, for the creation of a different attention, an altering of perception, and an openness to a unique landscape of ever changing and shifting phenomena. It is accepted that complex systems, cannot be fully understood without time, patience, and commitment; however, through learning, understanding and revealing, the potential to not simply ‘see’ a landscape, but ‘read’ a landscape is harvested to enlighten and share in its discovery. The result is an exhibition of the unexpected Saskatchewan landscape.

The Costume Museum of Canada (CMC) is the first of its kind in Canada. It works as a comprehensive repository where Canadian clothing and textile artifacts are collected, preserved, and presented. Traveling exhibits are important to the CMC to present the collection to a wider audience; however, the CMC’s financial limitations restrict how they can support traveling exhibitions. This practicum project addresses the desire of the museum for a facility to stage traveling exhibits by the design of a Traveling Exhibition System (TES) for the CMC. The practicum explores the concepts of cultural communication, narratology and mise-en-scene. It will facilitate Canadian cultural education through the exhibition of CMC’s vast collection of costumes and related accessories in a cost effective and sustainable manner. TES will be an exhibit system that can be set up within existing buildings and spaces. The project offers the possibility for the CMC to generate revenue and to facilitate dissemination of Canadian fashion culture and history regionally and nationally.

Through inquiry, experience, and discovery, this practicum reveals the landscape of Old Wives Lake, Saskatchewan and the prairie pothole region that surrounds it. It is my intention for this work to become a device for the revealing of unseen forces, for the creation of a different attention, an altering of perception, and an openness to a unique landscape of ever changing and shifting phenomena. It is accepted that complex systems, cannot be fully understood without time, patience, and commitment; however, through learning, understanding and revealing, the potential to not simply ‘see’ a landscape, but ‘read’ a landscape is harvested to enlighten and share in its discovery. The result is an exhibition of the unexpected Saskatchewan landscape.

Submitted by Emanuel Varela Cardoso (emanuel.varela@ufcg.edu.br) on 2018-05-10T20:55:42Z No. of bitstreams: 1 MARÍLIA MACEDO MEDEIROS – DISSERTAÇÃO (PPGDesign) 2017.pdf: 4554025 bytes, checksum: 581c2f9410cfec58196a658c1c03cc04 (MD5) / Made available in DSpace on 2018-05-10T20:55:42Z (GMT). No. of bitstreams: 1 MARÍLIA MACEDO MEDEIROS – DISSERTAÇÃO (PPGDesign) 2017.pdf: 4554025 bytes, checksum: 581c2f9410cfec58196a658c1c03cc04 (MD5) Previous issue date: 2017-02-17 / Esta pesquisa analisou a relação entre os elementos que formam o ambiente construído de uma exposição temática com características interativas, imersivas e multissensoriais em museu e a experiência vivenciada pelos usuários. A base conceitual do trabalho compreende o ambiente construído de exposição como um produto em que seus atributos tangíveis e intangíveis são determinantes na identificação pelo usuário. Sendo assim, a investigação teve o objetivo de analisar de que modo recursos como iluminação, sonorização, dispositivos digitais, cenografia etc., empregados na exposição, instauram a experiência de visita. A revisão de literatura abrangeu temas ligados ao universo do design de exposições, visando aprofundamento nas práticas projetuais e compreensão da influência do uso desses recursos na percepção que o visitante tem do espaço. Buscou-se também avançar na compreensão da experiência e destacar os fatores que interferem diretamente no contexto da experiência de visita ao museu. Metodologicamente, este é um estudo misto, no qual foi conduzido um estudo de caso no Museu Cais do Sertão, situado em Recife, Pernambuco. Esse objeto de análise permitiu investigar a percepção dos visitantes sobre a experiência de visita a esse espaço, a partir da ferramenta quantitativa desenvolvida por Packer (2015) e de como os visitantes percebem as características espaciais pela ferramenta quantitativa estabelecida por Forrest (2014). Apresenta-se também entrevistas com os projetistas a fim de se obter um aprofundamento na compreensão das decisões projetuais e auxiliar na caracterização do espaço. Os dados coletados e analisados revelam que o ambiente do Cais do Sertão promove diferentes estímulos por meio do conjunto de linguagens empregadas e desperta a possibilidade para experiências hedônicas, sensoriais e afetivas. Algumas das respostas dadas pelos visitantes convergem com a intenção do projeto de curadoria. Ademais, coaduna-se com a hipótese de Forrest (2014) de que um ambiente tido como vibrante e forte em estímulos com suporte informacional em nível adequado mantém a curiosidade e possibilita um engajamento cognitivo sem esforço, fazendo com que a experiência de visita seja interpretada pelos visitantes como satisfatória. / This research analyzed the relationship between the elements that form the constructed environment of a thematic exhibition with interactive, immersive and multisensory characteristics in museums and the experience of the users. The conceptual base of this work understands the constructed environment of the exhibition as a product in which its tangible and intangible attributes are determined in the identification by its users. Therefore, this investigation had as a main goal to analyze how the resources such as illumination, sound, digital devices, scenography etc., employed in the exhibition environment affect the visiting experience of the museum. The literature review covered themes linked to the universe of exhibition design, highlighting the project practices and the understanding of how the use of these resources influences the perception that visitors create about the space. This research also seeks to advance the discussion and the comprehension of the experience and which of the factors interfere directly in the context of the experience of visiting the museum. This was conducted through a mixed methods structure, to investigate a case study in the Cais do Sertão Museum, situated in Recife, Pernambuco, Brazil. The museum chosen allowed us to investigate the perception of the visitors about the experience of the visit to this space, using the quantitative tool (15 dimensions of experience – PACKER, 2015) and how the visitors perceived the spacial characteristics by the quantitative tool (Perceived Atmosphere, FORREST, 2014). Also, the main group of designers and curators were interviewed in order to deepen the understanding of the project decisions and to assist in the characterization of the space. The data collected and analyzed revealed that the environment of the Cais do Sertão museum promotes different stimuli through the languages employed and quickens the possibility of hedonic, sensorial and affective experiences. It was also possible to correlate some of the answers given by the visitors with the intention of the curatorial project. Furthermore, this research agrees with Forrest (2014) in which an environment that has strong and vibrant stimuli with informational support at an adequate level to meet the curiosity and enables cognitive engagement, contributing to a satisfactory experience.