Submitted by Kenia Bernini (kenia.bernini@ufpel.edu.br) on 2018-11-12T17:37:11Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Ricaro_Luis_Sampaio_Pintado_Tese.pdf: 14891681 bytes, checksum: 116531767be8c837e551084f4c677a1f (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-11-13T15:58:16Z (GMT) No. of bitstreams: 2 Ricaro_Luis_Sampaio_Pintado_Tese.pdf: 14891681 bytes, checksum: 116531767be8c837e551084f4c677a1f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-13T15:58:16Z (GMT). No. of bitstreams: 2 Ricaro_Luis_Sampaio_Pintado_Tese.pdf: 14891681 bytes, checksum: 116531767be8c837e551084f4c677a1f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-15 / Sem bolsa / Esta tese trata da museografia desenvolvida pela arquiteta italiana Lina Bo Bardi no período de 1947 a 1968, a partir da instalação do Museu de Arte de São Paulo até a transferência para a sede na Avenida Paulista. Trata também da museografia desenvolvida neste ínterim para o Museu de Arte Moderna da Bahia. Especificamente, analisa a expografia, suas referências e desdobramentos nos museus enfocados. Ao tratar da expografia aproxima-se da arquitetura dos espaços expositivos e dos museus que projetou e instalou. A partir de fontes escritas e registro fotográfico descreve a expografia, seus dispositivos e os locais onde foram utilizados. Pretende-se assim, contribuir para a compreensão das práticas museográficas no Brasil a partir da análise da expografia desenvolvida por Lina Bo Bardi como contribuição para a expansão da imaginação museal no Brasil / This thesis pertains to the museography developed by the italian architect Lina Bo Bardi in the time period of 1947 through 1968, that includes the installation of the São Paulo Art Museum until the transfer to the new building on Paulista Avenue. This thesis also includes the museography developed in this era for the Museum of Modern Art of Bahia. Specifically it analyzes the design of exibits, their references and influences of the São Paulo and Bahia museums. When talks about the design of exibits gets close to the exposition spaces and from the museums she created and designed. From written sources and photographic records it describes the design for exhibits, its devices and where they were used. It's intending to contribute to the understanding of museum practices in Brazil from the analyzes of the exihibition design developed by Lina Bo Bardi as a contribution to the expansion of the museum imagination in Brazil

In this paper I argue that, in an effort to create novel cross media exhibition concepts, museums should use service design. By realigning their organizations and embrace the fact that what they are offering is indeed a service, they can gain a new outlook and generate new ideas about how to create novel cross media exhibition concepts. I also suggest that treating the exhibition in a similar way that film studios treat franchises could help shift the mindset and make it cross media-centric. In order to arrive at these conclusions I performed an observational study and conducted qualitative interviews with museum professionals working in various museums in Sweden. The observational study was designed to get a grasp of the current state of digital artefacts in Swedish museums whereas the interviews were aimed towards identifying attitudes as well as knowledge of current opportunities and obstacles. The observational study taught me that instances of rich, meaningful interactions with ties to an overall concept was not common, and that there is definitely opportunities to think differently about delivering these types of distributed user experiences. The interviews gave me a greater understanding of the intricacies of the field of cultural preservation and museums, as well as insight into some of the reasons why things are the way they currently are. Using service design to align these organizations could perhaps aid with some of these reasons.

My project unfolds on three different scales:  Materials, Objects and a Space. A research on materials and new technique for their transformation, a creation of functional objects out of the transformed materials, and finally, a spatial environment for the created objects. Real-life site visits to various factories and craftsmen, discussions with makers, sourcing leftover materials, transforming materials into borderline art/design objects are among the key elements of my research methodology.  The three scales of my work are unified by the notion of Rituals. My understanding of rituals is not about creating a new religion but focuses rather on the activities in our everyday that can become rituals. It is about finding magic in the mundane. Daily routines and rituals are one of the main things that can keep us grounded, especially in a time of crisis. I believe that material explorations and working with the senses are important and relevant for the field of Spatial design and that my approach to engaging different scales within the project brings something new and yet not vastly explored.

An interactive multiple screen visualisation might become an opportunity for engaging and illustrative presentations of scientific, complex, and abstract research. With multiple (interactive) monitors, storytelling and interfaces could bring engagement, immersion, and attraction to the audience. The challenge of designing for a multiple screen setup is that the amount of information can be overwhelming, causing the perception of it and engagement with it to decrease. This thesis explores approaches that could enhance the perception and engagement of the content for a multiple screen setup. The Research Through Design approach sets the structure for the entire thesis. It consists of methods for exploration, concepting, prototyping, and user testing. By following this research approach, three versions of a prototype were developed and tested which led to the results of this thesis. The overall nature of this research process was exploratory and the design decisions were applied during the activities. The main findings of this thesis regarding the multiple screen setup during the research process included three attention guiding approaches: black and white, blur, and pause, and according to the user test participants, the preferred approach was black and white. The second vital aspect of the research and testing were the five-act story arc and interactive storytelling structures. According to the data from user tests, interactivity helped to increase the engagement and perception of the exhibition piece.

The thesis was conducted as the master thesis for a Master's in innovation and design. The aim of this thesis was to investigate in what ways scent can be used as an olfactory stimulation within exhibitions and to access the possible effects that occur from bridging historical contexts with scent within the exhibitions – as a tool for embodied storytelling. The olfactory study focuses on Leksmedjan Smetuna in Rademachersmedjorna, Eskilstuna. The thesis theoretical framework presents theories on sense of smell, museum experiences, storytelling, and embodied storytelling. A space analysis and a qualitative interview with a museum pedagogue at Västermanland´s county museum. An observational smellscape with different scented elements is conducted as well, with visiting children at Leksmedjan Smetuna in Rademachersmedjorna – where children get the chance to experience historical scents from the 17th century, through their sense of smell. This with the aim to visualize the physical-, emotional- and social effects that occur during children´s sensory museum experiences. The scented elements for the observational smellscapes were designed and produced during the thesis design process and are based on theoretical and empirical data collection. The results of the thesis bring forth important perspectives regarding children´s sensory museum experiences that incorporate scented elements. / Examensarbetet genomförs som ett examensarbete för en Master i innovation och design. Syftet med denna studie är att undersöka på vilka sätt doft kan användas som luktstimulering inom utställningar, samt att visualisera möjliga effekter som uppstår genom att överbrygga historiska sammanhang med hjälp av doft inom utställningar – som ett verktyg för embodied storytelling. Doftstudien fokuserar på Leksmedjan Smetuna i Rademachersmedjorna, Eskilstuna. Studiens teoretiska ramverk presenterar teorier om människans luktsinne, museiupplevelser, storytelling med en fördjupning av embodied storytelling. Studiens empiriska metodarbete utgörs av en rumsanalys och en kvalitativ intervju med en museipedagog på Västermanlands länsmuseum. Metodarbetet inkluderar även en observerande smellscapes med besökande barn på Leksmedjan Smetuna i Rademachersmedjorna, Eskilstuna – där barnen får chansen att uppleva historiska dofter från 1600-talet, genom sitt luktsinne. Detta i syfte att visualisera de fysiska-, emotionella- och sociala effekterna som uppstår under barns sensoriska museiupplevelser av studiens doftelement. Doftelementen som ingår i studiens observerade smellscapes, designades och producerades under studiens designprocess och baseras på den teoretisk och empirisk datainsamling. Studiens resultat lyfter fram viktiga perspektiv på barns sensoriska museiupplevelser som innehåller doftelement.

The study examines how the effects of loneliness and isolation among seniors can be reduced with the help of user-centered design. Users, seniors but also care staff and project managers have participated in the study through interviews, both individually and in groups. With the insights that the interviews contributed, suggestions for concepts were sorted, compared and evaluated according to how well they could fulfill the purpose of the study.  The concept with the most potential was developed several times into different designs in order to review the overall possibilities. By that the final concept appeared. The final result became an exhibition concept in a pop-up format with the main purpose of making it possible for seniors to find new contacts in their home environment. / I studien undersöks det hur effekterna av ensamhet och isolering bland senior kan minska med hjälp av användarcentrerad design. Användare, det vill säga seniorer men även vårdpersonal och projektledare har deltagit i studien genom intervjuer, både enskilda och i grupp. Med de varierande insikterna som intervjuerna bidrog med tillkom förslag på koncept som sorterades, jämfördes och värderades utefter hur väl de kunde uppfylla syftet med studien. Därefter utvecklades det koncept med mest utvecklingspotential genom att flera typer av utformningar och varianter togs fram för kunna se över konceptets möjligheter. I samband med det uppkom det slutgiltiga konceptet. Det slutgiltiga konceptet blev ett utställningskoncept i pop-up format med huvudsyfte att möjliggöra för seniorer att hitta nya bekantskaper i sin omgivning.

[pt] O Design de Exibições já é bem conhecido e aplicado em museus de arte de diversos países. No Brasil, sua prática em museus de arte se afirmou progressivamente nas últimas décadas. Sua classificação duvidosa como disciplina no Campo do Design e sua complexidade por envolver conhecimentos multidisciplinares faz com que seu ensino em universidades e em cursos de Design ainda não seja uma realidade comum no Rio de Janeiro, talvez no Brasil. Profissionais brasileiros que atuam na área aprendem com o exercício da prática e não com auxílio de uma teoria de base. A concepção e a montagem de exibições de arte exigem trabalho em equipes multidisciplinares. Enquanto esse fato possa trazer uma confluência positiva de conhecimentos variados, também pode gerar dúvidas quanto ao papel de cada categoria profissional envolvida, fazendo surgir possíveis conflitos dentro das equipes. Portanto, julga-se relevante descobrir qual o papel do designer nessa prática e o momento de sua participação. Finalmente, o Design de Exibições pode evidenciar objetos expostos em museus de arte por meio do emprego de narrativa e pelo recurso a cores, luzes, tecnologia, entre outros elementos. Também o Design de Exibições tem a possibilidade de tornar exibições de arte mais amigáveis aos visitantes, porém não se confirmou a hipótese de ser ele um facilitador para uma melhor compreensão do que venha a ser arte e seus conceitos por parte do público. / [en] Exhibition Design is already well established and applied in art museums in numerous countries. In Brazil, it was progressively practiced in art museums during the past decades. However, its teaching in universities and in design courses is still not a reality in Rio de Janeiro, and maybe in Brazil, due to its doubtful classification as a discipline within the Design Field and due to its complexity, involving multidisciplinary knowledge. Brazilian professionals working in the field learn through practice and are not supported by a theoretical base. The intricate process of elaborating an art exhibition requires multidisciplinary teams. While this fact can bring a positive confluence of varied knowledge, it can also create uncertainty regarding the role of each professional category involved, creating possible team conflicts. Therefore, it is deemed necessary to define the designer s role and the timing of his/ her participation. Finally, Exhibition Design can highlight objects exposed in art museums through narrative and the use of colour, light, technology, among other elements. Exhibition Design can also make art exhibitions more visitor friendly, but the hypothesis that it facilitates the public s better understanding of art and its concepts was not confirmed.

This is a study of the intersection between art historical theory and practice, and cultural heritage, where the revivals and mediations of the neoclassical Gustavian style have been used as a platform for further exploration. In relation to this, the use and changing meanings of the concepts authenticity and style have been examined. The research has a historiographical and multidisciplinary character, drawing on the fields of art history, critical heritage studies and design history. The study shows how the Gustavian style has been routinely used when Swedish culture has been staged, nationally and internationally, but also when shaping ideas of the ideal home and good taste. The focus is placed on three periods – the 1890s, the 1930s-40s and the 1990s – during which the Gustavian style was defined, revived and mediated in different modes of representation such as textbooks, exhibitions, period furniture and historically informed performances. In the study we meet the actors, human and non-human, that have contributed to the resilient position of the Gustavian style in the public consciousness and in a commercial context. The Gustavian style, perhaps like no other, has been systematically embraced by the official heritage institutions in Sweden, including the academic discipline of art history, which has been an important influence on the way the past has been presented, valued, categorised, preserved and re-used. The author argues that the style has been able to maintain its relevance due to its ability to embody many different prevailing aspects across the 20th century, for example tradition and modernity, nationalism and internationalism, but also the past, present and visions of retro-utopia.

Exhibition room: How the experience of art is affected by the exhibition room design at Liljevalchs art gallery and Fotografiska. This thesis explores the effect the exhibition design presented in two of Stockholm ́s art galleries has on the viewer. This study investigates Liljevalchs exhibition Vårsalongen and Fotografiskas exhibition The Extraordinary World of Christian Tagliavani. It conducts how the rooms in these two exhibitions relate to each other, and also compare the design of each exhibition room, one by one. This report is based on space syntax theory combined with observations and interviews with both the curators of these two exhibitions and people who has visited both of the exhibition rooms. This analysis show how the exhibition rooms in Liljevalchs and Fotografiska relate to each other. It also shows that the design in the exhibition room, such as the colour on the walls, lights, noises, how the art pieces are hanging as well as the spatial of the room has a big effect on the viewers experience. This thesis describes how these elements above affect the viewer in these two art galleries.

No description available.