This paper takes a fresh look at the Centennial Exhibition of 1876 and exhibits that interpret it, and suggests new exhibit strategies to re-interpret this complicated moment in American history. / History

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This thesis completes the process of making architecture. It is a small project designed and built full scale. The act of realizing this work of architecture offered opportunities and limitations that do not exist within the confines of a desk project but, I believe, ultimately produced a stronger project. This is a piece of micro-architecture. In order to create a project that is realizable for a thesis, I chose a small program: to design an exhibition structure that could be used outdoors to display and sell handmade items such as pottery. Since the use is temporary, the structure is designed to be portable, thus the assembly and disassembly of the building becomes a significant influence on the design. Beyond budget, weight and volume of the collapsed structure were significant design constraints. This thesis is not just an exploration of tectonics. A great deal of effort was spent to ensure that the inside of the structure is still perceived as an outside space even though it provides protection from the weather and the activities of the street. A membrane keeps the water out while letting the light in; it blocks vision while transmitting shadow, and, while screening large areas from view, it reveals glimpses of people, activities, and the sky beyond. The lightweight aluminum structural frame visually disappears. The fabric roof and side panels provide the main visual mass for the building and they are perceived mainly through the quality of light that they transmit and reflect. One looks at a structure but sees only its ephemerality. / Master of Architecture

No / This output represents Allen's contribution to the Bradford Grid exhibition at Bradford Gallery 2 (30 July - 03 September 2006). Bradford Grid is a project sponsored by the Arts Council for England (ACE) and aims to find innovative ways of documenting photographically Bradford's rapidly changing urban landscape. The physical outputs here represent the catalogue for that exhibition and an early version of a book produced by the project. Allen's work is documented in both. All of the previous ouputs rest on the representation of space at different levels of granularity. At the very baseline it is only through the visual representation of space itself that informed judgements can be made about the representation of space, whether this is descriptive or performative in nature. Therefore, practice-based approaches to the representation of space - through photography and digital imaging ¿ are an integral and necessary aspect to this researcher¿s way of working and constitute a central part of his output. The exhibition work represented in this output is part of a significant archive documenting the visual and spatial aspects of the urban environment. This work, as a creative manifestation of the researcher¿s output, is by its very nature multimodal and is both a contribution to the analysis of urban space from a distinctly multimodal perspective; it is also a departure away from it. Whilst the visual analysis of urban space fits very neatly into the multimodal perspective it is also something of an innovation in terms of the use of digital technologies in recording an ever increasingly technologized urban landscape. The longitudinal nature of this work means that transformations in the urban environment can be recorded and analysed and ultimately fed into an approach to the built environment as a visual and multimodal text. / Arts Council for England (ACE)

This thesis analyses how contemporary exhibition spaces have evolved to meet external pressures of technological and sociocultural changes by exploring the rich potential found in the parallels between theatrical performance and the act of display, with the purpose of understanding the ways in which exhibitions spaces are being designed to interact with the spectator in our present time. By examining four different case studies from contemporary exhibitions, this research demonstrates the performative nature of objects within them, proving that both the object and the environment in which it is situated are not neutral. By drawing clear parallels between the elements at play in exhibitions with concepts in theatrical performance, a more flexible classification of exhibition spaces is proposed, providing a different perspective to probe the meanings these spaces create and the importance of their role in society. / Master of Arts / Exhibition spaces are experiencing a moment of change. Rethinking contemporary classifications for exhibition spaces that are not based on style, but instead on the ways the space itself influences and encourages certain relationships between the displayed object and the spectator, acknowledges the special fluidity of these spaces and their atemporal quality as testimonies of human development. The classification of exhibition spaces used in this work was able to successfully apply Peter Brook's modern theatre theories because of the intrinsic similarities these disciplines have in common, strengthened by the historic intersections they have shared. By the time these lines are being written, exhibition spaces continue to evolve. Therefore, this thesis serves as an addition to the documentation of the progressive transformation of these spaces.

As mobile devices are increasingly merging into our daily lives, exhibition ser- vices are also facing innovation based on the newly available technologies. Our project addresses these new circumstances. We developed a mobile exhibition guide for the exhibition called quot;Mrs Brown's Big Day Out: Hamilton Women in the 1950squot;. That is organized by the Waikato Museum. The proposed sys- tem re-uses the TIP(Tourist Information Provider) system's framework and provides information via mobile devices to visitors on Victoria Street, which is an outdoor part of the exhibition. The information about a sight will be delivered according to visitors' current locations and their interests. We would also like to examine the possibility of re-using our TIP system within the application area of exhibition guide. Therefore, we built the mobile exhibition guide system under the TIP system's framework and developed corresponding services that tailored the system to the requirements of visitors and the exhibition organizer. During the development, we faced a number of challenges, especially, modeling the unknown and unstructured exhibition data into the TIP database. The development process as well as the implementation and evaluation are detailed in this report.

<p>Shaping visual stories - content in exhibitions is an essay on how content has been shaped in the two exhibitions "Memento mori" and "Hästen - tyglad, piskad, älskad". The study focuses on how exhibitions can be defined through their content as well as how the exhibitors'different intentions towards the exhibition affect the working process as well as the result. This is put in relation to theoretical models and discussions on ideals in the field of exhibition and what impels these to find an answer to the question: What makes an exhibition?</p> / <p>Berätta med form - om innehåll i utställningar är en undersökning av hur innehåll förhandlas fram i de två utställningarna "Memento mori" och "Hästen - tyglad, piskad, älskad". I uppsatsen tas fasta på hur utställningen kan definieras genom sitt innehåll samt hur utställarnas olika intentioner styr utställningsarbetet och den slutliga gestaltningen. Detta sätts även i relation till olika teoretiska modeller och resonemang kring utställningsideal och vad som påverkar dessa för att utröna: Vad gör en utställning idag? </p>

Cette recherche sintéresse aux principes et aux pratiques de mise en exposition dans les musées dethnographie régionale et de société. Quest-ce quun musée dethnographie, quest-ce quun musée de société ? Quelles sont leurs spécificités par rapport aux autres types dinstitutions muséales ? Comment ont-ils évolué depuis leur invention ? Multiformes et nombreuses, ces institutions sont les héritières de lengouement identitaire de la fin du XIXe siècle, du réveil du régionalisme et de lesprit communautaire des années 1960-70 et de lobsession patrimoniale de la fin du XXe siècle et du « tout muséalisable ». Aujourdhui, dépositaires de collections parfois hétéroclites, ces institutions restent fortement imprégnées de découpages disciplinaires et de cloisonnements typologiques. Partant de ce constat, le questionnement porte tout dabord sur le processus de conception et de réalisation de ces expositions, permanentes ou temporaires. Quest ce qui préside à la structuration thématique, particulièrement cloisonnée, de ces présentions ? Le parcours proposé au visiteur reflète-t-il cette structuration ? Le visiteur est-il invité à prendre des libertés par rapport au « sens de la visite » ? Cette première partie sappuie sur la bibliographie mais également sur des études de cas et des entretiens avec des concepteurs dexpositions ou des conservateurs de musées effectués à loccasion de plusieurs voyages détude. Lexpérience apportée par les différents projets sur lesquels jai travaillé, en particulier celui du Musée de Wanne, vient également enrichir cette réflexion. La deuxième partie de cette recherche offre un caractère expérimental. Comment adapter la conception et le parcours de tels musées ou expositions pour donner une interprétation intégrée des différentes facettes de la vie sociale, hier et aujourdhui, afin de dépasser le cloisonnement et la juxtaposition dentités thématiques, pourtant très liées entre elles ? Comment éviter un parcours linéaire, qui prend lallure dun récit, dun discours ou dune énumération ? La tentative que je propose pour renouveler le langage de lexposition et le parcours du visiteur sinspire de la logique et la structuration de lhypertexte. Pour expérimenter cette nouvelle approche, deux expositions «laboratoires » ont été montées au Musée de la Vie rurale en Wallonie au Fourneau Saint-Michel et au Musée dHistoire de la Ville de Luxembourg. Tout le processus de mise en exposition a été analysé et les expositions finalisées ont donné lieu à des évaluations auprès des visiteurs. Ce travail désire réunir les deux approches, théorique et pratique, de la muséologie de lhomme, des arts et traditions populaires et de société afin de dresser un état de la question et de lui insuffler un renouvellement.

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