Tsang Wai Ying, Martha. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2009-2010, design report." / "May 2010." / Chapter CHAPETER 0 --- BACKGROUND / Chapter - --- Interest of studies / Chapter - --- Lifecycle + Lifespan / Chapter CHAPETER 1 --- THESIS STATEMENT / Chapter CHAPETER 2 --- PRECEDENT STUDIES - THE PRODUCTS' CYCLE / Chapter - --- Material transformation / Chapter - --- Artist artworks with daily product / Chapter - --- Recycle Architecture / Chapter CHAPETER 3 --- IN SEARCH OF - DAILY PRODUCTS FOR ARCHITECTURE / Chapter - --- Dally product research / Chapter - --- Containers + Pallets / Chapter CHAPETER 4 --- PALLETS / Chapter - --- Pallets system / Chapter - --- Geometry study / Chapter CHAPTER 5 --- DESIGN / Chapter - --- programme / Chapter - --- short lifespan extension through repetitve use / Chapter - --- long lifespan extension through modification / Chapter CHAPTER 6 --- CONSTRUCTION / Chapter - --- pallets as tool for construction / Chapter - --- connection / Chapter - --- cost / Chapter CHAPTER 7 --- SPECIAL STUDIES - ENVELOPE AS LAYERS OF PROTECTION

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T19:19:00Z No. of bitstreams: 1 448318.pdf: 3539278 bytes, checksum: 5788c880da85992f605ba82b35ee6d39 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:26:09Z (GMT) No. of bitstreams: 1 448318.pdf: 3539278 bytes, checksum: 5788c880da85992f605ba82b35ee6d39 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:30:50Z (GMT) No. of bitstreams: 1 448318.pdf: 3539278 bytes, checksum: 5788c880da85992f605ba82b35ee6d39 (MD5) / Made available in DSpace on 2018-08-21T13:35:03Z (GMT). No. of bitstreams: 1 448318.pdf: 3539278 bytes, checksum: 5788c880da85992f605ba82b35ee6d39 (MD5) Previous issue date: 2017-03-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The return of exhibitions at the São Paulo Art Museum “Assis Chateaubriand” - MASP from the year 2015 is a review of the museological program with ways to outline the next Maspian actions. The Italian exhibition design, delineated from the influence of El Lissitisky and the production within the European vanguards, had in Brazil MASP as a space for its expression through mainly the performance of Lina Bo Bardi. From this context, the present research aims to highlight aspects of Italian exhibition design, influenced by the premises of modern Italian architecture and art. The exhibition Fashionable art: collection MASP Rhodia (2015-2016) presents 79 pieces of clothing that were donated by Rhodia to the MASP collection in the year 1972, and this exhibition, through the analysis of its exhibition devices, the object of this research. Here we made use of the bibliographical and documentary techniques, if the latter stopped the analysis of documents, texts, drawings and images related to the exhibition Fashionable art: MASP Rhodia collection, held at the MASP Documentation Center. The exhibition presents a different display from those that marked the Italian production in the field of exhibition design. / O retorno de exposições no Museu de Arte de São Paulo "Assis Chateaubriand" – MASP a partir do ano de 2015 é uma revisão do programa museológico com vias a delinear as próximas ações maspianas. O design expositivo italiano, delineado a partir da influência de El Lissitisky e da produção no âmbito das vanguardas europeias, teve no Brasil o MASP como espaço para sua expressão através, principalmente, da atuação de Lina Bo Bardi. A partir desse contexto, a presente pesquisa tem por objetivo pontuar aspectos do design expositivo italiano, sob influência das premissas da arquitetura e da arte modernas italianas. A exposição Arte na moda: coleção MASP Rhodia (2015-2016) apresenta 79 peças do vestuário que foram doadas pela Rhodia para o acervo do MASP no ano de 1972, sendo essa mostra, através da análise de seus dispositivos expositivos o objeto desta pesquisa. Aqui se fez uso das técnicas bibliográfica e documental, detendo-se esta última da análise de documentos, textos, desenhos e imagens relacionadas à exposição Arte na moda: coleção MASP Rhodia, realizada no Centro de documentação do MASP. A exposição apresenta um display distinto daqueles que marcaram a produção italiana no campo do design expositivo.

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? / 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?

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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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.

In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.

In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.

A investigação consiste em um estudo exploratório sobre a atuação das práticas avaliatórias em exposição de arte. Para tanto, busca-se contextualizar a exposição de arte, com base nas mudanças ocorridas na arte nas últimas quatro décadas. Procura-se introduzir a arte contemporânea por meio da apresentação de seu sistema, tornando aparente a inter-relação de seus elementos constituintes. Separados em capítulos na Parte I, os elementos do sistema foram descritos de maneira a confrontá-los uns com os outros: a perda da autoria do artista, que a divide com o espectador; a obra se completa com o espectador; ao espectador não cabe mais a passividade, ele é envolvido, passa a participar, torna-se parte integrante da obra; o mercado é agente de circulação, possibilitando o confronto da obra com a dinâmica do sistema; as instituições tornam-se espaço de intervenção, elemento integrante da manifestação artística; a crítica une-se à prática artística assumindo os riscos da produção, enquanto a história é colocada em xeque e a teoria é tomada pelos artistas; a mediação obra-espectador é executada pelo curador o qual atua lado a lado com a prática artística e o educador facilita o momento da experiência estética; por fim, a exposição é a síntese destes elementos, demonstrando a interação entre eles no espaço expositivo. Deste modo, torna-se aparente a complexidade do meio em que está inserida a exposição, mostrando-se como processo, como reflexo da instabilidade da contemporaneidade. A exposição sintetiza a atuação dos elementos do sistema apresentando-se enquanto tal, levando a uma reflexão amplificada do contexto contemporâneo da arte no qual o processo de avaliação de exposição faz parte. A avaliação realizada no ambiente expositivo concentra-se na análise de seus públicos para aprimoramento da qualidade da experiência da visita no museu. Uma análise paralela das avaliações aplicadas em projetos sociais permite uma visão mais abrangente da avaliação como instrumento de gestão. Amplia-se, por fim, a visão do contexto da exposição de arte, levando a um posicionamento mais crítico frente a este contexto, demonstrando a exposição avaliada como parte de uma complexidade maior que é o próprio sistema a qual ela pertence. / This research is an exploratory investigation of the evaluation practices applied to art exhibition. To do so, the study intends to contextualize art exhibition, considering the changes in art during the last four decades. It presents contemporary art as a system, showing the inter-relation among its elements. These elements were divided into chapters, in Part I, to describe each one, and, where possible, to confront one with the other: the loss of authority by the artist, who shares the authority with the spectator; the work of art is completed with the spectators participation; the spectator abandons a passive attitude and gets involved, participating and being part of the art work; the art market is a circulation agent of the art work, the art market makes it possible the confront the art work and the system dynamics; the art institutions becomes a space for interventions, part of the artistic manifestations; art criticism joins art practice assuming the production risks, while art history is kept in check and the art theory is claimed by the artists; the mediation between artwork and spectator is done by the curator, who works side-by-side with the artists practice and the educator, who facilitates the moment of aesthetic experience; at last, the exhibition is the synthesis of all these elements above, showing the interaction among the elements of the system at the exhibition space. Therefore, the complexity of the context where the exhibition is shown becomes emphasized, presenting the exhibition as a process, as a reflex of an unstable contemporaneity. The exhibition synthesizes the interaction among the elements of the system to constitute itself, turning into an expanding reflection about the context of contemporary art, in which the exhibition evaluation is part. The evaluation performed in the exhibition spaces focuses on the analysis of the public to improve the quality of the visit in the museum. A parallel analysis of social project evaluations makes it possible to build a broader view of how this management tool is used. Finally, the view of the art exhibition context is expanded; proposing a more critical attitude towards this context, showing that the evaluation of an exhibition is part of a larger complexity, which is the art system itself to which it belongs.