The purpose of this evaluation is to develop a framework that will help in planning and implementing the mobile sport exhibition, increase visitor satisfaction and aid At Bristol in building successful exhibits. The evaluation mainly focuses on visitor interaction with exhibits. It is believed that learning does occur in science centres and museums. The evaluation will therefore find out if learning occurs in the Sports exhibition and if so, the nature of the learning outcomes. The evaluation also discusses advantages and disadvantages of travelling exhibitions and identifies the characteristics of good exhibits that form the basis of the framework.From the results, an indication is that children make the larger proportion of visitors to Sportastic. Their age ranges, under 10 and 10 to 15 years constituted 21% and 30% respectively. The three most enjoyed exhibits are the Sprint Challenge (running), BATAK (test your reaction and Hot Shots (football). Visitors say these exhibits are enjoyed because they are fun, competitive, entertaining, interactive and hands-on. Skateboard Challenge and Skeleton Bob are among the exhibits least enjoyed since they are reported to be boring and uncomfortable to use. The learning outcomes from the exhibits are; increased knowledge about balancing, reaction, pulse and strength.

The current paper presents a study conducted at The National Museum of Science and Technology in Stockholm to investigate the exhibition “Antarctica – that’s cool” from its first concept to the first workshop that is held in the exhibition. The focus is on the influence of floor staff on an exhibition and workshops as learning facilities in museums. Findings, based on visitor observation and the exhibition building process, go into the characteristics of low-budget productions and discuss the importance of staff on the exhibition floor for museums as life-long learning facilities. The holistic approach of the study provides deep insights into the complex interplay of visitors, staff and exhibitions. The results can be used for future exhibition building processes and educational programs in museums and should strengthen the museum’s position as life-long learning facility in nowadays society.

Culture industry may strengthen a nation's soft power, elevate its economic structures, and promote social development. It is also a more environment-friendly industry. Therefore, almost all developed nations have established policies geared towards cultivating their own culture industry. Mainland China is no exception. It drew up the ¡§National "11th Five-Year Plan¡¨ Period Cultural Development Plan¡¨ in 2006 and the ¡§Plan on Reinvigoration of the Cultural Industry¡¨ in 2009, both signifying the official effort to include culture industry as one of the key focuses in national development. Mainland China cultural industry¡¦s production, raw materials and subject matter had been destroyed in Cultural Revolution. Government of Mainland China started to give an impetus in changing state-operated Culture industry into with a fixed percentage During the Great Proletarian Cultural Revolution, China's culture industry suffered great loss in production, material, and content. However, when Deng took over, his reform towards market economy led to a more liberal attitude in the Chinese government. Today, many previously state-owned culture-related businesses are partially private-owned, traditional culture industries see possibilities in new technologies such as mobile devices and tablets, and the balance between developments in eastern and western China is valued. All these changes serves a same goal, which is to promote the Chinese culture industry internationally. For China, the development of culture industry not only improves its consumer structure and increase domestic jobs, but also proceeds with environment protection in synergy by shifting the internal economy and industry structures. It is undoubtedly that China's enormous size is impactful among the world's cultural market, especially iii when supported by its government. Thus this paper adopts the "Chinese socialism" model of development and analyzes the Chinese culture industry policies.

This thesis re-evaluates the exhibition space as a site of &ldquo / indeterminacy&rdquo / defined by the dialectical interaction of architectural space and art object. The ways in which different forms of space-object interactions are constructed, and the architectural tools used to accommodate the exhibition event will be the departure points of this investigation. In this respect, the cases of Dia Beacon, Tate Modern and Stazione Leopolda will be analyzed and the means of &ldquo / indeterminacy&rdquo / will be elucidated by using the conceptual tools of &ldquo / isolation&rdquo / , &ldquo / unification&rdquo / and &ldquo / transformation&rdquo / . With the aid of these three cases, the aim of this study is to comprehend the architectural potentials in exhibition practice, which functions in extreme conditions of constantly altering states, environments and relations.

This thesis is a critical inquiry of the relationship between the architectural aspects of the museum space and the collection on display, regarding to the concept of flexibility. Inside the museum, displayed object can be thought as a two folded representation which can be termed as labeling. Museum space can be thought as the juxtaposed condition of these two bodies of the object. The flexible spatial organization of the museum space is accepted to support the ephemeral character of labeling. Within this context, the concept of flexibility will be analyzed through the cooperative reading of George Pompidou Center and Grand Egyptian Museum. With the aid of concepts of flexibility and hypertextuality that are adopted in these two cases, the study tries to reveal the relationship between the architectural potentials of museum space and the collection belongs to these particular museums. In that respect, the architectural programs of these competitions will be critically reconsidered in order to reveal how the institutions conceive the collections with their expected physical ramifications.

The establishment of the National Architecture Exhibition and Awards (NAEA) program in 1987, by Chamber of Architects, coincides with the period of dissolving modernist paradigm and rising pluralist influences in Turkey. The program, as a critical medium, is expected to reflect &ldquo / national&rdquo / architectural practice and contribute in the &ldquo / contemporary&rdquo / architectural practice in Turkey. In order to evaluate the consistencies with these objectives, firstly the program identity and then the participations are analyzed. On the other hand, regarding the searches for &ldquo / innovativeness&rdquo / and &ldquo / contemporaneity,&rdquo / parallelism with the international architectural agenda and concerns for geographic differences are analyzed through the awarded projects and the jury reports. In the analysis about the position of the program as well as its indications about Turkish architectural practice, the following results are obtained: Program can be defined as having an insulated and closed character with regard to its structure. Considering the participations, it is seen that it does not reflect the heterogeneous character of its geographical scope and has an elitist profile in awards distribution. Priority given to senior architects in Grand Prizes, the weight of the restoration category and the newly established commemoration program itself point out to a conservative stance. In the thesis, the awarded submissions are analyzed comparatively with Progressive Architecture (PA) Awards program. It is an established program in United States, which perpetuate since 1954 and it is claimed to have both &ldquo / reflective&rdquo / and &ldquo / limit-pushing&rdquo / positions in the architectural platform. In NAEA program, instead of the claims for giving precedence to &ldquo / limit-pushing&rdquo / attempts, a &ldquo / reflective&rdquo / position has been maintained. In the jury reports, the &ldquo / modernist&rdquo / award criteria can be defined as parallel with the agenda of international platform. In recent years, in international platform, instead of domination by styles, conceptual productions and sustainable themes gain prominence. Thus, regarding the submissions of NAEA, these parallelisms have been diminished.

The goal of this thesis is to study the transformation of architectural space with the aid of artistic production. By questioning architectural production as a non-static process open to alteration and intervention, this condition is claimed to enlarge the frontiers of architecture in terms of interdisciplinary contributions and new design methods. Inspired by the course ARCH 524, conducted by Assoc. Prof. Dr. Aysen Savas in the METU Department of Architecture, this study aims to understand the possible ways of transforming architectural space by the defined function of exhibition. The condition of exhibiting is claimed to manifest a &ldquo / temporary&rdquo / and reciprocal relation between the architectural space and the artwork / therefore, it redefines architectural space as a temporary entity open to intervention.For this reason, &ldquo / site-specific artwork&rdquo / is believed to play a pragmatic role in the creation of the &ldquo / new space&rdquo / . This study will focus on the selected works of the artist Esther Stocker. Stocker&rsquo / s productions offer systematic and analytic (re)readings that analyze and decipher spatial qualities. Her productionsare claimed to shift the conventional definitions of architectural terminology and introduce physical, visual and cultural/social levels of understanding both for the built, and the yet-to-be-built space. Throughout this study, the transformation process is commonly referred to as (re)construction, and/or (re)definition, which will, at the end of the process, generate a &ldquo / new space&rdquo / open to continuous transformation. The analysis of the same space will provide new intellectual agents for the promotion of theoretical methods in architectural education and practice.

Exhibition design conjoins distinct architectural and curatorial requirements. It is proposed that the common language of architecture and curatorship is space: how displays are arranged to be viewed in particular sequences and visual frames, placed in fields of co-visibility or grouped according to their spatial arrangement as well as their stylistic, historical or other classificatory labels. As visitors become immersed in exhibition space they are exposed to an informally staged pedagogy aimed at enhancing their enjoyment and understanding of the exhibition. The second floor of the High Museum of Art, with the permanent collection of objects, opened in 1983, is chosen as a case study. Meier designed the original building and decorative arts exhibition. Scogin and Elam produced a significant modification in 1997 to house a thematic exhibition. Lord Aeck and Sargent restored a simplified version of the original layout in 2003. Rigorous quantitative analyses document these successive changes and identify the fundamental shifts in exhibition design principles that they represent. Visual relationships, the break up of space and patterns of movement are analyzed using standard space-syntax methodologies. New techniques are proposed in order to describe and quantify overlapping patterns of spatial grouping. It is shown that the original design encouraged visitors to view and compare objects in alternative ways, generating open-ended readings and multiple understanding. The 1997 layout dictated sequences of viewing and framed frontal views in order to communicate how art engages human experience, including the body or the environment. The 2003 layout re-instated multiple viewing points and comparative groupings while emphasizing the individual work. The dissertation examines how architecture and curatorship interacted in a unique building which provides great experiential richness as well as design constraints. In addition, it demonstrates how descriptive theory can help bridge between architectural and curatorial intents by capturing the principles of arrangement which are fundamental to both.

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