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Viele zeitgenössische Institutionen (Theater, Festivals, Biennalen, Kunsthallen, Museen, etc.) haben sich seit Mitte der 1990er Jahre wieder verstärkt experimentellen Formen zugewandt, sowie einen Theorie und Praxis verzahnten Diskurs gefördert. Wie aber sieht es in der Realität mit einer kontinuierlichen Programmarbeit in diesem Bereich aus? Gehören diese Formate und programmatischen Überschriften lediglich zu einer aufgeklärten Gesellschaft des Spektakels, die nach mehr Abwechslung verlangt oder existieren substantielle und kulturpolitische Langzeitperspektiven?

The oversaturation of our current way of interpreting news has become my point of interest. I believe we have become globalized yet isolated by our social media and news feeds, which has led to an inability to understand the graveness of what we learn. This is a consequence of the algorithmic attention grabbing focus that companies have been driven to. The almost infinite choice of outlet has led to escapism, radicalization and polarization rather than learning opportunity. In order to shine a light at this issue I am proposing a building that exhibits news and stories in a critical way. With the use of different interactive mediums in separate micro spaces they would give a different feel and bring different perspectives. The user would have the opportunity of smaller action to be part of the entirety. Panels that are cladded on the building with movable modules create a pattern as an interactive evolving art piece. Throughout the experience two other elements are present, a sharing democratic platform in the form of a table and the river of Umeå. The building is placed on the river, with the use of old industrial cement "dolphins", in order to use and emphasize the metaphor of the constant flow of the river to our constant flow of information. The current of the water is presented in different views and perspectives throughout. The building is designed to feel as a monolithic experience as well as a collective art piece in order to be as memorable as possible, in contrast to how forgetful our current way of interpreting news is.

This thesis is a study of how communication takes place in museum exhibitions. The curatorial teams send themessages and the visitors are the receivers. The author uses the British Museum’s free admission special exhibition, Sir Stamford Raffles: collecting in Southeast Asia 1811-1824, as the case study. The study is done through visitor surveys and interviews with British Museum staff and its visitors. The author has also studied museological literatureand theories to strengthen and have a closer understanding of the topics and themes brought up in the study. The study and discussion on politics and identities in cultural heritage have been addressed in previous studies and so has researches on visitors’ behaviours when visiting museums and/or galleries. With the review on previous studies and the survey and interview research model, this study examines the communication flow in museum exhibitions. In interviews with the curator and the head of interpretation of the exhibition, challenges and thoughts about the process of designing the exhibition are presented. With the comparison with the results from the visitor survey, the author can then compares the results from both parties and echo with the research question of the thesis, on how communication takes place in museum exhibitions; between senders and receivers. This research is not meant to be a decider that makes a statement that all exhibitions fit this framework, but rather be considered as a model that future designers can take into consideration when planning for an exhibition. This is a two-year master’s thesis in cultural heritage and sustainability.

My thesis is concerned with design of architecture form representing the context of existing site and in the appropriate manner integrating animal expositions to present to public in the most natural way. The purpose of this project was reaching the understanding of demands between animals and visitors. The designed organic form comes from these needs and also tries to be integated with surrounding area.

The sense of the diploma paper is to make a new entrance - green belt - for the paper factory - WANEMI. There is the exhibition pavillion and the administration building situated in the green belt. The main point of the diploma is the exhibition pavillion. The project is based on the basic principle of ekological architecture like - demounting, using of the waste water and using of the waste warm air. The elementary pavillions´ shape reminds of a paper folder. There are another small exhibitions and constructions in the park. Everything is united by shape and material. The park is the cultural area for sport and education.

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In an attempt to help a class of high school AP Studio Art students find a more authentic sense of autonomy and ownership with their own art projects, the author has constructed a portable art gallery space designated for the exhibition of student artwork. Through a theoretical framework of post-structuralism, as well as a hybrid methodological approach, including tenets of both action research and grounded theory, he was able to explore how de-centralizing traditional, pedagogical notions of power in the classroom and utilizing contemporary art education practices affected AP Studio Art students' experience in the art classroom. By placing an emphasis on student exhibitions, the author was able to foster an environment of greater student autonomy and meaningful art making in the classroom.

This essay uses different angles to analyze how authentic objects and copies are used in an exhibition context. The survey focuses on four research questions. The questions concern the significance of copies in exhibitions and focuses on the relationship between the information conveyed in exhibitions and the objects used to convey the information. The questions also aim to examine the relationship between authenticity and copies and the museum visitors view on copies. The purpose of the survey is to see if the answers to these questions mean that the authentic museum objects are the most significant or if the information is the most valuable and that the objects in that case could just as easily consist of copies.  The methods used for collecting the empirical material is analyzes of relevant literature and interviews. The empirical material is used to illuminate different perspectives on the use and view of copies in exhibition contexts. Previous research is used to analyze the concepts of authenticity and copies. Classic cases of exhibitions based on copies are used to get an insight into how copies can be used in exhibitions. Part of the empirical material consists of interviews with Swedish museums, the interviews are used to investigate how museums today use copies and to perceive the museums´ views on the use of copies. The analysis of the empirical material provides many interesting aspects on this topic, and it turns out that the researchers, the classical cases, and the interviewed museums are more or less in agreement when it comes to the use of copies in exhibition contexts. The copies are perceived to have many positive qualities that can be used in different ways in an exhibition. Overall, the reasoning leads to copies having a significant role in exhibition contexts and is a somewhat unused resource that could be used more than what it currently does.  This is a two-year master´s thesis in Museum and Cultural Heritage Studies.

A Hilma af Klint museum on the island of Lidingö in Stockholm / Ett Hilma af Klint museum på Lidingö Stockholm