Realizing the need on the part of the general public for a better background for selection of useful household objects that combine utility and beauty of line, the author planned an exhibition in an attempt to develop a community awareness to good design in useful objects available in Wichita Falls, Texas.

Nowdays the exhibition business and whole economics are attacked by the impacts of world-wide crisis. The organizers of exhibitions and trade fairs are afraid of massive decrease in exhibitors interest info taking part at these shows. Is it really important to realize that these shows offer a quality presentation of wide assortment and companies from current branch at one place and at the same time. This fact cause that exhibitions or trade fairs are often more effective than any grandiose marketing campaign.

Qu’est-ce que le curating ? Quel ensemble de pratiques et de représentations ce terme évoque-t-il ? Cette thèse se propose de répondre à ces questions en envisageant la pratique curatoriale sous l’angle du design, entendu ici comme discipline du projet. Face à la confusion des termes pour qualifier les acteurs du curating, il convient d’abord d’en préciser la définition en observant les différentes acceptions favorisées par la discipline et leurs effets. C’est pourquoi la première partie propose une archéologie de la pratique curatoriale en analysant la variété des dispositifs et des acteurs animés par le souci de l’art. Cette approche transhistorique permet de mettre en évidence la complexité des enjeux que soulève l’exposition à l’heure de la cohabitation des conservateurs, commissaires et curateurs. En s’appuyant sur une expérience de terrain en médiation, la seconde partie aborde la mise en œuvre de l’exposition comme une activité de projets portée de main de maître par la figure du curator. Occupé à proposer des bouquets d’œuvres aux couleurs variées selon les cahiers des charges et les contextes dans lesquels il intervient, ce dernier se comporte in fine comme un designer capable de proposer des réponses aux problèmes de l’hypermodernité. En tant que discipline, le design est ici d’un double secours : De la conception à la réception d’une exposition, il permet de mesurer le dessein essentiel à tout projet ; et dans un second temps, il permet de dessiner des portraits que ces acteurs véhiculent en variant les poses et les postures. La troisième partie propose enfin de comprendre le curating à travers le prisme du dispositif oraculaire delphique. Son but est d’élargir la réflexion en opérant un recul plus à même d’éclairer la problématique contemporaine de l’autorité curatoriale. Cette relecture à partir de l’oracle antique initie une nouvelle compréhension des expositions et des plis de la création contemporaine, en interrogeant le processus de transformation d'un display en produit touristique séduisant, capable de mobiliser des foules aux quatre coins de la planète autour de visions enjouées, pour un temps de l’art qui semble passé de la contemplation béate à une attention distraite. / What is curating? What kind of practices and representations does it bring up? This PHD propose to answer those questions by imagining curatorial practise under design perspective. Curating actors being hard to name from each others, a definition must be given while observing names used by different discipline and their effects. That is why the first part propose an archeology of curatorial practice analysing the diversity of displays and of caregivers. This transhistorical approach underlines the complexity of what's at stake in exhibition nowadays. As for the second part, a field work in museum public relations helps to analyse the set up ofan exhibition from a project point of view, the curator being the conductor. Busy proposing sets of pieces of art responding to contexts and shaped by constraints of the field in which he works, he finally behave just like a designer able to answer the different questions of an hypermodern world. As a study subject, design here can help in two different ways : From conception to final installment of an exhibition, it helps understand what lies beneath the very beginning of the project and draws portraits of curatorial actors. Finally the third part propose to understand curating through the lens of delphic oracular practices. It aims at widening the perpectives of study to better understand curatorial problematics. This reinterpretation from antic oracle perspective allows a new understanding of contemporary exhibition and creation and questions transformation processes that turns an exhibition into an appealing touristic product, in a time where art seems gone from mute contemplation to a zapping attitude.

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The study will investigate the creation and manipulation of experience in interior space. With phenomenology as the premise, the object becomes secondary to the experience. The site will be an unutilized vault structure on the Ditsong: National Museum of Natural History grounds in Pretoria. To give expression to experience, the program chosen is an experience based exhibition that adds onto the current exhibition at the museum. The exhibition will change annually to ensure variation for yearly visitors. To facilitate changing the exhibition, the spaces will be designed with the senses as base layers. Each space will be experienced primarily through one of the senses, so that the user becomes more aware of the specific sense in that space. The exhibition that layers onto the sense layer can focus on that sense to convey facts about the subject. The chosen subject for the exhibition detailed in the project is the insect collection. The purpose of the exhibition will be to show how insects use their senses. The senses of the insect will layer onto the basis layer of human senses. Because everything we experience is through our own senses, we can only get an idea of what the insect would experience. There will always be the interlayer of our own senses. Hierdie studie ondersoek die skep en manipulasie van ervaring in die binneruim. Met fenomenologie as uitgangspunt word die objek sekondêr tot die ervaring. Die perseel sal ‘n ongebruikte gewelf struktuur op die Ditsong: Nationale Museum van Natuurlike Geskiedenis se gronde in Pretoria wees. Om uitdrukking te gee aan ervaring is die gekose program ‘n ervaring gebaseerde uitstalling wat toevoeg tot die huidige uit-stalling by die museum. Die uitstalling sal jaarliks verander word om variasie te verseker vir gereelde besoekers. Om die verandering van die uitstalling te vergemaklik, word die ruimtes ontwerp met die sintuie as basis laag. Elke ruimte sal primêr ervaar word deur een van die sintuie sodat die gebruiker bewus word van die spesifieke sintuig in daardie ruimte. Die uitstalling wat gebaseer is op die sintuigbasis kan fokus op daardie sintuig om feite oor die onderwerp oor te dra. Die gekose onderwerp vir die uitstalling uiteengesit in die projek is die insekversameling. Die doel van die uitstalling sal wees om te wys hoe insekte gebruik maak van hulle sintuie. Die sintuie van die insek sal bo op die basis laag van menslike sintuie gevoeg word. Omdat alles wat ons ervaar deur ons eie sintuie geskied, kan ons slegs ‘n idee kry van wat die insek sal ervaar. Daar sal altyd die tussenlaag van ons eie sintuie wees. / Mini Dissertation (MInt (Prof))--University of Pretoria, 2010. / Architecture / unrestricted

Through the consideration of Adorno’s theory of ‘negative dialectics’ the existing society of art is in a state of alienation. This idea considers units of similarity abstracted from one another and thereby establishing an opposition; a negative dialectic relationship between creatives. “Instead of belonging to the world, man put himself rationally and critically opposite it...“ (Jencks & Baird, 1969, p. 216). The concept that a future can exist free from alienation lends toward a future of collaborative community considered within the context of cultural production. Culture is not merely the manifestation of the human mind into a creative material medium; it is also a mechanism of interaction developed through social behaviour such as a custom or an idea. Kristeva’s construct, ‘the abject’ (that which is neither subject nor object), is used to define the scope of this project. Producing culture using space is not defining object in space nor is it defining subject in space. The triadic interaction between object, subject and abject is important in understanding the cultural system within the built environment. This is conceptually intended to manifest the communal identity of creatives within the host building. Considering the explicit (whereby knowledge and social interaction are produced) and implicit (which considers action between object and subject) relationships reinforces the argument. The understanding of the relationship between cultural media and mediators is to be explored spatially in the adaptive reuse of the Sunnyside Post Office into a production house and exhibition space, utilising social applications to defining a model for a creative cohesion. / Dissertation (MInt(Prof))--University of Pretoria, 2014. / Architecture / MInt(Prof) / Unrestricted

The city of Pretoria has a diverse mix of people moving in and around it. This dynamic, ever-changing movement, combined with the city’s cultural diversity, renders it ideal for an investigation into the relationship (or lack thereof) that exists between the moving body and architectural space. The city and its architectural spaces are viewed as static. The human body and its movement is dynamic. These static spaces cannot always accommodate the dynamic movement taking place within and around them. This leads to a lack of dialogue or interaction between the two, causing a tension which is further aggravated by the fact that they are situated within a constantly changing environment. The aim of this thesis is not only to examine the relationship between the city and the human body moving through its architectural spaces, but also to provide the platform for an investigation into the establishment of an active dialogue between the two. CAPTURE is envisaged as an experimental laboratory in the city of Pretoria. It aims to rejuvenate the city’s CBD, as well as to develop and promote arts and culture through the creation of a public exhibition space. It is a design intervention intended to create a space which captures and navigates its users through it, by exposing them to the different functions facilitated within it, as well as to the space and to each other. The introduction of this spatial intervention, informed by the existing pedestrian movement through an identified public thoroughfare, will encourage an active dialogue between the user and the space. Public art, in the form of the photographic image, has been identified as a possible means of communicating the user’s surroundings to him/her. This, in turn, may encourage interaction with, and interpretation of the space. / Dissertation (MInt(Prof))--University of Pretoria, 2009. / Architecture / unrestricted

“The flight from neighborhoods, the flight from local communities, into networking, it erodes democracy. It is in the local meetings where civic virtue and democratic discourse are practiced.” Christopher Lash writes this in his book The Revolt of the Elites and the Betrayal of Democracy.  Encounters between people of different backgrounds, experiences, and ideologies are on the verge of extinction in a society where community has been replaced with networking. The neighborhood is just a container for our home, but we go elsewhere to work and socialize. We are to a lesser extent tied to a specific place. With locality as a point of departure, I chose my hometown as the base for my project. Tranås is a small town in southern Sweden with about 15.000 inhabitants. There, anonymity is not an option. Encounters take place. Whether you like it or not, people are united by the mere fact of physical proximity. I wanted to favor locality by making it easier to stay in the local community and enable for more people to settle outside the big cities. My answer to this is a remote working place. An office where you can work remotely full time, or as a complement to your regular workplace. The user group is people in Tranås that usually commutes to other cities, and people that would like to move to Tranås. Through contact with local actors, I got introduced to a building in the very central part of Tranås that I decided to adapt and reuse. The building was originally built as a nursing home during the first half of the 20th century but has now been empty for some years. The size and location of the building opened up new possibilities. In addition to the offices, the building will also house studio space, exhibition space, and a café. With a few interventions and modifications, the building becomes a new meeting place, where the courtyard gets an important role in the public space.

Justice in the area of the former fortress is located in Rymice outdoor exposure hlíněního architecture that builds on the theme museum, located in the village. Outdoor exhibition refers to the interior of the building and economic stronghold. In the project was to link these two objects.

Home—Topia is an ongoing contemporary art research and exhibiting project, putting focus on the current forms of migration, rooting, unrooting and life in between cultures. Home—Topia is examining the notion of home, sense of belonging and its connection to the physical space. Home — Topia is based on the assumption that various forms of mobility, migration and life on the move have become one of the basic characteristics of today's world. The primary goal of the Home — Topia project is the realization of the group exhibition of five Berlin- based artists with ties to the Czech and Slovak cultural environment: Zorka Lednárová, Katarína Hrušková, Petra Debnárová and the duo Julia Gryboś + Barbora Zentková. Following the dialogue between the artists, new artworks will be created and presented in Raum für Drastische Maßnahmen gallery in Berlin. Due to the coronavirus pandemic, the event will not take place until 2021. A secondary output of the project is the online platform home-topia.eu. This online platform makes publicly accessible the research trajectory, interviews, essays, bibliography and events archive. The project also included the interactive video installation in the Raum für Drastische Maßnahmen gallery in Berlin, which used elements of augmented reality. Two channels video installation was presented from 11th until 21st of June.