This thesis introduces the concept of living exhibitions:continuously evolving museum exhibitions that are cooperativelydeveloped and evaluated by teams of museum professionals andvisitor representatives. The author argues that the livingexhibition design process should draw its inspiration frommultiple resources, including current research on museumlearning, interaction principles and technology. As acase-in-point, the thesis provides a description of how suchresults have inspired the design of The Well of Inventions, apublic installation at the Museum of Science and Technology inStockholm. Furthermore, the thesis describes how an evaluationmethodology from cooperative design was adopted andsuccessfully applied within the museum domain. The ultimate aimof the work is to increase the opportunities for communicationbetween museum professionals and their audiences. / NR 20140805

Uppsalas befintliga konstmuseum i Uppsala Slott har små och opraktiska lokaler. Uppsala Konstmuseis Vänner har därför lobbyat mot kommunen för att bygga ett nytt museum. Föreliggande förslag är utformat med utgångspunkt i följande principer och målsättningar: - Att i möjligaste mån använda naturlig indirekt belysning. - En rumslig “dramaturgi” som gör rörelsen genom muséet oförutsägbar samtidigt som blickfång och siktlinjer skapar orienterbarhet. - Bruk av nivåskillnader för att göra arkitekturen intressantare och för att skapa flera vinklar att betrakta konsten ifrån, samtidigt som alla utställningssalar är åtkomliga för rullstol och barnvagnar. - Ett växelspel mellan symmetri och assymmetri. - En “tektonisk” utformning av fasaden: grov platsgjuten betongfasad, tjocka väggar med infällda fönster i linje. Samtidigt stora fönster som ger rikligt med ljus men lite direkt solljus. - Patina i fasaden: texturerade gjutformar för fasadgjutning, inga hängrännor, mineraler (“klumpvis”) i betongblandningen som röda alger lever av. - Uppdelning mellan samtida (bottenvåning) och klassisk konst (plan 4-5). - Rumssekvenser som tillåter olika öppettider för museets olika verksamheter. - En arkitektonisk utformning som avspeglar museets inriktning mot både förmodern och modern konst. / Uppsala's current art museum in Uppsala Slott has small and impractical premises. Uppsala Konstmuseis Vänner have therefore been lobbying towards the municipality to build a new museum. The design of this proposal is based on the following principles and objectives: - To the extent possible, use natural indirect lighting. - A spatial "dramaturgy" that makes movement through the museum unpredictable while eye-catchers and sight lines makes for orientability. - Use of different levels to make the architecture more interesting and to create more angles from which to view the art, while all exhibition halls are accessible to wheelchairs and strollers. - An interaction between symmetry and asymmetry. - A "tectonic" design of the facade: rough in situ concrete facade, thick walls with recessed windows in line. Still large windows providing plenty of light but little direct sunlight. - Patinized facade: textured molds for casting of facade, no gutters, minerals (in "lumps") in the concrete mixture that red algae feed on. - Splitting between contemporary (ground floor) and classical art (plane 4-5). - Room sequences that allow different opening hours for the museum's various activities. - An architectural design that reflects the museum's focus on both pre-modern and modern art.

För att nå ut med konsten till Uppsalas befolkning ska det nya konstmuseet bli tillgängligt och inbjudande. Placerad vid Fyrisån, på gränslandet mellan Uppsalas stadskärna, industriområdet och stadsparken, är den synlig och lätttillgänglig från alla håll och lyfter ett område som tidigare bara har varit en plats människor passerar. Runt tomten finns flera större flöden av fotgängare och cyklister. Byggnaden placeras därför strategiskt för att inte blockera något gångstråk men samtidigt ta vara på dessa för att locka besökare. Utöver de befintliga stråken uppkommer även nya vägar; ytterligare en bro över Fyrisån som förbinder stadsträdgården med museét och genvägar över och igenom själva byggnaden. Projektets två ledord är tillgänglighet och upplevelse. Uppsalas konstmuseum ska vara en plats för alla och en plats som man gärna återvänder till. Därför får byggnaden flera funktioner utöver konstmuseum.  Genom ramperna som bildar landskapsliknande plan, och entrér från alla håll, blir byggnaden lätttillgänglig och en del av sin omkringliggande miljö. Från gatunivå slingrar sig ramperna upp längs de två huskropparna som en förlängning av gatan, där konstutställningsrummen blir olika stopp längs vägen.  Samtliga ramper och lutande golv är handkappsanpassade med rätt lutning och viloplaner. Detta gör att alla kan få samma upplevelse, från rullstolsbunden till förälder med barnvagn - alla är lika välkomna. / The new Uppsala Museum of Art will make art more accessible by being an invinting, public, building. Positioned by Fyrisån, on the borderland between Uppsala's city center, industrial park and city garden, it is visible and easily accessible from all directions and highlights an area that previously has only been a place people pass. Many pedestrians and cyclists passes by the site. The building is therefore placed strategically to not block any walkways, while taking advantage of these to attract visitors. In addition to the existing walkways another bridge will be built on Fyrisån that connects the city garden with the museum. There will also be ne shortcuts through the building itself. The project's two watchwords are accessibility and experience. Uppsala Art Museum will be a place for everyone and a place that you will happily return to. Therefore, the building will have more functions beyond art museum. Entrances from all directions and ramps around and inside the building gives people an easy access. All ramps and sloped floors are adapted for disabled. This allows everyone to get the same experience, whether they are in a wheelchair or a parent with a pram - everyone is equally welcome.

Uppsala nya Konstmuseum Ett nytt konstmuseum i Uppsala, en ny knutpunkt för konst i alla dess former. En rektangel klädd i stora guldfärgade och glänsande fasadplåtar. Sju våningar för konst som erbjuder besökarna en vandring upp över stadens siluett. En plats där människor lätt kan slinka in och ta del av den konst som finns i Uppsala. Besökarna kommer inte bara bjudas på spännande konst, det kommer också att bjudas på nya perspektiv av Uppsala. Det nya museet är en kvadratisk byggnad med yttermåtten 24x24 meter och sträcker sig ca 30 meter upp över marken. Med sin höjd och en iögonfallande fasad är den väl synlig på håll i Uppsala. Fasaden består av guldfärgade metallskivor. Skivorna är vinklade ut från från fasaden i olika vinklar för att få en fasad med olika grader av skuggningar och reflektioner. Invändigt är ytskikten generellt massiva och hållbara. Golvet är av ljus betong som slipats och väggarna är vitmålade. De flesta våningsplan erbjuder stora fönster från golv till tak från vilka man får en utblick över Uppsala. / Uppsala New Art Museum A new art museum in Uppsala, a new hub for art in all its forms. A rectangle wearing large gold colored and shiny facade panels. Seven floors of art that offers visitors a walk up above the skyline. A place where people can easily drop in and take part of Uppsalas art. Visitors will not only be treated to exciting art, they will also be invited to new perspectives of Uppsala. The new museum is a square building with outside dimensions of 24 by 24 meters, and extends about 30 meters above the ground. With its height and striking facade, the building is clearly visible from a distance in Uppsala. The facade consists of gold-colored metal disks. The boards are angled out from the facade at different angles to get a facade with various degrees of shading and reflections. Inside, the surface layers are generally massive and durable. The floor is of polished concrete and the walls are painted white. Most floor plan offers large floor-to-ceiling windows from which gives the visitors a splendid view of Uppsala

This design proposal for the Nobel Museum in Stockholm is to study how large scale public buildings in a city center can personify the complexity of its monumental urban context. As part of my Master's thesis, I try to fuse the external and internal structures of the building, letting its layers be affected by the dynamic flow of people, and circulation of light on and around the site. The fusion of the internal and external is achieved through layer studies using design techniques of folding and buckling sheet material, and the subsequent evaluation of the affect of these manipulations.

This dissertation originated from an interest in museum architecture and the desire to improve museum experiences for the inhabitants of Pretoria. The city is in need of a museum that does not distinguish between different cultures and backgrounds, and that provides an experience that a regular city user can relate to. This dissertation aims to address this need with the creation of a museum that relies on a chance museum encounter in an everyday place. This museum encounter will enrich people’s daily city experiences and provide opportunity for self-reflection and contemplation. The dissertation proposes a new satellite museum for the existing Ditsong: National Museum of Cultural History as a method of exposing the public to this museum. This satellite museum will function as a branch of the larger museum. The aim of this satellite museum is to provide regular users of the city with an unexpected museum experience. This dissertation considers what a contemporary museum in the inner city of Pretoria should be in terms of function and architectural implementation. The document investigates contemporary trends in museum architecture and evaluates existing museums in Pretoria. It also includes an investigation into culture in South Africa and into the relation of the satellite museum to its context. The study concludes that a contemporary museum experience is one that facilitates continuous change, and provides a spatial experience that blurs the threshold between the new museum and existing public space. / Dissertation (MInt(Prof))--University of Pretoria, 2010. / Architecture / unrestricted

Fearful that colleges students today are 40% lower in empathy than colleges students 20 years ago (Komives, 2017), Dr. Carson Medley created the PEAKS (Persistence, Empathy, Authenticity, Knowledge, Skills) course. As a culminating activity, the class will turn Carter Hall into the first-ever nationwide college campus and student-led Empathy Museum for a day based on different experiential learning experiences offered throughout the semester. Each group of students will be responsible for turning one of their experiences into an exhibit at the Honors College Empathy Museum. Each exhibit will require an interview and research about the issue. The entire campus (students, staff, faculty, and administrators) will be invited to participate in the interactive empathy museum. The curators (a chemistry major and a microbiology major) for the museum are Changemaker Scholars. The Changemaker program curriculum focuses on human rights, global awareness, and global engagement through the lens of volunteering and community engagement. The purpose of this Changemaker Capstone is to inspire others around the world to create their own Empathy Museums to address xenophobia, Black Lives Matter, gender inequities, immigration policies, LGTBQI+ rights, politics, global warming, the Covid-19 pandemic, and others. We believe that these empathy-focused exhibits will empower and affirm spaces on college campuses as restorative environments and reiterate the healing power of beauty and culture.

No description available.

The National Park Service's (NPS) George Washington Birthplace National Monument has commemorated Washington and his life for over seventy-five years. For much of that time, the NPS worked closely with the memorial's progenitors, the 'ladies' of the Wakefield National Memorial Association (WNMA). Although equally committed to the preservation of Washington's legacy, these two groups clashed over questions of authenticity, historical authority, and proper commemorative strategy. This dissertation explores their relationship for what it reveals about the rise of public history in this country and Federal involvement therein.;We witness at Washington's birthplace a collision between old-order Colonial Revivalists (led for a time by renowned preservationist Louise DuPont Crowninshield) and a new generation of male museum professionals under NPS Director Horace Albright. The WNMA erected a 'replica' Memorial House atop a site marked in 1815 by George Washington Parke Custis. The NPS determined the Memorial House was neither properly located nor an authentic replica. Still, the WNMA defended the building's veracity. "Birthing Washington" argues that the two groups defined authenticity differently and that those definitions reflected not only gendered difference and political motivation, but also new ways of constituting historical knowledge available during the first half of the twentieth century.;What began as a confused argument about authenticity manifested publicly in decisions made about what kind of objects to display at Washington's birthplace and how to display them. The WNMA preferred charming interiors to the NPS's stark historical realism. Both methods created considerable interpretive possibilities and limitations. Buoyed by national trends, historical realism prevailed at Washington's birthplace. But 'living history' only created new interpretive dilemmas by failing to grapple with old questions about authenticity perpetuated by the Memorial House's ongoing presence. I conclude that sites of public memory cannot help but reify the historical currents of their formative moments and, for that reason, the NPS must challenge itself to interpret the history of commemoration at sites like Washington's birthplace.

A city requires the architecture that comprises it to stitch together its urban fabric, creating connections between various, potentially disconnected, parts. Architecture mediates its surrounding public and open spaces, including plazas, streets, and parks. To fully understand a site of a future development, it is first important to understand the current and future conditions of the area within which the site is located, and in some cases its historical context as well. Only then can designers produce architecture that responds to and provides for its urban context for current and future generations. By studying the current, historic, and future contexts of Banneker Overlook, this thesis was developed by a thorough understanding of its site as a means of influencing the program and future architectural design. Banneker Overlook in its current state is a disconnected urban park in Southwest Washington, DC, originally intended as a connection point between two parts of the city. The purpose of this thesis is to reconnect the higher L'enfant Promenade with the lower Maine Avenue and Southwest Waterfront by means of the architecture and exterior public spaces. The program chosen for the site is a large public museum called the National Museum of the American People. It will "tell the story of ALL of the American People from prehistoric times to the present" (National Museum of the American People).  A large cultural building was used because of its capability to pull Washington residents and visitors to a single location coming from various, possibly disconnected, parts of the city. As a product of the site conditions, this thesis along with its site and building program became a study of creating connections of places, spaces, ideas, and people over time and space in an attempt to understand how architecture could represent this idea at both an urban and building scale. All of these ideas can be represented in our original national motto: E Pluribus Unum, "Out of Many, One." / Master of Architecture