Denna studie ämnar undersöka hur Arbetets museum är som arbetsplats och plats. För att nå studiens syfte besvaras först frågan vad en arbetsplats är innan den specifika platsen, Arbetets museum diskuteras och sätts in i en bredare platskontext. Slutsatsen av denna undersökning är att en arbetsplats är relativ svår att förklara men att den fysiska platsen betonas och även rörelsen till och från arbetet. Den teknologiska utvecklingen har lett till mer platslösa och mindre tidsbundna arbetsplatser men att den fysiska platsen och rummet fortfarande är att föredra. Arbetets museum som arbetsplats är enbart positiv men det är lätt att hamna i en bubbla och reproducera normer och beteenden. Slutligen har den omkringliggande platsen stor betydelse då platser ändras i samband med samhällsförändringar vilket påverkar Arbetets museum som plats och arbetsplats. / This study aims to research how the Museum of work is as a place of work and place. To reach the studie's purpose the question of what a place of work is will be answered before the specific place, the Museum of work is discussed and put in a broader place context. The conclusion of this study is that a working place is relatively hard to explain but the physical place is emphasized and also the movement to and from work. The technological development has led to a more placeless and less time bound place of work but the physical place and the room are still prefered. The Museum of Work as a place of work is only positive but its easy to end up in a bubble and reproduce norms and behaviors. Finally he surrounding envoronment has a big impact on The Museum of Work as place and place of work since it changes alongside the society.

The problem of this thesis is to determine the evolution of the architectural design of the Kimbell Art Museum building from its origin as a concept to its realization in the completed structure. This study has two objectives.The first is to discover the process by which the physical museum building cam into being. The second is to trace the conceptual evolution of the Kimbell Art Museum building. This problem has three parts, each of which has been made the subject of a chapter. The first, "Concept Development," sets forth the pre-design concepts of the founder, the director, and the architect. The second, "Design Development," establishes a chronological sequence of architectural design presentations. The third, the "Conclusion," compares the pre-design concepts to the finished building.

Self-guided tours for museums require authors to define a learning objective, research content, design graphics, and implement inclusive interpretive methods. However, museum education literature does not provide clear, comprehensive direction for these complex projects. By recounting the development of a self-guided tour of Judiciary Square for the National Building Museum in Washington, DC, this thesis assesses the value and limitations of theoretical literature in practice. It introduces additional research methods and approaches to address project components that museum education literature overlooks.

In Western Europe during the sixteenth and seventeenth centuries, collections were created as repositories of art, technology, ethnographic curiosities and natural wonders. Collecting first became a widespread practice among Italian humanists of the late Renaissance who, influenced by the work of Pliny, were driven by the desire to understand the world through the acquisition of universal knowledge. The physical configuration of such encyclopedic projects could be found in the museums created to organize and assimilate the explosion of knowledge experienced during this period.This thesis addresses the social significance of accumulating an encyclopedic collection in the form of a large, public art museum at the turn of the twentieth century, discusses the Rudolfine Kunstkammer contextualized in a broad history of collecting prior to and including the Renaissance and compares the Metropolitan Museum of Art to the Kunstkammer in terms of how similarly or differently the collections communicated a combination of political, social, economic and cultural power.

This thesis examines the history of the Manchester Art Museum (Manchester, England), which was founded by Thomas Coglan Horsfall (1841-1932) in 1886. It considers the museum’s permanent collections and its programming from 1886 to 1898 with brief notes on the later years of the institution. While, like previous work on the Manchester Art Museum, the thesis contextualizes the museum within Victorian arts and community institutions, it breaks new ground by highlighting the ways in which it diverged from these institutions. The analysis of the museum’s collections and programming emphasizes the contributions that Horsfall and the Art Museum Committee made to museum education through the museum’s circulating loan collections and school tours.

This project utilized a form of arts based educational research described as analog hypertext to develop interpretative material representing multiple critical, theoretical, and disciplinary perspectives on objects in a university art museum’s object study gallery. Drawing on scholars’ recommendations for postcolonial interpretation of non-Western art, the project created a web of information, which simultaneously revealed and critiqued the underlying ideologies and power structures shaping the museum’s display in an effort to change existing interpretive practice. The project developed five color-coded thematic self-guided tours—art as commodity, spiritual practice, technology and cultural evolutionism, mortuary rituals, and postcolonial perspectives—presented to the public as an interpretive exhibition invited visitors’ contributions. This paper explores how the analog hypertext functions as both a research tool and a content delivery device for the representation of multiple critical perspectives, fostering interdisciplinary perspectives and visitor meaning-making in the process.

<p>Visitors’ expectations of museums in the modern world consist of both utilitarian and hedonic aspects. Given visitors’ diverse expectations and demands, traditional museums have taken actions to attract more visitors. Taking advantage of new technologies is the current action and trend in the museum industry. The emergence of digital museums is the reflection of this tendency, which use digital technologies such as projectors, surrounded sound, ambient lights, and multisensory cues to present a virtual environment. In the virtual environment, emotional state and sense of presence are considered to be useful to provide a more engaging experience. Therefore, this research empirically investigated digital museum visitor experience perceptions and the influence of emotional state and sense of presence on experience perceptions. The different impact of multisensory cues on experience and the relative mediation effect were also examined.</p> <p>Data were collected with a scenario-based online survey conducted through Amazon Mechanical Turk (MTurk). A split-sample approach with a total of 382 respondents was used for analysis. Exploratory factor analysis and confirmatory factor analysis were used to explore visitor experience perceptions of the digital museum. Structural equation modeling was used to discover the impact of emotional state and sense of presence. One-way analysis of variance was used to compare the difference in impact of multisensory cues on overall visitor experience. This research also employed the PROCESS macro in SPSS for demonstrating the mediating effect of emotional state and sense of presence through the impact of multisensory cues on overall visitor experience. The findings of this study revealed three experience perceptions—respectively, joviality, personal escapism, and localness experiences—of digital museums. Also, this research presented the positive effect of emotional state on joviality experience and negative effect of emotional state on localness experience. In addition, a notable positive impact of sense of presence on joviality, personal escapism, and localness experience perceptions was found. No significant effect of emotional state on personal escapism was found in this research. Moreover, visual and auditory cues together were confirmed as the most powerful indicator for triggering the greatest experience level. The impact was found to be valid due to the mediating role of emotional state and sense of presence.</p> <p>This research contributed theoretically and practically to museum literature and experience research. Theoretical implications were discussed to indicate this research as the framework to measure digital museum visitor experience based on the proposed three-factor structure. Practical implications were provided for museum managers. Limitations and future research were discussed.</p>

The chapter house of the Benedictine priory of Saint John Le Bas-Nueil, currently located in the Worcester Art Museum, is an impressive piece of architecture. However, visitors are currently restricted to admiring the structure and its restoration only, as there is limited information presented in the museum about the room’s original use. The purpose of this project was to produce a low-impact, narrative-driven audio experience designed to increase visitor interest in the museum in general and Benedictine life during the twelfth century in particular. The prototype produced combines elements of traditional audio tours, radio drama, and question-and-answer interaction sequences to provide a self-driven immersive experience.

MASTERS FACULTY OF HUMANITIES SCHOOL OF ARTS STUDENT NO: 9910933F / This study investigates the ways in which museums are understood as texts, and how artists challenge those assumptions within their work. The extent to which parody, a central tenet of post- modern art, can be used as an effective means to challenge the hegemony of the art museum, is investigated through an analyses of artworks by Illya Kabakov and Marcel Broodthaers. The first part of the study interrogates the hegemonic function of museums, through a discussion of the central tenets of museological discourse, in order to contextualise the discussion of the artworks in question. The second part of this study includes an analysis of specific artworks by Illya Kabakov and Marcel Broodthaers, detailing the ways in which these artists parody aspects of museum practice. The concluding chapter interrogates my own artistic production in relation to this research.

Em 1967 Oscar Niemeyer desenhou uma escola para Curitiba, propôs uma construção moderna com laje em concreto protendido apoiada em pilotis, vãos enormes e rampas no lugar de escadas; além de um ginásio abobadado e um anexo. Porém, em 1978 saiu do papel apenas o edifício principal, que serviria a burocracia do estado por mais de vinte anos. Foi somente no início do séc. XXI que a vocação social do projeto seria resgatada, quando Niemeyer foi convidado a retoma-lo, transformando-o em museu. Acrescido de uma torre, o museu foi Inaugurado duas vezes, a primeira em 2002 como NovoMuseu, e a segunda em 2003, mudando o nome para Museu Oscar Niemeyer, o MON. Portanto, esta tese é resultado de um estudo poético sobre essa história e está constituída em dois acontecimentos: um primeiro dedicado aos relatos escritos e visuais dessa breve biografia e, um segundo que apresenta o projeto da exposição SOBRE 34mil m2 como um percurso nos espaços e imagens tramados na descoberta tanto da sua ambígua arquitetura quanto da sua híbrida história. / In 1967 Oscar Niemeyer designed a school for Curitiba, which was a modern construction with huge spans, a large slab supported by pilotis and ramps instead of stairs, as well as a vaulted gymnasium and an annex building. But in 1978, only the main building was constructed, and since then it served the state bureaucracy for more than twenty years. Only at the beginning of the 21st century, the social vocation of the initial project would be rescued, when Niemeyer was invited to take it back and to transform it into a museum. With a new tower, the museum was inaugurated twice, the first in 2002 as NovoMuseu, and the second in 2003, with a new name: Oscar Niemeyer Museum, the MON. Thus, this thesis is the result of a poetic study on the history of the Oscar Niemeyer Museum, and consists of two moments: a first dedicated to the written and visual reports of this brief biography, and a second that presents the project of the exhibition SOBRE 34mil m2 as a course in spaces and images hatched in the discovery of both its ambiguous architecture and its hybrid history.