Paderborn, Universiẗat, Diss., 2000.

Thesis (M.S.)--Florida State University, 2003. / Survey based on "student sample from a visual arts school at a [Southeastern] university." Advisor: Dr. Lisa Waxman, Florida State University, School of Visual Arts and Dance, Dept. of Interior Design. Includes bibliographical references (p. 75-77). Also available in electronic form via the WWW.

abstract: Art museums are institutions with a mission to not only preserve art and culture for the public, but to provide visitors with an educational experience. This qualitative case study includes three art museums in the Phoenix Metropolitan Area: a university art museum, a large public museum in Downtown Phoenix, and a contemporary art museum in the city of Scottsdale. This research study sought to identify the ways in which eight art museum employees from the education and administration departments identify their institutions as educational. Data was collected and analyzed through the methods of direct observations and field notes, one-on-one interviews, and photographs of educational programming. After examining these art museums and conducting eight interviews, a description of each observation is displayed using examples of photographs and field notes. Although findings suggest a variety of educational programs for a range of visitors in each institution, all three museums offered comparable programs, activities, and events. This research study revealed similar ideas, themes, and perspectives between art museum educators and administrators. Findings indicate the importance of collaboration between both museum departments in order to ensure the success of their museums. All eight participants in the study had a passion for art and art museums as well as visitor education. Additionally, participants had concurrent thoughts in their interviews regarding concepts of educational programming, cultural diversity approaches, art museum fundamental roles, and overall educational goals. / Dissertation/Thesis / Masters Thesis Art 2018

Museums have long been an institution of preservation and the collection of objects, art, and curiosities. Items safely stored and displayed for the public to look at, never changing. As a child seeing and learning about a museum’s objects for the first time is thrilling. However over time that thrill fades and what was once magical in the eyes of our five year old self is now lackluster and monotonous. As adults we cease to visit that museum we loved as a child. Why would we? Nothing has changed, there is nothing new. There is something special about the nostalgia of that feeling when you were five and first saw an exhibit that opened your eyes to another world. The traditional museum is still the foundation of museums in the 21st century and adapting to the new museum typology (the post-museum) is inevitable for continued success, but can it be both a traditional and a post-museum? With new technologies and research in the field of museums and how people learn in them there has been a shift in what it is and should be to its visitors. This practicum project aims to address the shift of the interiors and exhibits in museums of the 21st century. Many factors contribute to the changing of the museum; its design, exhibits, and social construct have all been adjusted to create more inclusive experiences. Through the examination of tourism, community, post-museums and exhibition design this practicum project aims to provide a balance between the traditional and post-museum typology. The result is a stronger connection with the local community and an enriching experience for museum goers. / February 2017

University of Technology, Sydney. Faculty of Design, Architecture & Building. / The thesis explores the notions of immersive experience in museum exhibitions, and examines whether the communication of the exhibition content can be transmitted more effectively to visitors through the creation of an immersive environment. The study reviews the origins and changing interpretations of the term 'immersive experience', and draws upon the work of researchers including Heim (1998) and Bitgood (1990) to examine immersive experience in the context of museum exhibitions. The role of narrative in enhancing immersive experience in exhibitions is explored through the work of researchers including Hooper-Greenhill (2000) and the ideas of Joseph Campbell on myth, story telling, and the concept of 'hero'. Theories of effective communication and learning in the museum context are examined, as well as formal strategies that can be undertaken by museums to inform and facilitate communication and learning for the experience of the visitor. The author employs the methodology of 'participant observation', using her experience as Senior Designer at the Powerhouse Museum in Sydney to reflect on the aspects of multi-sensory stimulation required for the communication process in an exhibition, and on what is achieved by the implementation of new technology into museum exhibition spaces. A number of exhibitions designed at the Powerhouse Museum by the author are used as case studies. The major outcome of the study is a theoretical framework on immersive experience that may be applied by museum designers and curators to enhance communication experience for visitors to exhibitions, or may be used by educators to enhance learning experiences for groups who use museums as learning environments. The thesis concludes with some ideas for further research in the area of immersive experience in the museum, including the development of a methodology for evaluating the effectiveness of immersive experiences created by museum designers.

Thesis (M.S.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Feb. 28, 2008). Directed by Patrick Lee Lucas; submitted to the School of Human Environmental Sciences. Includes bibliographical references (p. 149-152).

My thesis is a space to display the parts of a ship hull excavated from the ground along the waterfront in Old Town Alexandria, Virginia. My thesis is about finding a way to display these ship hull parts in a way that not only contextualizes and informs the public about them, but also respects their part in the history of the Potomac River and the neighboring buildings. These found ship hull parts (from here they will be referred to as the "found ship") amount to one third of the hull of a late 18th century merchant ship that was scuttled along the waterfront of Alexandria to extend the shoreline and to create more useable land. It was one of four found over a period of three years between 2015 and 2018. It was the largest, being approximately 102 feet long, 25 1/4 feet in beam, and 11 feet deep; it was believed to be three-masted, fully rigged (or ship rigged), with the main mast estimated to have been at least 100 feet tall. It is also estimated to be flat-floored and to be able to carry up to 264 tons. The recovered remains are 85 feet long and 30 feet wide. It is my goal to display the found ship in a publicly accessible manner that not only represents the history correctly, but also respects the context of both today and its time. To display the found ship, I will need to either display it as-is (some old pieces of wood) or as a part of a fully reconstructed vessel. Both present challenges and advantages but will be unique design additions to the project. Regardless of how I choose to display the found ship, I must display it somewhere. To do this, I need to design a building that not only allows it to be displayed, but that does so in a way that is respectful to it the context of the city and river themselves. I will design a building on a site immediately adjacent to West's Point Park on the Potomac Waterfront. / Master of Architecture / The Alexandria waterfront is full of history. A lot of it is visible: the row houses, the street grid, the old buildings and piers. Even more of it is invisible, lying unseen below the ever-changing waterfront and the earth beneath it. Here, in the depths of the mud that makes up the waterfront of Old Town Alexandria, Virginia, lay the remains of four of water-going vessels. Of these, three were small boats and barges, not being capable of sailing on the open ocean. The fourth, however, is an ocean-going vessel, a ship. This found ship was a merchant ship and is only partially intact – most of the ship is gone (the decks, the masts, rigging, and sails, and any other parts of the structure), but a portion, roughly thirty percent, is still intact, although very fragile. When I learned of this archaeological find, I immediately wanted to know more, and to display it somewhere. It was my goal to design a building in Old Town Alexandria, Virginia, to not only house the found ship in some way, but to allow the community to come and learn about it and the rest of the city and region. I also wanted to design a building that was more than a museum, but a place for people to gather, and as a place people wanted to come back to. I hope you enjoy reading about it as much as I have enjoyed researching and designing it.

Poon Hon Chuen Eddy. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1996-97, design report." / Includes bibliographical references (leave [68]). / background / Chapter 1.1 --- intent --- p.p1 / Chapter 1.2 --- scope --- p.p1 / Chapter 1.3 --- objectives --- p.p2 / architecture & archaeology / Chapter 2.1 --- definition --- p.p3 / ancient culture / Chapter 3.1 --- ancient man --- p.p4 / Chapter 3.2 --- spiritual belief --- p.p4 / Chapter 3.3 --- architecture --- p.p5 / Chapter 3.4 --- unearthed remains --- p.p6 / project brief / Chapter 4.1 --- client profile --- p.p7 / Chapter 4.2 --- client mission --- p.p8-9 / Chapter 4.3 --- user profile --- p.p10 / Chapter 4.4 --- programming --- p.p11-13 / site selection / Chapter 5.1 --- criteria --- p.p14 / Chapter 5.2 --- options --- p.p15-19 / site analysis / Chapter 6.1 --- existing site conditions --- p.p20-25 / Chapter 6.2 --- future prospect --- p.p27-33 / case studies / Chapter 7.1 --- Aries Museum of Archaeology in France --- p.p34 / Chapter 7.2 --- Museum Merida in Spain --- p.p35 / Chapter 7.3 --- Museum of Anthropology in Vancouver --- p.p36 / Chapter 7.4 --- Mont-Beuvray Archaeological Centre in France --- p.p37 / Chapter 7.5 --- Archaeological Museum in Montreal --- p.p38 / architectural design / Chapter 8.1 --- design mission --- p.p39 / Chapter 8.2 --- issues --- p.p39 / Chapter 8.3 --- goals --- p.p40 / Chapter 8.4 --- conceptual stage --- p.p41-42 / Chapter 8.5 --- schematic stage --- p.p43-46 / Chapter 8.6 --- design process --- p.p47-52 / Chapter 8.7 --- final design --- p.p53-59 / appendix / project proposal / newspaper cutting / bibliography

This exegesis is an exploration of issues involved in making an exhibition -The Gay Museum (2003) -at the Western Australian Museum. Inspired by the work of artist Joseph Kosuth at the Brooklyn Museum (1990) and curator Peter Emmett at the Museum of Sydney (1994), this project attempts to explore and extend the role of artists as curators in contemporary museums. The project also shows that by re- interpreting objects in museum collections artists can actively challenge and support museums in a period of change and that collaboration between artists and museums as 'makers of meaning' can open up new possibilities for both. The curatorial vision for the exhibition therefore included strategies from contemporary museums - a multi-disciplinary approach and the use of non-linear narrative - and strategies from the contemporary art world -those that explore an aesthetic approach to objects and installation. Research for the project was determined by the expectations, unique histories and political choices that shaped and connected three 'communities' - Jo Darbyshire from the visual arts community, the Western Australian Museum community and the gay and lesbian community of Western Australia. As The Gay Museum project shows, the collaboration between artists and museums can contribute to museums being sites that vibrantly reflect contemporary cultural changes.

<p>I rapporten redovisas arbetet kring framtagandet av ett nytt exponeringssystem och tillhörande rumsliga lösningar till kulturhuset Multeum i Strängnäs. Arbetet är ett resultat av mitt examensarbete i informationsdesign och rumslig gestaltning vid Mälardalens högskola. Jag har med god informationsdesign och med mina kunskaper i rumslig gestaltning utformat ett skissförslag på en ny typ av exponeringssystem. Ett system avsett för fotografier med utgångspunkt från den lokalhistoriska fotosamling Multeum tillhandahåller idag. Arbetet har utförts med respondent och informant -intervjuer, observationer och litteraturstudier.</p><p>Arbetets syfte har varit att ta reda på hur fotografier bäst exponeras i Strängnäsrummet på Multeum med de krav på systemet och flexibiliteten som finns. Hur man kan göra olika utställningar, inom likartade ämnen och kontext, speciella och specifika med hjälp av ett nytt exponeringssystem och specifika rumsfördelningar.</p>