This study examines the development of Edward Larrabee Barnes's design concepts for the Dallas Museum of Art, from preliminary concepts and program statements by Director Harry Parker and Dallas Museum trustees, through initial planning and architect selection, to site selection, the Program and Space Study, Barnes's early conceptual plans, and his Dallas Arts District master planning. Influences on Barnes's work and his career development leading to the Dallas commission, his most ambitious museum to date, are examined. Discussion and documentation of design development is based on schematic studies, presentation drawings, models, and trustees' minutes. Design changes during construction and all phases of expansion planning are also discussed. The conclusion summarizes historical influences on the design and Barnes's fulfillment of program concepts.

To own the Holocaust  The aim of this study has been to summarise and analyse the use of history in the debate surrounding the building of a swedish Holocaust memorial museum. Material used in the study included consultations of SOU 2020:21 from various authorities/agencies and NGO´s, editorials and debate articles from Sweden's leading newspapers and motions and written questions written by members of the swedish parliament. The methods used were textual analysis and hermeneutics. The material was analyzed via Karlsson's typology of use of history.   The study shows that the memory of the Holocaust is being used in different ways depending on the users geografical, political, organizational and/or etnical backgrounds. This affects the concept of the Holocaoust and its moral implication in various ways. Organizations representing the romani community, for example, wants the roma to be included in the Holocaust-concept and the illuminates the historical crualties that the roma´s have endured in order to further that argument. Organizations and political parties emphasize their connections to the Holocaust in order to discredit opponents or to further political or economical/social agendas. The result of this use is a variance in the existential, moral and political implications of the Holocaust.  Another result, which in no way is disconnected from the ones mentioned earlier, is a variance in the ways in which the history of Sweden is linked to that of the Holocaust. The use varies according to where the debater wants to place the museum, a choice which is strongly linked to the author's geographical background. This results in different universalistic implications of the holocausts causes, proceedings and effects.

This study explored how workers in two small museums on Vancouver Island were responding curatorially and pedagogically to the social issues of our times. It was inspired from my own work in a small museum, as well as the idea that museums can be agents of change in our deeply troubled world. Specifically, I investigated how these small museum workers integrated new critical and creative practices into their daily work and the challenges and constraints they faced. Adopting institutional ethnography as inquiry, I used interviews, participant observation and focus groups to explore how the study participants navigated community relations, historical discourses, exclusions and institutional restrictions. My findings show the participants tackling issues of power and privilege by enacting cultural democracy through shared curatorial authority; actively engaging with a diversity of communities; integrating women’s lives and issues in the exhibits; using the archives to share lesser-known histories; and employing a variety of aesthetic and embodied practices to raise awareness and engage community. While some visitors and members were resistant to the changes, my study suggests that most welcomed the new stories and practices, which speaks to how the participants mobilisd pedagogies of challenge and care. Challenges remained in the forms of a gendered bureaucracy; lack of funding; and job precarity. I conclude this study with recommendations for how small museums might be further supported in this important curatorial and pedagogical work. These include the development of regional and collaborative learning frameworks; the re-imagining of governance; and the adoption of ‘decent work’ principles in these institutions. / Graduate

The aim of this work is to present gamification and its uses in the context of museology and art marketing and its benefits for the presentation of cultural heritage. The first part explores general theory of gamification, it's basic elements, types of players, psychological aspects and motivation. It mentions also social impact and main criticism. Second part apply the concepts presented in the first part directly to the field of presentation of cultural heritage in museums and galleries. It focus on linking the traditional institution with it's virtual version in the context of convergence culture and participation with wider audience. Gamification design framework shows how museums and galleries can use gamification for practical use in exhibitions, digitized collections and promotion. At the third part it presents practical project with concept of gamification of history for the Faculty of Arts at Charles University.

Andrea Riedel beschäftigt sich in ihrem Artikel mit der Neukonzeptionierung des Stadt- und Bergbaumuseums in Freiberg.

Detta examensarbete har utförts i samarbete Statens Fastighetsverk. I dagsläget pågår renoveringen av Nationalmuseum där byggnaden skall återställas till sitt ursprung och ett nytt ventilationssystem skall tillgodose ett stabilt inneklimat för bevarandet av museiföremålen. Examensarbetet undersöker hur de krav som ställs på ventilationssystemet kan kombineras med de begränsningar som byggnadens kulturminnesmärkning medför genom att besvara frågan ”Hur kombinerar man dagens behov av installationer med en kulturhistorisk byggnad utan att påverka det kulturhistoriska värdet?” För att exemplifiera denna problematik presenterar vi ett principiellt lösningsförslag för installationssamordningen till en utvald del av byggnaden. Ventilationsförsörjningen till utställningssalarna på Plan 4 utgör ett av de svåraste samordningsområdena i byggnaden. Det valda utrymmet för lösningsförslaget är bjälklaget på Plan 6 som skall försörja en av dessa salar. En fördjupning görs inom museiklimat och dess påverkan på såväl konsten som byggnaden och installationerna. I dagsläget pågår diskussioner där museiklimatkraven ifrågasätts och en internationell standard eftersträvas. Då ventilationssystemets utformning är direkt kopplat till det eftersträvade inneklimatet avslutas rapporten med en diskussion kring klimatkraven på Nationalmuseum och hur dessa kan tillgodoses. Våran slutsats är att det är utifrån byggnadens begränsningar och inte verksamhetens behov som en hållbar samverkan av arkitektur och installationer kan åstadkommas. / This degree project has been carried out in collaboration with the National Property Board of Sweden. The National Museum is currently undergoing renovation where the goal is to restore the building to its original glory. A new ventilation system is to be installed to facilitate a stable indoor climate for the conservation of museum artifacts. The building has been declared a historical monument which imposes limitations on permissible alterations to its architecture and construction. The degree project examines how to combine these limitations with the demands made on the ventilation system by answering the following question, "How can modern installations be integrated within a historical monument, without affecting the historical value?" To exemplify the complexity of this problem, a section of the building has been chosen and studied in more detail. A principle solution is then presented where the installations are integrated with the surrounding structures. The air supply to the exhibition halls on the fourth floor constitutes one of the more complex problems in the building. The installations that service these halls are to be contained within the floor structure above. It is this floor structure that has been studied in more detail. The museum climate and its effects on the artifacts, building construction and installations are studied in depth. Currently the museum environment is a heated topic of discussion where prescribed guidelines are challenged and an international standard is sought. The desired indoor climate determines the scope of the ventilation system. Therefore this report concludes a discussion on the climate requirements presented by the National Museum and how these can be accommodated. Our conclusion is that a sustainable integration of architecture and installations can be achieved when the solution is based on the limitations of the building as opposed to the demands of the occupants.

No description available.

I mitt förslag betraktar jag Nationalmuseums klassicism och dess symmetrier som ett system i flera skalor, ett obundet system vilket det är möjligt att bygga vidare på. Det är ett system där massa hela tiden ställs mot tomrum, och där rytmen i allt från pelare till stora rymder och motsvarande massivitet harmonierar mellan huvudbyggnaden och det tillbyggda. Det är en byggnad avsedd för kroppen: man ska röra sig runt den och i den och känna hur det rytmiska pågår; hur massan och tomrummen får rörelse och vill flyta in i varandra och där volymerna får tyngd och gravitation i denna spänning. Jag har tagit fasta på det monumentala, inte nödvändigtvis som storskalighet, utan som någonting annat, mer mystiskt. Där tar jag stöd i Aldo Rossis Architecture of the City. Byggnadernas fasader är bronsklädda. / In my proposal I consider the classicism of Nationalmuseum and its symmetries as a system, in different scales, that is unound and has the possibility of being added to. It is a system where mass is always contrasted against void, and where the rhythm in everything from columns to vast spaces and the corresponding massivity is put in harmony between the old building and the extension. It is a building intended for the body: you walk around in it and feel this rhythm happening; that the mass and the void is put in motion and want to apprehend one another, and where the volumes get heft and gravity in this tension. I have valued the monumental, not necessarily as massivity in scale, but as something else, that is more mystical. In taking this position I am supported by Aldo Rossi and his Architecture of the City. The facades of the buildings are clad in bronze.

Dokumentation av en Tävlingsprocess - Jøssingfjords Stenbrottsmuseum  Avsikten med detta examensarbete var att utföra en tidsbegränsad tävling och samtidigt dokumentera arbetsprocessen. När tävlingsförslaget var färdigställt analyserades processen och resultatet. En strategi för hur projektet skulle arbetas vidare formulerades sedan. Målet var att hitta en personlig dokumentationsform som skulle ge en bra översikt av arbetet och som förhoppningsvis också skulle kunna användas för att hitta eventuella svagheter eller negativa mönster i den egna arbetsprocessen. Vid slutgenomgången ska projektet beskrivas genom processen tillsammans med de reflektioner jag och mina handledare har haft under projektets gång. Programval: Jag valde att använda programmet från en tävling som var aktuell när examensarbetet började. Tävlingen var ett stenbrottsmuseum i södra Norge. Initiativtagare var Dalarne rådet och programmet / Presentationerna hölls på KTH:s biblioteket p.g.a. att Arkitekturskolan just hade brunnit.

Die Universität Leipzig unterhält drei Museen und zahlreiche Sammlungen, wobei auch letztere teilweise für die interessierte Öffentlichkeit zugänglich sind. Universitäre Sammlungen zeichnen sich dadurch aus, dass sie neben den klassischen Museumsaufgaben des Sammelns, Bewahrens, Erschließens, Präsentierens vordringlich Lehre und Forschung dienen. Bei der Ausbildung der Studenten ermöglichen Sammlungsstücke ein Begreifen im doppelten Sinne. Trotz moderner Wissensvermittlung auf audiovisuellem Weg kann in vielen Fachgebieten auf ein Lehren, Lernen und Forschen anhand konkreter Sammlungsobjekte nicht verzichtet werden. Die Stücke in unseren Museen und Sammlungen sind nicht totes Inventar, sondern Anschauungsobjekte, die ihre Geschichte und Geschichten erzählen.:Ägyptisches Museum; Museum für Musikinstrumente; Antikenmuseum Kustodie; Sondersammlungen der Universitätsbibliothek; Herbarium Botanischer Garten; Sammlung Ur- und Frühgeschichte; Sammlung am Altorientalischen Institut; Sammlung am Institut für Zoologie; Sammlung am Institut für Anatomie; Sammlung am Institut für Rechtsmedizin; Sammlung am Institut für Pathologie; Medizinhistorische Sammlung am Karl-Sudhoff-Institut; Sammlung an der Poliklinik für Zahnärztliche Prothetik und Werkstoffkunde; Mineralogisch-Petrographische Sammlung; Geologisch-Paläontologische Sammlung; Veterinär-Anatomische Sammlung; Veterinärmedizinhistorische Sammlung