Design Museum Research Articles

Research on the development and application of museum cultural Resources display based on virtual reality technology

The development of museum cultural industry, as the key content of the development of national cultural industry, affects the inheritance of national culture and history. Due to the constant update of hightech, new media and other technologies, the display of cultural resources in museums is becoming more and more diversified. The application of virtual reality technology, digital interaction technology, new media and other technologies brings new vitality to the display design of modern museums. Under the background of this era, the exhibition of museum cultural resources is researched and explored. At present, virtual reality technology is gradually applied in the display and dissemination of cultural resources. This paper discusses how to realize the application of this technology in the display of cultural resources in museums.

Позовём в эксперты Достоевского (Усадьба Даровое: перспективы)

Third paper on the topic. The formation of the restoration project of the Darovoe Museum is reaching a turning point. Bringing the creative laboratory of the museum construction into public space allows the scientific community to influence the process of establishing a new museum of the writer and sets a precedent for transparency in the restoration process. The combination of museum design, natural landscape, and architectural research with the achievements of philologists and historians are forming a new kind of interdisciplinary cooperation between scientists and practitioners. In fact, the process is now facing a conflict, ultimately of axiological nature. The article includes proposals of famous scholars to the General Directorate of the Cultural Heritage for the Moscow Region and the Protocol of the meeting of the section of the Council for the Cultural Heritage of the Ministry of Culture of the Russian Federation; it presents the contradictions causing conflict. The concept of a natural museum of Dostoevsky’s childhood, defended by the academic community, is winning the right to implement with great effort.

озовём в эксперты Достоевского (Усадьба Даровое: перспективы)

Third paper on the topic. The formation of the restoration project of the Darovoe Museum is reaching a turning point. Bringing the creative laboratory of the museum construction into public space allows the scientific community to influence the process of establishing a new museum of the writer and sets a precedent for transparency in the restoration process. The combination of museum design, natural landscape, and architectural research with the achievements of philologists and historians are forming a new kind of interdisciplinary cooperation between scientists and practitioners. In fact, the process is now facing a conflict, ultimately of axiological nature. The article includes proposals of famous scholars to the General Directorate of the Cultural Heritage for the Moscow Region and the Protocol of the meeting of the section of the Council for the Cultural Heritage of the Ministry of Culture of the Russian Federation; it presents the contradictions causing conflict. The concept of a natural museum of Dostoevsky’s childhood, defended by the academic community, is winning the right to implement with great effort.

Children’s Museum Design Based on Children’s Sensitive Period Theory

The purpose of this study is to clarify and value the definition and educational value of children’s museums, and analyze how children’s sensitive period theory are used in the design of children’s museums. This study selects the Hong Kong Children’s Discovery Museum as a case study. Through in-depth interviews with the manager of this children’s museum, on-site visits and participation in the exhibits and projects in the museum, and then using comparative study method to compare it with children’s museums in other countries, the results show that the design of the Hong Kong Children’s Discovery Museum is similar to other children’s museums, and its exhibits and projects make good use of the children’s sensitive period theory. But it is not mature enough, which is reflected in the limited scale, single source of funding, and little cooperation and contact with schools or educational institutions. These results suggest that it is very necessary to design the children’s museum based on the sensitive period of children. As a form of informal learning, children’s museums can be used as a supplement to formal learning methods and can cultivate the children’s ability of active learning and lifelong learning.

INTEGRATION OF LITERARY HERITAGE INTO MEMORIAL SPACE OF A MUSEUM

The article discloses opportunities of widened presentation of literary heritage in historical and artistic exhibitions in Russian literary and memorial museums that are considered by the author as an alternative for reconstruction of memorial space based on typical materials. In reliance on an idea of key role of visual means in social and cultural communication, the author claims that text representation in visual format through the use of the newest technologies of museum design helps to refine effectiveness of perception of conceptional block of museum exhibit by a visitor, its capabilities to draw people's attention. Research sums years­long experience of work of three Russian literary museums (Varlam Shalamov's House Museum (Vologda, Vologda Oblast), Vasily L. Pushkin's House Museum (Moscow), Nikolai Gogol' House – Memorial Museum and Research Library (Moscow)), that shows usefulness of synthesis of memorial component of museum activities and spatial and figurative approach to presentation of literary heritage in museum space.

On Embodiment, Performance Art and Contemporary Museum Design

"This paper considers the relationship between performance art, recent museological models focused on the centrality of the public, and the visitors’ ontological status as embodied, cognitive and sentient beings. It discusses the shift from traditional curatorship towards a participatory model, curated for the visitor rather than about objects. It frames the thinking about the public as embodied/sentient entity, whose perceptual mechanisms need to be fully understood in order to design fully participatory, engaging and stimulating exhibitions. It surveys and addresses performance art as exemplary to understand the relationship between the space of the museum and the bodies of the artists and their public, and how these elements can generate new research questions. Through its analysis, it proposes curating the public’s experience by adopting an interdisciplinary framework centered around the notion of embodiment, shared space and multisensory interaction."

Slovenski kulturno-kreativni delavec v času pandemije COVIDA-19

Even before the Covid-19 pandemic, the position of the Slovenian cultural and creative worker was anything but promising. During the pandemic, it has been further deteriorating as showcased in this paper on the basis of a questionnaire survey. Poligon Creative Center in cooperation with the Center for Creativity under the auspices of the Museum of Architecture and Design in Ljubljana was instrumental in the process of empirical research design. When developing our questionnaire survey, we aimed to find out how Slovenian workers in the cultural and creative sector (hereinafter CCS) cope with the changed working conditions due to the Covid-19 pandemic. We were not interested merely in the economic aspect of the altered everyday routine. The broader socio-psychological reality of life faced by the Slovenian cultural and creative workers, along with their assessment of the new normality and the government measures’ adequacy in terms of maintaining the CCS at the pre-pandemic stage of development, are also addressed. Selected key findings of our research are presented and discussed in this paper. We also list and critically evaluate preventive measures we think should be put into effect as soon as possible.

IMMERSIVE AUDIO EXPOSITION AND ITS VISUAL CONTENT AS ACTUALIZATION OF MUSEUM DESIGN PRINCIPLES

The article is devoted to the experimental practice of new local history and museum design, the study of collective identity, the actualization of “gene memory” and the representation of the Finno-Ugric ethnic group of the North of Udmurtia, Russia. The project continues to develop a long-term partnership of an inter-regional consortium consisting of specialists in the fi eld of cultural anthropology and authentic geography, local history, music and stage art, folklore, design, architecture and modern art practices, and the local community. The article deals with the study of the principles of organizing a traditional a local history museum, its tactile and spatial reconfi guration based on immersive interaction with the visitor, his active participation, polylogue, post-empathy and total involvement (psychophysiological “linkage” with reality). It covers a wide range of topics from technological to meta-immersion, creation spaces of holistic experience, space-event, space-situations, where the viewer becomes a key subject.

Research on the influence of lighting mode and CCT on the lighting design of art museum based on subjective experiment

In the art museum, lighting plays a crucial role in visitors’ understanding and appreciation of exhibits. This paper mainly explores the influence of different lighting mode (general lighting, accent lighting, and mixed lighting) and correlated color temperature (CCTs) (4000 K and 2700 K) changes on the observers’ psychology to find the best lighting environment. Based on the simulation carried out at the National Museum of Western Art in Japan, we made six diverse lighting designs. 31 observers were invited to evaluate each scheme, and the results of subjective evaluation were analyzed by means of one-way analysis of variance and the paired sample T-test. According to the results of data analysis, suggestions can be given for art gallery lighting design. It is not recommended to use general lighting alone in art museums, and it is better to use mixed lighting. When the CCT is 4000 K, only accent lighting can be used. When the CCT is 2700 K, the mixed lighting effect is better.

Security systems in buildings and structures of museum complexes

This study is aimed at analyzing the museums of the Rostov region and identifying the main approaches to the design of museums. Particular attention is paid to ensuring security in museums. The article proposes a comprehensive concept of museum security.

Minutes of the Annual Meeting: Friday, 24 January 2020,Convene, 237 Park Avenue, New York, NY

Minutes of the Annual Meeting: Friday, 24 January 2020,Convene, 237 Park Avenue, New York, NY

Standard Cataloguing of Augmented Objects for a Design Museum

Demo-ethno-anthropological assets belonging to the cultural heritage are not “autonomous” but represent the nodes of a complex system of relations. Their narration – for the purposes of knowledge and cultural diffusion – cannot transcend this relational dimension that recognises an enormous potential for development in the application of digital culture and in the prudent use of augmented reality. In the perspective of a design museum, it is therefore necessary to accompany each artefact / asset with a digital matrix that provides accurate information in relation to its critical interpretation. The exposure of an augmented object, in fact, allows to read better its use and social value along specific interpretative lines. This essay summarizes the study of a new type of archive – the animated archive of cultural materials – intended as a system of standard cataloguing of objects for a museum on design. Moreover, it is based on the critical comparison between the contribution of ludic humanism and the augmented narrative. This comparison is necessary because the rhetorical and design systems of the playful narrative offers interesting information for the realization of virtual – and non – exhibits, since the type of involvement and the environment required by the spectator is very similar; but above all because games are an important experimentation of interactive models of learning and cultural production.

That Feels Like Home: Connecting Sites of Lockdown to Design Collections

This article discusses the response of the Museum of Domestic Design and Architecture, Middlesex University, to the COVID-19 pandemic.

The Museu del Disseny de Barcelona as an example of pedagogical innovative practices

Design has proved to be a discipline deeply connected to our daily lives. Its identification as a cultural heritage element is undeniable due to its wide-ranging values. In this sense, the Museu del Disseny de Barcelona has been promoting this artistic field since its creation in 2008. This museum has a relevant social and cultural function as it is the only design museum in Spain. Furthermore, the museum also stands out because of its innovative pedagogical programmes pointed to scholars, university students, families and groups of people with accessibility problems. The aim of this article is to present the Musseu del Disseny de Barcelona from an educational perspective, paying attention to its staff members, facilities, programmes and assessment. The 2018 museum annual report results are an example of its success. In order to accomplish this study, the authors have recently interviewed in-depth some members of the pedagogical team (Serveis Educatius).

Strengthening the 1960s UK Commonwealth Institute hyperbolic paraboloid roof

The Grade II*-listed 1960s roof to the former Commonwealth Institute consists of a central post-tensioned concrete hyperbolic paraboloid shell, typically only 75 mm thick, and is one of the few examples of large-scale concrete shell structures in the UK. After being unoccupied for a decade, in 2012, the Design Museum announced its plans to move into and redevelop the building. In order to make the space functional, the interior and foundations needed to be demolished and the entire 3100 m2, 2000 t roof held up 20 m above ground temporarily while the new structure was constructed underneath. This paper explores in detail the steps taken to assess the relatively delicate existing roof structure for the change in loading and future movements in both the temporary and permanent conditions and the resulting innovative strengthening, repair and temporary works required. Limited historical drawings and papers were available, and therefore, non-destructive testing and careful intrusive investigations were used to obtain more information on the as-built details. In order to determine the structural behaviour, hand calculations were conducted to back-calculate the original design intent, and computer modelling was used to conduct sensitivity analyses of the load paths.

Contributors

Contributors

The Union of Science and Art: Stained Glass Windows for the South Kensington Museum

This article traces the history of a number of stained glass windows designed for the world’s leading museum of art and design, the South Kensington Museum, which opened in 1857. During the expansion of the museum in the 1860s and 1870s under the directorship of Henry Cole, several large-scale windows celebrating the union of science and art formed part of an ambitious interior decorative scheme that reflected the museum’s collection, its unique history, and evolving role as a national institution for the promotion of artistic and technical education. Although most of these windows were later removed, and some have been lost, the rediscovery of some windows in the Victoria and Albert Museum’s store, and the reinstatement of others, provides an opportunity to consider the original scheme, its context, and significance. Drawing on themes of religious and moral instruction, as well as knowledge and learning, combining allegorical and figurative scenes with ornamental motifs, institutional devices, and royal mottos, the iconography of the windows demonstrates a peculiarly British approach to stained glass design for secular public contexts. Interpreting these windows reveals how the decoration of public museums and galleries articulated institutional aims and helped to define and shape nineteenth-century visual culture.<br>

The House of European History, Food for Thought and Reflection

Abstract In May 2017, the House of European History opened its doors in Brussels. Long awaited, this new museum represents a small revolution in the museum landscape. It stands out both because of the scale of the project - the history of Europe - and the specific role given to each visitor. The idea is not to impose a narrative on the visitor, but to encourage critical understanding. Visitors should be led to question the concept of Europe from its beginnings, but also explore what unites Europe. The museum's designers focused on the concept of memory, which unites and divides at the same time. Through six chronological sections, the visitor is invited to revisit Europe at a time when it seems more than ever in crisis.

Costumes of the Pavley-Oukrainsky Ballet

This study explores selected costumes worn by founding members of the early twentieth-century Pavley-Oukrainsky Ballet based in Chicago and a variety of historical documents pertaining to the company from the collection of the Museum of Performance and Design, San Francisco, to explore how the company used exotic influences as inspiration, which helped to develop a new genre of ballet in the United States. These sources address how the analysis of costumes can shed light on the historical significance of the Pavley-Oukrainsky Ballet, an otherwise little-known American ballet troupe. Using a material culture methodology, two garments are explored as case studies: a loincloth and a torso ornament. The descriptions, deductions, and speculations of each artifact are combined with primary and secondary sources about the company to contextualize and understand the role of dress in the Pavley-Oukrainsky Ballet.

Social Meaning Mapping as a Means of Exploring Visitors’ Practices in the Museum

This article introduces Social Meaning Mapping (SMM), a digital qualitative tool embedded in the Visitracker tablet-app. SMM is designed to be used by visitors post-visit to recount their experience in a museum room verbally and visually by marking it on an illustrated floor plan, using several paint tools. The app records their verbal and visual input. This article details the theoretical underpinnings of the tool and exemplifies its use through two out of the nine Social Meaning Maps collected from nine groups (N = 21) visiting a gallery room at the National Museum of Art, Architecture and Design in Oslo, Norway. Each example represents one of the two ways in which visitors used the tool: (a) visitors cocreated their path using one colored line and (b) visitors created two different paths using different colored lines. These two cases showcase how SMM as a tool for conducting visitor studies can complement third person observations through timing and tracking conducted by the researcher with visitors’ self-reflections and thus, capture a more holistic snapshot of the museum experience.