Museum Garden Research Articles

Unveiling destination choices: uncovering the influence of missing visual information on tourists’ decision-making and visit intention

Purpose This research aims to investigate the impact of missing visual information on tourists’ decision-making processes and visit intention. Drawing on perception completion law and signaling theory, the study hypothesized that tourists might use visual information to infer about a destination, even if the information is incomplete or ambiguous. Design/methodology/approach To assess the impact of missing visual information, the authors asked a group of 392 participants who had no prior familiarity with a specific garden museum to envision the interior environment of the museum garden and provide feedback on their emotional responses and aesthetic evaluations. To aid in their imagination, they were presented with a video showcasing the surrounding landscape and exterior of the museum. Findings The study found that participants could anticipate their overall experience of the location by inferring the resemblance of unseen areas to the images they had viewed, even without prior exposure or information. This study provides valuable insights into the cognitive processes underlying tourism decision-making and advances our understanding of how people form expectations of new and unfamiliar places. Originality/value The originality of this research relies on the mediating role of missing aesthetics and emotion on the relationship between available aesthetics and visit intention using a structural model. This study highlights the significant role of visual information in influencing tourist decision-making, even with incomplete or ambiguous data.

Setifian roman basins

It was by serendipity, during a survey aimed at determining the course of an underground source by employees of the municipality of Sétif in 1907, that the beautiful monument was discovered at a depth of three meters of the “Roman basins” of Sétif (Algeria)[1]. The architecture of this site caught the attention of both elected officials and the public, and led to considering its conservation. Located in the Rafaoui garden (former Barral garden)[2], it represents one of the most beautifully preserved open-air monuments in this city. However, it remains a subject of controversy as to its "origin"[3]. The present work seeks to weave a portrait of the model, which will provide us with the arguments necessary for its "identification", and thus brought a correction on its name, and at the same time justify the action of a support for its conservation[4].
 
 [1] This source feeds the two main and famous fountains of this city (Ain Fouara & Ain Droudj), located in a part known for its wealth of Roman remains. (Elizabeth Fenteress, Paul-Albert Février, Anissa Mohamedi, 1984).
 [2] Since this discovery, the site has been laid out as an "open-air museum garden", displaying this unearthed archaeological treasure.
 [3] Improperly called nowadays "Roman baths", instead of "nymphs", and this is what we are going to dismantle.
 [4] In our situation, the question of heritage is no longer posed only in terms of preservation, but also in terms of integration into the changing urban environment, which is another form of "valorisation".

Investigating the role of experience quality in predicting destination image, perceived value, satisfaction, and behavioural intentions: a case of war tourism

ABSTRACT The present empirical study is aimed to investigate a theoretical model, which predicts the indirect and direct impacts of the quality of the tourists’ experience on behavioural intentions through perceived value, destination image, and tourists’ satisfaction in war tourism as a form of dark tourism. This research was conducted using data collected from 330 tourists visiting Khorramshahr War Museum and Holy Defense Museum Garden in Iran. The results of testing hypotheses using SPSS and SmartPLS software indicate that experience quality influenced behavioural intentions indirectly via destination image, perceived value, and tourists’ satisfaction. Tourists’ satisfaction was found as the strongest influencer of behavioural intentions in war tourism.

Consideration of the former Gen-ichi Toyama Residence (Toyama Memorial Museum) Garden with regards to the design features and the intrinsic value as a cultural property

This paper researches the former Gen-ichi Toyama Residence (Toyama Memorial Museum) Garden to define the composition, design and materials and discuss its value as a cultural property. The main discussion points are as follows; (1) Formality and Tradition: The garden has the family shrine in the north-east corner (Kimon), and the family cemetery in the south-west corner (Ura-kimon). The buildings were positioned around the northern area like flying gees (Gankougata), the main garden was designed in the southern area. (2) Totality of the composition: the garden has 6 areas, and they were positioned with buildings harmoniously. The composition has a spatial unity, physically and visually. (3) Modernity and sophistication: We can see general modern garden style features in the wide lawns and the curving streams. Additionally, the techniques of step stones in the stream, shore stones and artificial stone objects are sophisticated. (4) Continuance from the Showa period to the present: The sculptures and a museum from the late 20th century were located in the garden, the original garden form was kept well. These were the elements also seen in as the Toyama memorial museum garden. We can follow the history of the garden from the physical aspects.

Fiat Lux: Functional Analysis of Three Saxo-Norman Pottery Lamps from Berkeley, Gloucestershire

THIS PAPER COMPRISES analysis of three Saxo-Norman pottery lamps recovered during archaeological excavations in 2012 in the Edward Jenner Museum garden, Berkeley, Gloucestershire. While such vessels have been known to archaeologists since the earliest days of Saxon and medieval pottery studies, their specific function, other than general ‘lighting’, has never been considered. Similarly, the composition of the fuel in such lamps has not been scientifically verified. In the following paper, both of these areas are addressed through experimental archaeology and organic residue analysis. The conclusion reached is that the lamps were chosen for use in a late-Saxon industrial workshop as they were ideal for the setting, providing a consistent, stable and bright light source in comparison with other available lighting methods of the period.

Review: Designing Home: Jews and Midcentury Modernism

Designing Home: Jews and Midcentury Modernism Contemporary Jewish Museum, San Francisco 4 April–6 October 2014 A slide show of modern houses and interiors greeted visitors to the exhibition Designing Home: Jews and Midcentury Modernism . Among the images were the Idea House II, a demonstration house commissioned in 1948 by the Walker Art Center in Minneapolis; Marcel Breuer’s interior for the House in the Museum Garden from 1949 and Gregory Ain’s Exhibition House from the following year, both shown at the Museum of Modern Art in New York; and a prototype building by A. Quincy Jones and Frederick E. Emmons for developer Joseph Eichler’s X-100 House from 1956. Yet the exhibition’s concept was more complex than this initial display of ideal modern homes as imagined by architects suggested. The goal of curator Donald Albrecht was, as stated in the introductory wall text, to present “the role of Jewish architects and designers in the creation of a distinctly modern American domestic landscape.” The “home” of the exhibition’s title indicated not just the house but a domestic continuum stretching from the suburban subdivision to single-family houses, along with their furnishings and household goods, to, finally, marketing images as propagated in magazines and movies. Consequently, “designing home” referred to the creation of the plethora of designer-conceived …

Gardens of Yesteryear

Begun as a response to a request to develop a historically accurate museum garden representing home gardens before and after Oklahoma's statehood in 1907, research reported in this article describes both native and non-native plants cultivated in gardens in Northeast Oklahoma, Southwest Missouri, Southeast Kansas, and Northwest Arkansas between 1841 and 1930. Much of the evidence of the diversity of plants grown in home gardens by Native Americans who were moved here and homesteaders who settled here is found in historic records that have only recently been digitized for global accessibility.

The Antiquary and Literary Criticism in the Short Stories of Constance Fenimore Woolson

The Antiquary and Literary Criticism in the Short Stories of Constance Fenimore Woolson Christina Healey Constance Fenimore Woolson, the grandniece of James Fenimore Cooper and a prolific author in her own right, was wandering through Cairo's Gizeh Museum in 1890 when she came upon a giggling, chatting group of "Cairo ladies" who were also exploring its collection of antiquities. Woolson writes of their chatter as a startling sound in the otherwise empty museum, "partly because of the echo, and partly also, I think, on account of the mystic mummy cases which stand on end and look at one so queerly with their oblique eyes." She draws attention to the way the women's conversation fills the silent space of the museum; their behavior is relaxed, and they experience relative freedom without their veils and eunuch attendants. Woolson remarks, "The most modest of men—a missionary, for instance, or an entomologist [sic]—would, I suppose, have put them to flight" (Mentone, Cairo and Corfu 174).1 Because no men are present, she is able to observe the "Cairo ladies" more freely than she otherwise would. Soon thereafter, while the women are relaxing in the nearby museum garden, their eunuch attendants burst upon the scene and quickly veil them. Woolson remarks, [T]here was no real resistance; there was only a good deal of laughter. I dare say that there was more laughter still (under the veils) when the cause of all this haste appeared, coming slowly up the stairs. It was a small man of sixty-five or seventy, one of my own countrymen, attired in a linen duster and a travel-worn high hat; his silver-haired head was bent over his guide-book, and he wore blue spectacles. I don't think he saw anything but blue antiquities, safely made of stone. (178) Woolson's description of the man, who is older, "small" and "travel-worn" in appearance, and too focused on his book and the antiquities to notice the [End Page 222] women, marks him as an antiquary, typically imagined as an older gentleman who takes an almost obsessive interest in antiquities. He interrupts the women's stolen moment of pleasure and, in spite of his less-than-masculine appearance and implied lack of virility, seems to restore patriarchal order in a space that had been given over temporarily to the women's relative ease and liberty. Their muffled laughter remains, however, as a sign that they find him a figure of ridicule rather than a true sign of male authority. This seemingly casual and humorous travel anecdote illuminates the critical connections Woolson had been making between antiquarianism and women's art in her short stories before 1890. These stories often turn thematically on the struggle by Woolson and other women writers to be acknowledged as artists in the literary establishment during a time when women's writing was often assigned second-class status. In the Cairo museum, the author notices how an institutional space dedicated to the great works and dusty civilizations of the past can be filled intriguingly by the voices of women, who must veil and silence themselves in the presence of the male antiquarian. Their laughter at the obvious absurdity of the situation, though, cannot be completely silenced. In her stories, Woolson equates contemporary literary and artistic criticism with the often-lampooned pastime of antiquarianism, revealing the absurdity of critical intrusion and misinterpretation in a literary establishment that, like the museum, would seemingly be improved if it could be filled with women's voices. Treasures, artifacts, and discoveries linked to her women characters are unearthed, interpreted, and assigned value, often by an antiquary-figure who intrudes just as arbitrarily as had the old man in her Cairo anecdote. Antiquarian misinterpretation consigns Woolson's women characters to artistic oblivion as their great works are undervalued and passed over. Worse, such misinterpretation can stunt the growth of an aspiring woman artist. Woolson presents the interpretive relationship between the male antiquary and women's art according to what she saw as the tendency of myopic critics to misinterpret, overlook, or undervalue her own art as well as that of other aspiring women artists. This essay focuses...

EVALUATION OF THE STONE ARTIFACTS EXHIBITION STATUS, IN THE NUBIAN MUSEUM GARDEN, ASWAN, EGYPT, A CASE STUDY.

Museums need to maintain appropriate and stable environment for protection and preservation theircollection. Conditions in exhibition, storage and garden areas need monitoring and modificationwherever possible to ensure safety and preservation of the museum collection. Because of its highdurability against the different deterioration factors, the stone artifacts in the museum gardens are socommon. The aim of this paper is to highlight on the stone artifacts, which are displaying in theNubian museum garden in Aswan city, to evaluate the current exhibition status. Collectinginformation about the museum garden environment and Aswan city studied. Samples from a selectedstone relief’s investigated and analyzed by using XRD, SEM (EDAX), LOM and FTIR, for evaluationof the status. Recommendations for the stone relief's exhibition in the Nubian museum gardenpresented.

The Modern Teahouse — a contemporary nomadic building

AbstractThe Modern Teahouse is a small nomadic building formTL designed together with Kengo Kuma. It is used for Japanese tea ceremonies in the garden of the ”Museum für Angewandte Kunst” in Frankfurt am Main. The mattress‐like structure can be erected and taken down by just four people. The internal air pressure of this single‐chamber air house is 1500 Pa — only 1 % that of a high‐pressure beam but five times higher than a normal pneumatic structure. The Modern Teahouse ”wanders” between the entrance hall of the museum and a little hill in the museum garden. When it is not in use, it is packed away on a trolley.

Identification the Pest Attack on Centaurea Species in Transylvania Area

SUMMARY The insect pests are considered to be very important as biological control agents, for horticulture and agriculture. Several insects pests considered are to be successful biological control agents for different knapweeds species, and especially for ones that can be very harmful in the natural grassland as: Centurea stoebe (Perju and Moldovan, 1990). During this year, were observed different attack caused by insect pests on Centaurea species, observed from spontaneous flora, in xero-mesophilic habitats from Transylvania region. Centaurea species have been observed and studied from different meadows, found in the following associations: Polygalo majoris-Brachypodietum Wagner 1941 from Faget Forest (CJ); Asperulo capitatae–Seslerietum rigidae Coldea 1997 from Cheile Turzii (CJ); Stipetum lessingianae Soo 1919 from Zackel Hill (SB), Loamnes (SB); Cariceto- Brachipodietum pinnati transsilvanicum Soo (1942) 1947 from Rosia de Secas (AB), Agrostetum stoloniferae Burdaja 1956 from Toparcea (SB). The knapweed plants from the xero-mexophilic habitats in Transylvania region recorded as host plants, according with our observations, are Centaurea scabiosa, C. atropurpurea W. et K., C. stoebe L., C. micranthos Gmel., C. jacea L., C. pseudophrygia C.A.M. and C. phrygia L. In addition were observed also Centaurea species from Natural History Museum garden as: C. cyanus L., C. phrygia L. and C. moschata L. Data regarding the Centaurea species, observed during the study, were determinate after Flora Romania (Ciocarlan, 2009). From each area were taken plant host samples and were determinate the insect pests form of attacks. The most vulnerable part of the plants was the flower-heads (capitulum) of Centaurea, especially the large inflorescence. Some of these insects’ pests were observed to be present also on another plants species from the investigated habitats, which migrate on Centaurea species when the food is limited.