Modern Museum Research Articles

An Integrated Method for the Reconstruction of Private Renaissance Exhibition Rooms (camerini) Starting from Ippolito II d’Este’s Cabinet of Paintings at His Tiburtine Villa

This paper presents a new object of study—the so-called camerini, private rooms for study and reflection in the great stately palaces of the fifteenth and sixteenth centuries, which contained riches and artistic heritage of inestimable value and were characterized by very dim lighting. Analysis of the camerini, true precursors of the modern museum, is not only study of a specific subject but also extremely relevant because it allows us to re-analyze the entire evolution of the museum type and its characteristics, discovering its origins, following its evolution, and critically reviewing its current features. Starting from the case study of the Quarto Camerino of the Villa d’Este in Tivoli, a superset of the specific features of this type of space and possible problems in its 3D reconstruction, this article presents a method and a workflow aimed at reconstruction and visualization, with high visual quality of these spaces and their features. Digital surveying technologies were integrated with advanced methods that allowed for the reproduction of the full optical properties of spatial surfaces and with tools for semantic modeling and visualization to generate a digital artifact that is consistent with the available information and its interpretations and that can be analyzed both perceptually and analytically.

Зоологічні експозиції природничих музеїв: класичне виконання та сучасний підхід

Traditional natural history museums display elaborate stuffed animals in showcases or as part of dioramas. Classic diorama displays are three-dimensional images, with a combination of natural objects and artworks depicting a natural setting. The basis of a zoological diorama is a realistic image of the landscape (a photograph or painting depicting a certain landscape), which serves as a background for the main objects of the exhibition. To create a realistic atmosphere, natural materials such as soil, stones, plants, and trees are used, and stuffed animals in dioramas are made in dynamic poses typical of the species. This means of recreating a part of the natural environment helps to demonstrate the peculiarities of the ecosystem and the atmosphere itself in which the represented animal species live. The author, who has been visiting zoological museums in different cities and countries for many years, has had the opportunity to observe the emergence of fundamentally new approaches to exhibition activities in modern museums, and the impetus was his acquaintance with the Grande Galerie de l’Évolution in Paris, which is part of the Muséum National d’Histoire Naturelle. The Evolution Gallery exhibition is a vivid example of a new approach that skilfully combines the display of stuffed animals and modern technologies to convey information about the principles of evolution, biodiversity, and the role of animals in ecosystems. The Gallery widely uses such technologies as multimedia displays, interactive panels, mobile applications, etc. In fact, the further development of zoological exhibitions is determined by scientific and technological progress, and the development of digital technologies (high-quality cameras, drone technology, and smartphones) has made the process of nature photography more accessible. This provides endless possibilities for involving such materials in exhibition activities, which is facilitated by the variety of social networks and various aggregators of visual and audio information available for exchange and use. Therefore, the production and display of new biogroups and dioramas requires the mandatory use of modern technologies, which increases the attractiveness of the exposition for the modern museum visitor. The most successful examples of the use of new approaches in the design of the exposition are presented and analysed.

Shadowing as a Method of Monitoring the Museum Experience of People with Disabilities: Toward a Comprehensive Multimodality Design

The article explores the challenges associated with ensuring accessibility in museums for visitors with various disabilities. The analysis encompasses strategies for implementing technology and universal design to enhance accessibility while preserving esthetic and informational values. The study highlights multimodality as a promising solution integrating different forms of reception within museum collections. Research conducted at the Czartoryski Museum, a branch of the National Museum in Kraków, gathered experiences and opinions from visitors with disabilities regarding current accessibility solutions. The findings suggest that modern museums should offer multiple access channels to meet diverse needs, enabling visitors to effectively utilize resources. Additionally, the engagement of individuals with disabilities in evaluating and co-creating accessible solutions is crucial, as their input provides valuable and constructive insights. These conclusions emphasize the necessity of taking action toward inclusivity, which may contribute to redefining accessibility strategies in museums worldwide.

Методи і форми комунікації з відвідувачами в освітній діяльності музею Голодомору

The modern museum performs a large number of functions, among which it is worth emphasizing those that affect the formation of the worldview of youth, as well as the preservation and development of civil society as a whole. The National Museum of the Holodomor-Genocide highlights the history associated with social trauma, which makes the choice of methods and approaches used to carry out this mission become even more important. Therefore, the purpose of the article is to show the ways of interaction with visitors of different ages, which are used in the work of the educational department of the Holodomor Museum. The study provides an overview of the main types of educational activities for schoolchildren offered by the Museum. The main objectives of these activities are familiarization with the problem of protecting human rights, analysis of sources on the history of the Holodomor (photos, posters, diaries, eyewitness accounts of genocide and archival documents), formation of critical thinking skills (in particular, the ability to recognize fakes in the media) and drawing attention to the importance of studying one‘s own family history. Also the article tells about the emphases that are significant while working with children and teenage audiences and talking about traumatic events. Great attention is paid to interactive tools of working with visitors in the museum, in particular the use of video, animation, and other media tools when creating online tours and lessons. Online work with visitors has become especially relevant since 2020. For this purpose, we adapted some educational lessons and created tours in an online format, which consist of communication with the guide and watching a pre-prepared video tour. Such tours are created in two versions, in accordance with the age of students (6–12 years old and over 13 years old). The video tour for teenagers and adults uses historical documents, photographs, fragments of newsreels and video testimonies of Holodomor witnesses, as well as exhibits from the museum collection and stock materials. To develop lessons for younger students, the means of playing and storytelling were used, and the video tour for children 6–12 years old was illustrated with the help of sand animation, which allows showing the exposition and telling about the Holodomor to younger listeners without hurting them. Keywords: Holodomor Museum, Holodomor, communication, online tours, educational tours and lessons, museum audience, accessibility

New museum construction in Irkutsk

The article presents an analysis of the city museum policy used as a basis for a proposal for the construction of modern museums in Irkutsk. The article provides the results of the research activity of the working group “Architecture of new museums in the modern city” at INRTU and the conclusions about the expediency of building new museums in the centre of Irkutsk. The following projects made by students of Irkutsk architectural school as final qualifying works are considered: the project of reconstruction and expansion of the museum of regional studies on the basis of the historical building of the VSORGO Museum (Artem Zyubr), the project of the museum building for the geographical and historical collection related to the North American discoveries of travellers and merchants from Irkutsk (Nikita Sobolevsky), and the project of the new building for the Museum of Asian Art (Alisa Valeeva).

Evolution of the contemporary museum image

The article considers the trends in the development of the appearance of modern museums. The analysis of literature, design materials, photo-fixations of museum complexes built within the last 20 years allowed to reveal such tendencies as multi-functionality, transition to leisure, entertainment and cultural complexes, diversity and individuality of facades, originality of volumes. It is shown that the present-day museum has been able to adapt to dynamic changes in society, the range of its functions has expanded, its appearance is actively changing. Diverse forms, bold architectural solutions of facades and volumes, application of digital and kinetic architecture, facade technologies are distinctive features of modern museums.

Using extended reality technologies in modern museums

This study explores the nature, core features, and evolution of extended reality (XR) technologies in the 21st century, focusing on their potential in the museum context. It examines academic research and representative examples of cultural heritage enhancement from international museum practices. The specific characteristics and properties of each technology within XR’s broader scope, including virtual reality (VR), augmented reality (AR), and mixed reality, are identified and analyzed. In addition, the study explores designs or case studies of these technologies’ application in the museum environment, including the emerging Metaverse, which blends VR and AR within the same broader conceptual framework. Furthermore, the study examines why these innovative technologies resonate with museums and assesses their impact on relational communication between modern museums and the public, particularly younger audiences. It also highlights limitations or obstacles to their widespread adoption of XR technologies in museums, while outlining future prospects for their integration. Overall, the study provides a comprehensive overview of XR’s use in museums, focusing on how these technologies enhance cultural values. It offers reflection and suggestions for authors and museum professionals regarding the design and implementation of XR technologies in modern museums.

Theoretical and Methodological foundations for Creating a Historical Exhibition in the Museums of Kazakhstan

This article addresses significant issues in museum work, a key aspect of implementing Kazakhstan’s cultural policy. The study and promotion of history in museums are conducted through expositions and exhibitions. One of the primary tasks of modern museums is to emphasize the importance of tangible culture in the era of digital communication as a crucial resource for national competitiveness and global recognition. As cultural institutions implementing state strategic policies, museums present Kazakhstan’s historical and cultural values to the world through National Exhibitions of the country in particular, and of Turkic culture in general. This academic article discusses the conceptual framework for creating a historical exhibition covering periods from ancient times to the Kazakh Khanate, using unique exhibits from the National Museum’s collection. The methodology for creating a world-class national exhibition is based on civilizational principles. The authors aim to to present a comprehensive image of Kazakh history through museum exhibitions, reflecting the cultural code of the steppe civilization.The authors view museums as cultural, educational, scientific institutions that play a crucial role in popularizing and preserving national values. They provide scientifically grounded concepts for national exhibitions by addressing theoretical and methodological issues and methods of exhibition creation.

Gian Giacomo Poldi Pezzoli’s international network and models for a modern museum

Gian Giacomo Poldi Pezzoli’s international network and models for a modern museum

Mitte ainult mängu asi

Doll Lottchen is an example of a museum object that has changed its nature and functions throughout its lifespan, so it can be described as a toy and as a comfort object, but also as a symbolic item of personal childhood and national identity, and a delicate museum object with restrictions in use. Doll Lottchen belonged to Anne, who was given it as a gift in 1947, during a film shooting in Saint Petersburg (then Leningrad) by the host of a local family, when she was four years old. She found the little smiling doll lovely and called her Lottchen. Anne believed that the doll was produced in Germany and was probably taken as a trophy by some Soviet soldier at the end of the Second World War, but the moulded mark shows that the doll was made in Okhta factory in Russia. Its origin is still unclear as Rheinische Gummi- und Celluloidfabrik in Germany indeed launched a similar doll called Mädi between 1930 and 1957. The Okhta factory used German moulds in the 1930s and 1940s. Sometimes detecting the history of the previous usage of a museum object needs effort and time; for Lottchen the material was collected within eight months of communication with the donator. As Lottchen was an affective object or sensitive object (Frykman and Frykman) there are various memories about it. Anne describes three dramatic episodes from her childhood, during which the doll was either temporarily lost or broken by a dog. At the age of ten the life story of Anne and the story of her favourite doll intersected. Accidentally Anne learned from a tipsy neighbour that she was actually a “German girl”. During two years, when she kept this shocking information a secret and made a new costume for the doll, her doll Lottchen acquired a new meaning. When Anne became 12, it was revealed that she had been rescued by her Estonian stepmother from Königsberg in 1946. By then the city had been destroyed by the allies and occupied by the Soviet forces; thousands of civilians had died of diseases and starvation. Anne was three and a half, her biological family had lost the father and two other children, and little Roswitha Anne Browarzyck (her actual name) was very fragile, with her feet swollen from hunger. Miraculously escaped to Estonia with her future stepmother, she had to hide her East-Prussian origin and was not allowed to speak German. So she quickly forgot her real identity. When finally donating the doll to the museum, Anne sent her off with the following words of farewell: “May you, dear Lottchen, have many good friends and excitement on every day at the toy museum! Maybe I’ll come to see you sometime! Hugs, your Rose (that’s how I was called at home).” As toy museums tend to be places of childhood nostalgy and the Tartu Toy Museum is no exception, there are some dilemmas about dealing with this kind of objects. As they are made of hazardous and fragile celluloid, the best way to preserve them is to keep them in controlled conditions in the repository. Today doll Lottchen is kept this way. However, as a modern museum would like to exhibit its items and share its collections with visitors, there are ethical questions of how to organise it. It is argued whether the happy-faced doll could be displayed in a showcase together with other celluloid dolls without any explanations, to follow the toy museum’s current policy to keep any war themes or sensitive topics of children’s life as silent as possible. Or should toy museums take a more active part in highlighting uneasy topics and white spots in history? Today the world is dangerous and the ongoing war in Ukraine raises questions about war, forcing parents to find ways to answer them. By means of historical stories about toys and children to whom they belonged, museums could contribute to this task. It seems that the best way could be to conduct visitor´s research among children and adults both through surveys and observations. In this way it could be possible to find out what is preferred and whether and how to deal with difficult topics through temporary exhibitions, events or museum education.

The Interplay between Spatial Layout and Visitor Paths in Modern Museum Architecture

The Interplay between Spatial Layout and Visitor Paths in Modern Museum Architecture

Is transparent approach suitable for museums?----Take Kroller Muller Museum as an example

This paper embarks on a detailed exploration of the integration of glass as a pivotal architectural element within museum structures, with a specific focus on the renowned Kroller Muller Museum as a prominent case study. The Kroller Muller Museum stands as a beacon of a transformative shift in museum architecture, boldly veering away from conventional reinforced concrete edifices to embrace a contemporary architectural approach predominantly anchored in glass. The deliberate use of glass in its design symbolizes an alignment with the tenets of modernity, reflecting the museums evolution in harmony with societal progress and contemporary architectural trends. In line with the philosophy of renowned architect Le Corbusier, who emphasized the necessity of architectural adaptation to cater to evolving societal needs, this study argues that maintaining synchrony with the contemporary era is vital not just for museums but also for the broader realm of architecture and urban planning. Drawing from these principles, this research critically scrutinizes whether the prevalent shift towards transparency, particularly in the form of glass integration, truly aligns with the specific and nuanced requirements of museums within their contextual milieu. By thoroughly analyzing this aspect, the research is to offer beneficial perspectives on the efficiency and suitability of incorporating glass elements in modern museum architecture.

Physical and Conceptual Space Analysis of Odunpazarı Modern Museum

This study aims to analyze the physical and conceptual space of the Odunpazarı Modern Museum (OMM) inEskişehir. OMM is physically analyzed by examining the boundaries, form/shape, dimensions/aspects,orientation/orientation, joints/divisions, transitions/connections, lighting, material, color and equipment of thespace. Conceptually, the social contacts, perception, memory, public/private space, place and time of the space areanalyzed. In the findings of the analysis, the use of materials, the form of the space, the dimensions/spaces of thespace and the relationship with the environment are the prominent features. The choice of wood as a material andthe use of this material with new techniques are evaluated positively. The museum building is not a single mass.Thanks to the combination of fragmented masses and the horizontal lines on the façade, its height and proportionsare not perceived much when viewed closely with the human scale. On the other hand, the museum building is wideand large compared to the proportions in the general surrounding texture. This reflects the contrast between thehistoric environment and the modern museum building. It is determined that this contrast is created in order toincrease the visibility of the historical environment and the prominence of the museum building.

IMPLEMENTATION OF AR TECHNOLOGIES IN THE ACTIVITIES OF MUSEUMS

Augmented reality (AR-technologies) and virtual reality (VR-technologies) technologies are actively used in modern life, from the spheres of education and entertainment to museum activities. This article demonstrates the application of AR-technologies in modern society, mainly in museum activities. The authors emphasize the basic concepts of "AR-technologies" and "VR-technologies" and the advantages of using these technologies in museum activities. Among them are: maximum optimization of museum space, reduction of the need and cost of transportation of expensive exhibits, reduction of the burden on museum staff, convenience of obtaining reference information on various museum specimens, reduction of crowding near certain historical values and the possibility of viewing lost but digitally preserved materials. All of the above establishes the validity of this direction and the need to introduce these technologies into museum activities. As a result, the authors came to the conclusion that the introduction of augmented reality technologies (AR-technologies) and virtual reality (VR-technologies) has an exclusively integrative character and creates favorable conditions for modern museum activities.

Enhancing museum experience through deep learning and multimedia technology

Amidst the swift progression of artificial intelligence (AI) technology, the museum sector has witnessed a notable inclination towards its adoption. This manuscript endeavours to amplify the interactive milieu of contemporary museum patrons by amalgamating a deep learning algorithm with multimedia technology. The crux of our investigation is the exploration of an adaptive convolutional neural network (CNN) to enrich the interactive engagement of museum visitors. Initially, we leverage the adaptive CNN for the image recognition chore pertaining to museum artifacts and exhibits, thereby facilitating automatic recognition and categorization. Furthermore, to surmount the constraints of conventional pooling algorithms in image feature extraction, we suggest an adaptive pooling algorithm, grounded in the maximum pooling algorithm paradigm. Subsequently, multimedia algorithms are amalgamated into the interactive apparatus, enabling visitors to immerse in exhibits and avail more profound information and experiences. Through juxtaposition with traditional image processing algorithms, the efficacy of our proposed algorithm within a museum ambiance is assessed. Experimental outcomes evince that our algorithm attains superior accuracy and robustness in artifact identification and classification endeavours. In comparison to alternative algorithms, our methodology furnishes more precise and comprehensive displays and interpretations, accurately discerning and categorizing a myriad of exhibit types. This research unveils innovative notions for the digital metamorphosis and advancement of modern museums. Through the incorporation of avant-garde deep learning algorithms and multimedia technologies, the museum visitor experience is elevated, proffering more enthralling and interactive displays. The elucidations of this manuscript hold substantial merit for the continual evolution and innovation within the museum industry.

Comment on “The Volyn biota (Ukraine) – indications of 1.5 Gyr old eukaryotes in 3D preservation, a spotlight on the `boring billion' ” by Franz et al. (2023)

Abstract. Franz et al. (2023) report a diverse and three-dimensionally preserved suite of mid-Proterozoic microfossils from miarolitic cavities within the granitic Volyn pegmatite field, a major granitic plutonic complex in NW Ukraine. The biota is dated at between ∼ 1.76 and ∼ 1.5 Ga and includes fungus-like objects. This biota is reported as evidence of organisms living within the continental lithosphere, illuminating part of a ∼ 1.8–0.8-billion-year interval of the Proterozoic Eon characterised by relatively low climatic variability and slow biological evolution. We show that at least some of this putative diversity represents modern contamination including plant hairs, a distinctive pollen grain assignable to the extant conifer genus Pinus, and likely later fungal growth. Comparable diversity is shown to exist in modern museum dust, presented as an example of potential airborne contamination and calling into question whether any part of the Volyn “biota” is biological in origin. We emphasise the need for scrupulous care in collecting, analysing, and identifying Precambrian microfossils.

Gian Giacomo Poldi Pezzoli and the decorative arts

Abstract This article focuses on the abandoned project for a Museo d'Arte Industriale in Milan, conceived by the Associazione degli Industriali. Although the project was never accomplished, it eventually led to the creation of the Museo Artistico Municipale in 1878. At the time, the Associazione degli Industriali of which Gian Giacomo Poldi Pezzoli was a member, was trying to establish a network of international relationships with museums and cultural institutions such as the South Kensington Museum in London, in order to emulate them in creating a modern museum where their private collections would eventually find a home. This paper sets out the cultural and artistic background in which Poldi Pezzoli and other Milanese noblemen and collectors operated, and in which they tried to transform their private and historical collections into new public museums.

A Study on the International Exhibitions of the Korean National Museum of Modern and Contemporary Art (MMCA) from 1970 to 1999

A Study on the International Exhibitions of the Korean National Museum of Modern and Contemporary Art (MMCA) from 1970 to 1999

한·중 차(茶)박물관 비교 연구

The Modern Museum is a complex educational and cultural center that collects, investigates, researches, and discloses important materials and items in various fields such as art, history, food, and electronic devices, and emphasizes education, research, and exhibitions. Accordingly, this study focuses on the Korean Tea Museum and the Chinese Tea Leaf Museum, studies their development plans, and seeks ways to promote friendship between the two countries through tea in the future.
 The revitalization plan for the Korea-China Museum is as follows. First, communication between museums and visitors must be strengthened by introducing digital technology. Second, visitors’ intention to revisit must be increased through differentiation strategies. Third, the tea museum's service types should be expanded and used as a festival space to revitalize the local economy. Fourth, the brand value of tea culture must be increased overseas. Fifth, tea culture must be promoted through a globalization strategy. In other words, considering the cultural specificity and role of tea, the value of the tea museum must be realized through tea and tea culture in a global universality.

Structural, Exterior, and Interior Medium of Wood as a Holistic Museum Experience: A Case Study of OMM (Odunpazarı Modern Museum)

The fundamental research inquiry in this study revolves around wood materials’ diverse facets, including structural identities, contextual considerations, interior and external spatial applications, and their user experiences. To address this research, a comprehensive literature review, case study, and survey were conducted. The objective being to elucidate technical, functional, sensory, perceptual, and psychological impacts of wood in a sample structure where it is the primary material in the overarching user experience. The Odunpazarı Modern Museum (OMM), conceptualized by architect Kengo Kuma and inaugurated in 2019 in Eskişehir, stands as a testament to the historical significance of the timber trade in the region. The deliberate choice of wood as the primary construction material serves as a tribute to this historical narrative. The conspicuous incorporation of wooden lath materials into both the external and interior spaces signify a conscious reference to the region’s historical heritage and aligns with sustainability principles in design. Factors such as form characteristics, dimensional distinctions, spatial arrangements, and the extent of surface interactions collectively contribute to the compelling effect of this integrative approach. Within the confines of the museum, unconventional partitioning is implemented, and the strategic arrangement of masses results in multiple facades, even in the absence of overt wooden surfaces. The exterior impact of the wooden shell complements its interior application. For this reason, OMM enabled the understanding and explanation of all dimensions of the wooden material, including physical, technical, and psychosocial.