Bhutan Textile Art Museum
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Bhutan Textile Art Museum

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Bhutan Textile Art Museum Bhutan Textile Art Museum Presentation Transcript

  • Bhutan Textile Art Museum
  • Project Objective Establish a cultural nucleus to a suburban community by creating the Bhutanese Textile Museum, in order to attract visitors and generate income. The proposed project will not only activate the economy of the area but will also develop a significant cultural point of interest by promoting the history and culture of Bhutan.
  • Background Information ・ According to an NHK publication from 1984 “the cultural roots of Japan come directly from Bhutan”. ・ Bhutan terminated its isolation period in 1974, however it keeps the number of visitors limited to less than 10,000 per year . (source: Bhutan National Papers -Kuensel-) ・ Japan ranks second regarding the number of visitors in Bhutan compared to other countries, and has been regularly supporting Bhutan economically. For many years Japan maintains a close relationship with Bhutan. (source: Japan Ministry of Justice, International Exchange Funds).
  • Index Chapter 1.   The Kingdom of Bhutan 1-1.   Outline 1-2.   Geography 1-3.   History 1-4.   Textile Culture Chapter 2. The Bartholomew Collection 2-1. Collector and Contents 2-2. Exhibitions and Publications 2-3. The Collections Chapter 3. Bhutan Textile Art Museum 3-1.   Objective 3-2. Project Benefits 3-3.   Basic Direction 3-4.   Place 3-5.   Museum Outline 3-6.   Seasonal Operation 3-7.   Proposed Architects 3-8. Area Economic Impact
  • Chapter 1.   The Kingdom of Bhutan
  • 1-1.   Country Data 1.Country Name    Druk Yul, Land of the Thunder Dragon 2.Area 46,500km2 ( 1.1times the size of Kyushu island ) 3.Population 658,000 people ( year 2000 、 Bhutan Government Document ) 4. Capital Thimphu 5.Ethnic Groups Drukpa 60 % , Nepal 20 % , others 6. Language Dzongkha ( national language), others 7. Religion Buddhism, others
  • 1-2.   Geography Bhutan is surrounded by steep mountains, which kept it separated from other civilizations and protected the local culture from foreign influences.
  • 1-3.   History
    • Bhutan, also called the “Land of the Thunder
    • Dragon”, is very difficult to be visited because
    • of its mountainous location.
    • In 1959 China put an end to the close relationship Bhutan had maintained with Tibet.
    • In 1960 the first road was constructed.
    • In order to become a member of the United Nations, Bhutan terminated its isolation from other countries in 1974.
    • In 1982 the first airport was constructed in Paro and the first airline was established.
    • In 1994, 3,900 people visited Bhutan. The government tried to keep the number of visitors low in order to protect the purity of culture.
    • Currently, less than 10,000 people visit Bhutan annually, and cultural exchange is very limited.
  • 1-4.   Textile Culture Long Heritage Since the beginning of the history of Bhutan, textiles have been considered among the highest forms of artistic and spiritual expression. Unprecedented weaving methods and skills were developed which led to the creation of textiles of unique beauty and craftmanship. The Significance of Bhutanese Textiles -Aesthetic Value: Bhutanese textiles represent the most intricate patterning of any textile art in the world. -Unique Craftmanship: The methods and skill applied for the creation of these textiles are unparalleled in textile art history. -Functionality: These were textiles that played a critical role in all religious, official and social events. -Spiritual Significance: According to the Buddhist scholars, symbols and design elements represent glyphs of ancient wisdom.
  • Chapter 2: The Bartholomew Collection
  • 2-1.   Collector and Contents MarkO Bartholomew is a dedicated collector with a deep admiration for Bhutanese textiles. Over a period of 30 years he managed to put together the most comprehensive collection of Bhutanese textiles in the world. The Bartholomew Collection dating from 17th century to the mid 20th century, comprising some of the oldest and historically most significant Bhutanese textiles in the world. Among others: -Earliest surviving throne covers from the Wangchuck Dynasty. -Silk Dragon Crown of the second King of Wangchuck Dynasty. -Rare ceremonial shaman tunics. -Ceremonial dresses worn by nobles and royalty. -Utilitarian fabrics with unique intricacy of design and weaving techniques.
  • 2-2.   Exhibitions and Publications Museum for Textiles, Toronto, Canada. 1977 debut exhibition and publishing of accompanying catalogue. Seibu Art Gallery, Tokyo, Japan. 1985 Thunder Dragon Exhibition featuring 150 pieces and book publication.
    • Institutions that have purchased textiles from the Bartholomew Collection
      •  
      • Osaka Ethnographic Museum ( Japan )
      •   Kiryu City ( Japan )
      • New York Metropolitan Museum of Art ( USA )
      • Minneapolis Institute of the Arts ( USA)
      • Cultural Art History Museum of UCLA (USA)
      •   Santa Fe Museum of International Folk Art (USA)
      •   Toronto Royal Ontario Museum (Canada)
      •   Toronto Museum for Textiles (Canada)
  • 2-3. The Collections ■The Snow Lion Collection Comprised of 50 extremely rare and comprehensive pieces of Bhutanese textile art. ■The Golden Phoenix Collection Contains the 40 textiles presented in the book “Thunder Dragon Textiles from Bhutan”, published by Shikosha in Kyoto, Japan. ■The Zipata Collection Consisting of 108 pieces, which include the Snow Lion and Golden Phoenix collections and 18 additional pieces of the highest quality and rarity.
  • 儀式用王座のカバー 儀式用王座カバー シャーマンが着用した祈祷儀式用のチュニック 多目的膝掛け/儀式用布
  • Chapter 3. The Bhutan Textile Art Museum
  • 3-1. Objective   Offer the Bartholomew Collection for sale to an existing museum or other cultural organization interested in expanding its operations and capture new markets, or Sell the Bartholomew Collection to any organization searching for new growth opportunities and would consider to develop a new museum for the exhibition of Bhutanese textiles.
  • 3-2. Project Benefits 1.Economic Effect ・ Increase of sightseeing tourism. ・ Activation of accommodation and transportation. ・ Growth of food service and retail business. ・ Expansion of tourism supporting industries. ・ The rare textile collection will raise the publicity of the area. 2. Cultural Effect - In order to establish cultural sister cities between Bhutan and Japan, cultural exchanges between students, scholars etc. should be promoted. - Emphasis on the production of merchandise inspired by the unique motifs of Bhutanese textiles. - Bhutanese culture is not represented anywhere in the world. A Bhutanese cultural facility in Japan will not only promote Bhutanese history and culture locally, but also internationally through Japan’s international community and tourism .
  • 3-3.   Basic Direction 1. Location ・ An already established sightseeing area with regular visitors, easy access and accommodation infrastructure. It is important for the project to take advantage of existing developments in tourism. ・ The ideal location should be 2-3 hours drive from a major metropolitan area in order to secure visitors’ regular influx. ・ A mountainous, high altitude area that will remind visitors of the landscape of Bhutan. 2. Facility Composition ・ The volume of the exhibits should be adjustable to the number of visitors. ・ Museum profile: permanent exhibition, gallery, shop, café, event hall. 3.Communication ・ Seasonal communication strategy in order to achieve the appropriate target. ・ Possibility to lend exhibition to city museums or department store galleries in order to raise income for communications. The proposed marketing mix will activate the economy and increase the cultural value of the area selected for the Bhutan Textile Art Museum.
  • 3-4.   Place ・ A popular sightseeing location with tourism infrastructure.  -> accommodation, transportation, entertainment facilities for greater effect. ・ High altitude location with a lot of greenery that is reminiscent of the Bhutanese landscape.  -> Sensual experience of Bhutan will enhance the museum’s appeal. ・ A location which is attractive in all seasons with many visitors throughout the year. -> Minimize seasonality risk. Proposed locations that meet the above criteria: ・ Nasu Plateau ・ Karuizawa ・ Izu Plateau ・ Utsukusigahara Plateau
  • Nasu Plateau ( Tochigi Prefecture ) Annual Visitors : Approximately 4.6 million people Diana Garden / Queen’s Museum The Museum of Antique The Museum of Galle Karuizawa ( Nagano Prefecture ) Annual Visitors : Approximately 8.1 million people Wakita Museum Tasaki Museum Saison Modern Museum Mercian Museum Peine Museum Watashi no Museum
  • 3-5. Museum Outline
    • Permanent Exhibitions
      • Consisting of one or of any combination of the Bartholomew Collections.
    • Special Exhibitions
      • Guest exhibitions related to Bhutanese art, history and culture, ethnic textiles and ceremonial clothing.
    • Learning Center
      • Consisting of a library of books and other publications related to textile arts and workshops where visitors can learn about textile making techniques and the relationship of textiles to tradition, economy, environment and lifestyle.
    • Museum Shop
      • Exhibition related merchandise will be available for purchase.
    • Café/Restaurant
      • A resting space where standard and Bhutanese beverages and light meals can be enjoyed.
    • Event Hall
      • A multi-function space that could be used for special events organized by the museum or available for leasing from third parties.
  • 3-6.   Seasonal Operation With a specialized marketing mix for each season, visitors are expected all year round. Source: Karuizawa Sightseeing Visitors Statistics Expected Visitors Jan Dec Feb Mar May Jul Nov Apr Jun Sep Oct Aug On-season Off-season Off-season 1,075 4,510 1,864 1,864
  • Off-season On-season The number of tourists Decrease of visitors Increase of visitors Target Limited but certain number of visitors that are specifically interested in Bhutanese culture and textile art. Large volume mainly consisting of families that visit for leisure and entertainment. Gallery 120 tsubo Exhibition consists of 80-90 pieces of Bhutanese texiles and is highly specialized. Exhibition consists of 40-50 pieces of Bhutanese textiles as well as artifacts of various Asian artists targeting a wider audience. Event Hall 30 tsubo Lectures on Bhutan, other related cultures and the textile art. Join and experience theme for families, textile workshops for children, sights and sounds of Bhutan for adults. Cafe 45 tsubo Experience Bhutanese food and beverages. A wider menu comprising not only Bhutanese but also other Asian food. An adjacent beer garden would serve even to non museum visitors. Museum Shop 15 tsubo Books on Bhutan, other Himalayan countries, ancient cultures, Bhutanese and other textiles. Related posters and photographs. Basic Bhutan and textile related merchandise but also souvenirs for families. Marketing Direction Convey the art and culture of Bhutan to a limited market in an emotional and informative way. Provide an educational, entertainment venue that will attract families.
  • 3-7. Recommended Architects   ・ The use of famous architects for the Bhutan Textile Art Museum will increase the cultural value of the facility.
    • Proposed architects:
    • - Neil M. Denari
    • - Yoshio Tsaniguchi
    • Frank O. Gehry
    • - Nigel Coats
  • Neil M. Denari Director of the Southern California Institute of Architecture. Internationally famous American architect, whose radical and unique design is highly appreciated in Japan. One of his famous works is the proposal for the Tokyo International Forum design competition. Yoshio Taniguchi Famous for designing many museums such as Horyu Temple Treasure Building of Tokyo National Museum in Ueno and the Toyota Municipal Museum of Art in Nagano Prefecture. He has also designed many other famous cultural facilities like libraries and memorial halls. He is the architect of the new New York Museum of Modern Art which will be opened in 2005.
  • Frank O. Gehry One of the internationally acclaimed architects who has designed museums all over the world. His projects include the Guggenheim Museum in Bilbao, the Vitra Museum, the Wiseman Museum and others . Nigel Coats An architect with an outstanding background in entertainment, retail and exhibition projects. His works can be found all over the world. Some of his projects include the Wall in Tokyo, the new gallery of the Geffrye Museum in London, the National Center of popular music in Sheffield as well as the shops of many famous fashion designers like Jasper Conran an Katharine Hamnet.
  • 45,000 visitors per year (based on Mercian Karuizawa Museum and other related facilities) ↓ 1group of visitors consists of 3.5 adults (13,000 groups in total)         ↑          1group = 2 adults and 1-2 children ↓ 13,000 groups x accommodation (¥ 30,000 per room on average )-> about¥ 400,000,000 13,000 groups x food and beverage ( average meal price3,000×2.5meals )-> ¥ 100,000,000 13,000 groups x souvenirs (¥ 3,000 per family on average )-> ¥ 40,000,000 ↓ Income for the area is estimated about ¥ 540,000,000 ↓ Cost related to linen service (assumption of 5% of accommodation income) ¥ 20,000,000 Cost related to food & beverage service (assumption 20% of accommodation income) ¥ 80,000,000 3-8.   Area Economic Impact