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4/23/2022 DTORR
MUSEUM
PROJECT
Industry Live Project
Avantika badgujar
DTORR
Contents
1 PHASE 1.................................................................................................................................................................2
1.1 Understanding Museum industry (Past, Present & Future) ....................................2
1.2 Understanding International Museum Industry (Industry Size, Growth
Rate, Decline Rate, etc) .............................................................................................................................. 6
1.3 Understanding Indian Museum Industry ( Industry Size, No of Visitors,
Museum Products and trends).......................................................................................................... 10
1.4 Technology for Museum Industry ( Products, Features and Brand names)
.......................................................................................................................................................................................15
1.5 Innovation & trends in the Museum Industry ( Worldwide & India)..............22
1.6 Top 20 Museum in the world and Top 20 Museum in India ( Name,
Location, Entry Fee, Type of Museum, Owned By, Year of Establishment)... 30
2.0 Phase 2......................................................................................................................................................... 38
2.1 Community Museum (Concept,Example and Case study 2)........................ 38
2.1.1 THE THARU CULTURAL MUSEUM ...............................................................................39
2.1.2 The Lahu Bamboo Museum ............................................................................................ 41
2.2 Village Museum (Concept,Example and Case study 2).................................... 42
2.2.1Togo Rural Village Art Museum..................................................................................... 43
2.2.2The National Museum of Tanzania(NMT)..............................................................44
2.3 Mining Museum (Concept,Example and Case study 2) ................................... 45
2.3.1 National Mining Memorial Center,Scotland....................................................... 45
2.3.2 Lancashire Mining Museum at Astley Green,England..............................46
2.4 Heritage Museum (Concept,Example and Case study 2 ) .............................48
2.4.1 Heritage Transport Museum,Gurgaum.................................................................48
2.4.2 Temple Bar Cultural Quarter, Dublin, Ireland.................................................. 50
2.5 Future Museum (Concept, Example and Case study 2)....................................52
2.5.1 Museum of the Future, Dubai ........................................................................................52
2.5.2 Future World, Singapore - Art Science Museum............................................53
2.6 Other innovative types of museum (candles, fruits, coin, car ,war ,plant)
Concept & Example & Case study (1 each)........................................................................... 54
CANDLE...................................................................................................................................................... 54
FRUIT - There are various museums that come under the category of
food museums.......................................................................................................................................55
COIN...............................................................................................................................................................55
Car....................................................................................................................................................................55
WAR................................................................................................................................................................55
PLANT - Botanical Gardens .........................................................................................................55
Weird,unusual and unique museums list........................................................................55
3.0 Phase 3.........................................................................................................................................................60
3.1 Museum business case Understanding.........................................................................60
3.2 Component to keep in mind while preparing the Museum Business
Case..................................................................................................................................................................61
3.3 Table of Content to prepare the Business case for the following type of
Museum...........................................................................................................................................................62
3.3.1 Community Based Museum............................................................................................62
3.3.2Mining Museum........................................................................................................................64
3.3.3Orange Museum........................................................................................................................65
1 PHASE 1
1.1 Understanding Museum industry (Past, Present & Future)
The museums of the future behold limitlessness and possibilities unknown
to us.
Museums have always been a storeroom of resources from where the
present can understand the past and appreciate their findings. Similarly,
the future holds unknown possibilities. Although we can only imagine what
might be in the future.
As we all know, museums always collect, preserve artefacts, objects, and
materials of religious, cultural & historical value. They not only preserve but
also promote our cultural heritage. Museums help in research, study, &
source of immense valuable knowledge. Most importantly tourism can be
promoted through these attractions.
History of Museums : A look at The Learning Institutions through Time.
➢ As we all know, Homo sapiens is linked to art, which serves as a
means of connecting people. The history of museums begins with
prehistoric cave drawings and continues into the twenty-first century
with historical, scientific, and art museums, culminating with a
prophecy for the future.
➢ Altamira's cave drawings, which are used in basic aspects of art
display, date back to prehistoric times. The exhibition of artistic
creations and their meaning in public serves a variety of functions. It
served as a gathering place for communities to view visual arts,
popular culture, and the history of early civilisations.
➢ The term "museum" refers to a location dedicated to the religion of
the nine Muses (patron deities of the arts), which dates back to
ancient Greece. Classical antiquities began to be displayed in public
temples and wealthy individuals' homes. The pinacotheca public
exhibition of paintings on diverse religious subjects was held on the
Athenian Acropolis during the 5th Century BCE. Art is shown at
Panhellenic sanctuaries in Delphi and Olympia. Despite the fact that
the collections were shown, they were not arranged, therefore they
could not be classified as museums at the time.
➢ In the 340s BCE, Aristotle and the Lyceum began collecting, studying,
and classifying botanical specimens, establishing the empirical
methodology. A methodical collecting of biology specimens was used
to build the modern museum. A library was incorporated in the
mousein, indicating its connection to study. Ptolemy Soter
established a study institute for intellectual and religious academics
around 280 BCE. In antiquity, they had a massive collection of books,
which Alexandrians referred to as "other items." Since looting the
cities throughout its expansion, Rome has become a museum of
Greeks. It featured statues and paintings from Roman public
buildings where art was used for aesthetic rather than religious
objectives. This marked the beginning of the separation of art and
religion. In Pinacotheca, private collections from society's upper crust
were on exhibit.
➢ During the Renaissance, the focus changed from painting to
collecting items around Europe. The most famous collections in 15th
century Florence were those of Cosimo de' Medici, who kept them up
until the 18th century. Nonetheless, in 1582, a floor at the Uffizi filled
with Medici family paintings was opened to the public, and the
collections began to be grouped in cabinets, which became known as
the cabinet of curiosities in English. Amateurs and academics alike
gathered their finds in cabinets, drawers, cases, and other places. In
the 17th century, they were also known as museums. The galleries
showed sculptures or paintings that were highly regarded, and this
galleria was known as museo.
➢ A significant collection of antiquities and natural specimens belonged
to John Trandescent, a British naturalist. Due to financial difficulties,
he sold his collection to Elias Ashmole, who in 1675 donated his own
collection to the University of Oxford. The Ashmolean Museum's
nucleus, the first university museum, was named for this collection.
The Ashmolean collection comprised a laboratory, with the
preservation of the collection and the promotion of natural sciences
and research as its principal goals. It was the first public museum to
charge an admission fee to visitors. Public museums became popular
in the 18th century. The British Museum was founded in the Museum
Fridericianum in Kassel, which opened in 1779, and the Uffizi in
Florence, which opened to the public in 1743.The museum had
become a well-established institution by the nineteenth century.
Researchers and students visited museums at this time. The
collection was a powerful tool for projecting authority and
establishing a state's cultural supremacy through its ruler.
➢ The Revolutionary government nationalised the King's property in
1793 and made the Louvre Palace a public institution known as the
Museum of France. In contrast to previous museums, it was open to
the public and free of charge.
➢ Museums became a component of a nation's endeavour to
comprehend, shape, and promote itself throughout the nationalist
era. It is a method of civilising the nation's citizens. It is an
organisation tasked with influencing the public's value system. State
art museums would serve as evidence of a state's political superiority
and/or virtue.
➢ Museums arose in America as a result of private citizen attempts to
create collections and establish museums in order to raise their social
position and influence. Non-profit, non-government institutions arose
in the 1870s and 1880s. Boston's Museum of Fine Arts, New York's
Metropolitan Museum of Art, Philadelphia's Museum of Art, Chicago's
Art Institute, and Detroit's Institute of Arts are just a few examples.
➢ Various museums, such as science museums, natural history
museums, art museums, and history museums, were founded during
the twentieth century. Museum architecture, interior design,
exhibition planning, and art were all used to express the modern
ideal. Museums in the industrial world continued to operate within
colonial, national, and imperial narratives. The second world war
aimed to comprehend and replace these narratives. In favour of new
postmodern ideologies, modern and conventional museum forms of
being are scrutinised. By the end of the twentieth century, little
meaningful change had occurred, and more change was required for
museum ideologists' benefit.
➢ The twenty-first century ushered forth a new era of passion.
Professionals are adapting to the grim history and embracing it, while
large intuitions are receptive to change. Museums have a different
history than they had in the late twentieth century. During the
Coronavirus outbreak, museums were digitalized and made available
online. By virtue of their appearance, museums have begun to
rediscover new ways to preserve their engagement with their
audiences, such as virtual tours, online exhibitions, and so on. To
exhibit the traditional display of collections, immersive technology,
3D, and other technologies were applied. Museums are being forced
to meet their hero in the mirror as decolonization, anti-racism,
LGBTQIA+, and other social movements gain traction. To define their
vision of the future, museums employ words like open, accessible,
democracy, and participatory.
Views of experts around the globe on future museums:
• Museums must be redesigned in the future, and this must begin
today. It's past time for museums to rethink their business models in
order to become more inconspicuous and intriguing. A location
where people's well-being and sustainability are emphasised through
entrepreneurial and creative ideas. Being a part of the solution leads
to betterment.
• Museums must be conversation-friendly. Transparency, sincerity,
adaptability, resilience, agility, and accessibility must all be portrayed.
It has to be distinguishable from its younger self.
• Museums serve as a mirror, reflecting events, change, and variety in
order to effect social change. Consider, participate, and contribute to
the betterment. Dialogue and engaging conversations are promoted
by a global community. A future platform allowing people to share
experiences that contribute to the larger objective. It must be a site
where people may reflect on a variety of events in real-time.
• The battlefield savagery and their conscience are not the only things
on display at the museum. Individuals can use it as a centre for public
research and inquiry. It's a learner's classroom for pupils that
demonstrates the museum's commitment to public service.
• The era of virtual tourism has arrived, with characteristics such as UX,
social impact, Physical, and so on. It's the digital artists' ingenuity in
presenting the museum. Furthermore, you may be given guided
tours by robots.
What can we expect in future museums?
• The museum will become more interactive and self-directed in
nature. When museum leaders look to the future, they see a shift
toward more visitor control and new ways to engage audiences. The
current emphasis on in-person, personal, museum-curated
experiences will shift to include digital involvement (both on and off-
site), self-directed entrance experiences, and visitor curating. As
museums aim to broaden their appeal, they will place a larger
emphasis on youth-oriented programs.
• Museums were already focused on the community, and they will
become even more so. Roundtable participants and survey
respondents preferred extended hours and evening operation in
order to appeal to a greater segment of the population and
accommodate working professionals. Moving toward more
institutional partnerships for programming and promotion, as well as
a shift toward community engagement, is another way for museums
to broaden their influence and relevance.
• The design of museums will follow suit, becoming more open,
friendly, and adaptable. While museums are frequently thought of as
iconic instances of municipal architecture, this is changing. Museums
of the future will be more hospitable, embracing the public, the
transient, and the adaptable in new ways. Leaders are also noticing a
shift toward a more balanced mix of energetic and quiet areas.
Museums will need to accommodate both the active and the public,
without abandoning the conventional, quieter museum experience
that many visitors seek.
1.2 Understanding International Museum Industry (Industry Size, Growth
Rate, Decline Rate, etc)
Key Trends
According to the report In April 2020, almost all museums around the
world were closed because of the COVID-19 pandemic, according to
94,7% of respondents.
During the lockdown, many museums enhanced their digital
activities. Some already had an online presence while others
increased by 15%. of the museums. 84% museum professionals
worked from home.
However, the situation for freelance museum professionals is
alarming: 16,1% of the respondents said they have been temporarily
laid off, and 22,6% have not had their contracts renewed.
The freelance sector is very fragile: 56,4% of the respondents stated
that they will have to suspend the payment of their own salary as a
result of the crisis, and 39,4% said their firms will have to reduce the
number of staff.
Nearly one third will downsize, and more than one in ten may be
forced to close permanently. In relation to museum programmes,
82,6% of the respondents anticipate a decrease and 29,8% expect
downsizing in the relevant departments. Finally, 12,8% of participants
fear that their museum might close.
The closures will particularly affect the regions where museums are
recent and few, and where structures are still fragile: in African, Asian
and the Arab countries 24%, 27% and 39% respectively, fear that
museums may close, compared to only 12%, in Latin America and the
Caribbean, 10% in North America and 8% in Europe.
In general, the security and conservation of heritage in museums
continued throughout the lockdown: about 80% of the respondents
said that security and conservation measures were maintained or
increased to cope with the lack of staff members onsite. However, in
Africa, Latin America and the Caribbean these measures were
considered to be insufficient by almost 20% of the respondents.
The first report by the ICOM has responses on various questions. They also
have data regarding their survey question.
• The situation for museums and their staff
• What is the current situation of the staff?
• What percentage of the staff is still working on-site (including security
and conservators)?
• Expected economic impact
• Digital activities and Communication -Do you have dedicated staff for
digital activities? What percentage of your overall budget is
dedicated to communication and digital activities? Changes in digital
services
• Museum security and Conservation - Is security fully maintained with
regards to: Exhibition area Deposits/ storages Crime prevention
systems?
• Is the conservation of artefacts fully maintained with regards to:
Structural integrity Systems integrity Environmental conditions?
• Freelance professionals or consultants - What is the current situation
of the staff of your firm? What is the current situation of the staff of
your firm? Is the Covid-19 crisis threatening the future of your firm?
Network of European Museum Organizations - NEMO Survey on the impact
of the COVID-19 situation on museums in Europe Final Report - It is the best
report to know how NEMO supports European museums. The findings in
the report are similar to ICOM.
• The majority of museums in Europe and throughout the world have
closed their doors. According to a NEMO study, many museums
around Europe will reopen to the public in May/June 20203. However,
museum operations as we know them will not remain the same for a
long time.
• Due to the shutdown and transit ban, three out of five museums
reported losing an average of €20,300 each week. While some
museums have seen little impact on their budgets thus far, many
others have seen a 75-80% drop in revenue, with larger museums and
museums in touristic locations reporting weekly losses in the
hundreds of thousands of Euros.
• The majority of European museums have not yet had to lay off
employees. However, three out of ten museums have put freelance
worker contracts on hold, and three out of five museums have
completely suspended their volunteer programmes.
• Museums are nimbler and more robust when they rely on a diverse
range of revenue sources. Private revenue streams, on the other
hand, are more sensitive to market fluctuations. According to the poll,
museums that rely mostly on private funding have been more
vulnerable in recent weeks.
• Beyond the immediate crisis, the global decline in tourism has a
direct and significant impact on museums. According to the OECD,
worldwide tourism activity will decline by 50-70 percent.
• Given that cultural tourism accounts for 40% of all tourism in Europe,
and four out of ten tourists choose their location based on its cultural
offerings, 5, a long-term sharp decline in revenue from museum
admissions, shops, and cafes is predicted to endure through the end
of 2020.
• To cope with the situation, 4 out of 5 museums have increased their
digital services to reach their audiences, often by having staff take on
additional jobs. Almost half of those who responded said their
museum currently offers one or more new online services.
• During the reporting period, 2 out of 5 museums reported an
increase in internet visitation ranging from 10% to 150 percent.
• People visit museums for educational and collection-related content.
Apart from social media, museums stated that instructional and
collections-related items, such as video and film content, were the
most popular among online visitors.
•
NEMO
• Nemo provides financial assistance to museum organisations.
• It provides support from European, national, regional, and municipal
agencies to help museums around Europe avoid closure.
• to ensure that staff salaries are guaranteed, that quality core activities
are maintained through projects, and that museums continue to
invest in extra actions to link people to their collections.
Consumer behaviour is unpredictable. Even once the pandemic is over, the
loss gap between tourists and museum institutions must be closed. The
institution will incur more costs as a result of the worldwide tourist impact
and enhanced health security procedures. NEMO urges the government to
assist museums in bridging the gap. They must assist museums in
adapting to a new post-pandemic climate by providing the resources
required.
Museums were closed for an average of 155 days in 2020, and many of them
have had to close their doors again since the beginning of 2021, resulting in
a 70 percent loss in attendance and a 40-60 percent drop in revenue
compared to 2019.
Museums have implemented steps such as public awareness campaigns
and strengthened security standards, according to the research. It
mentions a major drop in public funding, up to 40% in some cases,
affecting nearly half of the museums that replied to the poll in the United
States.
This is concerning because extended closures, as well as the resulting sharp
drop in attendance and revenue, have a negative impact on the museum
sector as a whole, making it more difficult to maintain efforts to conserve
collections, ensure their security, and foster relationships with the public
and local communities. The report's authors also emphasise the importance
of museums' economic and social activities, as well as their potential
contribution to post-COVID rehabilitation.
The paper makes several recommendations, including advocating for the
adoption of a large-scale digitization policy for inventory collections, as well
as measures to encourage education, training, and research.
1.3 Understanding Indian Museum Industry (Industry Size, No of Visitors,
Museum Products and trends)
Museum products are usually the collections they are selling or the
merchandise they are selling to the visitors.
• Museums are one of the most important sources of money for many
countries as tourist destinations.
• Furthermore, they are hubs that invite and nurture ideas, talent, and
innovation, as well as investments and international collaborations.
• Unfortunately, the bulk of Indian state-run museums do not deliver
either learning or entertainment.
• Cultural institutions are important for shaping narratives and
preserving a country's past, knowledge, traditions, and values.
• Museums are institutions that use audio-visual technology to
preserve, document, and exhibit a country's tangible and intangible
legacy.
• They also enable individuals and groups to interact with today's
different cultural practices by facilitating conversation between them.
An article on the influx and beginning of the museum industry was read by
me.
Indian audiences have been reshaped as a result of the many stages of
conceptualization and development. The museum views the audience's
defiant act of appropriation with mistrust and responds with strong
behavioural and emotional regulation.
'Museum mindedness' refers to visitor behaviours that align with
Eurocentric conceptions of museum involvement, whereas behaviours that
do not correspond to these unwritten norms of conduct, such as touching
and praying, are discouraged. Such inconsistencies between the visitor's
requirements and the museum's behavioural script create a poor
experience in the visitor's psyche, prompting her to quit the museum as a
final exercise of her agency.
In terms of unique and vivid atmosphere, there is a stark contrast between
European and Indian museums. To appraise Indian museums based on
Eurocentric engagement approaches that ignore the socio-cultural context
in which they operate provides little insight into the rich and complicated
ties that keep them afloat.
Transparency is essential for establishing interaction with visitors and
assimilating a foreign and rather unpopular institution like the museum
into the cultural environment of its people. Certain ways by which Indian
museums can flourish. Museums kindling interest for visitors.
Museums in India that have virtual tours.
MUSEUM PRODUCT - Museum of Art & Photography The Museum of Art
and Photography - The site is interactive, allowing visitors to "binge-watch"
its "Art (Is) Life" series of museum tours, performances, and presentations,
which includes one by MAP and the Morgan Library and Museum about
how "photographs from various post-colonial contexts investigate self-
identity."
We always talk about the trends being followed at every place. But we also
need to understand what are the challenges faced by Indian museums.
In India more than 1000+ museums must be existing. But only certain
museums are being visited. Museums are supposed to be a place for
entertainment, knowledge and engaging information about the collection.
However, most of the museums are static which makes visitors lose their
interest in visiting museums. Museums are a great way of generating
money which can hugely contribute to the tourism industry.
• Poor Presentation and design
• Lack of Skilled Professionals
• Poor quality of preservation
• Multiple agencies
• Audience engagement
• Resource crunch

https://www.indiaculture.nic.in/sites/default/files/annual-
reports/Final_English_AR_03_12_21_22_12_21_opt.pdf
The Annual report of 2020- 2021 from Government of India - Ministry of
Culture.The document contains detailed information about the activities
conducted by the museums.
Fig: National gallery of Art Mumbai
Salary Jung Museum
1.4 Technology for Museum Industry (Products, Features and Brand names)
Now is the age of digitization. Museums have understood the value of
incorporating interactive technologies into their exhibits. The museum has
become more intriguing as a result of this.
The museum, as a site of culture, education, and ideas, must cater to the
needs of current audiences, which include engagement and nearly
universal multilingual communication. Apps, QR codes, touch displays,
virtual and augmented reality, and other interactive technologies are
being used by an increasing number of museums to facilitate the easy and
direct conveyance of information.
Several technologies used by other museums globally are as follows:
• Story of the Forest in National Museum of Singapore
Since 2016, the Singapore National Museum has had a permanent
exhibition. This concept was developed over a two-year period in
conjunction with museum curators. Kuda Takashi is a member of the Lab, a
well-known Japanese digital art collaborative. The exhibition became a
thrilling experience as a result of this.
It incorporates naturalistic drawings from the collection of William
Farquhar, the colony's first British administrator. Flora and fauna drawings
are animated and merged into an artificially constructed environment,
providing a captivating virtual biosphere for visitors to explore.
• Louvre, Paris - Mona Lisa beyond the glass
In October 2019, a virtual experience based on Renaissance artist Leonardo
da Vinci was launched. It makes you think back 500 years to the artist's
500th birthday. It's a 7-minute virtual reality experience. It includes
animation, sound, and interaction with the artist, as well as riding on his
flying machine. The museum's and curators' visions for this exhibition were
realised in conjunction with HTC's Vivi Arts programmer.
• Isabella Stewart Gardner Museum in the exhibition of hacking the
heist.
(Museum helps in accelerating visitors through digital tools)
Isabella Stewart Gardner Museum was the victim of unsolved art theft in
1990. It is now a component of the project Hacking the Heist. To construct a
digital representation of the painting, augmented reality was used. Through
the use of interactive technologies, visitors are expected to strive to unravel
the mystery of this case. Anyone who can figure out the robbery case will be
awarded $10 million. It's similar to going on a treasure hunt.
• Cleveland Museum of Art - Art Lens gallery
The museum is an excellent example of how to create an interactive digital
space that includes everything from applications to video games. The Art
Lens Wall dock is where visitors must dock their gadgets. Smart screens
with motion detection, eye-tracking, and a camera make up this system.
Smartphones may access the museum's high-resolution photography
collection as well as play interactive art activities.
• Artist Amsterdam Royal Zoo
A museum dedicated to the microorganisms and viruses that surround us
is called the Micropia Museum. Micropia, often known as the Museum of
the Invisible Life, effectively combines interactive displays and microscopes
with creative multimedia presentations. Microbes are an important part of
the human body and the environment, despite being invisible to the naked
eye.
• The Kennedy Space centre - Exhibition Heroes and Legends
It is devoted to the US space program and the heroes who have been to the
farthest reaches of the universe. Visitors can experience these moments in
3D using augmented reality (AR) and holograms. While watching the
program, all of the sense organs would be stimulated. Where astronauts
Alan Shepard, Neil Armstrong, John Glenn, and Jim Lovell share their
experiences. This may be the most realistic rocket launch simulation
available.
• Kremer museum - Steam, Viv port, Oculus, Daydream
Only in virtual reality does the Kremer Museum exist. It boasts the most
inventive museum concept. It houses a collection of paintings by the
Kremer family as well as works by 17th-century Dutch and Flemish masters.
This virtual museum was created by the Dutch firm Moyosa Media and
designed by architect Johan van Lierop, founder of Architales.
Indian Strategies:
Strategy for India @75
• The government is going to develop “Smart Tourist Destinations
Sites” showcasing theme-based museums and heritage sites.
• Develop at least five “World Class Museums” drawing from world-
class museums such as Bilbao or the Asian Civilization Museum in
Singapore. Further, ease the process of accepting gifts by museums
in India. Ticketing and access to monuments and museums.
Technological sites
From full "walk-around" tours with voiceover descriptions to slideshows
with zoomable photographs of the world's best artworks, there's something
for everyone.
• Google Art and culture (Top 10 museums)
• Xplorit.com
• Google earth - 360 degree
• Youvisit.com (Interactive content solutions)
• Several interactive tours have been created tailored to the museums.
• Sketchfab 3D and AR for artefacts is the best example.
• ACME - ticketing solutions
• Navigine is a technology used for indoor and outdoor passageways.
• Virtual tour of Museums in India
TAGBIN is a company that creates magical experiences. In the field of
museums. They provide a range of technologies.
• Virtual Walkthrough of museums
• Virtual reality in museums
• Projection mapping on the stupa
• Museum app
• Museum Audio Guide
• Museum website
• The immersive room museum
• Image Enhancement technology
• Quiz and games in museums
• Beacon technology for route identification
• Artefacts display with Augmented reality apps
• 3D modelling of artefacts
Museums leveraging QR codes. Beaconstac QRcode Chimp generator and
solutions
Museum
• J Paul Getty Museum, Los Angeles - virtual tour,“museum
view” Xplorit, getty.edu
• Vatican Museums, Rome - virtual tour, Vatican City with a You Visit
tour, museivaticani.va
• Guggenheim, Bilbao - The interactive tour , guggenheim-bilbao.eus
• Natural History Museum, London - in this interactive online
guide.nhm.ac.uk
• Rijksmuseum, Amsterdam - interactive tour,rijksmuseum.nl
• National Museum of Modern and Contemporary Art, South Korea -
The virtual tours,mmca.go.kr
• Musée d’Orsay, Paris - virtual tour, 360-degree view, m.musee-orsay.fr
• British Museum, London - 360-degree view in this virtual tour, History
Connected,britishmuseum.org
• MASP, São Paulo, Brazil - virtual gallery platform, Google Street
View,masp.org.br
• National Gallery, London - 360-view virtual touring pages, national
gallery.org.uk
How can museums continue to engage visitors in the tough times of covid
19?
• Unique campaigns and series on social media
• Real-time live streams (For instance educate students by conducting
activities)
• Virtual tours - the most common method
• Virtual and Augmented reality.
Museums boost their exhibitions through digital art. Each of these
museums are having innovative techniques to showcase their exhibition.
Down below are the museums listed.
1. Whitney Museum of American Art (New York, US)
2. ZKM Centre for Art and Media ( Karlsruhe, Germany)
3. New Museum (New York, US)
4. Walker Art centre (Minneapolis, US)
5. Museum of Modern Art and MoMA PS1 (New York, US)
6. Institute of Contemporary Art (London, UK)
7. Ars Electronica Centre (Linz, Austria)
8. San Francisco Museum of Modern Art (San Francisco, US)
9. Serpentine Galleries (London, UK)
10. Beall centre for Art + Technology (Irvine, CA)
11. Victoria & Albert Museum (London, UK)
12. HeK, Haus der elektronischen Künste (Basel, Switzerland)
13. Intercommunication centre (Tokyo, Japan) certain programs
14. FACT (Liverpool, UK)
15. Hartware MedienKunstVerein (Dortmund, Germany)
16. LABoral Center for Art and Industrial Creation (Gijon)
17. The Frankfurter Kunstverein (Frankfort, Germany)
18. Bildmuseet (Umea, Sweden)
When it comes to India it is usually a sad end for engaging in museums.
Usually, museums maintained by the government lack funds to keep them
up to date and presentable. Public-owned museums try to make a
difference. The infographics below are certain museums that have tried to
make the experience better. CIME
Indian museums
technologies used in
museums
• National Museum, New
Delhi
Through the museum's
online displays, you can see
over 200,000 Indian and
foreign artefacts of various
types. There is a priceless
trove of Indian art and
workmanship stretching back
5,000 years for you to
uncover, ranging from Arabic
and Persian inscriptions and
pottery from ancient Peru to
bronze marvels, the varied
arts of Deccan, and vestiges
of Santal musical traditions.
• Indian Museum, Kolkata
This is the oldest and largest
multidisciplinary museum
not only in the subcontinent
but the entire Asia-Pacific
area, so you can't miss it if
you're visiting India's most
recognized museums, even if
it's digitally. Visit its virtual
gallery to see over a hundred
fascinating and unusual
things collected from all
around the country and
presented in its many
galleries.
• Salar Jung Museum,
Hyderabad
Immersive videos on virtual
galleries and exhibitions allow
you to visit one of the world's largest museums from the comfort of your
own home. The fact that the majority of its massive collection of over a
million antiques and art artefacts comes from the Salar Jung family's
personal collection makes it one of the world's largest one-man collections
of artworks.
• Victoria Memorial, Kolkata
Through a virtual tour of one of Kolkata's most renowned buildings
dedicated to the magnificent Queen Victoria, see portraits and paintings by
celebrated painters from India and the West, a collection of rare and
antiquarian books, manuscripts, and sculptures from the British period, and
much more.
• National Gallery of Modern Art, Delhi
The NGMA is the newest addition to the list of museums that offer virtual
tours, allowing you to view more than half of its permanent collection of 300
priceless artworks through its website. The museum's online tour is
structured into four levels, each with separate components, similar to the
physical gallery.
• Allahabad Museum
• National Museum - virtual tour curating videos, etc.
• NGMA Bengaluru, Mumbai, New Delhi
• ASI
• IGRMS Bhopal
• Museums of India
• Virtual Museum of Images and Sounds
Audio Visual Heritage
• Jaisalmer War Museum
• NFAI
• The Partition Museum
• National Gandhi Museum
• National Gallery of Modern Art
National Gallery of Model Art, New Delhi -AV guide app
The Ministry of Culture and Tourism has launched an app to facilitate
information regarding the museum's artefacts. “Museum App”
Digitally Stronger -Community and collaboration
Virtual Museum Resources, E-Learning, and Online Collections: The
Ultimate Guide by men. It has a range and list of museums throughout the
globe with Virtual reality libraries to enjoy the museum from home.
• #1 Share facts and history about art pieces
• #2 Attract more visitors with social media promotion
• #3 Collect visitor feedback
• #4 Share events
• #5 Augmented reality to help visitors experience the museum in real-
time
• #6 Boost Museum app downloads
• #7 Museum guide
The museum houses a collection of works of art from all over the world. For
art aficionados, technologies like museum QR codes and high-tech
equipment like eye-tracking, motion detection, and facial recognition
"exceed limits." It's all about placing art front and centre. By presenting
iPads and movies in public settings – to people who would not otherwise
have access to the museum – technology can help extend communities.
Captivator app has an audio guide. Heritage Lab has a library of digital
content to promote museums digitally.
The Indian Museum of Kolkata started creating 3-D models of paintings
and artefacts. They began their project Melody of touch in 2021 as their pilot
project. It is a 200-year-old museum. They began creating 3D impressions
for visually impaired citizens.
1.5 Innovation & trends in the Museum Industry (Worldwide & India)
Top trends and strategies for success.
User-Generated Content for museums It only accepts business email IDs
and can give an insight into how smaller museums can compete with the
well-known museums.
Embrace Technology without losing sight of your mission - You must use
technology in your campaigns without jeopardising the objective of your
institution. To specialise in historical exhibits, you must balance old and new
items. Problems can be solved with the help of technology. Sneak peek
videos into museum exhibitions.
Galleries, zoos, and other non-profits are combining traditional exhibits
with cutting-edge technology that allows visitors to interact with the
collection in new ways. Virtual reality is being used by the Van Gogh
Museum in Amsterdam, Netherlands, to present a unique look of the
infamous painter's most famous paintings. The Cleveland Museum includes
a digital map that visitors can use on their cell phones to navigate the
museum's many exhibitions; this paper-saving feature gives a thorough
guide that helps visitors traverse the museum's many exhibits.
Story Telling - Tell a diverse, authentic, and engaging brand story. - Building
connections with prospective visitors. Although it is quite difficult it is a
must. Museum audiences continue to evolve and diversify. The right
balance between marketing the museum as an entertainment museum or
educational museum.
The Mona Lisa, Michelangelo's David, and the Venus de Milo are all
popular selfie subjects. Instagram able moments are becoming more
common in museum visits, serving as an appealing gift that visitors make
themselves. The exhibition "Snap + Share," which is presently on view at the
San Francisco Museum of Modern Art, examines the rise of social media,
photography, and "selfie culture's" influence on art. The museum is tagged
while taking a selfie and publishing it. You'll get your promotion and your
museum's hashtag will become popular as a result.
Discover and promote new revenue Streams.
Making your digital platforms more appealing to your target customers
might help you gain greater awareness and generate cash. Visitors can
acquire information from anyplace since everybody has a smartphone. The
museum is responsible for curating and extending the visitors' experience
and knowledge. Museums can now build compelling, interactive displays as
well as contests, workshops, and other activities.
For example, renting out museum space for activities that will produce
cash. Soon, a reliable source of income will be established. The way you use
technology and social media to your advantage will affect how many
purchases you make and how willing brand advocates are to share their
experiences.
Museums are making judgments based on data.
Data analytics provide practical, numerical, and easy-to-act-on knowledge
into museum-goer attendance statistics. With this understanding,
institutions may boost visitor growth and attendance, as well as strategize
outreach and marketing to broaden audiences and raise donations.
Synergic Partners was engaged by the Reina Sofia Museum in Madrid,
Spain, to examine visitor traffic trends for a unique Picasso display. The data
acquired revealed the most prevalent visitor nationalities, allowing the
museum to better meet their needs and expectations.
Museums feeding the foodies might seem weird. But in New Orleans
National WWII Museum has featured John Bess Diner, a 40s and 50’s style
restaurant which is an exhibit to stop and eat. It has created an ambience
to create an immersive environment. This plunges the visitors into a world
of contemporary with the museum collection.
Museums are making a long-term investment in future generations.
Science and technology museums, zoos, and geology museums are all
using their exhibits to educate the public about important challenges
facing our planet and to participate in local and global conservation
activities.
Breeding projects, conservation efforts, and rehabilitation programmes for
endangered and threatened animal species are all part of the San Francisco
Zoo's mission, as are educational resources and volunteer-run local
conservation activities that give us hope for the future.
Strategies that can be used:
Building a community and inviting participation -Creative uses of
technology can include on-site digital displays and photo walls as well as
their online presence. Using hashtags created for your museum can help
drive sales and build excitement that can lead to a visit.
Make Art more accessible and promote shared experiences - With the help
of social media one can get a deeper understanding of how visitors respond
to art. This allows them to understand how to connect with millennials.
Increase your digital marketing budget, refresh your visual brand, and
update your offline marketing assets with high-performing images are
some more ideas. AI and immersive exhibition
International and Indian museums report is in this report. It contains
examples of digital transformations, campaigns that successfully attracted
visitors. Digital revenue tools, ideas, and tools.1
1 https://museumbooster.com/wp-content/uploads/2021/08/Museum-Innovation-
Barometer-2021.pdf
Museum Innovation Barometer - They performed a survey of museums to
determine how they had been impacted.
Digital platforms such as social media, live streaming, online exhibitions,
virtual tours, video games, and podcasts were actively used by institutions.
Many people took the risk of experimenting with new digital software, as
well as hitherto unexplored venues and channels. This necessitated
museum staff upskilling and made remote working more convenient.
What role may digital sources play in generating new revenue streams?
The impact of technological and digital advancements on the museum
sector will be discussed in the pdf.
Technology as a success factor has played a major role in the institutions.
During the 3 years barometer 2020 had 7.6 rating out of 10. It is expected to
rise to 8 in 2023.
To show the impact of innovations on museums. The exact innovations
have not been shared. But the way they leveraged digital media to the
maximum has been shown in the 3 listed museums
1. Qatar Museum
2. TE PAPA TONGAREWA
3. National gallery Singapore
▪ The Qatar Museum established a digital experience team, which
included innovation, digital goods, digital content, digital production,
research, and analytics.
▪ The team is now updating the websites, incorporating e-commerce,
redefining the function of the museum app following the launch of
the mobile-optimised websites, and monitoring and analysing the
museums' digital presence.
▪ Working with management and organisation technologies like Trello,
Monday, Microsoft Teams, Planner, and Click UP to support working
across time zones is regarded as necessary when organising an
international team.
▪ Humans are at the centre of digital transformation, according to
Shaikha Al Thani, Director of Digital Experience. She thinks it's crucial
to invest in digital literacy. It must be ingrained in the organisation's
culture, beginning with the board of directors and senior
management team.
The New Zealand’s Museum has engrailed digital mediums in their DNA. TE
PAPA TONGAREWA
▪ Te Papa launched a new digital strategy for the next five years in 2015.
They continued to develop new digital goods and frameworks in
tandem with the digital strategy. Special workshops with the finance,
risk, and executive leadership teams to communicate the various
agile project techniques. They concentrated on broadening the
public's awareness of and access to national collections, stories, and
information. They replatformed their online collections in 2017 with a
new underpinning collections API, the keys for which were provided
to the Auckland Museum. Storytelling and communication
operations were improved thanks to a new SaaS Digital Asset
Management System. To grasp the advanced behavioural study, they
used data analytics, like the user experience team does. Through
innovation and the deployment of transformational technology
platforms, they were able to increase efficacy and sustainability.
▪ Being well-known. In 2016, Mahuki, a culture-tech accelerator, will
partner with the creative tech sector to accelerate innovation. They
tackled audience development and transformation in a long-term
way.
▪ Residents of the Mahuki were taken to other countries to conduct
market research and create connections with possible clientele,
thanks to the museum's genuinely global networks.
▪ They held three editions in 2019 to consider the process of developing
the Mahuki brand and vision. The concepts learned over the years
came in helpful in 2022. According to the museum's annual report,
855,000 individuals visited 39 percent of the whole collection.
Singapore's museum recently opened and since then they have embarked
on their journey of digital transformation.
▪ The museum aims to achieve the following goals based on the digital
strategy outlined in collaboration with an IT & Digital Advisory Board:
adoption of new technology and digital initiatives that enhance visitor
experience as well as productivity, to ensure the National Gallery stays
ahead of the curve in terms of technology advancement; strategic
development and implementation of the IT master plan and digital
strategy, strategic partnerships and opportunities, identification of
new technologies and digital initiatives.
▪ The delivery of seamless, hassle-free navigation through the
exhibition rooms, the reform of the ticketing system, and garnering
worldwide audiences were all achievements in their work. The search
for new techniques to investigate AI-driven businesses continues.
▪ The venue rental team's AI sales assistant has enhanced sales
conversion by over 40% by automating sales emails. The museum
teamed with Mullen Lowe in the fall of 2020 to create an innovative
digital ecosystem, optimise the Gallery's digital solutions, and
improve visitor experiences dramatically. #GalleryAnywhere, an online
collections search gateway that allows anybody to explore and search
for artworks, library and archival content from any location on the
earth, is at the heart of the ecosystem.
▪ In the evolution of the museum, data analytics is critical. To better
understand visitors, the digital department uses a variety of indicators
to analyse their development and evaluate the effectiveness of
implementing technology and data analytics tools.
▪ According to Tong, a major challenge as well as opportunity for
today's digital officers is keeping up with the latest technology while
remaining vigilant in discerning the good from the bad among the
ever-growing plethora of available technological opportunities in
order to ensure quality investment in the institution.
3 striking social media campaigns were done by Black Country Living
Museum, National Western Heritage and Cowboy Museum Oklahoma and
Artist in Residence.
Black Country Living Museum
❖ Abby Bird, a communication manager, rose to prominence thanks to
her tik tok videos, which were named among the top 100 UK
accounts for 2020.
❖ Short video clips depicting re-enactors in historic garb, a unique
background scenery appropriate for film production, smart
narrative, and a tincture of the local vernacular are at the heart of
the museum's TikTok account's popularity. As a result, the museum
devised an effective and meaningful approach for attracting younger
visitors.
Artist in residence Musée d ‘Orsay Instagram
❖ In the art world, the concept of an artist-in-residence is well-known,
but can it be applied to social media?
❖ With a bold move, the museum collaborated with artist Jean-Philippe
Delhomme to attract more attention to many of the artworks in the
collection. Every Monday for the whole year, Delhomme was granted
complete artistic authority over the museum's official Instagram
account, allowing him to post whatever he wanted. Delhomme's
pictures were created with the goal of presenting old masterpieces in
a new light and putting renowned 19th-century artists in a modern
perspective by giving them a voice on social media.
❖ The goal was to get people's attention until the museum opened.
They evoked the adhesions or antagonisms they generated at the
time by creating moments in an artist's life, some issues or a special
novelty of an artwork, and by using fabricated or real comments from
the artist's contemporaries.
❖ Without a doubt, Delhomme's illustrations contributed to the Musée
d'Orsay's Instagram account growing from 800,000 followers at the
beginning of 2020 to 1,2 million now.
National Western Heritage and Cowboy Museum Oklahoma and Artist in
Residence
❖ Tim Tiller, the museum's head security guard, has been tasked with
looking after it. When the pandemic struck in March 2020, the
security guard was assigned an additional social media job.
❖ During the pandemic, only state-approved security personnel were
allowed to remain on site and contact with the artefacts.
❖ Tim received the Twitter account from Seth Spillman, the head of
marketing.
❖ In less than five months, the museum's 8,000 Twitter followers
climbed to 300,000, and engagement surged by 385,000 percent.2
How Museums Innovated Over the Past Year (And How They Will Keep
Innovating)
➢ The pandemic served as a significant reason for digitalization, as
museums sought new ways to attract visitors online. YouTube and
Zoom were the most used platforms, with live streaming, online
tours, virtual exhibitions, podcasts, and “social media challenges''
being some of the most popular digital formats. Onsite, digital
wayfinding and online ticketing have also surfaced to meet the
pandemic-related demands of contactless access, while content
management systems were increasingly implemented over the past
year.
➢ In the survey, a vast majority were clear-eyed about the importance of
new technologies as a success factor. Most museums already have
technology built into their existing programs — 85 percent report the
use of audio and video elements in exhibitions, followed by
projections (68 percent), and smart objects such as QR codes and
RFID (47 percent) — but crucially, they’re planning to explore future
technological implementations.
➢ Comparing the current to the planned tech deployment, the study
foresees the most growth in areas such as virtual reality, augmented
reality, 3D elements, and online exhibitions. However, little to
insignificant interest was noted for newer applications such as
2 The pdf contains digital revenue ideas, smart tools, great ideas, informative research
reports on digital revenue. Pg 59 - 78
holographic and 4D technologies. In a similar comparison, digital
tools such as podcasts, mobile apps, live streaming, and portable
audio guides recorded the highest level of planned usage.
Technological and digital usage continues to grow
A comparison of current and planned usage of technologies in the domain
of exhibitions sees the greatest jump of interest in areas such as online
exhibitions, augmented reality, and 3D elements. Image: Museum Booster
Data comes to the force
What kind of data do museums collect? The survey found that most
tracked attendance rates, feedback, and demographics. Image: Museum
Booster
As necessitated by lockdowns, most of the newly adopted tools were
audience-facing solutions, but the report notes significant room for growth
in access, visitor flow and crowd management, and in digital tools for
exhibition planning and curation. As Catherine Devine, Microsoft’s Business
Strategy Leader of Libraries & Museums, put it in an interview with Museum
Booster, “Museums need to reframe technology and see it as a service and
a utility, rather than as a showpiece.”
From an article about museum technology innovation and trends. The
majority of visitors are unwilling to download the app. There was an
amazing AR device used to see the collection inside the article. Using an
augmented reality gadget, visualise the dinosaur bones in the device as full-
fledged dinosaurs. Although there will be logistical challenges and device
maintenance costs. People are willing to pay a fee to include it in their visit.
1.6 Top 20 Museum in the world and Top 20 Museum in India (Name,
Location, Entry Fee, Type of Museum, Owned By, Year of Establishment)
World
Uffizi Gallery, Florence
Entry Fee :
Gli Uffizi -Regular 12€; Reduced 2€; Entrance reservation 4€
Palazzo Pitti Regular 10€; Reduced 2€; Entrance reservation 3€
Giardino di Boboli Regular 6€; Reduced 2 €; Entrance reservation 3€
Type of Museum: Art Museum, Design/Textile Museum, Historic site /1st
modern museum
Owned By: Grand Duke Leopold I
Year of Establishment : 18th C 1581,Florence , Italy
Location; Piazzale degli Uffizi,6,50122, Firenze FI, Italy
The Louvre, Paris
Entry Fee: Online 17€; at the counter 15€; free admission
Type of Museum: Art Museum and historic site
Owned By: Built in the late 12th &13th C under Philip II
Year of Establishment: 10 August 1793
Location; Rue De Rivoli,75001, Paris, France
Museum of Modern Art, New York
Entry Fee : 25$ for adult ; free 11:30 -1:30 [group of 25 ] (movie screenings are
incl.) ; free for children under 18 ; Snr Citizen 18$ ; Students 14$
Type of Museum: Art museum
Owned By: Board is led by David Rockefeller; Ronald. S. Lauder - chairman
Founded by: Abby Aldrich Rockefeller, Lillie P. Bliss, Mary Quinn Sullivan
Year of Establishment: 7 November 1929
Location; 11W 53rd St York, NY 10019, United States
National Museum of Modern and Contemporary Art, Seoul
The museum was first established in 1969 as the only national art museum
in the country accommodating modern and contemporary art of Korea and
international art of different time periods.
Gwacheon (opened in 1986), Deoksugung (opened in 1998), Seoul (opened
in 2013), and Cheongju (expected to open in 2017)
Entry Fee: Tickets for all exhibitions MMCA 4000 KRW; Free entry on the last
month of Wednesday - (cultural day deck by the govt.); Free admission for -
under 24 or over 65; college student; ICOM/CIMAM card holder
Type of Museum: Contemporary Art Museum
Owned By:
Year of Establishment: 1969
Location; 30 Samcheong-ro, Sogyeok-dong, Jongno-gu, Seoul, South Korea
National Museum of African American History and Culture, Washington DC
The NMAAHC is the world's largest museum dedicated to African-American
history and culture.
Entry Fee : Free timed entry passes; groups larger than 12 are not allowed.
Type of Museum: History museum
Owned By: Smithsonian Institution Offices
Year of Establishment: 19 December 2003 opened its hall in Sept2016
Location; 1400 Constitution Ave, NW Washington, DC, 20560
Acropolis Museum, Athens
Entry Fee: Each part of the museum is having fees of 10€ - 20€
Type of Museum: Archaeological museum
Owned By: Hellenic Ministry of Culture and Tourism
Year of Establishment: 2009 June
Location; Dionysiou Areopagitou Street, Greece
Museum of Qin Terracotta Warriors and Horses, Xi’an
UNESCO site in 1987
Entry Fee: Opening hrs 120 yuan per person
Type of Museum: Archaeological excavations of the 20th C
Owned By: Not able to get
Year of Establishment: Oct 1 ,1979
Location; Lintong District, Xi’an, Shaanxi, China
State Hermitage, St Petersburg
Entry Fee: 600 - entry ticket to the Main Museum Complex and the
branches (the General Staff Building, Winter Palace of Peter the Great,
Menshikov Palace, the Museum of the Imperial Porcelain Factory)
300 RUB - Entry ticket to one of the Hermitage branches (Winter Palace of
Peter the great, menshikov Palace, the museum of the imperial Porcelain
Factory, Staraya Derevnya Restoration & storage Centre)
Free - Preschool children, students. Free admission on 1st Thursday of each
month
Type of Museum: Art Museum
Owned By: Federal State property; Director - Mikhail Piotrovsky
Year of Establishment: 1764
Location; Palace Square,2, Sankt- Petersburg Russia,190000
Rijksmuseum, Amsterdam
Entry Fee :€20 for adults and free for children under 18
Type of Museum: National Museum, art museum, history museum
Owned By: not clearly mentioned | Taco Dibits - Director
Year of Establishment: 1798 Nov 19 | 1885 officially opened
Location; Museumstraat 1 Amsterdam, Netherlands
Tate Modern, London
Entry Fee: Free, charged for only exhibitions
Type of Museum: Art Gallery
Owned By: Tate (Tate is an institution that houses, in a network of four art
galleries, the United Kingdom's national collection of British art, and
international modern and contemporary art. It is not a government
institution, but its main sponsor is the UK Department for Digital, Culture,
Media and Sport.)
Year of Establishment: 12 May 2000 | 1st opened in 1897
Location; Bankside, London SE1 9TG, United Kingdom
Prado, Madrid | Museo Nacional del Prado
Entry Fee: €15; reduced €7.50; free under-18s, students 18-25 and visitors
with physical impairments
Type of Museum: Art Museum
Owned By: architect Juan de Villanueva Director - Miguel Falomir
Year of Establishment : Founded: 19 November 1819
Location; C. de Ruiz de Alarcón, 23, 28014 Madrid, Spain
Museo Nacional de Anthropology, Mexico City
Entry Fee :70 pesos / 80 MXN
Type of Museum: Archaeology Museum
Owned By: opened by Mexican President Adolfo López Mateo’s in 1964
Year of Establishment: 1964 - founded;
Location; Av. Paseo de la Reforma s/n, Polanco, Bosque de Chapultepec I
Secc, Miguel Hidalgo, 11560 Ciudad de México, CDMX, México
Jewish Museum, Berlin
Entry Fee: 0-5 yr. free; reduced 3€; family 14€; normal rate 8 €; students 3€;
The price will be certain while booking the tickets depending on which part
of the museum or branch you are visiting
Type of Museum: Jewish Museum
Owned By: not clear
Year of Establishment: Founded 2001
Location; Lindenstraße 9-14, 10969 Berlin, Germany
Getty centre, Los Angeles
Entry Fee: Free
Type of Museum: Art Museum
Owned By: Getty trust
Year of Establishment: December 1997
Location; 1200 Getty centre Dr, Los Angeles, CA 90049, United States
MALBA, Buenos Aires
Entry Fee: ARS 200 - 400
Type of Museum: Museum of Latin American Art of Buenos Aires;
Argentinian Art, Latin American and International Art, Modern and
Contemporary art
Owned By: Founder Eduardo Constantine not certain
Year of Establishment: 20 Sept 2001
Location; Av. Pres. Figueroa Alcorta 3415, C1425CLA CABA, Argentina
Apartheid Museum, Johannesburg
Entry Fee: School visit -R45 student , teacher 50R; R85 Adult; students and
children 70R
Type of Museum: Specialized Museum
Owned By: Gold reef Casino
Year of Establishment: 2001 Nov
Location; Northern Park Way and Gold Reef Rd, Johannesburg, 2001, South
Africa
Museo de Arte de Puerto Rico, San Juan
Entry Fee :6$ adult ;3$ children; under 5 free; students with current ID 3$
Type of Museum: Art Museum
Owned By: Fundación Luis A. Ferré, Inc.
Year of Establishment: 2000
Location; 299 Avenida José de Diego, San Juan, 00909, Puerto Rico
Instituto Inhotim, Brumadinho
Entry Fee: Free every last Friday; one day ticket - half-day ticket BRL22, full-
day ticket 44 BRL
Type of Museum: Contemporary Art Museum; Botanical Garden
Owned By: Founded by Berbando Paz
Year of Establishment: 2006
Location; Rua B, 20 Fazenda Inhotim, Brumadinho - MG, 35460-000, Brazil
National Gallery of Victoria, Melbourne
Entry Fee: Free
Type of Museum: Art Museum
Owned By: Andrews govt. Funds the museums, owned not clear | Creative
Victoria
Year of Establishment: 1861
Location; 180 St Kilda Rd, Melbourne VIC 3006, Australia
The Louisiana, Copenhagen
Entry Fee: DKK 145 students and students with student card; children under
18 free
Type of Museum: Art museum
Owned By : Founder Kund W. Jensen Director: Poul Erik Tøjner
Year of Establishment: 1958
Location; Gl Strandvej 13, 3050 Humlebæk, Denmark
India 20 popular museums
There are several websites which have different popular museums. I am
choosing the most famous and peculiar one. So, I might exceed in giving
the list.
National Museum, New Delhi
Entry Fee: ₹20 Adult, ₹500 foreign nationals ₹₹₹
Type of Museum:
Owned By: Indian Government
Year of Establishment: 15 August 1949
Location; Janpath Rd, Rajpath Area, Central Secretariat, New Delhi, Delhi
110011
Indian Museum, Kolkata
Entry Fee :₹50 adult ₹children ₹500 for foreigners
Type of Museum : National museum
Owned By : Autonomous under Ministry of Culture | Director: Shri Arijit
Dutta Choudhury
Year of Establishment: 1814 Asiatic Society of Bengal in Kolkata
Location; 27, Jawaharlal Nehru Rd, Fire Brigade Head Quarter, New Market
Area, Dharmapala, Taltala, Kolkata, West Bengal 700016
Sudha Cars Museum, Hyderabad
Entry Fee: ₹50 for adults, ₹15 for children
Type of Museum: Automobile Museum
Owned By:
Year of Establishment: 2010
Location; 19-5-15, 1/D, Bahadurpura X Road, APHB Colony, Bahadurpura
West, Hyderabad, Telangana 500064
Black Magic and Witchcraft Museum, Assam
Entry Fee: ₹Free
Type of Museum: Archaeological site museum
Owned By:
Year of Establishment: 2002
Location; Mayang, Assam
Human Brain Museum, Bangalore
Entry Fee: ₹Free
Type of Museum: Science museum
Owned By: Director K.A.Sadhana; managed by Others Department of
Neuropathology, National Institute of Mental Health and Neuro-Sciences
(NIMHANS)
Year of Establishment: 14 July 1962 inaugurated ;
Location; Hosur Main Road, Sattar Layout, Lak Kasandra, Laljinagar, Wilson
Garden, Bengaluru, Karnataka 560029
Salar Jung Museum, Hyderabad
Entry Fee: ₹50 Adult , children ₹20 above 5yrs,₹500 foreign visitor, ₹50 for
camera
Type of Museum: Art museum
Owned By: Government of India
Year of Establishment: 1951
Location; Salar Jung Rd, near Minar Function Hall, Darulshifa, Hyderabad,
Telangana 500002
Rail Museum, New Delhi
Entry Fee: Rs 10 for children, Rs 50 Adult on weekdays; On weekends Rs100
for adults and Rs 20 for children
Type of Museum: Rail Museum
Owned By:
Year of Establishment: 1 February 1977
Location; Chanakyapuri, New Delhi, Delhi 110021
Albert Hall Museum, Jaipur
Entry Fee :GENERAL ENTRY INDIAN _ - Rs 40; Rs 20 Indian
students FOREIGNER_- Rs300 , Students RS150 COMPOSITE ENTRY -
Rs300 Indians ,Rs40 Indian students ,Rs1000 Foreign tourists , foreign
students Rs200
Type of Museum :Looks like art and music
Owned By :
Year of Establishment: 1887
Location; Museum Rd, Ram Niwas Garden, Kailash Puri, Adarsh Nagar,
Jaipur, Rajasthan 302004
Naval Aviation Museum in Vasco Da Gama, Goa
Entry Fee: Free | Adult 30Rs children 10 Rs
Type of Museum: Military Aviation Museum; History of Indian Naval Arm Air;
Aircrafts
Owned By:
Year of Establishment: 12 Oct 1998
Location; Bogmalo Road, Vasco da Gama, Goa 403806
Shivalik Fossil Park Museum, Himachal Pradesh
Asia's biggest fossil park
Entry Fee: No information
Type of Museum: Fossil Park
Owned By: not given | geological Survey of India and Himachal Pradesh
Govt formulated in association to create this park
Year of Establishment: 23 march 1974
Location; NH 72, Nagal Saketi, Himachal Pradesh 173001
Shankar’s International Doll Museum, New Delhi
Entry Fee :Adult 25Rs, Children Rs10, children in groups of 20 will be
charged Rs 5
Type of Museum: Doll
Owned By: K. Shankar Pillai - largest collection
Year of Establishment: 30 November 1965
Location; 4, Bahadur Shah Zafar Marg, near Central Bank, Bahadur Shah
Zafar Marg, Nehru House, New Delhi, Delhi 110002
Government Museum, Chennai
Entry Fee : INDIAN Adult Rs15, children Rs10, Student Rs 5; FOREIGNER
Adult 250Rs, children Rs125, student Rs75
Type of Museum: Art Museum, History Museum
Owned By: Ministry of Culture, Indian govt.
Year of Establishment: 1851
Location; Government Maternity Hospital, Pantheon Rd, Edmore, Chennai,
Tamil Nadu 600008
Chhatrapati Shivaji Maharaj Vaastu Sangrahalaya
Entry Fee: Adult 65; children 20; Foreign visitors 300Rs, Group Indian visitors
(more than 10) Rs 55, photography 50 Rs
Type of Museum: Not specified - History of India from Pre- historic to
modern times; Historic Museum
Owned By:
Year of Establishment: Jan 10,1922
Location; 159-161, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai,
Maharashtra 400023
Calico Museum of Textiles, Ahmedabad
Entry Fee: Free
Type of Museum: Textile Museum
Owned By: Sarabhai Foundation
Year of Establishment: 1949
Location; The Retreat, Airport Rd, Opp. Rani Sati Mandir, Jain Colony,
Shahibaug, Ahmedabad, Gujarat 380004
Government Museum Chennai
Entry Fee: ₹₹₹₹
Type of Museum: Art and history museum
Owned By: Ministry of Culture, Government of India
Year of Establishment: 1851
Location; Government Maternity Hospital, Pantheon Rd, Egmore, Chennai,
Tamil Nadu 600008
Jawahar Toy Museum- Pondicherry
Entry Fee: ₹10 Adults ₹50 Adults foreigners
Type of Museum: Toys
Owned By:
Year of Establishment:
Location; Eswaran Kovil Street, Canteen St, Puducherry, 605001
Archaeological Museum in Lothal- Ahmedabad
Entry Fee : ₹5 per head
Type of Museum: Archaeological Museum
Owned By:
Year of Establishment: 1976
Location; Saragwala Village, Dholka Taluka, Gujarat, 382230, India
Island Museum in Nagarjuna Konda- Andhra Pradesh
Reviews and some sites say that the museum is not well maintained and
paid attention to.
Entry Fee: ₹2 per head
Type of Museum: Archaeological Museum
Owned By:
Year of Establishment: 1966
Location; 522426 Andhra Pradesh Nagarjuna Kona
Kite Museum in Paldi- Ahmedabad
Entry Fee:₹Free
Type of Museum:
Owned By: Run by Ahmedabad
Year of Establishment: 9 April 1954 Sanskar Kendra City Museum
Location; Sankar Kender, Bhattacharya Rd, Kocharab, Paldi, Ahmedabad,
Gujarat 380007
Sulabh International Museum of Toilet
Entry Fee: ₹Free
Type of Museum: I don't know what to categorise it in - Sanitation and
hygiene?
Owned By: Sulabh International
Year of Establishment: 1992 by Dr. Bindeshwar Pathak
Location; Sulabh Bhawan, RZ-83, Palam - Dabri Marg, Mahavir Enclave, New
Delhi, Delhi 110045 museums.
2.0 Phase 2
Example Should Include, Place, Website, and one paragraph brief with few
pictures)
NOTE: All the links of the websites referred to will be embedded into the
text.
2.1 Community Museum (Concept, Example and Case study 2)
A community museum is a museum that serves as an exhibition and
gathering place for people of a particular ethnic group or geographic
location.
Community museums, unlike typical museums, are often multidisciplinary,
exhibiting the history, social history, art, and folklore of their communities at
the same time. They place a greater emphasis on collaborating with – and
being relevant to – visitors and other stakeholders, and as a result, they are
frequently more explicitly political than other museums.
"A museum's collections are a valuable resource for the community." "They
allow people to see things from all around the world without ever leaving
town," said Jill Krieg-Accrocco, the Boonshoft Museum of Discovery's
Curator of Anthropology and Exhibitions.
According to the UNESCO'S report on Community based museums, the
inclusion of cultural identity in cultural policies was strongly recommended
in 1982, World conference on cultural Policies.
"All cultures' equality and dignity must be recognised, as must each people
and community's right to affirm and retain its cultural identity and have it
respected by others."
The community-based approach to museum development is an attempt to
reconsider museums' function and mission, as well as the roles and
missions of museum curators and the communities that museums serve.
Community-based Museum is a search for a community's identity. It’s
crucial to try to comprehend how museum collections, and the peoples
represented within them, have been seen by the authorities who have been
in charge of collecting, exhibiting, and interpreting them in the past.
These museums work to preserve cultural or religious objects, as well as
indigenous knowledge and traditional skills, from the communities they
serve, as well as the environments in which such objects were used,
allowing community members to serve as primary stewards of their history
and collective memory. This memory, which is the sum total of individual
community members' ideas and feelings about the past and present, is
continually validated as part of an ongoing interchange among community
members. Communities reinforce and protect their identities through this
process, which is combined with a shared interpretation of artefacts, visual
components, and indigenous creativity. What counts is the significance of
conveying and preserving living cultural traditions. Institutions like to be
referred to as heritage centres or cultural centres for some reason. This is
consistent with their use of cultural heritage and identity as tools to
preserve living cultural traditions and innovation, as well as to combat
economic and social marginalisation.
Examples:
• Anacostia Community Museum
• Brooklyn Museum
• Glasgow Open Museum
• Machine project
• Wing Luke Museum of the Asian Pacific American Museum
2.1.1 THE THARU CULTURAL MUSEUM
In Bachhauli, Chitwan, Nepal, the Tharu Cultural Museum is located.
Cultural shows, a souvenir and handicraft shop, a food festival, and museum
fees all contribute to the museum's funding. Encouraging handicrafts,
paintings, indigenous instruments, costumes, jewellery, jewellery, and other
agricultural tools used in working in the fields are among the medium and
small collections housed by the museum. It is run by the people of the
community. Initially, the Tharu community was averse to the idea of a
museum. It is now a facility that employs community members and
preserves indigenous artisan skills. Traditional and indigenous knowledge,
as well as cultural artefacts and performances, have become the centre of
attention in the area.
2.1.2 The Lahu Bamboo Museum
A community-based effort in northern Thailand focused on the cultural
rehabilitation of indigenous highland peoples. Huay Nam Rin, a highland
village in Thailand's northern Chiang Rai Province, is home to the Lahu
Bamboo Museum. The museum exhibits the Lahu Sheleh culture group's
only such collection, which is a sub-group of the Lahu people. Sacred and
profane materials, including current and ancient pictures, posters, maps,
and traditional Lahu utensils, are included in this collection, which is
displayed in a stilt-based bamboo hut modelled after traditional Lahu
dwellings. It is a community-driven, self-governing museum. It displays
everything that a cultural institute must have. It all began with a member of
the community collecting things to show their culture to the future
generation. From here on the journey of the museum began.
2.2 Village Museum (Concept, Example and Case study 2)
Village museums are frequently referred to as "outdoor museums." The
objective of a village museum is to convey a historical or cultural
environment by restoring, rebuilding, or moving many structures. It is
frequently used in the context of everyday trades and activities from the
past.
Examples :
• "Dimitrie Gusti" National Village
• Burnaby Village Museum
• Village Museum, Shilparamam
• Hasta Shilpa Heritage village Museum
• Weald and Downland Living Museum
• Village Museum, Tanzania, etc.
2.2.1 Togo Rural Village Art Museum
Tugou Village is a traditional rural village whose residents rely on farming
for their livelihood.
The Togo Rural Hamlet Art Museum is Taiwan's first art museum named
after a rural village, as well as Taiwan's first museum founded by villagers in
collaboration with invited artists groups.
Its goal is to let art "cope with" the community scenery and local life in order
to represent native aesthetics of living, rather than to "transform" the
community through art.
The village head led the formation of Tugou Village Cultural Development
Association in 2002, moving toward a self-creative rural public art and
implementing projects such as ox-cart street art, ox-cart installation, buffalo
stone carvings, golden paddy field cultural activity, and so on, all in
accordance with Taiwan's comprehensive community development policy.
2.2.2The National Museum of Tanzania (NMT)
The Village Museum is an open-air museum that was founded in 1967 with
the mission of collecting, investigating, and preserving Tanzanian ethnic
groups' indigenous culture and architecture. This museum depicts rural life
in Tanzania as it could have seemed until recently. Some of the buildings
built here are no longer in use, while others, in modified versions, are still in
use by the majority of ethnic groups, particularly those living in rural areas.
Enjoy your time to look around traditional houses and antiquities,
traditional gardens and natural walks, and open curio shops brimming with
Tanzanian handicrafts.
2.3 Mining Museum (Concept, Example and Case study 2)
Museums specialising in the history of mines and mining.
Examples:
• National Coal Mining Museum
• National Mining Hall of fame and Museum
• Big Pit National Coal Museum
• German Mining Museum
• Gargotta Mining Museum
• Coal heritage Park & Museum
2.3.1 National Mining Memorial Centre, Scotland
The Lady Victoria Coal Mine was expropriated in 1947 and closed in 1981 in
Newton grange, Scotland's largest mining town in the 1890s. The National
Mining Museum was founded in 1984 to preserve the physical vestiges of
Scotland's Lady Victoria Mine. The mineshaft was 488 metres deep at the
time the mine was open for business. Since the mine was closed, access to
the mineshaft has been forbidden. As a result, tourists are not permitted to
visit the mineshaft. The restoration of mine regions and the coal extraction
process, on the other hand, gives tourists a realistic picture. An exhibit
gallery of coal mining technology, a display gallery of mining policies and
communities, and a library part open to researchers featuring Scottish coal
areas, mining technology, geology, mining villages, and more may be found
at the National Mining Museum. Tours of the mine's structures are also
available, guided by retired miners.
2.3.2 Lancashire Mining Museum at Astley Green, England
The Red Rose Steam Society runs the Astley Green Colliery Museum in
Astley, near Tyldesley, in Greater Manchester, England. The site was an
operating colliery that produced coal from 1912 to 1970 before becoming a
museum; it is now preserved as a Scheduled Monument.
On what was once the Lancashire coalfield, Astley Green Colliery boasts the
only surviving headgear and engine house. Wrought iron lattice girders
with riveted plates at the joints make up the helmet. At the top, there are
two huge and one small wheels. It was erected by Head Wrightson of
Stockton-on-Tees in 1912 and is about 30 metres (98 feet) tall. A dual
tandem compound steam engine manufactured by Yates and Thom of
Blackburn, who provided 16 Lancashire boilers, is housed in the winding
house. Its engine house houses the coalfield's largest steam winding
engine. Yates & Thom in Blackburn produced the 3,300-horsepower twin
tandem compound engine. The museum also has the UK's greatest
collection of colliery locomotives, with 28 in total.
2.4 Heritage Museum (Concept, Example and Case study 2)
A Heritage Museum is a museum that focuses on presenting historical and
cultural knowledge about a location and its inhabitants. A museum
dedicated to presenting historical and cultural information about a location
and its inhabitants, as well as, to some extent, natural history of the area.
Examples: Indian
• Heritage Museums and gardens
• Madhya Pradesh Tribal Museum
• Heritage Transport Museum
• Museum of York country
• Dakshin Chitra Museum
• Sharjah Heritage Museum
2.4.1 Heritage Transport Museum ,Gurgaum
In 2014-15, the museum received the National Tourism Award. The Heritage
Transport Museum is a project aimed at showcasing and interpreting
India's diverse transportation tales. The museum is the result of one man's
passion for transportation-collection — Tarun Thakral. The museum's
mission is to share its rich and diverse collection with a broad number of
people while also providing them with a pleasurable learning experience.
The museum was designed to transfer visitors to a different time period.
India's first comprehensive transport museum, which opened to the public
on December 7, 2013, brings the history and progress of India's transport
heritage to life through a vast and diverse collection of vehicles and
accompanying memorabilia.
The collection encompasses not only things directly related to
transportation, but also the socio-cultural life and art that surrounds it.
More than 2,500 handpicked artefacts are on show at the museum, telling
the story of India's colourful transportation history. The museum's extensive
and diverse collection has been divided into several areas, including pre-
mechanized and heavy mechanised transportation, railways, aviation,
maritime, collectible Indian transportation toys, rural & indigenous
transportation, two-wheelers, and popular & tribal art. The museum also has
a large collection of contemporary art, which is presented in various parts
throughout the building.
Heritage Transport Museum is set over four air-conditioned floors with over
100,000 square feet of display space, a library and reference centre, a mini
theatre, a museum souvenir store, seminar rooms, and a snack area, all on
a three-acre property. Heritage Transportation Trust, a recognised non-
profit trust created on July 18, 2006 and registered under the Indian Trust
Act, 1882, built and operates the Heritage Transport Museum. It is planned
as a venue that not only provides a glimpse into the history of travel in India,
but also engages visitors through its meticulously constructed information
ecology. It is the first private museum of this scale in India. In terms of
interpretation, exhibition, and communication, the museum is a leader. The
museum is designed to be accessible to all visitors, and it promises to treat
each one as a unique individual. The Heritage Transport Museum is
committed to providing a fun and interesting museum experience for its
guests.
"The museum was created with the goal of documenting, exhibiting,
educating, and disseminating information concerning transportation. It
depicts India's transportation evolution and establishes a standard for
interpretation, presentation, and communication. It is India's first private
museum of its scale, designed as a didactic setting that encourages visitor
participation in learning while being a family-friendly experience."
Dr Martin Bellamy, research and major projects manager, Glasgow
Museums, has rated the Heritage Transport Museum as one of the world's
best transport museums. The museum is divided into various segments
and almost like several mini museums in one.
2.4.2 Temple Bar Cultural Quarter, Dublin, Ireland
In Dublin's city centre, Temple Bar is a 28-acre urban area. During the 1990s,
Temple Bar Properties Ltd. strategically revived the neighbourhood as a
cultural district by purchasing, renewing, and managing fixed rents. Rental
income was re-invested in the property renewal programme and
environmental action, as well as utilised to fund cultural enterprises. The
cultural quarter's management and governance have gone through several
stages. The site's history dates back to the Vikings and includes portions of
the mediaeval city's walls. Over Tourism and marketing are putting more
strain on the place. Tensions continue between the development of a
different branding of place to attract tourists and the development of an
authentic and sustainable sense of place for the people of Dublin. Project
Arts Centre and the Ark Cultural Centre for Children are two of the 14
nationally significant cultural buildings in the neighbourhood today.
2.5 Future Museum (Concept, Example and Case study 2)
Due to the future museum in Dubai, the museum's future concept has
become well-known. Museums frequently exhibit artefacts from the past.
However, the present and future are displayed in these museums.
The Museum of the Future claims to be a hub that brings researchers,
designers, inventors, and financiers together under one roof in order to
foster solutions to the challenges that future cities face, as well as housing
innovations and being a hub that brings researchers, designers, inventors,
and financiers together.
Examples:
• Future World, Singapore - Art Science Museum
• Museum of the Future, Dubai
2.5.1 Museum of the Future, Dubai
The Museum of the Future is an exhibition space for innovative and
futuristic ideologies, services, and products. The Museum of the Future,
which is located in Dubai's Financial District, is made up of three basic
elements: a green hill, a building, and a vacuum. Life expectancy of
machines Hello, my name is AI, and the exhibitions are Climate Change
Reimagined: Dubai 2050 and Machine Life. We all know how intriguing the
calligraphy on the museum's building is. It's worth noting that they're
engineered windows. A dynamic fusion of aesthetics and utility.
People of all ages are welcome to come see, touch, and change our shared
future at the Museum of the Future. Take a trip into the future and return to
the present with hope and knowledge. 'See the future, build the future,'
says the museum's motto.
Visitors will have the opportunity to interact with the future. Despite the
fact that there are other science museums around the world, the Museum
of the Future will be unlike any other. Cutting-edge technology ensures an
immersive experience like no other.
2.5.2 Future World, Singapore - Art Science Museum
The Art science Museum is a wonderful culmination of world-renowned
architect Moshe Safdie's efforts and ideas. This lotus-shaped interactive
museum, dubbed the "Welcoming Hand of Singapore," is part of the Marina
Bay Sands Resort project in Singapore's Downtown Core. It is the world's
first 'Art science Museum,' being opened to the public in early 2011.Through
a variety of digital interactive installations, immerse yourself in a world of art,
science, magic, and metaphor. team Lab, a prominent interdisciplinary art
collective, collaborated on this permanent show. Through these key
narratives – City in a Garden, Sanctuary, Park, and Space – Future World
takes guests on an exhilarating journey of discovery.
2.6 Other innovative types of museums (candles, fruits, coin, car, war, plant)
Concept & Example & Case study (1 each)
Other than the museum types we know. There is theme-based museum.
Apart from this there are also museums specifically displaying certain
things.
CANDLE
Sunrise candles, Moleshwar, Maharashtra
Kaarsen Museum
Candles Holocaust Museum & Education centre
Wax museums - Other wax museums
• Laclede’s Landing Wax Museum
• Musee Grevin Montreal
• Madame Tussauds Blackpool, England
• Madame Tussauds - Sydney, Singapore, San Francisco, Washington,
London, Las Vegas, Los Angeles, New York,
FRUIT - There are various museums that come under the category of food
museums.
• World of Fruit, Los Angeles
• Fruit Museum, Yamanashi
• Museo della Frutta -Museum of fruit Francesco Garnier Valets
• Mango Museum, Lucknow
• Food Museum, Thanjavur
• Museum of Pizza, New York
• World of Coca Cola, Atlanta
• Cup Noodles Museum Osaka Ikeda
• International Banana Museum, Mecca
• Museum of Ice Cream, San Francisco
COIN
• Coin Museum (Shanti Krishna Museum of History and Money),
Maharashtra
• Money Museum, Zurich
• The Royal Mint Museum, Wales
Car
• Sudha Car Museum
• National Automobile Museum, Nevada
• Shanghai Auto Museum
• Emirates National Museum
• Toyota Kaikan Museum
WAR
• Jaisalmer War Museum
• Imperial War Museum
• National War Museum
• HMS Belfast
PLANT - Botanical Gardens
• Henry B. Plant Museum, Florido
• Museum gardens, York
• Botanical Garden and Botanical Museum
Weird, unusual and unique museums list
• Anta rang Museum of Sexual Health, Mumbai
• Arna Jharna (Museum of Brooms), Rajasthan (Baywatch Wax
Museum, Tamil Nadu)
• Mayong Central Museum and Emporium of Black Magic and
Witchcraft, Guwahati
• National Rail Museum, New Delhi
• Dr. Shankar’s Brain Museum, Bangalore
• Shankar’s International Dolls Museum, New Delhi
• Sulabh International Museum of Toilets, New Delhi
• Legends Motorcycling Café, Bengaluru
• Virasat-e-Khalsa, Anandpur Sahib
• Paldi Kite Museum, Ahmedabad
• Purkhauti Muktangan, Raipur
• Urusvati Museum, Gurgaon
• VECHAAR Utensils Museum, Ahmedabad
• INS Kurusura Submarine Museum, Visakhapatnam
• Arna Jharna, Jodhpur
• MUSEO CAMERA
• JD CENTRE FOR ART
• THE BIHAR MUSEUM
• SARMAYA
• DRISHYA KALA by DELHI ART GALLERY (DAG)
Sunrise candles museum
Dr. Bhavesh Chandu Bhai Bhatia founded the company in 1994 with a
single colour and 5 kg of wax. Sunrise Candles has been able to provide skill
development training, employment, and self-employment possibilities to
9700+ Divyang, individuals with disabilities, and special people, motivating
them to stand on their own two feet and support their families through its
72 production units.
NOTE: - Found a wax museum solution they are using for their museum.
The Singaria Coin Museum
The Singaria Coin Museum in Jodhpur, Rajasthan, is a one-of-a-kind
currency museum. It's a never-ending attempt to preserve history and trace
the growth of human civilization through numismatics. Since 1999, this
collaborative venture of two siblings, Devendra Singaria and Subhash
Singaria, has been a museum in progress as a passion project for collecting
coins. Mr Devendra and Mr Subhash had been presenting their coin and
paper currency collections in various fairs and open exhibitions at schools
and institutions around India before founding the museum.
The museum claims to have a collection of about 10,000 objects relating to
India's and other countries' trading practices and economies. The collection
focuses on India's currency (both coins and paper) and its growth over time,
from ancient India to successive Mughal, British, and Dutch and French
colonial periods. The museum also has a collection of coin dies, as well as
some misprinted coins and paper currency from throughout the world. A
small library about the history and existence of currency, economics, and
numismatic studies is also housed at the museum.
Mr. Subhash and his family operate and care for the museum, with no
further support from a trust, foundation, or individual. Since the museum is
their house and their home is the museum, Mr Subhash and his family have
a good balance between public and private space, which is a very unusual
and lovely experience for every visitor.
Singaria Coin Museum entrance and collection.
Fuefukigawa fruit Park,Yamanashi
The stages of the fruits have been replicated for you to enjoy. They also offer
refreshments at the start. While savouring the natural beauty of fruit, you
may learn about the importance of the cohabitation of species and plants
on the planet in a pleasant and entertaining way.
The exhibition room depicts the evolution of fruit from diverse historical and
cultural perspectives, with a focus on Yamanashi grapes and peaches.
Tropical Greenhouse is a term used to describe a greenhouse that is located
in the tropics. The eight unique fruits of the old Kai Province (grapes,
peaches, apples, pears, persimmons, ginkgo fruits, pomegranates, and
chestnuts), which have long been produced as Yamanashi specialties, are
included in the fruit exhibition gardens, as well as small fruit shrubs.
HMS Belfast
HMS Belfast is currently a division of the Imperial War Museum, and it
receives over a quarter-million visitors each year. MS Belfast, a Town Class
Light Cruiser, had a diverse and remarkable career from her debut in 1939
to her final mooring in the Thames in 1971. She was severely damaged by a
German mine when she first saw action in World War II, but she went on to
escort Arctic Convoys, help in the destruction of the Scharnhorst, and offer
assistance for the Normandy landings on June 6, 1944. She was then re-
fitted in Plymouth before being dispatched to the Far East. In the early
1950s, she fought again in the Korean War.
Automobile Museum
There are no stairs, floors, or other features in this museum. Instead, there
would be ramps leading into the museum, similar to those found on a
racetrack. Where in the museum are the automobiles the main attraction?
In the museum, visitors take on the role of spectators.
Botanical Garden and Botanical Museum
The New York Botanical Garden is a world-famous living museum, a major
educational institution, a world-renowned plant research facility, and a
conservation organisation all rolled into one. The New York Botanical
Garden is a data-rich educational and research environment that connects
horticulture to the arts and preserves rare plant collections to attract a wide
range of visitors.
3.0 Phase 3
3.1 Museum business case Understanding
It's similar to a project manager's report when it comes to museum
business planning. Its purpose is to establish whether the proposed
changes will be game-changing or will fail.
The process of establishing a museum's future objectives and methods for
reaching those objectives is known as museum business planning. The
Museum Business Planning process produces a document that guides the
museum's operations, covering finance, human resources, board of director
development, fund raising, marketing, and the museum's purpose, vision,
and values.
It can be used to introduce new ideas, develop the museum, and so on,
with the end result being a museum strategic plan, master plan, and pro
forma.
• Feasibility Study for a Museum
• Strategic Plan for the Museum
• Business Plan for a Museum
• Master Plan for a Museum
What is the purpose of a business case?
Museums are becoming more involved with business initiatives as revenue
generating becomes increasingly crucial to them. A business case is an
important tool for planning and decision-making when starting a new
business. It also allows you to inform decision-makers, stakeholders, and
other interested parties about your plans.
When preparing a business case, you consider the following:
• your current situation
• the proposed venture's concept
• what you want to achieve
• the market you're targeting
• how you'll approach the market
• who does what
• costs and earnings
• how you'll know what you've accomplished
• how and when you'll get the agreed venture up and running
• the decisions you recommend for the proposal
In the following instances, a business case can be extremely useful:
• You're thinking about starting a new business venture that hasn't
been done before.
• You must determine whether or not to pursue a business
opportunity.
• The venture will necessitate a financial investment.
• You have a limited budget and must prioritise your expenses.
• Your venture will require collaboration with others, and you'll need to
communicate openly with them about it to gain buy-in and explain
roles and duties.
A business case can be a very effective communication tool when:
• When you need to acquire clearance or buy-in for a project from
senior management or stakeholders, a business case may be a very
powerful communication tool.
• You've been requested to look into a business prospect, but after
doing some research, you've determined that it's not a good idea to
go ahead with it.
• You're looking for finance or a loan and need to demonstrate to the
funder that you've thoroughly considered your endeavour.
It assists you in determining whether the suggested venture is a good one.
It demonstrates to them that you've properly analysed all relevant aspects
and come up with realistic, quantifiable goals and figures.
A business case also identifies potential disputes, competitiveness, and
hazards, as well as ways for dealing with them.
3.2 Component to keep in mind while preparing the Museum Business
Case
In a concise manner the table of contents would include
• Executive Summery -Statement of Purpose Description of the
background statement, Goals
• Key financial figures (cost; current revenue, expense, and profit;
anticipated revenue, expense, and profit; rise in revenue and net
revenue [incremental increase]; return on investment; payback
period)
• Timing and next phases (approval of the business case; detailed
marketing plan; design and tender; implementation; continuing
review and evaluation, including deadlines)
• Recommendation is a term that refers to the act of recommending
something to someone
Components of a Museum Business Plan:
1. Cover, Name of Museum and Time Span for Plan 2018 – 2023
(Often five years)
2. Table of Contents
3. Executive Summary
4. Introduction
5. Organizational History
6. Organizational Achievements
7. Mission, Vision, Values
8. External Environment (including PESTEL analysis)
9. Institutional Objectives
10. Resources: People, Systems and Assets
11. Museum Finances
12. Financial Forecast 2018-2023
13. Delivery of Business Plan
14. Risks
15. Monitoring and evaluation of planning
16. Appendices
17. Summary Action Plan 2018-2023
18. Staff structure
19. Trustees
3.3 Table of Content to prepare the Business case for the following type of
Museum
3.3.1 Community Based Museum
A community-based museums are created to preserve the community’s
culture. There are many museums that have tried to create museums to
show their culture, art, lifestyle, etc. Those places that have intrinsic artistic
values or a concept intriguing. All these places can have a museum. Most
importantly, community-based museums.
In smaller villages I have observed that are villages in Northeast villages
include tangible and intangible concepts to create an experience worth
remembering. For instance, Aniya village (Nyishi Tribe), and Nampak Village
(living museum). They have all the components required to make and
construct a simple, yet entertaining museum. This can be considered a
community-based museum.
For instance, the Namphake Villages' salient features and attractions of the
open museum are:
1. Tai Phake community.
2. Namphake Buddhist Monastery.
3. Buddhist Pagoda.
4. Manuscripts are written in Tai language.
5. The Culture and tradition.
6. Bamboo stilt houses.
7. The daily lifestyle of the Tai Phake community.
8. Folk dances.
9. Folk songs.
10. Festivals.
11. Social means of life (marriage and other rituals).
12. Language and culture.
13. Handloom and ethnic dresses.
14. Handicraft items.
The current village museums should increase public understanding of the
products and services they provide. They're straightforward and genuine.
Ethnography museums that already exist must consider technology as a
relative. Add 7D, 3D, and AV rooms to show short films and clips in a loop.
Audio tutorials with headphones are a fantastic method to learn more
about a topic.
Location: Garo Heritage Museum - upcoming by the government
The government is claimed to be building the Garo Heritage Museum in
West Garo Hills. The heritage village would be built to preserve the Garo
tribe's traditions.
When ethnic villages or heritage museums are located within the
communities' borders, they have an advantage.
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MUSEUM PROJECT.pdf

  • 1. 4/23/2022 DTORR MUSEUM PROJECT Industry Live Project Avantika badgujar DTORR
  • 2. Contents 1 PHASE 1.................................................................................................................................................................2 1.1 Understanding Museum industry (Past, Present & Future) ....................................2 1.2 Understanding International Museum Industry (Industry Size, Growth Rate, Decline Rate, etc) .............................................................................................................................. 6 1.3 Understanding Indian Museum Industry ( Industry Size, No of Visitors, Museum Products and trends).......................................................................................................... 10 1.4 Technology for Museum Industry ( Products, Features and Brand names) .......................................................................................................................................................................................15 1.5 Innovation & trends in the Museum Industry ( Worldwide & India)..............22 1.6 Top 20 Museum in the world and Top 20 Museum in India ( Name, Location, Entry Fee, Type of Museum, Owned By, Year of Establishment)... 30 2.0 Phase 2......................................................................................................................................................... 38 2.1 Community Museum (Concept,Example and Case study 2)........................ 38 2.1.1 THE THARU CULTURAL MUSEUM ...............................................................................39 2.1.2 The Lahu Bamboo Museum ............................................................................................ 41 2.2 Village Museum (Concept,Example and Case study 2).................................... 42 2.2.1Togo Rural Village Art Museum..................................................................................... 43 2.2.2The National Museum of Tanzania(NMT)..............................................................44 2.3 Mining Museum (Concept,Example and Case study 2) ................................... 45 2.3.1 National Mining Memorial Center,Scotland....................................................... 45 2.3.2 Lancashire Mining Museum at Astley Green,England..............................46 2.4 Heritage Museum (Concept,Example and Case study 2 ) .............................48 2.4.1 Heritage Transport Museum,Gurgaum.................................................................48 2.4.2 Temple Bar Cultural Quarter, Dublin, Ireland.................................................. 50 2.5 Future Museum (Concept, Example and Case study 2)....................................52 2.5.1 Museum of the Future, Dubai ........................................................................................52 2.5.2 Future World, Singapore - Art Science Museum............................................53 2.6 Other innovative types of museum (candles, fruits, coin, car ,war ,plant) Concept & Example & Case study (1 each)........................................................................... 54 CANDLE...................................................................................................................................................... 54
  • 3. FRUIT - There are various museums that come under the category of food museums.......................................................................................................................................55 COIN...............................................................................................................................................................55 Car....................................................................................................................................................................55 WAR................................................................................................................................................................55 PLANT - Botanical Gardens .........................................................................................................55 Weird,unusual and unique museums list........................................................................55 3.0 Phase 3.........................................................................................................................................................60 3.1 Museum business case Understanding.........................................................................60 3.2 Component to keep in mind while preparing the Museum Business Case..................................................................................................................................................................61 3.3 Table of Content to prepare the Business case for the following type of Museum...........................................................................................................................................................62 3.3.1 Community Based Museum............................................................................................62 3.3.2Mining Museum........................................................................................................................64 3.3.3Orange Museum........................................................................................................................65 1 PHASE 1 1.1 Understanding Museum industry (Past, Present & Future) The museums of the future behold limitlessness and possibilities unknown to us. Museums have always been a storeroom of resources from where the present can understand the past and appreciate their findings. Similarly, the future holds unknown possibilities. Although we can only imagine what might be in the future. As we all know, museums always collect, preserve artefacts, objects, and materials of religious, cultural & historical value. They not only preserve but also promote our cultural heritage. Museums help in research, study, & source of immense valuable knowledge. Most importantly tourism can be promoted through these attractions. History of Museums : A look at The Learning Institutions through Time. ➢ As we all know, Homo sapiens is linked to art, which serves as a means of connecting people. The history of museums begins with
  • 4. prehistoric cave drawings and continues into the twenty-first century with historical, scientific, and art museums, culminating with a prophecy for the future. ➢ Altamira's cave drawings, which are used in basic aspects of art display, date back to prehistoric times. The exhibition of artistic creations and their meaning in public serves a variety of functions. It served as a gathering place for communities to view visual arts, popular culture, and the history of early civilisations. ➢ The term "museum" refers to a location dedicated to the religion of the nine Muses (patron deities of the arts), which dates back to ancient Greece. Classical antiquities began to be displayed in public temples and wealthy individuals' homes. The pinacotheca public exhibition of paintings on diverse religious subjects was held on the Athenian Acropolis during the 5th Century BCE. Art is shown at Panhellenic sanctuaries in Delphi and Olympia. Despite the fact that the collections were shown, they were not arranged, therefore they could not be classified as museums at the time. ➢ In the 340s BCE, Aristotle and the Lyceum began collecting, studying, and classifying botanical specimens, establishing the empirical methodology. A methodical collecting of biology specimens was used to build the modern museum. A library was incorporated in the mousein, indicating its connection to study. Ptolemy Soter established a study institute for intellectual and religious academics around 280 BCE. In antiquity, they had a massive collection of books, which Alexandrians referred to as "other items." Since looting the cities throughout its expansion, Rome has become a museum of Greeks. It featured statues and paintings from Roman public buildings where art was used for aesthetic rather than religious objectives. This marked the beginning of the separation of art and religion. In Pinacotheca, private collections from society's upper crust were on exhibit. ➢ During the Renaissance, the focus changed from painting to collecting items around Europe. The most famous collections in 15th century Florence were those of Cosimo de' Medici, who kept them up until the 18th century. Nonetheless, in 1582, a floor at the Uffizi filled with Medici family paintings was opened to the public, and the collections began to be grouped in cabinets, which became known as the cabinet of curiosities in English. Amateurs and academics alike gathered their finds in cabinets, drawers, cases, and other places. In the 17th century, they were also known as museums. The galleries showed sculptures or paintings that were highly regarded, and this galleria was known as museo. ➢ A significant collection of antiquities and natural specimens belonged to John Trandescent, a British naturalist. Due to financial difficulties, he sold his collection to Elias Ashmole, who in 1675 donated his own collection to the University of Oxford. The Ashmolean Museum's nucleus, the first university museum, was named for this collection.
  • 5. The Ashmolean collection comprised a laboratory, with the preservation of the collection and the promotion of natural sciences and research as its principal goals. It was the first public museum to charge an admission fee to visitors. Public museums became popular in the 18th century. The British Museum was founded in the Museum Fridericianum in Kassel, which opened in 1779, and the Uffizi in Florence, which opened to the public in 1743.The museum had become a well-established institution by the nineteenth century. Researchers and students visited museums at this time. The collection was a powerful tool for projecting authority and establishing a state's cultural supremacy through its ruler. ➢ The Revolutionary government nationalised the King's property in 1793 and made the Louvre Palace a public institution known as the Museum of France. In contrast to previous museums, it was open to the public and free of charge. ➢ Museums became a component of a nation's endeavour to comprehend, shape, and promote itself throughout the nationalist era. It is a method of civilising the nation's citizens. It is an organisation tasked with influencing the public's value system. State art museums would serve as evidence of a state's political superiority and/or virtue. ➢ Museums arose in America as a result of private citizen attempts to create collections and establish museums in order to raise their social position and influence. Non-profit, non-government institutions arose in the 1870s and 1880s. Boston's Museum of Fine Arts, New York's Metropolitan Museum of Art, Philadelphia's Museum of Art, Chicago's Art Institute, and Detroit's Institute of Arts are just a few examples. ➢ Various museums, such as science museums, natural history museums, art museums, and history museums, were founded during the twentieth century. Museum architecture, interior design, exhibition planning, and art were all used to express the modern ideal. Museums in the industrial world continued to operate within colonial, national, and imperial narratives. The second world war aimed to comprehend and replace these narratives. In favour of new postmodern ideologies, modern and conventional museum forms of being are scrutinised. By the end of the twentieth century, little meaningful change had occurred, and more change was required for museum ideologists' benefit. ➢ The twenty-first century ushered forth a new era of passion. Professionals are adapting to the grim history and embracing it, while large intuitions are receptive to change. Museums have a different history than they had in the late twentieth century. During the Coronavirus outbreak, museums were digitalized and made available online. By virtue of their appearance, museums have begun to rediscover new ways to preserve their engagement with their audiences, such as virtual tours, online exhibitions, and so on. To exhibit the traditional display of collections, immersive technology,
  • 6. 3D, and other technologies were applied. Museums are being forced to meet their hero in the mirror as decolonization, anti-racism, LGBTQIA+, and other social movements gain traction. To define their vision of the future, museums employ words like open, accessible, democracy, and participatory. Views of experts around the globe on future museums: • Museums must be redesigned in the future, and this must begin today. It's past time for museums to rethink their business models in order to become more inconspicuous and intriguing. A location where people's well-being and sustainability are emphasised through entrepreneurial and creative ideas. Being a part of the solution leads to betterment. • Museums must be conversation-friendly. Transparency, sincerity, adaptability, resilience, agility, and accessibility must all be portrayed. It has to be distinguishable from its younger self. • Museums serve as a mirror, reflecting events, change, and variety in order to effect social change. Consider, participate, and contribute to the betterment. Dialogue and engaging conversations are promoted by a global community. A future platform allowing people to share experiences that contribute to the larger objective. It must be a site where people may reflect on a variety of events in real-time. • The battlefield savagery and their conscience are not the only things on display at the museum. Individuals can use it as a centre for public research and inquiry. It's a learner's classroom for pupils that demonstrates the museum's commitment to public service. • The era of virtual tourism has arrived, with characteristics such as UX, social impact, Physical, and so on. It's the digital artists' ingenuity in presenting the museum. Furthermore, you may be given guided tours by robots. What can we expect in future museums? • The museum will become more interactive and self-directed in nature. When museum leaders look to the future, they see a shift toward more visitor control and new ways to engage audiences. The current emphasis on in-person, personal, museum-curated experiences will shift to include digital involvement (both on and off- site), self-directed entrance experiences, and visitor curating. As museums aim to broaden their appeal, they will place a larger emphasis on youth-oriented programs. • Museums were already focused on the community, and they will become even more so. Roundtable participants and survey respondents preferred extended hours and evening operation in
  • 7. order to appeal to a greater segment of the population and accommodate working professionals. Moving toward more institutional partnerships for programming and promotion, as well as a shift toward community engagement, is another way for museums to broaden their influence and relevance. • The design of museums will follow suit, becoming more open, friendly, and adaptable. While museums are frequently thought of as iconic instances of municipal architecture, this is changing. Museums of the future will be more hospitable, embracing the public, the transient, and the adaptable in new ways. Leaders are also noticing a shift toward a more balanced mix of energetic and quiet areas. Museums will need to accommodate both the active and the public, without abandoning the conventional, quieter museum experience that many visitors seek. 1.2 Understanding International Museum Industry (Industry Size, Growth Rate, Decline Rate, etc)
  • 8. Key Trends According to the report In April 2020, almost all museums around the world were closed because of the COVID-19 pandemic, according to 94,7% of respondents. During the lockdown, many museums enhanced their digital activities. Some already had an online presence while others increased by 15%. of the museums. 84% museum professionals worked from home.
  • 9. However, the situation for freelance museum professionals is alarming: 16,1% of the respondents said they have been temporarily laid off, and 22,6% have not had their contracts renewed. The freelance sector is very fragile: 56,4% of the respondents stated that they will have to suspend the payment of their own salary as a result of the crisis, and 39,4% said their firms will have to reduce the number of staff. Nearly one third will downsize, and more than one in ten may be forced to close permanently. In relation to museum programmes, 82,6% of the respondents anticipate a decrease and 29,8% expect downsizing in the relevant departments. Finally, 12,8% of participants fear that their museum might close. The closures will particularly affect the regions where museums are recent and few, and where structures are still fragile: in African, Asian and the Arab countries 24%, 27% and 39% respectively, fear that museums may close, compared to only 12%, in Latin America and the Caribbean, 10% in North America and 8% in Europe. In general, the security and conservation of heritage in museums continued throughout the lockdown: about 80% of the respondents said that security and conservation measures were maintained or increased to cope with the lack of staff members onsite. However, in Africa, Latin America and the Caribbean these measures were considered to be insufficient by almost 20% of the respondents. The first report by the ICOM has responses on various questions. They also have data regarding their survey question. • The situation for museums and their staff • What is the current situation of the staff? • What percentage of the staff is still working on-site (including security and conservators)? • Expected economic impact • Digital activities and Communication -Do you have dedicated staff for digital activities? What percentage of your overall budget is dedicated to communication and digital activities? Changes in digital services • Museum security and Conservation - Is security fully maintained with regards to: Exhibition area Deposits/ storages Crime prevention systems? • Is the conservation of artefacts fully maintained with regards to: Structural integrity Systems integrity Environmental conditions?
  • 10. • Freelance professionals or consultants - What is the current situation of the staff of your firm? What is the current situation of the staff of your firm? Is the Covid-19 crisis threatening the future of your firm? Network of European Museum Organizations - NEMO Survey on the impact of the COVID-19 situation on museums in Europe Final Report - It is the best report to know how NEMO supports European museums. The findings in the report are similar to ICOM. • The majority of museums in Europe and throughout the world have closed their doors. According to a NEMO study, many museums around Europe will reopen to the public in May/June 20203. However, museum operations as we know them will not remain the same for a long time. • Due to the shutdown and transit ban, three out of five museums reported losing an average of €20,300 each week. While some museums have seen little impact on their budgets thus far, many others have seen a 75-80% drop in revenue, with larger museums and museums in touristic locations reporting weekly losses in the hundreds of thousands of Euros. • The majority of European museums have not yet had to lay off employees. However, three out of ten museums have put freelance worker contracts on hold, and three out of five museums have completely suspended their volunteer programmes. • Museums are nimbler and more robust when they rely on a diverse range of revenue sources. Private revenue streams, on the other hand, are more sensitive to market fluctuations. According to the poll, museums that rely mostly on private funding have been more vulnerable in recent weeks. • Beyond the immediate crisis, the global decline in tourism has a direct and significant impact on museums. According to the OECD, worldwide tourism activity will decline by 50-70 percent. • Given that cultural tourism accounts for 40% of all tourism in Europe, and four out of ten tourists choose their location based on its cultural offerings, 5, a long-term sharp decline in revenue from museum admissions, shops, and cafes is predicted to endure through the end of 2020. • To cope with the situation, 4 out of 5 museums have increased their digital services to reach their audiences, often by having staff take on additional jobs. Almost half of those who responded said their museum currently offers one or more new online services. • During the reporting period, 2 out of 5 museums reported an increase in internet visitation ranging from 10% to 150 percent. • People visit museums for educational and collection-related content. Apart from social media, museums stated that instructional and collections-related items, such as video and film content, were the most popular among online visitors.
  • 11. • NEMO • Nemo provides financial assistance to museum organisations. • It provides support from European, national, regional, and municipal agencies to help museums around Europe avoid closure. • to ensure that staff salaries are guaranteed, that quality core activities are maintained through projects, and that museums continue to invest in extra actions to link people to their collections. Consumer behaviour is unpredictable. Even once the pandemic is over, the loss gap between tourists and museum institutions must be closed. The institution will incur more costs as a result of the worldwide tourist impact and enhanced health security procedures. NEMO urges the government to assist museums in bridging the gap. They must assist museums in adapting to a new post-pandemic climate by providing the resources required. Museums were closed for an average of 155 days in 2020, and many of them have had to close their doors again since the beginning of 2021, resulting in a 70 percent loss in attendance and a 40-60 percent drop in revenue compared to 2019. Museums have implemented steps such as public awareness campaigns and strengthened security standards, according to the research. It mentions a major drop in public funding, up to 40% in some cases, affecting nearly half of the museums that replied to the poll in the United States. This is concerning because extended closures, as well as the resulting sharp drop in attendance and revenue, have a negative impact on the museum sector as a whole, making it more difficult to maintain efforts to conserve collections, ensure their security, and foster relationships with the public and local communities. The report's authors also emphasise the importance of museums' economic and social activities, as well as their potential contribution to post-COVID rehabilitation. The paper makes several recommendations, including advocating for the adoption of a large-scale digitization policy for inventory collections, as well as measures to encourage education, training, and research. 1.3 Understanding Indian Museum Industry (Industry Size, No of Visitors, Museum Products and trends) Museum products are usually the collections they are selling or the merchandise they are selling to the visitors.
  • 12. • Museums are one of the most important sources of money for many countries as tourist destinations. • Furthermore, they are hubs that invite and nurture ideas, talent, and innovation, as well as investments and international collaborations. • Unfortunately, the bulk of Indian state-run museums do not deliver either learning or entertainment. • Cultural institutions are important for shaping narratives and preserving a country's past, knowledge, traditions, and values. • Museums are institutions that use audio-visual technology to preserve, document, and exhibit a country's tangible and intangible legacy. • They also enable individuals and groups to interact with today's different cultural practices by facilitating conversation between them. An article on the influx and beginning of the museum industry was read by me. Indian audiences have been reshaped as a result of the many stages of conceptualization and development. The museum views the audience's defiant act of appropriation with mistrust and responds with strong behavioural and emotional regulation. 'Museum mindedness' refers to visitor behaviours that align with Eurocentric conceptions of museum involvement, whereas behaviours that do not correspond to these unwritten norms of conduct, such as touching and praying, are discouraged. Such inconsistencies between the visitor's requirements and the museum's behavioural script create a poor experience in the visitor's psyche, prompting her to quit the museum as a final exercise of her agency. In terms of unique and vivid atmosphere, there is a stark contrast between European and Indian museums. To appraise Indian museums based on Eurocentric engagement approaches that ignore the socio-cultural context in which they operate provides little insight into the rich and complicated ties that keep them afloat. Transparency is essential for establishing interaction with visitors and assimilating a foreign and rather unpopular institution like the museum into the cultural environment of its people. Certain ways by which Indian museums can flourish. Museums kindling interest for visitors. Museums in India that have virtual tours. MUSEUM PRODUCT - Museum of Art & Photography The Museum of Art and Photography - The site is interactive, allowing visitors to "binge-watch" its "Art (Is) Life" series of museum tours, performances, and presentations, which includes one by MAP and the Morgan Library and Museum about
  • 13. how "photographs from various post-colonial contexts investigate self- identity." We always talk about the trends being followed at every place. But we also need to understand what are the challenges faced by Indian museums. In India more than 1000+ museums must be existing. But only certain museums are being visited. Museums are supposed to be a place for entertainment, knowledge and engaging information about the collection. However, most of the museums are static which makes visitors lose their interest in visiting museums. Museums are a great way of generating money which can hugely contribute to the tourism industry. • Poor Presentation and design • Lack of Skilled Professionals • Poor quality of preservation • Multiple agencies • Audience engagement • Resource crunch https://www.indiaculture.nic.in/sites/default/files/annual- reports/Final_English_AR_03_12_21_22_12_21_opt.pdf
  • 14. The Annual report of 2020- 2021 from Government of India - Ministry of Culture.The document contains detailed information about the activities conducted by the museums. Fig: National gallery of Art Mumbai Salary Jung Museum
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  • 16. 1.4 Technology for Museum Industry (Products, Features and Brand names) Now is the age of digitization. Museums have understood the value of incorporating interactive technologies into their exhibits. The museum has become more intriguing as a result of this. The museum, as a site of culture, education, and ideas, must cater to the needs of current audiences, which include engagement and nearly universal multilingual communication. Apps, QR codes, touch displays, virtual and augmented reality, and other interactive technologies are being used by an increasing number of museums to facilitate the easy and direct conveyance of information. Several technologies used by other museums globally are as follows: • Story of the Forest in National Museum of Singapore Since 2016, the Singapore National Museum has had a permanent exhibition. This concept was developed over a two-year period in conjunction with museum curators. Kuda Takashi is a member of the Lab, a well-known Japanese digital art collaborative. The exhibition became a thrilling experience as a result of this. It incorporates naturalistic drawings from the collection of William Farquhar, the colony's first British administrator. Flora and fauna drawings are animated and merged into an artificially constructed environment, providing a captivating virtual biosphere for visitors to explore. • Louvre, Paris - Mona Lisa beyond the glass In October 2019, a virtual experience based on Renaissance artist Leonardo da Vinci was launched. It makes you think back 500 years to the artist's 500th birthday. It's a 7-minute virtual reality experience. It includes animation, sound, and interaction with the artist, as well as riding on his flying machine. The museum's and curators' visions for this exhibition were realised in conjunction with HTC's Vivi Arts programmer. • Isabella Stewart Gardner Museum in the exhibition of hacking the heist. (Museum helps in accelerating visitors through digital tools) Isabella Stewart Gardner Museum was the victim of unsolved art theft in 1990. It is now a component of the project Hacking the Heist. To construct a digital representation of the painting, augmented reality was used. Through the use of interactive technologies, visitors are expected to strive to unravel the mystery of this case. Anyone who can figure out the robbery case will be awarded $10 million. It's similar to going on a treasure hunt.
  • 17. • Cleveland Museum of Art - Art Lens gallery The museum is an excellent example of how to create an interactive digital space that includes everything from applications to video games. The Art Lens Wall dock is where visitors must dock their gadgets. Smart screens with motion detection, eye-tracking, and a camera make up this system. Smartphones may access the museum's high-resolution photography collection as well as play interactive art activities. • Artist Amsterdam Royal Zoo A museum dedicated to the microorganisms and viruses that surround us is called the Micropia Museum. Micropia, often known as the Museum of the Invisible Life, effectively combines interactive displays and microscopes with creative multimedia presentations. Microbes are an important part of the human body and the environment, despite being invisible to the naked eye. • The Kennedy Space centre - Exhibition Heroes and Legends It is devoted to the US space program and the heroes who have been to the farthest reaches of the universe. Visitors can experience these moments in 3D using augmented reality (AR) and holograms. While watching the program, all of the sense organs would be stimulated. Where astronauts Alan Shepard, Neil Armstrong, John Glenn, and Jim Lovell share their experiences. This may be the most realistic rocket launch simulation available. • Kremer museum - Steam, Viv port, Oculus, Daydream Only in virtual reality does the Kremer Museum exist. It boasts the most inventive museum concept. It houses a collection of paintings by the Kremer family as well as works by 17th-century Dutch and Flemish masters. This virtual museum was created by the Dutch firm Moyosa Media and designed by architect Johan van Lierop, founder of Architales. Indian Strategies: Strategy for India @75 • The government is going to develop “Smart Tourist Destinations Sites” showcasing theme-based museums and heritage sites. • Develop at least five “World Class Museums” drawing from world- class museums such as Bilbao or the Asian Civilization Museum in Singapore. Further, ease the process of accepting gifts by museums in India. Ticketing and access to monuments and museums. Technological sites
  • 18. From full "walk-around" tours with voiceover descriptions to slideshows with zoomable photographs of the world's best artworks, there's something for everyone. • Google Art and culture (Top 10 museums) • Xplorit.com • Google earth - 360 degree • Youvisit.com (Interactive content solutions) • Several interactive tours have been created tailored to the museums. • Sketchfab 3D and AR for artefacts is the best example. • ACME - ticketing solutions • Navigine is a technology used for indoor and outdoor passageways. • Virtual tour of Museums in India TAGBIN is a company that creates magical experiences. In the field of museums. They provide a range of technologies. • Virtual Walkthrough of museums • Virtual reality in museums • Projection mapping on the stupa • Museum app • Museum Audio Guide • Museum website • The immersive room museum • Image Enhancement technology • Quiz and games in museums • Beacon technology for route identification • Artefacts display with Augmented reality apps • 3D modelling of artefacts Museums leveraging QR codes. Beaconstac QRcode Chimp generator and solutions Museum • J Paul Getty Museum, Los Angeles - virtual tour,“museum view” Xplorit, getty.edu • Vatican Museums, Rome - virtual tour, Vatican City with a You Visit tour, museivaticani.va • Guggenheim, Bilbao - The interactive tour , guggenheim-bilbao.eus • Natural History Museum, London - in this interactive online guide.nhm.ac.uk • Rijksmuseum, Amsterdam - interactive tour,rijksmuseum.nl • National Museum of Modern and Contemporary Art, South Korea - The virtual tours,mmca.go.kr • Musée d’Orsay, Paris - virtual tour, 360-degree view, m.musee-orsay.fr • British Museum, London - 360-degree view in this virtual tour, History Connected,britishmuseum.org • MASP, São Paulo, Brazil - virtual gallery platform, Google Street View,masp.org.br
  • 19. • National Gallery, London - 360-view virtual touring pages, national gallery.org.uk How can museums continue to engage visitors in the tough times of covid 19? • Unique campaigns and series on social media • Real-time live streams (For instance educate students by conducting activities) • Virtual tours - the most common method • Virtual and Augmented reality. Museums boost their exhibitions through digital art. Each of these museums are having innovative techniques to showcase their exhibition. Down below are the museums listed. 1. Whitney Museum of American Art (New York, US) 2. ZKM Centre for Art and Media ( Karlsruhe, Germany) 3. New Museum (New York, US) 4. Walker Art centre (Minneapolis, US) 5. Museum of Modern Art and MoMA PS1 (New York, US) 6. Institute of Contemporary Art (London, UK) 7. Ars Electronica Centre (Linz, Austria) 8. San Francisco Museum of Modern Art (San Francisco, US) 9. Serpentine Galleries (London, UK) 10. Beall centre for Art + Technology (Irvine, CA) 11. Victoria & Albert Museum (London, UK) 12. HeK, Haus der elektronischen Künste (Basel, Switzerland) 13. Intercommunication centre (Tokyo, Japan) certain programs 14. FACT (Liverpool, UK) 15. Hartware MedienKunstVerein (Dortmund, Germany) 16. LABoral Center for Art and Industrial Creation (Gijon) 17. The Frankfurter Kunstverein (Frankfort, Germany) 18. Bildmuseet (Umea, Sweden) When it comes to India it is usually a sad end for engaging in museums. Usually, museums maintained by the government lack funds to keep them up to date and presentable. Public-owned museums try to make a difference. The infographics below are certain museums that have tried to make the experience better. CIME
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  • 21. Indian museums technologies used in museums • National Museum, New Delhi Through the museum's online displays, you can see over 200,000 Indian and foreign artefacts of various types. There is a priceless trove of Indian art and workmanship stretching back 5,000 years for you to uncover, ranging from Arabic and Persian inscriptions and pottery from ancient Peru to bronze marvels, the varied arts of Deccan, and vestiges of Santal musical traditions. • Indian Museum, Kolkata This is the oldest and largest multidisciplinary museum not only in the subcontinent but the entire Asia-Pacific area, so you can't miss it if you're visiting India's most recognized museums, even if it's digitally. Visit its virtual gallery to see over a hundred fascinating and unusual things collected from all around the country and presented in its many galleries. • Salar Jung Museum, Hyderabad Immersive videos on virtual galleries and exhibitions allow
  • 22. you to visit one of the world's largest museums from the comfort of your own home. The fact that the majority of its massive collection of over a million antiques and art artefacts comes from the Salar Jung family's personal collection makes it one of the world's largest one-man collections of artworks. • Victoria Memorial, Kolkata Through a virtual tour of one of Kolkata's most renowned buildings dedicated to the magnificent Queen Victoria, see portraits and paintings by celebrated painters from India and the West, a collection of rare and antiquarian books, manuscripts, and sculptures from the British period, and much more. • National Gallery of Modern Art, Delhi The NGMA is the newest addition to the list of museums that offer virtual tours, allowing you to view more than half of its permanent collection of 300 priceless artworks through its website. The museum's online tour is structured into four levels, each with separate components, similar to the physical gallery. • Allahabad Museum • National Museum - virtual tour curating videos, etc. • NGMA Bengaluru, Mumbai, New Delhi • ASI • IGRMS Bhopal • Museums of India • Virtual Museum of Images and Sounds Audio Visual Heritage • Jaisalmer War Museum • NFAI • The Partition Museum • National Gandhi Museum • National Gallery of Modern Art National Gallery of Model Art, New Delhi -AV guide app The Ministry of Culture and Tourism has launched an app to facilitate information regarding the museum's artefacts. “Museum App” Digitally Stronger -Community and collaboration Virtual Museum Resources, E-Learning, and Online Collections: The Ultimate Guide by men. It has a range and list of museums throughout the globe with Virtual reality libraries to enjoy the museum from home.
  • 23. • #1 Share facts and history about art pieces • #2 Attract more visitors with social media promotion • #3 Collect visitor feedback • #4 Share events • #5 Augmented reality to help visitors experience the museum in real- time • #6 Boost Museum app downloads • #7 Museum guide The museum houses a collection of works of art from all over the world. For art aficionados, technologies like museum QR codes and high-tech equipment like eye-tracking, motion detection, and facial recognition "exceed limits." It's all about placing art front and centre. By presenting iPads and movies in public settings – to people who would not otherwise have access to the museum – technology can help extend communities. Captivator app has an audio guide. Heritage Lab has a library of digital content to promote museums digitally. The Indian Museum of Kolkata started creating 3-D models of paintings and artefacts. They began their project Melody of touch in 2021 as their pilot project. It is a 200-year-old museum. They began creating 3D impressions for visually impaired citizens. 1.5 Innovation & trends in the Museum Industry (Worldwide & India) Top trends and strategies for success.
  • 24. User-Generated Content for museums It only accepts business email IDs and can give an insight into how smaller museums can compete with the well-known museums. Embrace Technology without losing sight of your mission - You must use technology in your campaigns without jeopardising the objective of your institution. To specialise in historical exhibits, you must balance old and new items. Problems can be solved with the help of technology. Sneak peek videos into museum exhibitions. Galleries, zoos, and other non-profits are combining traditional exhibits with cutting-edge technology that allows visitors to interact with the collection in new ways. Virtual reality is being used by the Van Gogh Museum in Amsterdam, Netherlands, to present a unique look of the infamous painter's most famous paintings. The Cleveland Museum includes a digital map that visitors can use on their cell phones to navigate the museum's many exhibitions; this paper-saving feature gives a thorough guide that helps visitors traverse the museum's many exhibits. Story Telling - Tell a diverse, authentic, and engaging brand story. - Building connections with prospective visitors. Although it is quite difficult it is a must. Museum audiences continue to evolve and diversify. The right balance between marketing the museum as an entertainment museum or educational museum. The Mona Lisa, Michelangelo's David, and the Venus de Milo are all popular selfie subjects. Instagram able moments are becoming more common in museum visits, serving as an appealing gift that visitors make themselves. The exhibition "Snap + Share," which is presently on view at the San Francisco Museum of Modern Art, examines the rise of social media, photography, and "selfie culture's" influence on art. The museum is tagged while taking a selfie and publishing it. You'll get your promotion and your museum's hashtag will become popular as a result. Discover and promote new revenue Streams. Making your digital platforms more appealing to your target customers might help you gain greater awareness and generate cash. Visitors can acquire information from anyplace since everybody has a smartphone. The museum is responsible for curating and extending the visitors' experience and knowledge. Museums can now build compelling, interactive displays as well as contests, workshops, and other activities. For example, renting out museum space for activities that will produce cash. Soon, a reliable source of income will be established. The way you use technology and social media to your advantage will affect how many purchases you make and how willing brand advocates are to share their experiences.
  • 25. Museums are making judgments based on data. Data analytics provide practical, numerical, and easy-to-act-on knowledge into museum-goer attendance statistics. With this understanding, institutions may boost visitor growth and attendance, as well as strategize outreach and marketing to broaden audiences and raise donations. Synergic Partners was engaged by the Reina Sofia Museum in Madrid, Spain, to examine visitor traffic trends for a unique Picasso display. The data acquired revealed the most prevalent visitor nationalities, allowing the museum to better meet their needs and expectations. Museums feeding the foodies might seem weird. But in New Orleans National WWII Museum has featured John Bess Diner, a 40s and 50’s style restaurant which is an exhibit to stop and eat. It has created an ambience to create an immersive environment. This plunges the visitors into a world of contemporary with the museum collection. Museums are making a long-term investment in future generations. Science and technology museums, zoos, and geology museums are all using their exhibits to educate the public about important challenges facing our planet and to participate in local and global conservation activities. Breeding projects, conservation efforts, and rehabilitation programmes for endangered and threatened animal species are all part of the San Francisco Zoo's mission, as are educational resources and volunteer-run local conservation activities that give us hope for the future. Strategies that can be used: Building a community and inviting participation -Creative uses of technology can include on-site digital displays and photo walls as well as their online presence. Using hashtags created for your museum can help drive sales and build excitement that can lead to a visit. Make Art more accessible and promote shared experiences - With the help of social media one can get a deeper understanding of how visitors respond to art. This allows them to understand how to connect with millennials. Increase your digital marketing budget, refresh your visual brand, and update your offline marketing assets with high-performing images are some more ideas. AI and immersive exhibition International and Indian museums report is in this report. It contains examples of digital transformations, campaigns that successfully attracted visitors. Digital revenue tools, ideas, and tools.1 1 https://museumbooster.com/wp-content/uploads/2021/08/Museum-Innovation- Barometer-2021.pdf
  • 26. Museum Innovation Barometer - They performed a survey of museums to determine how they had been impacted. Digital platforms such as social media, live streaming, online exhibitions, virtual tours, video games, and podcasts were actively used by institutions. Many people took the risk of experimenting with new digital software, as well as hitherto unexplored venues and channels. This necessitated museum staff upskilling and made remote working more convenient. What role may digital sources play in generating new revenue streams? The impact of technological and digital advancements on the museum sector will be discussed in the pdf. Technology as a success factor has played a major role in the institutions. During the 3 years barometer 2020 had 7.6 rating out of 10. It is expected to rise to 8 in 2023. To show the impact of innovations on museums. The exact innovations have not been shared. But the way they leveraged digital media to the maximum has been shown in the 3 listed museums 1. Qatar Museum 2. TE PAPA TONGAREWA 3. National gallery Singapore ▪ The Qatar Museum established a digital experience team, which included innovation, digital goods, digital content, digital production, research, and analytics. ▪ The team is now updating the websites, incorporating e-commerce, redefining the function of the museum app following the launch of the mobile-optimised websites, and monitoring and analysing the museums' digital presence. ▪ Working with management and organisation technologies like Trello, Monday, Microsoft Teams, Planner, and Click UP to support working across time zones is regarded as necessary when organising an international team. ▪ Humans are at the centre of digital transformation, according to Shaikha Al Thani, Director of Digital Experience. She thinks it's crucial to invest in digital literacy. It must be ingrained in the organisation's culture, beginning with the board of directors and senior management team. The New Zealand’s Museum has engrailed digital mediums in their DNA. TE PAPA TONGAREWA
  • 27. ▪ Te Papa launched a new digital strategy for the next five years in 2015. They continued to develop new digital goods and frameworks in tandem with the digital strategy. Special workshops with the finance, risk, and executive leadership teams to communicate the various agile project techniques. They concentrated on broadening the public's awareness of and access to national collections, stories, and information. They replatformed their online collections in 2017 with a new underpinning collections API, the keys for which were provided to the Auckland Museum. Storytelling and communication operations were improved thanks to a new SaaS Digital Asset Management System. To grasp the advanced behavioural study, they used data analytics, like the user experience team does. Through innovation and the deployment of transformational technology platforms, they were able to increase efficacy and sustainability. ▪ Being well-known. In 2016, Mahuki, a culture-tech accelerator, will partner with the creative tech sector to accelerate innovation. They tackled audience development and transformation in a long-term way. ▪ Residents of the Mahuki were taken to other countries to conduct market research and create connections with possible clientele, thanks to the museum's genuinely global networks. ▪ They held three editions in 2019 to consider the process of developing the Mahuki brand and vision. The concepts learned over the years came in helpful in 2022. According to the museum's annual report, 855,000 individuals visited 39 percent of the whole collection. Singapore's museum recently opened and since then they have embarked on their journey of digital transformation. ▪ The museum aims to achieve the following goals based on the digital strategy outlined in collaboration with an IT & Digital Advisory Board: adoption of new technology and digital initiatives that enhance visitor experience as well as productivity, to ensure the National Gallery stays ahead of the curve in terms of technology advancement; strategic development and implementation of the IT master plan and digital strategy, strategic partnerships and opportunities, identification of new technologies and digital initiatives. ▪ The delivery of seamless, hassle-free navigation through the exhibition rooms, the reform of the ticketing system, and garnering worldwide audiences were all achievements in their work. The search for new techniques to investigate AI-driven businesses continues. ▪ The venue rental team's AI sales assistant has enhanced sales conversion by over 40% by automating sales emails. The museum
  • 28. teamed with Mullen Lowe in the fall of 2020 to create an innovative digital ecosystem, optimise the Gallery's digital solutions, and improve visitor experiences dramatically. #GalleryAnywhere, an online collections search gateway that allows anybody to explore and search for artworks, library and archival content from any location on the earth, is at the heart of the ecosystem. ▪ In the evolution of the museum, data analytics is critical. To better understand visitors, the digital department uses a variety of indicators to analyse their development and evaluate the effectiveness of implementing technology and data analytics tools. ▪ According to Tong, a major challenge as well as opportunity for today's digital officers is keeping up with the latest technology while remaining vigilant in discerning the good from the bad among the ever-growing plethora of available technological opportunities in order to ensure quality investment in the institution. 3 striking social media campaigns were done by Black Country Living Museum, National Western Heritage and Cowboy Museum Oklahoma and Artist in Residence. Black Country Living Museum ❖ Abby Bird, a communication manager, rose to prominence thanks to her tik tok videos, which were named among the top 100 UK accounts for 2020. ❖ Short video clips depicting re-enactors in historic garb, a unique background scenery appropriate for film production, smart narrative, and a tincture of the local vernacular are at the heart of the museum's TikTok account's popularity. As a result, the museum devised an effective and meaningful approach for attracting younger visitors. Artist in residence Musée d ‘Orsay Instagram ❖ In the art world, the concept of an artist-in-residence is well-known, but can it be applied to social media? ❖ With a bold move, the museum collaborated with artist Jean-Philippe Delhomme to attract more attention to many of the artworks in the collection. Every Monday for the whole year, Delhomme was granted complete artistic authority over the museum's official Instagram account, allowing him to post whatever he wanted. Delhomme's pictures were created with the goal of presenting old masterpieces in a new light and putting renowned 19th-century artists in a modern perspective by giving them a voice on social media.
  • 29. ❖ The goal was to get people's attention until the museum opened. They evoked the adhesions or antagonisms they generated at the time by creating moments in an artist's life, some issues or a special novelty of an artwork, and by using fabricated or real comments from the artist's contemporaries. ❖ Without a doubt, Delhomme's illustrations contributed to the Musée d'Orsay's Instagram account growing from 800,000 followers at the beginning of 2020 to 1,2 million now. National Western Heritage and Cowboy Museum Oklahoma and Artist in Residence ❖ Tim Tiller, the museum's head security guard, has been tasked with looking after it. When the pandemic struck in March 2020, the security guard was assigned an additional social media job. ❖ During the pandemic, only state-approved security personnel were allowed to remain on site and contact with the artefacts. ❖ Tim received the Twitter account from Seth Spillman, the head of marketing. ❖ In less than five months, the museum's 8,000 Twitter followers climbed to 300,000, and engagement surged by 385,000 percent.2 How Museums Innovated Over the Past Year (And How They Will Keep Innovating) ➢ The pandemic served as a significant reason for digitalization, as museums sought new ways to attract visitors online. YouTube and Zoom were the most used platforms, with live streaming, online tours, virtual exhibitions, podcasts, and “social media challenges'' being some of the most popular digital formats. Onsite, digital wayfinding and online ticketing have also surfaced to meet the pandemic-related demands of contactless access, while content management systems were increasingly implemented over the past year. ➢ In the survey, a vast majority were clear-eyed about the importance of new technologies as a success factor. Most museums already have technology built into their existing programs — 85 percent report the use of audio and video elements in exhibitions, followed by projections (68 percent), and smart objects such as QR codes and RFID (47 percent) — but crucially, they’re planning to explore future technological implementations. ➢ Comparing the current to the planned tech deployment, the study foresees the most growth in areas such as virtual reality, augmented reality, 3D elements, and online exhibitions. However, little to insignificant interest was noted for newer applications such as 2 The pdf contains digital revenue ideas, smart tools, great ideas, informative research reports on digital revenue. Pg 59 - 78
  • 30. holographic and 4D technologies. In a similar comparison, digital tools such as podcasts, mobile apps, live streaming, and portable audio guides recorded the highest level of planned usage. Technological and digital usage continues to grow A comparison of current and planned usage of technologies in the domain of exhibitions sees the greatest jump of interest in areas such as online exhibitions, augmented reality, and 3D elements. Image: Museum Booster Data comes to the force What kind of data do museums collect? The survey found that most tracked attendance rates, feedback, and demographics. Image: Museum Booster As necessitated by lockdowns, most of the newly adopted tools were audience-facing solutions, but the report notes significant room for growth in access, visitor flow and crowd management, and in digital tools for exhibition planning and curation. As Catherine Devine, Microsoft’s Business Strategy Leader of Libraries & Museums, put it in an interview with Museum
  • 31. Booster, “Museums need to reframe technology and see it as a service and a utility, rather than as a showpiece.” From an article about museum technology innovation and trends. The majority of visitors are unwilling to download the app. There was an amazing AR device used to see the collection inside the article. Using an augmented reality gadget, visualise the dinosaur bones in the device as full- fledged dinosaurs. Although there will be logistical challenges and device maintenance costs. People are willing to pay a fee to include it in their visit. 1.6 Top 20 Museum in the world and Top 20 Museum in India (Name, Location, Entry Fee, Type of Museum, Owned By, Year of Establishment) World Uffizi Gallery, Florence Entry Fee : Gli Uffizi -Regular 12€; Reduced 2€; Entrance reservation 4€ Palazzo Pitti Regular 10€; Reduced 2€; Entrance reservation 3€ Giardino di Boboli Regular 6€; Reduced 2 €; Entrance reservation 3€ Type of Museum: Art Museum, Design/Textile Museum, Historic site /1st modern museum Owned By: Grand Duke Leopold I Year of Establishment : 18th C 1581,Florence , Italy Location; Piazzale degli Uffizi,6,50122, Firenze FI, Italy The Louvre, Paris Entry Fee: Online 17€; at the counter 15€; free admission Type of Museum: Art Museum and historic site Owned By: Built in the late 12th &13th C under Philip II Year of Establishment: 10 August 1793 Location; Rue De Rivoli,75001, Paris, France Museum of Modern Art, New York Entry Fee : 25$ for adult ; free 11:30 -1:30 [group of 25 ] (movie screenings are incl.) ; free for children under 18 ; Snr Citizen 18$ ; Students 14$ Type of Museum: Art museum Owned By: Board is led by David Rockefeller; Ronald. S. Lauder - chairman Founded by: Abby Aldrich Rockefeller, Lillie P. Bliss, Mary Quinn Sullivan Year of Establishment: 7 November 1929 Location; 11W 53rd St York, NY 10019, United States National Museum of Modern and Contemporary Art, Seoul
  • 32. The museum was first established in 1969 as the only national art museum in the country accommodating modern and contemporary art of Korea and international art of different time periods. Gwacheon (opened in 1986), Deoksugung (opened in 1998), Seoul (opened in 2013), and Cheongju (expected to open in 2017) Entry Fee: Tickets for all exhibitions MMCA 4000 KRW; Free entry on the last month of Wednesday - (cultural day deck by the govt.); Free admission for - under 24 or over 65; college student; ICOM/CIMAM card holder Type of Museum: Contemporary Art Museum Owned By: Year of Establishment: 1969 Location; 30 Samcheong-ro, Sogyeok-dong, Jongno-gu, Seoul, South Korea National Museum of African American History and Culture, Washington DC The NMAAHC is the world's largest museum dedicated to African-American history and culture. Entry Fee : Free timed entry passes; groups larger than 12 are not allowed. Type of Museum: History museum Owned By: Smithsonian Institution Offices Year of Establishment: 19 December 2003 opened its hall in Sept2016 Location; 1400 Constitution Ave, NW Washington, DC, 20560 Acropolis Museum, Athens Entry Fee: Each part of the museum is having fees of 10€ - 20€ Type of Museum: Archaeological museum Owned By: Hellenic Ministry of Culture and Tourism Year of Establishment: 2009 June Location; Dionysiou Areopagitou Street, Greece Museum of Qin Terracotta Warriors and Horses, Xi’an UNESCO site in 1987 Entry Fee: Opening hrs 120 yuan per person Type of Museum: Archaeological excavations of the 20th C Owned By: Not able to get Year of Establishment: Oct 1 ,1979 Location; Lintong District, Xi’an, Shaanxi, China State Hermitage, St Petersburg Entry Fee: 600 - entry ticket to the Main Museum Complex and the branches (the General Staff Building, Winter Palace of Peter the Great, Menshikov Palace, the Museum of the Imperial Porcelain Factory) 300 RUB - Entry ticket to one of the Hermitage branches (Winter Palace of Peter the great, menshikov Palace, the museum of the imperial Porcelain Factory, Staraya Derevnya Restoration & storage Centre) Free - Preschool children, students. Free admission on 1st Thursday of each month
  • 33. Type of Museum: Art Museum Owned By: Federal State property; Director - Mikhail Piotrovsky Year of Establishment: 1764 Location; Palace Square,2, Sankt- Petersburg Russia,190000 Rijksmuseum, Amsterdam Entry Fee :€20 for adults and free for children under 18 Type of Museum: National Museum, art museum, history museum Owned By: not clearly mentioned | Taco Dibits - Director Year of Establishment: 1798 Nov 19 | 1885 officially opened Location; Museumstraat 1 Amsterdam, Netherlands Tate Modern, London Entry Fee: Free, charged for only exhibitions Type of Museum: Art Gallery Owned By: Tate (Tate is an institution that houses, in a network of four art galleries, the United Kingdom's national collection of British art, and international modern and contemporary art. It is not a government institution, but its main sponsor is the UK Department for Digital, Culture, Media and Sport.) Year of Establishment: 12 May 2000 | 1st opened in 1897 Location; Bankside, London SE1 9TG, United Kingdom Prado, Madrid | Museo Nacional del Prado Entry Fee: €15; reduced €7.50; free under-18s, students 18-25 and visitors with physical impairments Type of Museum: Art Museum Owned By: architect Juan de Villanueva Director - Miguel Falomir Year of Establishment : Founded: 19 November 1819 Location; C. de Ruiz de Alarcón, 23, 28014 Madrid, Spain Museo Nacional de Anthropology, Mexico City Entry Fee :70 pesos / 80 MXN Type of Museum: Archaeology Museum Owned By: opened by Mexican President Adolfo López Mateo’s in 1964 Year of Establishment: 1964 - founded; Location; Av. Paseo de la Reforma s/n, Polanco, Bosque de Chapultepec I Secc, Miguel Hidalgo, 11560 Ciudad de México, CDMX, México Jewish Museum, Berlin Entry Fee: 0-5 yr. free; reduced 3€; family 14€; normal rate 8 €; students 3€; The price will be certain while booking the tickets depending on which part of the museum or branch you are visiting Type of Museum: Jewish Museum Owned By: not clear
  • 34. Year of Establishment: Founded 2001 Location; Lindenstraße 9-14, 10969 Berlin, Germany Getty centre, Los Angeles Entry Fee: Free Type of Museum: Art Museum Owned By: Getty trust Year of Establishment: December 1997 Location; 1200 Getty centre Dr, Los Angeles, CA 90049, United States MALBA, Buenos Aires Entry Fee: ARS 200 - 400 Type of Museum: Museum of Latin American Art of Buenos Aires; Argentinian Art, Latin American and International Art, Modern and Contemporary art Owned By: Founder Eduardo Constantine not certain Year of Establishment: 20 Sept 2001 Location; Av. Pres. Figueroa Alcorta 3415, C1425CLA CABA, Argentina Apartheid Museum, Johannesburg Entry Fee: School visit -R45 student , teacher 50R; R85 Adult; students and children 70R Type of Museum: Specialized Museum Owned By: Gold reef Casino Year of Establishment: 2001 Nov Location; Northern Park Way and Gold Reef Rd, Johannesburg, 2001, South Africa Museo de Arte de Puerto Rico, San Juan Entry Fee :6$ adult ;3$ children; under 5 free; students with current ID 3$ Type of Museum: Art Museum Owned By: Fundación Luis A. Ferré, Inc. Year of Establishment: 2000 Location; 299 Avenida José de Diego, San Juan, 00909, Puerto Rico Instituto Inhotim, Brumadinho Entry Fee: Free every last Friday; one day ticket - half-day ticket BRL22, full- day ticket 44 BRL Type of Museum: Contemporary Art Museum; Botanical Garden Owned By: Founded by Berbando Paz Year of Establishment: 2006 Location; Rua B, 20 Fazenda Inhotim, Brumadinho - MG, 35460-000, Brazil National Gallery of Victoria, Melbourne Entry Fee: Free Type of Museum: Art Museum
  • 35. Owned By: Andrews govt. Funds the museums, owned not clear | Creative Victoria Year of Establishment: 1861 Location; 180 St Kilda Rd, Melbourne VIC 3006, Australia The Louisiana, Copenhagen Entry Fee: DKK 145 students and students with student card; children under 18 free Type of Museum: Art museum Owned By : Founder Kund W. Jensen Director: Poul Erik Tøjner Year of Establishment: 1958 Location; Gl Strandvej 13, 3050 Humlebæk, Denmark India 20 popular museums There are several websites which have different popular museums. I am choosing the most famous and peculiar one. So, I might exceed in giving the list. National Museum, New Delhi Entry Fee: ₹20 Adult, ₹500 foreign nationals ₹₹₹ Type of Museum: Owned By: Indian Government Year of Establishment: 15 August 1949 Location; Janpath Rd, Rajpath Area, Central Secretariat, New Delhi, Delhi 110011 Indian Museum, Kolkata Entry Fee :₹50 adult ₹children ₹500 for foreigners Type of Museum : National museum Owned By : Autonomous under Ministry of Culture | Director: Shri Arijit Dutta Choudhury Year of Establishment: 1814 Asiatic Society of Bengal in Kolkata Location; 27, Jawaharlal Nehru Rd, Fire Brigade Head Quarter, New Market Area, Dharmapala, Taltala, Kolkata, West Bengal 700016 Sudha Cars Museum, Hyderabad Entry Fee: ₹50 for adults, ₹15 for children Type of Museum: Automobile Museum Owned By: Year of Establishment: 2010 Location; 19-5-15, 1/D, Bahadurpura X Road, APHB Colony, Bahadurpura West, Hyderabad, Telangana 500064
  • 36. Black Magic and Witchcraft Museum, Assam Entry Fee: ₹Free Type of Museum: Archaeological site museum Owned By: Year of Establishment: 2002 Location; Mayang, Assam Human Brain Museum, Bangalore Entry Fee: ₹Free Type of Museum: Science museum Owned By: Director K.A.Sadhana; managed by Others Department of Neuropathology, National Institute of Mental Health and Neuro-Sciences (NIMHANS) Year of Establishment: 14 July 1962 inaugurated ; Location; Hosur Main Road, Sattar Layout, Lak Kasandra, Laljinagar, Wilson Garden, Bengaluru, Karnataka 560029 Salar Jung Museum, Hyderabad Entry Fee: ₹50 Adult , children ₹20 above 5yrs,₹500 foreign visitor, ₹50 for camera Type of Museum: Art museum Owned By: Government of India Year of Establishment: 1951 Location; Salar Jung Rd, near Minar Function Hall, Darulshifa, Hyderabad, Telangana 500002 Rail Museum, New Delhi Entry Fee: Rs 10 for children, Rs 50 Adult on weekdays; On weekends Rs100 for adults and Rs 20 for children Type of Museum: Rail Museum Owned By: Year of Establishment: 1 February 1977 Location; Chanakyapuri, New Delhi, Delhi 110021 Albert Hall Museum, Jaipur Entry Fee :GENERAL ENTRY INDIAN _ - Rs 40; Rs 20 Indian students FOREIGNER_- Rs300 , Students RS150 COMPOSITE ENTRY - Rs300 Indians ,Rs40 Indian students ,Rs1000 Foreign tourists , foreign students Rs200 Type of Museum :Looks like art and music Owned By : Year of Establishment: 1887 Location; Museum Rd, Ram Niwas Garden, Kailash Puri, Adarsh Nagar, Jaipur, Rajasthan 302004
  • 37. Naval Aviation Museum in Vasco Da Gama, Goa Entry Fee: Free | Adult 30Rs children 10 Rs Type of Museum: Military Aviation Museum; History of Indian Naval Arm Air; Aircrafts Owned By: Year of Establishment: 12 Oct 1998 Location; Bogmalo Road, Vasco da Gama, Goa 403806 Shivalik Fossil Park Museum, Himachal Pradesh Asia's biggest fossil park Entry Fee: No information Type of Museum: Fossil Park Owned By: not given | geological Survey of India and Himachal Pradesh Govt formulated in association to create this park Year of Establishment: 23 march 1974 Location; NH 72, Nagal Saketi, Himachal Pradesh 173001 Shankar’s International Doll Museum, New Delhi Entry Fee :Adult 25Rs, Children Rs10, children in groups of 20 will be charged Rs 5 Type of Museum: Doll Owned By: K. Shankar Pillai - largest collection Year of Establishment: 30 November 1965 Location; 4, Bahadur Shah Zafar Marg, near Central Bank, Bahadur Shah Zafar Marg, Nehru House, New Delhi, Delhi 110002 Government Museum, Chennai Entry Fee : INDIAN Adult Rs15, children Rs10, Student Rs 5; FOREIGNER Adult 250Rs, children Rs125, student Rs75 Type of Museum: Art Museum, History Museum Owned By: Ministry of Culture, Indian govt. Year of Establishment: 1851 Location; Government Maternity Hospital, Pantheon Rd, Edmore, Chennai, Tamil Nadu 600008 Chhatrapati Shivaji Maharaj Vaastu Sangrahalaya Entry Fee: Adult 65; children 20; Foreign visitors 300Rs, Group Indian visitors (more than 10) Rs 55, photography 50 Rs Type of Museum: Not specified - History of India from Pre- historic to modern times; Historic Museum Owned By: Year of Establishment: Jan 10,1922 Location; 159-161, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai, Maharashtra 400023
  • 38. Calico Museum of Textiles, Ahmedabad Entry Fee: Free Type of Museum: Textile Museum Owned By: Sarabhai Foundation Year of Establishment: 1949 Location; The Retreat, Airport Rd, Opp. Rani Sati Mandir, Jain Colony, Shahibaug, Ahmedabad, Gujarat 380004 Government Museum Chennai Entry Fee: ₹₹₹₹ Type of Museum: Art and history museum Owned By: Ministry of Culture, Government of India Year of Establishment: 1851 Location; Government Maternity Hospital, Pantheon Rd, Egmore, Chennai, Tamil Nadu 600008 Jawahar Toy Museum- Pondicherry Entry Fee: ₹10 Adults ₹50 Adults foreigners Type of Museum: Toys Owned By: Year of Establishment: Location; Eswaran Kovil Street, Canteen St, Puducherry, 605001 Archaeological Museum in Lothal- Ahmedabad Entry Fee : ₹5 per head Type of Museum: Archaeological Museum Owned By: Year of Establishment: 1976 Location; Saragwala Village, Dholka Taluka, Gujarat, 382230, India Island Museum in Nagarjuna Konda- Andhra Pradesh Reviews and some sites say that the museum is not well maintained and paid attention to. Entry Fee: ₹2 per head Type of Museum: Archaeological Museum Owned By: Year of Establishment: 1966 Location; 522426 Andhra Pradesh Nagarjuna Kona Kite Museum in Paldi- Ahmedabad Entry Fee:₹Free Type of Museum: Owned By: Run by Ahmedabad Year of Establishment: 9 April 1954 Sanskar Kendra City Museum
  • 39. Location; Sankar Kender, Bhattacharya Rd, Kocharab, Paldi, Ahmedabad, Gujarat 380007 Sulabh International Museum of Toilet Entry Fee: ₹Free Type of Museum: I don't know what to categorise it in - Sanitation and hygiene? Owned By: Sulabh International Year of Establishment: 1992 by Dr. Bindeshwar Pathak Location; Sulabh Bhawan, RZ-83, Palam - Dabri Marg, Mahavir Enclave, New Delhi, Delhi 110045 museums. 2.0 Phase 2 Example Should Include, Place, Website, and one paragraph brief with few pictures) NOTE: All the links of the websites referred to will be embedded into the text. 2.1 Community Museum (Concept, Example and Case study 2) A community museum is a museum that serves as an exhibition and gathering place for people of a particular ethnic group or geographic location. Community museums, unlike typical museums, are often multidisciplinary, exhibiting the history, social history, art, and folklore of their communities at the same time. They place a greater emphasis on collaborating with – and being relevant to – visitors and other stakeholders, and as a result, they are frequently more explicitly political than other museums. "A museum's collections are a valuable resource for the community." "They allow people to see things from all around the world without ever leaving town," said Jill Krieg-Accrocco, the Boonshoft Museum of Discovery's Curator of Anthropology and Exhibitions. According to the UNESCO'S report on Community based museums, the inclusion of cultural identity in cultural policies was strongly recommended in 1982, World conference on cultural Policies. "All cultures' equality and dignity must be recognised, as must each people and community's right to affirm and retain its cultural identity and have it respected by others."
  • 40. The community-based approach to museum development is an attempt to reconsider museums' function and mission, as well as the roles and missions of museum curators and the communities that museums serve. Community-based Museum is a search for a community's identity. It’s crucial to try to comprehend how museum collections, and the peoples represented within them, have been seen by the authorities who have been in charge of collecting, exhibiting, and interpreting them in the past. These museums work to preserve cultural or religious objects, as well as indigenous knowledge and traditional skills, from the communities they serve, as well as the environments in which such objects were used, allowing community members to serve as primary stewards of their history and collective memory. This memory, which is the sum total of individual community members' ideas and feelings about the past and present, is continually validated as part of an ongoing interchange among community members. Communities reinforce and protect their identities through this process, which is combined with a shared interpretation of artefacts, visual components, and indigenous creativity. What counts is the significance of conveying and preserving living cultural traditions. Institutions like to be referred to as heritage centres or cultural centres for some reason. This is consistent with their use of cultural heritage and identity as tools to preserve living cultural traditions and innovation, as well as to combat economic and social marginalisation. Examples: • Anacostia Community Museum • Brooklyn Museum • Glasgow Open Museum • Machine project • Wing Luke Museum of the Asian Pacific American Museum 2.1.1 THE THARU CULTURAL MUSEUM In Bachhauli, Chitwan, Nepal, the Tharu Cultural Museum is located. Cultural shows, a souvenir and handicraft shop, a food festival, and museum fees all contribute to the museum's funding. Encouraging handicrafts, paintings, indigenous instruments, costumes, jewellery, jewellery, and other agricultural tools used in working in the fields are among the medium and small collections housed by the museum. It is run by the people of the community. Initially, the Tharu community was averse to the idea of a museum. It is now a facility that employs community members and preserves indigenous artisan skills. Traditional and indigenous knowledge, as well as cultural artefacts and performances, have become the centre of attention in the area.
  • 41.
  • 42. 2.1.2 The Lahu Bamboo Museum A community-based effort in northern Thailand focused on the cultural rehabilitation of indigenous highland peoples. Huay Nam Rin, a highland village in Thailand's northern Chiang Rai Province, is home to the Lahu Bamboo Museum. The museum exhibits the Lahu Sheleh culture group's only such collection, which is a sub-group of the Lahu people. Sacred and profane materials, including current and ancient pictures, posters, maps, and traditional Lahu utensils, are included in this collection, which is displayed in a stilt-based bamboo hut modelled after traditional Lahu dwellings. It is a community-driven, self-governing museum. It displays everything that a cultural institute must have. It all began with a member of the community collecting things to show their culture to the future generation. From here on the journey of the museum began.
  • 43. 2.2 Village Museum (Concept, Example and Case study 2) Village museums are frequently referred to as "outdoor museums." The objective of a village museum is to convey a historical or cultural environment by restoring, rebuilding, or moving many structures. It is frequently used in the context of everyday trades and activities from the past. Examples : • "Dimitrie Gusti" National Village • Burnaby Village Museum • Village Museum, Shilparamam • Hasta Shilpa Heritage village Museum • Weald and Downland Living Museum • Village Museum, Tanzania, etc.
  • 44. 2.2.1 Togo Rural Village Art Museum Tugou Village is a traditional rural village whose residents rely on farming for their livelihood. The Togo Rural Hamlet Art Museum is Taiwan's first art museum named after a rural village, as well as Taiwan's first museum founded by villagers in collaboration with invited artists groups. Its goal is to let art "cope with" the community scenery and local life in order to represent native aesthetics of living, rather than to "transform" the community through art. The village head led the formation of Tugou Village Cultural Development Association in 2002, moving toward a self-creative rural public art and implementing projects such as ox-cart street art, ox-cart installation, buffalo stone carvings, golden paddy field cultural activity, and so on, all in accordance with Taiwan's comprehensive community development policy.
  • 45. 2.2.2The National Museum of Tanzania (NMT) The Village Museum is an open-air museum that was founded in 1967 with the mission of collecting, investigating, and preserving Tanzanian ethnic groups' indigenous culture and architecture. This museum depicts rural life in Tanzania as it could have seemed until recently. Some of the buildings built here are no longer in use, while others, in modified versions, are still in use by the majority of ethnic groups, particularly those living in rural areas. Enjoy your time to look around traditional houses and antiquities, traditional gardens and natural walks, and open curio shops brimming with Tanzanian handicrafts.
  • 46. 2.3 Mining Museum (Concept, Example and Case study 2) Museums specialising in the history of mines and mining. Examples: • National Coal Mining Museum • National Mining Hall of fame and Museum • Big Pit National Coal Museum • German Mining Museum • Gargotta Mining Museum • Coal heritage Park & Museum 2.3.1 National Mining Memorial Centre, Scotland The Lady Victoria Coal Mine was expropriated in 1947 and closed in 1981 in Newton grange, Scotland's largest mining town in the 1890s. The National Mining Museum was founded in 1984 to preserve the physical vestiges of Scotland's Lady Victoria Mine. The mineshaft was 488 metres deep at the time the mine was open for business. Since the mine was closed, access to the mineshaft has been forbidden. As a result, tourists are not permitted to visit the mineshaft. The restoration of mine regions and the coal extraction process, on the other hand, gives tourists a realistic picture. An exhibit
  • 47. gallery of coal mining technology, a display gallery of mining policies and communities, and a library part open to researchers featuring Scottish coal areas, mining technology, geology, mining villages, and more may be found at the National Mining Museum. Tours of the mine's structures are also available, guided by retired miners. 2.3.2 Lancashire Mining Museum at Astley Green, England
  • 48. The Red Rose Steam Society runs the Astley Green Colliery Museum in Astley, near Tyldesley, in Greater Manchester, England. The site was an operating colliery that produced coal from 1912 to 1970 before becoming a museum; it is now preserved as a Scheduled Monument. On what was once the Lancashire coalfield, Astley Green Colliery boasts the only surviving headgear and engine house. Wrought iron lattice girders with riveted plates at the joints make up the helmet. At the top, there are two huge and one small wheels. It was erected by Head Wrightson of Stockton-on-Tees in 1912 and is about 30 metres (98 feet) tall. A dual tandem compound steam engine manufactured by Yates and Thom of Blackburn, who provided 16 Lancashire boilers, is housed in the winding house. Its engine house houses the coalfield's largest steam winding engine. Yates & Thom in Blackburn produced the 3,300-horsepower twin tandem compound engine. The museum also has the UK's greatest collection of colliery locomotives, with 28 in total.
  • 49. 2.4 Heritage Museum (Concept, Example and Case study 2) A Heritage Museum is a museum that focuses on presenting historical and cultural knowledge about a location and its inhabitants. A museum dedicated to presenting historical and cultural information about a location and its inhabitants, as well as, to some extent, natural history of the area. Examples: Indian • Heritage Museums and gardens • Madhya Pradesh Tribal Museum • Heritage Transport Museum • Museum of York country • Dakshin Chitra Museum • Sharjah Heritage Museum 2.4.1 Heritage Transport Museum ,Gurgaum In 2014-15, the museum received the National Tourism Award. The Heritage Transport Museum is a project aimed at showcasing and interpreting India's diverse transportation tales. The museum is the result of one man's passion for transportation-collection — Tarun Thakral. The museum's mission is to share its rich and diverse collection with a broad number of people while also providing them with a pleasurable learning experience. The museum was designed to transfer visitors to a different time period. India's first comprehensive transport museum, which opened to the public on December 7, 2013, brings the history and progress of India's transport heritage to life through a vast and diverse collection of vehicles and accompanying memorabilia. The collection encompasses not only things directly related to transportation, but also the socio-cultural life and art that surrounds it. More than 2,500 handpicked artefacts are on show at the museum, telling the story of India's colourful transportation history. The museum's extensive and diverse collection has been divided into several areas, including pre- mechanized and heavy mechanised transportation, railways, aviation, maritime, collectible Indian transportation toys, rural & indigenous transportation, two-wheelers, and popular & tribal art. The museum also has a large collection of contemporary art, which is presented in various parts throughout the building. Heritage Transport Museum is set over four air-conditioned floors with over 100,000 square feet of display space, a library and reference centre, a mini theatre, a museum souvenir store, seminar rooms, and a snack area, all on a three-acre property. Heritage Transportation Trust, a recognised non- profit trust created on July 18, 2006 and registered under the Indian Trust Act, 1882, built and operates the Heritage Transport Museum. It is planned as a venue that not only provides a glimpse into the history of travel in India, but also engages visitors through its meticulously constructed information
  • 50. ecology. It is the first private museum of this scale in India. In terms of interpretation, exhibition, and communication, the museum is a leader. The museum is designed to be accessible to all visitors, and it promises to treat each one as a unique individual. The Heritage Transport Museum is committed to providing a fun and interesting museum experience for its guests. "The museum was created with the goal of documenting, exhibiting, educating, and disseminating information concerning transportation. It depicts India's transportation evolution and establishes a standard for interpretation, presentation, and communication. It is India's first private museum of its scale, designed as a didactic setting that encourages visitor participation in learning while being a family-friendly experience." Dr Martin Bellamy, research and major projects manager, Glasgow Museums, has rated the Heritage Transport Museum as one of the world's best transport museums. The museum is divided into various segments and almost like several mini museums in one.
  • 51. 2.4.2 Temple Bar Cultural Quarter, Dublin, Ireland In Dublin's city centre, Temple Bar is a 28-acre urban area. During the 1990s, Temple Bar Properties Ltd. strategically revived the neighbourhood as a cultural district by purchasing, renewing, and managing fixed rents. Rental income was re-invested in the property renewal programme and environmental action, as well as utilised to fund cultural enterprises. The cultural quarter's management and governance have gone through several stages. The site's history dates back to the Vikings and includes portions of the mediaeval city's walls. Over Tourism and marketing are putting more
  • 52. strain on the place. Tensions continue between the development of a different branding of place to attract tourists and the development of an authentic and sustainable sense of place for the people of Dublin. Project Arts Centre and the Ark Cultural Centre for Children are two of the 14 nationally significant cultural buildings in the neighbourhood today.
  • 53. 2.5 Future Museum (Concept, Example and Case study 2) Due to the future museum in Dubai, the museum's future concept has become well-known. Museums frequently exhibit artefacts from the past. However, the present and future are displayed in these museums. The Museum of the Future claims to be a hub that brings researchers, designers, inventors, and financiers together under one roof in order to foster solutions to the challenges that future cities face, as well as housing innovations and being a hub that brings researchers, designers, inventors, and financiers together. Examples: • Future World, Singapore - Art Science Museum • Museum of the Future, Dubai 2.5.1 Museum of the Future, Dubai The Museum of the Future is an exhibition space for innovative and futuristic ideologies, services, and products. The Museum of the Future, which is located in Dubai's Financial District, is made up of three basic elements: a green hill, a building, and a vacuum. Life expectancy of machines Hello, my name is AI, and the exhibitions are Climate Change Reimagined: Dubai 2050 and Machine Life. We all know how intriguing the calligraphy on the museum's building is. It's worth noting that they're engineered windows. A dynamic fusion of aesthetics and utility. People of all ages are welcome to come see, touch, and change our shared future at the Museum of the Future. Take a trip into the future and return to the present with hope and knowledge. 'See the future, build the future,' says the museum's motto. Visitors will have the opportunity to interact with the future. Despite the fact that there are other science museums around the world, the Museum of the Future will be unlike any other. Cutting-edge technology ensures an immersive experience like no other.
  • 54. 2.5.2 Future World, Singapore - Art Science Museum The Art science Museum is a wonderful culmination of world-renowned architect Moshe Safdie's efforts and ideas. This lotus-shaped interactive museum, dubbed the "Welcoming Hand of Singapore," is part of the Marina Bay Sands Resort project in Singapore's Downtown Core. It is the world's first 'Art science Museum,' being opened to the public in early 2011.Through a variety of digital interactive installations, immerse yourself in a world of art, science, magic, and metaphor. team Lab, a prominent interdisciplinary art collective, collaborated on this permanent show. Through these key narratives – City in a Garden, Sanctuary, Park, and Space – Future World takes guests on an exhilarating journey of discovery.
  • 55. 2.6 Other innovative types of museums (candles, fruits, coin, car, war, plant) Concept & Example & Case study (1 each) Other than the museum types we know. There is theme-based museum. Apart from this there are also museums specifically displaying certain things. CANDLE Sunrise candles, Moleshwar, Maharashtra Kaarsen Museum Candles Holocaust Museum & Education centre Wax museums - Other wax museums • Laclede’s Landing Wax Museum • Musee Grevin Montreal • Madame Tussauds Blackpool, England
  • 56. • Madame Tussauds - Sydney, Singapore, San Francisco, Washington, London, Las Vegas, Los Angeles, New York, FRUIT - There are various museums that come under the category of food museums. • World of Fruit, Los Angeles • Fruit Museum, Yamanashi • Museo della Frutta -Museum of fruit Francesco Garnier Valets • Mango Museum, Lucknow • Food Museum, Thanjavur • Museum of Pizza, New York • World of Coca Cola, Atlanta • Cup Noodles Museum Osaka Ikeda • International Banana Museum, Mecca • Museum of Ice Cream, San Francisco COIN • Coin Museum (Shanti Krishna Museum of History and Money), Maharashtra • Money Museum, Zurich • The Royal Mint Museum, Wales Car • Sudha Car Museum • National Automobile Museum, Nevada • Shanghai Auto Museum • Emirates National Museum • Toyota Kaikan Museum WAR • Jaisalmer War Museum • Imperial War Museum • National War Museum • HMS Belfast PLANT - Botanical Gardens • Henry B. Plant Museum, Florido • Museum gardens, York • Botanical Garden and Botanical Museum Weird, unusual and unique museums list • Anta rang Museum of Sexual Health, Mumbai • Arna Jharna (Museum of Brooms), Rajasthan (Baywatch Wax Museum, Tamil Nadu)
  • 57. • Mayong Central Museum and Emporium of Black Magic and Witchcraft, Guwahati • National Rail Museum, New Delhi • Dr. Shankar’s Brain Museum, Bangalore • Shankar’s International Dolls Museum, New Delhi • Sulabh International Museum of Toilets, New Delhi • Legends Motorcycling Café, Bengaluru • Virasat-e-Khalsa, Anandpur Sahib • Paldi Kite Museum, Ahmedabad • Purkhauti Muktangan, Raipur • Urusvati Museum, Gurgaon • VECHAAR Utensils Museum, Ahmedabad • INS Kurusura Submarine Museum, Visakhapatnam • Arna Jharna, Jodhpur • MUSEO CAMERA • JD CENTRE FOR ART • THE BIHAR MUSEUM • SARMAYA • DRISHYA KALA by DELHI ART GALLERY (DAG) Sunrise candles museum Dr. Bhavesh Chandu Bhai Bhatia founded the company in 1994 with a single colour and 5 kg of wax. Sunrise Candles has been able to provide skill development training, employment, and self-employment possibilities to 9700+ Divyang, individuals with disabilities, and special people, motivating them to stand on their own two feet and support their families through its 72 production units. NOTE: - Found a wax museum solution they are using for their museum. The Singaria Coin Museum The Singaria Coin Museum in Jodhpur, Rajasthan, is a one-of-a-kind currency museum. It's a never-ending attempt to preserve history and trace the growth of human civilization through numismatics. Since 1999, this collaborative venture of two siblings, Devendra Singaria and Subhash Singaria, has been a museum in progress as a passion project for collecting coins. Mr Devendra and Mr Subhash had been presenting their coin and
  • 58. paper currency collections in various fairs and open exhibitions at schools and institutions around India before founding the museum. The museum claims to have a collection of about 10,000 objects relating to India's and other countries' trading practices and economies. The collection focuses on India's currency (both coins and paper) and its growth over time, from ancient India to successive Mughal, British, and Dutch and French colonial periods. The museum also has a collection of coin dies, as well as some misprinted coins and paper currency from throughout the world. A small library about the history and existence of currency, economics, and numismatic studies is also housed at the museum. Mr. Subhash and his family operate and care for the museum, with no further support from a trust, foundation, or individual. Since the museum is their house and their home is the museum, Mr Subhash and his family have a good balance between public and private space, which is a very unusual and lovely experience for every visitor. Singaria Coin Museum entrance and collection. Fuefukigawa fruit Park,Yamanashi The stages of the fruits have been replicated for you to enjoy. They also offer refreshments at the start. While savouring the natural beauty of fruit, you may learn about the importance of the cohabitation of species and plants on the planet in a pleasant and entertaining way.
  • 59. The exhibition room depicts the evolution of fruit from diverse historical and cultural perspectives, with a focus on Yamanashi grapes and peaches. Tropical Greenhouse is a term used to describe a greenhouse that is located in the tropics. The eight unique fruits of the old Kai Province (grapes, peaches, apples, pears, persimmons, ginkgo fruits, pomegranates, and chestnuts), which have long been produced as Yamanashi specialties, are included in the fruit exhibition gardens, as well as small fruit shrubs. HMS Belfast HMS Belfast is currently a division of the Imperial War Museum, and it receives over a quarter-million visitors each year. MS Belfast, a Town Class Light Cruiser, had a diverse and remarkable career from her debut in 1939 to her final mooring in the Thames in 1971. She was severely damaged by a German mine when she first saw action in World War II, but she went on to escort Arctic Convoys, help in the destruction of the Scharnhorst, and offer assistance for the Normandy landings on June 6, 1944. She was then re- fitted in Plymouth before being dispatched to the Far East. In the early 1950s, she fought again in the Korean War. Automobile Museum
  • 60. There are no stairs, floors, or other features in this museum. Instead, there would be ramps leading into the museum, similar to those found on a racetrack. Where in the museum are the automobiles the main attraction? In the museum, visitors take on the role of spectators. Botanical Garden and Botanical Museum The New York Botanical Garden is a world-famous living museum, a major educational institution, a world-renowned plant research facility, and a conservation organisation all rolled into one. The New York Botanical Garden is a data-rich educational and research environment that connects horticulture to the arts and preserves rare plant collections to attract a wide range of visitors.
  • 61. 3.0 Phase 3 3.1 Museum business case Understanding It's similar to a project manager's report when it comes to museum business planning. Its purpose is to establish whether the proposed changes will be game-changing or will fail. The process of establishing a museum's future objectives and methods for reaching those objectives is known as museum business planning. The Museum Business Planning process produces a document that guides the museum's operations, covering finance, human resources, board of director development, fund raising, marketing, and the museum's purpose, vision, and values. It can be used to introduce new ideas, develop the museum, and so on, with the end result being a museum strategic plan, master plan, and pro forma. • Feasibility Study for a Museum • Strategic Plan for the Museum • Business Plan for a Museum • Master Plan for a Museum What is the purpose of a business case? Museums are becoming more involved with business initiatives as revenue generating becomes increasingly crucial to them. A business case is an important tool for planning and decision-making when starting a new
  • 62. business. It also allows you to inform decision-makers, stakeholders, and other interested parties about your plans. When preparing a business case, you consider the following: • your current situation • the proposed venture's concept • what you want to achieve • the market you're targeting • how you'll approach the market • who does what • costs and earnings • how you'll know what you've accomplished • how and when you'll get the agreed venture up and running • the decisions you recommend for the proposal In the following instances, a business case can be extremely useful: • You're thinking about starting a new business venture that hasn't been done before. • You must determine whether or not to pursue a business opportunity. • The venture will necessitate a financial investment. • You have a limited budget and must prioritise your expenses. • Your venture will require collaboration with others, and you'll need to communicate openly with them about it to gain buy-in and explain roles and duties. A business case can be a very effective communication tool when: • When you need to acquire clearance or buy-in for a project from senior management or stakeholders, a business case may be a very powerful communication tool. • You've been requested to look into a business prospect, but after doing some research, you've determined that it's not a good idea to go ahead with it. • You're looking for finance or a loan and need to demonstrate to the funder that you've thoroughly considered your endeavour. It assists you in determining whether the suggested venture is a good one. It demonstrates to them that you've properly analysed all relevant aspects and come up with realistic, quantifiable goals and figures. A business case also identifies potential disputes, competitiveness, and hazards, as well as ways for dealing with them. 3.2 Component to keep in mind while preparing the Museum Business Case In a concise manner the table of contents would include
  • 63. • Executive Summery -Statement of Purpose Description of the background statement, Goals • Key financial figures (cost; current revenue, expense, and profit; anticipated revenue, expense, and profit; rise in revenue and net revenue [incremental increase]; return on investment; payback period) • Timing and next phases (approval of the business case; detailed marketing plan; design and tender; implementation; continuing review and evaluation, including deadlines) • Recommendation is a term that refers to the act of recommending something to someone Components of a Museum Business Plan: 1. Cover, Name of Museum and Time Span for Plan 2018 – 2023 (Often five years) 2. Table of Contents 3. Executive Summary 4. Introduction 5. Organizational History 6. Organizational Achievements 7. Mission, Vision, Values 8. External Environment (including PESTEL analysis) 9. Institutional Objectives 10. Resources: People, Systems and Assets 11. Museum Finances 12. Financial Forecast 2018-2023 13. Delivery of Business Plan 14. Risks 15. Monitoring and evaluation of planning 16. Appendices 17. Summary Action Plan 2018-2023 18. Staff structure 19. Trustees 3.3 Table of Content to prepare the Business case for the following type of Museum 3.3.1 Community Based Museum A community-based museums are created to preserve the community’s culture. There are many museums that have tried to create museums to
  • 64. show their culture, art, lifestyle, etc. Those places that have intrinsic artistic values or a concept intriguing. All these places can have a museum. Most importantly, community-based museums. In smaller villages I have observed that are villages in Northeast villages include tangible and intangible concepts to create an experience worth remembering. For instance, Aniya village (Nyishi Tribe), and Nampak Village (living museum). They have all the components required to make and construct a simple, yet entertaining museum. This can be considered a community-based museum. For instance, the Namphake Villages' salient features and attractions of the open museum are: 1. Tai Phake community. 2. Namphake Buddhist Monastery. 3. Buddhist Pagoda. 4. Manuscripts are written in Tai language. 5. The Culture and tradition. 6. Bamboo stilt houses. 7. The daily lifestyle of the Tai Phake community. 8. Folk dances. 9. Folk songs. 10. Festivals. 11. Social means of life (marriage and other rituals). 12. Language and culture. 13. Handloom and ethnic dresses. 14. Handicraft items. The current village museums should increase public understanding of the products and services they provide. They're straightforward and genuine. Ethnography museums that already exist must consider technology as a relative. Add 7D, 3D, and AV rooms to show short films and clips in a loop. Audio tutorials with headphones are a fantastic method to learn more about a topic. Location: Garo Heritage Museum - upcoming by the government The government is claimed to be building the Garo Heritage Museum in West Garo Hills. The heritage village would be built to preserve the Garo tribe's traditions. When ethnic villages or heritage museums are located within the communities' borders, they have an advantage.