This project was an attempt to investigate the art museum as an specific building type as well as the issues involved in the design of spaces for contemporary art. As every architectonic object, art museums are deeply connected with the functions they must fulfil and must act on the user as a stimulus which requires a behaviour response.*
According to Michel Foucault museums are sites that have the curious property of being in relation with all other sites, but in such a way as to suspend, neutralize, or invert the set of relations that they happen to designate, mirror or reflect. The museum space is capable of juxtaposing in a single space several sites that are in themselves incompatible . Its space begins to function at full capacity when men arrive at a sort of absolute break with their traditional idea of time.
Designing a new museum requires a strong concept. An art museum should never be made as a neutral, weak thing. It should be made new and passionate. The museum space should create possibilities for the unpredictable. A space that is inspired, unconventional, unafraid of taking risks, humorous, provocative and spontaneous.
The new museum shouldn’t be there to train people how to answer but how to question. That what’s the new museum is for.
* Umberto Eco, taken from ’How an Exposition Exposes Itself’ quoted in Neil Leach, Rethinking Architecture, Routledge, London 1977, p.202.
Michel Foucault, Taken from ‘Of Other Spaces: Utopias and Heterotopias’ quoted in Neil Leach, Rethinking Architecture, Routledge, London 1977, p.15.
Patrick Healy, Beauty And The Sublime, SUN Publishers, Amsterdam 2003
Writer and commentator Adam Gopnik has described the mindful museum as a place that is primarily about the objects it contains while also recognizing that it should not seek to explain what cannot be explained. “And that means simply that wall labels and explanatory text of all kinds should be as modest and invisible as conceivable,” he said in the first annual Eva Holtby Lecture on Contemporary Culture at Toronto’s Royal Ontario Museum just months before the ROM opened its Michael Lee-Chin Crystal addition in June 2007. How should museums interpret Gopnik’s view in today’s world of flat screens and wireless networks and one where most museum and gallery visitors can receive instant information via their cell phones, Blackberrys and iPods. And where does that leave the ROM as it grapples with technology solutions for providing context and interpretation in its powerful new gallery spaces? Created by Brian Porter for the 2008 Technology in the Arts: Canada Conference.
The great challenge to museum architecture lies in providing for the often conflicting uses of the building. On one hand, the important objects in the collection must be preserved, and preservation often requires very specific environments. On the other hand, museums make parts of their collection available to the public, so the environment must be comfortable for people, enabling their movement through the space and providing for their safety.
The Museum possesses the largest collection of the world famous Gandhara Sculptures after Lahore. There is also a well appointed library in the Museum, which meets the needs of the scholars and students through its stock of 4600 books and references of arts and allied subjects.
Writer and commentator Adam Gopnik has described the mindful museum as a place that is primarily about the objects it contains while also recognizing that it should not seek to explain what cannot be explained. “And that means simply that wall labels and explanatory text of all kinds should be as modest and invisible as conceivable,” he said in the first annual Eva Holtby Lecture on Contemporary Culture at Toronto’s Royal Ontario Museum just months before the ROM opened its Michael Lee-Chin Crystal addition in June 2007. How should museums interpret Gopnik’s view in today’s world of flat screens and wireless networks and one where most museum and gallery visitors can receive instant information via their cell phones, Blackberrys and iPods. And where does that leave the ROM as it grapples with technology solutions for providing context and interpretation in its powerful new gallery spaces? Created by Brian Porter for the 2008 Technology in the Arts: Canada Conference.
The great challenge to museum architecture lies in providing for the often conflicting uses of the building. On one hand, the important objects in the collection must be preserved, and preservation often requires very specific environments. On the other hand, museums make parts of their collection available to the public, so the environment must be comfortable for people, enabling their movement through the space and providing for their safety.
The Museum possesses the largest collection of the world famous Gandhara Sculptures after Lahore. There is also a well appointed library in the Museum, which meets the needs of the scholars and students through its stock of 4600 books and references of arts and allied subjects.
The oldest building still in use in the world is the Pantheon in Rome. It was built in 117 AD, nearly 2000 years old. It must look a bit odd when it was first completed. The building is round and has an enormous dome on top. Looking at its exterior now it may not look much, but it is still one of the most admired buildings in the world, mainly because of its age and the construction technique used in the building. I wonder if any of our iconic buildings today would survive as long. Would they still appear as aesthetically pleasing as they are now?
The Guggenheim Museum Bilbao is such an iconic building today. It has become the landmark of the city of Bilbao. Just like the Tower Bridge to London, the Statue of Liberty to New York, and the Eiffel Tower to Paris. In this sense the Guggenheim Museum of Bilbao is a big success. Nobody can take that away. Not only has the building shown us the use of new construction technique and the use of new material, it was also completed on time and within budget. I was not sure how to look at the building before my visit. But after looking at it, I think it is a great building and a piece of architectural art.
The Natural History of Unicorns: Museums, Libraries, and Technology Collabora...Martin Kalfatovic
Presentation for American Society of Information Science and Technology /The Catholic University of America, School of Library and Information Science Student Chapter. April 25, 2003. Washington, DC.
This Presentation is prepared for Graduate Students. A presentation consisting of basic information regarding the topic. Students are advised to get more information from recommended books and articles. This presentation is only for students and purely for academic purposes. The pictures/Maps included in the presentation are taken/copied from the internet. The presenter is thankful to them and herewith courtesy is given to all. This presentation is only for academic purposes.
This is a power point intended to allow groups to talk about space considerations when building or changing their museum building. It is only an orientation and not a complete one but gets staff to understand that architectural space planning is really a common sense narrative that they can accomplish with the aid of a sympathetic architect.
A note explaining the genesis of a photo-study tiled \'Museum Diaries\' and meaning behind its photographs exhibited at
http://rlproject.weebly.com/ajaib-ghar-ki-dastanein-museum-diaries.html
The oldest building still in use in the world is the Pantheon in Rome. It was built in 117 AD, nearly 2000 years old. It must look a bit odd when it was first completed. The building is round and has an enormous dome on top. Looking at its exterior now it may not look much, but it is still one of the most admired buildings in the world, mainly because of its age and the construction technique used in the building. I wonder if any of our iconic buildings today would survive as long. Would they still appear as aesthetically pleasing as they are now?
The Guggenheim Museum Bilbao is such an iconic building today. It has become the landmark of the city of Bilbao. Just like the Tower Bridge to London, the Statue of Liberty to New York, and the Eiffel Tower to Paris. In this sense the Guggenheim Museum of Bilbao is a big success. Nobody can take that away. Not only has the building shown us the use of new construction technique and the use of new material, it was also completed on time and within budget. I was not sure how to look at the building before my visit. But after looking at it, I think it is a great building and a piece of architectural art.
The Natural History of Unicorns: Museums, Libraries, and Technology Collabora...Martin Kalfatovic
Presentation for American Society of Information Science and Technology /The Catholic University of America, School of Library and Information Science Student Chapter. April 25, 2003. Washington, DC.
This Presentation is prepared for Graduate Students. A presentation consisting of basic information regarding the topic. Students are advised to get more information from recommended books and articles. This presentation is only for students and purely for academic purposes. The pictures/Maps included in the presentation are taken/copied from the internet. The presenter is thankful to them and herewith courtesy is given to all. This presentation is only for academic purposes.
This is a power point intended to allow groups to talk about space considerations when building or changing their museum building. It is only an orientation and not a complete one but gets staff to understand that architectural space planning is really a common sense narrative that they can accomplish with the aid of a sympathetic architect.
A note explaining the genesis of a photo-study tiled \'Museum Diaries\' and meaning behind its photographs exhibited at
http://rlproject.weebly.com/ajaib-ghar-ki-dastanein-museum-diaries.html
Leeser Architecture creates iconic designs emerging from sites' cultural, social and technological patterns. Using technology to reframe the understanding of architectural conventions and production, Leeser Architecture is morphing powerful environments by shaping and refocusing the conventional awareness of these forces to create complex and richly varied spatial experiences, new programmatic relationships and beautifully simple organizations.
Institutional, office, residential and mixed use cultural, hospitality and retail projects, museums and performing arts centers are areas of particular interest and expertise.
Museum Anna Nordlander (abbreviated MAN) is a local museum in Skellefteå which needed a re-branding of their homepage. They used to be more of a community than a museum since they didn’t have a physical place to call their own. Ever since they got a place, they feel that the ‘cloud feeling’ was gone. They wanted to change the perception of just being a local museum to also be available on the web, to reach more people.
We were to develop a brand strategy for MAN and make a concept of a website. It was important that the website would be easy to administrate and moderate. Our core concept for that website was to make it simplistic and straight on the point, and to make use of already established social media networks (MAN already have a facebook group for example)
Museum Case Studies
http://en.wikipedia.org/wiki/Museum
A museum is an institution that cares for (conserves) a collection of artifacts and other objects of scientific, artistic, cultural, or historical importance and makes them available for public viewing through exhibits that may be permanent or temporary.[1] Most large museums are located in major cities throughout the world and more local ones exist in smaller cities, towns and even the countryside. Museums have varying aims, ranging from serving researchers and specialists to serving the general public. The continuing acceleration in the digitization of information, combined with the increasing capacity of digital information storage, is causing the traditional model of museums (i.e. as static "collections of collections" of three-dimensional specimens and artifacts) to expand to include virtual exhibits and high-resolution images of their collections for perusal, study, and exploration from any place with Internet.[citation needed] The city with the largest number of museums is Mexico City with over 128 museums. According to The World Museum Community, there are more than 55,000 museums in 202 countries.[2]
Evaluation of the Thermal Comfort in the Design of the Museum Routes: The Thermal Topology
* Ph.D. Candidate SELMA SARAOUI1, Dr. AZEDDINE BELAKEHAL 2, Dr. ABDELGHANI ATTAR 3 Dr. AMAR BENNADJI 4
1 Department of Architecture, University of Bejaia, Algeria.
² Laboratoire de Conception et de Modélisation des Formes et des Ambiances (LACOMOFA), Department of Architecture, University of Biskra, Algeria.
³MCB at the Department of Architecture, University of Bejaia, Algeria.
4 The Scott Sutherland School of Architecture and Built Environment, the Robert Gordon University, UK
E mail: saraoui.selma@gmail.com , E mail: belakehal@gmail.com , E mail: attar.a.ghani@gmail.com , E mail: a.bennadji@rgu.ac.uk
A B S T R A C T
Museums are nowadays among the most popular projects for the public, the concept of thermal comfort in museums is often treated after the realization. Even if in the design, the architect shows a particular intention to work with daylight which is considered for these projects as main, the architect often considers certain elements that have an influence on the energy balance of these projects such as: orientation, building materials. The museum route is the key to the success of any museum project, it is the space of the visitor, the space in which he is invaded by sensations. In this study, we will first evaluate the thermal comfort in the museum as a whole (building) and then through its route. The objective is to guide reflection in the design of the museum towards the route in order to reduce energy consumption. In order to carry out our study, some European museums were analysed by means of simulation, according to the thermal comfort of their designs for the most unfavourable conditions, then by a thermal analysis of the museum route according to the segmentation principle using the average radiant temperature. This method allowed us to bring out correspondences between the architectural form and the route. Finally, the segmentation method constitutes the basis of a new methodological approach called "thermal topology" based on the discontinuities of the temperatures in the route.
A presentation by Alessandro Califano for the UNESCO capacity building training for museum professionals in Uzbekistan, running under the title: "In Quest for Excellence: Museums Between Local and Global Presence".
Tashkent, June 2008
Deconstructive Architecture and Its Pioneer Architects Rohit Arora
The concept of deconstructive architecture and main pioneers of deconstructive architecture. Town hall finland, Jacques Derrida ,Frank O Gehry , Bernard Tschumi, Zaha Hadid,Galaxy Soho, JVC entertainment Centre, Guggenheim Museum Bilbao.BMW Central Building.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
TESDA TM1 REVIEWER FOR NATIONAL ASSESSMENT WRITTEN AND ORAL QUESTIONS WITH A...
Amsterdam West Museum for Contemporary Art
1.
2. Context : Amsterdam West Amsterdam West is one of the largest examples of the strong tradition of design at the service of society realized in the Netherlands in the Twenty Century. This tradition favors interventions at large scale in order to deal with issues of housing and social planning. The concept of the modern open city of which Amsterdam West is an example can be characterized by ideas of easy infra-structural accessibility, good dwelling, well designed green areas and the absence of public cultural facilities. This area is also an example in which many post-war projects have changed under the influence of demographic developments. Amsterdam West is now an area with a large number of immigrants, and with an intense building activity near the West Ring and around the stations, introducing opposing economies in a relatively small area . Mohammed B
3. museum site Location: Sloterplas North Proposal : a program which reflects the need for cultural facilities in Amsterdam West. In Amsterdam West the lake is an area which is underused, and that was the first consideration of decisive importance for choosing the site.
4. Definition: According to Michel Foucault museums are sites that have the curious property of being in relation with all other sites, but in such a way as to suspend, neutralize, or invert the set of relations that they happen to designate, mirror or reflect. For Foucault the museum represents the idea of accumulating everything, of establishing a sort of general archive, the will to enclose in one place all the times, all the epochs , all forms, all tastes, the idea of constituting a place of all times, that is itself outside the time and its ravages, the project of organizing in this way a sort of perpetual and indefinite accumulation of time in an immobile place, an heterotopia. Their role is to create a space that is other, another real space, a space of illusion that exposes every real space, a space as meticulous as well arranged as ours is messy, ill-constructed and jumble. study cases: boijmans museum (rotterdam)
5. Entrance Interior Typology As a public institution, the art museum is a product of the taxonomic Nineteen Century, a century obsessed with categories. It testimonies the belief in the power of reason and the capacity of men to perfect himself. The first spatial configurations of art museums can be described as followed: four walls, light from above, two doors, one for those who enter, the other for those who exit.
6. Interior Typology The White Cube The unadorned white box museum typology appeared in the 1950's born out of a Nineteenth Century scientific approach to cultural items, and out of Positivist thinking. Experienced as neutral in form and surpassing all ideologies, this typology was much more ideological in nature than any other form of museum design. The late modernist museum white box was a concept that, having becoming sacrosanct in Western Europe and the United States, denounced all other museum ideas as reactionary and anti-democratic.
7. Interior Typology The Black Box It was in 1977 when Roger’s and Piano’s project for the Pompidou Centre was executed that the white box mould was finally broken, losing the art museums their elite character to become a more popular and a commercial public space. The Pompidou in Paris was a conscious critique of the elitist model, a building as a political statement, and inspired to locate art for people within a an approachable framework.
8. The proliferation of museums in the 1980's and 1990's in the United States, Europe and Japan has produced a new type of architecture for art, the iconic landmark building. This new type of architecture has to be an amazing piece of surreal sculpture and something that appeals to a diverse audience, at once provocative and general and without the past justifications that religion and ideology once provided. There is nothing wrong with such sophisticated architectural enterprise except when an iconic building doesn’t need work of art inside, becoming the building enough in itself. Interior Typology Cafe
9. Interior Typology Lounge and Lecture Hall Looking at the museum architecture of the latter half of the twenty century, it is obvious that the requirement of creating space for exhibition was often treated as just a small fact next to the primary importance of architecture [1] . What is common to these architecture tours-de-force is that they compete with what they enclose, ironic since these architects learned from art of the minimal/conceptual era. [1] Brian O’Doherty, White Box, Black Cube, Space Architecture For Art. Circa , Dublin, 2005.
10. Interior Typology Office Another new typology for the contemporary art museum is the found space. That is the case of Tate Modern in London ( 2000, architects Herzog and de Meuron) and Palais de Tokyo in Paris ( 2002, architects Lacaton and Vassal). The found space provides an antidote to the over packing for all purpose made art buildings. What we see now is a peculiar treatment of space: architects adapting existing buildings have a template from which to operate, trying to recuperate the existent alienation through the construction of a place where identity might be reclaimed in the midst of art.
11. The garden is a rug onto which the whole world comes to enact its symbolic perfection, a kind of happy, universalizing heterotopia since the beginning of antiquity. It enters fully into function when men find themselves in a sort of total break of their traditional idea of time. Michel Foucault, Of Other Spaces . Landscape study cases: Schoonoord, Rotterdam Museum Park, Rotterdam Kew Gardens, London
12. Project Site . 1.The angled planes of water for the swamp garden works as a reflective surface alongside the building. 2.The parking is located next to the building, surrounded by green area and can be used as open cinema in the summer. 3.The sculpture garden is located next to the parking area 4.The backside garden was expressly designed for relaxing and taking time off from all the activities happening inside the museum. The main idea for the landscape design of this building was to give emphasis to sensory perception, in order to capture the visitors attention from the moment space is discovered. Placed on an existing green area, each façade of the building has now an associate garden. (see 1,2, 3, 4) 1 2 3 4 Landscape
13. Ground Floor Architecture Wing A Wing B 1 2 3 4 5 5 5 5 Legend: 1.Kitchen 2. Cafe 3. Lecture Hall 4. Shop 5. White boxes and black cubes galleries for temporary shows and installations for permanent collection 6. Toilets 7. Archive 8. Storage 6 7 8 This project was an attempt to investigate the art museum as an specific building type as well as the issues involved in the design of spaces for contemporary art. As every architectonic object, art museums are deeply connected with the functions they must fulfil and must act on the user as a stimulus which requires a behaviour response. [2] Given that space is never empty space, but as Foucault observed, it is always saturated with qualities [3] , I want to argue that the crucial question facing the design of an art museum is that exhibition space should not be perceived as an abstract, neutral space, but as the space for lived experience, not remote from the mind, the body and its sensations. [4] [2] Umberto Eco, taken from ’How an Exposition Exposes Itself’ quoted in Neil Leach, Rethinking Architecture , Routledge, London 1977, p.202. [3] Michel Foucault, Taken from ‘Of Other Spaces: Utopias and Heterotopias’ quoted in Neil Leach, Rethinking Architecture , Routledge, London 1977, p.15. [4] Patrick Healy, Beauty And The Sublime, SUN Publishers, Amsterdam 2003
14. Architecture First Floor Wing A Wing B 5 5 6 12 12 5 13 9 10 11 Legend: 5. White boxes and black cubes galleries for temporary shows and installations for permanent collection 6. Toilets 9. Main Hall 10. Library 11. Offices 12.Auditory and Projection Room 13.Entrance Imagined originally resembling a gun, the concept of the building was generated by the complexity of the brief which had to be realized within a single building. The very real pressure for this project was to develop in the building an idea of how best a museum can show its collection and how to keep people coming back to look at them.
15. Second Floor Wing A Wing B 15 5 5 14 Legend: 5. White boxes and black cubes galleries for temporary shows and installations for permanent collection 14. Offices 15. Computer room Architecture The proposal was presenting this museum more as a multidisciplinary art centre than just a museum, trying to coordinate in the spatial articulation of this building an architectonic feeling that there the visitors are going to experience art in an space that will challenge, stimulate and inspire. Designed with a split in two wings, this building has a double attitude: to the community and to what it contains. To the community the building represents a place for group interaction, a mall, an entertainment zone. To what it contains the building has to be able to create in the visitor the atmosphere for viewers deep in introspection to stand before works of art.
16. Architecture Roof Museums bound up in contemporary culture are conscious of the notion that their identities are tied to their buildings . Designing a new museum requires a strong concept. An art museum should never be made as a neutral, weak thing. It should be made new and passionate. The museum space should create possibilities for the unpredictable. Wing A Wing B
17. A space that is inspired, unconventional, unafraid of taking risks, humorous, provocative and spontaneous, and not that kind of dowdiness settings that make you think that people only see the pictures and not what is around them. The museum shouldn’t be there to train people how to answer but how to question. That what’s the museum is for. What we need is not simplicity or functionally, but an architecture that stimulates our senses, and also our reason [5] . [5] Arie Graafland, The Socius Oof Architecture, 010 Publishers, Rotterdam 2000 Perspective .