Research conducted over the past decade has shown the important role new media plays in contemporary society. While many of us engage with new media in our daily lives, the ideals behind archiving, curating, and exhibiting it are still difficult to approach. As more types of new media and digital media are created, we struggle as interior designers to understand how to represent these works spatially. The proposition of a museum for new media will be outlined by assessing a variety of emerging topics. Investigation regarding the historic ideologies of object oriented artwork as well as classic philosophies of the art scene will be contrasted to the modernized requirements of new media. Opportunities regarding displays, casework, and spatial characteristics will also be addressed in relation to the exhibition of new media. Concepts of user comprehension and experimentation in spatial design are also analyzed in relation to this typology. By examining these topics it will become clear that a museum for new media is a typology which needs further assessment in the field of interior design.
Museum designs are typically thought of as very object oriented. Most of these objects are placed behind restrictive glass and ropes. However, the role of new media is to engage with its audience. Presentation and interaction is a key component in the creation of a successful space of this typology. Xia and Li (2009) have stated that “current interactive exhibition methods are so simple that audience participation and presence are not deep enough. So there is still much room for studying and developing new media display methods” (Xia & Li, 2009, p. 1). It is evident from their statement that further development of this typology and the...
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...ltural issues are addressed in the creation of a museum for new media arts. User interaction and engagement is one of the most important factors an interior designer must understand when creating a space of this typology, therefore it would be fitting as a practicum topic. Additionally the ability to study intricate detailing, casework, and the latest materials and technology would assist in gaining a broader understanding of innovations in the field of interior design. With an always increasing amount of content, the archival and exhibition of the works that fall under the label of new media must be better understood spatially. If these issues are not addressed we will soon be overwhelmed by content. By constructing a contemporary new media museum we will be able to create an engaging space which embodies the modern ideologies and spatial requirements of new media.
In “Sacrality and Aura in the Museum: Mute Objects and Articulate Space,” Joan R. Branham argues about the experiences art viewers have in museums based on their surroundings. Her points include how a person is to completely understand and feel a ritual object if it is taken out of its natural context or how someone is able to fully appreciate of work of art if they can’t see it where it truly belongs.
Art made with video is not the type of artwork that comes to mind when a museum is mentioned. Combining video with sculpture is a very unique form of art that a few have explored successfully, such as Tony Oursler. Oursler has taken art into another realm with video that could not have been thought imaginable as he brings his sculptures to life and gives them personality while touching on topics that are considered part of people’s private lives and human behavior. The Reserve Channel is available. Sitting and observing one of Oursler’s sculptures evokes a different experience in comparison to looking at an inanimate sculpture or two-dimensional artwork.
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
...an picking the artifacts. Although I did learn about William Morris and his designs in my history classes I learnt about the concept behind his design decisions and in depth analysis of Morris’s evolution as a designer only when I started working on this exhibit. It is imperative that you do research before arriving on any decision in regard to putting up any exhibit. Furthermore after analyzing the different options, it is imperative that you have facts to back up your decisions of the artifacts chosen. Every artifact that you pick for your case should have direct relation to your concept and it should be consistent among all artifacts. Overall a lot of thought should be put into the exhibit and the concept must reflect the ideas distinctly.
The Metropolitan Museum of Art came about as an idea from Jon Jay in Paris, France in 1866 with the idea of “national institution gallery of art” within the United States. Once this idea was proposed, it was immediately moved forward with his return to the United States. With the help of the Union League Club in NY they began to acquire civic leaders, businessmen, artists, and collectors who aided in the creation of the museum. For over 140 years, the visitors who go here have received everything the mission of the institution states.
In Stephen Weil’s essay, he argues “the museum’s role has transformed from one of mastery to one of service” (Weil, 196). According to him, museums have changed their mission from one that cultures the public to one that serves
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
Paola Antonelli, design curator at New York’s Museum of Modern Art (MoMA), in her talk in 2007 claimed that there is a possibility to approach to the idea of the design as an instruction or a direction rather than a prescription of form. During resent decade, many designers have tried to separate art and design and introduce the design as an independent tendency. They believe that the essence of art and design are different. Professor Jae-Jin Shim explained that “Art is something driven by instinct, but design has to be based on a rational and commercial purpose” and John Maeda in 2012 argued that there’s a difference between art and design, and it matters. “Designers create solutions – the products and services that propel us forward. But artists create questions — the deep probing of purpose and meaning that sometimes takes us backward and sideways to reveal which way “forward” actually is.”
...f structure, a museum. The one contradiction in the contemporary design theory that Libeskind dares to fight is that to work in the upcoming century means to work with reduced means. His works pose optimism in the sense that architecture, if filled with a satisfactory amount of reasoning, and justification with the help of the advancement in material technology, and the foremost, creativity, will be able to address the profound of any project seeking for poetic embodiment. While modern architects have tried hard to eradicate the traces of history from the forms, postmodern architects like Liberskind would embody the traces of history in between the forms. In Lisbeskind’s Jewish Museum, the invisibility, the implication, and the embodiment come first, then the advancement of material methodology assists the build of the visibility, and the physical infrastructure.
New museology is the modernisation of museums. New museums are made to be more interactive and more interesting for the visitors. Displays in the museums are no longer covered in glass and people are encouraged to look more closely and interact with displays. The museums are brighter are the displays...
‘Savage Beauty’ was an exhibition that pushed the boundaries of museology, in its artistic, social and critical undertakings. The questions brought to bear by the exhibition of contemporary art and culture in various situations is something I am interested in researching further with a degree in curating.
Meijenfeldt, E. V., and Geluk, M. 2003. Below ground level: creating new spaces for contemporary architecture. Birkhauser
Interior design is one of the most important professions. When thinking of design and architecture industry, it is necessary to keep in mind that the professionals emphasis on matters of everyday life when commencing a project. Important sectors of interior design consist of: residential, commercial, hospitality, healthcare, education and corporate designs. Thus, the field deals with numerous factors and affects almost everyone in some way. Design is goal-oriented– it strives to achieve a certain purpose. An essential goal of interior design is to create functional spaces that convey a specific mood for an audience using design elements, thus outlining a design for communities versus individuals.
...ad. They change opinions and perspectives and cause people to think in ways they normally would not just because of the sheer power of the exhibits around them. They are a necessity in society because it betters and cultures the population, making the world greater as a whole. I am thankful that museums are taking the initiative to becoming more modernized, adding twenty first century touches to the exhibits as well as creating virtual tours. Even though they do not compare to being there in person, it is a step in the right direction. We need museums more than most know, anything they can do to ensure they do not become a thing of the past, they should. I am glad I got to experience this class this semester, it changed my warped views on museums and caused me to appreciate them more. I am thankful to have learned more about myself through these remarkable museums.
Constantly judged and evolving, the practice of architecture is forever plagued by the future. The future of people, of culture, technology and its resulting implications on the built environment that more often than not, outlives their creators. Much of the conversation surrounding this future architecture currently hinges itself on the creation of new experiences, forms and spatial relationships brought about by technological innovation.