DOCSLIB.ORG

Project Team

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Project Team Media Contacts: Thea M. Page, 626-405-2260, [email protected] Susan Turner-Lowe, 626-405-2269, [email protected] Project Team EARL CORP ., I RWINDALE , C ALIF . LEAD ARCHITECT AND GENERAL CONTRACTOR Founded in 1932, Earl Corp., Irwindale, Calif., is a desig n/co nstruction firm with projects ranging from commercial buildings to schools and historic restorations. Their building projects include the UCLA Plant Physiology building, Los Angeles; the Mt. SAC Science Building, Walnut, Calif.; the Walnut City Hall; the City of Fontana Development Services Building; and the historic 1929 Grace Nicholson building, which now houses the Pacific Asia Museum, Pasadena. In 2004 Earl Corp. completed the 90,000-square-foot Munger Research Center on the grounds of The Huntington. With oversight by Bert England, senior vice president, Earl Corp. served as the lead architect and general contractor for the major renovation of the Huntington Art Gallery (2006–08). For this project, the firm researched archival documents related to the original design and construction of the 1911 structure, surveyed and assessed the building’s condition, and, working closely with Architec- tural Resources Group, San Francisco, the project preservation architect, prepared drawings, specifica- tions, paint color analyses and discovered samples of interior and exterior material finishes from the building’s archaeological sites. ARCHITECTURAL RESOURCES GROUP , S AN FRANCISCO , C ALIF . PRESERVATION ARCHITECT Architectural Resources Group (ARG), San Francisco, is a firm of architects, planners, historians, and conservators providing a range of services to clients with historic or culturally significant properties. Founded in 1980, ARG has managed projects that have included design of new structures in sensitive environments, renovation and adaptive use of historic structures, planning for historic districts and communities, and conservation of historic materials and finishes. With oversight by Stephen Farneth, FAIA, ARG provided design and preservation services for the major renovation of the Huntington Art Gallery. For this project, the firm provided historical documentation and evaluation, conceptual design and planning for the new and existing galleries, and specifications for building systems and materials. This involved evaluating the historical significance of various spaces and architectural features of the 1911 building, as well as developing plans for circulation, entry, and space utilization. ARG specified finish materials and developed repair strategies. Working closely with Stephen Saitas Designs, New York, the Gallery’s exhibition designer, ARG also laid out design details for the new and renovated gallery spaces. The Huntington Library, Art Collections, and Botanical Gardens I 1151 Oxford Road, San Marino, CA 91108 I 626.40 5.2100 2 STEPHEN SAITAS DESIGNS , N EW YORK EXHIBITION DESIGNER Stephen Saitas Designs, New York, has designed more than 150 installations and exhibitions in museums, galleries, historic houses, and libraries since it was established in 1982. Recent projects include the Nathaniel Lord Britton Rotunda and Elizabeth Britton Gallery for science collections at the New York Botanical Garden; “Ehon: The Artist and the Book in Japan” at the New York Public Library; “The Arnhold Collection of Meissen Porcelain, 1710–50,” at the Frick Collection, New York; and the reinstallation of the American wing period rooms at the Metropolitan Museum of Art, New York (scheduled to open in 2009). As exhibition designer for the renovation of the Huntington Art Gallery, which included the complete reinstallation of the European art collection, Saitas focused on balancing the requirements of displaying the works of art—visibility, protection, conservation—with the historic architecture of the house. This resulted in exhibit elements such as cases, platforms, and pedestals designed so they neither overwhelm the objects nor contrast strongly with the architecture. Working closely with the curatorial team, Saitas also decided the exhibit elements should not look as though they were part of the original house, nor glaringly modern. For this reason, the design of decorative details such as the moldings around windows and doors was simplified for use on the new platforms and cases. Similarly, paint and fabric colors for the cases play a supporting role, leaving the star roles to the objects. # # # Updated 4/08.
Load more

Recommended publications
  • The Emerging Voice of the Exhibition Designer
    BOYCHER, ASHLEY, M.S., The Emerging Voice of the Exhibition Designer. (2010) Directed by Dr. Patrick Lee Lucas. pp. 77. Of the little writing available today authored by exhibition designers, most consists of manual-like instructions or pretty-picture compendia, though often interesting and even inspiring, not nearly enough to represent their field as a relevant, necessary profession. Turning to data drawn from exhibition designers’ personal experiences as well as their words deeply imbedded within a widely read museum publication, in this thesis I mined and shared exhibition designers’ voices as they relate to the exhibition development process and the broader professional museum culture. Specifically, I studied the imagery and text published from 1970 through 2009 in Museum (formerly Museum News), the American Association of Museums’ journal that has covered the museum community’s trends and issues for more than eighty-five years. I also interviewed a purposeful sample of five exhibition professionals with varied backgrounds and current foci, and, thirdly, I analyzed data collected from my own participant observations as an intern in the 3-D Exhibition Design Department at the Field Museum of Natural History. Critically silenced, often neutralized and sometimes ignored in the past, my research finds that exhibition designers have emerged at the crossroads rather than the margins of exhibit development. They have evolved their field and in terms of what museums and audiences expect of them, but designers continue to struggle to have their voices and roles considered "scholarly" equal to other museum professionals. This project intends to contribute, if even in a small way, to understanding the place of exhibition design in museums of the past forty years and the fluctuating present, as well as lays groundwork for future investigations.
    [Show full text]
  • Recruitment Pack Exhibition Designer
    Recruitment Pack Exhibition Designer (3D) Exhibition Designer (3D) £28,292 - £30,766 [pro rata if part time] per annum plus membership of Civil Service pension scheme Fixed term up to 30 June 2019 We are looking for a creative and enthusiastic Exhibition Designer (3D) to join our in-house Design team. National Museums supports an exciting programme of special exhibitions critical to bringing in new audiences, as well as repeat visitors. Your role will be to assist with the design, development, planning, preparation and delivery of these exhibitions, and to work with colleagues across a number of departments, and externally, to ensure that exhibitions and galleries throughout our five museums are maintained to the highest standard. You will be educated to degree standard in a relevant professional design qualification and will have proven relevant experience of design and production, preferably with some graphic design skills. You will be able to think creatively and will enjoy working to tight deadlines in a busy and fast-paced environment. You will need to demonstrate an ability to work under pressure and to operate effectively, both independently and as a team member. This is a fixed term post up to 30 June 2019. To make an online application for this post and to find further details of this post and of all our vacancies please visit www.nms.ac.uk. If you require further information telephone 0131 247 4094 (answerphone) or email [email protected], stating reference NMS18/815 Closing date for completed applications is Tuesday, 03 April 2018. It is anticipated that the selection event will take place around the middle of April 2018.
    [Show full text]
  • Exhibition Narrative: the Spatial Parameters by Regan Forrest
    Exhibition Narrative: The Spatial Parameters by Regan Forrest Regan Forrest is a PhD Candidate he designer Fiona Romeo recently for whom the audience’s sight lines at the University of Queensland. described exhibitions as being and the sequence of scenes is (usually) She may be contacted at “more of a dance than a sequential a known quantity in the crafting of [email protected] T experience” (quoted in Cornish, 2013), narrative, the exhibition designer has far and I think she was onto something. By less control over the manner and the order If you would like to comment on depicting museum exhibitions and visitors in which displays will be encountered. this article or others in this issue, as dance partners, the metaphor captures And like coming into a movie halfway please go to the NAME page on the free flowing, patterned but not quite through and trying to pick up the threads Facebook or send us a tweet predictable interaction between the two. of character and plot, finding yourself @NAMExhibitions. Furthermore, like dancing, visiting an moving through the exhibition the exhibition is an embodied experience: we “wrong” way can be confusing. don’t passively watch an exhibition, we actively move through it, and it is only Despite these inherent difficulties, through our activity that the exhibition exhibition development is still usually experience manifests itself. Which raises guided by an idealised “storyline,” …visiting an the question: how much can the dance albeit with the tacit acceptance that this of the exhibition visit be choreographed? storyline will be an approximation—at exhibition is How much should it be? best—of the eventual visitor experience.
    [Show full text]
  • E. Rhodes and Leona B. Carpenter Foundation Conservator for Asian Art Position Summary: the Newark Museum Seeks a Full-Time Cons
    E. Rhodes and Leona B. Carpenter Foundation Conservator for Asian Art Position Summary: The Newark Museum seeks a full-time conservator for a two-year minimum posting to oversee the conservation of the Museum’s Asian collections, one of the larger and finest collections of Asian art in the United States. The Conservator for Asian Art oversees the safekeeping, proper installation and conservation of all Asian works in the Newark Museum’s permanent collection (approximately 30,000 works). The conservator also assists with processing potential out-going loan requests with regard to their physical condition, potential treatment and recommendations and/or oversight of appropriate packing/crating. The successful candidate will have at a minimum a Master’s Degree and three years’ experience as a conservator, a record of successful treatments and proven ability as a manager. Working closely with the curatorial, registration and exhibitions department, s/he will have the reputation and skills to build partnerships. The individual will be able to coordinate outside contract conservators where the work required is beyond their own area of expertise. The conservator will report to the Curator for the Arts of Asia and work closely and collaboratively with the registrar, collections manager and exhibitions department as well as with colleagues throughout the Museum and its contractors. Duties and Responsibilities: • Design, oversee and implement the appropriate re-housing of selected groups of objects—particularly the Museum’s collections of Asian
    [Show full text]
  • 1 | Page the EVOLUTION of 'IMMERSIVE
    THE EVOLUTION OF ‘IMMERSIVE’ EXHIBTIONS AT THE V&A MUSEUM, LONDON – 2008-2021 By Victoria Broackes and Geoffrey Marsh 1. Introduction GCDN members have expressed interest in the potential of ‘immersive’ exhibitions and related ‘experiences’ as programmatic elements that can meet their ambitions for broadening the base of their audiences. Audience analysis does demonstrate that these ‘experiences’ offer the opportunity of a cost-effective option with the ability to attract larger and more diverse audiences. As a result, there is particular curiosity about whether there is a basic underlying methodology, which can, however, create varied outputs that are faithful to the character and mission of their own districts. A comprehensive study of immersive exhibitions would require a book, so, as a starting point, this review examines the experience of the Victoria & Albert Museum in London – where we and colleagues have curated a series of immersive exhibitions over the last fifteen years. It stresses this was an evolutionary journey where skills, opportunities and confidence built up over time. However, the growth of a (semi-) commercial immersive exhibition market over this period means that GCDN members may have the opportunity of short circuiting such a process by connecting to an increasing number of ‘off the peg’ products, systems and creators in the post-Covid world. Sections 2, 3 and 4 trace the evolution as it happened, not simply as a matter of record but also to illustrate the interplay of opportunities, technology, sponsorship and other factors that impacted what was produced. Those seeking a summary overview may best move directly to Section 5 onwards.
    [Show full text]
  • Researching the Visual Qualities of Exhibition Design With
    Researching the Visual Qualities of Exhibition Design through Experimental and Cross- Disciplinary Methods This paper is based on my ongoing PhD research, INTRODUCTION particularly on the questions of practice-based research combined with theoretical analysis. In this This research was motivated by my curiosity towards paper, I will try to briefly clarify and give some museums. What relationship exists between cultural history examples of the use of experimental and cross- museums and museum objects? What does a museum disciplinary methods in design research. I will start by represent? As a research target, museums have been examined analysing the relationships between museum objects from several viewpoints, including the pedagogical, the and cultural history museums based on the historical and the ideological.[1] In terms of cultural history museums, these viewpoints do not usually concern the question assumption that the practices used for representation of visuality. My own approach is different and formed from the create meanings. I am particularly interested in how basis of my background education as an artist and a designer. meanings are built into such visual elements of My material-based knowledge of glass and practices in the exhibition design as light, colour and materials. The visual field strongly influence my interpretation of perception process of meaning creation is semiotic in nature and and experience. Therefore, my research concerns the visuality exhibition design always contains several layers of of exhibition design in cultural history museums. I am particularly interested in how meanings are built and created meanings, which exist simultaneously in a spatial through visual elements in exhibition design.
    [Show full text]
  • Cathleen A. Baker, Phd Résumé
    Cathleen A. Baker, PhD Résumé 1513 Long Meadow Trl Ann Arbor, Mich. 48108 – 9633 [email protected] • [email protected] • www.thelegacypress.com/ EDUCATION 2004 PhD, mass communication, College of Communication and Information Sciences, University of Alabama, Tuscaloosa; dissertation: “The Press that Cotton Built: Printing in Mobile, Alabama, 1850 –1865” 2000 MFA, book arts, University of Alabama; courses included history of the book; graphic and typographic design; letterpress and fine printing; hand papermaking; bookbinding; boxmaking; decorating paper (marbling and paste); 1998 summer internship on punch- cutting/typefounding with R. Stanley Nelson at the National Museum of American History 1986 MA, art history, Syracuse University; courses included hand papermaking, letterpress and fine printing, bookbinding, art history, archives management; awarded “Graduate School Master’s Prize for Thesis in the Humanities” and “Graduate School College of Arts and Sciences Master’s Prize” for “Audubon’s Birds of America: A Technical Examination and Condition Survey of the Four Volume Folio Set Belonging to Syracuse University” (http://thelegacypress.com/miscellaneous.html) 1984 Honorary Certificate, painting and paper restoration, Technology [Restoration] Department, Courtauld Institute of Art, University of London 1976 Advanced internship, Prints and Drawings Conservation Department, British Museum 1967 AB, art history, University of Michigan EMPLOYMENT and COMMITTEES 2016 Member, Advisory Committee for a UCLA/Getty Book and Archives
    [Show full text]
  • |||GET||| Exhibition Design 1St Edition
    EXHIBITION DESIGN 1ST EDITION DOWNLOAD FREE Philip Hughes | 9781856696401 | | | | | Exhibit Design The Exhibition Design 1st edition will often mirror the architectural process or schedule, moving from conceptual plan, through schematic design, design development, contract document, fabrication, and installation. Many different companies will have their own multi-purpose system that may be used for the construction of smaller Exhibition stands, there are several different systems available and training into the specifics of each is usually conducted on a case by case basis. More Pendant lights sculpted from pebble stones and bronze bowls cast from objects found on hikes are among the pieces on show at Alpenglow Projects gallery in Vancouver. Ralph Appelbaum AssociatesU. Automotive design Automotive suspension design CMF design Corrugated box design Electric guitar design Furniture design Sustainable Hardware interface design Motorcycle design Packaging and labeling Photographic lens design Product design Production design Sensory design Service design. Museums Exhibition Design 1st edition should be the same as what is found in a retail store, Exhibition Design 1st edition the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. Additional Product Features Dewey Edition. A wealth of visual material includes photographs of completed exhibitions by world-renowned designers, concept drawings, computer Exhibition Design 1st edition, charts and tables of information--all for
    [Show full text]
  • Exhibition Curator Brief Purpose of the Role Screen South Is Looking To
    Exhibition Curator Brief Purpose of the Role Screen South is looking to recruit an experienced Exhibition Curator to devise and deliver a ground-breaking disability history exhibition across three sites, as part of the National project - History of Place. The Curator will work with the History of Place team, our Museum Partners and Record Offices to research and source original artefacts and material for three separate exhibitions drawing this material together to tell compelling stories about the lives of deaf and disabled people in relation to built heritage. The Curator will also be responsible for devising different methods of interpretation, including finding the most innovative and appropriate ways to feature oral histories film and digital assets alongside original artefacts. The exhibitions will be of the highest quality and pioneering in their approach, ensuring they are representative of and accessible to, deaf and disabled people and they must be vibrant and engaging for a range of audiences, many of whom will know nothing about deaf and disability history. The Curator will be supported by a Curatorial and Design Advisory Panel with representatives from our partner Museums: the V&A, The Museum of Liverpool and Bristol Culture, as well as the project Archivist and Digital Content Editor. Screen South will also be recruiting an Exhibition Designer who will work closely with the Exhibition Curator. Background to the Project Screen South is a not-for-profit Creative Development company operating in the wider creative and cultural community. Screen South delivers and leads innovative projects across screen-based media and the wider heritage, cultural and creative industries.
    [Show full text]
  • Window Shopping: Commercial Inspiration for Fashion in the Museum." Fashion, History, Museums: Inventing the Display of Dress
    Petrov, Julia. "Window Shopping: Commercial Inspiration for Fashion in the Museum." Fashion, History, Museums: Inventing the Display of Dress. London: Bloomsbury Visual Arts, 2019. 31–62. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781350049024.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 00:32 UTC. Copyright © Julia Petrov 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 WINDOW SHOPPING: COMMERCIAL INSPIRATION FOR FASHION IN THE MUSEUM In his work on the “exhibitionary complex,” Tony Bennett (1996) showed how nineteenth-century museums and galleries were intimately connected in their design and conception to the expanding commercial architecture of the same period. The technical possibilities and visual experiences of industrial exhibitions and shopping arcades found analogous applications in museum spaces. As Mackie noted, “Both the retail shop and the public repository are designed for the display of information that is predominantly visual: looking is a means for possession as well as knowledge” (1996: 325). This blurring of commercial and intellectual cultures within the museum continues to create unease and controversy, particularly in the case of fashion exhibitions (Anaya 2013; Gamerman 2014). This chapter investigates how the introduction of fashion—an increasingly important economic and social product in the industrial period—into museums created new connections and tensions between these two worlds. It was because of its position between the disciplines of economy and history that historical fashion entered and was interpreted in museums.
    [Show full text]
  • Fall 2017 · Lsa.Umich.Edu/Kelsey · Page 1 KELSEY MUSEUM of ARCHAEOLOGY UNIVERSITY of MICHIGAN
    KELSEY MUSEUM OF ARCHAEOLOGY FALL 2O17 NEWS Fall 2017 · lsa.umich.edu/kelsey · page 1 KELSEY MUSEUM OF ARCHAEOLOGY UNIVERSITY OF MICHIGAN KELSEY MUSEUM STAFF Charlie Brown, Custodian NOTES FROM THE DIRECTOR Kathryn Carras, Museum Entrance Monitor Keith Dalton, Security Officer Suzanne Davis, Curator of Conservation Geoff Emberling, Associate Research Scientist Dear Friends of the Kelsey Museum, Sebastián Encina, Collections Manager Julia Falkovitch-Khain, Website Coordinator Michelle Fontenot, Collections Manager It is a great pleasure to be writing to you as director of the Kelsey Museum of Elaine K. Gazda, Curator of Hellenistic and Roman Archaeology, a position I have held since June 1, having served as acting director Collections since January. Many of you know me already. I have worked at the Kelsey for 23 Dawn Johnson, Associate Director/Chief Administrator Patrick Lindberg, Lead Security Officer years, as curator in charge of the Museum’s Graeco-Roman Egyptian collections. I’ve Sandra Malveaux, Secretary researched and published material from the collections, curated special exhibitions Scott Meier, Museum Exhibition Coordinator and permanent installations at the Museum, given lectures and tours, directed Laura Motta, Research Specialist Sarah Mullersman, Coordinator of K–12 and Community our publication program, and worked behind the scenes in administration and Outreach governance. I have a long history at the Kelsey and a deep commitment to its success Catherine Person, Educational and Academic Outreach Coordinator and future. Emily Pierattini, Assistant Exhibition Designer I’d like to thank our outgoing director, Christopher Ratté, for his four years of Richard Redding, Research Scientist hard work and service to the Kelsey Museum, and also for his help to me in my Janet Richards, Curator of Dynastic Egyptian Collections Caroline Roberts, Conservator months as acting director.
    [Show full text]
  • Collection Management Policy for SFO Museum San Francisco International Airport
    Collection Management Policy for SFO Museum San Francisco International Airport Last Updated October 20, 2020 Airport Commission Resolution No. 20-0199 Introduction, History and Statement of Purpose Governing Authority, Advisory, and Affiliated Support San Francisco Board of Supervisors San Francisco Airport Commission Airport Director Collection Review Committee Exhibition Committee SFO Museum Advisory Board The San Francisco Aeronautical Society San Francisco Arts Commission Scope of Collection Aviation Collection Non-Aviation Collection Props Curatorial Library Acquisitions and Accessioning Policy Strategy Procedures Collection Review Committee: General Intake Procedures Collection Review Committee Actions Method of Accessioning: Gifts, Bequests, and Donations Method of Accessioning: Purchase Method of Accessioning: Transfer Method of Acceptance: Gifts and Bequests of Cash Documentation Reporting Deaccessioning and Disposal Policy Criteria for Deaccessioning Considerations for Deaccessioning Approval for Deaccessioning Disposal SFO Museum, Collection Management Policy 2 Disposal Methods for Donated Objects or Objects Transferred from Another City Department Disposal Methods for Purchased Objects or Objects Transferred from Another Airport Division Disposal by Destruction Records of Deaccessioned Objects Proceeds from Sale of Deaccessioned Objects Stolen or Lost Objects Procedures Incoming Loans Policy Procedures Outgoing Loans Policy Procedures In-House loans Policy Procedures Exhibition Loans Staff Research Loans Unclaimed Loans,
    [Show full text]