ICAMT Online Conference

International Committee for ICAMT Architecture & Museum Techniques Online Conference - 2020

October 7th - 8th

Architecture & Exhibit Design

New Challenges for Museums Institutions

General Editor ICAMT (International Committee for Architecture & Museum Techniques)

Proofreading & Juliana Blanaru Text Preparation Lia Ana Trzmielina

Graphic Design Md’A Design Agency Kiana Taleb-pour

Result’s Editors Alessandra Labate Rosso Danusa Castro Maddalena d’Alfonso

Institutions

Sponsors Imagemakers An Award Winning Design Agency

7. Jessica Boffa p.85 1 8. Kiem-Lian The p.91 9. Manuel C. Furtado Mendes p.102 The Organization p.5 II. New Challenges for Museums p.115 ICAMT p.6 Board Members Involved p.7 Introduction by p.116 Keynote Speakers p.10 Annamaria Ravagnan & Maddalena d’Alfonso 1. Ali S. Kiran & Celal Kaplan p.124 2. Gaia Turchetti p.131 2 3. Eleanna Avouri, Harriet Cliffen, p.139 Nenad Jončić, Giulia Osti, The Online Conference p.13 Douglas Pritchard, Francesco Opening Speech p.14 Ripanti, Marina Toumpouri Final Program p.17 4. Kali Tzortzi p.148 Speakers p.20 5. Maria Maystrovskaya & p.157 Alexander Kuprin 6. Nara OHK p.162 7. Patrícia Martins p.173 3 8. Yulia Petrova p.181 The Sessions p.33 I. Architecture & Exhibit Design p.34 4 Introduction by Nana p.35 Meparishvili & Danusa Castro The Conclusion p. 186 1. Aleid Hemeryck p.37 2. Craig Brandt p.45 3. David Masters p.54 4. Elena Montanari p.61 5. Fernanda Carvalho p.69 6. Gustavo Penna Arquiteto & p.75 Arquitetos Associados 1 The Organization ICAMT Board Members Involved Keynote Speakers 7 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 1 The Organization | ICAMT 6 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT ICAMT Chair of ICAMT ICAMT of Chair Nana Meparishvili Nana We very much hope that the pandemic situation will be controlled next year, allowing us us allowing year, next will be controlled situation the pandemic that hope very much We projects. fulfillto our with ICOM Italy’s working groups on “accessibility” and “exhibition fittings recycling”, two two recycling”, fittings “exhibition and “accessibility” on groups working Italy’s ICOM with Committee. our for themes important near future. the for plans many has ICAMT but activities, our current short, in are, These competences, intend to establish an ongoing collaboration aiming to work on joint joint on work to aiming collaboration ongoing an establish to intend competences, glad is cooperate to ICAMT institutions. museum of focused strengthening on projects activities or projects with the purpose of engaging and attracting new members from from new members attracting and the purpose with engaging of projects activities or the Caribbean. in Latin America and Committees National their within di Milano, Politecnico and partners. ICAMT our with happy are We and collaboration among ICOM members in Latin America. During the Forum, ICOM ICOM in Latin America. During the Forum, members ICOM among collaboration and relevant their most promote and themselves will introduce Committees International ICAMT often collaborates with ICOM other committees. In November this year, ICAMT ICAMT year, this November In other committees. ICOM with collaborates often ICAMT ICEE by organized Committees, International ICOM will for take part in the 2020 Forum networking, ideas, exchanging for space a to create aims Forum The LAC. ICOM and stakeholders in the project. ICAMT will be represented in the section World Happiness, Happiness, in the section World will ICAMT be represented in the project. stakeholders Happiness”. and “Museums the topic with span from 2020 to 2030. On October 15-16, 2020 there will be two days of digital and digital and will 2030. On October of 2020 to there 15-16, 2020 be days from two span globally involving the world, to the coalition present to meetings Italy) (in Parma, physical together businesses, institutions, and individuals involved in a collaborative effort. Built Built effort. in a collaborative involved individuals and institutions, businesses, together and Action Climate Economy, Regenerative pillars: strictly three interdependent around a time with endeavor social, environmental and economic, an is it Happiness, World In addition to the Annual Conference we are just launching, one of our plans for 2020 is 2020 is for plans our of one launching, just are we Conference the Annual to addition In which groups a global platform 20|30”, “Regeneration on ICAMT and ICOM present to newsletters, and by other means of communication. We are always happy with and proud proud and with happy always are We communication. of means other by and newsletters, institutional 21 and 615 individual count 2020, we For members. Committee our of the world. all over members Nowadays ICAMT provides a forum for communication between its members and and members between its communication for a forum provides ICAMT Nowadays and the website by workshops, and conferences organizing by persons interested other in which information, best practices and ideas come together with aspects from the the aspects with from together ideas come best and practices in which information, exhibitions. of the techniques and buildings the museum of the techniques architecture, ICAMT is one of the first International Committees of ICOM, listed in ICOM News on on News ICOM in listed ICOM, of Committees International the first of one is ICAMT isthe ICAMT Committee (1949), creation of date official its 1948. Since 1st, October, 1 The Organization | Board Members 7 courses, specializing in safety and risk risk and specializing in safety courses, in and collections heritage of management (Green processes certification environmental in Leadership LEED Council for Building Design). Environmental Energy and 2014, in September inception its Since Technical of also the position has held she CLÉ – Reserva of Director Contemporânea solutions), storage collections and (museum technical part in effective taking an kind different with interface and operations collection private and (in museum clients of sector). Alessandra frequently embarks on training training on embarks frequently Alessandra © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT of the International Council of Museums Museums Council of the International of 2019/2021). (2012/2018 and - Brazil) (ICOM Council of Museums (ICOM) (2013/2016 (2013/2016 (ICOM) Museums Council of 2016/2019), Secretary Board and ICAMT of a Board was member (2019/2022), and Committee for Architecture and Museum Museum and Architecture for Committee the International of (ICAMT) Techniques existing museums, and projects for storage storage for projects and museums, existing collections. and museums of areas the International of a Board is member She collections, complementary projects for the the for projects complementary collections, of revitalization new or of implementation dedicated to the technical control the technical control to dedicated and national in many collections of of management exhibitions, international Museums, Cultural Projects - since 1988. 1988. - since Projects Cultural Museums, been has she 30 years, During the last Contemporary Art of the University Art of Contemporary (1984–1987). São Paulo of - Exhibitions, EXPOMUS for works She Museology at the Università Internazionale Internazionale the Università at Museology (1989). Italy Florence, in dell’Arte of the Museum at worked Alessandra Armando Alvares Penteado Foundation, Foundation, Penteado Alvares Armando in Specialization with Brazil, São Paulo, Graduated in Visual Communications (1986) (1986) Communications in Visual Graduated - FAAP Design (1987) at Industrial and Board Members Involved Members Board Alessandra Rosso Labate Secretary ICAMT 6 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 9 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 1 The Organization | Board Members 8 her cum laude cum Specialization in Art History and Museology Museology and in Art History Specialization the origins on thesis a with & Museography art museum the Brazilian of architecture and M A SP. Catalogue as worked has 2000, she Since important an for Registrar and Manager art collection. private Italian elected was Board Member 2019, she In the takes part at currently and ICAMT of “Recycling group working Lombardy ICOM fittings”. exhibition museum of a Museology as also works Danusa a Project as and FTG-Arte for Consultant Hoxby. for Manager After her graduation in Communication in Communication her graduation After in Marketing postgraduation Sciences and Italy to moved in 1993, Danusa in Brazil, concluded she in 1998, where, Conference Moderator Danusa Castro Danusa Member Board ICAMT © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT opened in April 2022. in April opened Finland, where the permanent exhibitions exhibitions the permanent where Finland, Lapland Northern and Museum the Sámi of will Siida and be Centre renewed Nature Archipelago Museum, opened in June 2018. 2018. in June opened Museum, Archipelago in Inari Manager a Project as works she Now Manager at Espoo City Museum in Finland, in Finland, Espoo Museum City at Manager in planning Manager a Project as and Pentala carrying a new museum, and out international exhibitions to new museums. new museums. to exhibitions international Exhibition an as several years worked has She over 20 years of experience in exhibition experience in exhibition of 20 years over managed has She management. project and local from and projects of kinds various Eeva Kyllönen is a museum professional with with professional a museum is Eeva Kyllönen ICAMT Treasurer ICAMT Eeva Kyllönen Eeva Kyllönen 1 The Organization | Board Members 9 cum © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT doctorate in Interior Architecture, Architecture, in Interior doctorate Presidency of the Italian Republic for her her for Republic the Italian of Presidency projects. previous Museography and Set-up. and Museography 2016 Redreceived the Dot has architect The the of Medal the Representation and Award Associate Professor, following the following Professor, Associate laude and cultural projects, emphasizing on on emphasizing projects, cultural and visual culture. to accessibility qualified is Member ICAMT The Board and architectural design studio, offering offering design studio, architectural and design architecture, for solutions sustainable Maddalena d’Alfonso is an architect. In 2019, 2019, In architect. an is d’Alfonso Maddalena Design the Md’A founded she basedMilan a consultancy cultural Agency, ICAMT Board Member Member Board ICAMT Conference Moderator Maddalena d’Alfonso 8 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 11 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 1 The Organization | Keynote Speakers 10 Tbilisi Academy of Fine Arts. Arts. Fine of Academy Tbilisi the of a fellow is Meparishvili Nana Open-Air Museums European of Association 2015. since (AEOM), Board ICOM: Other within functions (2013-2016), Secretary ICAMT of member (2016-2019). ICAMT of © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT architecture and museum techniques”, for for techniques”, museum and architecture and Caucasus University) and prepares a a prepares and University) Caucasus and planning, “Museum course, new educational Nowadays, she continues to lead the same lead to the same continues she Nowadays, two at students undergraduate for course University (Ilia State universities Georgian implemented in the Faculty of Architecture of in the Faculty implemented in 2004. University Technical Georgian of Nana Meparishvili developed the first the developed first Meparishvili Nana architecture about course educational first dwelling, traditional Georgian of DC) and Yokohama National University University National DC) Yokohama and about research conducting (Japan), museums. open-air Japanese and American a researcher with Smithsonian Center for for Center Smithsonian with a researcher (Washington, Heritage Cultural and Folklife architecture. The title of her PhD work is is work PhD her of The title architecture. in Open- Management Heritage “Cultural as been has working She Museums”. Air leads the company “Georgian House”, in in House”, “Georgian leads the company traditional studies Georgia. She Tbilisi, development. development. of in the field working architect, an As Meparishvili Nana heritage, cultural She works with several Georgian museums as as several with museums Georgian works She museums of in context mainly a consultant, Nana Meparishvili is the chair of ICAMT ICAMT of the chair is Meparishvili Nana 2020. January since Introducer Nana Meparishvili Nana ICAMT of Chair Keynote Speakers Keynote 1 The Organization | Keynote Speakers 11 Director-General, Deputy Director- Deputy Director-General, Cinema, of Director Culture, General for Archives, and Libraries Museums, (1997- Government Regional Lombardy 2013) Film Lombardy of President (2011-2012) Foundation Commission Museums, Museum’s Management Management Museum’s Museums, Italian of Abroad Promotion Standards, (2006-2018) Culture • • © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT of Foreign Affairs: Reform of State State of Reform Affairs: Foreign of Member of Committees, Italian Italian Committees, of Member and Heritage Cultural for Ministries Brescia Musei Foundation Musei Brescia on Level UNESCO Forum High Speaker, (2017) Shenzen Museums, Museum of Palazzo Ducale, Mantua Palazzo of Museum the Scientific of Committee, Member Member of the Board of Directors, State State Directors, the Board of of Member • • • positions during his career are: career his during positions • Plan Committee (2013-2017). Committee Plan expert heritage on a museologist, is He other The lecturer. and management Museums (ICOM ICR), the Sustainability the Sustainability ICR), (ICOM Museums the Strategic and (SWG) Group Working Standing Committee (MDPP), the Strategic the Strategic (MDPP), Committee Standing Review (SAREC), the Allocation Committee Regional for Committee International ICOM Member of the ICOM Executive Board, the the Board, Executive the ICOM of Member Potentials and Prospects Definition Museum experience in relation to the organization the organization to experience in relation 2022, General Conference the ICOM of also has been Ordinary an He in Prague. of the Organizing Committee of ICOM ICOM of Committee the Organizing of a particularly 2016, which is relevant Milan Since 2005, he has held several functions several held functions has he 2005, Since Vice-President including ICOM, within Chair and Italy ICOM of Chair ICOM, of Alberto Garlandini is the President of ICOM ICOM of the President is Alberto Garlandini 2020. June since Alberto Garlandini ICOM of President Keynote Speaker 10 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 13 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 1 The Organization | Keynote Speakers 12 il Restauro dell’Architettura. dell’Architettura. il Restauro and Lombardia Regione of Consultant policies on for Foundation Cariplo the and conservation planned and preventive the principal is he project, culturali Distretti and projects several of scientific investigator 360 publications. than more of author Full professor of Restoration in Politecnico di di in Politecnico Restoration of professor Full served he 2001, since Milano the Director as is the ABC 2013-2019 and of department per Societàof Italiana the President currently Keynote Speaker Stefano Della Torre Stefano Politecnico di Milano © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT She is a project coordinator for the inclusion the inclusion for coordinator a project is She in some disabilities cognitive with people of in Lombardy. museums Annamaria Ravagnan currently manages manages currently Ravagnan Annamaria and the inclusion concerning projects places. and institutes cultural of accessibility Culture and Health, published by Springer in in Springer by published Health, and Culture 2012. She was responsible for the Local Museum the Local for Museum responsible was She 2005 from Region the Lombardy of Systems the book of editor and 2017. Author to of House-Museum Tre Tetti in Sirtori- Tetti Tre House-Museum of Lombardy. Accessibility Commission. She is a Gruppo a Gruppo is She Commission. Accessibility (GAM) councilor Milanese Archeologico Vice-President Board and in the Executive ICOM Italy’s Committee of Arbitrators and and Arbitrators of Committee Italy’s ICOM the of Directors the Board of of a referent Annamaria Ravagnan is a member of of a member is Ravagnan Annamaria Committee International CIPEG, ICOM of a member as well as Egyptology, for ICOM Museum Accessibility Group Keynote Speaker Annamaria Ravagnan Annamaria 2 2020 Online Conference Opening Speech Final Program Speakers

Opening Speech Conference2020 Online

Dear friends,

Thanks for inviting me to your annual ICAMT conference, this year online. It is a great Speech | Opening pleasure for me to be with you and share some observations on the challenges that museums and ICOM are facing.

For over seven months now, our lives have been turned upside down. The Covid emergency has been an unforeseen threat! The global surveys launched by ICOM show a devastating picture. For the first time in their history, museums have been closed worldwide. Thousands of museum professionals are facing redundancy and furloughs, with independent consultants, often young and motivated professionals, facing a disastrous situation without a job or a salary. We are risking to lose their knowledge and commitment, which would be a catastrophe for both museums and communities.

A figure in our survey has set off the alarm globally: 13% of museum directors declared that their institution might not survive the lockdown and close permanently. The loss of income due to the lockdown has been traumatic. Many museums will have to reconsider their business models and reinvent their social role.

When the Covid emergency is over, the world won’t be the same. Museums will have to adapt to a new scenario, with fewer resources, the crisis of mobility and tourism, and persistent restrictions to access and participation. Many museums have already reopened, others are planning to reopen very soon. But how will they manage? Museums must guarantee the hygiene, well-being and safety of both staff and visitors, they must enforce distancing and limit the number of visitors. To face anti-Covid requirements, museums have to revolutionize their organization, technologically innovate their monitoring systems and implement sophisticated booking platforms in order to redistribute visitors in time and space, possibly in network with neighbouring museums. The return of visitors to museums is slow and museum professionals are working hard to reassure citizens that visiting museums is a safe and rewarding experience now as it always was in the past. ICOM Secretariat has now launched a second survey to evaluate the situation.

The museums of tomorrow will not be the same as the museums of yesterday. Even before the pandemic, the cultural heritage sector was undergoing a deep transformation.

© ICAMT 2020 Online Conference 14 © ICAMT 2020 Online Conference 15 Museums are facing unprecedented challenges: from new expectations coming from our 2 2020 Online Conference2020 Online audiences to digitization and new communication systems, from climate change and sustainability to diversity, decolonization and inclusion. The “new normal” we are now facing after pandemic adds another layer to this complex landscape.

The effect of the pandemic has also been felt in ICOM. Every year, our Committees organize Speech | Opening hundreds of conferences and workshops worldwide that understandably have been cancelled or postponed. The situation has pushed ICOM to innovate and explore new solutions for a new reality. Our Committees, including of course ICAMT, have been more active than ever and a great number of virtual conferences have been organized since lockdown began. I feel humbled to have had the chance to witness the outstanding capacity of ICOM, via each member and Committee, to cope with this situation.

ICOM has launched several initiatives to help museum professionals. Aside from the surveys, aimed at highlighting the hardships faced by museums around the world, ICOM has advocated for emergency funds and coordinated advocacy actions with the objective of keeping museums in the agendas of policymakers worldwide. We have issued technical, scientific and social recommendations on reopening, security, conservation, community resilience and digital outreach. In the next days, SAREC will launch the Call for ICOM Solidarity Projects to support museum resilience, with an endowment of 280,000 Euros.

After the resignation of President Suay and other respected colleagues during lockdown, ICOM has started a transition. We are engaged in a process to improve governance, internal communication, decision-making processes, working methods. The four key words of our commitment are: innovation, participation, communication and transparency.

First, ICOM has successfully gone digital. Last July, our Annual Meetings were held online for the first time in the history of ICOM. Organizing the new digital format required incredible efforts of the Secretariat, the Director General and our governing bodies. The results were excellent. One thousand four hundred members from all over the world could join the meetings: the largest number of participants a General Assembly (GA) has ever had. We decided that the GA’s recording and minutes will be available in the Member Space of ICOM website. During the meetings, we answered many questions forwarded by members and committees and we are now publishing the remaining answers in the Member Space.

Second, there is a larger need for transparency and good communication. The minutes of the five Executive Board (EB) meetings held since June and the key documents are now published

© ICAMT 2020 Online Conference 14 © ICAMT 2020 Online Conference 15 in the Member Space, which has become a significant internal communication hub. I suggest 2 2020 Online Conference2020 Online you consult it regularly to be updated on ICOM’s governance and activities.

Third, in July the EB approved an Internal Review focused on the structural and organizational changes needed to improve governance and avoid past mistakes and misunderstandings: from new EB meeting procedures and more transparent decision-making Speech | Opening processes to the revision of our communication policy and the need of a EB Code of Conduct.

As regards Standing Committees, the EB decided that: (1) the need for their creation shall be clearly demonstrated, the criteria for their creation and their mandate clearly defined; (2) the criteria for the appointments of their members shall be defined and democratized; (3) the ICOM Internal Rules regarding Standing Committees shall be amended and changes recommended to the Extraordinary General Assembly in Prague.

The EB has paid particular attention to restarting the process of updating the museum definition in an atmosphere of respect and cooperation. The members of the Committee for Museum Definition, Prospects and Potentials (MDPP2) expressed their commitment to continue their work – in August the EB organized a successful meeting with them and MDPP2 is now working on an update of the methodology to involve both National and International Committees. All the MDPP2 documents will be published in the Member Space.

To conclude, I would like to say that in the future, however uncertain it may be, our organization will continue to develop this spirit of innovation and participation. ICOM and the museum community are going through unprecedented circumstances. Now it’s time to take new responsibilities, it’s time for unity, and for remembering the reasons why ICOM was created. Let’s continue to work together, hand in hand, to nurture the outstanding cultural diversity of our organization for the museums of today and tomorrow. Thanks for your attention and my best wishes for a successful conference.

Alberto Garlandini President of ICOM

Day 1 Session 1: Architecture & Exhibit Design 7 October, 2020 ZOOM Platform (previous registration) | Final Program| Final | Day 1

Time (GMT+1) The People Topic

13:00 Nana Meparishvili Welcome Words

Alberto Garlandini

13:10-13:20 Aleid Hemeryck The New Gruuthusemuseum: Heritage & Innovation

13:20-13:30 Craig Brandt Outside the Gallery: New Approaches to Museum Visitor Access and Connection

13:30-13:40 David Masters Back to the Future: Reinterpreting Wardown House Museum and Gallery

13:40-13:50 Elena Montanari Exhibiting Exhibitions. Re-Staging, Re-Viewing & Re-Considering the Role of Seminal Displays

13:50-14:00 Fernanda Carvalho Light, Shadows and Screens: Possible Harmonious Coexistences

14:00-14:10 Gustavo Penna SesiLab Descriptive Memorial – Preliminary Draft Arquiteto & Arquitetos Associados

14:10-14:20 Jessica Boffa Architecture on a Human Scale

14:20-14:30 Kiem-Lian The Renovation Museum Het Valkhof Nijmegen: Making an Existing Museum Building Futureproof: Sustainable and Accessible

14:30-14:40 Manuel C. Furtado Sustainability Indicators in Museum Mendes

14:40-14:50 Q&A

© ICAMT 2020 Online Conference 16 © ICAMT 2020 Online Conference 17 2 2020 Online Conference2020 Online Day 2 Session 2: New Challenges for Museums 8 October, 2020 ZOOM Platform (previous registration)

Time (GMT+1) The People Topic Program| Final | Day 2

13:00-13:10 Nana Meparishvili Introduction (ICAMT)

13:10-13:25 Stefano Della Torre & Ingrid Paoletti - Politecnico University of Milan

13:25-13:40 ICOM Museum Accessibility Group

13:40-13:50 Ali S. Kiran & Celal Visiting Safely: A Simulation Modelling Approach to Kaplan Optimizing Museum Spaces for a v-19 World

13:50-14:00 Gaia Turchetti Museum as a Cultural Hub: The Challenge of Sustainability in a Post-Pandemic Scenario

14:00-14:10 Eleanna Avouri, VR in the Time of Social Distancing: New Harriet Cliffen, Nenad Multidisciplinary-Inspired Directions for Virtual Jončić, Giulia Osti, Exhibitions Douglas Pritchard, Francesco Ripanti, Marina Toumpouri

14:10-14:20 Kali Tzortzi Museum Architectures for Digital Experiences: Towards a New Spatial Typology?

14:20-14:30 Maria Maystrovskaya The New Architecture and Exhibitions in the & Alexander Kuprin Museum Building in Russia

14:30-14:40 Nara Ohk The Answers for the Issues of the Korea’s New National History Museum of Saemangeum Reclamation

Time (GMT+1) The People Topic

14:40-14:50 Patrícia Martins Physical and the Virtual Experiences on Contemporary Museums: The Case of MIS Rio de Janeiro, Brazil Program| Final | Day 2

14:50-15:00 Yulia Petrova From Revolution to Lyrical Paysage. The Experience of Reuse of the Exhibition Architecture in the Museum of Russian Impressionism

15:00-15:20 Q&A

15:20-15:40 Conclusion

Speakers Conference2020 Online | Speakers Day 1 - October 7th Day 2 - October 8th 13:10 GMT+1 14:20 GMT+1

Aleid Hemeryck Alexander Kuprin Musea Brugge Мoscow State Stroganov Academy of Design & Applied Arts Aleid Hemeryck obtained her master’s degree in Modern History at KULeuven Alexander Kuprin, Bachelor of Arts with in 2000 and has been working for Musea Honours in Architecture and in Journalism. Brugge since 2007. As a curator, she was Born in Moscow, he emigrated to the United responsible for several locations of Musea Kingdom in 1996. He graduated from John Brugge with a historical approach. She Moores University, Liverpool, UK, and leaded the Gruuthusemuseum, a museum from Kingston University, London, UK. with a collection of applied arts that Worked as an architect in architectural and reopened after a thorough renovation with construction bureaus both in the UK and a completely new museum concept. The in Russia. Carried out architectural and renewed Gruuthusemuseum takes the visitor interior design projects in Norwich, UK, in through 500 years of Bruges’ history through Moscow city centre and suburbs, Siberia, an art and culture-historical collection: from as well as overseas, namely Egypt. He is the rich medieval metropolis to the world currently working as a freelance architectural heritage city today. She was responsible for consultant and journalist, and as an coordinating the entire redesign process interpreter. and redevelopment of the museum site. As the project manager, she now is the lead of several major projects for Musea Brugge.

Day 2 - October 8th Day 2 - October 8th 13:40 GMT+1 13:40 GMT+1 | Speakers Ali S. Kiran Celal Kaplan Kiran Consulting Group Kiran Consulting Group

Dr. Kiran is an internationally recognized Dr. Kaplan is the principal consultant of authority in operations research, forecasting, Kiran Consulting Group. He is specialized scheduling, and systems simulation, with in visitor flow modeling and optimization more than 20 years of entrepreneurial and and has worked with world-renowned consulting experience. organizations in this field all over the world, His consulting experience encompasses including Disneyland, Universal Studios, The successful projects with recognized Met, Getty Museum, Empire State Building companies in over 20 countries and Observatory, One World Trade Center include visitor flow projects with Disney, Observatory and Sydney Opera House. Universal Studios, Mogao Grottoes, Sydney Dr. Kaplan has also worked with UNESCO Opera House, The Getty, The Met, and and UN World Tourism Organization as other cultural and historical sites. He a visitor flow expert. He also led research is UNESCO and United Nations World teams and has routinely preformed analytical Tourism Organization expert in visitor techniques, such as neural networks, management and simulation analysis. He simulation analysis, optimization and has received numerous awards, including statistical analysis. He received his PhD in the Ernst & Young “Entrepreneur of the Industrial and Systems Engineering with a Year” award in San Diego for his leadership minor in Business Administration from the of Exametric Software, which was one of the University of Southern California. first SaaS applications to be used by Fortune 500 companies. Prior to his track record as an entrepreneur, he taught industrial engineering at the University of Southern California (USC). He holds an MS degree in Mechanical Engineering and a PhD in Industrial Engineering.

Day 1 - October 7th Day 1 - October 7th 13:20 GMT+1 13:30 GMT+1 | Speakers Craig Brandt David Masters HBRA Architects, Chicago, Lead Consultant, IL American Institute of Architects, Society Imagemakers Design & Consulting of Fellows – American Academy in Rome, US Green Building Council, David Masters is Lead Consultant with DOCOMOMO US Imagemakers and a highly experienced heritage interpreter. He is a Fellow of the Craig Brandt AIA, AFAAR, LEED AP is a Association for Heritage Interpretation, and principal architect with HBRA Architects, authored the UK’s Heritage Lottery Fund Chicago, IL. His body of achievements are guidelines on heritage interpretation. He the result of over twenty years of critical was editor of the Interpretation Journal for design thinking in the process of leading, 9 years, is a mentor for Public Engagement conceptualizing and developing award with Heritage, and a national panel judge for winning public projects with visionary ideas the national Engaging People Awards. for interactive public space. David has worked on museum interpretation Craig and his firm have completed complex and exhibition design projects across the projects in multiple locations for various UK and more recently in China. He has public buildings, including museums and particular interests in narrative and message theaters. Craig has presented at the AIA design, and the links between architecture, National Conference on Architecture, collection display and interpretation. the Chicago Architectural Biennial, the American Academy in Rome, and has lectured on the nature of public spaces at various academic institutions around the country, including his role as an Adjunct Professor at the University of Wisconsin- Milwaukee.

Day 2 - October 8th Day 2 - October 8th 14:00 GMT+1 14:00 GMT+1 | Speakers Douglas Pritchard Eleanna Avouri Digital Heritage Research Laboratory, Digital Heritage Research Laboratory, Department of Electrical Engineering, Department of Electrical Engineering, Computer Engineering and Informatics. Computer Engineering & Informatics. Cyprus University of Technology Cyprus University of Technology

Douglas Pritchard is a Senior Research Eleanna Avouri is an Archaeologist and a Fellow in the area of 3D visualisation. He cultural heritage management specialist, is a Canadian graduate architect with over holding the position of Early Stage 15 years’ experience in the direction of Researcher at the Era Chair in Digital advanced digital projects for the architecture, Cultural Heritage Mnemosyne. Her engineering, and urban planning sectors. research interests focus on new media and The work typically utilizes specialized 3D digital applications in the field of cultural ‘reality capture’ systems in the creation of heritage, and she was actively involved in interactive virtual environments, immersive several archaeology outreach initiatives and 3D experiences and customized software museum-education programs. development. He has initiated a series of innovative projects that have significantly changed the working methods of the organizations such as the Glasgow City Council, Historic Environment Scotland, and the Scottish Government. Notable projects include the documentation of Cologne Cathedral UNESCO World Heritage Site, development of the Urban Model for Glasgow, and the Scottish Ten Project.

Day 1 - October 7th Day 1 - October 7th 13:40 GMT+1 13:50 GMT+1 | Speakers Elena Montanari Fernanda Carvalho Politecnico di Milano, Architect & Lighting Designer Architecture & Urban Studies Department Fernanda Carvalho is an architect & Elena Montanari is an architect, PhD lighting designer graduated from São Paulo in Interior Architecture and Exhibition University in 2000, where she concluded a Design, and Lecturer at the Department master’s degree in Design and Architecture of Architecture and Urban Studies of in 2011. She has been creating lighting Politecnico di Milano. Since 2008 she has design projects for architecture, mainly been involved in international research for museums and exhibitions, at her own projects concerning heritage and museums, practice. Has been collaborating as a lighting and currently is responsible for the design professional for the most important development of various didactic and research museums in Brazil, such as São Paulo activities within the program UNESCO Museum of Art (MASP), Itaú Cultural, and Chair in Preservation and Planning in World many others. Heritage Cities, held at POLIMI Mantova She is a member of the International Campus. Her research interests are focusing Committee of Encuentro Iberoamericano on the ongoing transformation of exhibition de Lighting Design (EILD) and has been theories and practices in museums, heritage awarded the first prize, in the 2nd Bienal de sites and places of memory, and on the Diseño de Iluminacción in Mexico in 2016, museographic culture, including its historical for the lighting project for Casa Triangulo evolution and its relationships with the Gallery, in São Paulo, as well as an honorable contemporary evolution of the museum mention for the lighting project for institution. Brasiliana Collection at Itaú Cultural, project which also received the 2nd Prize at the Darc Award, an international competition for lighting design.

Day 2 - October 8th Day 2 - October 8th 14:00 GMT+1 13:50 GMT+1 | Speakers Francesco Ripanti Gaia Turchetti Digital Heritage Research Laboratory, PhD Environmental Technological Design Department of Electrical Engineering, Specialist in Architectural & Landscape Computer Engineering and Informatics. Heritage Fondazione Scuola dei Beni e delle Cyprus University of Technology Attività Culturali, Scuola del Patrimonio

Francesco Ripanti is Experienced Researcher Graduated in quinquennial Architecture at the Digital Heritage Research Lab at at the Sapienza Università di Roma, Gaia CUT within the EU-funded project ERA Turchetti obtained the II level master’s degree Mnemosyne, focusing his research on the in Architectural Design for the Recovery of Preservation and Use and Reuse. Thanks Historic Buildings and Public Spaces, and the to a PhD in Public Archaeology obtained Specialization Diploma in Architectural and from the University of Pisa, he has a very Landscape Heritage at the School of Rome. interdisciplinary profile that covers several Since 2018 she is a PhD in Environmental topics related to the interaction with the Technological Design (Department of public in the archaeological and museum Planning, Design, and Architecture sectors. Among them: public participation, Technology, Sapienza Università di Roma), communication, outreach, user experience, with a research focused on the microclimatic evaluation based on qualitative analysis, aspect of the historic city seen as a form of citizen science and storytelling. protection. Thanks to experiences at research centres, teaching and collaborations with different professional figures, she has worked in an inter-scalar and interdisciplinary way on the issues of restoration, environmental risk assessment, architectural and urban regeneration, and museography in an interdisciplinary perspective, articulating the scientific experience into areas useful for the definition of tools and procedures to programme, plan, implement, management, and monitor the interventions.

Day 2 - October 8th Day 1 - October 7th 14:00 GMT+1 14:00 GMT+1 | Speakers Giulia Osti Gustavo de Araújo Penna Digital Heritage Research Laboratory, Architect & Urban Planner Department of Electrical Engineering, Director of the Office Gustavo Penna Computer Engineering and Informatics. Arquiteto & Associados Cyprus University of Technology Gustavo de Araújo Penna graduated from Giulia Osti is a Digital and Community the School of Architecture of the Federal Archaeologist, holding the position of Early University of Minas Gerais (UFMG), where Stage Researcher at the Era Chair in Digital he taught for three decades. He founded Cultural Heritage Mnemosyne. Giulia the architecture office GPA&A and won researches on DCH data modelling, having international awards, among others The a broad set of skills from the humanities International Architecture Award in Chicago, to computer science, other than a strong the World Architecture Festival (WAF) in background in data visualization. Singapore and the Architizer A+Awards in London. His works have already been exhibited in Brazil and worldwide, highlighting the Biennial of Architecture, in São Paulo, the Biennial of Venice and the Institut Français d’Architecture, in Paris. Gustavo is the author of projects such as Expominas, the Monument to the Freedom of the Press, the Japanese Immigration Memorial, the Congonhas Museum, the Guignard School (considered one of the 30 most relevant works of architecture in Brazil). He published four books and his works have been exhibited in Brazil and abroad, by the main websites, magazines and books on architecture and design.

[Represented by Ricardo Gomes Lopes]

Day 2 - October 8th Day 1 - October 7th 14:00 GMT+1 14:10 GMT+1 | Speakers Harriet Cliffen Jessica Boffa Digital Heritage Research Laboratory, International Art Curator, Childhood Department of Electrical Engineering, Museum Ireland Computer Engineering and Informatics. Cyprus University of Technology Specialized in the historical-artistic field of cultural heritage, Jessica Boffa’s experience Harriet Cliffen is an Early Stage Researcher was born in the field of Museum Education with the Mnemosyne project in the area and Accessibility, and then expanded to the of Data Processing. She has a background Museum Exibition. in Archaeology, with a BA from the After an initial experience in the University of Manchester, and an MSc from management of a museum, as well as the the University of Liverpool. Her previous coordination and training of resources, she work has focused on materials analysis, turned to museum education, expanding her with recent research projects on the use knowledge through various training courses of X-Radiography to image the interior throughout the country. Having conceived structures of Bronze Age Cypriot ceramic and coordinated specific programmes for vessels, to identify production techniques. schools, she has dedicated herself to the field of Accessibility; her programmes have been included in a series of informative events in collaboration with various partners and museums. Now, as the International Art Curator for Childhood Museum Ireland Project, she is curating the exhibition related to Project 2020, coordinating the museum’s historical and artistic activities in Europe and in the United States.

Day 2 - October 8th Day 1 - October 7th 14:10 GMT+1 14:20 GMT+1 | Speakers Kali Tzortzi Kiem-Lian The PhD The Bartlett, University College ToornendPartners London Assistant Professor in Museology, University of Patras Kiem-Lian The MSc LL M, is Managing Department of Cultural Heritage Partner and Senior Consultant/Project Management & New Technologies Manager at ToornendPartners in Haarlem, The Netherlands. Assistant Professor in Museology in the Having obtained a master’s degree in University of Patras, Kali Tzortzi also Architecture, Urbanism and Building lectures in the MA Museum Studies in the Sciences at the Delft University of University of Athens, where she is module Technology, she joined this project leader in ‘Architectural Design of Museum management and building consultancy Space and Museography’. She has worked company in 1998, where she has been as an exhibition consultant for the Hellenic working on a wide variety of building and Ministry of Culture and for architectural consultancy projects, with an increased practices, in national and international focus on buildings for the arts, including design competitions. She has published projects for museums and for the performing extensively across languages and disciplines. arts. Her fields of expertise include theatre Her book Museum Space: Where Architecture and museum techniques, project planning, Meets Museology (Routledge, 2015) sets out a feasibility studies, long term maintenance methodology for the study of real museums planning as well as legal and contracting and a theoretical framework for their strategies. She was the Project Leader and interpretation. Lead Consultant for the development of the Her educational background anticipates her CollectieCentrum Nederland (NL), the new interdisciplinary research, with a first degree centralized art storage building for the Dutch in History and Archaeology, two master’s State Collection, and is currently working on degrees in Classical Archaeology and in the renovation of Museum Het Valkhof, the Museology, and a PhD from The Bartlett development of an Art Pavilion in Almere Faculty of the Built Environment, University and the restoration of the Teylers Museum College London, on the interaction between complex in Haarlem. the building and the exhibition layout in museums.

Day 1 - October 7th Day 2 - October 8th 14:30 GMT+1 14:20 GMT+1 | Speakers Manuel C. Furtado Mendes Maria Maystrovskaya Professor at Lusophone University of Мoscow State Stroganov Academy of Humanities & Technologies (ULHT) Design & Applied Arts

Manuel C. Furtado Mendes, PhD in Maria Maystrovskaya, doctor in Art History, Museology at Lusophone University of professor of the Moscow State Stroganov Humanities and Technologies (ULHT) Academy of Design and Applied Arts, since 2011, his main area of research is research associate of the Department of museums and sustainability and the use of Design of the Research Institute of Theory renewable energy in museum buildings. and History of Fine Arts of the Russian He is an Integrated Researcher at Center Academy of Arts. Graduated Moscow for Interdisciplinary Studies in Education Higher Art and Industrial Design School, and Development (CeiED). Professor at specializing as a decorative artist in interior ULHT in Lisbon and recognized at the same and furniture design. The master’s and University as a Specialist in the field of Civil doctoral dissertations were dedicated to the Construction and Civil Engineering (CNAEF problems of museum exhibitions design and 582), he was recognized by the Order of construction. Worked as a research associate Engineers as a Specialist in Construction of Russian Institute of Culturology and as a Management. He published articles in teacher at Stroganov Academy. She prepared specialized magazines, co-authored scientific over 300 research articles and 6 monographs works and has 13 items of technical on museums problems, museum architecture production. He received four awards in the and design, such as “Museum as a cultural field of Rehabilitation of Historical Heritage, object. The Art of exposition ensemble”, area in which he has an extensive experience, Moscow, 2015, and “Museum as a cultural as well as in Technical and Economic object in the 20th century”, Moscow, 2017. Evaluation of Urban and Rustic heritage. She is a member of the Russian Union of He works in the areas of Engineering and Designers and the Moscow Union of Artists. Technology with an emphasis on Civil Engineering and Social Sciences.

Day 2 - October 8th Day 2 - October 8th 14:00 GMT+1 14:30 GMT+1 | Speakers Marina Toumpouri Nara Ohk Digital Heritage Research Laboratory, Republic of Korea’s Government, Department of Electrical Engineering, Saemangeum Development & Investment Computer Engineering and Informatics. Agency Cyprus University of Technology Nara Ohk has a BA from the Yonsei Univ. Marina Toumpouri is an Art historian, Korea (2003), J.D Handong International holding the position of Experienced Lawschool (2007) and is now a PhD Researcher at the ERA Chair in Digital candidate to Handong Univ. Korea. Cultural Heritage Mnemosyne. She His professional experience includes: specializes in Byzantine and Crusader Mongolia International Univ. Faculty (2009- manuscript cultures, the cross-cultural 2011); Gyeongbuk Province Office, Korea, interactions in the Medieval Mediterranean international campaign officer for Dokdo and the methods of work of craftsmen and island (2011- 2013); and Saemangeum painters in the Eastern Mediterranean during Development and Investment Agency the Byzantine and the Crusader periods. [SDIA], Assistant Director and Deputy Her involvement in Mnemosyne project Director for Investment promotion, Chief concentrates on the holistic documentation Secretary to the Administrator (Vice- of movable and immovable heritage, as well Minister Level) of SDIA (2013-Present). as of intangible heritage using an array of data acquired by digital and more traditional methods.

Day 2 - October 8th Day 2 - October 8th 14:00 GMT+1 14:40 GMT+1 | Speakers Nenad Jončić Patrícia Martins Digital Heritage Research Laboratory, Architect and PhD Teacher at Faculty of Department of Electrical Engineering, Architecture & Urbanism of the Mackenzie Computer Engineering and Informatics. Presbyterian Institute, São Paulo, Brazil Cyprus University of Technology Architect and urbanist graduated from Nenad Jončić is an Archaeologist (MA, FAU-PUC (1992, Campinas), Master in University of Belgrade), holding the position History and Theory of Architecture from of Early Stage Researcher at the Era Chair in AA-Architectural Association School Digital Cultural Heritage Mnemosyne. of Architecture (1995, London), PhD in He specializes in 3D spatial technologies Contemporary Architecture from FECAU and has a deep understanding of UNICAMP (2011, Campinas) and post- photogrammetry and GIS. Doctor from FAU-USP (2014, São Paulo). Patrícia Martins teaches History and Theory of Architecture at FAU Mackenzie São Paulo, working mainly on the following themes: Contemporary Architecture, History and Theory of Architecture and Architectural Design. As a researcher, she is an associate member of the Brasiliana Institut, focusing on contemporary museum architecture and exhibition design.

Day 2 - October 8th 14:50 GMT+1 | Speakers Yulia Petrova Museum of Russian Impressionism

PhD in Art History, Yulia Petrova is the author of several art management courses and Director of the Private Institution of Culture “Museum of Russian Impressionism”, in Moscow. In 2012, with Boris Mints, the founder of the Museum, she created the mission statement, the building reconstruction and museum development plan of the future Museum. In 2016 Museum won the first prize as “The Best Mobile Application” in the Festival of Audiovisual International Multimedia Patrimony by ICOM. In 2018, under her administration, the Museum has become one of the 40 European museums nominated for the European Museum of the Year Award. Since the Museum’s first public opening in 2016, the attendance has grown threefold by 2019. Among the Museum partners are the State Tretyakov Gallery, the State Hermitage Museum and the Centre Pompidou. She frequently speaks at local and international museum conferences.

Introduction by Nana Meparishvili & Danusa Castro

1. Aleid Hemeryck | The new Gruuthusemuseum: Heritage and Innovation

2. Craig Brandt | Outside the Gallery: New Approaches to Museum Visitor Access

& Connection

3. David Masters | Back to The Future: Reinterpreting Wardown House Museum

and Gallery

4. Elena Montanari | Exhibiting Exhibitions. Re-staging, Re-viewing & Re-

considering the Role of Seminal Displays

5. Fernanda Carvalho| Light, Shadows and Screens: Possible Harmonious

Coexistences

6. Gustavo Penna Arquiteto & Arquitetos Associados | SESILAB Descriptive

Memorial

7. Jessica Boffa |Architecture on a Human Scale

8. Kiem-Lian The | Renovation Museum Het Valkhof Nijmegen: Making an

Existing Museum Building Futureproof, Sustainable & Accessible

9. Manuel C. Furtado Mendes | Sustainability Indicators in Museums

© ICAMT 2020 Online Conference 34 © ICAMT 2020 Online Conference 35 The Sessions | 3.I Architecture & Exhibit Design | Introduction 35 3.I © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Introduction by Nana Meparishvili by Nana Introduction Chair of ICAMT ICAMT of Chair Nana Meparishvili Although it is a new format for us, the speakers and their topics in our conference program program conference our in topics their and speakers us, the for is format a new it Although as successful and as interesting will 2020 be Conference Annual ICAMT that hope us the give been. always has it sponsor of ICAMT 2020 Annual Conference. 2020 Annual ICAMT of sponsor I would love to thank Imagemakers, an award-winning design agency, which is the main main is the which agency, design award-winning an Imagemakers, thank to love I would As we strongly desire to stay close to our audience in this unusual and hard time, hard and unusual this in audience our to close stay to desire strongly we As online. it do to and Conference Annual our postpone to not decided we As we feel a responsibility to our Committee members and audience, and members Committee our to a responsibility feel we As conference, annual an hold regularly is to traditions main ICAMT’s of one As conference in Porto, Portugal, but due to Covid-19, it was not possible. possible. not was it Covid-19, to due but Portugal, Porto, in conference Anyway: ICAMT had many plans for 2020, but now we have to deal with these special conditions, as as conditions, special these with deal to have we now 2020, but for plans many had ICAMT annual an hold to was plans our of One Committees. International ICOM of rest the as well other, because we strongly believe that it is the only way to survive. survive. to way only is the it that believe strongly we because other, As museums are socially responsible institutions, we had to adapt to the new reality, and to to and reality, new the to adapt to had we institutions, responsible socially are museums As with communicate still we closed, are museums many Though challenges. new the all face each help and try support to We media. via social or internet the through it be audience, our also an interesting and challenging time. time. challenging and interesting an also museums but for the whole world. Because of Covid-19 pandemic, museums have been been have museums pandemic, Covid-19 of Because world. whole the for but museums way. usual the in work will resume they when sure not are some and time a long for closed is this difficulties, all with along but uncertain, veryhorizon financial museum makes This Needless to say, 2020 has turned out to be very unusual and difficult not only for the the for only not difficult and very be to unusual out turned 2020 has say, to Needless

34 3.I © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I

Introduction by Danusa Castro SessionsThe | 3.I ArchitectureExhibit & Design

Usually, ICAMT’s annual meetings last 3 to 5 days and include presentation sessions, a post- conference tour and visits to museums. It is also an excellent opportunity for our members to visit different countries, and to create or enlarge the professional networks.

No need to say, the year 2020 was a tough one, and we soon understood that nothing like our traditional conference could take place. However, the new reality that led us to rethink our museums, also guided the committee to consider it essential to guarantee its members and | Introduction friends a moment to share their research and studies. So, for the first time, we went digital.

ICAMT first online conference took place on October 7-8, 2020 and welcomed a total of 18 panellists from 11 different countries. Most of them were “new entries” to our committee, as we have chosen to give space to as many voices and approaches as possible.

Main conference themes were Architecture and Exhibit Design and New Challenges for Museums. I had the honour to support our Committee’s President, Nana Meparishvili, during the first day. Mr. Alberto Garlandini – ICOM’s President – joined us as an invited speaker, and we counted around 90 to 100 attendees each day: professionals, students, young people and new members from 8 different countries.

This e-book reunites all conference presentations and represents a coronation of an effort not to remain silent and static during one of the most challenging times we have ever lived. So, thank you for your interest in it and have a good reading.

Danusa Castro ICAMT Board Member

© ICAMT 2020 Online Conference 36 © ICAMT 2020 Online Conference 37 The Sessions | 3.I Architecture & Exhibit Design | The new Gruuthusemuseum 37 3.I The former museum of applied arts is artsis applied of museum former The which tells museum, a contemporary now history. Bruges’ of 500 years the story of everyfor visitor, is accessible content This and tactile as facilities to thanks stations description. audio Keywords choice of a new concept linked with the the linked with a new concept of choice accessibility on the accent and new circuit a sensory with impairment. visitors for Heritage Heritage *** Innovation Concept Concept *** Circuit *** Sensory *** Accessibility *** © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT

characteristic aspects of this project: the the aspects this project: of characteristic grandeur in the 15th century. in the 15thgrandeur century. two present to want we this paper, In displays the portrait of Louis of Gruuthuse, Gruuthuse, of Louis of the portrait displays palace this city its who gave the man oratory which connects the palace and the palace which connects and oratory Lady the a view with our of of the Church hall first The the church. of Gothic chancel cultural experience. In the museum, the the the museum, experience.cultural In 15th century late the authentic is highlight concepts of this ambitious project that will that project this ambitious of concepts in-depth seeking a more visitors to appeal underwent a complete metamorphosis. metamorphosis. a complete underwent key being the two innovation, and Heritage is an absolute highlight after a thorough a thorough after highlight absolute an is entire The years. five of restoration Palace the Gruuthuse around site heritage The city palace of the lords of Gruuthuse Gruuthuse of of lords palacethe city The city it is today. today. is it city Abstract years of Bruges’ history: a medieval from Bruges’ of years Heritage the World to metropolis trading et de dentelles” is now a contemporary a contemporary now is et de dentelles” 500 the story which of tells museum, reopened on May 25th 2019. The 19th 25th 19th 2019. The May on reopened d’antiquités century neo-Gothic “musée After five years of intense restoration and and restoration intense of years five After the Gruuthusemuseum work, renovation Aleid Hemeryck Belgium Brugge, Bruges, Musea The new Gruuthusemuseum:The and Innovation Heritage 1 36 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I

History of the Gruuthuse Palace SessionsThe | 3.I ArchitectureExhibit & Design

The origin of Gruuthuse Palace dates from The Gruuthusemuseum is located in the 1425 when Jan IV van der Aa, Louis de heart of medieval Bruges. The museum Gruuthuse’s father built a house near the and the Church of Our Lady are specific Dijver in Bruges. It was then Louis’ turn to landmarks in the city as the essence of the make his mark on the building and to lend Burgundian identity. The unique prayer it a cachet worthy of an aristocrat. He gave chapel of Louis de Gruuthuse connects the palace the typical L shape. The most the two buildings. The Church of our vivid space that Louis had constructed is, Lady has also been comprehensively | The new Gruuthusemuseum however, the private chapel or oratory that restored and is known for the paintings of connects the Gruuthuse Palace with the Flemish masters, the tombs of the Dukes Church of Our Lady. Much of the oratory’s of Burgundy and Michelangelo’s Madonna interior decoration, dating from 1472, is and Child. lost, but the traces that remain suggest it The prestigious palace was sold in the was a luxuriously appointed space. Louis 16th century and for over two centuries it de Gruuthuse was a prominent figure at functioned as a ‘mount of piety’. In 1874, the court of the Dukes of Burgundy. He the municipality of Bruges bought the was a diplomat, an aristocrat and above seriously dilapidated building. The city all, one of the most important patrons of architect Louis Delacenserie embarked the arts of his time. The family name (and on a major restoration project to convert the family capital) refers to gruut or gruit, Gruuthuse Palace into a museum. a herbal mixture that was added to beer to The archaeological society of Bruges, flavour it and make it keep for longer. established in 1865, wanted to set up a museum in Gruuthuse Palace to exhibit its collection. The first rooms were put into use as a museum around 1900. Since that moment, the former city palace of the lords of Gruuthuse was known as the Gruuthusemuseum. The Gruuthuse collection is a representative collection of applied art. The art-historical value of certain pieces catches the eye, especially The Gruuthusemuseum’s Hall of Honour with the new floor inspired within the sub-collections of medieval by the 19th century tiled floors of Delacenserie, along with the refurbishment of the renewed museum. The 15th century portrait of sculpture, Bruges tapestries, lace, artisan Louis de Gruuthuse occupies a place of honour. © Musea Brugge/Jan D’hondt, 2019 silver and furniture. The objects can be

© ICAMT 2020 Online Conference 38 © ICAMT 2020 Online Conference 39 The Sessions | 3.I Architecture & Exhibit Design | The new Gruuthusemuseum 39 3.I a building that has sealed off the inner sealed has inner the that off a building strong heritage site. This enhances the the enhances This site. heritage strong piece experiential aspect this first-class of were there Furthermore, heritage. of operations, museum needs for various sanitary and spaces educational as such value, the Due monumental facilities. to the from sales be to ticket had moved new The the museum. and church the scale with of consistent is pavilion of the Gruuthusemuseum and the the and the Gruuthusemuseum of for Our Lady paramount of is Church the 15th Since preserving the heritage. literally has Palace Gruuthuse century, Our of been the Church to connected prayer family’s the Gruuthuse Lady by choir. the church which overlooks chapel, was time the aim the same at However, a as both these up monuments open to annexes have been converted to provide provide to been converted have annexes redevelopment The facilities. museum of based the was vision on the square of A modern pavilion accessibility. integral the house to the site at constructed was sales. ticket and reception an Bruges considered of City The be to this project for vision integral necessary The restoration essential. were meticulously restored. The interior interior The restored. meticulously were the polychromy included restoration Besides the oratory. of restoration and in was the museum the restauration, of a new and revitalisation extensive need of was what But concept. and vision museum the master is this project about innovative The a whole. as the site encompassing plan © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT was completely renovated. All 150 joinery renovated. completely was windows the stained-glass sections and wooden roof structure was restored and and restored was structure wooden roof tower The belvedere renewed. the slates The façade facing the Reie was treated façadeReie was the treated facing The all traces retaining clean, a gentle to The process. building the historical of comprehensive restoration including the the including restoration comprehensive the monument. of external shell entire components: restoration, refurbishment refurbishment restoration, components: The the site. of development and redevelopment of the heritage site of of site the heritage of redevelopment several with the Gruuthusemuseum, This project concerns the the concerns project This An Integral Vision Heritage & Innovation: with modernwith standards. large-scale damage. Technical elements, elements, Technical damage. large-scale electrical as lighting, such connections, complied no longer safety security fire and natural stone. Also the in 15th century stone. natural caused had woodworm chapel prayer with water infiltration, leaking roofs, roofs, leaking infiltration, water with and brick damaged heavily joinery, rotten requirements of Gruuthuse Palace were were Palace Gruuthuse of requirements to contend had building The extensive. renovation works were carried out carried out were works renovation decades. for in Gruuthusemuseum the restoration Consequently, of a European elite. elite. a European of or structural restoration No dated from the 15th to the early 20th 20th the 15th the early to from dated the lifestyle to testimony are and century 38 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT square for centuries. The design is realized renovation to accommodate facilities 3.I The SessionsThe | 3.I ArchitectureExhibit & Design by noAarchitecten (Belgium, Brussels). for museum operations: educational With its contemporary architecture, the workshops, plenty of spacious sanitary pavilion is an ‘echo’ of the surrounding facilities and space for museum staff. historical monuments, rather than a literal imitation. By keeping sufficient distance A Renewed Gruuthusemuseum and simultaneously referring implicitly to its environment, the new building does After the restoration of the Gruuthuse not contrast with, but is sympathetic to the Palace, the collection did not simply heritage. It has already claimed its place return to its familiar place. For more than | The new Gruuthusemuseum at the site and elevates visitor reception a hundred years, the Gruuthusemuseum to a higher level. It is a new architectural was known as a museum of applied arts, beacon in the historic centre of the city, focussing on materials, stylistic features which reinforces Bruges’ identity as a and aesthetics. The Gruuthusemuseum vibrant city of culture. was a kind of ‘Wunderkammer’ where an The museum square was relaid, extremely rich and diverse collection of eliminating the height differences as much applied arts was exhibited in a beautiful as possible and a ‘wheelchair-accessible palace. strip’ was incorporated for wheelchair The Gruuthusemuseum’s new concept users. The neo-Gothic buildings on the interweaves three elements as three equal street side underwent comprehensive pillars: building, collection and context.

Gruuthuseplein, with a view of the restored museum and the new Gruuthuse pavilion. The pavilion’s origami roof structure is a reflection of the roofs on the side chapels of the church. © noAa/Karin Borghouts, 2019

© ICAMT 2020 Online Conference 40 © ICAMT 2020 Online Conference 41 The Sessions | 3.I Architecture & Exhibit Design | The new Gruuthusemuseum 41 3.I a bridge with the society of today. The The the society with today. a bridge of stories. relevant tells Gruuthusemuseum collection without being overwhelmed. being overwhelmed. collection without it guarantees Gruuthusemuseum The experience: not a total the visit visitors to view the opportunity the offers only also to objects in the collection, but those surrounding the context discover it make projects objects. Participative to the Gruuthusemuseum for possible building thereby public, its with interact it evokes. Visitors can take a moment take a moment can Visitors evokes. it fully the focus on their breath, catch to distraction or the pressure objects without a introducing media. By all of kinds of the offer to want we the trail, to rhythm experience museum a pleasurable visitor experiential moments, a variety of with can Visitors information. and enjoyment beautiful our about stories many up pick Each visitor can absorb the content in in the content absorb can Each visitor objects, short through way own his/her Theycan games. and touchscreens films, the subsequent enjoy and admire simply the rooms these museum In rooms. the not is It stage. objects take centre that context the historical or information the object’s but here, take precedence emotion and the ingenuity, splendour, on the visitor all on their own. On each On each their own. all on the visitor on of is the palace there floors the three of visitor the provides This room. a context rooms, the subsequent for insights with period. the next Each rather floor or a certainhighlights period in Bruges the 17th-18th history (the Ages, Middle 20th century). the 19th-early century and © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT no decoration. They make an impression an impression Theymake decoration. no entrance hall and the iconic prayer chapel, chapel, prayer the iconic hall and entrance or need little spaces that are example, for of rooms. In the architectural rooms the the rooms the architectural In rooms. of monumental The itself. for space ‘speaks’ elite, policymakers and craftsmen, who who craftsmen, policymakers and elite, today. is it as the city shaped types three dividedis into trail visitor The this history, they are carriers of stories, stories, carriers of they are this history, Bruges’ of the ambitions reflect the that the important 19th-early 20th century. 20th century. 19th-early the important to illustrate there just not are objects The years of history. Each floor highlights Each highlights floor history. of years a certain period history - the in Bruges the 17th-18th and century Ages, Middle rich story of Bruges. A storyline that takes takes A storyline Bruges. that rich story of 500 Bruges’ a journey through on visitors Archives. What is new, is the context we we the context is new, is What Archives. is the context the objects. That to gave manuscripts from the city library and library and the city from manuscripts City Bruges from documents historical glass windows, stately furniture or richly richly or furniture stately glass windows, with enhanced porcelain, decorated the Groeningemuseum, from paintings applied arts: impressive tapestries, refined tapestries, refined arts: impressive applied stained colourful sculpture, and statues the breathtaking décor. The second pillar pillar The second décor. the breathtaking collection of fascinating the and rich is century neo-Gothic. So in the new serve the palace just does as not set-up, the many rooms, spiral staircases and and staircases spiral rooms, the many and polychromy finishes rich interior 19th- and Ages the Middle evoke that the authentic prayer chapel overlooking overlooking chapel prayer the authentic Our Lady, of the Church of the choir As visitor, you have the monumental the monumental have you visitor, As with Palace, theexperience Gruuthuse of 40 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT The permanent display, the temporary visitors as non-specialists to discover 3.I The SessionsThe | 3.I ArchitectureExhibit & Design exhibitions and all other public-related and acquire greater understanding of the activities are based on the desire to objects and the history of Bruges in a provide formal or informal education. surprising manner. There are interactive The aim is that the public should learn multimedia and activity elements for something and experience that historical young people and visitors who enjoy objects are still meaningful for our learning through an activity. In the present-day world. atmospheric rest areas, which are provided The importance of preserving, displaying along the trail, visitors can talk about what and researching these objects offers a they have seen and experienced. And there | The new Gruuthusemuseum platform that not only allows us to better is a tailor-made option for our youngest understand contemporary society, but also visitors. A family trail has been developed makes it possible to provide a framework for families with children (aged 5-10 for the past and a context for certain years), guided tours with workshops for historical evolutions. children visiting the museum with their Public guidance in the Gruuthusemuseum school and a Do-it-yourself booklet for is as varied as the visitors themselves. The teachers who want to take their class on a (free) audio guide in six languages invites guided tour.

View of one of the renewed museum rooms, the ‘lace room’. The furniture displays the same level of refinement as the building’s detailing, the walls in each of the museum rooms were painted a different colour and the LED lighting is perfectly balanced. © noAa/Karin Borghouts, 2019

© ICAMT 2020 Online Conference 42 © ICAMT 2020 Online Conference 43 The Sessions | 3.I Architecture & Exhibit Design | The new Gruuthusemuseum 43 3.I and daylight floods in daylight and once more. created team designThe a similar refinement and and refinement a similar as in finish of standard itself. the building museum trail entire The a to beenhas completed very high specification awe- an provides and experience. inspiring advanced most The been have techniques incorporated discreetly finish, expanding on the history of the of the on history the expanding finish, building. a ‘gesamtkunstwerk’ with a highly refined a highly with refined a ‘gesamtkunstwerk’ The use of colour is inspired by the neo-by the is inspired colour of use The theGothic, palace’s which determines will recognise you the furniture In identity. a hearing impairment there is a tablet with with a tablet is there impairment a hearing the objects in Flemish about explanations Sign International and Language Sign Language. A Game Changer Madoc design by the The scenography respects the noAarchitecten and team Palace. the Gruuthuse of uniqueness story behind the artwork or the room. A A the room. or story behind theartwork and leads guide blind audio descriptive the through visitors visually impaired thetactile along stations. and building and - guards assistants All 80 museum also in trained - were attendants reception visitors to welcome a hospitable extending with visitors For a visual with impairment. © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT © Musea Brugge, 2019 Brugge, © Musea Visitors with a visual impairment receive a customised guided tour tour guided a customised receive impairment a visual with Visitors can They museum. the throughout installed stations tactile via the audio descriptive the using independently museum the visit also guide. Vision Accessibility on Integral integrated in the museum. Real materials Real in the materials museum. integrated clarify the touch can you that replicas or the ticket desk and the museum entrance. entrance. the museum and desk the ticket been have stations’ ‘tactile of A number can find their way around using a tactileusing around way find their can to their way make independently and plan with a sensory impairment, in terms of the the of in terms a sensorywith impairment, the at arriving When facilities. and content visitors visually impaired and blind site, the Gruuthusemuseum, special attention special attention the Gruuthusemuseum, visitors for accessibility to devoted was different levels and flights of stairs in this in this of stairs flights and levels different During of the renewal building. historic as its infrastructure allows. The museum museum The infrastructure allows. its as a physical/ with visitors for suited less is the many of result as limitation, mobility The Gruuthusemuseum is broadly broadly is Gruuthusemuseum The far as every for type visitor, accessible of 42 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Visitor figures and ratings during the Moreover, it will inspire the other 3.I The SessionsThe | 3.I ArchitectureExhibit & Design first months after the opening look good. Musea Brugge locations to invest in the 2 It is striking that almost 35% of visitors permanent display and thereby to excel. actually come from Bruges. At other The Gruuthuse site is an important Bruges museums this number is much hub on Bruges’ museum axis. Future lower. infrastructure projects, such as the The museum has clearly won the hearts renovation of St. John’s Hospital of Bruges locals, but also of the many and especially the development of international visitors, as the uppermost a new museum site adjacent to the positive reviews in the visitor surveys, Groeningemuseum, will continue to | The new Gruuthusemuseum Tripadvisor and international newspapers highlight this ambition. and magazines show. The Gruuthusemuseum wants to gauge the satisfaction of its visitors and learn lessons from it. Together with volunteers and Visit Flanders, regular surveys are organised. A short questionnaire is used to collect data that is followed up and compared with the other leverage projects implemented by Visit Flanders. Musea Brugge wanted to create a ‘game changer’ with the new museum. The renewed museum is part of an integral vision for the site but also for the Bruges museum quarter and tourism policy in Bruges. With its modern approach, its preserved authentic look as well as the focus on a truly stunning collection, it appeals to a great many visitors. The entrance of Gruuthusemuseum, with its impressive ceiling. On the walls is the 19th century reapplied imitation brick. © Musea Brugge/Jan D’hondt, 2019

© ICAMT 2020 Online Conference 44 © ICAMT 2020 Online Conference 45 The Sessions | 3.I Architecture & Exhibit Design | Outside the Gallery 45 3.I of media ranging from large-format large-format from media ranging of simply to sound surround and projection previously underutilized public spaces spaces underutilized public previously orientation varied methods of provide to The place. of reinforcement a greater and (a) a lobby previously spaces were four (b) the entry within lobby vestibule stair (c) an room activity and lunch a kid’s unused (d) an 1932, and from auditorium The gallery the café. to space adjacent complexities use differing interventions Four public spaces at Chicago History History Chicago spaces at public Four HBRA Architects designed by Museum, History Chicago with in collaboration specialists,other have and staff Museum the collection in of the context expanded Keywords Orientation Place Place *** Immersive *** Inclusive *** Collection *** Introduction © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT

character both in its physical and virtual and physical both in its character forms museum’s role as a specific place in the a specificplace as in the role museum’s of identity an retains that community collection from inside to outside to inside collection from the ensure to importantly, Most simply collection highlights simply the experience of a layered provide To the collection resides in, the history or in, the history or the collection resides or the collection itself, of importance Provide more wholistic orientation, orientation, wholistic more Provide that the community bewhether about it experiences, which may beexperiences, used to which may by expanding the context to places places to the context expanding by collection utilized usually for not Creating a more inclusive experience inclusive a more Creating • • • may enable include: enable may • orientation. Specific enhancements to the to the Specific enhancements orientation. experience which thismuseum approach connection through various levels of of levels various through connection collection and interpretation immersive spaces outside of the gallery of spaces outside walls through which will varied design approaches and engagement, access, visitor expand This paper promotes the activation of of activation the promotes This paper HBRA Architects, Chicago, IL, USA Chicago, HBRA Architects, Abstract Craig Brandt Outside theOutside Gallery: & Connection Access Visitor to Museum New Approaches 2 44 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT behind a formal staircase. This approach a virtual device application. All four 3.I The SessionsThe | 3.I ArchitectureExhibit & Design spaces have various technical challenges is typical in many traditional museum based on “enhanced connectivity” such as buildings in order to create a legible acoustics, accessibility, cost feasibility, and security break for the user and to avoid the development of meaningful program revealing the collection. However, with content. such an array of information and virtual experience available today outside the “Plan of new orientation spaces” museum, institutions must consider the entrance itself as a “shopping window”

to encourage visitors not familiar with | Outside Gallery the the institution or collection to desire the experience. The entrance also needs to sell itself as a wonderful place from the moment one enters. Moving the admission counter back and introducing creative, thematic, and immersive exhibits as one approaches results in a richer entry experience. This additional space also provides extra room for queuing, useful on busy days, and for distancing of people and groups. The Treasures Lobby, with ticketing pushed back, begins with a spatially immersive collection which fills the two-story entry lobby designed by the Museum. It is a three-dimensional collage of large, small, suspended, and Entry Lobby as Spatially illuminated objects which are symbolic relics of Chicago including street signs, Immersive Display antique signs from specific cultural places, The Treasures Lobby was the first public and a historic automobile. The array of space intervention in our collaboration objects is not demanding of any kind to transform a less-than-friendly entry of procession or order, nor does it offer experience into an immersive one. The specific orientation. Rather it gives a original entrance to the museum, designed glimpse of the richness and character of in 1986 stopped visitors 10’ from the the collection and the physical character of entrance at a barrier allowing small the community in an effort to establish a glimpses of the collection to be veiled sense of place.

The Sessions | 3.I Architecture & Exhibit Design | Outside the Gallery 47

3.I “Grand Stair and Landing” Photos by Craig Brandt Craig by Photos Landing” and Stair “Grand and creating opportunities for viewing viewing for opportunities creating and above. from installation the treasure of successful examples the most of One the central is in this project placemaking which, stair, and the lobby of position of circulation a confluence near located viewings. repetitive facilitates paths,

© ICAMT 2020 Online Conference 2020 Online Conference © ICAMT “Treasures Lobby ” Photo by Kate Joyce Kate by Photo ” Lobby “Treasures back to the objects on the second floor floor the second the objects on to back The curvilinear wood stairs invite the the The curvilinearwood invite stairs them returning upwards, gradually users geometric masses of maple wood which maple of masses geometric beyond. waiting the collections frame The redesigned ticketing counter and and counter redesigned ticketing The splayed two as out stand stair grand 46 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 2” thick acoustic panels for 45% of the 3.I

Multi-Use Room as Immersive SessionsThe | 3.I ArchitectureExhibit & Design walls and additionally required acoustic Orientation Gallery treatment for ceilings. Our approach was The Crown Rooms comprise a renovation to design a cohesively immersive space that synthesizes various types of that uses imagery to unify and enrich the orientation focused on children during experience without having the acoustic school visits, and larger audiences during panels detract from that experience. non-school times. The pair of rooms Typical walls of the rooms are clad with contain the necessary functions of a kids- a protective wainscot on the bottom and gathering area and lunchroom, facilitating large scale historical images of Chicago | Outside Gallery the the processing of coats and lunches in children printed on acoustic fabric at the colored bins, and clipboards for school top to both inspire, sooth, and connect the visits. The experience culminates in a place to the historic fabric of the Chicago multi-screen theater for instruction and community. orientation. The two interconnected rooms The sloped form of the theater announces accommodate various paths of processing its presence as something unique in the and orientation, and for security and mostly orthogonal perimeter experience visibility reasons, need to have large and is clad with simple forms and colors openings without doors. Having large of acoustic panels, not to detract from groups of children and multimedia located the photographic and electronic imagery. adjacent to a lobby required an extreme Inside the theater, a 5-monitor array approach to surface acoustics. In order with surround sound all integrated into to counteract interference for the two a designed enclosure, immerses the spaces connected by two six-foot openings, user with Chicago History in the form required all walls of all surfaces to have of places, artifacts, and people. Many “Lunchroom with photo-acoustic panels” Photo by John Cahill John by Photo panels” photo-acoustic with “Lunchroom

© ICAMT 2020 Online Conference 48 © ICAMT 2020 Online Conference 49 The Sessions | 3.I Architecture & Exhibit Design | Outside the Gallery 49 3.I reinforcement of “museum “museum of reinforcement by reinforced is place” secondary viewing in the by thirdly and place, theater viewing in a virtual place. in the museum being display being display in the museum scenes historic showing boxes landscape and buildings with sees through one that settings Again, windows. decorated “Theater rear wall with acoustic/reflective panels” Photo by Craig Craig by Photo panels” acoustic/reflective with wall rear “Theater Brandt museum’s panorama display collection collection display panorama museum’s museum was as online the offered was The Covid-19 lockdown. closed during a program for the panoramas of choosing places themselves, theyas are important is © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT after-school content, images from the the from images content, after-school Cahill John by panels” reflective with array “Monitor in cost. Besides functional orientation, Besidesin cost. functional orientation, be can the array screen on programs For enjoyment. of all ages for displayed monitors. This is used in place of rear rear of usedis place This in monitors. be increase a fair which would monitors reflect and animate patterns resulting resulting patterns animate and reflect the from images the changing from The rear theater wall completes the the wall completes rear theater The and visual banding theater’s immersive that movement and light of lines creates skyline, which projects and reflects all reflects all and which projects skyline, surfaces. form, ordered by shifting mirror-finish mirror-finish shifting by ordered form, Chicago’s emulate that forms geometric distinct fully connected room that offers a offers that distinct fully room connected and light, history, full-view of immersion it often negates the full range of human human of the full range negates often it necessary a sense of vision peripheral for a established we instead, and immersion, image alone must have no “distractions” “distractions” no have must alone image that as notion, Our design rejects that institutions prefer to make theaters theaters make to prefer institutions the the idea with that boxes” “black 48 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT requires an extensive budget for sound 3.I

Auditorium as Orientation SessionsThe | 3.I ArchitectureExhibit & Design Theater and lighting. Fortunately, this expenditure can be leveraged for other uses besides The McCormick Theater was formerly not orientation films such as performances part of any museum experience. or other film showings. The space was The project’s role was to expand its mostly unmodified from its original 1932 potential not only a multipurpose venue Graham Anderson Probst and White for non-gallery events, but to make it designed splendor. Unfortunately, that part of the history experience and a place meant a significant effort to improve its for museum users on their visits by the accessibility. | Outside Gallery the introduction of a 10-minute orientation This historic auditorium required 8 film presented in 4K 16:9 movie format wheelchairs spaces with companion seats and surround sound for a more immersive which modified the seating significantly. experience. Fortunately, the solutions employed had The Great Chicago Adventure Film unanticipated benefits. In lieu of having projected in the newly renovated theater three tiers of seating across the entire plan, transports visitors through major events the front seating area moved those aisles to in Chicago’s history such as the Great the ends creating less aisle interruptions, Chicago Fire and World’s Columbian similar to a movie theater seating Exposition through the experiences of arrangement. A new accessible platform in two children who meet up with historical the back when not used for wheelchaired figures, much like the 80’s film Back to the viewing, allows for quick viewing in a Future. To convert a historic auditorium or standing position – ideal for a ten-minute any space into a 4K projected movie venue orientation. “Reconfigured seating accommodates wheelchairs in front and middleand in wheelchairs front accommodates “Reconfigured seating behind hidden AV doors, main from rear and ramps, and via lift Ballogg Mark by Photo beams.”

© ICAMT 2020 Online Conference 50 © ICAMT 2020 Online Conference 51 The Sessions | 3.I Architecture & Exhibit Design | Outside the Gallery 51 3.I is a room with with a room is encourages you to casually engage walking walking casually engage to you encourages lounging. and siting through or by, of the programming Museum’s The spectators from visitors space transforms simply viewing it to experiencing it by by experiencing it to viewing it simply may everyday one activity an of means – lounge the museum outside encounter around space centered is The reading. purposely themed but reading, books and the legacy Chicago-based of around in between the main resides It authors. designed is and café the Museum and stair that circulation flow-through with The Casual Café as Social as Social Café Casual The Center & Activity Immersive Connector Community Authored Chicago displays books, and chairs, comfortable the expands It writing. books and about experiencing a collection from idea of © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT “Orientation film in 4K 16:9 format in renovated auditorium.” Photo Photo auditorium.” renovated in format in 4K 16:9 film “Orientation Ballogg.) Mark by and egress lighting into the detailing the detailing into lighting egress and the original vocabulary. within keeping of this transformation, the most critical critical the most this transformation, of preserve place, the to sensegoal was of technology treatment, acoustic integrating renovation and its media intervention had had media intervention its and renovation development the seamless.Throughout to To maintain the sense of place of this this of place the sense of maintain To this artifact”, “decorated three-dimensional modifications. Acoustics in older rooms rooms older in Acoustics modifications. amplified for suitable not typically are control. sound any project is to have mutually/multiple mutually/multiple have to is project any such for users of to a variety benefits accessibility is beyond the scope of this this the scope beyond of is accessibility for important most is what but paper, The full description of challenges challenges of The full description for theater a historic renovating for 50 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT to participants with performances figural gestures to mark the special 3.I The SessionsThe | 3.I ArchitectureExhibit & Design and readings, extending the reach of nature of the intervention within the community connectivity. Before and context of the institution. Critical during museum hours, the space is technical considerations include proper available for visitors to learn about and safe stage design. The shallow stage authors and books from the community has tables and chairs placed in front of it bookshelf, with hundreds of works by during off-performance hours to prevent Chicago authors or they can simply tripping hazards. The east entrance has lounge with their own books. Going glass doors to control the sound to and beyond the reading object, the exhibit from the main lobby while the opposing | Outside Gallery the makes use of an excerpt-filled mobile side is open to the café allowing for application with audio and video tours, onlookers to be participants as well. and the space hosts a book club. The idea of this intervention is transportable to many types of institutions and places due to the compact and low technical nature of the activities. One could use this idea as a “pop-up” lounge in outdoor spaces near the museum, somewhat like the “bookmobile” concept. Again, the place of the museum should be retained when possible using iconography, or other Chicago History Museum “Mobile application allows multiple place experiences” Chicago History Museum “Seating and books define casual orientation” Conclusion

As shown in the above four examples, the introduction of collection spaces outside of the gallery can present a collage of a collective identity, delivered to the visiting community in different forms of immersive media containing various aspects of orientation programming. The relationship of these interventions can be pop-up, overlaid, partially integrated, or permanent, and the decision of which approach to take depends on program, place, and feasibility.

© ICAMT 2020 Online Conference 52 © ICAMT 2020 Online Conference 53 The Sessions | 3.I Architecture & Exhibit Design | Outside the Gallery 53 3.I and non-museum formality and increase increase and formality non-museum and time. visitation for resolution, clarity, and brightness brightness and clarity, resolution, for and darkness less that the degree to the environment needed is for contrast rich and is environment existing – if an these the place, to visually important be can added with layers electronic lighting and in acoustics changes minor enclosure. engaging an provide to and intervention’s be an can part of Activities museum of the gap bridge to identity making this identity clear with the the with clear thismaking identity through ideas, and of a minimum meaningful imagery of and immersion preserve to in order expression, studied memorable and a legible as the museum place. physical • collecting help to is of goal this paper The the enhance preserve and institutions environments, their museum of identity © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Current trends in LED technology allow LED technology in allow trends Current often lack a sense of institutional identity identity of institutional a lack sense often carefully. be considered should and engaging arrangements and enclosures. and arrangements engaging but flexibility offer theaters box Black examples such as content-laden acoustic acoustic content-laden as such examples media in housed and wall finishes can be studied and developed through through developed and becan studied additional which yield design options cites paper This user. to the benefits stronger identity for the institution. The The the institution. for identity stronger acoustics and accessibility of challenges renovations can be overcome to achieve achieve to be can overcome renovations a and functional result their desired the main circulation for acoustic and and acoustic for circulation the main isolation. environmental and interventions with Challenges environments can be served can better environments from separated and distanced slightly users to acquire sufficient place- sufficient acquire to users sound immersive Conversely, memories. immersion is best placed in areas that that best is placed in areas immersion allowing visitation repetitive receive Content that is used to create ambient ambient used is create to that Content “Video Collage integration sketch by Craig Brandt” Craig by sketch integration Collage “Video • • Other points include: Otherpoints • 52 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I Back to The Future: SessionsThe | 3.I ArchitectureExhibit & Design 3 Reinterpreting Wardown House Museum and Gallery

David Masters Lead Consultant, Imagemakers Design & Consulting

Abstract Keywords This case study paper describes Interpretation | Back to| Back The Future key elements of the conservation, *** reinterpretation and redisplay of Wardown Exhibition Design House Museum and Gallery, a Grade II *** Listed historic building in Luton, England. Narrative The paper explores how a fresh approach to interpretive storytelling combined with *** creative design rejuvenated the visitor Interior Design experience. It explains how an interpretive *** design approach was developed, based on Sustainability the story of the Museum’s historic interior. *** It also demonstrates how old furniture and Historic building household objects can be repurposed into display hardware, and how bespoke digital Wardown House Museum and AV design can support an engaging Originally a private mansion, Wardown visitor experience. became Luton’s museum in the 1930s. The House has a distinct local history, and a series of historic interiors that reflect the original uses of the rooms and the tastes of its Victorian inhabitants. However, by 2014, after many decades of use as a municipal museum, much of the interior had been boarded over or obscured by exhibits. The collection displays were tired, poorly accessible, and lacked any coherent narrative. The story of the house, its Wardown House Museum in Luton, UK, received Heritage Lottery funding for a major refurbishment in 2014. architecture & decoration had been lost.

© ICAMT 2020 Online Conference 54 © ICAMT 2020 Online Conference 55 The Sessions | 3.I Architecture & Exhibit Design | Back to The Future 55 3.I including a services engineer, building building a servicesincluding engineer, consultant. interiors historic and engineer Imagemakers designers, interpretive As very to this team with closely worked In approach. a fully integrated ensure over recruited had the Museum addition, and the project, support to 300 volunteers Activity and Plan a Business developed project. the capital accompany to Plan All these spaces, and others throughout throughout All others these spaces, and for opportunities lost were the house, a very limited provided and storytelling experience. visitor a wider Design alsoproject involved The and architect, a conservation led by Team The Lady’s Bedroom had become an office and general dumping dumping general and office an become had Bedroom Lady’s The ground. The Billiard Room had lost its distinctive period feel and ambience. ambience. and feel period distinctive its lost had Room Billiard The © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT lost. The beautiful interior of the elegant Morning Room had been largely largely been had Room Morning elegant the of interior beautiful The ground. Bedroom had been used as the Curator’s Bedroom been had used the Curator’s as dumping general and room meeting office, exhibition space without any clues to its its to clues any space without exhibition The Lady’s grandeur. original use and used for small-scale temporary displays, small-scaleused displays, for temporary The ad hoc storage. activities, and learning a black-box Library been had into turned unrelated exhibition material. The Billiard Billiard The material. exhibition unrelated space ‘afterthought’ an become Room had of the Dining Room and Morning Room Room Morning and Room the Dining of beenhad completely obscured with The interiors and exhibition at that time time at that exhibition and interiors The the scale the of demonstrate clearly interiors wonderful historic The challenge. narrative for visitors; and to make the the make to and visitors; for narrative accessible. collection more town’s visitor experience in a restored Victorian Victorian experiencea restored in visitor interpretive a clear provide to interior; As design brief for the museum redisplay redisplay the museum for design brief As new a wholly create to threefold: was floors above. Design Brief The Exhibition finishes; and better access, including a including access, and better finishes; with the newthe basement lift connecting The building building alsoneeded The conservation services theroof, to interior and works 54 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I Interpretive Design Solutions collection, including sporting trophies, SessionsThe | 3.I ArchitectureExhibit & Design In response to the brief, Imagemakers sports equipment and archival records, undertook a series of workshops were to be displayed in the Billiard and consultation activities with staff, Room – the room where the Victorian stakeholders and volunteers. With the gentlemen of the House would retire to curator, they developed an Interpretation play billiards. The fine art collection and Plan identifying audience profiles and musical instruments were to be displayed characteristics, aims, themes and topics in the Morning Room, the main Victorian

to inform the design solutions. This key reception room for guests and functions to| Back The Future document was supported by an object like musical recitals. The maps, geography list with information about the collection and natural history collection were to items to be displayed, their sizes, and any be displayed in the old Library, and the conservation display requirements (e.g. costume collection was to be displayed in security and climate control). the Lady’s Bedroom, and so on.

New external interpretation drawing attention to the historic building.

Indicative circulation routes used for plotting display narratives and stories. Circulation and Narrative Design and Styling Working with the curator and conservation architect, Imagemakers The design ethos was to recreate a sense developed a proposed visitor circulation of the original period interior, but with and interpretive narrative across three a contemporary twist. Imagemakers floors and a dozen rooms. The narrative worked with a specialist historic interiors linked the historic uses of the house and consultant to develop appropriate designs its rooms to the collection display and for period-inspired wallpaper and wall storytelling. For example, the leisure tiles that also contained interpretive

Second hand Victorian furniture was brought at auction and repurposed into display cabinets, sometimes including audio and AV components. Built-in object display cases were made in what appears to be a a be to appears what in made were cases display object Built-in standard museum modern with but style, Victorian traditional seals. and security glazing, © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT style, but with modern museum standard standard modern with museum but style, glazing, security seals. and Built-in object display cases were made in in made cases were object display Built-in Victorian be to a traditional appears what they sit down, and into recycled objects objects recycled into and down, they sit broken and instruments musical as such players. gramophone Audio equipment was embedded into embedded was into equipment Audio when talk visitors that to armchairs furniture was bought at auction and and auction at bought was furniture cases. and cabinets repurposed display as designed in a period style but containing interpretive text and and text interpretive containing but style a period in designed images. the period antique feel, Continuing Furniture set dressing such as blinds, towels and lampshades were were lampshades and towels as blinds, such dressing set Furniture images. images. lampshades were designed period in a were lampshades and text interpretive containing style but and story-based imagery. Furniture Furniture story-basedand imagery. and towels blinds, as such setdressing 56 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I

Digital and AV Media Supporting the Museum’s SessionsThe | 3.I ArchitectureExhibit & Design

A digital tour was developed using tablets Commercial Operation that are loaned to visitors, containing Part way through the project the design layered narrative explorations voiced by brief was expanded to include creating a historic characters like Frank Scargill, the Victorian style tea room in the old Dining original 19th century owner of the house. Room, but with a contemporary twist. Talking AV portraits were produced in old Here visitors can now read interpretive picture frames, again enabling characters magazines about the collection and

from the past to speak to visitors & tell explore table-top display cases whilst to| Back The Future them stories about the house & its rooms. enjoying a coffee and cake. The tea room’s An antique film projector was retrofitted centrepiece is a unique and distinctive with a modern digital projector to deliver chandelier made from recycled teacups, an AV film about social history and local and its historic decorated interior has politics in the Smoking Room, where the finally been revealed and celebrated as a gentlemen of the house would sit and key part of the building’s story. debate matters of concern. The centrepiece of the Billiards Room is a digital billiard table in which visitors pot a virtual ball to unlock layers of content and storytelling about the history of sport and recreation in Luton.

A digital game of billiards unlocks layers of content in the restored The Dining Room is now a café with personality, including a bespoke Billiard Room. teacup chandelier and display cases embedded into the tabletops.

© ICAMT 2020 Online Conference 58 © ICAMT 2020 Online Conference 59 The Sessions | 3.I Architecture & Exhibit Design | Back to The Future 59 3.I 390 volunteers became active ‘Museum became ‘Museum active 390 volunteers in all aspects participating of Makers’, and interpretation include the project displays. result of the refurbishment. of result rated of visitors 98% re-opening, After ‘very or good’. ‘good’ as the displays profile visitor the re-opening, After proportion increased an with changed, the target from and visitors younger of Luton. of areas local deprived and had believed the project visitors 92% of Luton. to contribution a positive made being as they learnt what rated Visitors 10 being ‘everything’). 10 (with of 8 out 270% by spend rose visitor Average 36p per 97p per head to head. from Visitor numbers more than doubled as a a as doubled than more numbers Visitor • • • • • staff and volunteers. volunteers. and staff the demonstrated this data together, Taken outcomes: following • • Results measured were project of the results The evaluation independent an through included research The evaluation process. 112 visitor cards, feedback 254 visitor e-survey an 35 of questionnaires, feedback interviews depth in with and volunteers, © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT The Morning room is now a display gallery and a wedding venue. wedding a and gallery display a now is room Morning The a popular wedding venue. wedding a popular thereby creating new income streams. The The streams. new income creating thereby both a fine now is Room Morning elegant and collection display, a music art gallery, Wardown House to host wedding wedding host to House Wardown events, commercial other and ceremonies Working with the Museum’s business business the Museum’s with Working design the also spatial enables manager, 58 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT • Typical visitor comments included: 3.I Conclusions SessionsThe | 3.I ArchitectureExhibit & Design 4 1. “Interesting and engaging ways of This case study demonstrates how good d i s p l ay.” interpretive planning and creative design 2. “I think it’s all presented in a very can successfully refresh a museum original and creative way. Very experience. It shows how collection impressive.” displays can be successfully integrated 3. “The displays and wall displays are into a period aesthetic, how good very imaginative.” interpretation can tell an engaging story,

and how the story of a historic building to| Back The Future • The formal evaluation by the project’s can be brought back to life alongside that main funder, the Heritage Lottery of a diverse museum collection. Fund, concluded “The project was successful in telling the story of the house, the collection and the town in an engaging and creative way, receiving overwhelmingly positive feedback from visitors”.

The Lady’s Bedroom after the refurbishment project.

© ICAMT 2020 Online Conference 60 © ICAMT 2020 Online Conference 61 The Sessions | 3.I Architecture & Exhibit Design | Exhibiting Exhibitions. 61 3.I the most innovative of which is probably probably which is of innovative the most exhibitions. past of the re-staging current socio-cultural scenario; on the socio-cultural the scenario; on current of a new understanding on drawing other, heritage a special of as form exhibitions has 1984), it (Nora, de mémoire lieu or in the changes triggered significant use in the and their study to approach the promoting thus context, present new with opportunities experimentation practices – exhibition contemporary for *** *** history Exhibition characterized the have that The trends in culture the exhibitionary of evolution the raising include years twenty the last On the histories. exhibition for interest attested has this phenomenon hand, one in the these events of the relevance to Re-staging exhibitions Re-staging *** Re-exhibiting envision its possible contribution to the the to contribution possible its envision contemporary of the prospects and agenda museums. Keywords the re-staging practice, with the aim to to the aim with practice, the re-staging © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT

potentialities and criticalities implied in in criticalities implied and potentialities The paper proposes a synthetic overview a synthetic proposes The paper the the the origin, and tasks on case studies to museologists, historians, historians, museologists, to case studies large. at researchers cultural and architects it expands the growing interest for for interest the growing expands it decades in the last that histories, exhibition particularly become attractive have as multidimensional constructs and and constructs multidimensional as eventually media, and engaged historically museographic dimension), it enhances enhances it dimension), museographic exhibitions of the acknowledgment or some aspects that may have been have may aspects some that or neglected those (e.g. pertaining the to important advancements in the conception in the conception advancements important it particular, In exhibitions. use of and episodes some reconsider to contributes its milestones from oblivion), this this oblivion), from milestones its set some to forth contributing is activity obvious outcomes (e.g. to disseminate disseminate to (e.g. outcomes obvious rescue to and culture the exhibitionary that have played a significant role in the in the role a significant played have that the of – in the revolution – or evolution more Beyond its practice. exhibition within larger displays accurately recovering recovering accurately displays larger within installations even reconstructing or an emerging phenomenon, based on the based the on phenomenon, emerging an often shows, historical of re-enactment Abstract is of seminal exhibitions re-staging The Politecnico di Milano, Department of of Department Milano, di Politecnico Italy Studies, Urban and Architecture Elena Montanari ExhibitingExhibitions. the & Re-considering Re-viewing Re-staging, of Seminal Displays Role 4 60 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT form of cultural heritage – drawing on 3.I

Exhibition Histories: SessionsThe | 3.I ArchitectureExhibit & Design New Prospects for Research & the expansion of the concept of heritage as well as on the acknowledgment of the Practice historic, scientific and social values of the For a long time the history of exhibitions display practice and the role it has played has been conceived as a subgenre or a in identity and memory making processes. mere supplement to art history, and its Drawing on this assumption, the reading study has been limited to the enrichment of the evolution of the forms, languages, of artistic narratives. strategies and tools that pertain to the A gradual change in this conception arose exhibitionary culture is thus being | Exhibiting Exhibitions. at end of the XXth century (Greenberg, acknowledged as a valuable lens through Ferguson & Nairne, 2005; Vogel, 2013; which to observe our past as well as our Collicelli Cagol, 2015), when exhibitions present. On the one hand, it can offer a started to be acknowledged as historically further instrument to approach history in engaged media, which can play a itself, to reveal cultural debates of the past, strategical part in the construction of and to retrace the evolution of ideas and collective identities. positions on various cultural, societal and In fact, “The emergence of the political topics; on the other, it can have a ‘remembering exhibition’ phenomenon self-reflexive task and allow for the tracing is a manifestation of Western culture’s and the multilayered understanding of the current fascination with memory” changes in the role and the work of the (Greenberg, 2009), but on the other hand museum institution. this growing interest also evidences a new These are the reasons why, in the last understanding of the cultural significance twenty years, meaningful historical of exhibitions and of their role in exhibitions have become particularly documenting the changing ways in which attractive case studies to museologists, knowledge and culture have been enabled, designers, historians, anthropologists and constructed and disseminated. cultural researchers at large. Today, they Exhibitions are the means through which, are at the core of relevant national and throughout the decades, societies have international “discursive events” (i.e. “the represented their relationship to art and to cultural moments of exchange and debate heritage, but also to their own history and that are catalysts for changing perceptions identity, and to those of other cultures and and triggering new practices”, Greenberg peoples (Lumley, 1988; Bennett, 1995). 2009) and, most importantly, they have As such, both their content and their become the object of innovative forms physical manifestations represent a special of research, documentation – and re-

© ICAMT 2020 Online Conference 62 © ICAMT 2020 Online Conference 63 The Sessions | 3.I Architecture & Exhibit Design | Exhibiting Exhibitions. 63 3.I Institute of Chicago and at the Copley the Copley at and Chicago of Institute was Society Art This in Boston. event of as a milestone, as acknowledged quickly the experimental styles of introduced it in the history of garde avant the European in re-staged was it thus art, and American especially 50th – and in its occasions many centenary in its (in 1963) and anniversary (in 2013). important shows that have been celebrated been celebrated have that shows important their or their relevance because of the as history – such cultural on impact Art, Modern of Exhibition International which Armory the The as Show, known the Association by beenhad organized in Sculptors and Painters American of Armory 1913 in the 69th Regiment in the Art at displayed later and York, New re-construction of displays that had had that displays of re-construction of the re-enactment as well as lost, gone the shows, ephemeral and performances about or exhibitions within exhibitions re- even exhibitions and exhibitions, online. presented along appeared practice had already This events precursor in some the 20th century, particularly of based the restaging on Although the idea underlying this type of this type the idea of underlying Although actually it clear-cut, is practice exhibition multifarious of a range encompasses varyingactions, in their methods and the includes it particular, In intentions. (ensuing shows historical of replication the exhibited of the re-assemblage from also the but settings), and artworks - © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT – as well as recovering recovering as well – as 1 According to Reesa Greenberg (2009), this term has been adopted to describe various practices of documenting on the web, experimenting with with experimenting web, the on documenting of practices various describe to adopted been has term (2009), this Greenberg Reesa to According outcomes experientially. outcomes process-oriented spatialization of memory memory of spatialization process-oriented their understand to us which allows part of them), by re-animating their their re-animating them), by part of also dimension, their spatial but contents or a performative activating thus and artworks, but rather on the restaging of of the restaging on rather but artworks, a meaningful of (or projects exhibitionary Indeed the sense of this the practice does senseIndeed of relevant of lie in the exhibition not on exhibitions as multidimensional multidimensional as exhibitions on well as tackling curatorial thus constructs, designas issues. museographic terms – because these terms museographic critical thinking foster reenactments that had a seminal effect on the museum museum a seminalon had the effect that in and both in museologic culture, historically-significant shows that that shows historically-significant or display of the norms revolutionized exhibitions. exhibitions. art regards mostly it particular, In especially and those exhibitions, This latter practice includes the replication replication the practice includes This latter earlier of the revival and recreation) (or new forms of recording, organizing and accessing online material. online accessing and organizing recording, of forms new 1 From Homage to Re From Endeavours search-by-design Re-exhibiting Exhibitions: Re-exhibiting expanded and progressive models of study, study, of models progressive and expanded of restaging the physical virtual and and seminal events. and release of multimedia archives, that that archives, multimedia of release and multilayered, of the development for allow documentization the construction whichpractices, include 62 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Some other preliminary episodes ensued the experimentation with new approaches, 3.I The SessionsThe | 3.I ArchitectureExhibit & Design from the need to re-visit controversial methodologies and tasks. shows in order to re-assess or even debunk Many of these re-staged events still are their infamous and awkward aspects homage or anniversary exhibitions, – and probably the most emblematic designed to isolate pivotal moments in art case was the 1937 Degenerate Art and in museum history (also including exhibition. The event revolved around those that may have been overlooked the collection of modernist artworks and marginalized), usually offering a that had been confiscated by the Nazi revisionist take or commenting on the

Regime from European museums original show, and often acknowledging | Exhibiting Exhibitions. because of their insulting and subversive neglected aspects and perspectives, hence nature, and displayed in an itinerant expanding their interpretation. show (inaugurated at the Munich Haus Nevertheless, many recent events are der Kunst) which was meant to inflame actually conceived as research-driven public opinion against modernism. Parts endeavors, conceived to enhance of the exhibition were restaged in various advancement of knowledge and occasions, in Europe and in America, dissemination on archival material, and always complementing the few original to promote innovative pedagogic and artworks that were recovered with many methodological tasks. For example, other materials, aimed at documenting, they are offering a new testing-ground reviewing and breaking down the for research-by-design models, implications of the show. Indeed these expanding the observation point on the re-stagings did not mean to actually exhibitionary practice and promoting re-display the exhibition, but rather to an interdisciplinary perspective that examine and to comment on its history, encompasses its usually neglected layers, as an opportunity to contribute to the corners and dimensions, thus raising development of historiographical and a new understanding of exhibitions as critical perspectives. historically-mediated constructs that If the first episodes of this restaging embed museologic, architectural, social phenomenon had already showed different and political stances, and soliciting an purposes, ranging from the celebratory interpretation of the display as a form in to the revisionist ones, the complexity and of itself. of this practice grew further in the last The development of these new tasks has fifteen years, when it accelerated and significantly changed the perception of spread, thus producing a global “wave” the re-staging practice as well as its role of re-plicated, re-enacted, re-created and in the contemporary scenario. Today re-activated exhibitions, which fostered these events are playing a strategic part

© ICAMT 2020 Online Conference 64 © ICAMT 2020 Online Conference 65 The Sessions | 3.I Architecture & Exhibit Design | Exhibiting Exhibitions. 65 3.I often at the beginning or at the end of the of the at end the or at the beginning often they be with can or intertwined path), has been feature This the original display. re-staging in the different shown variously Art exhibition. the Degenerate episodes of the – in 2014 York in New reprised When on Attack Art: The “Degenerate show original display, documents illustrating illustrating documents original display, reception, the show’s or work the curators’ other or the curator from commentaries connection the possible evidence of voices, Beyond being etc. events, other with these in the new catalogue, included in the exhibition integrated are materials They can be addedmarginal in a layout. space, “additional” in an (e.g. position may entail the selection of specific the selection of parts, entail may shows, different of the juxtaposition or commentaries of the entwining and materials. complementary aspects This variant: to the pertains second Indeed, new elements. of the integration the original implies usually the re-staging further by be to complemented artworks the of photos as such documentation, main decision areas within around the the around within areas decision main can exhibitions re-staged of planning vary. and revolve all, the accuracy of the First of range can This parameter reconstruction. reassemble to thepossibility on depending but settings, and the original artworks that approach, the also curatorial on © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT . 2 This new exhibition genre has been referred to as re-construction, re-make, re-play, or re-staging, but also as sequel or re-cap (Hoffman, 2012), 2012), (Hoffman, re-cap or also as sequel but re-staging, or re-play, re-make, re-construction, to as referred been has genre new exhibition This explored within this practice, as well as its recent inception (and ongoing development). ongoing (and inception recent as its as well practice, this within explored 2 (Bal-Blanc, re-production 2013) and (Celant, 2016), ready-made (La Rosa, re-exhibiting and 2010), re-enacting (Dulguerova, riposte and reprise tasks and methods projects, the of variety and multiplicity the – for stands and – from results vocabulary codified a univocally of lack 2013); the general, it is possible to identify three identify three to possible is it general, Hence their design is a complex endeavour endeavour their design a complex is Hence dimensions aspects and many involves and be In discussed(which cannot here). critical stances towards past issues issues past towards critical stances 2012). 2010; Greenberg, (Dulguerova, differences, specific problems, new new problems, specific differences, multifarious and questions curatorial defined name yet name defined of acts mere never are Theseshows introduces event each repetition: distinctive features, methods and tasks tasks methods and features, distinctive a univocally have doesn’t it – although (Greenberg 2009), i.e. a specific a type 2009), i.e. (Greenberg by characterized is that exhibition of for the re-staging practice to be identified be to practice identified the re-staging for genre specific a new exhibition as and today in this phenomenon, the growing the growing in this phenomenon, today time the same at and forms, its variety of allow addresses, ideas it the distinctive The complexity that we can recognize recognize we can that complexity The path towards the critical revision of their their of the critical revision towards path tools. and strategies the self-reflexive work to which cultural to which cultural work the self-reflexive at committing increasingly are institutions the orient to contribute thus and present, enhancing the ongoing transformation transformation the ongoing enhancing fact, they support In can museums. of not only in promoting and advancing advancing and in promoting only not also in but studies, historiographical A New Exhibition Genre A New Exhibition Re-staging: 64 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Modern Art in Nazi Germany”, curated reproduced. A paradigmatic example is 3.I The SessionsThe | 3.I ArchitectureExhibit & Design by Olaf Peters at the Neue Galerie –, the the re-staging of Harald Szeemann’s “Live absence of the artworks that had gone in Your Head. When Attitudes Become lost was highlighted by the empty frames Form”, originally displayed in the modern mixed with the recovered paintings, while white rooms of the Bern Kunsthalle (in original photos of the German shows 1969) and reproposed by Fondazione were displayed on specifically designed Prada in 2013, inside an historical palace desks positioned in the middle of each characterized by ancient frescoed and room. The previous major re-display – the decorated halls, Ca’ Corner della Regina in show “1937: Modern Art and Politics in Venice. In order to maintain the original | Exhibiting Exhibitions. Prewar Germany”, curated by Stephanie visual and formal relations and the links Barron in 1991 at the Los Angeles County between artworks and space, the curators Museum of Art and later displayed at the (Germano Celant, Thomas Demand and Art Institute of Chicago – also included Rem Koolhaas) have grafted the exhibition a small-scale model-like reconstruction in the new venue in its totality, through of the galleries of the Munich Haus der the full-size scale reconstruction of the Kunst, situated in a free-standing corridor original walls, floors and installations with a slightly raised floor in the middle of into the historical structure. A less a gallery, where visitors could enter as in a demanding option was proposed by the sort of time tunnel. 2017 replication of Kynaston McShine’s This latter integration refers also Primary Structures exhibition at New to another variant: the relationship York Jewish Museum, where it had between content and container. Indeed, firstly been displayed in 1966: the re- very rarely re-staged exhibitions are enactment included gigantic photos of displayed in their original venue, hence the original spaces which were used as the approach to their insertion into a backdrops to the re-staged installations, new place can have a strategical value, thus providing both documentation and as it can highly influence the setting, the contextualization. meaning and the reception of the show. Although some may argue (i.e. Smith, Overall, the fidelity to past circumstances 2014) that this practice may actually seems to be less important than the disguise artists’ creativity drought and construction of the current experience, curators’ obsessive look towards the past, and environmental relationships are on the contrary this new way to explore, usually reinvented. Nevertheless, in some revisit and even mediate (or mine) the cases the relationship between content past is proving quite productive. Indeed, and container is an inextricable part of re-staging an exhibition is never a mere the experience, and thus it needs to be repetition (Houston, 2016), and rather it

tate- - - as a

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Past Museum

Remembering Archival Imaginative The K. (2016, April 18). K. (2016, April

https://bmoreart.com/2016/04/past-

La Rosa, 15). M. (2016, February Exhibition Exhibitions/The enacting Site. Field Expanded the in Media Medium. Retrieved from www.mefsite.wordpress.com R. (1988). Lumley, Display. on Cultures Putting machine: London: Routledge. Attitudes. San Francisco: CCA Wattis CCA Wattis Francisco: San Attitudes. for ContemporaryInstitute Arts. Houston, and Exhibitions Restaging Imperfect: Retrieved Art. Bmore Tense. Present the from imperfect-restaging-exhibitions-and-the- present-tense.html. Remembering Exhibitions. Journal of of Journal Exhibitions. Remembering 1(2), 159-177. Studies, Curatorial S. Nairne, W., B. R., Ferguson, Greenberg, London exhibitions. about (2005). Thinking Routledge. York: & New J. (2012). Hoffman, Skull). Crystal the of Kingdom The (or, Become Form Become Attitudes When In Greenberg, R. (2009). Greenberg, Web. to Line to Point From Exhibitions: https:// from 12. Retrieved Papers, Tate www.tate.org.uk/research/publications/ papers/12/remembering-exhibitions-from- point-to-line-to-web. R. (2012). Greenberg,

Exhibition L’expérience et et L’expérience On Reproduction and and On Reproduction The Birth of the the of Birth The A Readymade: When © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Intermédialités, 15: 53-71. Intermédialités, son double: sur la Notes reconstruction photographie. la et d’expositions Dulguerova, E. (2010). Dulguerova, Stedelijk Studies, 2. Retrieved from https:// from 2. Retrieved Studies, Stedelijk stedelijkstudies.com/journal/exhibition- history-and-the-institution-as-a-medium/. Collicelli Cagol, S. (2015). Collicelli Cagol, as a Medium. Institution the and History Milan: Fondazione Prada, 389-392. Prada, Fondazione Milan: Attitudes Become Form. In When Attitudes Attitudes When In Form. Become Attitudes 2013. Bern 1969/Venice Form: Become & New York: Routledge. York: & New G. (2013). Celant, Bennett, T. (1995). Bennett, T. Politics.Museum. Theory, London History, Fondazione Prada, 437-442. Prada, Fondazione Bal-Blanc, P. (2013). (2013). P. Bal-Blanc, Become Attitudes When In Re-Production. 2013. Milan: Bern 1969/Venice Form: References solutions for contemporary purposes. contemporary for solutions their action as catalysts for changing changing for catalysts their as action inspire and practices and perceptions between different contexts and fields, fields, and contexts between different moments cultural as their impact enhance improve thus and debate, active of – and spatially – situated phenomena, phenomena, – situated spatially – and interrelations newreveal perspectives and entails a critical work that can upgrade our our upgrade can that a critical work entails a socially as exhibitions of understanding 66 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Nora, P. (1984). Les lieux de mémoire. 3.I The SessionsThe | 3.I ArchitectureExhibit & Design Paris: Gallimard. 5

Smith, R. (2014, March 20). Staging a Rescue From Obscurity. The New York Times. Retrieved from https://www.nytimes. com/2014/03/21/arts/design/the-effort-to- resurrect-the-sculptor-germaine-richier. html. | Exhibiting Exhibitions.

Vogel, F. (2013). Notes on exhibition history in curatorial discourse. On Curating, 21, 45-53. Retrieved from https://www. on-curating.org/issue-21-reader/notes-on- exhibition-history-in-curatorial-discourse. html#.X6BQxYhKg2w.

© ICAMT 2020 Online Conference 68 © ICAMT 2020 Online Conference 69 The Sessions | 3.I Architecture & Exhibit Design | Light, Shadows and Screens 69 3.I *** experience Museum Exhibition lighting design lighting Exhibition *** Interaction *** Technology it is an enjoyable and a richer experience. a richer and enjoyable an is it Keywords examples of exhibitions around the world the world around exhibitions of examples coexistence a happy was there where examples betweenare medias. These videos, with without interacted light where simple where it; by hostage being held used a with were resources technological impact. high narrative and amalgam an create to possible is It experience so that the visitor’s balance for and transparencies we can create varied varied create can we transparencies and body a as sensorialities taking the visitor’s reference. make can light how explore to I intend different blending by softer, this frontier of visitor the in the visual field supports from the experience jump so does that not another. to innovation technological one view by will of be illustrated a point Such play of light, shadow, sparkles, reflections reflections sparkles, shadow, light, of play © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT , are fundamental tools for for tools fundamental , are , and its contradictory partner, partner, contradictory its , and

another; we can create rhythms. With the the With rhythms. create can another; we perception. With shadow we can create create can we shadow With perception. and thing spaces between one breathing highlight colors, enhance three- enhance colors, highlight spatial generate and shapes dimensional Light shadow can we light, With editing. visibility What place is left for other supports? supports? other for is left place What point that some visitors will feel bored will bored feel visitors some that point innovation. technological such without inviting the public for a more active role, role, active a more for the public inviting the experiences. To immersive more with relation with the audience. the audience. with relation very gain started to media support Lately, shapes, three-dimensional attractive, been gaining more and more space in the in the space more and more been gaining based a passive on years, for exhibitions Technological devices such as projections projections as devices such Technological have content exhibition with monitors and the screens, can we create a balanced a balanced create we can the screens, and between conventional coexistence multisensory supports? for the visitor’s attention? Instead of of Instead attention? the visitor’s for - certainly - against lost a war entering multimedia devices that capture our our capture devices that multimedia compete content traditional can attention, Abstract and screens by populated a world In Fernanda Carvalho Lighting Design, Design, Lighting Carvalho Fernanda Brazil Paulo, São Fernanda CarvalhoFernanda Light, Shadows and Screens: and Screens: Shadows Light, coexistences harmonious Possible 5 68 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT is simply a combination of two or more Introduction 3.I different media. Computerized systems form SessionsThe | 3.I ArchitectureExhibit & Design In everyday life, one person spends part of a long tradition of interpretive and several hours interacting with gadgets and explanatory technologies and techniques devices for working, networking, learning, that follow slide shows, text plates, and studying and socializing. The museum dioramas.” environment has been changing its forms and shapes to catch the attention and “Strictly defined, multimedia results interest of visitors, by creating more and when two or more media are combined to more captivating exhibit supports for its provide information about a subject. The | Light, Shadows and Screens contents. Screens and multimedia high media may be text, drawings, graphics, still technology devices now occupy much of photographs, moving images from film or the space (and budget) of exhibitions. video, and audio. Interactive multimedia Projections and screens have left the enables communication between the dark room, and high technology media multimedia system and its user, enabling supports started to gain very attractive, the user to control the sequence and three-dimensional shapes, inviting the presentation of information. This in contrast public for a more active role, with more to a film, for instance, which is a linear, immersive experiences. Nowadays, almost meant to be seen by a passive viewer from every exhibition has at least one piece of start to finish.” (Davis & Trant & van der interaction with high technology support Starre, 1996) for content. And there are several examples of temporary exhibitions and long term Until recently, exhibition projects with museums, built mainly by projections, audiovisual content, used to locate screens screens and virtual reality artifacts. One and speakers in separate rooms. It created example is the TeamLab Borderless segmented and controlled environments, exhibition at the Mori Building Digital Art lacking visual continuity with other Museum in Tokyo, Japan, where the visitor exposed elements. This was the way to navigates through empty rooms completely preserve dark and silent ambience in order covered by responsive projections. to guarantee an accurate experience for the content on display, as projectors were “Visiting a museum is a “multimedia” not so bright as they are today. Using experience. Since the first written technology as a language was something in explanatory label was placed in an development, both in its proposals and in exhibition museum, visitors have gathered technical possibilities. information both by looking at things With the development in the use of and by reading about them. Multimedia technologies and the appropriation of new

© ICAMT 2020 Online Conference 70 © ICAMT 2020 Online Conference 71 The Sessions | 3.I Architecture & Exhibit Design | Light, Shadows and Screens 71 3.I can generate infinite combinations of of combinations infinite generate can visual effects. this approach. Its characteristics and and characteristics Its this approach. amalgamate to uses able is of multiplicity space. the in visual field of the elements in this light format to features designThe like: parameters are task new integration contrasts, control, intensities brightness, Combined shadows. the use of and colors be the surfaces to of the materialities to available sources the lighting illuminated, along with symbolical and historical layers layers historical symbolical and with along visitor a museum to presented are that a veryis rich sensorial experience. The achieve design to is in exhibition challenge a variety between balance the right such harmonious make To visual stimuli. of screens, between materials, combinations places. and contexts in different in tool a very is Lighting important How Can Lighting Design Help How Can Lighting Balanced a Well to Create Between Coexistence and Multisensory Conventional Supports? with in contact brain eyes and our put To colors, textures, shapes, variety of a large to museums must be embraced by all by be embraced must museums to exhibition in an involved the disciplines Design be Lighting can a strong project. welcoming atmospheres, create ally to spaces. inviting and environments an gain projects lighting Exhibition more promote to a tool as space important spaces. thought-provoking and intriguing © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT The challenges of bringing new audiences audiences new bringing of challenges The can be an interesting tool to improve improve to tool be interesting can an labeling. and signaling communication, legislation to guide decisions about how to to how about guide decisions to legislation resources Interactivity these issues. address Concerning expography and the physical the physical and expography Concerning been has a there exhibitions, space for regulatory including wider discussion, should definitely be one of the objectives of of objectives of the one be definitely should institutions. museum and include people with special with people needs. include and audience a broader to access Expanding access to culture, museums, and their their and museums, culture, to access visitation increase to and collections, New Challenges for Museums improve to challenge important an is It non-technological supports for contents is is contents for supports non-technological experience. the museum for desirable important in the museum experience. The experience. The in the museum important between and technological coexistence Besides all the innovation available for for available Besides all the innovation still analogical supports installations, very artifacts are concrete survive, and parameters, facilitating the interaction the interaction facilitating parameters, environment. in the same light with also evolved and have greater flexibility flexibility greater have and also evolved intensity and brightness of control and Technological artifacts such as projectors, projectors, artifacts as such Technological have holograms and dioramas screens, change, proposing a greater integration integration a greater proposing change, formats different of between elements space. the exhibition through of exposing content and presenting it to to it presenting and exposing content of been in constant have Projects the public. languages, the demand for new formats new formats for the demand languages, in the ways changes many stimulated has 70 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Our visual system is able to operate over The solution for the lighting was to add a 3.I The SessionsThe | 3.I ArchitectureExhibit & Design a large range of light levels, we can adapt layer of indirect light to unify the room very well to sparkles, colors, and contrasts. without interfering in the projection. Large The careful and precise balance between areas remained totally dark, but the visitor light and shadow can transform the visual still had the sense of integrity between the relationship between the visitor and the architecture and the exhibition. Reflected environment. light from the screens were very important Shadows, as much as light, are an in the final composition and were used to important part of the lighting design fill some empty spaces. proposals. Dark areas help shape the Two years later, in 2017, in another | Light, Shadows and Screens space, creating hierarchies, highlights and edition of the same festival, this blending rhythm. Darkness is also a tool used to of screens, paintings, sculptures and generate form and volume and to inform installations became more radical. our visual system about deepness and The coexistence of supports created scale. different visual possibilities with many interesting views, combining different Case Studies art pieces with screens and sounds. The One case study to illustrate this idea of harmonious mixtures of films, painting lighting as a tool of shaping relationships and the architecture of Lina Bo Bardi between different elements is the 19º created unlimited visual compositions. Festival de Arte Contemporânea SESC A comprehensive sense of spatiality was Videobrasil, featured at SESC Pompeia, in achieved by combining indirect lighting, Sao Paulo, Brazil in 2015. With many video ambience lighting and wall washing at the installations, the curator and the architect perimeter of the big exhibition pavilion. were very concerned about the possibility of having conventional art in the same room as projections. They didn’t want dark Exhibition: 19º Festival de Arte Contemporânea SESC Videobrasil. rooms for videos. Copyright: SESC São Paulo So the challenge was how to treat the boundaries of each piece of art. Because video projections were very close to paintings, sculptures and other works of art, lighting distribution and intensity were very controlled in order to guarantee the right ambience for each of them.

© ICAMT 2020 Online Conference 72 © ICAMT 2020 Online Conference 73 The Sessions | 3.I Architecture & Exhibit Design | Light, Shadows and Screens 73 3.I Exhibition: GOLD - Serra Pelada Mine. Copyright: Pedro Mascaro Pedro Copyright: Mine. Pelada - Serra GOLD Exhibition: lux level, above standards adopted world world adopted standards above level, lux was of lighting the format The wide. The pictures. the floating framedat sharp to dark completely was light ambiance and between pictures the contrast enhance this high of level and the room, of the rest the visualcrucial impact was for contrast images The wanted. the photographer that seemed be to backlighted. way. The photographer wanted the pictures pictures the wanted photographer The way. beto very specifically a 350 with bright, © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Exhibition: GOLD - Serra Pelada Mine. Copyright: Pedro Mascaro Pedro Copyright: Mine. Pelada - Serra GOLD Exhibition: black and white. and black verytuned in a was contrasted lighting The floating, suspended through steel cables, cables, steel suspended through floating, of a very had the images high contrast and no other media would be used, only the the be used, media only would other no multimedia any wasn’t There photographs. presented were pictures The apparatus. Mine” of the brazilian photographer photographer the brazilian of Mine” decided that the curator Sebastião Salgado, Copyright: SESC São Paulo São SESC Copyright: - Serra Pelada “GOLD the exhibition For Exhibition: 20º Festival de Arte Contemporânea SESC Videobrasil. Videobrasil. SESC Contemporânea Arte de 20º Festival Exhibition: 72 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I

Conclusion SessionsThe | 3.I ArchitectureExhibit & Design 6 Museums are living organisms that adapt and change over time. Museum technologies develop very fast and bring new solutions to old problems, and new challenges to evolve. The quick change in LED light sources, new wireless communication protocols for dimming

lights and innovative audiovisual | Light, Shadows and Screens equipment open a whole new approach to the integration of technologies, not only in terms of technical functions, but also as new possible visual languages.

References

Websites: Davis, Ben., Trant, Jennifer., van der Starre, Jan. (1996). Introduction to Multimedia in Museums: Section One: Using Multimedia in Museums. AUTHOR CORPORATE: ICOM International Committee for Documentation (CIDOC). Multimedia Working Group. MIT. Retrieved from URL http://www.mit.edu/~bhdavis/Getty/ CIDOC/01-Mus.html

© ICAMT 2020 Online Conference 74 © ICAMT 2020 Online Conference 75 The Sessions | 3.I Architecture & Exhibit Design | SESILAB Descriptive Memorial 75 3.I Exploratorium Arquitetura *** Brazil Gustavo Penna Gustavo *** SesiLab *** Brasilia *** Keywords building stand out iconically, but to value value to but iconically, out stand building with harmonization and integration its Niemeyer Therefore, surroundings. its ample an with pavilion a low-rise created look like the building makes that cover Costa originally Lucio as a warehouse, House) the Casa de Chá (Tea envisioned when he spot, same that at beto like, Plan. designed the Pilot black frames over the glass and blocking blocking the glass and over frames black the building. of the visual permeability those maintenance, precarious with Along the led building’s to only interventions poor state the current to and deterioration today. shows it conservation of to meant was design, it own Niemeyer’s By functional architecture. yet a simple, have let the to not was concern main His © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT

or covering the original exposed concrete the original exposed concrete covering or using or paint, or textures plaster, with areas that were originally open with brick brick with open originally were that areas partitions, temporary with or mortar and a proposal for a complete requalification requalification a complete for a proposal and punctual only building, the whole of blocking like interventions, immediate went through many renovations in order to to in order renovations many through went was never needs.There different to adapt The Touring Club Building was used was Building in Club Touring The It years. the along ways different many 1963, and the building work was finished finished was work the building 1963, and in 1967. sq miles) with a built area of 7,478.75m2 7,478.75m2 of area sq miles) a built with 2,88 sq miles). Niemeyer Oscar (about from original design dates team’s his and of Brasilia) was structured. The building is is building The structured. was Brasilia) of 3,8 (about plot a 10,000m2 beto on erected defined by Lucio Costa as the center point point Lucio as center Costa the by defined Plan (Pilot Piloto all where the Plano from Rodoviária (Road Platform), at the the at Rodoviária (Road Platform), and Axis the Monumental of crossing Zero and the Road called Axis, Ground Cultural Sul (Southern Cultural Sector) in Sector) in Cultural (Southern Sul Cultural the Plataforma side with side by Brasilia, Touring Club of Brazil Building, a work a work Building, Brazil of Club Touring in the Setor located Niemeyer, Oscar by Abstract in the will beSESILAB implemented Gustavo Penna Architect & Associates, Belo Belo Associates, & Architect Penna Gustavo Brasil Gerais, Minas Horizonte, Gustavo Penna Gustavo SESILAB DescriptiveSESILAB Memorial Draft Preliminary 6 74 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I

The Touring Club of SESILAB SessionsThe | 3.I ArchitectureExhibit & Design Brazil Building Generally speaking, the original A curved flight of stairs connects the first characteristics of the building were floor to the ground floor, which has a high- preserved, both in volume and façades rise ceiling, thus allowing the building to as in the configuration of the original connect both with the monumental scales cover with its pillars and beams. In the of the Monumental Axis and with the 2014 intervention, in order to implement bucolic green areas of its surroundings, the bus station in the building, a metallic located among the Road Platform, the cover was added and there was a change in | SESILAB Descriptive Memorial National Library and the Southern the flooring of the ground floor to create Autarchies Sector. An underground public embarking and disembarking platforms. passage below the Road Axis connects the The design of the access paths and the Conic Building’s complex and the Setor de medians was also altered by the creation Diversões Sul (Southern Entertainment of a bus maneuvering area and parking lot, Sector) to the Monumental Axis, the Road which disfigured the original landscaping Platform and the Southern Cultural Sector design that had organic shapes, not to (the National Library and the Republic mention the suppression of many trees. Museum), going through the ground floor The proposal for creating SESILAB, with of the Touring Club of Brazil Building. its new cultural and educational uses, aims The building also has a very characteristic at restoring the importance of the Touring modular structure made out of concrete, Club Building to the city of Brasilia by huge overhangs over the slabs of the first reassuring its original vocation towards floor and a cover with a curved design the development of cultural activities, given by its beams, which stand taller in according to the Pilot Plan by Lucio the pillars and then go thinner the closer Costa, and then requalifying the building’s they get to the overhangs’ edges, causing an immediate surroundings. The whole effect that amplifies the whole perception process concerning the abandonment of of the overhangs. The balancing cover the building had repercussions on those over the first floor forms verandas that surroundings, which were then occupied go around the entire building’s perimeter, by lower-level commercial activities and creating a shaded area of protection informal trade. The degradation process and allowing for an ample view of the also saw occurrences of drug use and drug Esplanada dos Ministérios (Esplanade of trafficking that turned the Touring Club Ministries). Building complex into a place deemed dangerous by the general public, in particular its underground public passage,

© ICAMT 2020 Online Conference 76 © ICAMT 2020 Online Conference 77 The Sessions | 3.I Architecture & Exhibit Design | SESILAB Descriptive Memorial 77 3.I human perception. human Mathematics and Biology. To achieve this this achieve To Biology. and Mathematics with established was a partnership vision, in museums interactive the biggest of one Exploratorium Francisco’s San the world, education (California, US), which proposes and experimentation through learning by about reflect think – to and investigation articulating by works the world the way and as art, such science fields different guardrails that surround the terrace on the the the terrace on surround that guardrails floor. first the access democratizing at aims SESILAB innovation, to related information to art, by technology through science and the and capacities creative fomenting through the visitors of potential creative use the that experiments elaborate Chemistry, Physics, of basic principles at the demolition and removal of all the of removal and the demolition at the building elements non-structural drywall today: and both brick shows walls, the internal the external glass coverings, framings. assorted and doors partitions, to in 2014 built metallic The structure will be removed. platforms the bus cover floor the ground connecting staircase The as floor willwill the kept, the first be and of the Touring Club of Brazil Building, a a Building, Brazil of Club the Touring of concrete a reinforced with modern pavilion between its spans large with structure an with structure a gigantic pillars, different for allowed floor that open-plan its along the building of adaptations existence. aims here the proposal way, Being that © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT aims at rescuing the original characteristics the original characteristics rescuing at aims creating thinking. creating here presented intervention proposed The and artistic realms, besides supporting besides artistic supporting realms, and to new approaches through innovation the general public and aims at sharing sharing at aims and public the general experiences new ideas and knowledge, technological the scientific, among the interest in learning and teaching in in teaching and in learning the interest space will The openfor new be ways. training of teachers and educators, educators, and teachers of training raise to a path as taking experimentation from basic education to university- to basic education from continual at aimed another and level, exhibitions, SESILAB will also provide, will also SESILAB provide, exhibitions, educational a robust SESI, through starting students at aimed program of usage. temporary Besides and both long-term structured independently, that allows for for allows that independently, structured flexibility a vast spaces and internal ample that cultural space and the community; the community; space and cultural that of characteristics the architectural and modern pavilion – a big the building familiar place in the federal capital of of in the federal capital place familiar between connection a which favors Brazil, in an area where 600,000 people pass pass 600,000 people where area in an everythrough day; also already is an it building’s strategic and central location, location, central and strategic building’s visitors to easy access for which provides was based on many factors, such as: the the as: such factors, based many was on of importance architectural and historical the context; in Brasilia’s item this cultural The choice for the Touring Club of Brazil Brazil of Club Touring the for choice The SESILAB of new implementation for usually considered the most critical spot critical spot the most considered usually criminal to activity. comes when it 76 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT the declivity of the flooring, where the 3.I

Intervention Proposal SessionsThe | 3.I ArchitectureExhibit & Design expositive contents of the SESILAB can The structural elements made out of be shown to the general audience. The concrete, such as pillars, slabs, beams and intention here is to better qualify this the covering, will be kept, whereas the space, making it inviting and safe for plaster, textures and paint covers applied people to use. through the years will be removed. The The Touring Club of Brazil Building original exposed concrete will be restored, currently has a large portion of its west making visible the wooden framings that façade retreated from the Road Axis by were used when the building was erected. means of a 5m-wide, 7m-tall gap that | SESILAB Descriptive Memorial The use of exposed concrete is a defining is just residual space with no use. The trait of the Touring Club of Brazil Building, guardrail along the sidewalk of the Road and quite a particular one, considering that Axis is about 80cm tall and does not almost all of Niemeyer’s works are covered comply with current safety values, which in white marble or some other noble currently demands at least 1,30m. Being material. that the case, this gap is proposed to be This proposal includes new enclosures closed by a concrete slab leveled below using transparent glass framings, retreated the first floor of the building throughout in relation to the external face of the the whole west façade, in order to create pillars, thus maintaining visibility of the a garden that allows for more safety to pillars’ modulation and also of the long visitors and passers-by, a transition zone overhangs on the covering’s structure, between the vehicular traffic of the Road which are striking visual elements of the Axis and the internal areas of the SESILAB, building. These new glass enclosures so while also creating a new covered area close to the pillars are important to create over the ground floor. This garden will viable areas for the SESILAB to work, be landscaped with cerrado (Brazilian especially on the ground level, where most savannah) specimens and, together with of the area is just open free. the creation of a garden-ceiling over the With that, a new walkway is proposed for entire covering slab of the existing lower the general public in the underground floor, where there were car mechanic repair passage, directing it straight to the shops originally, they will both comprise Monumental Axis and to the Road a large gardened area that will contribute Platform, with no need to cross the ground to qualify the sidewalk areas by the Road floor. In the existing underground way, Axis, thus making for a more pleasant walk a creation of a public area is proposed for passers-by. in order to hold exhibits or even to SESILAB will hold both long term function as an auditorium, by employing and temporary exhibits, besides a

© ICAMT 2020 Online Conference 78 © ICAMT 2020 Online Conference 79 The Sessions | 3.I Architecture & Exhibit Design | SESILAB Descriptive Memorial 79 3.I and the Road a technical gallery Axis, and will thetechnical areas connecting be located, will be directly accessible from the loading/ will from be accessible directly the of the edge at located unloading area through façade, the southern to terrace, go to volumes let big high-rise that doors lift a cargo Close this area, through. to the to the area loading/unloading connects created area to be covered Inthe floor. first the span over slab, the closing below the building façadebetween of the west exhibitions are built. Also, together with with together Also, built. are exhibitions them help to areas the galleries, support and being planned; are properly work gallery, Doing” by the “Learning close to as in the plans is area support a customer school groups, especially at well, aimed a lunch and rooms locker restrooms, with area. floor gallerieson the ground exhibition The with that second gallery, in the spot below below in the spot gallery, second that with there be to kept, the mezzanine the part of for allows willspace bethat a flexible work, to gallery the third part of contents “The or the Future,” titled “Imagining space communicates This Space”. Maker Apparatuses of Area the Production with a glass frame of means by Exhibitions and the see to how the public allows that about 900m2 (1,076 yd2), where another another where yd2), (1,076 900m2 about the second leads to path exposition In Doing.” by “Learning named gallery, gallery, of this second stretch the final the partof demolish to is the proposal to in order mezzanine the existing of slab the for – a necessity widen height ceiling Along properly. work space to exhibition © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT found, named “World Phenomena,” with with Phenomena,” “World named found, Directly connected to the atrium, the the the atrium, to connected Directly gallery exhibition can be long-term first current activities and connecting SESILAB SESILAB connecting activities and current will be located. the world, to and a video-wall (an interactive panel panel a video-wall interactive and (an a 9m-high, 12m-long and LED lights with of contents the showing ceiling-floor), where vertical circulation, customer customer verticalwhere circulation, restrooms) and lockers (with areas support floor and the first floor. This atriumwill This floor. first and the floor the public, for plaza internal a big as work height-ceiling atrium, rising at about 9m, 9m, about at rising atrium, height-ceiling between the ground integration better for staircase. The demolition of part of the of the of part demolition The staircase. staircase bysame this right slab first-floor a triple- create to in order alsois proposed, the ground floor through a reception / reception a floor through the ground curved the existing by area welcoming buses carrying groups. Public access to to access Public carryingbuses groups. spaces will bethe on internal possible the building, with an area for embarking embarking for area an with the building, both passengers of disembarking and from and automobiles private from east and north façade. Through the west west the Through north façade. and east to access will have the public terrace, 5,30m ceiling height under the overhangs the overhangs under height 5,30m ceiling thewhole circling slab, the first-floor of On the ground floor, the framed enclosures enclosures the framed floor, On the ground a a terrace with will the create pillars along Educational Spaces; Customer Support Support Customer Spaces; Educational and Technical Administration, Areas; Service Areas. Structure-wise, SESILAB will be SESILAB divided Structure-wise, Spaces; Exhibition areas: macro four into complementary educational programming programming educational complementary training. and focused formation on 78 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT with the exhibition spaces, in a way that with an ever-changing programming 3.I The SessionsThe | 3.I ArchitectureExhibit & Design piping and cables can go through without aimed at cultural and artistic activities. interfering with the public circulation Contiguously to this gallery, the and spaces. This gallery has two levels: Educational Offices are located, a space one on the ground floor, with a services for educational activities aimed at groups, circulation area and a worker support with a support area comprising restrooms, area, and another on the same floor of locker rooms, a lunch preparation area and the existing mezzanine, where technical a storage room. The partitions between the controls and air conditioning equipment Educational Offices and their separation are located. Other technical areas are from the Temporary Exhibitions Gallery | SESILAB Descriptive Memorial also in plans for the mezzanines above will be made using acoustic partition walls the customer support areas, close to the that allow for many configurations or even atrium. Going up to the first floor through for the creation of a bigger gallery with an the atrium, there is an access way to the area of about 600m2 (717 yd2). Event Room, a flexible space that can also Through the atrium, access is granted be used as an exhibition gallery or an to the generous terrace formed by the auditorium. This space has a support area concrete covering overhangs that circles with restrooms, dressing rooms, a storage the whole perimeter of the first floor. room and an audio-video booth, while This terrace has a living area and an also being circled by the terrace where exhibition area to the middle portion of other events can also occur. In the existing the east façade and all along the north part of the mezzanine, which will be kept façade. In part of the east terrace and all in place, the administration area will be along the south terrace, a cafe / restaurant located along with the support area for is proposed, a space that is meant to the workers. To access the mezzanine and complement the activities of SESILAB. In a the technical gallery on this floor, a new part alongside the south terrace, a kitchen staircase is in plans, in accordance with the and support area will be located to help current accessibility and safety regulations. with the café / restaurant activities, with The existing staircase that accesses the the service flow occurring through the mezzanine is proposed for demolition, but cargo lift. Whenever the cultural areas are its concrete cylindrical volume will be kept closed, after working hours, the public can for an elevator or a lift platform, giving have access to that area also through the universal accessibility to all the SESILAB’s cargo lift. floors. On this floor, close to the atrium, the Temporary Exhibitions Gallery is located, with an area of about 350m2 (418 yd2),

© ICAMT 2020 Online Conference 80 © ICAMT 2020 Online Conference 81 The Sessions | 3.I Architecture & Exhibit Design | SESILAB Descriptive Memorial 81 3.I Library complex to the east and the South the South the and east to Library complex (via Sector S2), the south to Autarchies a covered stage to be located to the north the north beto to located stage a covered the ground the the terrace circles side of complex ofthe areas outside The floor. (a original land its only not encompass also its but 10,000m2), about of projection between the Road surroundings immediate (East Road South), the Axis west to Axis, the Road and Axis the Monumental the north (via to S1), the National Platform a new landscaping design for this wall design for a new landscaping the Monumental to the walkway along requalifying and / RoadAxis Platform, of passers-by flow the main revaluing To the building. of in the surroundings to the connection close to area the green for amphitheater an the Road Platform, enclosed proposed, activities is air open space for enough with garden, a bush by floor and the ceiling. Only one horizontal horizontal one Only ceiling. and the floor be to placed between predicted is framing 2,20m-tall, side, the internal on the pillars, the set framing and the whole protect to the wind. against structure door between underground connection the The will be the Road Platform and passage along passage a public through made also is proposed wall. It the Road Axis’s Niemeyer’s design, which is particularly design,particularly which is Niemeyer’s On intervention. in thisvalued proposed willpanels extend the glass floor, the first measuring to ceiling, the the floor from 3,20m-tall 2m-wide each. and about 2m-wide the glass floor, On the ground of type, capable will bepanels the “jumbo” between the gaps height filling 5,30m the © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT for spatial and structural clarity of Oscar Oscar of structural clarity and spatial for least possible number of pieces, making making pieces, of number possible least allowing frameless, solution, a clean for of the Touring Club of Brazil Building. Building. Brazil of Club the Touring of of willThosethe framings be composed keeping no visual interference to the sight the sight to visual interference no keeping overhangs concrete the reinforced of a very trait characteristic which are above, frameless joints system. This enclosure enclosure This system. joints frameless the ceiling, from 1,10m far will be about provide shelter from rain, the guardrail the guardrail rain, from shelter provide the same will be 2,20m, keeping raised to eastern side along the café / restaurant, / restaurant, the café side along eastern to and this ambient wrapping better for only by its base, with frameless joints joints base, frameless with its by only vertical no with between the glass panels, its by and terrace, the south At beams. This new glass guardrail is a demand of of is a demand new This guardrail glass will rules, it be safety fixed newer and retreated 60cm from the existing 82cm-tall the existing 60cm from retreated restored. will and be that kept guardrail of the first floor, a guardrail is proposed, proposed, is a guardrail floor, the first of glass, 1,30m tall transparent in and as was the original intention of architects architects of the original was intention as the To Niemeyer. Costa Oscar and Lucio perimeter the whole circles that veranda through the view of the Esplanade of of the the view Esplanade through of Lake behind it, the Paranoá and Ministries ground floor. This aims at recuperating the the recuperating at aims This floor. ground letting the building, of visual permeability external face of the concrete pillars all all pillars the concrete external face of and floor the first theperimeter of along the north façades of and the east along New enclosures in transparent glass glass in transparent enclosures New the from retreated being proposed, are Enclosures 80 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT with about 30,000m2. The interventions the building, the reinsertion of the building 3.I The SessionsThe | 3.I ArchitectureExhibit & Design proposed for the external areas were in the natural settings around it – by means thought of in a bigger scale, considering of broader green areas and new walkways both the spatial and functional relations – and the use of native cerrado (Brazilian of the immediate context of the building savannah) specimens to guarantee an and its insertion in a bigger scenario environmental recuperation of the represented by the natural environment building’s surroundings and a revaluing around it. From this broader perspective, of its natural biome. Those guidelines are the recuperation of the original vehicular aimed at reconnecting the Touring Club path and the original design of the green of Brazil Building’s complex to the bucolic | SESILAB Descriptive Memorial areas is also proposed, as they existed nature of Brasilia’s parks and gardens, as up until the 2014 renovation, in order to proposed on Lucio Costa’s Pilot Plan. properly readjust the external areas of the Touring Club of Brazil Building so it can hold the Bus Terminal. In that 2014 intervention, parking areas were created, as well as bus maneuvering areas, and green areas were paved over and trees were just taken down. Besides recuperating the original design, the broadening of gardened areas is also planned, with a proposed 3,000m2 doubling the green area within the land.

Relationship with its Surroundings

On the ground floor, the surrounding terraces to the north and to the east create a fluid transition zone between the building and the ample natural context of its surroundings. The new transparent glass enclosures close to the pillars allow for better visual continuity between the inside and the outside. The landscaping guidelines proposed are the renovation of the immediate context of

© ICAMT 2020 Online Conference 82 © ICAMT 2020 Online Conference 83 The Sessions | 3.I Architecture & Exhibit Design | SESILAB Descriptive Memorial 83 3.I © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 82 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I The SessionsThe | 3.I ArchitectureExhibit & Design 7 | SESILAB descriptive memorial

© ICAMT 2020 Online Conference 84 © ICAMT 2020 Online Conference 85 The Sessions | 3.I Architecture & Exhibit Design | Architecture on a Human Scale 85 3.I Temporary exhibition Temporary *** all Design for *** as measure Man Sustainability *** Inclusiveness *** Accessibility, *** Keywords to retrace the style and insert the style the series and retrace to of in a theatrical performance. movements or restoration, in architectural help can It educational and educational for analysis level. university purposes school to from of view, to the point approach A different in- a more support which can therefore, a historical, from criticaldepth analysis, view. of point archaeological artistic or © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT

or sharp lines of others with one’s own own one’s with others of lines sharp or in experiencing body be alternative can an help can it or a visit, during the building high or low reliefs, statues, imitating imitating statues, reliefs, low high or the soft retracing or movements geometric aimed at its fruition in cultural terms can can terms fruition in cultural its at aimed also mirroring be traced mirroring: to back architectural, geographical nature and and nature geographical architectural, creative as such areas other with interact the building with Interacting writing. The facets that can result from this analysis analysis this from result can facets The that aesthetic, geometric a sensory, of are build around it a series of activities aimed a series activities aimed it of around build it. protecting preserving and enhancing, at carefully: the geometric binomial allows allows carefully: binomial the geometric and details, to attention more pay to us Inscribing a capital or a pediment in a in a a pediment or a capital Inscribing to us helps example, for rectangle, or circle more it analyze and the rest from it divide break down trying to divide it and inscribe trying and down it divide break to its facets. analyze all to figures in such it Starting from geometrical shapes, of which which of geometrical shapes, from Starting in turn can it composed, is the building the now sensorial the user experiencethe now that living. is By placing man at the centre, we push him him push we the centre, at man placing By all its and the building with interact to mix with and parts, fluid which become Abstract Museum Ireland, Ireland, Museum Italy. 85/c Cortona, C.A Ossaia Jessica Boffa Jessica Childhood ArtInternational Curator, Architecture on a Human Scale Human on a Architecture 7 84 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Specialized in the historical-artistic field 3.I

ICOM Membership SessionsThe | 3.I ArchitectureExhibit & Design of cultural heritage, my experience was Committee: CECA - Education born in the field of Museum Education & Cultural Action and Accessibility, and then expanded to the Museum Exibition. After an initial An alternative in the use of traditional experience in the management of the metric systems can be to use the parts of museum and its phases of management, as one’s own body, which although they may well as the coordination and training of re- be insufficient in the technical fulfillment sources, i’ve turned to museum education, of buildings, can be of great interest if expanding my knowledge through various placed at the service of their use: Let’s | Architecture on a Human Scale training courses throughout the country. imagine a historical library located in a Having consolidated my skills through the medieval centre; the measurement made conception and coordination of specific with hands, legs and arms, carried out programmes for schools, I have dedicated through panels and inspired by aug- myself to the field of Accessibility; my mentative communication, can help in an programmes have been included in a series intuitive way to solve and assist problems of informative events in collaboration with such as the use by the same of tall people various partners and museums. Finally, the with reduced mobility, authorized guides International Art Curator for Childhood with groups with special needs, from Museum Ireland Project, for whom I’m schoolchildren to families with babies or curating the exhibition related to Project pets. Explaining the height of a door, for 2020, coordinating the museum’s historical example, with one leg and one arm vertical and artistic activities in Europe and in the and superimposed, can intuitively indicate United States, and consolidating the leads the widest passage from which to pass; that the museum has in the world. one or two feet superimposed in front of a niche can indicate a bottleneck and so on. This is useful not only in case of design, but also in the use of a building: just think of a free visit, a couple can intuitively recognize the direction without necessarily the help of a map, because if this type of communication / exchange between the man and the building does not work in terms of “admission” in the premises of the same, it can certainly help in identifying where not to go.

© ICAMT 2020 Online Conference 86 © ICAMT 2020 Online Conference 87 The Sessions | 3.I Architecture & Exhibit Design | Architecture on a Human Scale 87 3.I users at every stage of the design process every the design process of at users stage design).(participatory needs is not uncommon; consequently the the consequently uncommon; needs not is while the ideal himself setting designer, all, for solutions optimal achieving goal of individual to mitigate come only often can be will there always addition, In problems. the will require that particular situations ad hoc designuse solutions. of it, motivate the that very reasons For of the involvement all requires design for design synthesis capable of giving answers answers giving of capable design synthesis expecta- the needs with and compatible be specific,to must that each and of tions meetvery which must particular needs, but social inclusion. promote to generic appear rather solutions, speak “compatible” of We because each user solutions, “ideal” than a specificand needs expresses profile opposing conflict between certain of level profiles, but it is necessary to operate necessaryis it operate to but profiles, flexible and advanced a more within considers that standard of concept the different system” “to reports and the standard of alterations and variables strategy). (mainstreaming knowledge, requires it Operationally, the of possible, as accurate deepas and a and profiles user the different of potential The building becomes space adapted to the to the spaceadapted building becomes The of also the vastness to the bodysize of but dimension. the human enough not is all, it design for to order In diversity human of the existence admit to a diversity a single make to even less and collects represents, that entity symbolic user different the needs of integrates and © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT man. Insert, not surround or enclose. enclose. or surround not Insert, man. down: it is no longer man who must fit into into fit who must man longer no is it down: into fit must the that space is it a space, man, ideally contained in a square and a a and in a square ideally contained man, upside turned The is perspective circle. di Giorgio Martini, in which man is is in which man Martini, di Giorgio the a Latin base within of proportioned Vitruvian Da Vinci’s and church, cross in a revolutionary position with respect to respect to with position in a revolutionary Francesco by canon the fifteenth-century recipient of Le Corbusier’s projects is man, man, is projects Le Corbusier’s of recipient is that the design unit ideally the Modulor, centre is man, the harmonic measure and and measure the harmonic man, is centre and protagonist all The things. of criterion theoretical study, re-evaluating forms of of forms re-evaluating study, theoretical based planning urban and architecture the at new canons: and new principles on has been concentrated in architectural in architectural beenhas concentrated extensive in an as well as projects September 2017”. September energy Le Corbusier’s 1920 that since is It day after day, that atmosphere breathe, in in breathe, atmosphere that day, after day institutions’ the ‘human the use of Architecture, to applied “Neuroscience atmosphere is such, if it supports women women supports if it such, is atmosphere the daily, of who in the men concrete and all together these elements together create create together theseall elements together an of appropriateness The atmosphere. an topology, masses, light, rhythm, materials, materials, rhythm, light, masses, topology, textures: and pressure heat, smells, sounds, have an idea. This idea arises from the arises idea.the idea This an from have of all elements that quality ‘atmospheric’ Geometry, determine. together architecture already have a judgment: you have not yet yet not have you a judgment: have already already you but are, you where studied “As soon as you enter a space, if you if you a space, enter soon you as “As you that recognize you yourself, to listen 86 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT From here, man returns to the centre, design is easy to understand, regardless of 3.I The SessionsThe | 3.I ArchitectureExhibit & Design and an indispensable “yardstick” in the user experience, knowledge, language skills accessible design of a building: it should or current level of concentration be noted that “borrowing” the definition Perceivable information - the design Design for All as a design accessible to effectively communicates information buildings, we intend to put a broader and needed by the user, regardless of the user’s broader meaning to the traditional one, environmental conditions or sensory emphasizing that by accessible, in this case, capabilities we mean completely usable: completely Tolerance by mistake - design minimizes usable by all categories of users, both from hazards and negative consequences of | Architecture on a Human Scale a social, cultural and architectural point of accidental or unintended actions view. Low physical effort - the design can be In one form or another, the concept of used effectively, comfortably and with accessibility has been considered larger minimal effort or smaller in most projects developing Appropriate size and space for approach interactive systems. The concept varies and use - adequate size and space is between different professions, cultures and provided for approach, range, handling and group interests. Design for all, universal use regardless of user body size, posture or and inclusive access are all different ways mobility. of approaching this vast topic, and in All elements to be used in structuring, increasing the sensitivity of the interactive managing or redeveloping an architectural system for the widest range of use. space Accessibility is a qualitative concept that Accessible design therefore, understood in is interpreted differently depending on the a broader sense, as defined in ISO Guide design approach used for its development. 71 “design focuses on the principles of The main purpose is that a “product” extending standard design to people (...) can be used by the widest possible to maximize the number of potential users range of people. However, this does not who can easily use a product, a building, a automatically imply that there is a solution service”. that satisfies everyone. How to make a building fully accessible? A fair use of design can be summed up by Although, as specified above, there can borrowing accessibility criteria for people not be a solution that suits everyone, with special needs: due to environmental, architectural and Flexibility of use - the design is suitable for physical limitations, you can certainly a wide range of individual preferences and make accessible what you can see, through abilities. activities involving the five senses, which Simple and intuitive use - the use of the “talk” with the building and this is told

© ICAMT 2020 Online Conference 88 © ICAMT 2020 Online Conference 89 The Sessions | 3.I Architecture & Exhibit Design | Architecture on a Human Scale 89 3.I of measurement, can offer an alternative an alternative offer can measurement, of buildings of enhancement the useto and already told by buildings already complete. already buildings by told already all with and therefore, a measure as Man help or senses, behis can a valid alternative a cultural from a building, in evaluating and accessibility of in terms view, of point terms. architectural in technical and safety, intuitive by supported panels Visual activities group or individual language, terms sensory physical skills or involve that which in any case “tell” the building. Part Part the building. case “tell” which in any restoration of is part that scaffolding of the barriers to be to completed, work areas, of uninhabitable confinement be to redeveloped. disused areas through telling on this: us The help senses await that stories them, interrupted sensory the same through completion stories of storytelling activities useful for him (X), already visually intimate to the the to visually intimate him (X), already is the actual prohibition before arrest the visual integrate not Why formulated. through implemented communication people making of a means as bodily forms the difficulties,also terms in understand it; with brings a building that security, of natural i.e. they are, what them for valuing external causes, imposed by or limitations is perceptible than an ALT! sign, but taking taking sign, but ALT! an than perceptible is hand use the can same we forward a step structural to subject or areas indicate to standing and A standing restrictions. other a symptom itself in already is still man of in correspondence place to but halt, of for restriction, access placed to the zones recalls that a structure reason, whatever © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT how much more intuitively an open palm open an intuitively more much how or where it is even forbidden because it is is because it even forbidden is it where or thinking about already reserved: are we to enter certain areas. They can act as an an act They as can certain areas. enter to enter to dangerous is it where aid, in situ Through visual and precise precise and visual Through body in them- parts can communication, a discouragement or be invitation an selves identify and make manifest the strengths the strengths manifest make identify and building. any weaknesses of and Once again, man as a measuring term in all a measuring as man again, Once to us helps and aid; our to parts, comes its destinations of use, more or less evident evident less or more use, of destinations details; vandalistic artistic or remakes, to observe the same with a background observeto a background with the same era, helps thesame maybe from music, the back period “see” bring to us and or low vision, novice students or experts or students novice vision, low or Trying view. of new points for looking ourselves with people who are not in in not who are people with ourselves blindness with people children, school, conducted remotely. conducted obvious, is see that can the building, We find we If everyone. for not perhaps but any case it is telling a story, which can be be which can story, a telling is case it any activities for processed or in situ reported popular destination; we will hear the sound willthe sound we hear destination; popular in but the street, of the sea the sound of or have something to tell, whether it is a a is whether it tell, to something have of the sea a building on or castle perched ourselves near it, at a safe distance if if distance a safe at it, near ourselves trying that the sounds grasp to necessary, will it always it: from come and it surround touch and “smell” a building. a “smell” and touch placing by the building hear can We through an experience, intimate if you will, will, you if experience, intimate an through see, hear, can components.We its by told 88 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT of historical, civic, popular ... and extend 3.I

References SessionsThe | 3.I ArchitectureExhibit & Design their knowledge to a wider sample of the 8 public who, apparently, due to difficulties Books: of different nature, would not be natural Le Corbusier. (2004). Le Modulor + users of the same. Modulor 2: GCE But what’s exactly means in terms of museum fruition? to put “man at the Scaglia, G. (1985). Francesco di Giorgio centre”, meaning this concept as a means Martini Il “Vitruvio Magliabechiano”: of communication or through which Gonnelli an exhibition, whether temporary or | Architecture on a Human Scale permanent, is expressed, is intended to Pollione, M.V. (1999). I Dieci Libri extend the man-work relationship to the dell’Architettura (rist. anast. 1567) : Bardi man-work-environment relationship.Using a “visual” language, it is possible to trigger Borgo, F. (2019). Leonardo e Vitruvio. a brain reaction activated by stimuli of Oltre il Cerchio e il Quadrato: Marsilio/ various kinds: colours, characters, images... Centro Studi Vitruviani but using the image to which man is most accustomed, namely his own, what results Websites: can be obtained? Representing palms of Lombardini. (2017). Per un’architettura hand or foot, to describe the length or in sintonia con l’uomo. medium.com. complexity of an exhibition even before https://medium.com/@lombardini22/per- it begins, can intuitively give the visitor unarchitettura-in-sintonia-con-l-uomo- an idea of what he will see especially in 99c888649eef crowded contexts, or if you find yourself accompanying situations more or less La Porta, A. (2018). Le Corbusier: complex to manage: children, disabilities, l’architettura per l’uomo e a misura elderly people, school groups, mixed d’uomo: artspecialday.com tourist groups. From here, improve the organization in the management of the Persson, H., Yngling, A.A., Ahman, H., rooms, both independently and by the Gul-liksen, J. (2014). Universal design, staff in charge, improve the museum guide inclusive design, accessible design, design service, improve the quality of the visit for all: different concepts—one goal? On and the visitor’s experience; transform the concept of accessibility—historical, the route into a comfortable trip managed methodological and philosophical aspects. independently of the time available. https://www.researchgate.net/

© ICAMT 2020 Online Conference 90 © ICAMT 2020 Online Conference 91 The Sessions | 3.I Architecture & Exhibit Design | Renovation Museum Het Valkhof Nijmegen 91 3.I Image 1, Exteriors Museum Het Valkhof © TP Valkhof Het Museum 1, Exteriors Image building, situated close to the Waal river, river, the Waal close to situated building, historically and a central in located is site. important Introduction to Museum Het Introduction Nijmegen: Valkhof Context & Architecture the was in Nijmegen Valkhof Het Museum by museum designed Ben van Berkel, first UN Studio of director and the founder museum in 1998. The completed was and Futureproof museum building building museum Futureproof *** planning Master *** Sustainability *** Accessibility Keywords © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT

brief based on the Masterplan is currently currently is based the Masterplan brief on being developed. the various collections of the museum, are are the museum, of collections the various design 2019. The late stakeholders main by the Municipality of Nijmegen and the the and Nijmegen of the Municipality by of who owners as Gelderland, of Province of the museum building. The Masterplan Masterplan The building. the museum of adopted was 2019 and early delivered was collaboration with the museum director, director, the museum with collaboration organiza- the museum Saam, Ms Hedwig the original architect UNStudio, and tion of the Masterplan for the museum building building the museum for the Masterplan of in close ToornendPartners by developed proof. The paper addresses the context and and context the addresses The paper proof. the scope and the museum of architecture for the museum that aims to make both the both the make to aims that the museum for future the institution and building museum for which a comprehensive refurbishment refurbishment which a comprehensive for the museum for being developed is plan a wider plan recovery part as of building This presentation details Museum Het Het Museum details presentation This the Netherlands, in Nijmegen, Valkhof Abstract Kiem-Lian The Haarlem, MSc LL.M - ToornendPartners, Netherlands The Accessible Renovation Museum Het Valkhof Nijmegen: Nijmegen: RenovationValkhof Het Museum & Sustainable an ExistingMaking Building Museum Futureproof, 8 90 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT In the image below, taken from the 3.I The SessionsThe | 3.I ArchitectureExhibit & Design ambition document developed by the Municipality of Nijmegen, the building of Museum Het Valkhof is indicated in the bottom right hand corner. The Roman Forum is the red square projected onto the current museum building and traces of the Castellum walls have also been visualized. The ambition document also shows the ideas regarding the surroundings of the | Renovation Museum Het Valkhof Nijmegen museum building, although the green an Image 2, Exteriors Museum Het Valkhof © TP park-like surroundings have not yet been The site is part of the bid that has been realized. submitted for the Roman Limes that crossed The Netherlands to become a UNESCO World Heritage Site.

Image 3, Limes line © Limes project website Image 5, Projection Castellum © gemeente Nijmegen

In the images below, the development of Museum Het Valkhof predates the popular the site through the ages is illustrated, concept of transhistorical presentations running from the top left to the bottom as the collections, that are owned in part right. by the Municipality of Nijmegen and in part by the Province of Gelderland, have always consisted of important historical and archaeological artefacts as well as contemporary art. The museum has various locations, with the UNStudio museum building and the building of the Museum KAM, that holds the archaeological collection being the two main locations. For Museum KAM a refurbishment is also being planned at Image 4, Development Nijmegen Castellum © gemeente Nijmegen

© ICAMT 2020 Online Conference 92 © ICAMT 2020 Online Conference 93 The Sessions | 3.I Architecture & Exhibit Design | Renovation Museum Het Valkhof Nijmegen 93 3.I Images 9 and 10, interiors Museum Het Valkhof © TP © TP Valkhof Het Museum 10, interiors 9 and Images experience that space in 88 different ways. space in 88 different experience that The central exhibition space lives up to the to up the space lives exhibition central The to being able of original design concept building also has welcoming open hybrid hybrid open also welcoming has building that elements architectural spaces and coherence bring and river the Waal evoke experience, which are the visitor to this day. to appreciated UNStudio won the commission for the the for the commission won UNStudio in an building the museum design of developing competition, architectural the in periodthe building 1995-1998. and is admired both architecture The find facades the glass some reviled. While naming forbidding, beto and too stern the pool’, swimming ‘the the building

Images 6, 7 and 8, interiors Museum Het Valkhof © UNStudio © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT and other institutions for the care of their their of the care for institutions other and running the museum. and collections The Netherlands, the museum organisation organisation museum the Netherlands, The receives and the building of the owner is Province and the Municipality from funds Square. Unusual for the constellation of of the constellation for Unusual Square. in buildings and organisations museum this time. This paper only addresses the the addresses only This paper this time. the Kelfkensbos at location UNStudio 92 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT started to delaminate locally, the climate 3.I The SessionsThe | 3.I ArchitectureExhibit & Design installations are outdated and practically unserviceable and the security installations and provisions are no longer sufficient. Several back of house spaces are no longer fit for purpose: the offices are cramped and there is no differentiation between the storage space for the collection and other Image 11, routes, © UNStudio items. Images 12, 13 and 14, of technical and functional issues, © TP But over time, now 25 years later, the | Renovation Museum Het Valkhof Nijmegen building is beginning to show its age. The expansive ceiling panelling, waving and weaving through the building, is prone to damages that result from maintenance work on all the installations installed above it and additions and changes made to the under-the-ceiling lighting required to meet specific lighting demands for exhibitions. The height difference between the Kelfkensbos Square and the entrance level of the museum building has resulted in various ramps and steps that have been incorporated in the design, in some instances right behind a door, that are a daily hindrance to the accessibility of the building and starkly contrast the otherwise naturally flowing spaces. This not only affects the visitor experience inside of the building, but also prevents the flow between the Kelfkensbos Square and the building: the entrance of the museum building presents a stern delineation between the museum and its surroundings, cutting the museum off from the urban fabric and vice versa. Various other technical and functional issues need to be resolved as well: the glass façade has

© ICAMT 2020 Online Conference 94 © ICAMT 2020 Online Conference 95 The Sessions | 3.I Architecture & Exhibit Design | Renovation Museum Het Valkhof Nijmegen 95 3.I Image 15, 15, Image transhistorical presentation, Valkhof Het © Museum only the ‘absolutely necessary’ changes, necessary’ changes, the ‘absolutely only are that changes contains a scenario that a scenario somewhere and have’ to ‘nice the extent to which measures to increase increase to which measures to the extent energy reduce and the sustainability The be implemented. may consumption of aspectsecond the importance was scenarios for multiple developing not installations. building and the building working our in asked often A question is directors and administrators practice by scenarios: a scenario containing develop to of the Masterplan of the Masterplan the the scope discussing of While the collaboration the start of at Masterplan vital three director, the museum with to was first The identified. aspects were ambition of the level be about realistic existing in an be could implemented that functional to comes when it building as well as technical improvements, and To simultaneously address the building the building address simultaneously To that of support in required qualities the presentation, and organisation the for a Masterplan of development the museum of recovery and refurbishment mid-2018. greenlit was building Development © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT embracing and tapping into the depth and and the depth into tapping and embracing the collections. of breadth a cultural and art historical presentation presentation art historical and a cultural presentation, transhistorical more a to organisation could be developed. The new new be The could developed. organisation from the transition around centered plan confidence within the Municipality and and Municipality within the confidence and stakeholders main as the Province, museum a futureproof that also investors, Saam, developed a turnaround plan that that plan a turnaround developed Saam, needed the much generate to able was critical turning point was reached late 2017 2017 late reached was point critical turning Ms Hedwig when the then new director, the museum falling behind in terms of of falling behind in terms the museum with the public, of the interest maintaining A time. over dropping numbers visitor deemed feasible and were not realized. realized. not were and deemed feasible period with coincided unfortunate This the ambitious plan. In the following the following In plan. the ambitious not were plans reduced for studies years, not to have the funding in place for the the for in place the funding have to not realize to required investments significant The plan developed in 2014 even reached reached in 2014 developed plan even The have could which construction at a stage out turned the organisation but started, for years to address the issues with the the with the issues address to years for functional. both technical and building, Under previous leadership the museum the museum leadership previous Under plans been had developing organisation 94 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT in between. The desire to have a choice consequently difficult to finance. The 3.I The SessionsThe | 3.I ArchitectureExhibit & Design or at least ‘dials’ that can be turned and third aspect was to start with a meeting tweaked to generate the best possible with the architect, to explain the plan and mix and match between as yet unknown process ahead. With UNStudio open to the ambitions and scope and also as yet collaboration with the museum director unknown levels of investments, seems and enthusiastic about futureproofing to be the main driver behind this. But the building, work on the Masterplan while scenarios concerning the institution commenced. and organisation are certainly useful, | Renovation Museum Het Valkhof Nijmegen and should be studied and developed, Outline of the Masterplan the same treatment does not necessarily follow for the building. Once the vision The Masterplan for the museum and mission of the organisation have building needs to resolve not only the been determined, there is typically a internal technical and functional issues. reasonably clear outline for the building The positioning of the building in its and technical requirements that are needed surroundings and making it part of in support of the organisation and its the urban fabric is an important goal. mission. Scenarios constitute separate It is after all the starting point for an Masterplans that require their contents to accessible, open and welcoming museum. be developed integrally in line with the An ambition document formulating the scope of the respective scenarios. When long term plans of the Municipality and one Master-plan is commissioned, the the Province for the Valkhof Quarter in best way forward is to take aim for the which the Kelfkensbos and the museum best possible outcome. Anything less will building are located had recently been end up holding back the organisation, formulated. Within a municipal working anything more is difficult to explain and group, in which the urban planner of Image 16, surroundings and items © TP

© ICAMT 2020 Online Conference 96 © ICAMT 2020 Online Conference 97 The Sessions | 3.I Architecture & Exhibit Design | Renovation Museum Het Valkhof Nijmegen 97 3.I Images 17 & 18, Images sketch floorplansof the © TP Masterplan under development, is making the roof the roof making is development, under A visitors. to accessible the museum of willconnection be between developed the roof will The be the roof. walls and city that installations artists’ for suitable made the location the Limes theme, incorporate its of the diversity and the museum of collection. floor plan accessible to all. In the future, In the future, to all. accessible plan floor be will the neededa ticket visit only to on planned are that actual exhibitions floor. on first the and floor the basement optimized been have plans All floor more up freeing based this principle, on new climate and exhibitions space for still is that A new feature installations. © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT devising integral solutions. Starting from from Starting solutions. devising integral the building, the museum of the entrance welcoming and open an for aims museum turned to the building interior, pinpointing pinpointing interior, the building to turned and the shortcomings of the exact extent museum as well as to the surroundings. the surroundings. to as well as museum was attention surroundings, the After Castellum. The resulting synergy resulting secured The Castellum. beneficialto the a further development out to overlap and could effectively be be effectively could and overlap to out the the scope part of as of incorporated the of the outline as such Masterplan, line with these developments were studied. studied. were these with line developments turned a number items, of a longlist of Out the Municipality, Mathieu Schouten, Schouten, Mathieu the Municipality, in opportunities the potential participated, 96 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I The SessionsThe | 3.I ArchitectureExhibit & Design | Renovation Museum Het Valkhof Nijmegen

Images 19 & 20, sketch floorplans of the Masterplan © TP

Based on the new floor plans and a review the climate conditions, which will aim to of the various user flows and climate meet a minimum level of ASHREA B, and requirements, zones were developed for an improved security plan.

Image 21, climate zoning and -values © TP

© ICAMT 2020 Online Conference 98 © ICAMT 2020 Online Conference 99 The Sessions | 3.I Architecture & Exhibit Design | Renovation Museum Het Valkhof Nijmegen 99 3.I Interestingly, an image as had been had as image an Interestingly, the in 2014 for UNStudio by developed funding, of lack to due stranded that plan the express adequately to out turned a In the building. for ambitions current now but full came circle, plan that way case in business a solid underlying with secured with Masterplan approved an funding. their respective costs, were so minor so minor were costs, their respective no that things of scheme in the greater the administrative these on on discussions was costing The required. were level of measures thescope and and validated this With endorsed. were the Masterplan of the approval formal towards step first late approved was the plan Masterplan, 2019. as is often the case, of a great number of of number of a great case, the often is as became it together, brought interventions such interventions the significant clear security and in new climate investing as also deemed absolutely were installations the that and the Municipality vital by were interventions the projected for costs other interventions, of cost The reasonable. small in relatively but in number great Having been asked by the Municipality the Municipality been by asked Having be could though we which interventions simple: was answer our without, done equally view were allin our measures a as the intervention to important which the question: returned We whole. consider did the Municipality measures consists, Masterplan As the superflu-ous? © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT measures were removed. removed. were measures the interventions allowed for discussions discussions for allowed the interventions specificwould be if the effect what on scenarios upfront, the costing overviews the costing scenarios upfront, all with plans floor with in combination to the approval process as it explains explains it as process the approval to each intervention detail how in great offering of Instead total cost. affects the Image 23, detailed overviews of costing per intervention per overviews costing of 23, detailed Image was detailedall-important This costing detailed costing of the plans proposed. the plans of detailed costing requirements work towards the next the next towards work requirements extremely also for allowed it stage, project Image 22, overview of requirements © TP 22, overview requirements of Image does the overview only of Not for the design stages that are to follow. to are that the design stages for are included in the scope of the Masterplan the Masterplan in the scope of included are the foundations which lays developed, was A detailed overview all with and the spatial the that spaces of technicalrequirements 98 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I The SessionsThe | 3.I ArchitectureExhibit & Design | Renovation Museum Het Valkhof Nijmegen

Image 24, artists impression new façade, © UNStudio

Moving Ahead: Development but for the long term, such as determining of the Brief and Other Steps the allocation of tasks and responsibilities for future maintenance et cetera. The time After the approval of the Masterplan, frame for the Masterplan was also reviewed or at least the formal commitment of as part of this transition. A starting point the Municipality and the Province to for the museum was to remain open fund the refurbishment of the museum during the refurbishments, leading to the building for the total amount indicated Masterplan being detailed in three main in the Masterplan, the project is now project stages with options for the time taking shape. An external project manager line requested by the Municipality. With has been appointed who is responsible the Municipality acquiring the building for furthering the Masterplan. Besides and taking the lead, this has changed: the developing the brief for the design team project will be executed in one stage after for which we have been commissioned, which the museum organisation will return several other tracks are being rolled out. to the building as tenant. Taking out the Due to the sizable investments required, stages, will bring the overall costs down the Municipality will acquire the building as every cut made in the process is costly. from the museum organisation. This In addition, a number of requirements changes the dimension and the roles of all have been added to the brief, following those involved, not just within the project, from standard requirements or goals the

© ICAMT 2020 Online Conference 100 © ICAMT 2020 Online Conference 101 The Sessions | 3.I Architecture & Exhibit Design 101 3.I © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Address: ToornendPartners, Wagenweg 58, 58, Wagenweg ToornendPartners, Address: Netherlands The Haarlem, 2012 NG, Name: Ms. Kiem-Lian The, MSc The, LL.M Ms. Kiem-Lian Name: ToornendPartners Affiliation: ICAMT Committee: Other Data stay on the track that was devel-oped in in devel-oped was the that track on stay the Masterplan. hopefully be offset by savings of a single of a single by savings hopefully be offset to the project for allowing stage, building and project. These additional requirements requirements These additional project. and which will costs, additional will bring of the site in relation with the Limes the Limes with in relation the site of a UNESCO become World to nomination willprocess be site in reflected the Heritage been identified as an interface with the the with an interface beenas identified the importance now building, museum Municipality has in terms of sustainability. sustainability. of terms in has Municipality had already of the Castellum outline The 100 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT 3.I 9 Sustainability Indicators in Museums SessionsThe | 3.I ArchitectureExhibit & Design

Manuel C. Furtado Mendes PhD Museology October 2020

Introduction • Can we establish any relation between environmental preservation and heritage

During my research on the use of preservation? | Sustainability Indicators in Museums renewable energies in museum buildings1 On the other hand, I’ve defended that by I came to believe that museological considering the environment and planet institutions have responsibilities in Earth as heritage we are trying to create a environmental sustainability. In this collective conscience of the existence of an presentation, I intend to consider the Earth’s history or “Earth Memory” (Póvoas methodology museums can adopt to reach e Lopes)2. This Earth memory leads us to total environmental sustainability as well consider our planet as a “Global Museum” as cultural, social and economic. (Scheiner, s/p)3 in which the heritage to be In my early studies, I focused on the preserved is Planet Earth itself. A global relation between museology, museums and museum linked to the concepts of Earth environmental sustainability, and tried to or biosphere, includes a relation between find answers for the following questions: “mass and energy, in time, in complexity and influencing all of life activities in • In what way does museology consider the planet” (Scheiner, s/p). In this global environmental preservation? museum, Humanity comes face to face with • In which areas can museology act and its real dimension as a biological being and contribute to the preservation of the as an integral part of these activities. environment and living species? Within this context, we need to consider • How do these concerns relate with environmental, cultural, economic museology’s definition and its scope? and social sustainability in museology. • How can we connect environmental And museums as institutions devoted worries and the work done by museums? to preservation, have to assume a

1 Furtado Mendes, M. C. (2011). “O uso de Energias Renováveis em edifícios de Museus”. Tese de doutoramento defendida na ULHT para obtenção do grau de doutor. 2 Póvoas, Liliana; Lopes, César. (2001). Construir uma memória da terra para o futuro. In: XIII Jornadas sobre a Função Social do Museu. Alcoutim e Tavira. Texto Policopiado. 3Scheiner, Tereza. (2000). Museu: génese, ideia e desenvolvimento. In: Curso Fundamentos da Museologia Teórica e Aplicada. Lisboa: ULHT. Texto policopiado.

© ICAMT 2020 Online Conference 102 © ICAMT 2020 Online Conference 103 The Sessions | 3.I Architecture & Exhibit Design | Sustainability Indicators in Museums 103 3.I : 5 : materialized : materialized 6 . This document is is document . This 7 , consultado em 4 de outubro 2020. outubro em 4 de , consultado : where it is stated “... that cultural cultural that “... stated is it : where 8 , consultado em 4 de outubro 2020. outubro em 4 de , consultado , consultado em 4 de outubro 2020. outubro em 4 de , consultado We mention the “Convention on the the on the “Convention mention We the Diversity of Promotion and Protection (UNESCO: Expressions”, Cultural of 2005) varied world, a rich and creates diversity and choices of the range which increases “Humanity has the ability to make make to the ability has “Humanity that ensure to sustainable development without the present meets theneeds of it future of the ability compromising needs”. meet their own to generations 27, s/p) (artigo the concept consolidate to fundamental four in the current sustainability of dimensions. cultural dimensions, in contrast to the the to in contrast dimensions, cultural the to oriented model only development dimension. economic Commission World of Reportthe The Our Development: and Environment on (1987) Future Common Report establishes in the Bruntland accepted well and the best known development: sustainable of definition destruction in Africa, Asia and Latin Latin destruction in Africa, and Asia that the poverty of a result America, as to leads population the underprivileged resources; plant the soil and overuse Report, (1975) The Dag-Hammarskjöld “Theentitled Other development”, adding development, integral an proposes and social,the political, environmental . 4 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT , consultado em 4 de outubro 2020. outubro em 4 de , consultado : document resulting from the the from resulting : document 4 https://unescoportugal.mne.gov.pt/images/Comunica%C3%A7%C3%A3o/convencao_sobre_a_proteccao_e_a_promocao_da_diversidade_ https://sustainabledevelopment.un.org/content/documents/5987our-common-future.pdf https://helsinki.at/projekte/cocoyoc/COCOYOC_DECLARATION_1974.pdf http://www.daghammarskjold.se/wp-content/uploads/1975/06/What-Now-v2.pdf In: In: In: In: of ability the compromising without present the of needs the meets it that ensure to sustainable development make to ability the has “Humanity In: In: In: das_expressoes_culturais.pdf 6 7 needs.” own their meet to generations future 8 4 5 (UNEP). The document establishes establishes document (UNEP). The between populational the relationship environmental and poverty increase, (UNCTAD) and promoted by the United the United by promoted and (UNCTAD) Programme Environment Nations carried out by the United Nations Nations the United by carried out Development and Trade on Conference symposium “Models of resource use, use, resource of “Models symposium strategies”, development and environment it has evolved: has it Mexico (UNEP, The Cocoyoc Declaration, 1974) There are documents that allow us to to us allow that documents are There the way and the concept of observe priors multidimensional definition of of definition multidimensional sustainability? finally, two other related dimensions dimensions related other two finally, epistemology ethics and regarding this reached we have How time dimension as for all concepts, this this all concepts, for as time dimension time; and in space and also changes one four central dimensions – environmental, – environmental, dimensions central four social; and a space/ economic cultural, The Background includes sustainability of concept The Sustainability: Sustainability: immaterial collections, or with the the with or collections, immaterial community. commitment with global sustainability global with sustainability commitment whether they or deal material with 102 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT nurtures human capacities and values, and This relation was built from the concept 3.I The SessionsThe | 3.I ArchitectureExhibit & Design therefore is a mainspring for sustainable of Development, one of the focal development for communities, peoples concepts of museology’s ways of thinking and nations.” and acting. And, at last, we consider as a support With the new museology concept, and a reflection for the current concept it became possible to think about of sustainability, the “Sustainable museums and development and change Development Goals” (SDG- 2030)9 the scope from collection’s analyses to with its holistic and integrative vison society’s analyses. The introduction of of development. We highlight five a humanized approach to museums | Sustainability Indicators in Museums objectives that we consider to be central was an extraordinary step forward as to this debate: SDG 6 – Clear water and it made possible to involve museology, sanitation; SDG 7 – Affordable and clean communities and its people. Once energy; SDG 11 – Sustainable cities and communities are involved, museums communities; SDG 12 - Responsible will reflect the community’s strengths consumption and production; and ODS 13 and weaknesses in all aspects: – Climate Action. social, economic, political, cultural, If sustainability as a goal is consensual, philosophical, symbolic, scientific, the same doesn’t happen with the technological and environmental. theoretical definition of the concept due Concerns with the environmental aspect to the expansion of its use in different of sustainability were the earliest to political and social areas. Some authors emerge in museology given that the claim that there is a lack of clarity in environment has been considered a defining the concept area of focus; others global problem since the 60s and 70s of point out a difficulty in the concept the 20th century. applicability saying that it is clear in This concern is reflected on several theoretical terms, but not in practical international publications, conventions ones; finally, others criticize the concept and recommendations from that uses and interpretation saying that it lacks time period which constitute the first interpretation depth. organized attempts on a global level to the preservation of our natural heritage. Museology and Development We find examples of a global concern on At this point of my presentation it’s the environment in several publications appropriate to clarify the relation between from UN/UNESCO, ICOMOS and museology and sustainability. European Council.

9In: https://unric.org/pt/objetivos-de-desenvolvimento-sustentavel/, consultado em 4 de outubro 2020.

© ICAMT 2020 Online Conference 104 © ICAMT 2020 Online Conference 105 The Sessions | 3.I Architecture & Exhibit Design | Sustainability Indicators in Museums 105 3.I produced by by produced 13 for the protection 14 , consultado em 4 de outubro 2020. outubro em 4 de , consultado the concern with human and and human with the concern 12 conservation or natural beauty.” natural or conservation or by social, economic or cultural ties.” ties.” cultural or social, by economic or (Article 1.b). signed Europe 1976, the Council of In Appeal” “The Granada These heritage. architectural Europe’s of goes further ahead the than convention “rural that considers it as ones previous monuments environment and, in the in the and, environment monuments Recommendation” “Nairobi the environment year, same UNESCO that is areas architectural and historic of shall be “environment” as: defined “The man-made or the natural mean taken to or static the which influences setting or perceived are these areas way dynamic themin space linked to directly which is heritage preservation. The Convention The Convention preservation. heritage the Party each State for established give policies that develop to obligation the in a role heritage natural and cultural the community. of life – International 1976, ICOMOS In – Sites and Monuments Council of Cultural of the “Charter at expressed Tourism” It’s important to note that the “Convention the “Convention that note to important It’s the of the Protection Concerning Heritage” Natural and Cultural World natural heritage natural as acknowledged which allowed aesthetic value with features of areas diverse and vast integrate to the rules them to subject territory of and , consultado em 4 de outubro 2020. outubro em 4 de , consultado , consultado em 4 de outubro 2020. outubro em 4 de , consultado was adopted by by adopted was (UNESCO) was (UNESCO) was 10 11 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT consultado em 4 de outubro 2020. 2020. outubro em 4 de consultado www.lacult.unesco.org. http://www.patrimoniocultural.gov.pt/media/uploads/cc/salvaguardaconjuntoshistoricos1976.pdf https://dre.pt/application/conteudo/462207 https://whc.unesco.org/archive/convention-pt.pdf

value from the point of view of science, science, view of of the point from value point of view of science or conservation; conservation; science view or of of point delineated precisely or sites Natural universal outstanding of areas natural threatened species of animals and plants plants and animals species of threatened the from value universal outstanding of formations and precisely delineated delineated precisely and formations of the habitat which constitute areas aesthetic or scientific point of view; scientific point aesthetic or Geological physiographical and and biological formations or groups groups or formations biological and of which are formations, such of the from value universal outstanding Natural features consisting of physical physical of consisting features Natural In: ULHT. (1999). Cadernos de Sociomuseologia, n.º 15. 209:214 Sociomuseologia, de (1999). Cadernos ULHT. In: In: In: In: In: In: In: 14 10 11 12 13 • • considered as “natural heritage”: “natural as considered • heightened awareness. In article 2 of 2 of article In awareness. heightened shall be following “the the Convention should be considered globally as a whole”. globally a whole”. as be considered should global heritage that that proposed was It and preservation be the object of would heritage was considered alongside with with alongside considered was heritage “they acknowledging Heritage, cultural and Natural Heritage” Heritage” Natural and natural it, In the General Conference. UNESCO’s “Convention Concerning Concerning “Convention UNESCO’s Cultural the World of the Protection interdependence between Human beings beings between Human interdependence environment. its and 1972, Paris year, the following In as Waterfowl Habitats” Waterfowl as the acknowledged was in it signed and In 1971, the “Convention on Wetlands Wetlands on the 1971, “Convention In especially Importance International of 104 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT architecture and its countryside are but the need to assure our own existence 3.I The SessionsThe | 3.I ArchitectureExhibit & Design threatened with extinction”(article 1). on Earth as well as of all other species. Nature’s over-exploitation, mainly by The “Declaration on the Responsibilities industrialization, brings as a consequence of the Present Generations Towards Future “dangerous ecologic imbalance” that Generations”15 considers the destruction “cause profound structural changes in of the Environment as a threat for the the landscape’s characteristics (hedges, survival of future generations as stated in slopes, small woods, streams, etc.” (Article articles 4 and 5: 2). In this document it is considered that “the rural architectural heritage should Article 4 - Preservation of Life on Earth | Sustainability Indicators in Museums be recognized not only for its aesthetic • Present generations have the values, but also as a testimony of secular responsibility to bequeath to future wisdom” integrating natural landscape generations an Earth which will not one with cultural heritage, and recommended day be irreversibly damaged by human that “the policy of integrated conservation activity. Each generation inheriting the of the architectural heritage also be Earth temporarily should take care to implemented in rural areas” and use natural resources reasonably and “become one of the objectives of regional ensure that life is not prejudiced by planning”. This would imply a long-term harmful modifications of the ecosystems development policy of society based on and that scientific and technological the respect for a harmonious relation progress in all fields does not harm life between Man and Nature (Article 6). on Earth. The “Declaration on the Responsibilities of the Present Generations Towards Future Article 5 - Protection of the Environment Generations” issued by UN in 1997 is the • In order to ensure that future most alarming document with regard to generations benefit from the richness the need to preserve natural environment of the Earth’s ecosystems, the present on a global scale. generations should strive for sustainable This document is of great importance development and preserve living as it draws attention to environmental conditions, particularly the quality and preservation as a fundamental integrity of the environment.” requirement for the survival of the human species. We’re no longer considering the Finally, on our look on international need to preserve human cultural heritage legislation, we mention the “Universal

15In: http://mapacultural.es.gov.br/files/agent/27797/declaracao_responsabildiade_geracoes_presentes_geracoes_futuras.pdf, consultado a 4 de outubro 2020.

© ICAMT 2020 Online Conference 106 © ICAMT 2020 Online Conference 107 The Sessions | 3.I Architecture & Exhibit Design | Sustainability Indicators in Museums 107 3.I , consultado a 4 de a 4 de , consultado in which a new in which a new 20 ’s definition of ecomuseum of ecomuseum definition ’s 19 it states we should see Nature in its natural natural in its see Nature should we states it we Heritage a Natural it consider and form value. must the 1972 UNESCO organized In Chile discuss to of Santiago of Roundtable in Latin America. Museums of the role the Santiago this resulted meeting From Chile Declaration of An presented: was museum of concept museums was now the Human being in a being in a the Human now was museums global in the interaction perspective and environment. its with Rivière In the environment of the importance An out. stands heritage natural and peoples’ tries consider to ecomuseum as to referred in their territory, integration hand, On the other environment”. “natural was proclaimed. A museum that valued valued that A museum proclaimed. was global being’s Human considered and to the public associating environment the of the protection to and knowledge this new 1978). In (Varine, environment the collection loses its partmuseum of The the heritage. collective to importance of disclosure and work study, scope of

and 16 17 , and intended intended , and 18 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CLT/diversity/pdf/declaration_cultural_diversity_pt.pdf “Un ecomuseo es un instrumento que un poder público y una población conciben, fabrican y explotan conjuntamente… y explotan fabrican conciben, población y una público poder un que instrumento un es ecomuseo “Un Varine, Hugues de. (1978). L’écomusée. Vagues, une anthologie de la nouvelle muséologie, vol. I. MNES: Savigny – le - Temple. 1992. - Temple. – le I. MNES: Savigny vol. muséologie, nouvelle la de anthologie une Vagues, (1978). L’écomusée. de. Hugues Varine, In: In: 1. MNES, vol. muséologie, nouvelle la de anthologie une Vagues, In: évolutif. modèle (1971-1980), un L’écomusée Henri. Georges Rivière, recibe y da.” (In: Rivière, G. H. 1992. La museologia. AKAL: Espanha. PP:191-192. Espanha. AKAL: G. H. 1992. La museologia. Rivière, (In: y da.” recibe Un laboratorio, en la medida en que contribuye al estudio histórico y contemporáneo de esa población y de su medio… su y de población esa de y contemporáneo histórico estudio al contribuye en que medida en la laboratorio, Un población. esa de y cultural natural patrimonio del valorización y a la preservación a la ayuda en que medida en la conservatorio, Un y protección… estudio de acciones sus con población a esa asocia que en la medida en la escuela, Una que sino misma, en si se encierra no La población existentes. diferencias las de cuenta habida límites tiene no diversidad la ecomuseo el … En Una expresión del hombre y de la naturaleza. El hombre es allí interpretado en su medio natural. La naturaleza está en su salvajismo, pero tal y y tal pero salvajismo, en su está La naturaleza natural. medio en su interpretado allí es hombre El naturaleza. la y de hombre del expresión Una imagen. su adaptado han industrial sociedad y la tradicional sociedad la como tiempo… del expresión Una o caminar. reposar, pueda visitante el donde escogidos, De espacios espacio. del interpretación Una 19 las de al junto unido, está que al territorio del explicación la busca donde en él, reconocerse para se mira, población esa que en el espejo Un generaciones… las de continuidad o la discontinuidad en la precedido, han la que poblaciones outubro 2020. outubro 17 1992. –le-temple, Savigny W, Editions 18 With ecomuseums a new type of museum a new type museum of ecomuseums With 16 encompassing space, time and social time and space, encompassing aspects definition. in its longer limited by a building, a collection a collection a building, by limited longer of integration became an but a public and a community, and a heritage a territory, defining feature was that it broadened broadened it was that feature defining no which scope, was work museum’s concerns of the international political political the international of concerns The ecomuseum’s time. that at order by Georges Henry Rivière in 1971 Henry Rivière Georges by (1978) de Varine Hugues the environmental to answer an give to protection at the time. at protection created was of ecomuseum concept The in France, during the 70s, in accordance the 70s, in accordance during in France, environmental of policies the officialwith expression related with environment environment with related expression ecomuseums of the surge with happened proposal for integrated conservation. integrated for proposal museology, and museums to back Going museological conceptualized big the first biodiversity and natural heritage as part of part as of heritage natural and biodiversity the with in accordance diversity, cultural Declaration on Cultural Diversity” Cultural on Declaration considers UNESCO that (2001) by 106 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT integrating Museum that provides the field of action environmental issues as well 3.I The SessionsThe | 3.I ArchitectureExhibit & Design community with a comprehensive vision as social, economic and cultural issues of material and cultural environment considered both pressing and relevant by and as a vector of development, and the communities involved. considering heritage in a global way In 1984, ICOM organized the “I in which the natural environment is International Atelier Ecomuseums- included. It is worth noting museums’ New Museology”, in Québec. From this social role in creating people’s awareness event resulted the Québec Declaration21, to the problems of rural and urban considered as a founding document of environments. the International Movement for a New | Sustainability Indicators in Museums From the Roundtable of Santiago the Museology. MINOM was formally created following resolutions stand out: in 1985 and became an ICOM affiliated. The New Museology proposed by MINOM “That the museum is an institution at it’s characterized by a set of statements, the service of society of which it forms an assumptions and intentions expressed inseparable part and, of its very nature, in a document made by the provisional contains the elements which enable it work group (GTP). This group was created to help shaping the consciousness of the to prepare the I MINOM International communities it serves, through which Atelier in 1985, in Lisbon, where MINOM it can stimulate those communities to was formally created. In this document the action by projecting forward its historical following was stated: activities so that they culminate in the presentation of contemporary problems; 1. GTP recognizes the existence of a that is to say, by linking together past and movement on a global scale, for a new present, identifying itself with indispensable museology characterized by common structural changes and calling forth others purposes and common practices. appropriate to its particular national context.” 2. GTP recognizes as representatives of this movement museums, individual Museum’s focus on contemporaneity and or collective actions that may vary the problems communities face nowadays depending on country or specific is perhaps the major contribution of the conditions; the most known examples Santiago’s Declaration. Working on the being ecomuseums and neighborhood present allows to include in museum’s museums. Regardless of shape and

20In: https://pt.scribd.com/document/178819333/DECLARACAO-DE-SANTIAGO-DO-CHILE-DE-1972, consultado em 4 de outubro 2020. 21In http://www.minom-portugal.org/docs-quebec1974.pdf:, consultado em 4 de outubro 2020.

© ICAMT 2020 Online Conference 108 © ICAMT 2020 Online Conference 109 The Sessions | 3.I Architecture & Exhibit Design | Sustainability Indicators in Museums 109 3.I study and enjoyment.” and study doesn’t ICOM this definition In in the intervention an directly mention the of in light however environment the to come can we mentioned concepts to given the importance of conclusion environmental with which relates nature heritage as considered is It sustainability. following: permanent is a non-profit, museum “A service and society the of in institution public, the to open development, its researches, conserves, acquires, which tangible the exhibits and communicates its and humanity of heritage intangible and education, of purposes the for environment can contribute to the development of the the of the development to contribute can using their surroundings and communities the and itself the community heritage, territory a resource. as in museum’s this change of a result As Council (International ICOM definition definition its also changed Museums) of in their statutes institution the museum of the to assemblies) 2001 general (1989 and One of the innovative characteristics characteristics the innovative of One Museology New for proposed MINOM have museums that consider to was in the integrated are a social and role in their environment and communities aspects. natural and cultural its including museums considered it hand, On the other . 22 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT natural evolution of museums of evolution natural relation to dominant museology museology dominant to relation be could seen in other practices, as a as historic and social contexts of the the of social and contexts historic countries some In involved. countries in seemthis might revolutionary The novelty brought by the new new by the brought novelty The do with to as museology concept entertainment. modern methods to do research, modern do research, methods to and management documentation, by its concerns, stances and actions actions and stances concerns, its by be to seen a way as shouldn’t it and using by just museums “modernize” The new museology all defined new above The is to blend in with both territory and both in with territory and blend to community. the community’s active participation; participation; active the community’s and open by characterized it’s and able are that decentralized structures prevail over the “object”; museology museology the “object”; over prevail based practices uses methods and on environment. With this in mind, the the this in mind, With environment. “context” and ”environment” of concepts where the human being is positioned positioned being is the human where social cultural and natural, in its of itself and of the conditions of their their of the conditions of and itself of should work museums’ existence; approach interdisciplinary an have following characteristics: provide the the provide characteristics: following understanding a better with community content differences these museums museums these differences content the common in have actions and In: Moutinho, Mário, (1989). Museus e sociedade. Cadernos de Património, 5- 79:82. Museu Etnográfico do Monte Redondo. Monte do Etnográfico 5- 79:82. Museu Património, de Cadernos e sociedade. (1989). Museus Mário, Moutinho, In: 22 4. 3. 108 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT elements from human environment, live in the Santiago of Chile Declaration in 3.I The SessionsThe | 3.I ArchitectureExhibit & Design species in nature and natural reserves, 1972! including landscapes. Recently, in ICOM’s 25th General Museums & Sustainability or Assembly in Quioto, Japan (September Sustainable Museums? 2019), it was discussed the need to create a new definition of museum. The following Ibermuseums produced in 2019 definition was put to vote but its approval a document entitled “Common was postponed: Conceptual Framework for Sustainability

in IberoAmerican institutions and | Sustainability Indicators in Museums “Museums are democratizing, inclusive and museological processes” 24 which reflects polyphonic spaces for critical dialogue about on the particular museological reality the pasts and the futures. Acknowledging of IberoAmerican. According to the and addressing the conflicts and challenges Common Conceptual Framework for of the present, they hold artefacts and Sustainability, “sustainable museums specimens in trust for society, safeguard and museological processes are diverse memories for future generations and committed to environmental, cultural, guarantee equal rights and equal access to social and economic sustainability, heritage for all people. promoting a management that meets Museums are not for profit. They are their surroundings’ needs and values the participatory and transparent, and museological patrimony for present and work in active partnership with and for future generations.” diverse communities to collect, preserve, Sustainable museums and museological research, interpret, exhibit, and enhance processes are concerned with their social understandings of the world, aiming to transforming role, with methods and contribute to human dignity and social goals for integrative action development justice, global equality and planetary that have a positive impact in the cultural, wellbeing.” 23 social and environmental dimensions. These museums are proactive and create One of the major concerns expressed connections through their involvement. In in the conference was climate change, the effort to interrelate all four dimensions, mentioned right after the opening speech museums remain reflective of them and by then ICOM president Aksoi Suay, promote citizens’ participation with special addressing old concerns raised previously attention to historic context. Sustainability

23In: https://icom-portugal.org/2019/09/10/sobre-a-proposta-da-nova-definicao-de-museu/, consultado a 4 de outubro 2020. 24In: http://www.ibermuseos.org/pt/recursos/publicacoes/marco-conceitual-comum-para-a-elaboracao-do-rmi/, consultado em 4 de outubro 2020.

© ICAMT 2020 Online Conference 110 © ICAMT 2020 Online Conference 111 The Sessions | 3.I Architecture & Exhibit Design | Sustainability Indicators in Museums 111 3.I Environmental Proposing and implementing implementing and Proposing environmental as such improvements ecology services. and diagnosis of Preservation of collections and and collections of Preservation buildings prevention use reduction: Resources in exhibitions, recycling materials and electricity in the use and of reduction etc.; museums, in water air sewage, pollutants: of Reduction waste; contamination, aspects environmental of Incorporation in communications; the museum of Awareness impact; environmental by the following areas: areas: the following by By assuming the four different dimensions dimensions different the four assuming By should museums sustainability, for and actions their on them through reflect activities. Conceptual Ibermuseus with Continuing for dimension Chart, the environmental characterized it’s sustainability museums © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT economic and financial balance. financial and economic to fulfill its mission; it contributes for for it contributes fulfillto its mission; and local of economy the development as sustainable management models; models; management sustainable as resources financial tries acquire to it needed investments) private or (public Economical Dimension: it pursuits pursuits it Dimension: Economical well as procedures of the development democratic and participatory way; participatory and democratic cohesion; it strives for equity and and equity for strives it cohesion; in a socialglobal, decrease of differences communities’ quality of life enabling enabling life of quality communities’ preservation culture, to easier access social memory and historical of Social Dimension: it aims to improve improve to aims Social it Dimension: particularities, as well as monitorization particularities, monitorization as well as processes; their changing of Cultural Dimension: it concerns concerns it Dimension: Cultural communities’ and diversity value and conservation of ecosystems, water water ecosystems, of conservation and biodiversity; and resources museum activities, habits, processes and and processes activities, habits, museum the protection for spaces, contributing Environmental Dimension: it’s the the it’s Dimension: Environmental in all sustainability of incorporation 4. 3. 2. 1. sustainability in museums are defined as as defined are in museums sustainability 64): (p. follows particular features and origin. and particular features of the 4 dimensions this document In is built as a continuous process of of process a continuous as built is museum each considering improvement 110 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT As for the cultural dimension for Finally, the economic dimension for 3.I The SessionsThe | 3.I ArchitectureExhibit & Design sustainability in museums, it is sustainability in museums is characterized characterized: by the following aspects:

Cultural Economical

Museum as a place for reflection and Public, private or mixed management of debates; administrative processes in museums; | Sustainability Indicators in Museums

Link between Past, Present and Future; Short, medium- and long-term planning; Promotor of Interculturality and Cultural diversity; Adoption of economically efficient resources; Promoting integral heritage. Implementation of waste monitoring systems; The social dimension for sustainability in museums includes the following concerns: Creating resources through self- financing (sponsors and fiscal Social benefits), through selling services or merchandising;

Communities access and participation; Link with touristic and leisure activities;

Awareness, training and research Contribution for the development of actions; organization and diffusion local economy. involving the communities;

Preservation of historical memory and social cohesion;

Contribution to decreasing social differences in a global, democratic and participatory way.

© ICAMT 2020 Online Conference 112 © ICAMT 2020 Online Conference 113 The Sessions | 3.I Architecture & Exhibit Design | Sustainability Indicators in Museums 113 3.I Number of people with access to the the to access with people of Number 12 in the last in the museum collections months; in the visitors online of number Total 12 months; last in volunteers registered of number Total Ratio between public financing and and financing Ratio between public sources; financing other in the hours work volunteer of Number 12 months; last and Ratio between the collection growth 12 months; in the last growth income of Ratio between the number the of number in the total partnerships activities; museum suppliers museum of Percentage and concerns environmental with friendly policies. environmentally months; preserved cultural of Number of area in the Museum manifestations influence; associated people young of Number social and cultural of the continuity to manifestations; the collection in of Percentage exhibition; the collection in reserve of Percentage and appropriately storaged. • As measurement indicators to achieve achieve to indicators measurement As we in Museums social sustainability propose: • • • • • • • achieve to indicators measurement As we in Museums sustainability economic propose: • • • • © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT of conservation works in the last 12 12 in the last works conservation of 12 months; the collection in need of Percentage Growth rate of the collection in the last the collection in the last of rate Growth Percentage of reused items in in items reused of Percentage exhibitions. for the exhibitions and storage of the the of storage and the exhibitions for collections; Total of fossil fuels consumption in the in the consumption fuels fossil of Total 12 months; last used resources natural of Percentage Ratio between recyclable and non- and Ratio between recyclable 12 months; in the last waste recyclable Total water consumption in the last 12 12 in the last consumption water Total months; months, coming from renewable renewable from coming months, sources; Total of energy consumption of the the of energy of consumption Total 12 the last considering museum, • propose: • As measurement indicators to achieve achieve to indicators measurement As we in Museums sustainability cultural • • • • • Museums the following: Museums • We consider as measurement indicators indicators measurement as consider We in sustainability environmental achieve to adapt depending on their needs of self- their needs of on depending adapt evaluation. for indicators it’s not a closed one, it’s it’s a closed one, not it’s indicators for can museum each that example an just operate to achieve global sustainability global achieve sustainability to operate to establish able are we defined, are Our proposal each museum. for indicators Sustainability in Museums Sustainability can in which museum each the areas Once Indicators for Measuring for Measuring Indicators 112 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT to allow a more precise analysis. Certainly, the last 12 months; 3.I The SessionsThe | 3.I ArchitectureExhibit & Design • Percentage of people involved in the there will be space for proposals for other decision-making process (by age, indicators to add to these. gender and cultural group); However, we should not assume that • Ratio between employees in the first 10 the mere use of these indicators will years of career and employees in the last automatically make museums sustainable. 10 years of career; A more profound change will be needed • Ratio of museum employees with on the theoretical and methodological training on organization sustainability; principles that are the base to museums • Number of times, in the last 12 activities. | Sustainability Indicators in Museums months, an outside expert or member Social museology has shown us a possible of the community has been invited to way for museum’s path towards the future. participate in the planning of museum This path will have to include in museum’s activities; activities the respect for Human Rights, • Total number of collection items and a selection of themes for exhibitions that percentage available online; can influence behavioral changes, such as • Number of published articles on lifestyle or consuming habits, to open up museum collections by museum staff; museums to the community engagement, • Number of permissions given for the to promote respect for Nature and use of the museum collection’s images Biodiversity, to encourage and increase in publications; the use of renewable energies in museum’s • Number of school visits in the last 12 buildings. months; It is equally necessary to change • Number of participants in public the way investigation, preservation, activities promoted by the museum communication and education is done such as conferences, lectures, movie in museology by: selectively, mindfully showings, etc.; and proactively collecting heritage, • Number of exhibitions or events listing and designing exhibitions in an held in the last 12 months, with the interactive way, and promoting activities purpose to teach the community about that are inclusive and meaningful for sustainability. the community. In other words, we want museums to be connected with the Towards the Future Present time and to contribute to discuss/ As mentioned before, these indicators can think about today’s important questions. be used by any museum. They are general Sustainability is just one of those indicators for sustainability but each questions. museum should define specific indicators

Introduction by Anna Maria Ravagnan & Maddalena d’Alfonso

1. Visiting Safely: A Simulation Modeling Approach to Optimizing

Museum Spaces for a Covid-19 world

2. Museum as a Cultural Hub: The Challenge of Sustainability in a Post-

Pandemic Scenario

3. VR in the time of social distancing: New Multidisciplinary-Inspired

Directions for Virtual Exhibitions

4. Museum Architectures for Digital Experiences: Towards a New Spatial

Typology?

5. The New Architecture and Exhibitions in the Museum Building in

Russia

6. The Answers for the Issues of the Korea’s New National History

Museum of Saemangeum Reclamation

7. Physical and Virtual Experiences on Contemporary Museums: The case

of MIS Rio de Janeiro

8. From Revolution to Lyrical Paysage. The Experience of Reuse of the

Exhibition Architecture in the Museum of Russian Impressionism.

The Sessions | 3.II New Challenges for Museums | Introduction 116 3.II 1 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT any scientific, literary or artistic production of which he is the author. the he is which of production artistic or literary scientific, any the arts and to share in scientific advancement and its benefits. its and advancement scientific in share to arts and the from resulting interests material and moral the of protection the to right the has Everyone Everyone has the right freely to participate in the cultural life of the community, to enjoy enjoy to community, the of life cultural the in participate to freely right the has Everyone Universal Declaration of Human Rights, G.A. res. 217A (III), U.N. Doc A/810 at 71 (1948). Doc A/810 at 217A (III), U.N. G.A. res. Rights, Human of Declaration Universal 1 The experience carried out by ICOM’s National Committee in Italy on this topic has brought brought has topic this on Italy in Committee National ICOM’s by out carried experience The environment that can contribute positively to present day well-being’”, (Chatterjee and Noble, Noble, and (Chatterjee well-being’”, day present to positively contribute can that environment 2013). understanding of the range of physical, social, cognitive and relational conditions. relational and cognitive social, physical, of range the of understanding and viewed as static were museums when days the are “Gone states: Chatterjee Helen interactive ‘an offer museums how illuminates perspective’ ‘contemporary […] More inert Recently the accessibility concept has evolved naturally, moving from a focus almost almost a focus from moving naturally, evolved has concept accessibility the Recently an to hearing) and vision (motor, difficulties physical with people on exclusively 2. Participation in cultural life and delight in the arts are fundamental human rights enshrined enshrined rights human fundamental arts are the in delight and life cultural in Participation Declaration: Nations United the 27 of no. Article in 1. in all its facets, currently consists of more than 50 active members in Italy. in members 50 active than more of consists currently facets, its all in appointed in the “Probiviri” Committee of ICOM Italy from 2016. 2016. from Italy ICOM of Committee “Probiviri” the in appointed usability museum and inclusion, accessibility, of topics the deals with which Commission, The Lucilla Boschi, Curator of Museo Tolomeo at Istituto dei Ciechi [Institute of the Blind People] People] Blind the of [Institute Ciechi dei Istituto at Tolomeo Museo of Curator Boschi, Lucilla and a reference Boschi is Lucilland Coordinator the Today Bologna. in Cavazza Francesco is who Ravagnan, Annamaria is Italy ICOM for projects national the of figure organizational Italy was the only ICOM National Committee to have created a “Thematic Commission on on Commission a “Thematic created have to Committee National ICOM only the was Italy by is chaired it today and Scarpati Dario 2007 by in created was It Accessibility”. Museum Accessibility) and I have been asking ourselves some years ago. years some ourselves asking been I have and Accessibility) Why a Commission dedicated to museum accessibility is necessary? This is the fundamental the fundamental is This is necessary? accessibility museum to dedicated a Commission Why Museum on Commission Thematic the of chair (former Scarpati Dario which question Introduction Italian Commission on Accessibility: A Brief History From 2007 ItalianAccessibility: on Commission From A Brief History Introduction by Annamaria Ravagnan by Annamaria Introduction many concrete results, better defining the concept of accessibility, inclusion, usability and, 3.II The SessionsThe | 3.II Challenges New for Museums recently, emancipation of the public and equity. During its more than 14 years of existence, the Commission has developed systems for understanding the relationship between facilities and people with physical, sensory and cognitive disabilities, and has also studied exhibition facilities and services offered to the public. The Accessibility Commission has promoted a cognitive survey of Italian museums to open a dialogue between the museum and society through the administration of a questionnaire to professional figures, such as directors and curators of museum institutes, using the interview

method. | Introduction After an experimental phase of interviews conducted in museums of Bari, Mantua, Milan and Rome, the project was extended to the whole national territory. The data obtained from these interviews originated a glossary of terms related to the theme of museum accessibility, which shall be a useful tool to create a common language between different operators in the museum field. Building a common language is key: for instance, psychologists will use the terms of their discipline in a much more precise way than the museum professionals, and vice versa, but to elaborate an ‘accessible’ museum, both must utilize the same language. The glossary will soon be submitted to ICOM Italia members for validation and subsequent publication in Italian and English. The Commission has also worked on the elaboration of guidelines that should act as a stimulus to museums and museum workers. One of the objectives of the Accessibility Thematic Commission is the recognition of museum operators and the different functions they perform in order to include these new professions both in ICOM Italy’s museum experts document and also to present these new professions to MiBACT (Ministry of Cultural Heritage and Tourism). Another important objective of the Thematic Commission on Museum Accessibility in recent years has been not only the definition of quality standards to be adopted in the museum field but also the definition of simple practical guidelines in response to the FAQ to achieve the accessible museum. The Commission has been working on highlighting best practices on its website, with the aim of disseminating interesting projects and linking project managers to each other. Both international and Italian regulations on museum accessibility have been published on the Commission’s website, and continuously updated, as well as a reference bibliography, both Italian and international. In addition, in recent years, the Accessibility Thematic Commission has promoted and supported numerous museum accessibility and inclusion projects for people with motor disabilities, people with cognitive disabilities, migrants, homeless people, prisoners, etc.

The Sessions | 3.II New Challenges for Museums | Introduction 118 3.II © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Montecassino Abbey Museum Abbey Montecassino Museum for homeless people Museo Teatrale alla ScalaMuseo Teatrale The project Born with Culture Culture Born with project The Inclusion and Usability. andInclusion Usability. In a meeting held during the ICOM General Conference in Kyoto on September 4th, 2019, 2019, 4th, September on Kyoto in Conference General ICOM the during held a meeting In Accessibility, for Committee International an creating of utility the stated interventions many In the meantime, we tried to answer to a second question: is it useful to create an an create useful is to it question: a second to answer to tried we meantime, the In and Inclusion Usability? CommitteeInternational for Accessibility, to guide visitors through the museum, showing how all the senses are important and and important are senses the all how showing museum, the through visitors guide to time. same the at superfluous Abbey Museum, where a hearing-impaired art historian and an expert in museum expert museum in an and art historian a hearing-impaired where Museum, Abbey exploration tactile (LIS) and Language Sign use Italian impaired is visually who accessibility 4. Montecassino in Bianchi Luca and Bruno Ivana by developed project experience inclusive An museum accompanied by the staff from the education department. Visiting the museum can can museum the Visiting department. education the from staff the by accompanied museum help to dignity. restore and the Body and invites homeless people to visit. Homeless people who come to the Opera Opera the to come who people Homeless visit. to people homeless invites and Body the and nearby the visit to invited are a shower have to or lunch for only i Poveri per Francesco San 3. Spirit the Nourishes Art slogan: following the adopted has Milan in Cappuccini dei Museo of this experience is provided in this article as a practical example of how to implement this this implement to how of example a practical as article this in is provided experience this of philosophy to avoid ghettoization. Visit and workshop attendance at Museo Teatrale alla Scala during regular opening time for for time opening regular during Scala alla Teatrale Museo at attendance workshop and Visit description detailed A challenge. real – a disabilities intellectual by affected people of groups 2. A document is given to the parents of newborn babies, allowing the child and its family free free family its and child the allowing babies, newborn of parents the to is given A document city. nearest or residence, of city their of museums the to entry In recent years in Italy, increasing attention has been given to the theme of museum museum of theme the to given been has attention increasing Italy, in years recent In mention: of worthy projects of list non-exhaustive is a following The accessibility. 1. Recent Italian Projects Promoting Museum Accessibility Museum Promoting Projects Italian Recent 3.II

A New Perspective on The Museum’s Mission SessionsThe | 3.II Challenges New for Museums Museum functions have increased with the passage of time and it is not out of place to define a museum today as a site to meet and create relationships, capable in many cases also of mitigating social tensions. It is in this context that the concept of museum accessibility must be interpreted. The importance of effective communication to improve accessibility has been underlined by the Italian Government. Special attention has been devoted, thanks also to Italian Government endorsement, to establishing guidelines for captions, signage installation and subtitles, in addition to labels and object descriptions.2 Furthermore, the Italian Government defined guidelines for an accessibility plan inside museums. | Introduction A strong priority for ICOM’s future success is to establish the theme of accessibility as a multidimensional and transversal one, expanding from the overcoming of architectural barriers to other museum functions, like communication, education, environmental psychology and new technologies. The themes of accessibility and inclusion need to be expanded from people with motor and sensory disabilities to people with cognitive disabilities, not forgetting all people at risk of social fragility, like prisoners, deprived, homeless, migrants and hospitalized patients. In the last years, special attention has been devoted to social effects of cultural participation. The future of psychological well-being and social well-being goes also through museums participation and engagement, as a case study in Milano City performed in 2018 showed. We designed a project to assess this issue, with a cross-sectional study, on a sample of the population consisting in 1,000 inhabitants. Our objective was to assess how cultural participation affects mental health relative to subjective well-being (measured with Psychological General Well-being Scale) and social well-being (measured with the Social Index Scale, which combines community development and social volunteering activities intensity). The survey was carried out with the assistance of DOXA, an Italian pollster company, through telephone interviews. The system used a large database of contacts and the master data of 20,000 families in Milan. The households to be interviewed were randomly selected by the computer, the interviewer removing any possibility of choice, thereby avoiding distortions in the sample. Gender, age, education level and employment status were taken under control for stratification purposes. The Social Index: intensity of community development and social volunteering activities; and the Psychological General Well-being Index (PGWBI): a measure of quality of life shows that

2Working group for the drafting of measures also at the regulatory level concerning the overcoming of cultural, cognitive and psychosensory barriers (D.D. rep. n. 582 of 27.06.2017). 2 Enzo Grossi, Annamaria Ravagnan, Federica Viganò, Giorgio Tavano Blessi.

The Sessions | 3.II New Challenges for Museums | Introduction 120 3.II © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT should be avoided. One unique and diverse public for museums. Let us not forget that the the that forget us Let not museums. for public diverse and unique One avoided. be should a lot of experiences, like Museo Lapidario Tergestino in Trieste, where dogs are allowed. are dogs where Trieste, in Tergestino Lapidario Museo like experiences, of a lot people frail for enclaves closed of creation the and marginalization, ghettoization, However, alone refrain to attend the museum without their preferred pet, especially dogs... A recent A recent dogs... especially pet, preferred their without museum the attend to refrain alone have we Italy In museums. pet-friendly create to aims wide inclusion for philosophy museum cognitive disabilities. disabilities. cognitive animals support of exception the with a pet, with museums visit to possible is not it now Till living people of a number that fact the consider should we regard this In eye dogs. seeing like people with motor disabilities or physical disabilities but also for the homeless, prisoners, by affected people people, poor infant, newborn, migrants, people, detained imprisoned, “inclusion” will be included. for accessibility and inclusion on only not be must focus future the that believe We enjoyment and participation, through forms of shared planning of activities and overcome overcome and activities of planning shared of forms through participation, and enjoyment culture. in citizens of participation full the obstruct still that barriers those and “accessibility” terms the that hope we definition, a new debate to continues ICOM As the material and immaterial testimonies of man and his environment, acquires, preserves, preserves, acquires, environment, his and man of testimonies immaterial and material the education, study, of purposes the for them exposes specifically and them communicates and The museum is a permanent, non-profit institution at the service of society and its its and the service society of at institution non-profit permanent, is a museum The on research out carries which inclusive, and accessible public, the to open development, ICOM Italy’s 2019 proposal for ICOM’s new Museum Definition contained the concepts of of concepts the contained Definition Museum new ICOM’s for 2019 proposal Italy’s ICOM inclusion and accessibility. measurement. Final Considerations reflects the individual perception of well-being relative to a previous period (generally the last last the period (generally previous to a relative well-being of perception individual the reflects state psychological momentary for tools up build to done been has little Truly weeks). four tools, under the impetus of the birth and development of positive psychology. psychology. positive of development and birth the of impetus the under tools, that condition a “state” of evaluation the on however, focus, tools available the of Most disposal appropriate measurement tools. Only in the last 20 years have scholars begun to to begun scholars have 20 years last the in Only tools. measurement appropriate disposal measurement appropriate with well-being psychological of study the address systematically few indications of the methodology to be adopted to detect any beneficial effects in the daily daily the in effects beneficial any detect to adopted be to methodology the of indications few initiatives. these of impact the measuring in difficulty main the constitutes this and context one’s at have to fundamental is obviously it well-being, about talking when words, other In In recent years, many museums have developed specific projects for people with mental mental with people for projects specific developed have museums many years, recent In very are there omnipresent, be to seems “well-being” word the Although problems. health no other cultural activity gave better results in comparison with museums attendance. museums with comparison in results better gave activity cultural other no museum experience is also to share. In this respect we should be aware of the important role 3.II The SessionsThe | 3.II Challenges New for Museums played by mirror neurons. Since the discovery of mirror neurons, we have seen a tremendous increase in scientific publications revolving around the question of the neural computations and networks that enable us to share the feelings of others. Mirror neurons are those neurons in different brain areas that “mirror” the behavior of the other, as though the observer were itself acting when activated, resulting in imitation that many scientists now believe is the foundation of empathy. Therefore, perceiving joy, happiness and well-being from other people attending a museum can positively influence our mood, predisposing us to the same feelings. This emotion amplification can be the secret for the success of a particular museum able to

facilitate people’s interaction. | Introduction New terms have become part of the museum vocabulary: accessibility, inclusion, usability, equity and user’s emancipation. Recent studies (Camic et.al, 2013; Jackson, 2019) have shown the importance of the social role of museums in the well-being of all categories of citizens. Unlike accessibility for people with motor disabilities, good levels of accessibility for people with cognitive disabilities have not yet been achieved. I reiterate my previous reflection that the museum experience is about sharing! We need to build a common language, spread the best practices models and share methodologies to assess results obtained. We are sure that the theme of accessibility is a cross topic for all ICOM Committees, for this reason we believe it is important to set up a specific International Committee, in order to address this complex issue in a shared and participatory manner, and share best practices and common guidelines, in addition to preparing shared actions and composing glossaries and bibliographies. Accessibility and inclusion themes in cultural institutions increasingly involve not only people with motor, sensory and cognitive disabilities, but also all people at risk of social fragility like, homeless, poor, migrant and so on. It is in this meaning that the concept of museum accessibility must be interpreted. Perhaps the most important result achieved is the focus on cognitive and social accessibility. It has been a slow and difficult, but constant step.

References

Camic PM, Chatterjee HJ. Museums and Art Galleries as Partners for Public Health Interventions. Perspect Public Health. (2013, Jan); 133(1): 66-71. Doi: 10.1177/1757913912468523. PMID: 23308010.

Chatterjee, H., ed. (2008). Touch in Museums: Policy and Practice in Object Handling. Oxford: Berg Publishers.

The Sessions | 3.II New Challenges for Museums | Introduction 122 3.II

11, 11, Clinical

Analogue Analogue 2(2), p.175. . London and and . London 6(1), p. 15. 6(1), p. Journal

Pain Well-Being

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Advances in Pain Research and and Research in Pain Advances . Health Clinical ,

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Community Engagement and Dementia Dementia and Engagement Community British Journal of Clinical Pharmacology ofBritish Clinical Journal of Health and Well-being in Communities. Communities. in Well-being and Health of

Museums Journal

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(ACCS): A New Method for Pain Assessment. Clinical and Clinical and Assessment. Pain for Method New A (ACCS): Museums © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Fourth World Congress on Pain, Pain, on Congress World Fourth

the 8(6), pp. 415-420. PubMed PMID: 1233242. 415-420. PubMed 8(6), pp.

: Time-to-event Analyses from a National Cohort Study. Journal of Epidemiology and and Epidemiology of Journal Cohort Study. a National Analyses from : Time-to-event Doc A/810 at 71. 71. Doc A/810 at Stubbs, D.F. (1979). “Visual Analogue Scales”. Scales”. Analogue (1979). “Visual D.F. Stubbs, 98. p. 217A (III), U.N. G.A. res. Rights, Human of Declaration (1948). Universal Nations. United Scott, J. and Huskisson, E.C. (1976). “Graphic Representation of Pain”. Pain”. of Representation E.C. (1976). “Graphic Huskisson, and J. Scott, physical Classroom Experiment”. Experiment”. Classroom physical Maxwell, C. (1978). “Sensitivity and Accuracy of the Visual Analogue Scale: Analogue a Psycho- the Visual of Accuracy and “Sensitivity C. (1978). Maxwell, Joyce, C.R.B., Zutsh, D.W., Hrubes, V. and Mason, R.M. (1975). “Comparison of Fixed Fixed of R.M. (1975). “Comparison Mason, and V. Hrubes, D.W., Zutsh, C.R.B., Joyce, Pain”. Chronic Scales Analogue Rating for Visual and Interval Pharmacology and-wellbeing-in-communities Jackson R. (2019). Jackson https://theknowledgeexchangeblog.com/2019/04/29/museums-as-facilitators-of-health- Proceedings 9. Therapy Grossi, E., Borghi, C. and Montanari, M. (1984). “The Measurement of Pain: Comparison Pain: Comparison of Measurement M. (1984). “The Montanari, E., Borghi, C. and Grossi, In: Scale”. Continuous Scale Analogue Chromatic Analogue and Between Visual Experimental Rheumatology 1(4), pp. 337-340. PubMed PMID: 6681150. PMID: 337-340. PubMed Experimental 1(4), pp. Rheumatology Grossi, E Borghi C., Cerchiari, E.L., Della Puppa, T. and Francucci, B. (1983). (1983). B. Francucci, and T. E.L., Della E Borghi Puppa, C., Cerchiari, Grossi, Chromatic Continuous Scale Risk 71–77. Doi:10.1136/jech-2019-213029 pp. 74(1), Health Community Fancourt, D., Steptoe A. and Cadar, D. (2020). D. Cadar, A. and Steptoe D., Fancourt, Chatterjee, H. and Guy Noble, G. (2016). G. Noble, Guy H. and Chatterjee, Routledge. York: New 3.II

Introduction by Maddalena d’Alfonso SessionsThe | 3.II Challenges New for Museums

The ICOM General Conference during the pandemic year was conducted in a new shape, not physical but online in a digital circumstance. The main effort of the organization was searching for the right thematics to maintain the connections between people and the museum’s spaces, museum’s activities and the related museum’s organizations.

The ICAMT Board decided to focus on the new situation of the lockdown to reinforce

the thought on possible strategies of museums to face the crisis. The constrictions and the | Introduction restrictions pose an accent to the risk to be together in spaces, to visit a common stage and finally to discuss personally and front to front the themes exposed in exhibitions, seminars and public debate. On the other side, everybody has felt the importance of spaces where to share sensitivity, sentiment and passions in the face of a common tragedy and of the historical changes following the sprawl of the pandemic.

How can the museum contribute to the new perspective of the human being? Which museum remains a common ground to sustain the transition to a more sustainable world? Is it possible for the museums community to contribute to managing a more safe environment being together? What are the new needs of people when they visit a museum space?

The contributors of the ICAMT Online Conference 2020 constitute a very unique collection of thoughts on a long shot and tortuous way needed to reconstruct a post-pandemic Museum as a common living space for democratic and inclusive processes.

Maddalena d’Alfonso ICAMT Board Member

The Sessions | 3.II New Challenges for Museums | Visiting Safely 124 3.II popularity, placement, etc.) placement, popularity, areas exhibit size of and Layout between exhibits walking paths Typical hallsand visitors of walking patterns Typical Group sizes (based on people of the the of sizes (based people on Group same household) Social guidelines distancing (exhibit factors Exhibit-specific Museums *** Carrying Capacity *** Simulation *** Modeling Agent-based • will these practices further illustrate We example. a real-world with Keywords Social Distancing *** • • • • • © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT

method considers factors, such as: as: such factors, method considers of exhibit space and equipment such as as such equipment space and exhibit of This resources. staff to kiosks, in addition create a “carrying plan” that considers how how considers that plan” a “carrying create the utilization optimize and manage to any time), and present a simple method method a simple present time), and any to how show and it, calculate to how on social distancing guidelines. We introduce introduce We social guidelines. distancing the carrying (or of capacity the concept at host can a museum visitors of number day attendance numbers) or calculations calculations or numbers) attendance day and surface areas total based on only as opposed to the one 10th rule (i.e. 10th rule the one opposed to (i.e. as peak pre-Covid-19 a 10th in of allowing of visitor flows. In this paper, we propose propose we In this paper, flows. visitor of this to approach quantitative a robust modeling, based simulation on question do not take into consideration venue- consideration take into do not nature dynamic and the specific factors much that has been said has relied on on been relied has has said that much that numbers static or opinions subjective days, with experts offering their best advice experts advice their with best days, offering However, time. this unprecedented for be allowed in museums simultaneously simultaneously be in museums allowed answers Numerous in a Covid-19 world? in recent this been question to given have Today, museums everywhere museums face the same Today, should visitors many How question: urgent Abstract Kiran ConsultingKiran Group, USA California, Diego, San Ali S. Kiran and Celal and Ali S. Kiran Kaplan Visiting Safely: A Simulation Modeling Approach to Optimizing to A Simulation Safely: Modeling Approach Visiting World a Covid-19 Spaces for Museum 1 square feet. However, such calculations 3.II Introduction SessionsThe | 3.II Challenges New for Museums only consider the total available space Like many other institutions, museums while assuming visitors are uniformly are trying to safely reopen their doors distributed throughout their whole visit. to the public with social distancing These calculations tend to provide a measures in place during the ongoing higher capacity number than is safe, hence Covid-19 pandemic. Even with all WHO- increasing transmission risk. Both these recommended cleaning procedures and simplistic approaches to finding the safe face coverings in place, one important number of visitors produce static numbers

issue remains: how many visitors that do not take into consideration venue- | Visiting Safely should be allowed to enter museums specific factors and the dynamic nature of simultaneously to minimize the virus visitor flows. transmission risk? Coming from a In this paper, we propose an alternative “reduced capacity” perspective, many method to coming up with an optimal museums and other similar institutions number of visitors based on carrying have proposed to let in a mere tenth of capacity, a manufacturing concept we have their pre-Covid-19 peak day attendance adapted specifically to help renowned (referred to throughout the paper as museums manage their visitor flows. We the 1/10th rule). Such a generic and will first explain carrying capacity as a subjective rule isn’t generalizable to concept and then demonstrate how to all museums’ shapes and sizes for the use simulation modeling to determine following reasons: Firstly, the number the carrying capacity using a real-world should be small enough to ensure that example. Covid-19 transmission risk will be low enough to account for larger crowds that Carrying Capacity generally gather around popular exhibits. with Social Distancing Another flaw in this methodology is that the recommended capacity for museums Carrying capacity is an important but with larger pre-Covid-19 peak attendance misunderstood concept in managing volumes will be higher than museums with visitor flows in public spaces. It is not similar characteristics but smaller pre- simply a calculation to determine how pandemic volumes, thereby unnecessarily many people can fit into a space. Rather, penalizing less popular museums. carrying capacity calculations must take Another commonly proposed method to into account not only space limitations, determine the right number of visitors but also availability of all other resources is founded on the six feet (or 2 meter) such as kiosks, ticketing booths, online rule by proposing one visitor for every 36 ticketing systems and staff that are

The Sessions | 3.II New Challenges for Museums | Visiting Safely 126 3.II A Simulation Modeling Approach these modelling to key is Simulation because situations types complex of of the imitation is “[s]imulation a real-world of the operations time…to over system or process the concerning inferences draw complex visitor management and flow flow and management visitor complex that is represented,” (Banks, J. (1998, (1998, (Banks, J. represented,” is that a new concept not is 3). Simulation p. be can It computers: to limited it is nor models. paper or physical using by done of applications all almost current However, computer using done are today simulation specifically and models developed models Simulation software. simulation been understand used to widely have operating characteristics of the real system the system real of characteristics operating their speed or direction of movement. movement. of their speed direction or museum carrying capacity Therefore, experimenting becan determined by intrinsically already is a model that with minimize transmission to programmed risk. risk. Hence, in our social distancing social our in distancing Hence, risk. this keep to required are guests model, are or while viewingdistance exhibits This in queues. when waiting stationary rule in the model’s real-life mimicked is Even movement: human of simulation take care while walking, modelled visitors changing by others from away stay to -19 -19 Covid © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT -19 transmission risk increases increases risk -19 transmission overcome this difficulty. this difficulty. overcome space a six feet WHO, to According between minimizes transmission persons currently. Despite this, the following this, the following Despite currently. can approach modeling simulation accurate calculation of the relationship the relationship of calculation accurate exists data no as been yet done, not has relationship between transmission risk risk between transmission relationship an carrying looks plausible, and capacity Figure 1: Carrying Capacity vs. Covid-19 Transmission Risk Risk Transmission vs. Covid-19 1: Carrying Capacity Figure the curvilinear the Although of shape Figure 1 depicts this relationship between between this relationship 1 depicts Figure risk. transmission and access visitor Covid value. a threshold after exponentially with the number of visitors inside any any inside visitors of the number with Specifically, museum. a as such space, A generally accepted fact is that virus fact that is accepted A generally will risk in tandem increase transmission we want to maximize museum carrying museum maximize to want we while minimizing capacity risk. transmission should account for constraining factors as as factors constraining for account should this case, In objectives. museum as well required to accommodate visitors in a in a visitors accommodate to required carrying capacity Furthermore, museum. problems, e.g. Kiran, A.S., Kaplan, C. & They also review and adjust their 3.II The SessionsThe | 3.II Challenges New for Museums Ping, J. (2013, pp. 86-92). movements periodically; for example, A representation of a real system is called if the area they are heading to becomes a “model” in simulation. Thus, using congested, they change their walking path computer simulation software, we have or destination. Also, accessibility problems developed a model that evaluates the are taken into consideration such as carrying capacity with and without social individuals with disabilities taking longer distancing that takes into account: times to get from point A to point B.

• Scale layout of the museum Implementing the Models: | Visiting Safely • Size of exhibit areas A Real-World Case & • Exhibit-specific factors (exhibit Experimentation popularity, placement, etc.) • Typical walking paths between exhibits Two agent-based simulation models have and halls been developed using a realistic museum • Typical walk patterns of visitors gallery based on a US venue: • Social distancing guidelines • Groups sizes (based on people of the 1. Pre-Covid-19 Model: This model same household) represents the base case when there is no social distancing. This model will To properly execute the simulation be used for calculating the carrying accurately, museum spaces must be treated capacity under normal (i.e. pre- individually, in addition to interactions pandemic) operations among visitors within the museum space 2. Social Distancing Model: This model itself. Therefore, we chose to develop represents the potential opening of a “agent-based” models, a detailed model museum in a socially distancing world. used to analyze the free-form walk of The carrying capacity obtained from people and interactions replicating this model will be compared to the pre- the complex nature of visitor behavior Covid-19 model. in a museum space. Visitor specific characteristics are assigned to individual As mentioned previously, museum entities based on visitor modalities. carrying capacity should also ensure During the simulation, each visitor optimizing visitor satisfaction. The behaves differently. They choose their next visitor satisfaction is represented in destination and their walking paths to the simulation models as the following next destination based on location and the quantitative criteria: movements of other visitors.

The Sessions | 3.II New Challenges for Museums | Visiting Safely 128 3.II 99 96 98 28 53 76 95 111 112 163 282 299 313 229 152 107 109 114* 321* Hourly Hourly capacity carrying 4 7 1 3 3 4 5 1 1 1 2 2 10 15 19 11 21 36 54 (min) Average totalAverage wait and delay delay and wait (*indicates optimal hourly carrying capacity for each case). each for capacity carrying hourly optimal (*indicates (ft) 732 876 913 950 998 732 784 845 932 1,198 1,349 1,421 1,544 1,702 1,158 1,409 1,819 1,936 1,042 Average totalAverage conditions. 1, the optimal Table seen from As carrying 321 visitors is capacity hourly under 114 visitors and “normal” under carrying capacity. Each volume scenario scenario Each volume carrying capacity. ensure times to beenhas run multiple The results. of the significance statistical Table in given each case are for results thecarrying of 1, which shows capacity “normal” under museum the simulated social conditions distancing) without (i.e. social or pandemic under distancing and distance walked distance 21 22 24 25 27 31 38 43 54 62 18 21 22 23 24 37 59 112 154 (min) Average time time Average spent in galleryspent 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% Average Average percent of exhibits seen exhibits © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Table 1: Detailed Average Results of Multiple Runs with Various Capacity Scenarios for Normal and Pandemic Conditions Conditions Pandemic and Normal for Scenarios Capacity Various with Runs Multiple of Results Average 1: Detailed Table 80 90 40 50 60 70 10 20 30 50 100 200 250 110 120 130 140 150 100 allowed Capacity Capacity (# of visitors visitors (# of

simultaneously)

Pandemic Operations Pandemic and walkways and Operations Normal Wait times in various queues / delays / delays queues times in various Wait exhibits around congestion by caused Percent of the desired exhibits seen by seen by exhibits the desired of Percent vs. seen) desired (e.g. the visitors been used to calculate the museum’s been used the museum’s calculate to scenario which provided the best customer the best customer scenario which provided experience. The selectedhas scenario cases, we have run each model under run model each under cases, have we and selected the volumes visitor different To obtain the carrying capacity for both both the carryingfor obtain capacity To 2. 1. “pandemic” conditions for the venue implementable by tickets sold to groups 3.II The SessionsThe | 3.II Challenges New for Museums modelled. These two scenario results are rather than as individual tickets, with each summarized in Table 2. group is allocated a group ID. Members As can be seen in Table 2, visitors walk of the same group would be allowed to more and spend more time in the gallery stay closer than 6 feet, while unique, under pandemic conditions. easily-identifiable group IDs would allow staff to better insure social distancing rules. (“Managing museum visitor flows Normal Pandemic in a socially-distant world” 2020). To

Operations Operations understand more about group bubbles, | Visiting Safely please refer to our previously cited blog Hourly Capacity 321 114 on managing museum visitor flows during pandemics for a more in-depth Average Time 24 31 Spent in the explanation. Gallery (min.)

Average Distance Conclusions Walked in Gallery 998 1,198 The previously suggested generic (feet) calculations for estimating the visitor Average Wait capacity could cause visitor dissatisfaction & Delay Due to 5 4 and revenue loss for museums or Congestion (min.) increase the virus transmission risks. To avoid these issues, accurate carrying Table 2: Hourly Carrying Capacity for Normal and Pandemic Conditions capacity calculations should instead consider specific museum layout, However, the total wait and delay time is exhibits’ characteristics (number, relative reduced because of a smaller number of locations, size of the exhibits, etc.), visitor visitors in the gallery. It is worth to note preferences and behavior. To do this, that the 1/10th rule would severely restrict simulation models can help museums to the hourly carrying capacity to only 32 optimize capacity without increasing virus visitors whereas the square footage rule transmission risks. Specifically, agent- would recommend 200 visitors per hour, based simulation models can accurately and thus increase transmission risk to an mimic the real-world conditions due unacceptable level. to their capabilities to use actual scaled To further increase the hourly carrying layout drawings and the ability to simulate capacity, museums can also use “group each individual visitor behavior. In such bubbles.” These group bubbles are a simulation model, virtual visitors

The Sessions | 3.II New Challenges for Museums | Visiting Safely 130 3.II (2020). (2020). © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT https://kiranconsulting. from flows-in-a-socially-distant-world/ flows-in-a-socially-distant-world/ Retrieved com/linkedin/managing-museum-visitor- Managing museum visitor flows in a in flows visitor museum Managing world socially-distant May 2013 Mogao Grottoes, Dunhuang, Dunhuang, Grottoes, 2013 Mogao May N. and Agnew, by edited and Compiled 86-92. Demas, M. pp. Management and Carrying Capacity Carrying Capacity and Management 17-19 China in Sites Heritage World at for the Mogao Grottoes’, Extended Abstracts Abstracts Extended Grottoes’, Mogao the for of the Colloquium, International Visitor Kiran, A.S., Kaplan, C. & Ping, J. (2013) (2013) J. C. & Ping, A.S., Kaplan, Kiran, System Management Visitor Integrated ‘An Simulation. New York, NY: John Wiley & & Wiley John NY: York, New Simulation. Inc. Sons, Banks, J. (Editor), (1998). Handbook of of (1998). Handbook (Editor), Banks, J. level during these trying during level times. References strategies, such as group bubbles, to make make to bubbles, group as such strategies, optimal an experience at their museum their visitor flows, thus making it easier it easier making thus flows, their visitor management visitor other implement to modelling, museums can not only better better only not can modelling, museums also understand but the worst for plan statistically valid visitor satisfaction factors factors satisfaction validvisitor statistically also times can be obtained. wait as such simulation this detailed kind of using By visitors. Realistic chance events can also can be events Realistic chance visitors. and models such by represented accurately make decisions based not only on their their on only basednot decisions make other of also thepositions but preferences 3.II Museum as a Cultural Hub: The Challenge of Sustainability SessionsThe | 3.II Challenges New for Museums 2 in a Post-Pandemic Scenario

Gaia Turchetti

Abstract

The pandemic is determining new needs, with digital ones. new languages and new models for the So how will the mission of museums

fruition and management of culture - both change and what new or modified spaces | Museum as a Cultural Hub in the physical and digital fields - which will the museum have to equip itself to the museum as a community space must respond effectively to these new stimuli? necessarily understand, acquire as its own So how can we redefine a sustainable and mediate in relation to the peculiarities museum today? These are the questions of each single territory. The museum as and dynamics that the study tries to Hub is therefore the “third space” chosen analyze internationally with a critical eye. for the (re)definition of cultural networks, a place for exchange and also for training Keywords and research, where to encourage new and good development practices at local Sustainable Development and territorial level, where culture it fully Goals (SGDs) fulfills its role as fourth pillar of sustainable *** development. Talking about sustainable Museum development, at a time when the word *** ‘global’ returns to be joined by a stronger Cultural Hub sense of ‘local’, is therefore an extremely *** complex operation in which the real and operational ‘sense’ of the term “sustainable” Cultural-led Regeneration – alongside by that of “development” – it *** must no longer be sought only from an Covid-19 Cultural Impact economic point of view, but increasingly socially embracing environmental issues as part of a collective need of change. All this must find space not only in the policies and strategies of cultural institutes, but also in its physical spaces which are learning to coexist, now more than before,

The Sessions | 3.II New Challenges for Museums | Museum as a Cultural Hub 132 3.II

Covid It is precisely because of this responsibility, this responsibility, because of precisely is It social, primarily that but cultural only not nature” (McGhie, 2020), that the 2020), that (McGhie, nature” our of threats the potential of one only is and in a flexible to betime to responded the museum’s virtue of by manner resilient the community towards responsibility reading access”, of a “point provide to and action, inclusive participatory and in the processes within contextualised place. which have provided guidelines to help help to guidelines provided which have and in the first museums support and to reopening of operations complex accessibility safe full almost or ensure of emergency concept the spaces. The of as awareness, the growing also concerns “Museums in his writes Henry McGhie building Reduction: Risk Disaster and society and in museums, resilience interesting to re-read the concept of of the concept re-read to interesting not distinct levels, two on emergency response immediate and a timely as only the to refer we - here event an to the AAM American of recommendations CCI Canadian Museums, of Alliance Mibact, or Icom, Conservation Institute, the to respond to museums individual reference, of territoryof their specificities museums is at risk, with a relative step step a relative with risk, at is museums towards institutions cultural of backwards projects all those local development the with involved, in which they are a marked of risk term long and medium that training and research of contraction mission. the museum’s part of are therefore is it this scenario, of the light In © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT first of all, the financial sustainability of sustainability of all, financial the first and long term impacts affecting museums, museums, affecting term impacts long and framed how, 2020) has (OECD, the OECD the challenges posed by the pandemic. In posed In the pandemic. the challenges by medium the short, of picture a synthetic the CULTURE2030GOAL Campaign” of of Campaign” the CULTURE2030GOAL to respond dynamically 2020 and 20 April manage in order to balance and rebalance rebalance balance and to in order manage as the SDSs, of nature the long-term by “Statement in the document advocated 2020 analysis for Italy) (ISTAT 2020), 2020), (ISTAT Italy) for 2020 analysis and know to essential is it that dynamics reading of the different dynamics in place, place, in dynamics the different of reading the ISTAT revealed by (as interconnected in the implementation of the 2030 the 2030 of in the implementation campaign (Culture2030Goal Agenda the facilitates the that key is 2019) and development and determines how people people how determines and development in Culture read we as act in the world”, environmental balance) (UCLG, 2010). 2010). balance) (UCLG, environmental by mean we what shapes “culture The important as, the other three (namely (namely three the other as, important and social growth, inclusion economic sees culture as the cornerstone of this this of the cornerstone as sees culture a fourth as elevated development, as and with, fully interconnected pillar, growing awareness of the processes and and the processes of awareness growing increasingly it, determine that actors process of change” (WCED, 1987 point 1987 point (WCED, change” of process a following years, 30) which in recent Future’ sustainable development is not not is development sustainable Future’ a not is development a “sustainable a rather but harmony, of state unvarying in SGDs Common in ‘Our found already As Museum as a Cultural Hub a Cultural as Museum the museum must promote, encourage cultural regeneration that affect not only 3.II The SessionsThe | 3.II Challenges New for Museums and work concretely to trigger or improve the museum but also the territory. data collection, planning, monitoring and • At the same time to understand specific evaluation mechanisms in the context of effects on the territory, investigating the the 2030 Agenda. process of cultural regeneration linked It is within this context that the interest to the opening of a new contemporary of research moves, which has as one of art museum in this post-pandemic its specific objectives the understanding scenario: MAXXI L’Aquila (Abruzzo, of the process of “localisation of SDGs” Italy)

(Culture2030Goal campaign, 2019) | Museum as a Cultural Hub that sees the museum as one of the The pandemic is determining new needs, protagonists. In order to understand how new languages and new models for the the museum can act operationally to enjoyment and management of culture, redefine its programming, its flows and its which the museum as a community space spaces, it is necessary to understand how must necessarily understand, acquire as museums perceive SDGs, if and how they its own and mediate in relation to the implement them within their policies, and peculiarities of each individual territory, what the predictions of transformation bearing in mind the objectives of Agenda of the museum space are, not only in 2030 as a mainframe. To this, in the response to this post-pandemic moment, case of L’Aquila, are added all those but as we said, in response to the general dynamics of knowledge, acceptance and systemic crisis situation. representativeness that a new museum must conquer when it begins that slow The Italian Scenario process of insertion within a new context.

In the field of research, two are the objectives that we wanted to achieve and that concern the framework of the problems mentioned above in the specific Italian scenario:

• At first, understand how Italian institutions are responding to the issues of management, accessibility and sustainability and carry out a transversal reading of the processes Graph 1_Museums and the Sustainable Development Goals, in place, processes (new and not) of Quadro. Extract of the main goals related to museum policies. (Rota, 2019; Visser, 2019). Re-elaboration: Gaia Turchetti 2020.

The Sessions | 3.II New Challenges for Museums | Museum as a Cultural Hub 134 3.II From this phase, still in progress, has has still this in progress, phase, From scheme the entire of a re-reading emerged or integrated partly goals different of by summarised that respect to with 3): that (Graph the literature analysed the also for interest a widespread is, of (means the MOI to referred targets emerged, previously not implementation), also to addressed interest a growing and to feed the dialogue between institutions feed the dialogueto between institutions of the exchange strengthen and operating sustainable ideas, the for basis and visions development. in keeping built been have questions These of SGDs the the specificmind objectives trying the qualitative and from grasp to a to thanks reading alsodata a systemic data. the acquired of discretization Graph 2_ Realities interviewed from museums, cultural institutes institutes cultural museums, from interviewed 2_ Realities Graph 2020 with Turchetti Gaia by Elaborated subjects. institutional and 2020. Qgis-Google Earth accessibility management, of issues that sustainability environmental and implementing are realities individual be to a hand, the one on the aim, with an for inspiration and useful reflection hand, the other on and, museum opening © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Elaboration: Gaia Turchetti 2020. Turchetti Gaia Elaboration: scenario. Selection of SDGs deduced SDGs of deduced Selection scenario. targets the color In research. the from qualitative the from emerged that museums. Italian selected the on survey Graph 3_ Museums and the Sustainable Sustainable the and 3_ Museums Graph Italian the in Goals Development post pandemic dynamics and other other and dynamics post pandemic interviews have so far made it possible possible it made so far interviews have the on data qualitative collectto mainly planning, future and current mission, from May to September 2020 and 2020 and September to May from 2). These further (Graph increased out with museums, cultural institutes institutes cultural museums, with out conducted subjects institutional and of the Objectives at the national level, level, the national the at Objectives of carried a series interviews of were in order to understand how much this this much how understand to in order the real to be could responsive picture transposition operational and perception targets for the museum environment were were environment the museum for targets Subsequently, 1). selectedfirst (Graph Starting from an extensive literature in in literature extensive an from Starting SDGsspecific and their the the field, targets 7 and 17. (Affordable and clean growth, full and productive employment 3.II The SessionsThe | 3.II Challenges New for Museums energy and Partnerships) and decent work for all (Goal 8, Promote It is a growing interest, in fact, the one of sustained, inclusive and sustainable cultural institutes towards good practices economic growth, full and productive to improve the energy efficiency of their employment and decent work for all). The structures, even if historical, and not main focus is on technological updating least the use of diversified systems of and innovation, which has accelerated energy production - from the most used during this pandemic period -with the photovoltaic systems to systems that digitization not only of heritage but also

exploit geothermal energy. But it has of many of the management processes of | Museum as a Cultural Hub also emerged a growing awareness of the a museum. In many cases, however, this museum as a place and subject in charge clashes with economic and management of spreading the culture of environmental problems that prevent some museums sustainability with educational and from embarking on autonomous paths of training activities for children and adults. diversification and updating. Another interesting aspect concerns the development of forms of partnership between public and private entities where the museum increasingly acquires a primary role. In these forms of horizontal subsidiarity, aimed at making the results of an intervention more and more effective and targeted to the needs of the territory, the museum often plays a role of support to Graph 4_ Percentage incidence for each selected from the search. Percentage refers to a partial result related to a work in progress. local creativity with projects that, despite Elaboration: Gaia Turchetti 2020. the current situation, stay active in future programming. The presence then of an increasingly local An assessment was then made of the audience is triggering new challenges percentage of incidence for each target for a different and diversified response, group considered. (Graph 4). The survey intensifying, encouraging or researching showed that the primary objective in the networks with the territory that today are strategies, programmes and actions of even more important than before. the museums analysed is the promotion Elaborating the responses obtained in of inclusive and sustainable economic relation to the individual goals, key words

The Sessions | 3.II New Challenges for Museums | Museum as a Cultural Hub 136 3.II Graph 6_ What do you expect from a a from expect you do 6_ What Graph sustainable museum? | A visitor survey. on research ongoing Excerpt the from MAXXI new the of process opening the Italy. Abruzzo, L’Aquila, and activities (graph6): the main the main activities (graph6): and is museum a sustainable of role and knowledge disseminate to to what was revealed by the the revealed by was what to and level survey national at an the moment for provides that data of piece interesting the data with will be compared collected in thesubsequent opening the museum’s of phases workshops for adults and children - in line - in line children and adults for workshops museums many that the direction with organizations especiallyand international pursuing. are expertise on sustainability issues - from - from issues expertise sustainability on or debates conferences, to exhibitions Visitors were given a survay that among among survay a that given were Visitors the visitor: asked questions other expect a sustainable do you from What museum? response a parallel provided answer The © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT On the occasion of the pre-opening of the the of the pre-opening of On the occasion of analysis a second I conducted museum, nature. a qualitative/quantitative of Abruzzo, in relation to the opening of of the opening to in relation Abruzzo, of the new MAXXI L’Aquila. of in the city the national level, it was decided to add a decided was add a to it level, the national the reality on carried out parallel analysis Elaboration: Gaia Turchetti 2020. Turchetti Gaia Elaboration: overview this at current to addition In Graph 5_ Keywords extrapolated from the comparative reading reading comparative the from extrapolated 5_ Keywords Graph out. carried surveys quantitative and qualitative and SDgs of 5) investigation and to cross-reference data data cross-reference to and investigation (Graph of investigation. fields other from have been obtained for each goal or each goalor for been obtained have will serve that goals further of for group will not affect the exhibition areas, but 3.II

From Data to Architectural SessionsThe | 3.II Challenges New for Museums more and more the spaces of travel, of Practice sociality (although spaced out), towards The museum in its role - increasingly hybrid spaces of culture that become part incisive - as a cultural hub, must therefore of the living space of the city, a place of propose and produce research with a exchanges and meetings, which help the continuous exchange with the world of institution to acquire or regain a role, a schools, universities and even business, value, a representativeness in its territory. converging towards common and shared The research, presented here only in

objectives 4 main axes of sustainable part, has therefore set itself the objective | Museum as a Cultural Hub development: social, economic, of providing data on which to base environmental and cultural (Graph 7). In these design interventions so that there order to do this, the museum must also be is consistency between the demands able to change/modify its spatiality, so as of the operators and the public and to enhance inclusion, interactivity, and the the operations of the designer, aware, involvement of those ‘non-public’ who are however, that the real challenge is perhaps little or not at all accustomed or familiar another one: how can the architecture with the ‘traditional’ space of culture. of a museum, through intelligent and Re-reading, then, the data collected in participatory design, help communities a design perspective, the first step is to to understand, acquire and develop even understand how to transform/adapt those objectives that today seem more the space to meet the needs and needs distant from the common and widespread that have surfaced, what flexibility in work? This in the awareness that SDGs architecture, what spaces to equip to play cannot be read separately but elaborated this guiding role. and implemented in an organic way. Future spatial changes in the museum

Graph 7_ Museum as a cultural hub. Key concepts for museum design in 4 areas: social, cultural, economic and environmental. Elaboration: Gaia Turchetti 2020.

The Sessions | 3.II New Challenges for Museums | Museum as a Cultural Hub 138 3.II

and Curating Curating

. Retrieved the

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Museums -19 and museums. museums. -19 and Musei Museums (october 2020) https://www.istat.it/it/ Covid (october 2020) (october 2020) Development

. Milano: Editrice bibliografica. . Milano: . Retrieved from http://www.agenda21culture.net/ http://themuseumofthefuture. (october 2020) com/2018/07/18/museums-and-the-sdgs- where-to-make-a-difference 2020) Environment on Commission World (1987). Development. and Future sustainabledevelopment.un.org/content/ documents/5987our-common-future.pdf UCLG, (2010), Culture is the Fourth Pillar Pillar the Fourth is (2010), Culture UCLG, Retrieved Development. Sustainable of from documents/culture-the-fourth-pillar-of- sustainability (2019) J. Visser, Sustainable from OECD (2020). OECD for planning and innovations Impact, post-crisis Retrieved from museum/en/covid-19/webinars/icom- oecd-webinar/ M. (2019). Rota, integrata Istat. (2020). Report (2020). SDGS 2020. Istat. Retrieved from archivio/242942 H.A. (2020). McGhie, resilience building Reduction: Risk Disaster nature. and society museums, in UK. Tomorrow, . http://www. (october 2020)

. Published in Barcelona, in Barcelona, . Published from (october 2020)

2030-goal development. Retrieved from development. agenda21culture.net/advocacy/culture- campaign launched on 21 may 2020, world 2020, world 21 may on launched campaign dialogue and for diversity cultural for day Ensuring culture fulfills its potential in in potential its fulfills culture Ensuring pandemic Covid-19 the to responding the Culture2030goal by Statement Culture2030Goal campaign (2019). (2019). campaign Culture2030Goal org/images/DOCUMENTS/UN_SDG/ culture2030goal_low.pdf taking place on 24-25 September 2019. 2019. 24-25 September taking on place Retrieved Hague and Brussels, in the frame of the the of in the frame Brussels, and Hague on place taking SDGSummit UN first 2019.UN SDG24-25 September Summit 2030 Agenda The Montreal, Sydney, Harare, Paris, Cultur 2030 Goal campaign (2019), (2019), 2030 Goal campaign Cultur the of Implementation the in Culture References Patrimonio, Fondazione Beni Attività Beni Attività Fondazione Patrimonio, Italy. Rome, Culturali, framework agreement between the agreement framework Museum National MAXXI Foundation, XXIof Century theScuola Arts and del L’Aquila. A process of cultural-led cultural-led of A process L’Aquila. the part as of conducted regeneration”, and sustainability: from the project the project from sustainability: and the new MAXXI of the opening to created by the author in the research in the research the author by created accessibility “Management, entitled: Acknowledgements results of the part presents The paper 3.II VR in the Time of Social Distancing: SessionsThe | 3.II Challenges New for Museums 3 New Multidisciplinary-Inspired Directions for Virtual Exhibitions

Eleanna Avouri, Giulia Osti, Harriet Cliffen, Nenad Joncic, Douglas Pritchard, Francesco Ripanti, Marina Toumpouri Digital Heritage Research Lab, Cyprus University of Technology, Limassol, Cyprus

Abstract distancing of time | VR in the social

Social distancing is currently the For both CH and medicine, developing international disease control standard as VR content is time-consuming, and a response to the spread of Covid-19. This the associated computer hardware and situation has brought many significant associated exhibition equipment can be challenges to Cultural Heritage (CH) exceptionally expensive. By drawing upon professionals and associated institutions. state-of-the-art research and applied Although physical patronage at museums activities from the field of medicine, has dropped significantly, there are the proposed paper will look at specific opportunities for retaining and possibly precedents that would be of direct increasing viewership by using the latest interest and benefit to CH. Looking at virtual reality technology (VR) and methods such as digital documentation, other advanced multimedia tools. To be virtualization, 3D presentation, AR better informed, it is helpful to look at interaction, haptic systems, and other VR sectors outside of CH that have made an tools. effective integration of these systems and The suggested topics will be discussed methods. A comparative precedent is the within the framework of the EU international medical sector, which actively ERA Chair in Digital CH, project employs advanced VR for education, “MNEMOSYNE”, which aims to propose research and daily practice. The field systems, guidelines, and standards for the has been highly active in the integration holistic documentation of Digital Cultural of VR to effectively address issues such Heritage. as enhanced training, communication, public/professional engagement and remote access.

The Sessions | 3.II New Challenges for Museums | VR in the time of social distancing 140 3.II -19 -19 Covid presenting a more in-depth balance balance in-depth a more presenting context. the pandemic of in the light of the differences the intrinsic Given implemented we areas, investigated two studies CH for approaches: different two literature extensive an through went we additionally we medicine while for review, Rstudio with mining performed data (2016)1. trends and challenges in VR usage in in in VR usage challenges and trends tackling their last medicine, CH and the to due developments us allowed task stimulating This impact. insights and inspiration raw some draw to the to virtual exhibitions adapting for following The context. post-pandemic long- main the briefly explore paragraphs both the disciplines, for term themes The advent of the pandemic impacted impacted of the pandemic advent The several the aspects the to of connected in both CH VR technologies of application and Digital accessibility healthcare. and in new significance gained telepresence the placed among currently this context, be needskey to addressed. at attempt we this small contribution, In themes, major comparing and outlining (Gonizzi Barsanti et al. 2015). Similarly, Similarly, 2015). et al. Barsanti (Gonizzi how shaping is VR of growth the rapid practised. and being taught is medicine in the technicaladvancements by Driven VR sectors, entertainment and the gaming in tool essential an as emerged now has et al. (Norcross clinical care of areas many (Bohil 2011). et al. research 2013) and © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT The whole procedure explained step by step, the datasets and the code are available in a dedicated repository (Osti 2020). (Osti repository dedicated in a available are code the and datasets the step, by step explained procedure whole The Keywords 1 Text mining Text Covid-19 * * * Medicine * * * Cultural Heritage Cultural * * * Virtual Reality Virtual * * * objects exhibited in Sforza Castle in Milan Castle Milan in in Sforza objects exhibited project (Christou et al. 2006), or the 3D the 3D 2006), or et al. (Christou project the Egyptian funeral of visualization and CH sites. Indicative examples are the the are examples Indicative CH sites. and Greek ancient an of VR reconstruction CREATE part as of in Messene, temple of immersive experiences, creating a state- experiences, creating immersive of museums to access for demand of-the-art proven to be beneficial in the CH sector. be to beneficial in CH the sector. proven the beenpossibility VR has offering So far, heritage (CH) and healthcare. (CH) and heritage has Technologies Immersive of use The were initially developed in the early ‘80s. ‘80s. the in developed early initially were within force a growing VR is Currently, Cultural the seemingly of distinct sectors and techniques behind real-time virtual behind real-time techniques and environments immersive and reality innovation, Virtual Reality (VR) is not a a Reality not (VR) is Virtual innovation, the methods of Many invention. recent Introduction cutting-edge still considered Although 5. Virtual Museums, among the most 3.II

Virtual Reality in the CH SessionsThe | 3.II Challenges New for Museums Domain: debated areas of practice, implying the total commitment to a digital space. A Concise State of the Art The use of Immersive Technologies in We want to stress the importance of the CH domain has become a dynamic this latter area, given its current and trend since the mid-2000s, a technological future centrality in relation to pandemic/ innovation that could open up new post-pandemic context. With Virtual representation and communication Museums, we have the chance to realise the dynamics of a virtual reality curatorial

paths in managing both the tangible and distancing of time | VR in the social the intangible heritage, while allowing approach, completely differing from new kinds of interactive and sensorial the exhibition practices of the physical contact with CH assets. Providing a museum (Carrozzino & Bergamasco critical review and analysis of the CH 2010). According to ViMM definition immersive applications, Bekele et alii (Polycarpou 2018), a Virtual Museum (2018) established a classification which is a digital formation that, based on delineates the purposes that those the features of the traditional museum, technologies serve. Given the validity of exploits the capacities of a digital their analysis, we opted for maintaining environment “through personalization, the categorisation and enriching it with interactivity, user experience and richness our considerations: of content”. A Virtual Museum does not make exclusive use of VR tools and does 1. Education, the most traditional among not have to be necessarily connected with the areas of usage for VR, which is a specific physical museum collection, continuously evolving toward new since it can go beyond that (Perry et al. approaches. 2018). For example, fostering a Sense of 2. Exhibition enhancement, oriented Place has recognised as a potential pillar towards the enrichment of visitor of VR simulation projects (Aiello et al. experience in situ, at physical museums 2019); another emerging scenario could and sites. be specialised training, though it is not 3. Exploration, based on the visualisation considered a trend (Bruno et al. 2017). of historical and current views of CH assets, focused mainly on research purposes for more specialized users. 4. Reconstruction, as a tool for audience interaction with multifaceted views of tangible and intangible aspects of CH.

The Sessions | 3.II New Challenges for Museums | VR in the time of social distancing 142 3.II crucial role in bioinformatics. in bioinformatics. crucial role a concise but comprehensive overview; comprehensive but a concise a data implemented we this reason, for which understand to approach mining of representative most are applications Medicine. Medicine (NLM, of Library National The Bethesda, Health, of Institutes National biomedical recognisedUS) is the largest as a playing currently library in the world, planning. At that time, the potential the potential time, that At planning. seemed virtual reality of unlimited, and expectations unachievable generating medical professionals; among confusion in the extensive evident are these issues and both in scientific published material the 2002). However, (Riva press popular reported specialisticvariety of applications provide to us allow does not in literature Insides from a Quantitative a Quantitative Insides from Approach technologyis of VR medicine use in The the 20th and of the end to datable roughly century. the 21st the beginning of probably were approaches first The medical the need staff of by motivated medical data, visualiseto complex surgery for surgery and particularly during VR in the Medical Domain: VR in the Medical The confirmed major challenges are are challenges major confirmed The customised” but “massive and engaging delivering than digitalCH, other to access interactive and content high-quality environment. © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT digital future. content. Fun, engaging and creative creative and engaging Fun, content. museums’ will of be digitalpart offers Invest in what makes museums museums makes in what Invest rich and their collections unique: Enhancement of digital skills of the the digital skills of of Enhancement participation strengthen to CH sector, digital means. by access and intensive efforts towards accessibility accessibility towards efforts intensive will be required. enhancement Promotion of open access to CH CH to access open of Promotion more tools; use digital on-line and 3. 2. 1. be considered for mid and long-term long-term mid and for be considered 2020): design(ICOM strategies Europe. The survey findings resulted in survey resulted The findings Europe. to recommendations immediate three March and 30 April 2020 from museums museums 2020 from 30 April and March from – the majority in 48 countries Museums Organisation (NEMO) run a run (NEMO) a Organisation Museums nearly analysing topic, survey that on collected between 24 1,000 responses 10% may close permanently (UNESCO (UNESCO close permanently 10% may European of Network 2020). The doors during the crisis, nearly a third have have a third the crisis, nearly during doors to up and staff, reduced their significantly by UNESCO, 90% of museums (more (more museums 90% of UNESCO, by closed their have 85,000 institutions) than reappraise and revisit the online and and the online revisit and reappraise exhibitions, learning, to virtual approaches report a recent to According outreach. and The required lockdown and and social lockdown required The to sectors many caused distancing VR and CH during Covid-19 during and CH VR The related e-utilities in place for the 3.II The SessionsThe | 3.II Challenges New for Museums National Centre for Biotechnology Information (NCBI) provide access to this vast query and database system (Sayers 2010), with the aid of thematic tools. Dedicated packages for the R language were used to retrieve the general publication trends for VR in medicine (2011:2020) and covid-related context Figure 1. Journals publishing VR-related articles (left) and VR- usage (2019:2020) from NCBI. related publications per year (right) obtained through data mining distancing of time | VR in the social Based on the results obtained for the with Rstudio. general trends (see Figure 1), we found VR in Medicine during evidence that VR has a long tradition other than a vast array of well-defined Covid-19 adaptations, though usage contexts and Despite the urgent and inevitable focus tools seem to be “polarised”. The two on public health, during the Covid-19 identified categories are research-oriented pandemic, a critical concern for medical (e.g. surgery/protocols development) or educators is the increasing difficulty in training-oriented usage contexts. So, the training the next generation of doctors, as most representative VR applications can real-world experience is hardly replaceable be found in education and staff training (Rose 2020). However, the last months (Mcgaghie et al. 2014), surgical simulations have seen new ways of interaction in (Joda et al. 2019), rehabilitation (Riva virtual environments, reshaping the ideas 2003), pain management (Gold et al. 2006) behind their usage. Figure 2 displays a and neuroscience (Riva et al. 2019). In the ranking of the most used words stemmed last three years, VR applications have seen from the articles concerning VR and a sudden increase in terms of scientific Medicine that have been published within publishing, though the numbers see each the last year. A shift in training and journal publishing a mean of 2 VR-related teamwork dynamics is noticeable – e.g. in articles per year. This can be concerning approaches to patient treatment, medical the recent inauguration of VR-themed marketing and disease awareness (Singh et journals – e.g. Frontiers in Virtual Reality, al. 2020), as the emergence of “telehealth”, dedicated but not limited to the Medical which has been defined as “entire area. spectrum of activities used to deliver care at a distance—without direct physical contact with the patient” (Wosik et al.

The Sessions | 3.II New Challenges for Museums | VR in the time of social distancing 144 3.II From live-streaming to to live-streaming From reality escaping education Telehealth, training and Medicine and care of Personalisation of accessibility enhanced VR. Both areas are reflecting on the new new on the reflecting are Both areas implementation a permanent scenarios of while CH but virtual environments; of focused highlighting on seems more providing and uniqueness museum invests medicine access, user-levelled and digital care of personalisation on systems. training alternative proposes tools and exercises to escape escape to exercises and tools proposes natural on the immersion through reality pain for – previously environments the to purposes then adjusted and control pandemic. – live approach the opposite Additionally, the pandemic of the reality streaming the potential among considered – is approaches. common the need for accessibility accessibility the need for common the VR usage, of terms In enhancement. are disciplines the two for global trends CH try from approaches VR different: a conveying the Sense Place, of foster to the viewer bringing narrative, historical enhancing and/or educating in time, back Medicine the experience. Viceversa, CH CH sites of representation Improved to access alternate Museums, and knowledge Sense to Place of creating From recreating/preserving/implementing the past. of the knowledge to access user-levelled Telepresence, knowledge © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT A list with 20 of the most represented words in the the in words represented most the 20 of with A list Summary of the main perspectives, usage trends and opportunities of VR technologies application in CH and medicine. CH and in application VR technologies of opportunities and trends usage perspectives, main the of Summary Opportunities Usage Perspectives Table 1. Table presented in Table 1. 1. Table in presented in have both domains particular, In Some interesting convergences between between convergences interesting Some a summary is emerged; areas the two Discussion and Conclusive Discussion and Conclusive Remarks Figure 2. Figure with mining data through obtained literature, VR-related Covid-19 Rstudio. pandemic and have been proposed (Gao et (Gao et been proposed have and pandemic 2020). et al. Riva 2020; al. 2020). At last, new protocols and strategies strategies and new protocols last, At 2020). the of impacts the emotive overcome to Based on this comparison (table 1), there to the mindset of traditional exhibition 3.II The SessionsThe | 3.II Challenges New for Museums are several interesting directions suggested and heritage site presentation practices. from Medicine developments that can Acknowledgements be considered for enriching current VR applications and approaches in the CH This work has received funding from the domain. European Union’s Horizon 2020 Research An intrinsic aim is, for example, to and Innovation programme under grant have network infrastructures similar to agreement Nº668997. the ones of Medicine, which allowed a

successful data mining attempt but also References distancing of time | VR in the social could enable other exciting scenarios, Aiello, D., Fai, S., & Santagati, C. (2019). like the ones proposed for industry 4.0 Virtual Museums as a Means For in the pandemic era (Javaid et al. 2020). Promotion and Enhancement of Cultural More specifically, the implementation Heritage. In International Archives of of Artificial Intelligence (AI) would be the Photogrammetry, Remote Sensing extremely interesting from the point of and Spatial Information Sciences - ISPRS view of enhancing accessibility as, for Archives, Vol. 42, International Society for example, it allows understanding user Photogrammetry and Remote Sensing, pp. 33–40. behaviour patterns. A more explicit aspect goes back to the global idea of the reality- Bekele, M. K., Pierdicca, R., Frontoni, E., virtuality continuum proposed originally Malinverni, E. S., & Gain, J. (2018, March by Milgram and Kishimo (1994). Thinking 1). A survey of augmented, virtual, and about multiple usage scenarios for the mixed reality for cultural heritage. Journal same technologies while attempting to on Computing and Cultural Heritage, cover the whole mixed reality spectrum Association for Computing Machinery, pp. could help us to face the limitation of 1–36. resources we have in CH, in comparison to Medicine. A single technology-centric Bohil, C. J., Alicea, B., & Biocca, F. A. approach should be avoided, preferring an (2011, December). Virtual reality in integrated one; if this is not possible we neuroscience research and therapy. can adapt and reuse the same technologies Nature Reviews Neuroscience. doi:10.1038/ in different fields of application. nrn3122 Developing the training dimension in connection with research aspects seems to Bruno, F., Lagudi, A., Ritacco, G., … Mudur, S. (2017). Development and be a promising path to walk for the future, integration of digital technologies as demonstrated from Medicine, though addressed to raise awareness and access the CH sector remains relatively attached

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The Sessions | 3.II New Challenges for Museums | Museum Architectures for Digital Experiences 148 3.II and set new challenges for the design of the design of for set new challenges and form They exhibitions. and museums Introduction & Research & Research Introduction Question Over decade, the digital past technologies mediate to new potentials offered have visitors, and content between museum technologies and the exploitation of space space of the exploitation and technologies museum experience. the final creates that is technology that suggest findings The in the spatial developments stimulating typology museums. of Keywords Graphs *** Types Space- Museum Space Museum *** Design Spatial *** Digital Experiences *** Environments Immersive *** © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT

all the cases it is the combination of digital digital of all the combination is the cases it occupation rather than movement, and and movement, than rather occupation in that demonstrated is It focus perception. brings to light the common dominance of of dominance the common light to brings invite enclosure, spaces which emphasize techniques which combine representations representations which combine techniques analysis. configurational and space of of techniques these application The between digital and spatial dimensions. dimensions. spatial between digital and uses the paper analytical Methodologically, three spatial complexes in museums that that in museums complexes spatial three of interaction kinds different illustrate museum space? To explore these questions, these questions, explore space? To museum study, first-hand will through we analyse, view is how to embed digital to experiences view how is does the How context. in the museum with interact digital technologies use of embodied interactions. A key question question A key embodied interactions. of point spatial and architectural an from the exhibit and the key experience itself, the experience key itself, and the exhibit and immersive offering by example for museums and exhibitions. They form form They exhibitions. and museums as often most museums, most part of as increasingly and tools, interpretative between museum content and visitors, visitors, and content between museum the design of for set newchallenges and Over the past decade, digital technologies Over decade, the digital past technologies mediate to new potentials offered have Patras, Greece Patras, Abstract Assistant Professor in Museology, of University Architecture, of Department Dr. Kali Tzortzi Kali Dr. Museum Architectures for Digital Experiences: Experiences: for Digital Architectures Museum a New SpatialTypology? Towards 4 part of most museums, most often as environments and enhance viewing, to the 3.II The SessionsThe | 3.II Challenges New for Museums interpretative tools, and increasingly as cutting-edge museum where the display the exhibit and the key experience itself of objects is coupled with the innovative (see for example Hornecker and Ciolfi, implementation of immersive technologies. 2019; Kenderdine and Sanderhoff, 2020). Before engaging with the case studies, some They are currently being designed at methodological remarks are appropriate. scales ranging from tangible interactions We use a theory of spatial configuration, to immersive sensory environments. The known as space syntax, which allows latter are the focus of this paper. A key spaces to be typed in accordance with their

question from an architectural and spatial relations to others, and building designs to | Museum Architectures for Experiences Digital point of view is how to embed digital be compared by representing key aspects experiences in the museum context. of visitors’ experience (Hillier, 1996; Hillier How does museum architecture, as the and Tzortzi, 2006). Specifically, we use arrangement of space, accommodate the representations of layouts as graphs, with need for bodily engagement, immersion, spaces as circles and their relations as lines, and focused intensity? and distinguish four space types. As can In contemporary museums we find a wide be seen in Figure 1, a- (or occupation) range of digitally mediated experiences in spaces are dead-ends, so cannot be passed a variety of layouts. through; b- (or control) spaces control In this paper we will analyse, through access to other spaces and so offer only the first-hand study, three spatial complexes same way back; c- (or circulation) spaces in museums that illustrate different form rings, so offer one alternative way kinds of interaction between digital and back; and d- (or choice) spaces offer more spatial dimensions. The selected cases than one alternative way back, so route vary from the ‘traditional’ museum choices. which uses technology to create sonic

Figure 1 The abcd space types according to their embedding in the layout.

1Space Syntax is a theory and methodology to describe buildings as systems of spatial relations, and a set of tools for evaluating their functioning and for representing and comparing aspects of the user’s experience (see Hillier, 1996). 2We characterize the spaces according to the space syntax theory of ‘space-types’ which defines spaces in terms of how they are connected to the layout of which they form part (Hillier, 1996; Hillier and Tzortzi, 2006).

The Sessions | 3.II New Challenges for Museums | Museum Architectures for Digital Experiences 150 3.II A panoramic view of the main space of the Musikmuseum, Musikmuseum, the of space main view the of A panoramic Figure 3 Figure Basel. Museum © Historisches of courtesy Source: Basel. openings afford restricted viewsto the afford openings to planned carefully which are space, main Rooms are darkened, and only exhibits exhibits only and darkened, are Rooms visitors inviting illuminated, directly are allowing and focus theirto attention, be to seen aesthetic objects. as instruments the main to open are rooms parallel, In a of instruments space in which musical door narrow Their placed. scale are larger drum. three floors. The layout of the display takes takes display of the layout The floors. three once were (that small rooms of the form space (once a main onto opening cells) serving thus a corridor), the thematic 3 the collection (Figures of arrangement dedicated is room 4). Each individual and for music example, for a sub-theme, to the like instrument, a type of or hunting, The plan for a museum museum a for plan The Figure 2 Figure 1704 in L. C. Sturm by designed graph. its and © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT with slight differences, the same plan on on plan the same differences, slight with from the fifteenth to the twentieth century century twentieth tothe the fifteenth from repeats, museum 2009). The (Kirnbauer, to an exhibition space for a collection of a collection of space for exhibition an to dating instruments, musical European originally a monastery and then a prison then a prison and a monastery originally by converted 1995, was in use until Degelo Heinrich and Morger Meinrad begin with the Musikmuseum in Basel, in Basel, begin the Musikmuseum with building, (2000). The Switzerland Turning to our case studies, we will we case studies, our to Turning Case Studies its kind (Figure 2). kind (Figure its a-spaces or b-spaces, as for example in the in the example for b-spaces, as or a-spaces Leonard by a museum for the plan case of of to be first the said in 1704, often Sturm complemented by d-spaces to allow allow d-spaces to by complemented by frequently less but routes, alternative Museum layouts tend to be dominated be to dominated tend layouts Museum perhaps sequences, create to c-spaces by create intriguing visual juxtapositions. Moving to the second case, a diametrically 3.II The SessionsThe | 3.II Challenges New for Museums But information extends beyond the different concept and spatial design lie visual. behind the immersive ‘Soundscapes’ In each room there is a touch screen, exhibition, organised, in 2015, at the which not only provides information National Gallery London. The Gallery about the exhibits, but also allows visitors proposed a fresh view of its collection, to select musical pieces related to the and specifically of six of the most well- instruments on display and experience known paintings (Figure 5), varying in them in space, rather than through date from the fourteenth to the twentieth

headphones. The sound fills the space and century, by inviting musicians and | Museum Architectures for Experiences Digital creates for visitors the feeling of being sound artists to select a painting and immersed, which is further enhanced by compose a piece of music or sound art the sense of a spatial context enveloping in response (Ede, 2015a). For example, them bodily, which is created by the the Turner Prize-winning sound artist enclosed character and scale of the rooms. Susan Philipsz inspired by Hans Holbein’s ‘The Ambassadors’, transposed a detail of Figure 4 Plan of the Musikmuseum with a graph superimposed and space types.urce: K. Tzortzi © Historisches Museum Basel the painting, a lute with a broken string, a symbol of discord, to the sound installation by removing one string from a violin. The 8-minute long ‘soundscape’ (‘Air on a Broken String’) accompanied the visual narrative, ‘making the Figure 5 Plan of the ‘Soundscapes’ exhibition, discord perceptible National Gallery London, with a graph superimposed throughout the gallery and space types. space’ (Soundscapes, Source: K. Tzortzi © The National Gallery 2015). The aim of the exhibition was not to add meaning in the art-historical sense, but to enhance looking, asking visitors to ‘hear in a purposeful way’ (Ede, 2015b).

The Sessions | 3.II New Challenges for Museums | Museum Architectures for Digital Experiences 152 3.II Plan of the Moesgaard Museum with a graph superimposed superimposed a graph with Museum Moesgaard the of Plan short animated films. Each film narrates narrates films. film Each animated short storythe (three from a personal affective a picture of life in prehistoric Denmark. Denmark. in prehistoric life of a picture which findings, archaeological presents It and in to deities bogs, lakes offerings were it to a itself bog: spacealludes The rivers. and form fence-like by a low, defined is of walking the sense floor gives uneven its is it time, the same At ground. marshy on the walls of by a distance, at surrounded, four projected which are on the building, Figure 6 Figure types. space and Museum © Moesgaard K. Tzortzi Source: double- a is of complex the space main The which gives space, visually open height, for each work’ (2014, p. 243). 243). p. (2014, work’ each for © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT words, ‘an illuminated space of intimacy intimacy space of illuminated ‘an words, These are darkened, and the objects, objects, and the darkened, are These Pallasmaa’s using create, spotlit, directly on three levels (Figure 6). It is essentially essentially is 6). It (Figure levels three on sub-spaces. space divided into open an a sensory narrative environment. Here we we Here environment. a sensory narrative dedicated complex the spatial will look at organised and Ages Iron and the Bronze to (Bundegaard, 2014), which offers a variety a variety 2014), which offers (Bundegaard, creating at aims digital experiencesof that an ethnographic and archaeological archaeological and ethnographic an Denmark in Aarhus, museum darkness. Museum, Moesgaard finalcaseThe is the from the previous and the next one, as as one, the next and the previous from walk to through required were visitors in complete corridors the intervening sound. At the same time, the experience time, the same At sound. each gallery separate as of felt was engulfed by the materiality of the physical the physical of the materiality by engulfed the space of the immaterial and space, moving to the next room. The six rooms, rooms, six The room. the next to moving visual insulation, and their closeness with being the sense viewers, of for created, in the graph in Figure 5), so visitors always always 5), so visitors in Figure in the graph space before a corridor-like onto emerged were connected through entirely dark dark entirely through connected were in grey (shown corridors sound-isolating of the usual sequence of spaces, with one one spaces, with the of usual sequence of gallery rooms the next, to directly leading they were presented with music or sound, sound, or music with presented they were high-tech specially created from played speakers embedded in the walls. Instead directed only on the painting itself. Hung Hung itself. the painting on only directed wallspace, in each prominent the most on The paintings were displayed individually, individually, displayed were The paintings light with room, darkened own in its each perspective of a woman and the fourth lighting design, unify the environment and 3.II The SessionsThe | 3.II Challenges New for Museums by a father and his son), closely related to immerse visitors in ‘a sense of a coherent the exhibits shown in this space (Figure experiential entity’ (Pallaasma 2016, p. 7). They all work as an imaginative and 130). emotive background to the display of The key feature of the Moesgaard Museum objects and immerse visitors in a theatrical is that the display narrative, rather than stage. Strikingly, as the films are activated being based only on textual information, individually by visitors, the way they are is largely structured as a series of synchronized in the main space can never experiences, which are distinct, yet tightly

be predetermined and so exactly repeated, interwoven, through complex and sensory | Museum Architectures for Experiences Digital creating a unique experience of this synergies between displays, such as, display each time it is visited. background music played in the spaces at But despite being a dead-end space that low volumes, and, most notably, the spatial and visual links between the different levels, which are assigned a symbolic function, through their metaphorical meanings of sky, life, and the underworld.

Comparative Discussion

Taken together, these three examples share a striking spatial property in common, the high number of a- (or occupation) Figure 7 View of the main space of the Moesgaard Museum. It is spaces each has, that is, of spaces that defined by the curved, low, fence-like form and enveloped by the walls of the building, on which the animated films are projected. must be lived in and experienced, rather Source: Media Department ©Moesgaard Museum than passed through. As made clear in the emphasises enclosure, the main space is graphs: visually very powerful in that it dissolves - The Musikmuseum is made up of the perception of a limited space by a-spaces open to a b-space which controls relating directly to a high proportion of access to the individual rooms (Figure 4). the spaces of the complex on all three - The ‘Soundscapes’ exhibition takes the levels. As a consequence, the animated form of c-spaces organised in a simple, films which are projected on the ground- hard-to-avoid sequence. But the corridors level main space can also be also seen which separate the spaces and emphasize from the upper level, and partly from the spatial discontinuity of the complex, the lower floor level. Projection and coupled with the routes through the sonic elements, in combination with the galleries which are close to their edges,

The Sessions | 3.II New Challenges for Museums | Museum Architectures for Digital Experiences 154 3.II the two-dimensional convex structure structure convex the two-dimensional axial the linear than important more is layout, the ‘traditional’ characterises that over prioritised is the localand visibility This can be synchronic. and the distant visual fields the contrasting by illustrated central from 8) drawn (in grey in Figure the and in the Musikmuseum points Sainsbury Wing. The clear dominance of a-spaces in all dominance clear The can space of arrangements the above from fundamentally be distinguished design of museum the ‘conventional’ long c-spaces linked by of sequences powerful visitors offering and axes the of example think can One for vistas. Gallery the National of Sainsbury Wing sample, our 2015). In (Tzortzi, London (‘Soundscapes’), or a common space space a common or (‘Soundscapes’), (Musikmuseum), access governs that juxtaposition or ‘parataxis’ for allowing in the contrast, distinct experiences. In of close to case, a-spaces contribute third spaces and other with interrelationships a powerful integrative of the creation experience. our point. second to us brings This of a-spaces) are delineated by physical, physical, by delineated are a-spaces) of producing boundaries, aural visual and experiences, while discrete in consistent combine a-spaces Museum, the Moesgaard visual openness with closeness spatial the first In transparency. acoustic and linked indirectly cases,two are a-spaces corridors mediating by each other to © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT a-spaces (or functional approximations functional approximations a-spaces (or spatial situations. In the Musikmuseum the Musikmuseum In situations. spatial exhibition, the ‘Soundscapes’ and Through our analysis, we have also found found also have we analysis, our Through in different be a-spaces can exploited that experience, since it is about experiencing experiencing about is experience, it since of in the company but ways in individual visitors. other digital technologies, they also allow for theydigital also technologies, for allow a collective together, a coming staging occupation rather than movement, and and movement, than rather occupation with combination In focus perception. link to the other spaces of the complex, the complex, spaces of thelink other to invite enclosure, a-spaces emphasise intense experiences they accommodate experiences they accommodate intense different for information which combine permeability one senses. providing By space can be seen as affordances for the the for bespace can seen affordances as the of understanding and assimilation complex embodied meanings. The spatial spatial The embodied meanings. complex this type of of properties topological and favoured for the installation of immersive immersive of the installation for favoured through created sensory environments of the communication digital media and seem to be emerging. First, our examples examples our seem First, be to emerging. spaces are occupation) a- (or that suggest interaction between museum space and space and between museum interaction points digital experiences, interlinked two the main space (Figure 6). space (Figure the main the about initial question our to Returning display layout of the Moesgaard Museum Museum the Moesgaard of layout display uses all the makes space types and the in case as a-spaces, of use of extensive - In contrast to the repetitive pattern of of pattern the repetitive to contrast - In cases, the space-types the in previous give them the formal feel of a-spaces a-spaces of feel them the formal give 5). (Figure In other words, it is the combination of 3.II The SessionsThe | 3.II Challenges New for Museums digital technologies and the exploitation of space that creates the final museum experience.

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Lanham: Rowman & Littlefield, & Littlefield, Rowman Lanham: March - Architecture Routledge. Tzortzi, K. (2015). K. Tzortzi, Soundscapes London. Gallery, National The Meaning of Atmosphere and Mood. and Atmosphere of Meaning The Architectural Pallasmaa, J. (2016). The Sixth (2016). The Sense. J. Pallasmaa, on Touch, Sound, Smell, Memory and and Memory Smell, Sound, Touch, on Space, 15. Chapter A. Pascual-Leone (eds.), A. Pascual-Leone Perspectives Cross-Disciplinary Museum: Pallasmaa, J. (2014). Museum as an an as (2014). Museum J. Pallasmaa, and Embodied N. Levent, Experience. In ac.uk/event/the-making-of-soundscapes- at-the-national-gallery of Soundscapes at the National Gallery. Gallery. National the at Soundscapes of Retrieved from [audio] 2015 M. (2015b). Ede, Moore Moore Ede, M. (2015a). M. (2015a). Ede, Moore April Year Gallery Review the of National 3.II The New Architecture and Exhibitions in the Museum Building in SessionsThe | 3.II Challenges New for Museums 5 Russia Maria Maystrovskaya Professor, doctor of art history Alexander Kuprin Architect

In recent years, and specifically at exhibit of this museum. Architect U. the beginning of the century, many Gnedovsky, expositioner A. Rayner. The

new premises and conceptual and exhibition tells the story of this battle and | The new architecture and exhibitionsthe in museum building in Russia multifunctional complexes that meet the presents artefacts found at the battle site. latest trends in world museum practice Battle scenes are represented by models have been constructed in Russia. These and specially created videos, multi-videos, include major reconstructions of old and artworks. The museum has many museum buildings and their expansions, installations, interactive complexes and as well as new construction of unique areas for working with children. museums that have never existed before, Among the new original architectural and related to the history of a place or event, on exhibition facilities was the State Museum the historical territory. of Weapons in Tula, near Moscow. Since Attention should be paid to the unique the XVII century the city was famous Kulikovo field Museum complex (2017) - a for its gunsmiths and gun factories. completely new museum facility built on a The museum is based on the historical historical site, on the field where the largest collection of weapons of the famous Tula military battle with the Tatar-Mongol factories, which were collected from the conquerors took place 600 years ago, beginning of the XVIII century, including which became a liberation in the history of almost all types and models of weapons, Russia in 1380.. The project of this unique starting with cold weapons, firearms, museum complex was awarded the highest military, sports and hunting weapons. The award – the state prize of Russia in the field original shape of the museum building is of culture and art for 2018. According to a symbolic association with the helmet of the concept of this museum two buildings ancient Russian soldiers. buried two levels underground and The museum has four exhibition floors directed at sharp angles to each other, like arranged in a circle that represent a two armies colliding in battle, only slightly collection of legendary Russian weapons. rise above the ground, without disturbing These are swords, sabres, rapiers, pistols the overall panorama of the field, which is and shotguns, and their modern types and the most important, authentic, historical forms. In front of the museum there is a

The Sessions | 3.II New Challenges for Museums | The new architecture and exhibitions in the museum building in Russia 158 3.II artist Gennady Raishev, which has a mosaic a mosaic which has Raishev, Gennady artist and unique new museums were built. This This built. were new museums unique and the Gas, Oil and of a Museum built city which became the basis resources natural of its economy. has also Man and Nature of Museum The the young for centre important an become original an with a reconstruction is It city. unique Another exposition. interesting and contemporary of the Museum is museum Pavel Lungin. The museum includes an art art an museum includes The Lungin. Pavel a full hall, and conference a cinema gallery, modern activities for for facilities of range centre. educational and this cultural underway is construction time, the same At cities, metropolitan and in large only not in example, – for regions also in remote but Khanty-Mansiysk. of northern city the far there created were reconstructions Large by the BERNASCONI architectural firm firm architectural the BERNASCONI by museum Borisheaded Bernasconi. by The the modern to history of dedicated is The Yeltsin. of the personality and Russia the American by completed was exhibition winning Ralph Appelbaum, of Bureau The between 20 projects. a competition was called the museum, “7 days”, of concept film director Russian the famous by written very popular temporary exhibitions. very temporary popular include buildings new Significant Boris Yeltsin President of the Centre modern This in Yekaterinburg. a large with building multifunctional the to dedicated is exposition museum was who born President, Russian first designed was building The in this city. © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT remained from its difficult fate, as well as a well as as fate, difficult its from remained host halls that exhibition of number large permanent exhibition dedicated to the the to dedicated exhibition permanent that the relics and the monastery history of surface with a green hill and an original original an hill a green surface with and courtyard. outer circular a both presents museummodern This landscape of a unique monument. It is is It monument. a unique of landscape the to comes and the ground, sunk into the principle of green architecture and and architecture green of the principle the historical into minimal intrusion - the New Jerusalem monastery of the the of monastery Jerusalem - the New also includes It century. XVII-XVIII was the New Jerusalem Museum and and Museum Jerusalem the New was to next Moscow, near centre, exhibition monument architectural outstanding an a lawn. building original Museum Another built on this principle. On top of the the of On top this principle. on built - a hill with architecture green is building a team of creative Association “Samrukh” “Samrukh” Association creative of a team For A. Nabiullin. of the leadership under museum this the first is practice, Russian overlap was built, and a museum space space a museum and built, was overlap by developed was project The created. was skeletons of houses, a huge number of of number huge a houses, of skeletons which a huge over items, household found whole ancient Russian city found during during found city Russian ancient whole streets, with excavations, archaeological archaeological tree in Sviyazhsk, in Tataria, in Tataria, in Sviyazhsk, tree archaeological the urban of the reconstruction with series the the subject of and environment Alexander Konov. Alexander the of the Museum is Interesting large open-air exhibition area for large- for area exhibition open-air large is the exhibition Designer of sized exhibits. of the artist’s painting on the facade of Morozov mansion in Moscow with the 3.II The SessionsThe | 3.II Challenges New for Museums the building. The building has a symbolic Maurice Denis painting ensemble was boat shape, which is very important for reconstructed. the culture of the northern Khanty and Another interesting project in Saint Mansi peoples. The interior of the museum Petersburg is the “Water Museum” is high-tech in its design and houses the complex in the old water tower of the city. artist’s works. His workshop is also located This museum is dedicated to all the current in the same building. problems of modern urban water supply. Significantly more renovations and A very popular multimedia exhibition was

modernisations were constructed, not created there called “the universe of water”, | The new architecture and exhibitionsthe in museum building in Russia to mention the fact that during this time dedicated to the Neva river and the water many of the largest of Russian museums supply in the city. carried out major modernisations – such The private Faberge Museum has become as the Tretyakov gallery, the Historical a new museum for Saint Petersburg. Museum, and the State Hermitage It houses the jewellery art of the Museum. A huge reconstruction project famous Russian company Carl Faberge. of the Museum of Fine Arts was carried The interiors of different styles were out by the Foster architectural Bureau, reconstructed in the historical building, which unfortunately has not yet been exhibiting the products of the famous implemented. jewellery house. The most important project was the Another museum was opened in Moscow reconstruction of the eastern wing of the to mark the 200th anniversary of the General Staff in St. Petersburg, a branch Patriotic War of 1812. This is a completely of the Hermitage. An architectural project new exhibition space, which is located on called “Studio – 44” by architect Nikita two levels in the courtyard of the Moscow Yavein. The reconstruction was completed City Duma building and the Historical in 2014. When the courtyards of an entire Museum space. The exhibition tells block were closed and a system of large about the Patriotic war with Napoleon, exhibition spaces was created, which can presenting artefacts and authentic relics of be transformed depending on the purpose this war. The expositor is Natalia Yazykova. of the exhibition. Large conference halls This museum project has earned the state and comfortable halls for exhibitions of prize of Russia. contemporary art with personal rooms To mark the anniversary of this war, a new dedicated to the most important artists re-exhibition of the museum-panorama of the twentieth century were built. In named “the battle of Borodino” was 2019, the Musical Living Room of the created.

The Sessions | 3.II New Challenges for Museums | The new architecture and exhibitions in the museum building in Russia 160 3.II in Russia, this reconstruction is of great great of is this reconstruction in Russia, of the XVII century, the measurements the measurements century, the XVII of when the which remained of drawings and reconstruction This palace destroyed. was the palace performedof with was technologies, historical of violations used is in concrete reinforced because here, used logs are load-bearing and structures no almost are there Since facing. for only century the XVII of preserved monuments in Russia in recent years, we cannot cannot we years, in recent in Russia projects large-scale two mention to fail controversial quite generally are that traditional view of of the point from Tsar of Palace is This the museology. in the Kolomenskoye Alexey Mikhailovich in full built in Moscow, Museum-reserve from made expositions with size and the palace of a copy is It materials. archive These are numerous exhibitions and, and, exhibitions numerous are These Andersen’s to in this case, dedicated the by fairy illustrated tales, which were expositions of a number as well As artist. the famous of the work to dedicated Tarkovsky. Andrey film director Russian on based the films an exhibition is This “Solaris”. and Rublev” “Andrey construction museum Speaking about In addition to architectural events in the the in events architectural to addition In many were there Russia, of life museum and both public projects, exhibition major expressive which the most among private, the by exhibitions of a number were Zverev, Anatoly artist Russian talented well as in Moscow, museum in his created Milan. and in Florence as © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT installations, multimedia complexes, and and complexes, multimedia installations, figures. dummy life-size the usewith of Appelbaum. The museum was created in a in museum created was The Appelbaum. of number a great space with large single and its transformation into a museum a museum into transformation its and first was exhibition The deserves attention. Ralph of Bureau the American by created built it for the city’s transport garage. garage. transport the city’s for it built building of this reconstruction The twentieth century – architect Konstantin Konstantin – architect century twentieth who Shukhov, engineer and Melnikov on the basis of an outstanding monument monument outstanding an the of basis on the early of constructivism Russian of The most unique project of recent years years recent of project unique most The Museum the Jewish becan considered created which was Centre, Tolerance and neutral architecture and modern laconic modern laconic and architecture neutral decoration. For the Museum of Modern Art, a 1960s Art, a 1960s Modern of the Museum For its with reconstructed, was building revealed its structural and spatial basis. basis. spatial structuralrevealed and its it effectively useto opens possibilities This exhibitions. temporary for meaningfully preserved all the architectural preservedmeaningfully all the architectural and building, the historical losses of has also become significant in the course in course the alsohas significant become has it as projects, reconstruction of The reconstruction of the Ruina wing Ruina wing of the reconstruction The Architecture of Museum the Moscow of which made it possible to create lower lower create to possible it which made new and service floors exhibition and spaces. the historic building in the style of Russian Russian in the style of building the historic a platform, Constructivism raised on was The reconstruction of the Moscow Moscow of the reconstruction The Here, interest. great also is of Planetarium interest to visitors and gives an idea of the 3.II The SessionsThe | 3.II Challenges New for Museums national history. Another large-scale palace complex was the recreation of Tsaritsyno. The Grand Palace complex, built by the outstanding Russian architects Vasily Bazhenov and Matvey Kazakov in the XVIII century for the Empress Catherine II. However, she did not like the Palace, and it was never

completed. Having existed for 2 centuries | The new architecture and exhibitionsthe in museum building in Russia in ruins, it was finally rebuilt and now represents a large museum and exhibition complex in a beautiful park in Moscow. Literally only a week ago, the museum quarter was opened in the city of Tula for its 500th anniversary. Currently, work is underway on the reconstruction of the Moscow Polytechnic Museum, a cultural heritage site built in the late XIX – early XX centuries by architects N. Shokhin and I. Monighetti. Restoration work is being carried out according to the project of a Japanese architect Junya Ishigami, which was approved by the 2011 competition. It includes overlapping of the courtyards of the museum in the centre of Moscow. A large reconstruction of the Cosmonautics Museum in Kaluga is also underway. In this brief report, we have tried to give a visual representation of the most interesting and expressive events, which are certainly much more numerous in museum construction in Russia in recent years.

The Sessions | 3.II New Challenges for Museums | The Answers for The Issues of The Korea’s New National History Museum of Saemangeum Reclamation 162 3.II 2.5 hours drive from Seoul. The meaning meaning Seoul. The from drive 2.5 hours filedname a new is huge ‘Saemangeum’ of Saemangeum Museum of Saemangeum Museum of Reclamation? anniversary is 10thof 2020 the year This the Saemangeum of the completion for longest the world as seawall recorded 33.9km of length seawall the total with a Book. Saemangeum, in the Guinness is area, local development Korea’s of name Korea, South of the middle west at located Chapter I. What Is Saemangeum & The Keywords Visitors *** Cooperation International *** Korea Saemangeum New Museum New *** approach, the international cooperation cooperation the international approach, be a would ICOM of the members from asset. great © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT

live-online oversea friend museum. In this this In friend museum. oversea live-online special over-sleep program; and (vi) the (vi) the and program; special over-sleep a be by can extended the museum of theme small-electronic excavators; (v) community (v) community excavators; small-electronic in local or food participate market can kids or 60~70s senior citizens; (iii) storing (iii) storing citizens; 60~70s senior kids or (iv) space; display be open space can an kids with be can used for area the outside an alive museum in a movie; (ii) focused in a movie; museum alive an with 30~40s parents are group visitors the answers for the issues are proposed proposed are the issues for the answers be should (i) museum the followings: as out-space, (v) community participation participation (v) community out-space, this article, In theme. of (vi) expansion and July 2020, the following issues are raised: raised: are issues 2020, the following July (ii) museums, other from (i) differentiation (iv) space, (iii) storing visitors, targeting At the expert meeting by Saemangeum the expert Saemangeum by meeting At on Agency Investment and Development waterfront area aiming a city of new new of a city aiming area waterfront kilometers. 409 square size of civilization, be among 873 museums including 49 49 including 873 museums be among this during Korea in museums national a new is reclaimed Covid 19. Saemangeum question: what the new National Museum Museum the new National what question: should Reclamation Saemangeum of “For the best museum for the visitors!” the visitors!” for the best museum “For Land raised a of Minister Korea’s Last May, Abstract Saemangeum Development and Investment Investment and Development Saemangeum Korea of Republic Gunsan, Agency, Nara Ohk The Answers for the Issues of the Korea’s New National History National New History the for Answers The the of Issues Korea’s Reclamation of Saemangeum Museum 6 after the first word of two neighboring rice 3.II fields. The main concept of this project is SessionsThe | 3.II Challenges New for Museums to create a waterfront city by reclamation with 6 multifunctional land use plan in the area of 409 square kilometers (283 square kilometers of new land, 118 square kilometers of lake).(SDIA, 2020) | The Answers for The Issues of The Korea’s NewNational HistoryMuseum of Saemangeum Reclamation

Last July ARIRANG TV filmed a special business program about Saemangeum. Here, Prime Minister Chung Sye-kyun said that “Korea government will promote this region as the base for the fourth The reclamation project started in industrial revolution.”(ARIRANG , 2020). 1991 with only for agriculture purpose. The direction of development has Then, in 2010, the sea wall construction been empowered by global business was completed and in 2013, a Special players such SK Broadband’s investment Act on Promotion and Support for announcement for the hyper-scale data Saemangeum Project was enacted center of approximate 2 trillion won and an executive central government (USD 1.75 billion) on October 2020. organization was established which With the perspective of tourism business, is Saemangeum Development and Saemangeum embraces most types Investment Agency(hereinafter “SDIA”). of natures such as ocean, mountains, Through recent remarks from Korea’s lake, rivers, and islands. Furthermore leadership, Korea’s government has the island area has been recognized by showed the direction for Saemangeum as CNN as one of the 33 gorgeous islands a global new hub of various business and in Korea (Violet, 2017). In August culture in the future. At the ceremony of 2023, the World Scout Jamboree will be proclamation for Saemangeum renewable held in Saemangeum and welcome the energy project on October 2018, Korea’s participants about 50,000 teenager scouts President Moon Jae-in declared that “we and volunteers from 171 countries (Jung, will make Saemangeum in North Jeolla 2017). Also, Saemagneum Development the centerpiece of the Republic of Korea’s Corporation, a public company, will break renewable energy industry.” the ground for a new smart waterfront (Kang, 2018) city in December 2020. Near this new city

The Sessions | 3.II New Challenges for Museums | The Answers for The Issues of The Korea’s New National History Museum of Saemangeum Reclamation 164 3.II 1 themes. to 2022 and the current status of project project of status the current and 2022 to after construction in the middleis of collecting and breaking ground Augusts’ 39,692 is the land size of the total relics 5,441 area: floor meters(Gross square 2,100 square area: Display meters; square such zones four museumhas The meters). theater; and and future science, history, as display 29 themes and categories 10 has it museum is to show the history(past) and the history(past) and show to is museum huge a of plan(future) the development abroad. and in Korea project reclamation the museum of notice SDIA’s to According the 2018), total (SDIA, plan construction 32.5M (for USD is the museum for budget $5M, construction: acquisition: the land supervision:$24M, design $3.2M). and 2016 is The from periodof construction of construction for the Saemangeum the Saemangeum for construction of eco- a model of suggested Museum the of location the current and museum with the test balancing after museum function accessibility, traffic of elements tour cultural with relevance location, of future of the condition and contents, and purpose of 2016). The the growth(Yim, © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT This purpose reminds the ICOM’s new definition of museum which is “Museums are democratising, inclusive and polyphonic spaces for critical for critical spaces polyphonic and inclusive democratising, are “Museums is which museum of newdefinition ICOM’s the reminds purpose This people.” (ICOM website, 2020) website, (ICOM people.” 1 and artefacts hold they present, the of challenges and conflicts the addressing and Acknowledging futures. the and pasts the about dialogue all for heritage to access equal and rights equal guarantee and generations future for memories diverse safeguard society, for trust in specimens project was permitted. In 2016, a research 2016, a research In permitted. was project budget system at the time. After few few After the time. at system budget the struggling right position to years the eventually the museum, of direction project, however, was not enough to to enough not was however, project, national of test the balancing pass to commemorate the construction of of the construction commemorate to museum sea wall. The longest the world government and a legislator of the the of a legislator and government purpose 2013). The was (Yim, region The Saemangeum Museum was first Museum first was Saemangeum The County Buan in 2013 by proposed History will beHistory opened. and leisure-tourism area, the National the National area, leisure-tourism and Reclamation Saemangeum of Museum the answers for the issues. Starting point Chapter II. 3.II The SessionsThe | 3.II Challenges New for Museums The Answers for 6 Issues of the is Korea’s law and history. First, Korea’s Museum and Art Gallery Support Act Saemangeum Museums describes seven projects that a museum Recently during the monthly leadership should implement. From these mandatory meeting of the Ministry of Land, projects in the law, the museum can Infrastructure and Transport, the Minister find the clues and the area of works for raised a question for the Saemangeum differentiation form others. Also, in the museum which was how the museum can Korea’s history of modern museum, there

be differentiated from the other existing have been passionate and self-motivated | The Answers for The Issues of The Korea’s NewNational HistoryMuseum of Saemangeum Reclamation 874 Korea’s museums. Followed experts’ leaders and supports from international meeting for the museum, six issues were fellow experts. One of the leaders even raised: (i) differentiation from other opened his own director office for the local museums, (ii) identifying the visitors, kids to have the first children museum (iii) expanding the room for storage, (iv) class after recognizing kids’ interest for the maximizing use of surrounding area, (v) museum(Gyeongju Museum, 2020). When community participation and (vi) more the leader had a special passion for the themes. visitors enough to start a new program, In this article, I would like to propose the museum could overcome various issues and provided the best service with the cooperation of the community. Like Jakin(means establishing) and Boaz(means strength) of the pillars of the Solomon’s Temple , the law and the leaders’ passion for the customized service can answer to the issues.

2Korea’s Museum Law, Article 4 (Projects)(1) A museum shall implement the following projects: 1. Collecting, managing, preserving, and exhibiting museum material; 2. Providing education on museum material, and conducting professional and scientific surveys and research on museum material; 3. Conducting technical surveys and research on preservation, exhibition, etc. of museum material; 4. Holding various events related to museum material, such as lectures, lessons, movie presentations, symposiums, exhibitions, fairs, presentations, shows, explorations, and field surveys; 5. Reproducing museum material, and publishing and distributing various publications; 6. Cooperating in an organized manner with other domestic and foreign museums and art galleries, such as exchange of museum material, art gallery material, publications, programs, and information, and interchange of curators of museums and art galleries; 6-2. Hosting or encouraging various events concerning lifelong education; 7. Other projects necessary for achieving the objectives of establishment of museums.

3In the Old Testaments, 2 Chronicles Chapter 3 Verse 17 says that “He(Solomon) erected the pillars in front of the temple, one on the right and the other on the left, and named the one on the right Jachin and the one on the left Boaz. (NASB)” In Hebrew, ‘Jachin’ means ‘He established’ and ‘Boaz’ means ‘He has the power’. Two pillars for national museums can be the law as foundation and the passion as power.

4The importance of the museum leader’s passion was recognized in the article and statements of a director of the Metropolitan Museum of Art in New York: “Passion is what sells the museum. The Development Office paves the way and the Director’s charisma andpassion makes the difference.” (de Montebello, 1996)

The Sessions | 3.II New Challenges for Museums | The Answers for The Issues of The Korea’s New National History Museum of Saemangeum Reclamation 166 3.II can provide very unique and attractive attractive very and unique provide can between experience. Based the MOU on and the Netherlands of the Kingdom Saemangeum regarding Korea of Republic of concept the common and project; cultural countries’ two reclamation, recommended. is program exchange Saemangeum Museum. Museum. Saemangeum as the location best is famous area This hour the closing Yet, scenery. sunset for if there Therefore, 6 PM matters. before watching with program overnight an is such meaningful events other and sunset with museums foreign connecting as cooking providing and zone, time different culture foreign with dancing or class Proposed program is a ‘Global Friend Friend a ‘Global is program Proposed which needs cooperation Week’ Museum the to related museums oversea with museums. city’s waterfront or reclamation can issue the open-hour this program, In one is The Open-hours be too. solved the Saemangeum for the complaints of the across Center Information © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT it is possible and safe. safe. and possible is it in US; (iii) ‘Excavator Drive’: kids like to to kids like Drive’: in US; (iii) ‘Excavator if specially excavator a machine an operate program at the Sejong library in Korea the library Sejong in Korea at program History Natural of Museum American and visitors can oversleep in the museum and and in the museum oversleep can visitors zone time different with a program have the oversleep instance, for community, oversea museums through online; (ii) (ii) online; through museums oversea in the Museum’: Dream & One Night ‘One Week’ for international exchange program program exchange international for Week’ from participants of meet a group to being a news maker. In this perspective, this perspective, In being a news maker. try can Museum some the Saemangeum (i) ‘Diplomat experimental programs: a difference, museums should develop develop should museums a difference, of the level with program interesting Koreans about the museum from the the from the museum about Koreans make To atmosphere. routine and fixed a news and it must be No ROUTINE. ROUTINE. be No must it a news and most of Boring the impression is , in his book, The Man Nobody Knows, Knows, Nobody Man book,, in his The the best advertisement out pointed make to is Jesus from learning strategy commercial copywriters in early 20th 20th early in copywriters commercial century US, Bruce Barton(1886~1967) The answer for this issue is to make a make to is issue this for answer The the best of One a news as maker. museum 1. Differentiation: FM (Funny Museum) FM (Funny 1. Differentiation: Museum) PM (Prototype vs. 2. Who is the focused visitor of the for kids and found the space for program 3.II The SessionsThe | 3.II Challenges New for Museums museum? by opening his office. The answer for this issue, the focused Also, his strategy and management of visitors, should be students, family the program was very flexible and well- with children and family with seniors. responded to the needs of the children. According to SDIA’s administrator, the So, the program had been changed from number of visitors to Saemangeum was showing the photo of relics to playing a over five million in 2018 after opening the movie. The museum cooperated with US bridges between Gogunsan islands (Kim, military-government office for borrowing

2020). Among millions visitors, the study a movie player and local school for | The Answers for The Issues of The Korea’s NewNational HistoryMuseum of Saemangeum Reclamation for building the Saemanguem Museum using classrooms. To define the focused (2016) expected three groups of visitors visitors can be a starting point for the such as group of kids, students and family. customized museum with the Sustainable With this expectation, the museum’s blue Development Goals. print should be child and family friendly with interesting learning opportunities. 3. Lack of the Storage Space: Open the One of examples for this program Warehouse and the Branch-Museum development is the first children museum The answer for the more space from no school in Gyeongju National Museum in space issue is to find another space in the 1954. Here, the director paid attention museum or out of the museum. The first to possible visitors and concluded the approach to find it in the museum needs focused visitors as the local children. a renovation such as opening the storage Then, he developed interesting program as an exhibition hall. A good example for this brand new trend is a Dutch Museum, Museum Boijmans Van Beuningen in Rotterdam which will display 151,000 art collections, which is almost 90% of treasures in fall 2021(McGreevy, 2020). With the vision of showing 100% whole collection to the public, the museum has

The Sessions | 3.II New Challenges for Museums | The Answers for The Issues of The Korea’s New National History Museum of Saemangeum Reclamation 168 3.II more visitors who want to see the size of see to the size of who want visitors more The development. kilometers 409 square gallery idea of other the New to similar is mentioned Art Center King Storm York 3. Issue above the of a food truck outside putting Also, a local with the cooperation museum, is association business and community required. Having a helium balloon in the a helium Having will it attract site, museum Saemanguem Hwa Castle became one of most visit visit most of Castle became one Hwa balloon the helium because of places with meter 150 over experience which flies 10 minutes for 20 passengers maximum (Lee, 2020). 4. Maximize the Outside of Museum: The The 4. Maximize Museum: the Outside of Inside. the to Visitors Outside Attracts maximize to is issue this for answer The items. attractive with area the outside is the items the for recommendation The (iii) (i) balloon, gallery, (ii) followings: beachfood (iv) activity. trucks, and Soowon ancient an in Korea, instance, For © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT storage issue can be solved through be through can solved issue storage reopening and spaces alternative finding area. a display as the warehouse can be a place for the exhibition of the the of the exhibition be for can a place of shortage the collection. Therefore, road. roads space room between two the The Due to the enormous size of sea wall, it sea size of wall,it theDue enormous to lines two and road lines even four has park as a gallery as thepark space sculptures, with seawall be for can a place Saemangeum of in the storage. the collections of exhibition Storm King Art Center, Art Center, King Storm mountain a whole using space. Furthermore, like like Furthermore, space. York New the case of Development Development also a has Corporation Museum’s collection, collection, Museum’s the Saemangeum and of SDIA’s building can can building SDIA’s of hall be exhibition an the Saemangeum for designating it as a branch museum. museum. a branch as it designating hall floor the 1st area, Saemangeum In it would be possible to contact other other contact be to possible would it space and some using for institutions building. With the first approach’s spirit, spirit, approach’s the first With building. collections, more display to which is Also, second approach is to make various various make to is approach second Also, needs to SDIA Here, branch-museums. government or public space a in find the Museum can adopt it to design the storage design the to storage it adopt can Museum area. accessible visitor’s space for invested $95 million for a new accessible new a accessible for $95 million invested Saemangeum museum. warehouse 5. Community Participation: 6. International Cooperation and More 3.II The SessionsThe | 3.II Challenges New for Museums Ambassadors, Business cooperation, and Theme: Museum friends and activities Curators via on-line One of good examples for the cooperation In the era of pandemic, international between a museum and local community cooperation has been blocked in many is Gunsan Modern History Museum in ways. There is, however, another open- Korea. This museum developed a business door for more interaction via on-line. cooperation model with local community: To make a unique and interesting (i) local food trucks can park in the museum, various attempts to build a

museum area; (ii) the museum ticket global cooperation are recommended. | The Answers for The Issues of The Korea’s NewNational HistoryMuseum of Saemangeum Reclamation gives discount for local store; and (iii) the For instances, the Saemangeum museum museum website advertises local tourism. may initiate an on-line program with the This local community friendly approach Netherlands reclamation museum to make can be adapted to the Saemangeum a friends for children. In this program, museum. the kids from each country may introduce themselves and doing some activities such as cooking traditional food, running a race in the museum. This activity will give a special impression of museum to the kids like a museum as a special door and place for global and unique experiences. Also, it can develop a type of global business As an improved method, the new museum by introducing each museum’s souvenirs may make an MOU with a local business via on-line and make a real transaction. association as a Museum’s Ambassador for Also, during the online friend program, mutually advertising through museum’s the resources for other country’s cooking website and local stores on site. Having can be imported before the program with a child curator is another rich asset for a special discount. museum. Near the Saemangeum museum, there are some elementary schools with few students. For kid-curators, it is a good learning experience about world and local history, city development, and future industry. For the museum, having a kid- curator is another attractive point not just for kid’s family members but various age groups.

The Sessions | 3.II New Challenges for Museums | The Answers for The Issues of The Korea’s New National History Museum of Saemangeum Reclamation 170 3.II Korea Korea ). MK ). MK Sky and ( 하늘과 땅, 하늘과 땅, ). Jeonbuk- . Dream of 10 10 of Dream ( https://www.mk.co.kr/ http://www.jjan.kr/news/ https://www.ajudaily.com/ http://saemangeum.go.kr/ . Retrieved from . Retrieved from Aju Business Daily Lee Sango-ho. (2020, May 15). (2020, May Lee Sango-ho. 공중에서 즐기는 특별한 여행 Air the in Journey Special Ground, Economics. Retrieved from news/culture/view/2020/05/497085/ Retrieved from articleView.html?idxno=2081285 (2020, October 6). Lim Chang-won. set to up vow Developers [INTERVIEW] reclaimed on economy hydrogen of hub land. Retrieved from view/20201006120800257 vows the largest solar farm in Jeolla. Jeolla. in farm solar the largest vows JoongAng Daily https://koreajoongangdaily.joins.com/ news/article/article.aspx?aid=3054930 19). 10 (2020, April Hyun-suk. Kim 년의 꿈, 새만금 관광 Tourism Saemangeum years, ilbo(Daily). About Saemangeum. (2020). Saemangeum Saemangeum (2020). Saemangeum. About Agency. Investment and Development Retrieved from sda/en/sub/why/SMA20001.do October (2018, 30). Moon Jin-kyu. Kang References 5 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT -19 situation which was not reflected reflected not which was -19 situation This no plan for Covid-19 has been found through interview with the acting director officer and curator on October. The officer mentioned that mentioned officer The onOctober. curator and officer director acting the interview with through found been has Covid-19 for plan no This cooperation are required. required. are cooperation the Saemangeum museum is. In order to to order In is. museum the Saemangeum dream museum’s the Saemangeum make and interest members’ true, ICOM come a good new step to join the first ICOM ICOM the first join a good to new step what introduce to and seminar online program and service will bring more service and more willprogram bring is it Indeed, the new to museum. visitors the new way of communication via on-line via on-line communication of the new way constant Also, museum. of in the world the customized tries for and renewal the visitors and museum. Under this this Under museum. and the visitors unexpected maximize can Covid-19, we of Korea’s museums shows the direction the direction shows museums Korea’s of for passion director’s of importance and fundamental questions and issues for for issues and questions fundamental history The Museum. the Saemangeum ICOM which is focused on “past and and focused which is “past on ICOM (Geraldine, The 2019). together future” raised Minister Korea’s from request However, the new museum’s direction direction the new museum’s However, by Museum of meets the new definition Covid the museum. of blueprint and the plan some challenges to be one of the best the best of be to one challenges some registered 874 Korea’s among museums unexpected overcome to and museums The new Saemangeum Museum has faced faced Museumhas new Saemangeum The the museum should be prepared the pandemic conditions. conditions. pandemic the prepared be should museum the 5 Chapter III. III. Chapter Conclusions [Money Monster] Renewable energy Saemangeum. The Korea Herald. 3.II The SessionsThe | 3.II Challenges New for Museums of Saemangeum for Green New Deal. Retrieved from http://www.koreaherald. (2020, July 1). ARIRANG TV. Retrieved com/view.php?ud=20201019000808 from https://www.youtube.com/ watch?v=RZWqiLGy2.XM Violet Kim, Gigi Ban, Sunny Kim. (2017, November 10). 33 gorgeous islands await [Money Monster] A hub of global you in South Korea. CNN. Retrieved from businesses, “Saemangeum”. (2020, July 7). https://edition.cnn.com/travel/article/ Arirang TV. Retrieved from https://www. south-korea-islands/index.html

youtube.com/watch?v=fXdyeO4V5pI | The Answers for The Issues of The Korea’s NewNational HistoryMuseum of Saemangeum Reclamation Yim Chae-jin. (2016). 새만금 박물관 Nora McGreevy. (2020, September 28). A 건립방안연구(Study of the Measurements Dutch Museum Will Display All 150,000 to Build the Saemangeum Museum). SDIA. Objects in Its Collections. Smithsonian Retrieved from http://e-learning.nhi.go.kr/ Magazine. mobile/oer/view/oerCntnsView.do?id=104 Retrieved from https://www. 627&cid=NB000120061213100114178 smithsonianmag.com/smart-news/ dutch-art-museum-depot-plans- Yim Chung. (2013, January 7). 전북, ‘ display-everything-its-collectionsyes- 새만금간척사 박물관’ 건립추진 everything-180975927/ (Jeonbuk, launching a project ‘History Museum for Saemangeum Reclamation’). Sherene Suchy. (1999). Emotional Yeonhap News. Retrieved from, HERE Intelligence, Passion and Museum Leadership. Museum Management and Jung Min-kyung. (2017, August 17). Curatorship, Vol. 18, No 1. pp. 57 [Newsmaker] S. Korea to host 2023 Retrieved from https://www.tandfonline. World Scout Jamboree. The Korea Herald. com/doi/abs/10.1080/09647779900601801 Retrieved from http://www.koreaherald. com/view.php?ud=20170817000871 Special Act on Promotion and Support for Saemangeum Project. (2018, February OECD. (2019) Museums and Local 9). Korea Law Info Center. Retrieved Development in Poland. from https://www.law.go.kr/engLsSc. Retrieved from http://www.oecd.org/cfe/ do?menuId=1&subMenuId=21# leed/Museums-and-Local-Development- in-Poland.pdf Shim Woo-hyun. (2020. October 19). SK Broadband to build renewable “새만금의 역사와 미래를 알리는 energy-powered hyperscale data center in 새만금박물관계획 고시”(Notice of the

The Sessions | 3.II New Challenges for Museums | The Answers for The Issues of The Korea’s New National History Museum of Saemangeum Reclamation 172 3.II

© ICAMT 2020 Online Conference 2020 Online Conference © ICAMT https://www. journal/news/2019/07/31072019-icom- reveals-updated-museum-definition/ Retrieved from museumsassociation.org/museums- July 31). Icom unveils new museum new museum unveils 31). Icom July Association. Museums definition. sdaSelectBoardArticle.do#LINK (2019, Adams. Geraldine Kendall (2019, October 14). SDIA. Retrieved from Retrieved from (2019, October 14). SDIA. http://saemangeum.go.kr/sda/cop/bbs/ Plan for Saemangeum Museum showing showing Museum Saemangeum for Plan Saemangeum). of Future and History the 3.II Physical and Virtual Experiences on Contemporary Museums: SessionsThe | 3.II Challenges New for Museums 7 The Case of MIS Rio de Janeiro

Patrícia Martins Mackenzie Architecture and Urbanism Faculty, São Paulo, Brazil

Abstract

Since the 1960’s the “traditional” museum bold spatial proposal to cope with virtual | Physical on and experiences contemporary virtual museums architecture has been challenged in contents and experiences, implanted at having to cope with an ever growing the loaded cultural and historical Carioca number of virtual forms of art such as landscape. videos, projections, films, performances, happenings, documentaries and video art Keywords that completely changed the relationship Physical / Virtual Experience on between one´s body and art: from an object/body/space fruition to the Contemporary Museum. apprehension of a moving image and/ *** or a moving body, that requires specific Considering the long history of technical conditions of light, acoustics, architecture, the museum typology devoted projections and sets for interaction to the displaying of art and historical between performers and visitors. artifacts has been evolving through Nowadays, the Covid-19 pandemic and the different spatial configurations that reflect need of social distancing affecting us since the status of these cultural objects and March 2020 has challenged museums and their fruition according to each cultural cultural institutions from all over the world economic context: the palaces transformed to enable multiple virtual experiences of into museums like the Louvre in Paris, its buildings, collections and exhibitions, the lined up galleries of the neoclassic fact that calls for an urgent feedback on Altes Museum in Berlin, the first designed what museums are willing to stand for exhibition hall of the Secession Pavilion in a data informed virtual era that we’re in Vienna, the adaptation of a commercial facing and what is architecture’s role building at the origins of MoMA in regarding it. Considering this context, this New York, the modern free space of the paper analyzes the MIS Rio de Janeiro by Neue National Gallerie in Berlin, the Diller Scofidio + Renfro, as a case study: postmodern walkscapes of the Stuttgart a contemporary museum that presents a National Gallery, the programmatic mix

The Sessions | 3.II New Challenges for Museums | Physical and virtual experiences on contemporary museums 174 3.II that have have that 1 http://www.movingimage.us/about/ the disruption of the narrative circulations circulations the narrative of the disruption depend on. exhibitions art objects’ that museums of examples the first Since image the moving to devoted warehouses, and buildings old adapted walls painting and windows closing we projections, image enable to black new of been seeing the appearance have configuration, its functioning, programs programs its functioning, configuration, and use. the physical still on depending Although museums the visitor, of presence and sound, images, moving to devoted as be could regarded performances the major lacking once “nontraditional” the props art and of “objects” of presence mention to them, not alongside come that ever-growing number of “black boxes” boxes” “black of number ever-growing fluidity spatial architecture’s cluttering was alsoneedfor the There layouts. and receive to apt spaces multifunctional more between of interaction modes different in museums indoors audience and artists initially not were galleriesand that Thesenew demands it. designed for spatial museums’ “traditional” defied the performer’s body in relation to his/her his/her to body in relation performer’s spaces. museum inside audience change of this impact immediate The museum’s arton first happened upgrade to infrastructure needing the achieve to systems electric data and required, connections of demand growing the the need consider to by followed , consulted on October 2020. October on , consulted © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT https://www.e-architect.co.uk/london/momi-london ) and the MOMI London – Museum of Moving Image of London was built in 1984-88 “ (…) under a fast-track ‘design, manage and and manage ‘design, a fast-track 1984-88 “ (…) under in built was London of Image Moving of – Museum London MOMI the ) and The first Moving Image Museum of USA appeared on 1988 as an adaptation of an old film studio (see: studio film old an of adaptation an on 1988 as appeared of USA Museum Image Moving first The Retrieved from: from: Retrieved 1 history Bridge”. Waterloo to road approach southern the below and park a car above was as it (…) sandwiched timetable the and contract construct’ light, acoustics and image projections, projections, image and acoustics light, by the required sets the different also, and space fruition to the apprehension of a a of the apprehension space fruition to that body, a moving or image, moving of specifictechnical conditions requires between one´s body and the works of art art of the body works between and one´s object/body/ an from the museum: inside happenings, documentaries and video art, video art, and documentaries happenings, the relationship changed completely that an ever-growing number of virtual forms virtual forms of number ever-growing an videos, as films, artperformances, such of economic contexts. contexts. economic condition this “traditional” the 1960’s Since with cope to been in having has challenged stablishes connections and builds builds and connections stablishes social cultural, and regarding statements for the fruition of the works of art and art and of the works the fruition of for artifacts, architecture historical where architecture and exhibition design could design could exhibition and architecture depend on that the ones be considered body the visitant’s of the actual presence and a good exhibition design. Thus, it is is it design. Thus, a good exhibition and museum “traditional” that assume to fair cultural objects, being these conditions the the objects, being thesecultural conditions aspects a good architecture of fundamental that depend on the visitant’s presence presence the visitant’s depend on that the with the best achieve interaction to galleries where designed targeting galleriesdesigned targeting where excellency in experiences regarding architecture objects and art, historical Guggenheim Bilbao. All these different All these different Bilbao. Guggenheim and museums for propositions spatial of Pompidou Center in Paris, and the the and in Paris, Center Pompidou of of protagonism spectacle architecture’s of architectural projects dealing with the getting the most of a real/virtual reality 3.II The SessionsThe | 3.II Challenges New for Museums complex technology of moving image experience. and interactive digital contents without As an example, Atelier des Lumières3 failing to address the multiple tasks of a has occupied the old disused Chemin- contemporary museum. The ZKM - Center Vert foundry to create a Digital Art for Art and Media Karlsruhe founded Centre in Paris. After major renovation in 1989 is an important example of the on infrastructure works, the Atelier des museum typology’s development trying to Lumières opened its doors to the public keep up and embrace contemporary art: “a with interiors transformed into a single,

cultural institution, a place that expands huge, “black box” with wall washing high | Physical on and experiences contemporary virtual museums the original tasks of the museum: a house tech moving images that hide architecture’s of all media and genres, a house of both qualities or defects, reduced as it is to spatial arts such as painting, photography multiple projection surfaces and enough and sculpture and time-based arts such free room to the visitant’s roaming inside as film, video, media art, music, dance, it. The exterior of the “black box”, however, theater and performance, with the mission remains as object of an attentive design: of continuing the classical arts into the the support programs, the welcoming of digital age.”2 its visitors, the connections with the street The project also deals with the and the city. complexities of a listed, huge, industrial Last year, the exhibition “Bjork Digital” building of the early 20th century that has occupied the Museum of Image and adds an important layer of history to the Sound of São Paulo4: all interior walls were contemporary cultural institution as a painted black and the exhibitions spaces place worth visiting, besides its multiple were divided into “stations”, as hubs, to contents. host several types of digital interactive All digital and virtual exhibitions, contents. (Ills.1,2,3,4) The awkwardness from simple wall projections to digital of bodies plugged into virtual realities environments that need room for devices was striking to the ones inside the interactions have been challenging museum, waiting their turn to connect. architecture to rethink spatial (Ills.5,6) The museum space was hopelessly configurations accordingly, demanding transformed into a sequence of zones not only sophisticated infrastructure of scattered through a big all black interior data, light and sound but quality spaces where there was nothing else to do but wait where people can move freely and safely, your turn to plug in. Even though devoted

2 Official ZKM website available at:https://zkm.de/en/the-zkm , consulted on October 2020. 3 Atelier des Lumières website available at: https://www.atelier-lumieres.com/en, consulted on October 2020. 4 Museum of Image and Sound of São Paulo website available at: https://www.mis-sp.org.br/.

The Sessions | 3.II New Challenges for Museums | Physical and virtual experiences on contemporary museums 176 3.II https://2.bp.blogspot. Exhibition “Bjork Digital” at the Museum of Image Image of Museum the at Digital” “Bjork Exhibition all it stands for. for. stands all it contemporary of times when the role In being reviewed is and museums urgent an as this stands task questioned, the International to According one. (ICOM): Museums of Committee and participatory are “museums partnership in active work and transparent, artistic proposal: an activity enabled enabled activity an artistic proposal: all its and institution a cultural by worth – a place programs complementary attractions. current its regardless visiting digital both cases discussedIn above, thorough by be considered must contents the to devoted designs architectonic without programs such of specificities and core the museum’s to attend to failing to Image and Sound content for years, years, for content Sound and Image to spatial “traditional its and the SP MIS a to prepared well not was configuration” art and Digital interactive digital content. need architectural operation modes of its body guide the visitant’s to mediation virtual without realities out both in and such of condition neglecting the “real” com/-1x2HC8-ge5c/XL-MgH7Ta2I/AAAAAAAACtw/ xjYoq5_3hNYmy5TGC3qiShyWg8AQypOxwCLcBGAs/s1600/ bj%25C3%25B6rk-digital-brasil-2.png Ill. 4. from 2019. Retrieved SP, Sound and https:// https://www. © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT https://4.bp.blogspot.com/-uCBN4pcpmlQ/ . Exhibition “Bjork Digital” at the Museum of Image and Sound Sound and Image of Museum the at Digital” “Bjork Exhibition Exhibition “Bjork Digital” at the Museum of Image and Sound Sound and Image of Museum the at Digital” “Bjork Exhibition Exhibition “Bjork Digital” at the Museum of Image and Sound Sound and Image of Museum the at Digital” “Bjork Exhibition XCR0cb6ACLcBGAs/s1600/bj%25C3%25B6rk-digital-brasil-5.png Ill. 3. from 2019. Retrieved SP, XL-VSsO18iI/AAAAAAAACuQ/ZMCu0FQivzAqo3K1WIuoz9FK- Ill. 2. from Retrieved museum. view the of 2019. Internal SP, mis-sp.org.br/assets/site/img/mis-museu-da-imagem-e-do-som1728. jpg Ill. 1. from Retrieved museum. view the 2019. External of SP, viagemladob.com/wp-content/uploads/bjork-digital-mis-sp-ft- 710x503.jpg art and history’s importance from within 3.II The SessionsThe | 3.II Challenges New for Museums each community, be it tiny little villages on the countryside or huge metropolis, all tied together through the world wide web. From this perspective, the role of architecture and exhibition design gets an outstanding importance as the beacon attracting the community to actually meet under its roof and build together their

Ill. 5. Exhibition “Bjork Digital” at the Museum of Image own values and cultural statements, so | Physical on and experiences contemporary virtual museums and Sound SP, 2019. Retrieved from https://imagens.som13. com/3051529/3051529/esta-confirmada-exposicao-da-bjork-aqui- they can be disseminated to the world. no-brasil-no-mis-3_foto.jpg Therefore, the physical presence and the group recognition of the community inside the museum remain essential for the possibility of a fruitful virtual experience of “traditional” or “nontraditional” museums in contemporary contexts. It is my opinion, as an architect, all this is only going to be possible though a powerful architecture design. The Covid-19 pandemic and the need of

Ill. 6. Exhibition “Bjork Digital” at the Museum of Image and Sound social distancing affecting us since March SP, 2019. Internal view of the museum. Retrieved from https://3. bp.blogspot.com/-bS-B_0d4dEU/XL-csurzp0I/AAAAAAAACuc/ 2020 has challenged museums and cultural Fae9l-4eBmkBDlayjD-6Q_0J5T2A94-vACLcBGAs/s1600/ institutions from all over the world to bj%25C3%25B6rk-digital-brasil-6.png enable multiple virtual experiences of its with and for diverse communities to buildings, collections and exhibitions, collect, preserve, research, interpret, posing an unavoidable question: what exhibit and enhance understandings of can and should remain virtual and what the world, aiming to contribute to human needs to come back to “normal”. This dignity and social justice, global equality fact calls for an urgent feedback on what and planetary wellbeing.” This proposal museums are willing to stand for in a concerns and calls for a renewed role data informed virtual era that we’re facing where museums and cultural institutions and what is architecture’s role regarding must build a strong link with its local and it. Once museums allow virtual access to global community, assuming tasks that go its exhibitions and contents, the physical beyond the displaying works of art and presence of the visitor inside the museum historical artifacts, but the building of gets a dramatic tone: why bother taking

The Sessions | 3.II New Challenges for Museums | Physical and virtual experiences on contemporary museums 178 3.II 5 https://cdn.sanity.io/images/q2tdbkqz/production/ https://dsrny.com/project/museum-of-image-and-sound MIS Rio de Janeiro by DS+R. Facade and main circulation. circulation. main and DS+R. Facade by Janeiro de MIS Rio Ill. 8. Retrieved from BGOUe0yhzlC7NRzo9NJCAfhs-2200x4950.jpg?w=1500&fit=max museum. The “Vertical Boulevard” gestures gestures Boulevard” “Vertical The museum. traverses gently it inclusiveness: toward to branches spaces and outdoor and indoor spaces programs, galleries,make education entertainment.” and leisure public of Marx’s sidewalk inside the building as a a as sidewalk the building inside Marx’s to the facade up walkthrough continuous (Ill.8) theater. open-air an the roof, proposed as promenade architectural The up bottom a through lead the public support and exhibitions of sequence that steps generous by enabled programs The project is totally committed to the to the committed totally is project The Carioca of way physical and cultural Burle of the continuity proposing life, > Consulted on September and October 2020. October and September on > Consulted © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT MIS Rio de Janeiro by DS+R. External view Retrieved from DS+R. view External by Retrieved Janeiro de MIS Rio The passage was quoted from Diller Scofidio + Renfro official website. Retrieved from: < Retrieved website. official Renfro + Scofidio Diller from quoted was passage The PtDN4z2xf-1375x1650.jpg?w=1000&fit=max&q=90 Ill. 7. https://cdn.sanity.io/images/q2tdbkqz/productiongTlW3NZ5rjvgzPF ?index=false&tags=cultural§ion=projects 5 the boulevard, stretched vertically into the the vertically into stretched the boulevard, beach—a space of the public in motion— the public beach—a space of The automobile. and bicycle foot, on of extension an as conceived is building According to the architects, “The the architects, to According the of the element key captures promenade located right on the famous Burle Marx Marx Burle thefamous on right located sidewalk,Copacabana the sea. facing (Ill.7) New York architecture office Diller office architecture York New building an 8-story is It Scofidio+Renfro. an interesting proposal. It has gained gained has It proposal. interesting an an of the result as new headquarters the by won competition international presented above, the Museum of Image Image of the Museum above, presented presents Rio de Janeiro of Sound and one’s time to go to the museum anyway? anyway? the museum to go time to one’s the questions regarding a case study As sews the facade, promoting an intense and white images and films, and also 3.II The SessionsThe | 3.II Challenges New for Museums interaction between inside activities and music, through projections and interactive the exterior landscape: the city, the beach, stations throughout the building. (Ill.9) the sidewalk and the sea.6 The closed exhibition rooms are The museography design by Daniella strategically located within the Thomas and Felipe Tassara has used many architectonic design, building up the thematic rooms to show historical black circuit, using transparences and suspended walls that, together with the complex spatial design, permits crossed views

that superimposes different glimpses of | Physical on and experiences contemporary virtual museums different exhibitions, frequently reaching out the landscape outside trough the façade’s aluminum cobogós. (Ills.10,11) These spatial tools enhance the feeling of permanent awareness about the place one is in. Ill. 9. MIS Rio de Janeiro by DS+R. Museography by Daniella Thomas and Felipe Tassara. Retrieved fromhttps://dsrny.com/ A simulated view of the “A Banda” project/museum-of-image-and-sound?index=false&tags=cultural& exhibition (Ill.12), highlights the designs’ section=projects

Ill. 10. MIS Rio de Janeiro by DS+R. Museography by Daniella Thomas and Felipe Tassara: “Carmem Miranda” exhibition room. Retrieved from https:// dsrny.com/project/museum-of- image-and-sound?index=false&t ags=cultural§ion=projects

Ill. 11. MIS Rio de Janeiro by DS+R. Museography by Daniella Thomas and Felipe Tassara: “Espírito Carioca” exhibition room. Retrieved from https:// dsrny.com/project/museum-of- image-and-sound?index=false&t ags=cultural§ion=projects

All the commentaries on the MIS Rio de Janeiro project were made possible through the material available at the Diller Scofidio + Renfro website: Consulted on September and October 2020.

The Sessions | 3.II New Challenges for Museums | Physical and virtual experiences on contemporary museums 180 3.II museum: to serve as a place open for all, all, serve to for museum: open a place as fortifies and builds the community where collective through values cultural its its ensuring in soexperiences, doing and in the global place community.(Ill.13) own To conclude, the Museum of Image Image of the Museum conclude, To us offers Rio Janeiro de of Sound and a contemporary of example a valuable a bold statement: presents that museum a state- provide to able architecture an virtual and infrastructure for of-the-art neglecting the without digital contents a contemporary of quality important most © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT https://cdn.sanity.io/images/q2tdbkqz/ MIS Rio de Janeiro by DS+R. Open air theather. theather. DS+R. Open air by Janeiro de MIS Rio MIS Rio de Janeiro by DS+R. Museography by Daniella Daniella by DS+R. Museography by Janeiro de MIS Rio https://dsrny.com/project/museum-of-image-and-sound?index= jpg?w=1000&fit=max&q=90 Ill. 13. Retrieved from production/Ahnsppez79hm3UP2oQrDqOMf-3000x2250. inside and outside the museum. the museum. outside and inside architecture’s features that promote a lively a lively promote that features architecture’s happening is between what conversation spatial richness, allowing simultaneous simultaneous allowing richness, spatial and exhibitions different views of false&tags=cultural§ion=projects Ill. 12. Retrieved room. exhibition “A Banda” Tassara: Felipe and Thomas from 3.II From Revolution to Lyrical Paysage. SessionsThe | 3.II Challenges New for Museums 8 The Experience of Reuse of the Exhibition Architecture in the Museum of Russian Impressionism

Yulia Petrova Museum of Russian Impressionism, Moscow, Russia

Abstract | From Revolution to Lyrical Paysage. As a modern museum, we always the Museum of Russian Impressionism appreciate the solutions which allow us managed to make the new architecture to reuse some pieces of an exhibition design based on the constructions which architecture. It saves both money and the we already had, and created its own environment. But since the coronavirus identity for the new project. changed the museum reality, the necessity to be creative and thrifty has Keywords become paramount, and now, more than Museum ever, we are interested in keeping sources *** and sharing ideas among the colleagues around the world. Architecture In the Museum of Russian *** Impressionism, we have only one space Exhibition Design for temporary exhibitions, therefore the *** following exhibition replaces the previous Reuse one and it is always a challenge for us to make the same walls tell a different story The Museum of Russian Impressionism for our visitors. was opened in Moscow in 2016. It is a Due to the situation, we were forced to private museum, which is unusual for postpone the opening of a new exhibition Russia, because most of the museums and, moreover, to review the museum’s are state-owned. The size of our building expenses. In that case, we decided to is 2569,3 m², including 881,7 m² of keep the better half of the architecture exhibition spaces. Despite having a small and somehow integrate it into the new building and permanent exhibition exhibition, which is, to be precise, we remain competitive with the larger extremely different from the previous museums. We have 170 000 visitors one. Therefore, we will show you how annually and our permanent exhibitions

The Sessions | 3.II New Challenges for Museums | From Revolution to Lyrical Paysage. 182 3.II emotional engagement for the visitors. the visitors. for engagement emotional Museum of Russian Impressionism Russian of ©Museum Petrova_2 use we the atmosphere create to order In deep and metanarratives storytelling, for both amateurs and the professional the professional and both amateurs for unknown Speaking about community. a create vital to absolutely is masters character. distinctive Another topic of our interest is to show show to is interest our of topic Another and admired who artists, were Russian afterwards but in their lifetime popular common most The became forgotten. the USSR from the emigration is reason from the exclusion a result, as and, of the lack art history and the national heard have times we Many here. awareness new open names exhibitions our that countries, for instance, we have already already have we instance, for countries, and Armenian of theexhibitions had impressionism. Spanish from colleagues with negotiate we Now of exhibition an have to hope and Japan to hope Also we Impressionism. Japan some at Impressionism American show point. © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT examples of Impressionism from other other from Impressionism of examples Garde and Soviet art. and Garde in the interested are we that, from Apart movements in Russia: in Russia: movements Avant- Russian impressionism, Russian to the 1930s. This the 1930s. This to period is because there fascinating art several different are than that. We explore the art the art explore We that. than the 1890s from movements Director have decided that decided that have Director will be more exhibitions our founder of the Museum the Museum of founder its as me and Boris Mints dedicated to the Russian impressionism as as impressionism the Russian to dedicated a phenomenon. the beginning the from But Russian businessman and philanthropist philanthropist and businessman Russian is exhibition Our permanent Boris Mints. The Museum of Russian Impressionism Impressionism Russian of Museum The collection of basedis the private on Museum of Russian Impressionism Russian of Museum © Petrova_1 Saint-Petersburg. are always among the 30 most visited visited the 30 most among always are and in Moscow the year of exhibitions To achieve it we use the following we have only one space for temporary 3.II The SessionsThe | 3.II Challenges New for Museums methods: exhibitions which floor space is 549 • Music (contemporary to the artist, his м², therefore the following exhibition favorite or somehow important in his replaces the previous one and it is always life songs and compositions) a question for us how to make the same • Poetry reading walls tell a different story. • Reading the authentic letters and Just before the pandemic, we opened the memoirs exhibition of Russian-French artist Yuri • Documentary recordings Annenkov, whose life was dramatically

• Feature films changed by the Russian Revolution of 1917 | From Revolution to Lyrical Paysage. • Or animated cartoons created by and civil war. In this project, storytelling contemporary artists specially for this and museum scenography were key parts exhibition of the perception. • VR technologies The exhibition was called “Revolution • Perfumes, created or selected for the behind the door” and this title was exhibition polysemic. Firstly, it mirrors Yuri Annenkov’s reality because revolutionary Speaking about perfumes, the smell could firefights and protests were literally near be a direct association to the painting like, the painter’s studio. And secondly when for example, the smell of garden flowers or he immigrated in 1924 to France he velour grasses. But also it is a wonderful figuratively closed the door and left Russia process of creation or recreation, because, and the Revolution behind. In that case for for example, for Annenkov exhibition this exhibition we built the additional wall our partner Nose perfumes recreated the in order to give the visitors a feeling that favourite perfume of Russian Poetess Anna they are crossing the line along with the Akhmatova “Le Parfum Ideal” originally Artist. released by Houbigant in 1896. Then according to our exhibition plan, we Initially we added perfumes and music for were going to open our next exhibition our visually challenged visitors in order to in June, but due to the situation we broaden their impressions. But we noticed were forced to postpone the opening that it helps everyone and visitors love it, to September and, moreover, to review especially the youngest ones. the museum’s expenses. In that case we Nevertheless we believe that the most decided to keep the better half of the impressive tool is the architecture. The architecture and somehow integrate it into color palette, the lightning and design a new exhibition, which, to be frank, is are key parts. But the challenge is that in extremely different from the previous one. the Museum of Russian Impressionism

The Sessions | 3.II New Challenges for Museums | From Revolution to Lyrical Paysage. 184 3.II cheaper as well. The big showcase was was showcase big The well. as cheaper Annenkov’s likewisethe after reused color. its changed just have we exhibition, the postcards works, the graphic After there. displayed were magazines and we refurbishment through Сonsequently, the mood. change to managed have Kaluga Museum of Fine Arts Fine of Museum Kaluga © Petrova_4 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Museum of Russian Impressionism Russian of ©Museum Petrova_3 plexiglass which is safer than glass and glass and than safer which is plexiglass wallpapers. wallpapers. also are windows stained-glass Bright of made and the paintings by inspired colouring, which is cheaper and more more and cheaper which is colouring, vintage or custom real than usable paintings. The striped wallpapers like like striped The wallpapers paintings. actually a are paintings in Vinogradov’s transform and reuse it. Our permanent Our permanent it. reuse and transform water-based with also colored walls were the by inspired was the color but paint fibreboard (MDF) and colored with with colored and (MDF) fibreboard to a decision made We paint. water-based constructions and reuse them. We had the the had them. We reuse and constructions medium-density wallof temporary made favourite subjects is life of country gentry. of life is subjects favourite the expensive keep to was Our aim Vinogradov, who avoided any mention mention any who avoided Vinogradov, and pleasant developed and revolution of peaceful his of art. One in his themes were displayed we were going to open the the open to going were we displayed were Sergey contemporary his by lyrical one Instead of the revolutionary exhibition exhibition the revolutionary of Instead Lev several of Trotsky where portraits 3.II The SessionsThe | 3.II Challenges New for Museums | From Revolution to Lyrical Paysage.

New challenges forced us to find new solutions and we are capable of making the visitors’ experience different and memorable using all available sources. Our case is an example of the possibility to reduce the initial budget without losing the quality of the exhibition.

© ICAMT 2020 Online Conference 186 © ICAMT 2020 Online Conference 187 2020 Online Conference 187 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT Technical issues and materials for better and sustainable exhibitions exhibitions sustainable and better for materials and issues Technical realities low-budget for Solutions case studies approach Post-pandemic Digital innovation Digital innovation Special thanks to the Conference participants – all panelists and, of course, the the course, of and, – all panelists participants Special the Conference to thanks audience. speaker. members. ICAMT board – team organizing The Conference Our sponsor: “Imagemakers”. ICOM president Mr. Alberto Garlandini, who found time and joined us as an invited invited an as us joined time and who found Alberto Garlandini, Mr. president ICOM From ICAMT Online Conference 2020 Conference Online ICAMT From Nana Meparishvili Nana ICAMT of Chair usual, on-site format next year. Let’s hope for better times together! times together! better for hope Let’s year. next format on-site usual, All listed issues are useful tips for our next conference, which – we hope – will hope be which in – we held conference, next our useful for tips are issues All listed • • • • The survey results also showed that our audience is eager to know more about: more to know is eager audience our that survey The alsoshowed results Conference: 61% of the attendees found it very interesting, and 67% would highly highly 67% would and very it interesting, found the attendees of 61% Conference: from new voices hear to happy were participants their friends. to Most it recommend world. of the regions different The organizing group launched a survey that gave good feedback and insights of the of the good insights and feedback survey a gave launched that group organizing The attendees joined us each day: professionals, students, young people and new members new members and people young students, day: each us joined professionals, attendees conference, ofproceedings the (electronic publication The countries. different eight from website. ICAMT’s on available is allwith the presentations) The Conference welcomed 18 panelists from 11 different countries. Around 90 to 100 to 100 90 Around countries. different 11 from 18 panelists welcomed The Conference • • • • The first online conference in ICAMT’s history finished and it was successful. I would love love would I successful. was it and history finished ICAMT’s in conference online first The people: so thank to many Dear Members and Friends, Friends, and Dear Members 186 © ICAMT 2020 Online Conference 2020 Online Conference © ICAMT v