Browsing by Subject "Museum"

Although an integral part of art historical studies, authentic experiences of architecture have been excluded from the cathedrals of cultural objects, art museums. The built forms can seldomly fit into the doors of museums like art objects in a collection, due to their physical sizes and inseparable links with their surrounding environment. When architecture is presented under traditional museum setting, the visitor experience is often mediated and created by photos, videos, and scaled models. When architectures are converted into public spaces like tourists’ sites, onsite experiences in these spaces are typically biased for a particular duration of time and weather. Interaction with the space is limited due to preservation concerns. This project aims to provide an alternative architectural experience in response to these above limitations using digital methods, instead of trying to substitute the traditional museum experience or the authentic onsite experience. The digital component of this project curates a virtual space using the early access version of Unreal Engine 5, as an exploration of the state-of-the-art technologies in rendering virtual spaces. The project contains three example scenes: Church of the Light, Glass House, and Dom-Ino House. Instead of merely promoting a virtual or a physical experience of architecture, this study takes a critical stance towards the growing attention around digitization and discusses the possibilities of experiencing architecture in a virtual setting.

*Designated as an exemplary master's project for 2015-16*

Decoding Artifacts is a project that explores the ways in which technologies and interactive media enhance the museum visitor’s learning experience with art. The digital components of the project include a website and a mobile application, both hosting historical content, educational videos, images, 3D models, and an augmented reality experience. These virtual tools offer information to the viewer beyond the museum label, and aim to create a multi-sensory learning environment through an interactive dialogue between the public and the work of art. The thesis paper discusses how and why art museums are adapting to modern technological trends and the affordances of digital tools in museum education and outreach. The Decoding Artifacts project will use the example of medieval sculpture and the process of stone carving as case studies which discuss and demonstrate the effectiveness of virtual technologies in museum experiences.

In recent years, digital technology has become ubiquitous in the museum. They have changed the ways museums document, preserve and present cultural heritage. Now, we are exploring if there are some ways that could provide more historical context to a displayed object and make an exhibition more immersive. Therefore, we did a project called “The Virtual Reality Touch Museum” and used an experiment to test if such museum performs better on “Presence” and learning achievements. As the results show, our VR Touch Museum was outstanding in “presence” but more research is necessary to verify how effective it is for learning.

This dissertation analyzes Wolf Vostell's Fluxus Zug, 1981, arguing that it was simultaneously a work of art, a museum, an academy, and an archive. I explore the art work/alternative institution in relation to other museums that Vostell conceived and realized from the 1960s until his death in 1998; the interdisciplinary collaborations that he established in the 1960s; his concept for an ideal academy from 1969; the archive that he began building in the 1950s; and recent theories of the Archive. This microhistorical study reveals Vostell's centrality to contemporary experimental art. I argue that the spirit of Vostell's art and ideas are very much alive today as artists demonstrate widespread interest in curating as an art practice, in the construction of alternative pedagogies, and in working in, with, and against the Archive.