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Objective: This study examines the intricate interplay between architectural design and visitor emotional responses at the Jewish Museum Berlin, focusing on how specific spatial elements such as the Holocaust Tower, Garden of Exile, The Voids, and The Axis elicit varied affective experiences. The research aims to extend the discourse on environmental psychology and architectural empathy, particularly within the context of memorial museums. Method: Employing a non-intrusive approach, the study gathered emotional response data using the Positive and Negative Affect Schedule (PANAS) from113 museum visitors, with 102 valid responses analyzed. Environmental conditions such as light, sound, and spatial design were quantitativelymeasured to correlate with emotional responses captured at the end of visitors' tours across the designated museum spaces. Results: Findings revealed that architectural elements significantly influence emotional responses. High levels of negative emotions like fear and anxiety were markedly evident in the Holocaust Tower due to its minimal lighting and stark concrete structure. Conversely, the Garden of Exile induced more positive emotions through its use of natural light and greenery, emphasizing the role of biophilic design in enhancing emotional well-being. Statistical analysis supported these observations, with variations in emotional impact across different spaces demonstrating the profound effect of architectural design on visitor experiences. Conclusion: This study confirms that a variety of design elements and spatial strategies not only facilitate the presentation of historical narratives but also actively sculpt the emotional involvement and experiences of visitors. Our findings highlight the efficacy of emotionally-oriented architectural design in deepening the impact and engagement of museum visitors, emphasizing the transformative power of these environments in shaping visitor perceptions and interactions. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic has affected many public places, including museums, which have experienced unprecedented situations, such as lockdowns and reopening with physical distancing requirements. Therefore, physical museums' welcoming experience for visitors warrants greater research attention today. The entrance gate, foyer, and surroundings are areas that people must touch and pass through to enter the museum. To increase museums' popularity and attract people from the very start of their visit, museum authorities must consider the appearance and the environment of the space where people first arrive when entering the museum. Therefore, this study proposes the arrival space as a new concept to examine how to create a welcoming arrival space in museums. By analyzing the Hintze and Earth Halls in London's Natural History Museum, the design principles of a museum's welcoming experience are described from a space design perspective as a reference for future museum development. [ABSTRACT FROM AUTHOR]

Museums serve as essential repositories of cultural heritage, evolving over time to fulfill diverse societal needs. This paper explores the historical evolution and contemporary manifestations of museum spatial composition, emphasizing the pivotal role of architecture and technological integration. Through a comprehensive literature review and research design, the study elucidates the multifaceted nature of professional activities within museums and their impact on spatial organization. Key findings suggest that museums should integrate administrative-legal research, preservation efforts, exhibit management, and social engagement activities to create holistic and educational environments. Furthermore, the paper presents a spatial composition pattern diagram for museums, highlighting vital functional relationships among various spaces. This study lays the groundwork for future research into museum design and its implications for visitor experiences and societal perceptions. [ABSTRACT FROM AUTHOR]

This study concentrates on the value of the interior design profession and how a concept and scale approach can enable a holistic professional approach. The emphasis of the paper is on interior design education, particularly the second-year studio where the interior design process is learned. The adaptive reuse project building was in Çeşme, Turkey and designed as a museum for a chosen artist. The method involved understanding the design process as a whole, beginning from a larger scale that includes landscape, leading to the detailing scale. While the first semester emphasized abstract issues, the second semester focused on materialization of ideas into applicable decisions. The project process was divided into four stages within each semester. The resulting projects drawings and models represented advanced levels of knowledge regarding the stages and process of interior design, its components, as well as an understanding of larger and smaller scales inherently connected to the profession.

As China's growth slows, the government targets high-value-added services for development. These policies can surface in unexpected places. One is the booming museum industry where, as local governments build museums as part of development projects, museum production companies grow rapidly on government capital. For one design firm, the theme of 'growth' animated not only a history museum they designed, but also directors' stories about the firm, and rituals celebrating their IPO. I find that all these narratives of growth celebrated the enmeshment of state and market. The ethnography of state-market hybridity shows how market freedom is an ideology requiring constant maintenance. But in China markets are understood as tools for government caretaking, raising instead the question: when state-market hybridity is the explicit ideology, how is it maintained? I argue that 'exhibitions of growth' do this by claiming that this hybridity itself will drive growth and transform the economy. [ABSTRACT FROM AUTHOR]

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Museums are buildings or complexes that exhibit, protect and investigate the artifacts in the service of community by their sociocultural, aesthetic, economic and educational functions. This bibliometric analysis on museum architecture comprehends 135 publications written by 200 authors from 28 countries, where architecture, art, humanities multidisciplinary, education, educational research and social sciences interdisciplinary are the main fields of the research in the Web of Science database. A bibliometric analysis tool called VOSviewer was used while analyzing the data gathered by webometrics. USA produced 13.33 % of the world’s publications on ‘museum architecture’, which is the first country with the highest number of publications with 18 documents. The most used keywords in the literature are ‘museum’, ‘architecture’ and ‘art’. This study was the first bibliometric analysis that ensures statistical and holistic information on museum architecture literature, which was applied on indexes in Web of Science Core Collection between 1980 and 2020. It is aimed to encourage scholars to carry out further studies on museum architecture. [ABSTRACT FROM AUTHOR]

The article examines display methods of Christian art in museums and showrooms. The history of exposition of religious art dates back about 150 years. Throughout museum existence the social role of religious art and museum was understood differently because the demonstration purposes, problems and methods were very different. Recently museum researchers define a museum as an ideological institute where ideology is the process of producing meanings and fixing them as norms. Display methods are described as the methods of creating meanings. When the museum displays certain objects, it shows not only the translation of the dominant knowledge, but also the principles of perception of reality. The analysis of the variety of museum interpretations of the Christian art throughout the entire time of its exhibition allows distinguishing three main approaches: Christian art as an illustration of ideas and concepts, as an artistic work and as a sacred object. Each of them has its own conceptualization, history of application and use in modern practice. The purpose of this article is to study the already developed techniques, sometimes slightly modified, which are used in museum expositions of the last two or three decades. One approach to displaying icons, temple sculptures and objects of decorative and applied art for liturgical purposes in a modern museum considers them as illustrations of certain scientific or cultural concepts, as well as historical documents. One of the versions of this approach is the representation of the religious art as an ethnographic material. Another approach to exhibiting is based on treating icons and liturgical items as works of art. They are considered as recognized masterpieces that should bring the viewer aesthetic pleasure. An important manifestation of artistic and aesthetic positions in such art is the use of specific art concepts for its description: the picturesque features of the region or school, the manner of writing. In modern exhibition practice, this type of demonstration is one of the leading and most common. The third type of display is based on understanding of the Christian art as a sacred object. In this case, with the help of exposition techniques the space of the temple is reconstructed in the halls of museums, the objects of display are symbolically returned to their original surroundings. Moreover, there is a complete reconstruction of the interior of the Church, as well as of its elements, even if they are only a hint of associative reference to the sacred spaces. As a result of the analysis of three main methods of exhibiting the Christian art, the author comes to conclusion that the modern practice of museum demonstration combines previously developed methods of display. The three main techniques described in the article only allow dividing the variety of existing expositions into parts. The actual museum activity is much more complex and in the same exhibition there are sometimes elements of different techniques that complement each other. В статье рассматриваются современные способы показа церковного искусства в музеях и выставочных залах. История его экспонирования насчитывает около 150 лет. На всём протяжении своего музейного бытования роль церковного искусства по-разному понималась обществом и самим музеем. Поэтому цели и задачи, а также методы демонстрации были весьма различны. Современные музейные исследования определяют музей как идеологическую инстанцию; при этом идеологией называется процесс производства смыслов и закрепления их в статусе норм. В качестве одного из методов формирования смыслов выступают способы показа. По тому, как музей показывает те или иные объекты, можно судить не только о трансляции доминирующих знаний, но и о самих принципах восприятия реальности. Анализ разнообразия музейных интерпретаций церковного искусства на протяжении всего времени его экспонирования позволяет выделить три основные подхода: церковное искусство понимается (1) как иллюстрация идей и концепций, (2) как художественное произведение и (3) как сакральный объект. Каждый из подходов имеет свои концептуализацию, историю применения и примеры использования в современной практике. Задача данной статьи – попытаться проследить, как уже наработанные приёмы, иногда несколько видоизменяясь, находят применение в экспозициях музеев последних двух-трёх десятилетий. Один из подходов к демонстрации икон, храмовых скульптур и предметов декоративно-прикладного искусства богослужебного назначения в современном музее рассматривает их в качестве иллюстраций некоторых мировоззренческих или социокультурных концепций, а также как исторические документы. Одним из вариантов такого подхода является представление церковного искусства как этнографического материала. Другой подход к экспонированию базируется на отношении к иконе и богослужебным предметам как к произведениям искусства. Они рассматриваются в качестве признанных шедевров, которые должны вызвать у зрителя эстетическое наслаждение. Важным проявлением художественно-эстетических позиций при рассмотрении такого искусства является использование для его описания характерных искусствоведческих понятий: живописные особенности региона или школы, манера письма. В современной экспозиционной практике этот тип демонстрации является наиболее распространённым. В основе третьего типа экспонирования лежит понимание произведения церковного искусства как сакрального объекта. В этом случае с помощью экспозиционных приёмов в залах музея реконструируется пространство храма, а предметы показа символически возвращаются в их изначальное окружение. В результате анализа трёх основных приёмов экспонирования церковного искусства автор приходит к выводу, что современная практика музейной демонстрации совмещает в себе ранее наработанные способы показа. Три основные приёма, описанные в статье, позволяют лишь достаточно условно разделить всё многообразие существующих экспозиций. Реальная музейная деятельность значительно сложнее, и подчас в одной выставке сочетаются элементы разных приёмов, которые взаимно дополняют друг друга.

Objective: This study examines the intricate interplay between architectural design and visitor emotional responses at the Jewish Museum Berlin, focusing on how specific spatial elements such as the Holocaust Tower, Garden of Exile, The Voids, and The Axis elicit varied affective experiences. The research aims to extend the discourse on environmental psychology and architectural empathy, particularly within the context of memorial museums., Method: Employing a non-intrusive approach, the study gathered emotional response data using the Positive and Negative Affect Schedule (PANAS) from 113 museum visitors, with 102 valid responses analyzed. Environmental conditions such as light, sound, and spatial design were quantitatively measured to correlate with emotional responses captured at the end of visitors' tours across the designated museum spaces., Results: Findings revealed that architectural elements significantly influence emotional responses. High levels of negative emotions like fear and anxiety were markedly evident in the Holocaust Tower due to its minimal lighting and stark concrete structure. Conversely, the Garden of Exile induced more positive emotions through its use of natural light and greenery, emphasizing the role of biophilic design in enhancing emotional well-being. Statistical analysis supported these observations, with variations in emotional impact across different spaces demonstrating the profound effect of architectural design on visitor experiences., Conclusion: This study confirms that a variety of design elements and spatial strategies not only facilitate the presentation of historical narratives but also actively sculpt the emotional involvement and experiences of visitors. Our findings highlight the efficacy of emotionally-oriented architectural design in deepening the impact and engagement of museum visitors, emphasizing the transformative power of these environments in shaping visitor perceptions and interactions., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2024 Zhang, Lu and Zhang.)

The article presents an analysis of the interventions carried out as part of the revitalisation of the complex of tenement houses on Strona Dekerta Starego Miasta na Rynku (Dekert’s Side of the Old Town Market Square) in Warsaw. The design works in question took place between 2014 and 2017, resulting in the reconstruction of the Museum of Warsaw and the adaption of its space to the current needs. The article describes the conservation activities undertaken in the tenement houses over the last one hundred years, the main focus being put on the conditions, project process and final outcome of the revitalisation. As highlighted by the author, the most recent interventions in the Museum of Warsaw’s tenement houses were completed with awareness of the object’s great historic value as an important component of the Old Town inscribed in the UNESCO World Heritage List. They are an example of typically Polish conservation interventions and a specific attitude towards architectural monuments, which were in great part lost by Poland as a result of warfare.

Since the launch of online video portals in 2005, museums have encouraged visitors to upload and share their visits online. Although much has been written about visitors’ experiences in museums, very little exists on the impact virtual visits have on viewers. In this qualitative pilot study, a total of 2035 emotional reactions were recorded and analyzed after visiting 14 online museums using a facial expression recognition software. Following open and axial coding techniques, themes and subcategories emerged. Findings showed that while the background of the participant mediated how one experiences a museum online, certain architectural and exhibit attributes, if present, triggered similar emotions to those experienced in an in-person visit. Findings suggest that experiencing museums through online video portals may be as engaging as visiting museums in person—only if the creator captures a significant proportion of architectural details, transitioning of spaces and exhibits details. Further findings showed that facial expression software reveals what captures virtual visitors’ emotions, and what architectural and exhibit features keep them curious and engaged.

In design, archetypes are viewed as sources of initial ideas, "ingredients" for further idea explorations for variations, combinations, and transformations. How can archetypes be introduced to novice designers and be used to help the creative ideation process? This article is a report on a study examining potential instructional approaches to exploit a set of multiple archetypes as previous knowledge schemas for the novice designer's pre-ideation stage, a prelogical abstract thinking stage that occurs before an actual ideation activity. The study examines the benefit of implementing a computer-aided archetype-based generative abstraction system and virtual reality technology with archetype-based pre-ideation exercises in enhancing creativity in the domain of museum exhibition design. To measure the effect of different instructional approaches to an archetype-based pre-ideation exercise on creativity, three different instructional methods were compared: 1) manual sketching; 2) the archetype-based generative abstraction system displayed on a 2D screen; and 3) the archetype-based generative abstraction system displayed on a 2D screen with an opportunity to view their explorations in a virtual environment. Findings revealed that the ideation exercises using the archetype-based generative abstraction system prior to the actual design process have a positive value in fostering creativity in subsequent creative design activities mainly by encouraging synthetic thinking. [ABSTRACT FROM AUTHOR]

With the development of a global museum culture since the eighties, called ‘curationism’ by David Balzer, the question of how to show ancient art both in newly founded institutions and in refurbished historic displays, is more than ever relevant. As much as contemporary art, artistic heritage participates in the new cultural discourse defining nations and communities, channelled through world-class museums and galleries. In that context, the Islamic artistic traditions gained tremendous visibility, as venues like the Museum of the Islamic Art in Doha or the Louvre’s new scenography in Paris, put these traditions on the forefront of the international stage. This article examines this museology in transcultural perspective, through a comparison between Islamic and Korean ceramics installations in the renovated Ashmolean Museum in Oxford, and in the Leeum, in Seoul. The former privileges an archaeological narrative, the latter an aesthetic phenomenological approach. In revealing a qualitative asymmetry between the exhibitory practices in the areas of Islamic and East Asian art, this comparison allows for further discussion about museological issues such as the tension between didacticism and aesthetics, or the competitive relationship between architecture, design, and art in the displays’ space. Ultimately, the comparison posits East Asian experimentalism as a model from which to draw inspiration for reinventing the curation of Islamic art.

The Italian historiography of the architecture of the second half of the Twentieth century has not given due weight to the dialectic qualities of work of Franco Minissi on ancient structures. He became known for the debate on the use of innovative materials in archaeological sites and not for the extent of his contributions. The world do not know his museums, Italian and not, his many conservation and restoration projects, his archaeological parks, redevelopments of historic centres, new buildings, interior design projects, shops and exhibitions. A reading of his museological works alongside of his experiments on archaeological sites, can help highlight the conceptual congruence with which Minissi tried to meet the needs of the present and the preservation of antiquities, as a dialogue with the past, of refined sensibility and intended to a reversibility respectful of preexistence. This places him among the key figures of the origins of the critical restoration, as an inspiration that continues to offer fruitful ideas to the new generations.

The public's engagement in museum projects is widely encouraged. However, public participation may also passively impact the relationship of museum and their publics if any existing conflicts cannot be identified and resolved. This paper organised a group of public participants to use Plurality Voting Sheets (PVSs) and Idea Rating Sheets (IRSs) in a museum design project, in order to find out: (1) Which method can generate more in-depth judgements? and (2) Which method can reveal more potential conflicts? The proposed project was the curation of a dinosaur exhibition at the Nottingham Natural History Museum, Wollaton Hall. The results prove that, firstly, IRSs can generate a higher quantity of in-depth judgement than PVSs, and secondly, IRSs can disclose more conflicts than PVSs do. Generally, it is arguable that the performance of IRSs in the judgement-making stage is better than that of PVSs. However, IRSs still require more testing in public participation situations. [ABSTRACT FROM AUTHOR]

The Italian historiography of the architecture of the second half of the Twentieth century has not given due weight to the dialectic qualities of work of Franco Minissi on ancient structures. He became known for the debate on the use of innovative materials in archaeological sites and not for the extent of his contributions. The world do not know his museums, Italian and not, his many conservation and restoration projects, his archaeological parks, redevelopments of historic centres, new buildings, interior design projects, shops and exhibitions. A reading of his museological works alongside of his experiments on archaeological sites, can help highlight the conceptual congruence with which Minissi tried to meet the needs of the present and the preservation of antiquities, as a dialogue with the past, of refined sensibility and intended to a reversibility respectful of preexistence. This places him among the key figures of the origins of the critical restoration, as an inspiration that continues to offer fruitful ideas to the new generations. [ABSTRACT FROM AUTHOR]

This article discusses the architectural conversion of the historical Gliwice Pre-Burial House into the Museum of Upper Silesian Jews. It describes the former function of the building in the context of the specific history of Upper Silesian Jews, the Haskalah movement, and funeral rites in Judaism. The main part of the paper is devoted to the presentation of the architectural design and the functional division of the planned museum as proposed by the architectural collective that the author is part of. Special attention is given to a discussion of the conceptual framework of the design which tries to reveal the continuity of unformatted architectural memory. The features of proposed design, such as the central installation of The Cloud, merge commemorative aspects with new functions related to hosting public events and historical display. In this way, the design negotiates between remembrance of the Jewish community and the needs of the new inhabitants and users of the space. Thus, the paper contributes to the larger discussion about the adaptation of former Jewish facilities for new public functions. [ABSTRACT FROM AUTHOR]

Philip Johnson's 1967 design for the home of art collector David Kreeger in Washington, DC, is a synthesis of his finest residential and museum work. An exploration of the architect's projects prior to the Kreeger House guides the effort to examine his design process, concepts, and architectural ideals in both building types, as this building is a hybrid of both--house and museum. It concludes that the building is an integration of Johnson's architectural evolution, signifying a turning point in his work from residential to commercial/institutional projects and is an amalgamation of his most successful architectural ideas. This paper contends that this striking and architecturally significant building is among Johnson's best works and thus deserves more prominence in his portfolio of preeminent work. [ABSTRACT FROM AUTHOR]

This article discussesThe Journeyas a metaphor for design and development of the appKunstporten (Art gate)for mobile and iPod. The goal of the project was to go beyond traditional mobile guides and support young visitors' various and contiguous experiences with art. The project involved seven Norwegian art museums over the period 2012–2013. The article focuses on the choices and challenges we as museum professionals met during the design of the app. It reports on how the dialogic concept of museum communication, integrated in the metaphor ofThe Journey, was shaped and adjusted in the design, planning and development of modules, multimedia content and procedural structure that may support art experience as a journey. The article describes considerations undertaken by museum practitioners in processes of creating museum communication that goes across multiple mediational platforms. [ABSTRACT FROM PUBLISHER]

Between February and April 2011, I led the project Edutangible, a research project about the use of multitouch technologies at the Panama Viejo Monumental Complex in Panama City, Panama. Our goal was to explore the use of a multi-touch tabletop to engage school children ages 8 to 11 with the site and with its archaeology collection. We hypothesized that the more "natural" type of interaction these technologies provided (i.e. being able to manipulate vicarious representations of the artifacts through touch) could help enhance the children's interest in the collection objects. Through iterative design cycles linked to our first two days of user testing, we created an interface in which children could put together pieces of Pre-Columbian plates. We then conducted two more days of user testing in which we framed the use of the tabletop as part of a guided tour of the site. A total of 200 children participated in the four test sessions. We asked the children to give rankings in a feeling scale to the four key parts of the tour: the visit to the main tower at the complex, 2 collection exhibitions, and the multi-touch tabletop. Test results showed that while the technology was highly engaging and attractive for the children, it could also potentially overshadow the collections and the monumental complex. Based on this experience, I would like to present an overview of the challenges I have identified when using these technologies to communicate heritage. [ABSTRACT FROM AUTHOR]

The popular press is replete with articles discussing the various remodeling efforts afoot in many of the prominent heritage attractions worldwide. Undoubtedly, museum curators have acknowledged the tremendous role external surroundings can play in the overall experience of the heritage visitor. This study investigates the effect of some basic environmental elements on visitors to heritage sites, illustrating that the heritage attraction's physical environment plays an important role in determining both visitors' attitude toward the heritage attraction and future repatronage intentions, as well as their willingness to recommend the experience to friends and relatives. The study findings indicate that environmental cues can be used as a differential tool to perpetuate brand meaning and uniqueness in the minds of the consumer thereby creating a competitive advantage for the heritage attraction. [ABSTRACT FROM AUTHOR]

Since the launch of online video portals in 2005, museums have encouraged visitors to upload and share their visits online. Although much has been written about visitors' experiences in museums, very little exists on the impact virtual visits have on viewers. In this qualitative pilot study, a total of 2035 emotional reactions were recorded and analyzed after visiting 14 online museums using a facial expression recognition software. Following open and axial coding techniques, themes and subcategories emerged. Findings showed that while the background of the participant mediated how one experiences a museum online, certain architectural and exhibit attributes, if present, triggered similar emotions to those experienced in an in-person visit. Findings suggest that experiencing museums through online video portals may be as engaging as visiting museums in person—only if the creator captures a significant proportion of architectural details, transitioning of spaces and exhibits details. Further findings showed that facial expression software reveals what captures virtual visitors' emotions, and what architectural and exhibit features keep them curious and engaged. [ABSTRACT FROM AUTHOR]