Dissertations / Theses on the topic 'Exhibition project'
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Chen, Yun Ru. "Reconstructing Macau identity :a multi-media exhibition project of Macau's communication memory." Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690753.
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Strauss, Jill. "Communities of Interest : An Intergenerational, Cross Community Oral History and Visual Art Project with Exhibition." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525432.
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Boutan, Nicolas. "Quand le design crée l'événement : esthétique du curating." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30077.
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Qu’est-ce que le curating ? Quel ensemble de pratiques et de représentations ce terme évoque-t-il ? Cette thèse se propose de répondre à ces questions en envisageant la pratique curatoriale sous l’angle du design, entendu ici comme discipline du projet. Face à la confusion des termes pour qualifier les acteurs du curating, il convient d’abord d’en préciser la définition en observant les différentes acceptions favorisées par la discipline et leurs effets. C’est pourquoi la première partie propose une archéologie de la pratique curatoriale en analysant la variété des dispositifs et des acteurs animés par le souci de l’art. Cette approche transhistorique permet de mettre en évidence la complexité des enjeux que soulève l’exposition à l’heure de la cohabitation des conservateurs, commissaires et curateurs. En s’appuyant sur une expérience de terrain en médiation, la seconde partie aborde la mise en œuvre de l’exposition comme une activité de projets portée de main de maître par la figure du curator. Occupé à proposer des bouquets d’œuvres aux couleurs variées selon les cahiers des charges et les contextes dans lesquels il intervient, ce dernier se comporte in fine comme un designer capable de proposer des réponses aux problèmes de l’hypermodernité. En tant que discipline, le design est ici d’un double secours : De la conception à la réception d’une exposition, il permet de mesurer le dessein essentiel à tout projet ; et dans un second temps, il permet de dessiner des portraits que ces acteurs véhiculent en variant les poses et les postures. La troisième partie propose enfin de comprendre le curating à travers le prisme du dispositif oraculaire delphique. Son but est d’élargir la réflexion en opérant un recul plus à même d’éclairer la problématique contemporaine de l’autorité curatoriale. Cette relecture à partir de l’oracle antique initie une nouvelle compréhension des expositions et des plis de la création contemporaine, en interrogeant le processus de transformation d'un display en produit touristique séduisant, capable de mobiliser des foules aux quatre coins de la planète autour de visions enjouées, pour un temps de l’art qui semble passé de la contemplation béate à une attention distraiteWhat is curating? What kind of practices and representations does it bring up? This PHD propose to answer those questions by imagining curatorial practise under design perspective. Curating actors being hard to name from each others, a definition must be given while observing names used by different discipline and their effects. That is why the first part propose an archeology of curatorial practice analysing the diversity of displays and of caregivers. This transhistorical approach underlines the complexity of what's at stake in exhibition nowadays. As for the second part, a field work in museum public relations helps to analyse the set up ofan exhibition from a project point of view, the curator being the conductor. Busy proposing sets of pieces of art responding to contexts and shaped by constraints of the field in which he works, he finally behave just like a designer able to answer the different questions of an hypermodern world. As a study subject, design here can help in two different ways : From conception to final installment of an exhibition, it helps understand what lies beneath the very beginning of the project and draws portraits of curatorial actors. Finally the third part propose to understand curating through the lens of delphic oracular practices. It aims at widening the perpectives of study to better understand curatorial problematics. This reinterpretation from antic oracle perspective allows a new understanding of contemporary exhibition and creation and questions transformation processes that turns an exhibition into an appealing touristic product, in a time where art seems gone from mute contemplation to a zapping attitude
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Müllerová, Barbora. "Organizace neziskového kulturního projektu / fotografické výstavy." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-150377.
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This Thesis deals with the organization of a non-profit cultural project -- a photographic exhibition. It is based on the theory of project management and arts marketing, which is compared with the experience of Jan Foltán, an experienced organizer of such exhibitions. The Thesis is divided into seven chapters; the first one presents the person himself, his work and experience which forms the practical part of the following chapters. In the second chapter, I present the principles of project management, which form the theoretical ground of the Thesis. Another chapter is devoted to marketing of a cultural project where the emphasis is on Public and Media Relations. Part of that chapter is also devoted to the organization of openings of exhibitions and charity auctions of art works. The research of factors that influence the attendance of artwork exhibitions is also included in this chapter. An important part of PR and funding is sponsoring, the importance of which is evident from the chapter on financing. The fifth chapter deals with the realization of exhibitions including theme selection, ensurance of locations, logistics, and schedule. The following section is devoted to the connection of cultural projects with charity and human motivation to help others through their work. The last chapter deals with branding of artists; thus creating their brand which is also another very important part for ensuring the attendance at the exhibitions.
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Terheide, Sarah E. "Restorative Exhibition Practices: Foregrounding the Cultural and Archaeological Destruction of 19th Century Pothunting through a Web-Based Virtual Exhibit of Three-Dimensional Models of Southeastern Ceramics within a NAGPRA Remediation Project." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595849396122411.
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Hořejší, Anna. "Projektový management v oblasti kultury - mezinárodní výstava." Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-15383.
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The topic of the thesis is project management in the cultural organizations. The general levels of this topic are desribed in the theoretical part. This part analysis the sphere of the contemporary Czech cultural institutions, their cooperation and their position between the traditional roles and the modern management. Specific aspects of the project management for the exhibition project are also described. The aim of the analytical part is to describe and analyse the concrete project of the exhibition "Tschechische Fotografie des 20. Jahrhunderts" (Czech Photography of 20th Century) in Bonn (organised in the international cooperation of two different cultural organizations), to analyse the project processes, strenghts and risks and to give some recommendations to the project. The key topic for all these aspects is the coordination or synchronisation of the organizators and the positive aspects and complications of this cooperation.
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Delay, Vincent Ray. "Improving and enhancing art education and multicultural education using technology as a vehicle." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1778.
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McKenzie, Anna, and n/a. "An Investment in Being Human EXPLORING YEAR 9 STUDENT EXHIBITIONS AN ACT CASE STUDY." University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20081216.140527.
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ACT Year 9 Exhibitions Program aligns curriculum, pedagogy and assessment
in the design and implementation of rich learning tasks, which are focussed on transdisciplinary,
problem-based, community-centred issues. It provides an authentic
assessment model through a panel assessment process of demonstrated student
achievement.
This case study research examines the uptake of an Exhibitions approach in three
ACT high schools. It discovers, through their own telling, what inspires commitment
by participants to the program and the ways that they measure success. The study
draws on a rich data set of narrative inquiry and semi-structured interviews with
teachers and students from the case study schools.
Analysis of the 'lived experiences' of the participants indicates that how individuals
profit by the program is determined by five critical factors which are realized
differently for them. Further, for the Year 9 Student Exhibitions Program to succeed
in meeting its goals of providing for teacher renewal and improved student learning
outcomes, and of promoting high school reform, certain conditions must prevail.
These conditions converge around the support afforded teachers to build their
capacity for curriculum and pedagogical change, and the opportunities for
engagement and agency of both teachers and students in the design of the
Exhibition task and its implementation.
This study investigates the realities of implementing change in schools and its
findings augment what theorists would predict for school change. It indicates that the
extent to which Exhibitions can drive a wedge into the 'business-as-usual' approach
of the ACT's more traditional high schools, and provide an alternative view of what it
means to educate for the 21st century, depends ultimately upon the human and
structural conditions created in the school, and the authenticity of the approach to
uptake. This study contains important recommendations for government and
education systems alike as they pursue school change.
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Ziganshina, Madina. "Art-Map: concept of moving curatorial project and its practical realization in Aveiro." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15905.
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Mestrado em Criação Artística ContemporâneaIn this dissertation, I present the results of a project which aim was to find out and try an effective model of independent curatorial project executable in small and medium cities in Portugal. The concept of Moving Curatorial Project ARTMAP is a result of theoretical research and reflection about municipal exhibition spaces and possibility of presentation of the contemporary art in these spaces. To test if this curatorial project is realizable and if there are conditions to continue it, a first trial was implemented in Aveiro. A curated international exhibition, entitled “A Poética do Visual" occupied two municipal and two private gallery spaces and brought together 111 artists from 25 different countries. The art event was carried out in collaboration with the Municipality of Aveiro and the University of Aveiro, and involved several private cultural spaces in the city. This first experience showed that there are all conditions for the presentation of contemporary art in small and medium size locations in Portugal, and for this project to be replicated in other regions of the country.
Nesta dissertação, apresento os resultados de um projecto cujo objectivo era desenvolver e experimentar um modelo eficaz e executável de projecto de curadoria em cidades de pequena e média dimensão em Portugal. O conceito de ART-MAP (Moving Curatorial Project) é resultado de pesquisa teórica e reflexão sobre os espaços municipais de exposição e sobre a possibilidade da apresentação de arte contemporânea nesses lugares. Para testar se esse projecto de curadoria é realizável e se existem condições para continuá-lo, a primeira experiência foi desenvolvida em Aveiro. A exposição internacional, intitulada "A Poética do Visual” ocupou dois espaços municipais e dois espaços culturais privados na cidade, e reuniu 111 artistas de 25 países diferentes. O evento de arte foi realizado em colaboração com a Câmara Municipal de Aveiro e a Universidade de Aveiro. Esta primeira experiência mostrou que existem todas as condições para a apresentação de arte contemporânea nas cidades de Portugal, e que este projecto pode ser replicado em outras regiões do país.
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Lundell, Linnéa. "Gränslöst. En global utställning på Historiska museet." Thesis, Uppsala universitet, Institutionen för ABM, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-154557.
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This thesis is a report concerning the practical aspects on exhibition techniques. During an internship at the National History Museum in Stockholm I participated in the work with their new, temporary exhibition Gränslöst - en global utställning på Historiska museet [Boundless - a global voyage of discovery at the National Historical Museum]. I was part of a small project team of museum staff. The purpose of this exhibition was to show how cultures have met and influenced each other throughout history. The National Historical Museum has in its collections and exhibitions several examples of objects that has been imported from or inspired by other cultural areas. The primary goal was to give the visitors a new perspective, to show that these “Swedish” objects have a long history of trading and cultural exchange. Additionally, Gränslöst is an attempt to draw the visitors into the permanent exhibitions; it is not an independent production and shares some characteristics with so- called “Hot spot” exhibitions. My ambition is to describe the planning, implementation and delivery of the exhibition and highlight problems and solutions that arise during that process.
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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.
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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.
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Pereira, Leandro Balejos. "Ensino de história e o ofício do historiador : a investigação do processo de patrimonialização do espaço físico da Escola Estadual Professor Olintho de Oliveira (Porto Alegre/RS) com alunos e alunas do 6º ano do ensino fundamental." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/156462.
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O presente trabalho assume a relação entre história e memória como um dos desafios disciplinares da História no âmbito da educação básica e pretende refletir sobre o ofício do historiador investigando o processo de patrimonialização do espaço escolar. Desta forma reconhece a materialidade das instituições formais de ensino como possibilidade de atuação da História, enquanto disciplina que proporciona diferentes leituras do mundo, inclusive a reflexão sobre a memória e a cultura material. Tomando em conta estas considerações, propõe-se que alunos e alunas do 6º do ensino fundamental de uma escola pública de Porto Alegre/RS possam construir noções de documento e fontes para a história, da narrativa como mediação entre o passado e a interpretação historiográfica, bem como da noção de patrimônio cultural e seus desdobramentos enquanto possibilidade para a educação histórica. Para concretizar o objetivo enunciado a pesquisa no acervo documental e iconográfico da escola foi simultaneamente recurso metodológico e questão mobilizadora para a produção de conhecimento no ensino fundamental Além de discutir teoricamente o problema anunciado, operando com os conceitos de patrimônio cultural e patrimônio escolar, e avaliar os resultados da pesquisa, a investigação também descreve e examina a construção de um projeto de exposição, reunindo fotografias e excertos de documentos escritos que compõe o acervo da instituição educativa. A partir da aplicação de instrumento de avaliação escrito, e das anotações efetuadas durante as aulas, foi possível verificar que a maioria dos estudantes conseguiu identificar a importância e a variedade dos vestígios como matéria-prima das fontes para a história e a relação entre a produção historiográfica e as demandas do presente. Também quando questionados sobre diferentes formas narrativas, majoritariamente os estudantes envolvidos na pesquisa identificaram as características da escrita autobiográfica, dos enredos ficcionais e as providências próprias da elaboração do conhecimento histórico. Com relação à noção de patrimônio cultural, a maior parte dos alunos e das alunas reconheceu a tensão entre o papel da memória e a dimensão histórica na patrimonialização dos bens.The present work assumes the relation between history and memory as one of the disciplinary challenges of history in the scope of basic education and intends to reflect on the occupation of the historian investigating the process of patrimonialization of the school space. In this way, it recognizes the materiality of formal educational institutions as a possibility for the performance of history, as a discipline that provides different readings of the world, including reflection on memory and material culture. Taking into account these considerations, it is proposed that students of the 6th grade of a public elementary school in Porto Alegre/RS can construct notions of document and sources for history, of narrative as mediation between the past and the historiographic interpretation, as well as the notion of cultural patrimony and its outspread as a possibility for historical education. In order to fulfill the stated goal, the research in the documentary and iconographic collection of the school was simultaneously a methodological resource and a mobilizing question for the production of knowledge in elementary school. In addition to theoretically discussing the problem advertised, operating with the concepts of cultural heritage and school heritage, and evaluating the results of the research, the research also describes and examines the construction of an exhibition project, gathering photographs and excerpts of written documents that compose the collection of the educational institution From the application of a written evaluation instrument and the notes made during the lessons, it was possible to verify that the majority of the students were able to identify the importance and the variety of the traces as raw material of the sources for the history and the relation between the historiography production and the demands of the present. Also when asked about different narrative forms, most students involved in the research identified the characteristics of autobiographical writing, fictional plot, and the proper arrangements for the elaboration of historical knowledge. Regarding the notion of cultural heritage, most of the students recognized the tension between the role of memory and the historical dimension in the patrimonialization of goods.
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Fithian, Sue. "An administrators guide for the implementation of kindergarten through twelfth grade science fairs." CSUSB ScholarWorks, 1989. https://scholarworks.lib.csusb.edu/etd-project/435.
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Greenfield, Norma Beth. "Perceptions and attitudes of students, teachers, and parents about middle school science fairs." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1283.
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The problem addressed in this study was to determine what students, parents, and teachers perceive to be the main reason a school has a science fair, and whether they believe science fairs accomplish their goals. Attitudes toward competition, awarding of prizes, voluntary versus required participation, and alternatives to science fairs were also examined and compared among the groups.
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Dutro, George B. "Developing a science fair packet for grades 4-6." CSUSB ScholarWorks, 1986. https://scholarworks.lib.csusb.edu/etd-project/376.
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Redvale, Jolene Kay. "Interactive exhibits in museums: Definitions, methods and visitor experiences." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1371.
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Bourgasser, Pauline. "Le chemin de verre: projet d´une exposition itinérante sur la production de lentilles optiques." Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/21789.
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Ce mémoire est le résultat de deux ans de travail au sein du Master TPTI - Techniques, Patrimoine, Territoires de l’Industrie : histoire, valorisation, didactique. Il contient « Le Chemin de Verre », projet d’une exposition itinérante et interactive sur la production de lentilles optiques en France, puis le compte rendu du projet « Au fil de l’eau » un film documentaire réalisé en groupe durant ces deux années.
« Le Chemin de Verre » propose à l’intérieur de plusieurs conteneurs marins, une histoire de la lentille optique, de sa fabrication et de son utilisation. Ces conteneurs seront disséminés dans plusieurs villes ayant produit du verre optique.
« Au fil de l’eau » est un film documentaire sur le patrimoine nautique de trois villes européennes : Paris, Venise et Lisbonne. Composé d’interviews, il présente les différents points de vue des utilisateurs de ces trois types d’embarcations ; les Bateaux Mouches, les Vaporetti ainsi que les Cacilheiros, avec leurs histoires et l’impact sur le développement urbain de ces trois villes; Abstract:
This master thesis is the result of two years of work in the TPTI Master - Techniques, Patrimoine, Territoires de l’Industrie : histoire, valorisation, didactique. It composed by “Le Chemin de Verre”, itinerante et interactive exposition project which deals with the lenses production in France, then the report of the project “Au fil de l’eau” a documentary created with a working group during these two years.
“Le Chemin de Verre” offers into some conteneurs in some optic glass cities, a history of optics lenses. “Au fil de l’eau” is a documentay which deals with the nautic heritage in three europeans cities: Paris, Venice and Lisboa with the Bateaux Mouches, the Vaporetti, and the Cacilheiros.
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Roma, Serrano Valentín. "Crosswords, problems and expectations of the curator of contemporary art exhibitions : a personal experience from the project Economy : Picasso." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/384638/.
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The present investigation project is an attempt to try to deepen in the vicissitudes, in the curatorial decisions and in the ways to dialogue in an exhibition carried out by Valentín Roma, with the purpose to explore critically which are the roles, the working lines and the responsibilities of a curator of contemporary art. Because its complexity and its longitude in the time, the show chosen as a study case, that was entitled Economy: Picasso and which different phases were held in the Museu Picasso of Barcelona between May 2011 and February 2013, offers an authentic panoptic of each and every one of the problems (design, managing, production, and mediation) that affect the curatorship, for what it constitutes, as well, a perfect example where we can observe the dynamics of the cultural policies and its difficulties to fit in from of the institutional frameworks until the ideological usages of the artists, audiences and curators. In order to contextualize this study we have elaborated a short chronological assay about the recent history of the curatorial practices since the seventies to our days. From another hand, and to help defining Economy: Picasso, we performed four interviews with the different agents involved in the project. Besides realising a very exhaustive analysis, this investigation work aspires to establish a certain pattern of analysis about the contemporary art exhibitions that could be extensible to other exhibition cases and to other curators.
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Laberge, Marie Elizabeth. "Médiation de l'architecture par l'exposition et sa réception par des visiteurs experts et non experts." Phd thesis, Université d'Avignon, 2012. http://tel.archives-ouvertes.fr/tel-00879654.
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Cette thèse s'intéresse à la médiation de l'architecture au musée et aux divers moyens employés pour communiquer le projet architectural en exposition. L'objectif est de mieux connaître la réception que font les visiteurs architectes et non-architectes des outils utilisés pour exposer les aspects variés du projet architectural. On s'entend pour dire que la communication du projet architectural par l'exposition n'est pas tâche facile. Des représentations diverses (dessins, maquettes, photographies, vidéos, etc.) sont utilisées pour exposer le bâti absent. Plusieurs des objets présentés sont complexes à interpréter, surtout pour un néophyte, notamment en raison des codes qu'ils contiennent. Une méthode souvent employée par les commissaires est la " mise en série " de divers types de représentations, chaque outil permettant d'accéder à des informations spécifiques sur le projet. Comme les objets présentés sont souvent difficiles d'accès et que leur présentation sous forme de série peut ajouter à la complexité, il apparaît important d'investiguer la manière dont les visiteurs font sens de ce type de dispositif. Cette recherche vise principalement à jeter les bases d'une connaissance empirique de la réception d'expositions d'architecture par les visiteurs. Six questions ont été retenues pour analyse : (1) Quels objets sont mobilisés par le visiteur? (2) Quels types d'opérations mentales sont faites en lien avec ces objets? (3) Quels sont les obstacles rencontrés, et que fait le visiteur suite à la rencontre d'un obstacle? (4) Quels aspects du projet architectural (matérialité, concept, contexte, etc.) retiennent l'attention du visiteur? (5) Comment le visiteur fait-il des liens entre les différents objets exposés sous forme de série? (6) Le profil professionnel des visiteurs (architectes vs non-architectes) a-t-il une influence sur la construction de sens? Le recueil de données auprès d'une trentaine de visiteurs s'est déroulé au Centre canadien d'architecture (CCA) de Montréal dans l'exposition " Perspectives de vie à Londres et à Tokyo imaginées par Stephen Taylor et Ryue Nishizawa ". Chaque participant visite l'exposition en compagnie de la chercheure avec qui il partage, au fur et à mesure de sa visite, ses pensées et émotions, selon la méthode des protocoles verbaux concomitants (aussi connue sous le nom de thinking aloud ou protocol analysis). L'ensemble des propos est enregistré pour permettre une retranscription exacte avant analyse. Plusieurs des résultats obtenus confirment des idées déjà avancées par les chercheurs telles la popularité des photographies, le peu d'intérêt de la part des non-architectes pour les plans, les aspects variés du projet mentionnés face aux objets exposés, ou encore l'établissement de liens entre les objets comme moyen d'identifier la série. D'autres résultats mettent plutôt en doute des affirmations retrouvées dans les écrits, mais encore jamais appuyées par des données empiriques. Par exemple, plusieurs commissaires considèrent que la maquette est un excellent outil pour communiquer l'architecture et qu'elle est appréciée de tous. Or, dans le cadre de la présente étude, la maquette est peu utilisée par les visiteurs. Le type de maquette et la manière dont elle est disposée dans l'espace peuvent ainsi rendre cet outil peu utile dans la construction de sens du visiteur. Plusieurs auteurs appréhendent des difficultés et des obstacles pour les visiteurs non-architectes. Les présents résultats confirment certaines difficultés des visiteurs néophytes, mais ils démontrent également que les architectes rencontrent eux aussi des obstacles variés
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Rezende, Livia Lazzaro. "The raw and the manufactured : Brazilian modernity and national identity as projected in international exhibitions (1862-1922)." Thesis, Royal College of Art, 2010. http://researchonline.rca.ac.uk/1143/.
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This thesis discusses nineteenth- and early twentieth-century representations of Brazil, with em-phasis on Brazilian national identity and the country’s engagement with modernity. It addresses these broad themes by focusing on the national participation in key international exhibitions, from Brazil’s first official appearance at the International Exhibition of 1862 in London to the Brazilian Centennial Exposition held in Rio de Janeiro in 1922. Using a multidisciplinary theoretical and methodological framework, this thesis examines ‘national objects’ – exhibits, exhibition displays, publications and pavilions – shown at home and abroad. It questions what sort of national identity these objects materialised and how they propelled Brazilian experience of modernity. Despite being a multicultural and diverse country, from 1862 to 1922 Brazil was frequently repre-sented by its exhibition commissioners as a homogeneous and cohesive nation. In less than a hun-dred years, Brazil turned from being a liberal but slavery-bound Empire to become an oligarchic Republic. Alongside manumission, urban expansion, and industrialisation, the nation underwent unprecedented political, economic, and cultural changes. These changes, however, were displayed differently at home and abroad. This thesis, thus, is concerned with the cleavages in the national representation from the Empire to the Republic and questions what sort of nation was being repre-sented abroad, and why. This thesis reveals that the Brazilian exhibitionary efforts during this period largely excluded representations of its population, especially of those who did not conform to the modern and civi-lised images attributed to the nation by the state. It also sustains that, despite their commercial and economic imperatives, exhibitions were used by the Brazilian state, during Empire and Republic, for the affirmation and conservation of political power. This thesis is tested in five chapters. The first discusses previous attempts at studying exhibitions in Brazil and abroad, and defines the con-cepts considered in this thesis. The second chapter addresses issues of agency and representation by examining the imperial representation sent to the Centennial International Exhibition in Phila-delphia in 1876. The third chapter focuses on two exhibitions, one Imperial and one Republican, to enquire about ruptures and continuities in the Brazilian representation abroad. This chapter centres on the displays of Brazilian raw materials mounted at the Exposition Universelle of 1867 in Paris, and at the Louisiana Purchase International Exposition in St Louis in 1904. The fourth chapter examines objects that communicated Brazilian ‘civilisation and progress’ at the World's Columbian Exposition in Chicago in 1893. These objects were used by the newly instated republi-can government to manipulate national historical symbols that legitimised their ascension to power and promoted them as the future. The final chapter investigates the Rio exhibition in 1922 as a place where modernisation and modernity were made visible for a Brazilian audience.
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Kotulková, Karina. "Plán realizace výstavního projektu." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-125032.
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The theme of this M.A. thesis covers a business plan creation and implementation in the non-profit sector, in the field of culture, specifically in organisation of exhibitions. The exhibition concept including accompanying activities along with a detailed business plan, which will be used for communication with potential partners, was created on the basis of a theoretical framework of management and cultural-based project specifications. The business plan and the implementation plan formulation will be preceded by a theoretical analysis of approaches and their treatments from both the commercial as well as the non profit sphere. The most suitable methods and management technologies including economical analysis will be applied in accordance with the results of the executed analysis. This thesis compromises a complex art project preparation and its implementation guide. The 'Body Moving' interactive exhibition will show pieces of art of prominent world re-known artistic and dance groups. The practical output of this thesis is represented by a complex exhibition scenario, a detailed implementation plan and a business plans that also includes all risks descriptions and their eliminations.
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Monasterio, Clelia Maria Coutinho Teixeira. "O processo de projeto da arquitetura efemera vinculada a feiras comerciais." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/257851.
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Orientadores: Ana Lucia N. de Camargo Harris, Regina Coelo RuschelDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo
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Resumo: Em conseqüência da acirrada concorrência empresarial no mercado globalizado, o desenvolvimento da arquitetura promocional cresce continuamente para atender às necessidades do marketing de grandes e pequenas empresas. Atender prontamente às necessidades desses clientes tornou-se um desafio para os profissionais de Arquitetura, Engenharia e Construção (AEC) contratados para projetar e executar estandes em dezenas de feiras de negócio, seguindo cronogramas extremamente enxutos. São comuns os casos em que o cliente, os projetistas e os executores encontram-se dispersos geograficamente. Nesse caso, a utilização da Tecnologia de Informação e Comunicação (TIC) pode auxiliá-los nas áreas de desenvolvimento do projeto, proporcionando o compartilhamento de documentos e o trabalho simultâneo. A utilização da Word Wide Web (WWW), por meio da Internet, tem sido fundamental nesse processo, possibilitando a existência de ambientes virtuais de colaboração (extranets) que auxiliam na melhoria da qualidade dos projetos, bem como na velocidade de sua execução e no cumprimento das necessidades do cliente. O objetivo principal desta pesquisa é caracterizar o projeto de estandes segundo considerações determinadas pelo marketing promocional de feiras e identificar a tecnologia utilizada como suporte neste processo quando seus agentes trabalham de forma distribuída. Para conhecer melhor esse processo, realizou-se um estudo de campo cuja pesquisa exploratória foi realizada a partir do desenvolvimento de projetos relacionados à arquitetura promocional desenvolvidos para o setor de marketing da EMBRAER, localizada em São José dos Campos ¿ SP. Nessa pesquisa analisou-se como são desenvolvidos os projetos de estandes cujos agentes encontram-se distribuídos, abrangendo dois aspectos ligados à qualidade do projeto: os conceituais e os de gerenciamento. O primeiro aspecto está relacionado à qualidade e à solução do projeto no que se refere às suas necessidades explícitas e implícitas, em que se analisam fatores importantes, conforme a fundamentação teórica apresentada: o plano de necessidades (briefing), a flexibilidade do projeto, a capacidade de reutilização, a facilidade na montagem e desmontagem e sua agilidade logística. O segundo aspecto está relacionado à comunicação e ao gerenciamento da documentação produzida durante o processo de projeto e à tecnologia utilizada para tanto. Para obtenção dos dados necessários à análise, foram aplicados questionários e formulários às empresas de AEC prestadoras de serviço de projeto e construção do setor. Como resultado, pôde-se perceber que, o trabalho desenvolvido pelas empresas pesquisadas, em sua maioria, segue o processo da engenharia tradicional e que as mesmas não direcionarem seus trabalhos de acordo com as normas para projeto e desenvolvimento. Contudo, estas empresas buscam contemplar as necessidades detectadas na pesquisa bibliográfica e o uso da TIC tem sido extremamente importante para o desenvolvimento e a validação de seus projetos. Portanto, a utilização de extranets de projeto pode contribuir favoravelmente para um maior controle da qualidade dos projetos e de seu desenvolvimento
Abstract: Due to the fierce competition between companies in a globalized market, promotional architecture has been developing steadily to meet the marketing needs of big and small companies. Meeting these clients' needs quickly and effectively has become a challenge for professionals in the Architecture, Engineering and Construction industries (AEC), hired to design and build stands in tenths of trade shows a year, following extremely tight schedules. Cases where the client, the designers and the builders are geographically apart are very common. In such cases, the use of New Information and Communication Technologies (NICT) help them in project development, allowing them to share documents and work simultaneously. Utilizing the World Wide Web (WWW) through the Internet has been crucial in this process, allowing for virtual collaboration sites (extranets) to help improve the quality of the projects, as well as the speed of its execution. The main objective of this research is to characterize trade show stands according to considerations determined by trade show promotional marketing and identify the technology utilized for support in the stands building process when its stakeholders work apart. In order to better understand this process, a field study was carried out, in which the exploratory research was conducted on the development of projects related to promotional architecture for EMBRAER (Empresa Brasileira de Aeronáutica) marketing department, located in São José dos Campos, SP. In that study it was analyzed how the projects of stands are developed when its stakeholders are working apart, focusing on two aspects concerning project quality: conceptual and management aspects. The former relate to project quality concerning to implicit and explicit needs, in which we analyzed important factors, following the theoretical framework presented as follows: briefing, project flexibility, reutilization capabilities, ease of assembling/disassembling and logistical agility. The latter aspects concern communication and management of the paperwork generated during the execution of the project and the technology involved in it. In order to collect the data needed for analysis, questionnaires and forms were distributed to the sector¿s designing and building outsourcing AEC companies. Results indicate that, even though these companies don¿t carry out their work according to the standards for project and development, they seek to meet the needs detected in this bibliographic research. The majority of the work developed by the companies researched follows traditional engineering processes; however, results also show that the use of NICT has been playing a very important role in project development and validation. Therefore, the use of project extranets can give an important contribution to project quality control and development
Mestrado
Arquitetura e Construção
Mestre em Engenharia Civil
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Němec, Petr. "Projekt zastřešení výstavní haly." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2013. http://www.nusl.cz/ntk/nusl-226442.
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The Diploma’s thesis is focused on the design of selected parts of reinforced concrete exhibition hall (prestressed concrete purlin, prestressed concrete girder, reinforced concrete column, reinforced concrete footing, post-tensioned concrete girders). The load calculation (the self weight, the permanent load, the wind load, the snow load and imposed load), the design and the review of selected reinforced concrete items and the drawing documentation are included in this thesis.
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Bélair, Clément Sophie. "Rendre compte de soi au seuil de l’exposition : entre l’impératif promotionnel et le projet éthique." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20044.
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Dans cette thèse entreprise entre les études littéraires et intermédiales et l’histoire et la critique des arts, nous articulons le rapport de compatibilité entre l’impératif promotionnel auquel doit répondre l’artiste aux fins de promotion de son oeuvre et les conséquences éthiques générées par sa réponse. Nous y analysons notamment les réponses d’artistes dont les pratiques furent classées sous la rubrique de la critique institutionnelle. Par l’entremise d’une série d’études de cas, notre analyse couvre une période historique qui traverse la fin des années 1960 jusqu’au tournant 1990 (Marcel Broodthaers, Louise Lawler, Christopher D’Arcangelo, Andrea Fraser). Nous avons opté pour une méthodologie composite, empruntant à l’analyse du discours et à l’histoire et à la critique des arts. En prenant comme cadre de référence les dernières recherches de Michel Foucault sur les questions de l’éthique et de la critique, la portion de l’oeuvre de Judith Butler qui concerne l’éthique et la performativité, l’analyse pragmatique de Mieke Bal et les analyses sociologiques de Pierre Bourdieu, nous proposons une relecture d’une sélection d’objets littéraires et visuels issus de l’appareil publicitaire et dont le statut et la fonction sont marqués par l’ambivalence, combinant – sans en annuler l’effectivité – la critique à la promotion. Nous démontrons ainsi que les aspérités de la critique peuvent être conservés dans l’espace apriori inapproprié de la publicité, et que cette critique relève de l’éthique. En somme, nous démontrons comment l’articulation de la critique à l’éthique concerne l’ethos de l’artiste, mais aussi celui de l’universitaireIn this thesis, written between several disciplines (intermedia and literary studies, art history and art criticism), I aim to examine the relationship of compatibility between the promotional imperative artists are compelled to adopt in order to publicize their work via institutions, artists’ response to this imperative, and the resulting ethical consequences. My analysis focuses on this response as articulated by artists whose practices are characterized by criticality and reflexivity, and who have been classified under the rubric of institutional critique. Through a series of case studies, I cover a period spanning the late 1960s to early 1990s, with a focus on the work of Marcel Broodthaers, Louise Lawler, Christopher D’Arcangelo and Andrea Fraser. I aim to address this lacuna by way of a broad-based methodological approach, drawing from discourse analysis, art history and art criticism. Using a referential framework that encompasses Michel Foucault’s later research on ethics and critique, Judith Butler’s work on ethics and performativity, the pragmatic analyses of Mieke Bal, and Pierre Bourdieu’s sociological examination, I propose a rereading of several literary and visual objects that, while produced in a promotional context, are characterized by a certain ambivalence of status and function, combining as they do critique and promotion in such a way as that both modes remain operative. In this sense, I hope to demonstrate that the sometimes abrasive nature of critique can be maintained within the ostensibly unsuitable space of promotion, and that this critique is fundamentally ethical in nature. In sum, I will show how the articulation of ethical critique has bearing on the ethos of both the artist and the academic
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Ferreira, Tatiana Guerra. "Projectar com luz cor e matéria em espaços pré-existentes. Fábrica das artes no antigo convento de S.Paulo, Vila Viçosa, como caso de estudo." Master's thesis, Faculdade de Arquitetura de Lisboa, 2013. http://hdl.handle.net/10400.5/5808.
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Chavarry, Principe Racmel Zoraida. "Centro de difusión cultural de Lima Norte." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/628096.
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Centro de Difusión Cultural de Lima Norte, es un proyecto localizado en el distrito de Carabayllo; cuya finalidad es difundir y concientizar al usuario con su historia y cultura, ayudando a reconstruir la identidad perdida de los pobladores y la preservación del patrimonio cultural existente.
El proyecto se emplaza en la Av. José Saco Rojas, que conecta a los distritos de Puente Piedra y Carabayllo. Además se escoge este terreno debido a la cercanía de ambientes históricos del distrito, como lo son la Plaza de San Pedro de Carabayllo, la iglesia de San Pedro de Carabayllo, y la Casa Hacienda “El Fortín”; lo cual ayuda a reforzar la idea de “identidad” en la población.
Está dirigido al público en general, de todas las edades, pero con un énfasis en el rango de edad entre 1- 30 años, ya que éstos son los que conforman con mayor porcentaje la población del distrito.
El programa arquitectónico responde a las necesidades de la problemática identificada, usuario, y tipo de edificio que se plantea; por esta razón se ha dividido en 10 paquetes funcionales a los diferentes ambientes planteados.
Para el diseño del proyecto se han tomado en cuentas diversas condicionantes que se han ido identificando a lo largo del trabajo de investigación, como las necesidades y características del lugar y el usuario.Center of Cultural Difussion of North Lima, is a project located at the district of Carabayllo; whose purpose is to disseminate and raise awareness among the user with its history and culture, helping to reconstruct the lost identity of the inhabitants and the preservation of the existing cultural heritage. The project is located at Av. José Saco Rojas, which connects the districts of Puente Piedra and Carabayllo. In addition this land is chosen due to the proximity of the district's historical environments, such as the Plaza de San Pedro de Carabayllo, the church of San Pedro de Carabayllo, and the Hacienda "The Fortín"; which helps to reinforce the idea of "identity" in the population. It is aimed at the general public, of all ages, but with an emphasis on the age range between 1-30 years, since these are the ones that make up the population of the district with the highest percentage. The architectural program responds to the needs of the identified problem, user, and type of building that suggested; for this reason it has been divided into 10 functional packages to the different areas proposed. For the design of the project, several factors that have been identified during the research work have been taken into account, such as the needs and characteristics of the place and the user.
Tesis
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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
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Štysová, Anna. "Realizace autorského projektu: Role autora, kurátora, instituce, grafického designéra." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232440.
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Artist's book It is needed is a compilation of interviews with major graphic designers and curators of czech gallery sphere. The interviews show possible methods of this kind interdisciplinary cooperation.
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Machado, Tatiana Gentil. "Projeto expográfico interativo: da adoção do dispositivo à construção do campo da interatividade." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-08032016-170135/.
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Este trabalho procura refletir sobre como o projeto expográfico pode ser desenvolvido de modo a construir o campo da interatividade. Dada à exacerbação em torno da ideia de interatividade e da quase incondicional exigência da mesma nos novos projetos de exposições, o que se pode observar muitas vezes é conseqüente banalização de seu conceito em função da superficialidade com que acaba sendo tratado - seja pelo desconhecimento do conceito em sua completude, seja em virtude da redução ou da simplificação do mesmo. Uma das tendências atualmente é a associação direta e automática da interatividade com meios e dispositivos digitais - como se estes necessariamente promovessem a interatividade. O que resulta na adoção cada vez mais freqüente de dispositivos deste tipo pelos museus, com o argumento de que os mesmos têm o potencial de quebrar a relação mediativa e a comunicação \"unidirecional\". Entretanto, uma das hipóteses assumidas aqui é a de que esta associação é equivocada e que a simples adoção de dispositivos digitais não garante a promoção da interatividade no ambiente expográfico. Desta primeira hipótese, deriva a segunda, segundo a qual seria necessário desvincular a ideia da interatividade da relação direta e automática com os meios digitais, para, então, considerá-la em sua essência: como relação dialógica. O museu não pode deixar de ter em mente que o seu potencial está não apenas em fornecer informações, mas em estruturar oportunidades para que os visitantes possam compreendê-las e (re-)significá-las, possibilitando e estimulando, assim, que construam suas próprias identidades, e encontrem seu lugar no mundo. O projeto expográfico seria, então, um dos maiores recursos de que dispõe o museu para construir o campo desta interatividade.This research aims to reflect on how the exhibition design can be developed in order to build the field of interactivity. Given the exacerbation around the idea of interactivity and its unconditional requirement in many recent exhibition projects, what one can often see is the consequent trivialization of his concept due to the superficiality with which it ends up being treated. One of the trends is currently the direct and automatic association of interactivity with media and digital devices - as if they necessarily promoted interactivity. This results in an increasing adoption of such devices by museums, on the grounds that they have the potential to break the meditative relationship and the \"one-way\" communication. However, one of the assumptions here is that this association is mistaken and that simply adopting digital devices does not guarantee the promotion of interactivity in the exhibition environment. This first hypothesis leads to a second assumption, according to which it is necessary to detach the idea of interactivity of the direct and automatic relationship with digital media, and consider it in its essence: as a dialogical relationship. The museum can not fail to keep in mind that its potential is not only to provide information, but in structuring opportunities for visitors to understand and (re-) signify them, enabling and encouraging the construction of their own identities and the definition of their place in the world. The exhibition project is one of the major resources available to the museum to build the field of this interactivity.
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Bauerfeind, Bettina. "Le contexte en question : les expositions de projets d’art public et leur influence sur la création artistique contemporaine." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040158.
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Les expositions de projets d’art public, nouvelle forme de commande artistique née dans les années 1970, changent de manière significative les paramètres de la création artistique contemporaine dans la ville. Associant une présentation dans l’espace public à la création in situ, elles incitent les artistes à réaliser leurs œuvres en vue d’un événement citadin et en fonction d’éléments spécifiques du contexte d’exposition urbain (comme la topographie du lieu, son histoire, son architecture...). Si l’impulsion première que ces manifestations délivrent aux artistes est primordiale pour la création de tout projet d’art public, elles laissent une marque plus précise dans les attaches individuelles qui relient ces œuvres à leurs sites urbains. Retraçant l’évolution du concept d’exposition de ses origines jusqu’en 2007, se dessinent successivement trois générations principales dont la césure correspond, au niveau de leur contenu artistique, à des élargissements substantiels du vocabulaire formel des participants. Une distinction entre formes abstraite, urbaine et relationnelle nous permet d’évaluer des retombées importantes de la commande artistique sur les œuvres en saisissant les différents degrés de leur intégration contextuelle, laquelle atteint son apogée dans des projets qui se construisent autour de ready-mades assistés ou simples trouvés sur place.Nouveaux types de monuments, éphémères pour la plupart, ces derniers constituent un art public sans précédents historiques dont nous mesurons, à travers l’exemple de douze études de cas, le rapport à la démarche artistique individuelleIn the 1970s site-specificity revolutionizes the framework for artists working in the arena of public art. A new exhibition format, entirely based on new commissions, extends institutional activity way into the heart of the city space. By challenging artists to create new works that engage their particular urban surroundings (for example, the topographical, historical or architectural aspects of a site), these exhibitions of mostly temporary public art projects give a crucial new impulse to contemporary artistic creation in the city.This dissertation examines the effects this new form of commission exerts on the artists’ works by analyzing the ties that bind the projects to their installation sites. Following the evolution of public art project exhibitions from their inception to 2007, we distinguish between three main trends. Not only do they present major organizational differences, but their artistic content is characterized by a successive and substantial expansion of the participants’ formal vocabulary. A distinction between an abstract, an urban and a relational form enables us to evaluate the different degrees of contextual integration of extrinsic elements into the works of art and to locate the impact these commissions have on projects created with urban ready-mades found on the site. New types of monuments, mostly ephemeral, constitute a public art without historic precedents and of which we measure, at the example of twelve case studies, the relation to individual artistic methods
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Moreau, Angélique. "Vivacité de la question du déclin des abeilles sauvages : étude de la médiation par l'exposition et analyse des contributions d'acteurs lors de sa conception. Le cas du projet européen UrbanBees." Phd thesis, Université Claude Bernard - Lyon I, 2014. http://tel.archives-ouvertes.fr/tel-01073369.
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Cette recherche étudie la mise en exposition de la thématique du déclin des abeilles sauvages au sein du volet médiation du projet de recherche UrbanBees. Ce projet étudie l'hypothèse de l'espace urbain comme zone refuge pour les abeilles sauvages. Il a la particularité d'être adossé à une vaste opération de médiation qui associe des acteurs d'horizons variés (chercheurs, militants associatifs, médiateurs culturels) positionnés différemment sur la thématique concernée. Le déclin des abeilles sauvages constitue à l'heure actuelle ce qu'il est convenu d'appeler une question scientifique socialement vive (QSSV). Elle repose sur quatre dimensions étroitement liées : l'existence même du déclin, ses conséquences et causes potentielles, ainsi que les solutions pour y remédier. Notre étude vise à caractériser la nature de la prise en charge de cette QSSV dans l'exposition et les formes de médiation auxquelles ont recours les acteurs engagés dans sa conception. Les résultats obtenus montrent que la vivacité de la QSSV n'apparait que très ponctuellement et d'une façon relativement consensuelle, orientée par les finalités du projet. En revanche, l'étude de la conception de cette exposition révèle des oppositions marquées, en particulier entre les deux acteurs scientifiques. Les différends sont cependant résolus par les médiateurs qui recentrent le propos sur les points d'accord (les solutions portées par le projet) et le concept fédérateur de Nature en ville. Cela nous conduit à définir les spécificités du média exposition dans le traitement des QSSV par rapport à des dispositifs de médiation visant la participation des publics et à interroger les modes de production qui leurs sont associés
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Lundström, Anna. "Former av politik : Tre utställningssituationer på Moderna Museet 1998-2008." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-116052.
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This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations at Moderna Museet in Stockholm, 1998–2008. The cases are considered in relation to different aspects of the museum’s identity as an art institution. The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions and potential agency are of particular concern. This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics. In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of establishing a difference that is both unproblematic and urgent.
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Benlian, Michèle. "Modes d'émergence de l'architecture contemporaine à travers l'édification des premiers musées d'art moderne, entre New York et Paris au XXème siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA013.
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Le travail abordé concerne le domaine de l’histoire artistique et culturelle. La période étudiée est le XXè siècle. Les événements se déroulent à New York et à Paris. - La recherche pose l’hypothèse suivante : la création, puis l’édification du premier musée d’art moderne, le MoMA à New York, ouvre la voie à l’architecture contemporaine, à travers l’édification du musée d'art moderne. Les pensées architecturales américaine et française, n’œuvraient pas dans le même sens. Tandis que l’une s’appuie sur une recherche formelle, qui trouverait des liens avec la réception de l’art moderne, l’autre oriente la projection formelle de l’architecture en relation avec la ville. La démonstration se fait à partir d'exemples, pris dans l’histoire de l’architecture moderne de 1910 jusqu'aux années fin soixante : la construction du Musée national d’art moderne à Paris en 1936, au Palais de Tokyo, la création en 1929 et la construction, en 1939, du MoMA à New York. Deux autres musées s'édifient à New York : le Solomon Guggenheim Museum en 1959, et le Musée Whitney en 1966, et les agrandissements du MoMA réalisés aux mêmes années. Sont pris en compte, concernant et autour des édifications muséales : les débats intellectuels dans l’art, les conflits, les acteurs, les lieux, les usages, les effets d’influence et de voisinages. L'histoire culturelle contemporaine se fait à plusieurs niveaux : - dans la période qui précède la réalisation des édifices muséaux, à travers l'analyse des réalisations architecturales et de leurs esthétiques, auprès des architectes auteurs des édifices.- Dans un autre temps, sont développés la réception et les usages des lieux mis en fonction des réalisations, et les effets d’influence des réalisations et de l'architectureThe thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building
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Lima, Fábio Rogério Batista [UNESP]. "O graffiti como patrimônio cultural material." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/153543.
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Na atualidade vivencia-se o que Bauman (2001) conceituou de modernidade líquida, identificada como aquela em que as relações humanas e sociais são caracterizadas por não terem configuração de solidez ou como aquela em que não se conserva forma por muito tempo; prima-se pela mudança; vive-se das inconstâncias. A natureza desta liquidez é reconhecida por conta da leveza, da mutabilidade e da mobilidade das relações. A importância da preservação da memória artística para as futuras gerações também tem mudado. Com o grande avanço nas tecnologias de reprodução e exposição às massas, obras de arte se disseminam com a facilidade de circulação das imagens. Essas manifestações estão nos muros da cidade, locais esses que têm suas superfícies alteradas e apagadas diariamente. Diante disso, questiona-se como se dá o tratamento documental do graffiti como manifestação de arte efêmera? Em decorrência, como pressuposto da tese, aponta-se que o tratamento documental do graffiti, convertido em recurso digital, apresentará elementos para sua consolidação como patrimônio cultural material. Delimitou-se como objetivo propor como se dá o tratamento documental do graffiti, convertido em recurso imagético, considerando a ubiquidade, os aspectos da informação líquida e da ecologia da informação e as novas formas de disponibilizar o acesso. O estudo apresenta abordagem qualitativa, de natureza descritivoexploratória tendo como universo de pesquisa projetos de exposições digitais de arte urbana. omo resultado, verificou-se que o uso estratégico das tecnologias de informação e comunicação e a aplicação efetiva dos padrões de representação de obras de artes são fatores determinantes para garantia do armazenamento, recuperação e acesso ubíquo ao patrimônio cultural material. A proposta de representação documental de graffiti apresenta o padrão de estrutura de dados R ore - Resources Association Visual versão 4 0, por sua melhor adequação à descrição da manifestação de arte do tipo graffiti, por possibilitar a correlação entre obra, imagem e coleções Nesse sentido, foi possível elaborar uma proposta de aplicação contendo três novos elementos descritivos: "citação cultural", "citação espaço temporal" e "citação ideológica" como forma de trazer o contexto em que o graffiti foi criado e apresentar elementos que viabilize a efetivação do graffiti como patrimônio cultural material.
Nowadays we live what Bauman (2001) defined as liquid modernity, it is identified as human and social relationships that are caracterized by not having solid aspects in it or that one which doesn´t keep its format for too long; changes are constant and inconsistencies are lived. The nature of this liquidity is know by the lightness, mutability and mobility of relationships. The importance of artistic memories preservation has also changed. With the breakthrough in playback technologies and exposition techniques to majority of people has made works of art disseminate easily just like images. These manifastations are in the city walls, places that have their surfaces changed and erased daily. In view of this, one questions how the documentary treatment of graffiti as a manifestation of ephemeral art takes place? As a consequence of this thesis, it is pointed out that the documentary treatment of graffiti, converted into a digital resource, will present elements for its consolidation as material cultural patrimony. The purpose of this paper was to propose how the graffiti documentary treatment, converted into an imagery resource, considering the ubiquity, the aspects of net information and information ecology, and the new ways of making access available, were proposed. The study presents a qualitative approach, of a descriptive-exploratory nature having as research universe projects of digital exhibitions of urban art. As a result, it has been found that the strategic use of information and communication technologies and the effective application of the standards of representation of works of art are determining factors for guaranteeing storage, retrieval and ubiquitous access to material cultural heritage. The graffiti document representation proposal presents the VRA Core - Resources Association Visual Version 4.0 data structure standard, due to its better adaptation to the description of the graffiti - type art manifestation, as it allows the correlation between work, image and collections. In this sense, it was possible to elaborate an application proposal containing three new descriptive elements: "cultural citation", "citation space" and "ideological citation" as a way to bring the context in which graffiti was created and present elements that make feasible the graffiti as material cultural heritage.
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Challine, Éléonore. "Une étrange défaite : les projets de musées photographiques en France (1850-1945)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010506.
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Cette thèse traite de l’histoire des projets de musées de photographie en France entre 1850 et 1945. Elle a pour ambition d’étudier et de circonscrire les diverses conceptions du musée photographique – documentaire, artistique, historique, technique, etc. – et leur histoire. Entre la fin du XIXe siècle et la Seconde Guerre mondiale, coexistent deux idées principales dans la conception du musée photographique : ce que nous appellerons « musée des photographies », où la photographie constitue avant tout le moyen d’une encyclopédie ou documentation visuelle, et ce que nous nommerons d’autre part « musée de la photographie », voué à la photographie pour elle-même, non pas en tant qu’instrument d’enregistrement du réel, mais en tant que médium. Cette ambiguïté de conception – la photographie est-elle l’outil ou le sujet du musée ? – est inhérente à la pensée des relations entre photographie et musée et sera l’un des fils rouges de cette étude. Face à l’absence de réalisation de ces projets, qui pour certains ont été expérimentés mais jamais pérennisés, ce travail interroge les causes de ces échecs institutionnels. Il s’articule autour de trois périodes chronologiques qui permettent de retracer les évolutions majeures de ces projets : les années 1850-1880 qui sont celles de la rencontre entre la photographie et les musées ; les années 1880-1910, celles des «musées rêvés de la photographie», qui voient le développement de plusieurs formes muséales ; enfin la période de l’entre-deux-guerres, pendant laquelle on assiste à l’émergence d’une véritable bataille du musée de la photographieThis doctoral dissertation treats the history of the projects of museums of photography in France between 1850 and 1945. It aims to study and identify the various conceptions of the photographic museum - documentary, artistic, historical, technical, etc. – and their history. Between the late nineteenth century and the Second World War, two main ideas coexist in the design of photographic museum: what we shall call "museum of photographs," where photography is first and foremost the means of a visual encyclopedia or documentation, and on the other hand what we shall call a "museum of photography" dedicated to photography for its own sake, not as a means of recording reality, but as a medium. This conceptual ambiguity – Is photography the tool or the subject of the museum ? — is inherent in the relationship between the photograph and the museum, and is one of the principle lines of inquiry in this study. This work examines the causes of these institutional failures given the lack of implementation of these projects, some of which were tried but never continued. It hinges on three chronological periods that trace the major developments of these projects : the years between 1850-1880, where photography and the museum meet; the years of the 'imagined museums photography’ in 1880-1910 where we can see various museum forms develop; and finally, the Interwar period which can be considered as the moment where the true battle for the museum of photography emerged
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CHENG, CHIA-CHIA, and 鄭佳嘉. "Convention and Exhibition APP Project Communication Study-A Case Study." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4fge6c.
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碩士世新大學
資訊傳播學研究所(含碩專班)
106
The most important task for any success project is to avoid “noise” and make unimpeded communication between client and case company. This study adopted the method of case study to analyze and discuss a project for Exhibition App of the company. Firstly, we retrieved the relevant documents from the App project through the keyword group set for six presumed risk, and analyzed documents with content analysis for confirming the risk problems of the APP project, and explained the project communication noise from each perspective between client and case company respectively, supplemented by in-depth interviews to analyze the communication elements of the APP project, combined with previous analyzed results of the documents, to further explore the causes of the project communication noise and the team's lesson learned. Four major findings are as follows: (1) In this case, backtracking project-related documents to verify the causes of six risk problems could help to find out the problem of project communication. (2) All communication noises confirmed by the case at each stage of the project impact on the interpretation of project requirements and the adoption of solutions. (3) In this case with review and feedback from the client and the case company, it infers the "managing stakeholder expectations" where generate the most communication noise. (4) During the execution of the project, there are distinct noises at different stages. In order to avoid or reduce the project communication noise, the author proposed solutions for project communication noise in different stages. This study took the case of a company's exhibition APP project as an example, and backtracking with analyzed and summarized the APP project's communication noise, and proposed solutions. The contribution of this research is to provide suggestion for creating an effective communicating of tacit knowledge management mechanism, as well as a reference to project managers and team members to reduce risks and improve project quality.
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Ku, Yu-Fen, and 古玉芬. "A Village History Exhibition Project for Nanya settlement in Northeastern Taiwan." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/80304526573958665268.
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碩士華梵大學
建築學系碩士班
102
Nanya settlement is situated between Sandiaojiao and Keelung, whose developing features seemed to be inundated by modernization. The construction of littoral highway separated the settlement’s affection for sea; however, the early settlers chose to inhabit this special region facing the mountains and the sea and later started agriculture on the hillside. Afterwards, torchlight nets and bottom gill nets were utilized to gain fishery harvest from the sea, therefore, the unique regional culture of fishing and farming was formed. Although Nanya settlement was situated near the frontier, and not on the main route of Wusha and other farming immigrants’ reclamation of Yilan, the history was filled with stories of early settlers’ striving for homeland establishment. The data in this study were collected from literature review, field research and interviews. It is anticipated that through this historical and social investigation of Nanya settlement’s cultural landscape, analysis of the display of Nanya settlement’s history can be conducted and the exhibit of Nanya settlement’s historical and social life space can be connected and mapped out. Therefore, that can be future references for exhibit project.
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Lee, Jer-Guang, and 李哲光. "The creative process behind《The courier》、《yaya’》：from Project Development to Exhibition." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/45zyye.
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碩士崑山科技大學
媒體藝術研究所
99
The stories of “yaya” and “Courier” were inspired and adapted from my personal life experiences. The script of “yaya” was written in memory of the two stray dogs, “Pipi” and “Little White”, who had accompanied me for 19 years. The story was full of my missing, my fantasies and my eagerness about them. “Courier” was inspired from the anecdotes piled with life experiences of inconvenience brought by those “too humanized” 3C electronic products that I am very fond of. “yaya” and “Courier” were awarded 800,000 NTD and 50,000 NTD from the “Short Film Fund by Government Information Office” and “Life Story of Public Television 2010”respectively for filmmaking. “yaya” was a low-paced and low-profiled story, talking about the family bond between the mother and son and their dog, while “Courier” was comparatively a high-paced black-humor comedy. The styles and the performing ways of the scripts were quite out of standard. In them exists absurdity and non-realism. Through the two different platforms and systems of “Short Film Fund by Government Information Office” and “Life Story of Public Television”, a further discussion of creation on the processes of creation was given based on the processes of the script creations, the development of subject matter and the plan writing.
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CHEN, Jouyuan, and 陳柔遠. "Exhibition Project Management of Art Museums- A Case Study on The Glory of History: A Retrospective of 60 years' Taiwan Provincial Exhibition of Fine Arts." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/46071781313128718379.
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碩士輔仁大學
博物館學研究所碩士班
98
As one of the basic functions of museum, exhibition performs as the public media communicating knowledge, guiding perception, constructing museum experience, and building up museum image. Museums in Taiwan have been so active in recent years, with frequently held exhibitions and cultural events, that the duty of Exhibition Planning and Management has now been taken remarkable. A trend of specialization and organization of Exhibition Planning and Management can be seen. Based on the above fact, this research tends to discover how management principles of exhibition development resemble those of museum administration. Inspired by the theory of project management, this research examines the role and function of exhibition planners, the organization structure and operation of curator teams. Taking “The Glory of History: A Retrospective of 60 Years’ Taiwan Provincial Exhibition of Fine Arts” as study case, field observation and interview have been taking as approaches to unveil the museum exhibition planning process and the management of it. This research finds that the theory of Project Management can be well applied to all respects of museum exhibition development. Integration and Scope Managements define the aiming goal of exhibition; Time Management, Cost Management, Human Resource Management and Procurement Management are well applied to the discussion of exhibition resource integration and management for exhibition planners; Quality Management emphasizes on criterion and performance, as Risk Management focuses on risk control and prevention, which are what exhibition management pursue; Communication Management concerns exhibition interaction operation of spreading knowledge and the consistency of message, which can be understood as a systematic dynamic process, rather than separate static managements. However, the application of Project Management has to be taken account of its intrinsic operation, organization environment, and regulations it followed, obeying the rule that the organization should be rooted in reality, then it shall have its positive influence on Exhibition Management. Therefore, this research conculdes that there may be three means borrowed from Project Management well applied to Exhibition Management: the establishment of exhibition database, the set-up of informal communications, and the application of proposal system and career training, which may expectably make changes in the organization environment and its culture, as well as to respond to the thinking of systematic and integrated management in Project Management.
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Hsueh-Kung, Wu, and 吳學昆. "Exhibition and Education of Digital Museum: A case study on digital museum project of N.S.C." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/52556164695519977037.
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碩士國立暨南國際大學
成人與繼續教育研究所
90
Abstract This study is to analyze the ideas, methods, and patterns of the exhibition and education of various theme digital museums（theme website）, demonstrated by National Science Council Digital Museum Projects, by adopting a qualitative content analysis approach in the perspective of the exhibition and education of the museums. The purposes of this study are as follow. The first purpose is to explore the framework of digital museums, using the Internet as an exhibition platform, and to analyze the content as well as characteristics of them. The second purpose is to research the layout of digital museums’ exhibition and education, and the elements of which should possess. This study adopted a quality oriented content analysis approach, and the target objects are the theme digital museum constructed by National Science Council Digital Museum Projects in both 1999 and 2000, and also divided into five categories according to the basic nature of these projects and the classification of museology and which are 1.Natural history and Natural science, 2.Science and Technology, 3.History, 4.Art, 5.Chinese literature The researcher explores deeply into various theme digital museums as the identity of a visitor, with the help of related references, then analyzing each of them as following steps. 1. Exhibition layout consists of content configurations/exhibitions types and browsing design. 2. Education layout consists of instructional objects, learning materials, and visitor-visitor interactions. 3. Comprehensive analysis means to suggest summative comments and analyses after viewing each digital museum as a role of a visitor. In light of the outcome of content analyzing, this study draws some conclusions as below: 1. Digital museum exhibitions come from a simulative collection of the pictures, images, and articles. 2. The orientation of digital museum exhibitions constitutes two exhibition aspects; one is theme directed, and the other is object directed. 3. Most of the digital museum exhibition type is didactic, but few of it is emotive. On the one hand, the didactic exhibition type mostly appears in the natural science and science/ technology subject areas; on the other hand, the emotive exhibition type appears in the art subject area. As to the history and Chinese literature, both of them possess these two exhibition types. 4. The teaching mode of digital museums employs three steps. The first step is pictures and images exhibition. The second one is description and exhibition of articles. The last is the practical interactive operation between digital museums and visitors. Visitors interact with digital museum by means of computers and digital technology shortening the distance between the exhibitions and visitors. 5. In the very beginning of the designing, most of the digital museum didn’t really think of “visitors” as a exhibition factor, but presume “general adult” as the main objects; therefore, digital museums still have rooms to develop potential visitors. 6. The educational functions of digital museums include both conspicuous educational functions of instructing detailed knowledge and heuristic educational function of enlightening, discovering, and imagining. 7. In the objective of education, digital museums emphasize the knowledge learning of cognitive domain; psychomotor domain is taken as secondly one; however, affective domain is not appeared yet in this research.
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SHENG, HSIEH CHIN, and 謝晉昇. "Discussion on the Waste Reduction Strategy of Exhibition Decoration Project from the Viewpoint of Circular Economy." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/355h4b.
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碩士中國科技大學
建築系
107
The convention and exhibition industry development could be regarded as an important indicator of the country's internationalization. Because the exhibition industry can bring significant economic benefits and promote international cooperation. It precisely becomes one of the important strategies for current economic development. However, the waste of the exhibition and decoration project has also increased year by year, resulting in waste of resources and increased environmental burden. It is also an important issue in current environmental protection. According to the information released by the Taipei World Trade Exhibition Schedule, the Nangang Exhibition Hall will hold an average of 48 exhibitions per year and produce a large number of non-reusable decoration wastes. This is indeed worthy of our attention at the time for us to promote circular economy policy. The main purpose of this study is to explore the types, processes and main factors of waste generated by the decoration project during the life cycle of the exhibition, and considerate the circular economy philosophy to propose corresponding measures for reduction those waste. After collecting the domestic and international green exhibitions and circular economy-related promotion policies and regulations, as well as the waste resulting comparison between the standard system decoration and the composition of the wood decoration. and then, obtaining the preliminary waste generating impact factor and its' reduction strategy. Through the expert questionnaires and in-depth interviews, we will summarize and revise the “waste generating impact factors and reduction strategies for exhibition and decoration projects”. In response to the implementation of the "Promoting Taiwan's Exhibition Industry Development Plan - Green Exhibition Industry Overall Plan" proposed by the International Trade Bureau of the Ministry of Economic Affairs for reducing the waste which cannot be recycled in the exhibition and decoration project. those can be an important reference for the relevant authority and company to promote the exhibition plan in the future. The purpose of this study is summarized as follows: (1) Exploring the causes and main factors of waste generating in exhibition and decoration projects. (2) Exploring the correlation between the decision-making of the stages during the exhibition life cycle and the generation of decorative waste. (3) From the circular economy philosophy, discuss the strategies and suggestions for waste reduction in exhibition decoration projects. Through the analysis of surveys and interviews with experts, this study found that the decision-making to choose system decoration or wood decoration is the main reason for generating non-reusable decoration waste during the exhibition. It also proposes to use the system decoration, the sturdy and easy to assemble and disassemble decoration framework and panel, increase the proficiency of assembly technology, and educate workers with the right attitude to work, as well as introduce the concept of the circular economy. the final waste of the exhibition and decoration project will be physically reduced by "Reuse", "Recycled" and " Reduction-Reduce".
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LI, RONG-TING, and 李榕婷. "A Study on the Curating Project Management by Using Critical Chain Model: Technology Exhibition as an Example." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/90656193396460848464.
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碩士國立高雄應用科技大學
工業工程與管理系碩士在職專班
105
Exhibition is the window of all industries and the pioneer of economic development. The exhibition environment output values in Taiwan are 42.6 billion in 2016; almost all industries expand the markets by the exhibitions. In the annually technological exhibitions, the projects covered from metal applications, automotive industry to high-value field such as photoelectric and medical industries. The exhibition also added the recent major technology and product achievements, expecting to accelerate the enterprise R & D process and stable the industrial base through a comprehensive and systematic promotion. The purpose of this study is to develop suitable management processes for technological exhibition to achieve effective execution of curatorial plans and a better control of project schedule to achieve goal smoothly. In this study, we use the CCM (Critical Chain Method) in project management to find out the uncertain factors that influence the success of the curator in the curatorial process, effectively control the schedule of the curator project and improve the quality of the project time planning. In this case, the company often takes about half year to plan and execute an exhibition before implanting the curatorial project management. Therefore, this study is aimed to decompose the exhibition activities of the company, using the CPM (Critical Path Method) and the CCM (Critical Chain Method) to control the whole project schedule. The results of the case study show that the key chain method can be used to manage the project. More than 120 working days of the project will be shortened to 68.5 days, effectively shorten the number of days to complete the project and provide a project-planning reference to the company in the future.
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Galsterer, Alda Veronica 1988, and José António Fernandes 1947 Dias. "Um projecto curatorial= A curatorial project : Elaborating "guidelines" for young independent curators, based on experience gained from the "Heimweh/Saudade" exhibition at Plataforma Revolver, Lisbon, Portugal." Master's thesis, 2010. http://hdl.handle.net/10451/1970.
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Possui um catálogo de exposição, intitulado, Heimweh!, apenas consultável na biblioteca da FBAUL (cota TES 352 (1))Tese de mestrado, Estudos curatoriais, 2010, Universidade de Lisboa, Faculdade de Belas Artes
This MA thesis describes the work of Alda Veronica Galsterer as an independent curator working in Portugal, specifically mapping her first exhibition from conception to organization and through to production. Titled “Heimweh/Saudade. Young German and Portuguese artists looking for a new dialectic between Heimweh and Saudade”, her first show was held at the off-space Plataforma Revólver (September 24th - November 7th, 2009). Drawing upon her own experience, the author seeks to develop useful guidelines for other young independent curators. First introduced to the idea and concept behind the exhibition, the reader will then be familiarized with the path towards achieving the ultimate goal of opening the exhibition – including essential steps along the way, such as production, fundraising and finance, insurance, transport, text writing, installation, etc. The reader will learn about parallel activities implemented by the curator to dynamize the exhibition: guided tours, a catalogue launch and a panel discussion, chaired by the curator herself. A chapter dedicated to the critique of this exhibition, aims to familiarize the reader with the expectations of all those involved in the project and how these expectations were met. The conclusion of this thesis offers detailed guidelines for young independent curators at the beginning of their career.
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Santos, Fernando Manuel Rodrigues Pinto Varela dos. "Missão de estudos arqueológicos no sudoeste de Angola (MEASA), em 1966: contributo para a sua divulgação." Master's thesis, 2015. http://hdl.handle.net/10071/11019.
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O pensamento que esteve na origem e decisão de avançar com este projeto está apoiado nos estudos que realizei no ex-Centro de Pré-história e Arqueologia – IICT. Interessou-me perceber o impacto da MEASA, no domínio da pré-história, levada a cabo pelo geólogo e arqueólogo Miguel Ramos, em 1966, à luz da produção do conhecimento de então, com o propósito de a dar a conhecer. Esta é a minha principal motivação. Assim, estive ocupado com uma dupla tarefa, compreender a missão e a sua importância, na primeira fase de investigação e, na segunda, procurar a forma de a divulgar.
Até porque esta missão, a exemplo de outras, tem elevado interesse científico, possibilitando a observação de fenómenos relacionados com a construção do conhecimento relativo à pré-história, em particular o proveniente da escola francesa de André Leroi-Gourhan, o qual terá influenciado Miguel Ramos. Pelo que inferi da investigação desenvolvida, Miguel Ramos realizou a missão em 1966, no sudoeste de Angola, recorrendo à utensilagem teórico-metodológico e aos conhecimentos adquiridos nos estabelecimentos de ensino em Paris, quando da sua estada nesta cidade para estudar, e onde foi discente de André Leroi-Gourhan.
Apesar do Estado Novo ter perseguido objetivos de mais longo alcance em relação à investigação científica nas ex-colónias portuguesas, a pré-história no sudoeste de Angola, em 1966, estava pouco explorada, pelo que, os resultados da missão eram aguardados com expetativa pela comunidade científica.
Dos estudos que levei a cabo no IICT, referentes à missão de estudo de Miguel Ramos, nasceu o projeto que aqui apresento e que consiste na divulgação à comunidade da MEASA, em 1966, através de uma exposição e de seminários. A exposição foi planeada para funcionar com seguinte modelo: no Palácio dos Condes da Calheta ficarão localizados os espaços expositivo e dos seminários, sendo que o último destes terá lugar na Sociedade de Geografia de Lisboa – no Anfiteatro Adriano Moreira.The ideas which encompass the inspiration for and our decision to initiate this project are supported by studies undertaken at the ex-Centre of Prehistory and Archaeology – IICT. I was interested in understanding the impact of this study mission, carried out by the geologist and archaeologist Miguel Ramos in 1966 and which looked at prehistory in south western Angola, in the light of knowledge production at the time, as well as to make the study itself more widely known. Therefore, I had two tasks in hand: understanding the mission and its importance in the first phase of the research and, in the second, I needed to discover the best way to disseminate it. This mission, judging by the example of others, is of great scientific interest, allowing the observation of phenomena relating to prehistorical construction of knowledge, in particular that of the French school of André Leroi-Gourhan, which had influenced Miguel Ramos. It could be inferred as the investigation unfolded that Miguel Ramos undertook the mission in 1966, in the southwest of Angola, using theoretical-methodological tools and knowledge acquired in educational establishments in Paris, from the time he spent studying in this city, where he was a pupil of André Leroi-Gourhan. Despite the fact that the New State had had more ambitious objectives in relation to scientific research in the Portuguese ex-colonies, in 1966, prehistory in south-western Angola had not been the subject of much investigation, meaning that the results of the mission were eagerly anticipated by the scientific community. The studies which I undertook at the IICT concerning Miguel Ramos’ study mission gave rise to the project presented here and the objective of making the study mission in south western Angola in 1966 better known to the community is to be achieved by means of an exhibition and seminar programme. The exhibition has been planned in the following form: the Palácio dos Condes da Calheta will house the exhibition and the seminars, with the final seminar to be held at the Sociedade de Geografia de Lisboa, in the Anfiteatro Adriano Moreira.
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CHEN, Hsin-Yu, and 陳炘榆. "The project implementation of planning and designing of exhibition spaces - in the case of dispaly booths of the medical society activity." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/n3qamw.
Full textAbstract:
碩士國立臺灣師範大學
設計研究所在職進修碩士班
97
In this economic turmoil of today, the exhibitors to reduce the budget, how to achieve very little can be taken to reduce costs and improve the quality and showed the same texture, quality and service planning and design exhibition. But at this stage can not only improve the quality of service provided, the most important is to work with customers to maintain long-term cooperative relationships, and this includes service quality, service value and customer satisfaction. In this study, the nature of qualitative research for the exploration of empirical research methods using case studies, analysis of the overall planning activities show how the development of their project and process steps, including business development, graphic design and space planning, staffing, time allocation, budget operations, engineering, contracting and construction management. Therefore taken to support project management operations, they will obtain the trust of customers for life, and to establish long-term advantages of cooperation. The main research content of this study is divided into the following points: 1.The definition of ad hoc knowledge; 2.Conduct of ad hoc planning; 3.The ad hoc case analysis; 4.The progress of project implementation and control; 5.Ad hoc analysis and improvement of the results. Exhibition of a planning activity, the case can be divided into the process: the beginning of the project Stage, the ad hoc analysis stage, the visualization project stage of project specific stage, Assessment Project stage, at every stage of work is extremely fine and connected, and the stage of time due to unforeseen delays in the progress of changes to the ad hoc and short duration of the urgency of a more refined, often difficult to assess the variables, resulting in more human resources, time control, technology integration and implementation of design concepts in the results, these have to be the beginning of the project planning stage, to make proper plans can in the process of implementation, the smooth completion of the project control .
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Emiliano, Paulo Alexandre De Albuquerque. "DE SOL A SOL Trabalho-projecto em torno da colecção de ukiyo-e do Museu Calouste Gulbenkian." Master's thesis, 2021. http://hdl.handle.net/10362/129607.
Full textAbstract:
O objectivo deste Trabalho-Projecto é conceber uma mostra sequencial das estampas japonesas — ukiyo-e —, que se encontram nas reservas do Museu Calouste Gulbenkian, e fazem parte da colecção, propondo uma série de oito exposições temporárias por um período de dois anos, através de um percurso temático, em que são apresentadas cerca de doze estampas em cada mostra. Simultaneamente proponho a forma segura de apresentação das obras, segundo os padrões actuais de conservação preventiva, tendo em conta a fragilidade das peças. Neste sentido são apresentados métodos e dispositivos seguros para que as obras sofram o mínimo desgaste físico. Indissociável do Trabalho de Projecto desta série de exposições, pareceu-nos importante entender a presença destas estampas na colecção de Calouste S. Gulbenkian, o que significou indagar e reflectir sobre as tendências e gostos artísticos que surgiram na Europa no final do século XIX e início do século XX, sobretudo no que diz respeito à arte japonesa, panorama este que, cremos, teve uma influência decisiva no gosto pessoal do coleccionador e no consequente desejo de possuir a sua própria colecção de xilogravuras. Paralelamente, problematiza-se a possível ligação deste núcleo de arte nipónica
ao núcleo de pintores impressionistas.The objective of this Project-Work is to conceive a sequential display of Japanese prints — ukiyo-e — that are in the reserves of the Calouste Gulbenkian Museum, part of the collection, proposing a series of eight temporary exhibitions for two years, through a thematic route — with about twelve prints presented in each exhibition. Moreover, I also aim at proposing a secure way of displaying the works, according to the current standards of preventive conservation, taking into account the fragility of the pieces. Safe methods and devices are presented so that the works suffer the minimum physical wear. But to understand the presence of these prints in the collection of Calouste S. Gulbenkian made me reflect on the trends and artistic tastes that emerged in Europe at the end of the 19th century and beginning of the 20th century relating to Japanese art, thus influencing his taste, as well as awakening in the collector the desire to own his collection of woodcut prints. At the same time, I questioned the possible connection of this nucleus of Japanese art to that of impressionist painters.
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Mateus, Simão. "Discurso expositivo do Museu da Lourinhã: Propostas para o futuro." Master's thesis, 2010. http://hdl.handle.net/10071/3994.
Full textAbstract:
Esta dissertação de mestrado baseia-se no Museu da Lourinhã, e pretende-se que seja
visto como um trabalho académico com forte sentido prático e utilitário para o objecto
de estudo, o referido museu.
O Museu da Lourinhã é famoso pela sua colecção única de dinossauros, e as suas
principais características são, por um lado, deste museu ser associativo, e por outro lado
possuir três tipos de colecções: arqueologia, etnologia e paleontologia.
Este trabalho faz um levantamento histórico do museu e um reconhecimento das suas
características e do seu acervo com objectivo de propor um novo discurso expositivo
para as suas colecções de arqueologia e etnologia.This dissertation is about the Lourinhã Museum, and was written with a practical purpose of being of use to the referred institution. The Lourinhã Museum is famous for its unique dinosaur collection. Its main characteristics are that it is a nonprofit organization and that it has three distinct collections from archaeology, ethnology and paleontology. This dissertation describes the history of the museum, how collections were collected and its ways of display with the aim of proposing a new way of display/ or a new exhibition focused on the archaeological and the ethnographical collections with the purpose of proposing a new form of exhibition for the archeology and ethnology collections.
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Gonçalves, Fernando Luís Barroso. "A Revolução de 24 de Agosto de 1820: prelúdio do Liberalismo em Portugal. Um projeto expositivo." Master's thesis, 2021. http://hdl.handle.net/10362/127962.
Full textAbstract:
Esta Memória escrita tem como objetivo ser uma apresentação e reflexão sobre as atividades desenvolvidas durante o planeamento, conceção e realização da exposição “A Revolução de 24 de Agosto de 1820: prelúdio do Liberalismo em Portugal”, realizada no Museu Militar do Porto entre Outubro de 2020 e Agosto de 2121. O trabalho alia, assim dois elementos complementares: um vídeo de apresentação do projeto concretizado (em anexo), e a vertente escrita do mesmo, que inicia com uma breve caracterização do Museu Militar do Porto, instituição que acolheu a exposição, dando particular relevo ao enquadramento histórico do museu e do seu programa museológico, seguindo-se uma análise da abordagem conceptual do projeto/exposição, da metodologia adotada e dos reptos encontrados durante a realização das várias fases do trabalho. O último ponto consiste numa reflexão global sobre o Projeto.This Written Memory aims to be a presentation and reflection on the activities developed during the planning, conception and realization of the exhibition “The Revolution of 24 August 1820: prelude to Liberalism in Portugal”, held at the Military Museum of Porto in October 2020 and August 2121. The work thus combines two complementary elements: a video presentation of the accomplished project (attached), and the written part of the project. It begins with a brief characterization of the Military Museum of Porto, the institution that hosted the exhibition, giving particular emphasis to the historical framework of the museum and its museological program. Next an analysis of the conceptual approach of the project/exhibition, the methodology adopted and the challenges faced during the various phases of the work. The last point of this work consists of a global reflection on the Project.
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David, Maria João Lino. "Documentação fotográfica relativa ao Mosteiro dos Jerónimos : inventariação e investigação." Master's thesis, 2016. http://hdl.handle.net/10362/18297.
Full textAbstract:
O presente Relatório de Estágio descreve o trabalho desenvolvido no Mosteiro
dos Jerónimos tendo por objecto de estudo a documentação de natureza fotográfica
relativa ao monumento.
Desde o advento da fotografia no século XIX, o Mosteiro dos Jerónimos tem
sido uma das mais notáveis construções portuguesas que encantam os fotógrafos. Como
tal, a produção de capturas deste monumento foi crescendo e está hoje dispersa por
inúmeras instituições nacionais.
O projecto incitado pela valência da fotografia enquanto documento resultou na
recolha de informação à guarda de instituições de naturezas orgânicas distintas –
museus, bibliotecas, arquivos e outras. Para a correcta reunião do levantamento
fotográfico, foi desenvolvido um instrumento de descrição documental – Catálogo
fotográfico digital – para utilização interna como ferramenta de trabalho.
De maneira a sensibilizar o papel da fotografia na construção da memória e da
história do monumento, foi projectada uma exposição utilizando a informação
recolhida.This Placement Report describes the work developed in Mosteiro do Jerónimos having by study subject the documentation of a photographic nature relating to the monument. Ever since the advent of photography in the 19th Century, the Mosteiro dos Jerónimos has been one of the most remarkable portuguese buildings which have delighted the photographers. Therefore, the production of snapshots of this monument has been increasing and is presently disseminated over many national institutions. The project, prompted by the relevance of photography as a document, resulted in the gathering of information which was under the care of institutions very distinct in nature – museums, libraries, archives and others. To ensure the correct assembly of the photographic collection, an instrument f document description was developed – the digital photographic catalogue – to use within the project as an investigation tool. To raise awareness towards the role of photography in building the memory and the history of the monument, an exhibition using the information collect was planned.
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Léonard, Brouillet Karine. "L'exposition virtuelle : nouvelle forme de diffusion et de représentation des œuvres." Thèse, 2012. http://hdl.handle.net/1866/8788.
Full textAbstract:
Depuis longtemps déjà, les arts visuels se démarquent par leurs rapports proches quoique créatifs avec les développements technologiques des sociétés modernes. Pour les musées, Internet constitue une opportunité de rejoindre des publics qui s’avèrent de prime abord moins accessibles. Ce nouvel acteur dans le monde de l'art occupe une place croissante dans la présentation des oeuvres tout en jouant un rôle déterminant dans la diffusion et donc dans le retentissement qu'elles ont auprès de publics aux attentes changeantes. Alors que le musée diffusait autrefois ses collections et connaissances par les expositions et les catalogues, le cyberespace est aujourd’hui un nouveau lieu public qu’il lui convient d’investir. L’internaute est souvent isolé dans sa quête d’une « trouvaille » parmi la diversité de l’offre technologique. Nous proposons l’image alternative du flâneur comme métaphore opérationnelle afin d’analyser la relation entre l’internaute et l’exposition.
Les oeuvres sont transposées dans le virtuel par le médium numérique, le même langage qui sous-tend l’exposition dans son ensemble, un transfert dont les implications sont nombreuses. La reproduction, par sa nature désacralisée, autorise la manipulation virtuelle. C’est une nouvelle forme de participation qui est exigée des spectateurs, non pas en termes d’acquisition rationnelle de connaissances, mais de manière ludoéducative, par cette même manipulation de l’image. Dans le but de souligner l’authenticité de l’oeuvre originale par la présentation de son équivalent numérique, l’exposition virtuelle est souvent médiatrice et documentaire avant tout, privilégiant l’observation technologique didactique.Art and technology have long developed close relationships allowing both to be inspired by the other. Today, the Internet constitutes an opportunity for art museums to reach to publics previously unattainable. It is determining ways in which works of art or their numerical representation thereof are presented, transmitted, and perceived. Since their founding, museums have broadcasted their collections and knowledge in the public sphere by means of exhibitions and catalogues, but the Internet is now a space they have to inaugurate. In the perspective of cyberspace being both vast and varied, the internet user is often isolated in his search of a “find” or “discovery” amongst the array of virtual exhibitions available. It is necessary to offer an alternative to the often unique image of the internet user as “searcher” to propose the image of the flâneur as an operational metaphor for the analysis of the relationship between user and exhibition in cyberspace. The representation – by means of the digital language underlying both exhibition and image – allows virtual manipulation of the work of art. This entails new forms of participation on the part of exhibition viewers who are now also internet users. Often undertaking to highlight the authentic nature of the original work of art by displaying its digital representation, the virtual exhibition is often presented as a didactic counterpart to a “real” exhibition, thus avoiding the delicate question of the work of art experience in favor of a technological observation aimed at acquiring knowledge.