Relevant bibliographies by topics / Museum reuse

Academic literature on the topic 'Museum reuse'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "Museum reuse"

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Djebbour, Imane, and Ratiba Wided BIARA. "SUSTAINABILITY COMPARATIVE ASSESSMENT OF THE ADAPTIVE REUSE OF HERITAGE BUILDINGS AS MUSEUMS: CASE OF TLEMCEN." Environmental Research, Engineering and Management 75, no. 3 (December 17, 2019): 7–20. http://dx.doi.org/10.5755/j01.erem.75.3.22133.

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The question of adaptive reuse offers a harmony between physical character and functional of historical buildings. It becomes an effective strategy in order to enhance its sustainability and revitalize the overall appearance of the city. The interaction between the decision of reuse and sustainability aims only to find a balance between the project and sustainable development criteria. It mainly relies on the constant evaluation of historical building’s sustainability. In the case of Tlemcen city, the event “Tlemcen capital of the Islamic culture” has been a chance for the reuse of monuments in museums in order to endure over time. This document aims to examine how sustainability changes from a monument to another to identify issues affecting the sustainability of reused monuments. Based on an empirical approach, the document makes a comparative assessment of the six monuments reused as museums in Tlemcen city, which has a qualitative study based mainly on 80 semi-directive interviews with the three samples of the population; heritage specialists, managers and ordinary citizens. The research also began with a document analysis to review the changes brought by historical stratification also an in-situ observation that provides an opportunity to analyze monuments in the field. Finally, the quantitative evaluation was carried out using an evaluation grid containing an evaluation scale and the set of indicators obtained from the interview conducted. The results obtained from this study reveal that sustainability varies from case to another depending on the primary characteristics of the monument that directly affects the sustainability’s score of each criterion that influences the adaptive reuse process. Indeed, the new "museum" function installed does not ensureby itself a unified sustainability of the studied monuments.
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Md Ali, Zuraini, Rodiah Zawawi, Nik Elyna Myeda, and Nabila Mohamad. "Adaptive reuse of historical buildings." International Journal of Building Pathology and Adaptation 37, no. 1 (February 11, 2019): 54–68. http://dx.doi.org/10.1108/ijbpa-04-2018-0029.

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Purpose The purpose of this paper is to focus on the impacts that the adaptive reuse of historical building has on museum service quality by analysing the visitors’ expectations and perceptions through the HISTOQUAL model. It looks deeper into investigating the enhancement of adaptive reuse approach to historical buildings not only to the surrounding environment, but also to the building’s cultural significance. Design/methodology/approach A field survey implementing quantitative approach was conducted by using questionnaires to collect the visitors’ expectations and perceptions on their visits to the selected case study sites. The selected two case study sites are both newly adaptive reuse museums located in the heart of Kuala Lumpur. Through these case studies, the visitors’ expectations and perceptions were analysed and the differences were identified. Findings Positive feedback on the level of service quality provided at both museums indirectly shows the success of adaptive reuse initiative on the historical buildings towards adapting their new functions as a museum. It was also noted that foreign language leaflets and facilities for less able visitors were among the two service criteria that do not exceed the expectations of users. In general, these findings are crucial in identifying the gap within the services provided and appropriate measures that can be undertaken for further improvement. Research limitations/implications Further study can be employed to a larger population of study to cater for a variety of perspectives from both users and managers of the buildings. Practical implications This paper highlights the implications of users’ feedback towards building usability and functions. It provided imperative findings from the users’ point of view pertaining to the services provided. Social implications The paper illustrates the significance of social perceptions on the implications of service delivery. It also reports empirical evidence in highlighting the importance of users’ attributes towards excellent service delivery. Originality/value Up to present, there exists a small number of studies that look into reviewing the new functions of adaptive reuse buildings. This study now contributes to create a larger number of studies in this scope, especially within the context of Malaysia.
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Taher, Hassan, Giuseppina Addo, Pille Pruulmann Vengerfeldt, Maria Engberg, and Åsa Harvard Maare. "Reuse and Appropriation: Remediating Digital Museum Collections and Digital Tools for a Participatory Culture in Transition." Baltic Screen Media Review 10, no. 1 (April 1, 2022): 122–38. http://dx.doi.org/10.2478/bsmr-2022-0009.

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Abstract Museums have always used different media to communicate, widen perspectives and bring new knowledge, but in the era of digital media, their various offerings are increasingly part of the media ecosystem. Our research interventions explored the possibility of reusing existing digitised material in a participatory setting. The aim was to explore the object-centred audience participatory method in digital settings. We held a series of digital and in-person workshops that invited the participants to “imagine” narratives about the provenance of the museum’s objects and journeys to Sweden in a playful and creative exploration. We could observe how the virtual workshop setting supported focused discussions, and allowed zooming, drawing and remixing of digital photographs to facilitate conversation. The workshop participants on-site worked with the museum objects on display to remediate them through photos, drawings, clay modelling, and writing down thoughts and questions about the objects on discussion postcards. The participants’ contributions were included in the virtual collection database (Carlotta), under the same collection as the other museum objects, making the remediation process circular. We argue that object-centred methods enable audience participation in digital media ecosystems both in museums and with other media makers. The audience’s expectations and experiences from using other media bring them to the digital museum platforms with a willingness to explore, remix and integrate.
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Aulia, Rahma, Zairin Zain, and Valentinus Pebriano. "MUSEUM SENI RUPA MODERN DI PONTIANAK." JMARS: Jurnal Mosaik Arsitektur 9, no. 1 (February 21, 2021): 270. http://dx.doi.org/10.26418/jmars.v9i1.45157.

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Museums in general are used to store, maintain, secure and utilize museum collections in the form of cultural heritage objects. Fine arts museums are appreciated through visions with visible media and have a physical form or simply presented as a show. The city of Pontianak does not yet have a place to carry out the function of this fine art museum. The museum collection focuses on modern fine art with long-term loans to the museum. There are some art enthusiasts in Pontianak but there is no place to channel this interest. The design method uses three stages. The first stage, data collection by classifying data as information and facts on a problem. The second stage, the analysis aims to analyze the data that has been obtained. The third stage is systematic and systematic by using images in the form of stages with product results, namely, planning drawings and design reports. The design of the Modern Art Museum in Pontianak uses a green architectural approach, namely building planning that seeks to minimize various harmful influences on human health and the environment. This museum has two floors divided according to functions, namely manager and visitor functions. The facade used is of the 3R type (Reduce, Reuse, Recycle), so the walls use bricks and the windows will use low e-glass material and uPVC frames. The comparison composition of 60:40 for buildings and green land follows the requirements for building a museum.
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Cihangiroglu, Melike Selcan. "Memory- space relation in an adaptive reuse building: Analysis of Cengel Han- Rahmi Koc Museum." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 310–17. http://dx.doi.org/10.18844/gjhss.v2i1.313.

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Karakul, Özlem. "Designing a Village Museum Ecologically: Reuse of Historic School Building." ATHENS JOURNAL OF ARCHITECTURE 5, no. 4 (September 18, 2019): 345–66. http://dx.doi.org/10.30958/aja.5-4-2.

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Hsu, Tien-Yu, and Jen-Yuan Yeh. "A Unified Knowledge-Based Content Management Framework towards Value-Added Application and Service Development and Business Marketing for Museums: The Case Study of the National Museum of Natural Science in Taiwan." International Journal of Humanities and Arts Computing 8, supplement (March 2014): 12–28. http://dx.doi.org/10.3366/ijhac.2014.0096.

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The practices of knowledge management (KM) are complicated and usually difficult of accomplishment. In most situations, KM is introduced on a departmental or even individual level, leading to the Content Silo Trap where content, applications, and services are created in isolation. To address the issue, this paper proposes, for museums, a Unified Knowledge-based Content Management Framework, which consists of the Unified Process of Knowledge Content Development, the Multi-layered Reusable Knowledge Content Structures, and the Unified Knowledge-based Content Management System. The first declares tasks for the museum staff to perform while building and utilizing knowledge. The second abstracts content in consistent structures for reuse. The last comprises subsystems serving functionalities for knowledge-based content management. The proposed framework has been successfully introduced in the National Museum of Natural Science to manage tasks and operations on a daily basis. In addition, a platform based on the framework is implemented to support knowledge-based content management, value-added application and service development, and business marketing. The overall practical experience is a valuable reference for museums, the academia, and the industry.
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Mega Yulita Nancy Ponggo, Astari Wulandari, and Djudjun Rusmiatmoko. "Konservasi Arsitektur Pada Bangunan Museum Wayang Jakarta." SARGA: Journal of Architecture and Urbanism 17, no. 1 (January 30, 2023): 72–80. http://dx.doi.org/10.56444/sarga.v17i1.415.

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Bangunan Museum Wayang di Kawasan Kota Tua Jakarta ditetapkan sebagai bangunan cagar budaya karena memiliki nilai penting dalam sejarah perkembangan kota dan bangsa. Maka dari itu, diperlukan upaya konservasi untuk mempertahankan keberadaannya sehingga nilai-nilai tersebut tidak hilang. Penelitian ini bertujuan untuk mengkaji upaya konservasi yang dilakukan terhadap bangunan Museum Wayang serta keseuiannya terhadap prinsip konservasi arsitektur. Penelitian dilakukan dengan menjabarkan upaya konservasi secara deskriptif-kualitatif melalui observasi dan studi pustaka. Secara keseluruhan, Museum Wayang telah menerapkan upaya konservasi yang tepat dengan mempertahankan signifikansi budaya dan tidak melakukan intervensi besar pada kondisi asli bangunan. Bentuk adaptive reuse pada Museum Wayang yang melibatkan kegiatan restorasi atau rehabilitasi menunjukkan komitmen pemerintah daerah dalam mempertahankan bagunan bernilai sejarah ditengah – tengah pesatnya perkembangan lingkungan perkotaan yang dinamis.
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Vardopoulos, Ioannis, Christos Stamopoulos, Georgios Chatzithanasis, Christos Michalakelis, Panagiota Giannouli, and Eleni Pastrapa. "Considering Urban Development Paths and Processes on Account of Adaptive Reuse Projects." Buildings 10, no. 4 (April 10, 2020): 73. http://dx.doi.org/10.3390/buildings10040073.

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This article, as part of the ‘SUMcity’ research program, aims to give a comprehensive account of the regeneration that occurred in Athens by the adaptive reuse of the old FIX Brewery to house the new Hellenic National Museum of Contemporary Art (EMST). Adaptive reuse is an urban sustainability development evolving process, used to manage assets and resources efficiently, resulting in economic development, increased local attraction, and revitalized community engagement. Other than that, modern societies experience the dynamic stream of social media and smart city initiatives, amid a long-discussed and complex cultural heritage preservation backdrop. Notwithstanding the value added to the city, the interaction of sustainable development with adaptive reuse projects, culture, tourism, social media use, and smart city initiatives, along with the impact of this intangible relationship, has yet to be set in a more tangible form. Methodologically, a newly developed conceptual framework is used in order to re-define the (cor)relations among the existent concepts of sustainable development, smart city and cultural heritage. Subsequently, a primary questionnaire-based research is conducted on Instagram users’ geotagging the Hellenic National Museum of Contemporary Art (EMST), analyzing their views in an attempt to demonstrate the arising local potential and sustainability.
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Soehardinata, Prisilla Noviani, and Suwardana Winata. "PENERAPAN PENGALAMAN RUANG (USER EXPERIENCE) SEBAGAI MEDIA BARU DALAM PERANCANGAN LIVING MUSEUM DI PASAR IKAN, JAKARTA UTARA." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 4, no. 2 (January 23, 2023): 1193–202. http://dx.doi.org/10.24912/stupa.v4i2.21814.

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The Pasar Ikan area, as one of the starting points for the development of Jakarta in the Batavia era, is one of the biggest fish markets of its time. As years passed, Pasar Ikan degraded and changed its function into a slum settlement, resulting in a loss in its image as a historical and maritime area. This situation then becomes a trigger to restore the image of the Pasar Ikan area, by considering current conditions and the need in providing education for the community. Museums are one of many ways to educate the public about the history of Pasar Ikan. However, it was found that the number of public visits to museums is still very low, especially among the millennial generation. Hence, a new media, that is relevant to current development, is required to convey information in the museum. The methods used are Translating History into User Experience, Everydayness based on a participatory approach and narrative tactics, and 4 Space Plot Strategies. In conclusion, the user experience in the Living Museum is built through: 1. Translating History into Space Experience which results in Past, Present, and Future zoning; 2. Daily analysis that produces aspects of the five senses of the present and the past; 3. 4 Space Plot Strategies that produce Zoning, Zone Section & Events, 5 Sense Experiences (both architecturally in the form of dioramas and non-architecturally by using actors), and Spatial Configuration. Keywords: adaptive-reuse; everydayness; living museum; user experience
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Dissertations / Theses on the topic "Museum reuse"

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Ikonomidis-Doumbas, Agis. "Adaptive reuse and the museum : installing a museum in a preexisting shell." Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/67389.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1990.
Includes bibliographical references (leaves 123-132).
The thesis deals with the complexities involved within the conversion of an old building to an art museum. The restoration of a building is by itself a complicated problem, conjuring up questions about the relationship between the old and new parts of the structure. The reuse of the old building as a museum of art adds a new set of relationships, multiplying the interactions and enhancing the complexity. The analysis of the problems is st:rUctured in two parts: The first is a theoretical discussion of generic questions and issues linked with the museum as an institution on the one hand, and with the preservation of the built environment on the other. The second joins the two fields of the above discussion together, by referring to the particular kind of building: the museum within an old structure. This is done by means of analysis of selected examples. An artificial separation of the two fields is again used as a tool for the analysis. The discussion focuses on the concrete expression of specific choices in both of the fields, from which, in conclusion, general deductions are drawn.
by Agis Ikonomidis-Doumbas.
M.S.
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Dykxhoorn, Lee (Lee Marinus). "Reuse the muse : the museum as a transcultural negotiator of national identity." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/63046.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, February 2011.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. [144]-145).
The project proposes a museum that acts as public infrastructure, situated across the boundary between east and west Oslo. The architecture of the museum is a continuous linear element that acts as a bridge through the different urban conditions from one side of the Aker River to the other, becoming the primary circulation path, reinventing the public street and positioning the cultural value of the exhibits alongside the daily life of the city where it infiltrates the exhibition spine of the museum. The imposition of this system questions contemporary definitions of Norwegian identity through the relationships developed between the historic narrative of the museum and the slices of city life that it presents at the intersections. Several registers of content pull through the museum - exhibition, production and public space. The collections explore what it means to be Norwegian, through the art of Edvard Munch and artifacts from Norway's viking past presented in a timeline of development, all consistently bracketed by visible processes of restoration and production needed to keep the museum operational - undermining through process the traditional modes of cultural legitimation of the museum and allowing for an imposition of a alternate kind of user driven identity for the city.
by Lee Dykxhoorn.
M.Arch.
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Olugbenle, Adedotun Olumuyiwa. "Adaptive Reuse: Old Building- New Props and Costume- Architectrual Rebirth." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/74929.

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Across cities in America and the world old buildings are retired to the fate of demolition. The once glorious piece of architecture are seen as unwanted, eyesores and just not fit for today's needs. This thesis seeks to show that with an adaptive-reuse approach, one can restore the 'lost glory' of such old buildings and even add new undiscovered value to its performance and architectural richness.
Master of Architecture
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Stojic, Sonja Alexandra. "Revealing and Exposing the City Behind the Symbol." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/83883.

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Washington, D.C. is a city that is designed to serve an entire nation; yet, as a result of this, its own history and people can seem to be lost in the shadow of the federal city. With an abundance of museums throughout the city, the museum that is needed, but no longer exists, is one for the District itself. This omissionleaves a tremendous gap in historical knowledge and no representation focused on the character of the city itself. How can we fulfill this need in a way that is unique to this specific city and would provide more than an exhibit by allowing people to be surrounded by and contribute to the accumulated evolution of their history? Adaptive reuse encourages the gradual unearthing of historical inspiration, which allows representation of existing and past local populations. For my thesis, I sought to fulfill this need by turning to the existing fabric of the city, learning from it, and eventually employing adaptive reuse techniques to unify the existing framework with the new program.
Master of Architecture
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Jacqueline, Tugman. "The Revitalization of Pump House Park: An Adaptive Reuse of an Historic Industrial Landmark." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2793.

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This thesis is an exploration of the way design facilitates people’s understanding of a place. Hermeneutic theorist Hans Georg Gadamer wrote that we belong to history in the “splendid magic of immediately mirroring the present in the past and the past in the present”. Hermeneutics is the study of how we interpret non-verbal communication. Researching the history of the site on multiple scales guided design decisions that will intuitively shape visitor’s comprehension of Pump House Park’s past, present and future relationship with the city.
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Brown, Abigail R. "Reframing the Everyday: Negotiating the Multiple Lives of the Ordinary." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242324187.

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Thesis (Master of Architecture)--University of Cincinnati, 2009.
Advisor: Rebecca Williamson. Title from electronic thesis title page (viewed July 23, 2009). Includes abstract. Keywords: museums; curators; historic preservation; Washington, D.C.; adaptive reuse; commerce; museum display; exhibition design; material culture. Includes bibliographical references.
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Caruso, April Marie. "From Glorious Gateways to “White Elephants” to a Mall and Museum: Cleveland and Cincinnati Union Terminals, 1900 to circa. 1990." Youngstown State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1311717085.

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Souza, Éricka Madeira de. "A curadoria digital e o reuso dos acervos culturais digitais da Rede Web de Museus do Estado do Rio de Janeiro." Rio de Janeiro: Fundação Casa de Rui Barbosa, 2018, 2018. http://hdl.handle.net/20.500.11997/7378.

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Submitted by Carolina Sena (carolina.sena@rb.gov.br) on 2018-07-02T20:22:48Z No. of bitstreams: 1 DISSERTAÇÃO Ericka Souza FCRB.pdf: 5432159 bytes, checksum: bfdfbe9519535f127cca3fdaf9c9fcf8 (MD5)
Made available in DSpace on 2018-07-02T20:22:48Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO Ericka Souza FCRB.pdf: 5432159 bytes, checksum: bfdfbe9519535f127cca3fdaf9c9fcf8 (MD5) Previous issue date: 2018
The present text discusses how museums work technically with the continuous increase of the digital cultural objects present in the museological institutions and that also become part of its cultural patrimony. The objective is to demonstrate that the collaborative environment of the Web Network of Museums of the State of Rio de Janeiro can stimulate the offer of integrated information services with the other cultural institutions through the digital curation of this material, encouraging the sharing and reuse of these cultural digital collections. The methodology of this research is developed in three stages: literature review, identification of ongoing experiments in digital curation and reuse of digital objects and oral interviews. It was possible to confirm the digital curatorship as a resource for the control and maintenance of the technical treatment of cultural digital objects, reusing them for the expansion of knowledge and dissemination of information and at the end, some of the new services that could be offered by the Web Network of Museums.
O presente texto discorre sobre como os museus trabalham tecnicamente com o aumento contínuo dos objetos digitais culturais presentes nas instituições museológicas e que se tornam também parte do seu patrimônio cultural. O objetivo é demonstrar que o ambiente colaborativo da Rede Web de Museus do Estado do Rio de Janeiro pode dinamizar a oferta de serviços informacionais integrados com as demais instituições culturais através da curadoria digital deste material, incentivando o compartilhamento e o reuso destes acervos digitais culturais. A metodologia desta pesquisa se desenvolve em três etapas: revisão de literatura, identificação de experiências em curso na curadoria digital e no reuso dos objetos digitais e entrevistas orais. Foi possível confirmar a curadoria digital como recurso para o controle e a manutenção do tratamento técnico dos objetos digitais culturais, proporcionando o reuso dos mesmos em prol da expansão do conhecimento e difusão da informação e ao final, foram identificados alguns dos novos serviços que podem ser oferecidos pela Rede Web de Museus.
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Laner, Edoardo. "Paisagem e indústria. Reorganização, requalificação e revitalização dos espaços públicos na frente litoral de Lisboa entre Cais do Sodré e o Museu do Oriente." Master's thesis, ISA/UL, 2014. http://hdl.handle.net/10400.5/7403.

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Mestrado em Arquitectura Paisagista - Instituto Superior de Agronomia
The work provides a slight and quick resume about the long history of growth of the main dock of the city of Lisbon, from when it was center of the vast and wide Portugues Colonial Empire, one of the powerful and expanded empires of all times, following the times of glory of commerce to periods of decline, from the industrial times on late ’80 of nineteenth century to a gradual abandonment times of the last decades of the twentieth century. Then are explained the dynamics and changes in uses and the destinations of an area that start from the train station (plus metro station) of Cais do Sodré, passing areas along the riverside, including areas of abounded factories, offices, building of various purpose of use, night clubs and discotheques, still active dry docks, the harbour of Alcantara, a dock in use for container’s storage and various other areas in the middle way between abandonment and some timid and shy uses of the citizens. After all a series of analysis of mobility of the present activities, about the metabolism of the area in study, are developed in the project of landscape architecture possibilities and ideas for the rebirth, a better organization, the revitalization, recover and revenge of this wide dockland area so central and so forgotten
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Tolotti, Filho José Luiz. "Ecletismo e reciclagem : o edifício do MARGS, do memorial do RS, e do Santander Cultural." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26716.

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A presente dissertação analisa três edifícios ecléticos que constituem um conjunto monumental nas bordas da Praça da Alfândega de Porto Alegre, todos reciclados no ultimo quarto do século XX e passagem para o século XXI: a Delegacia Fiscal, o Correio e Telégrafos, e o Banco Nacional do Comércio, de autoria de Theo Wiedersphan, hoje abrigando respectivamente o Museu de Arte do Rio Grande do Sul, Memorial do Rio Grande do Sul, e Santander Cultural. A análise se faz em três momentos: o de funcionamento pleno, o de desuso e o de novo projeto, assinados por Ediolanda Liedke, Nico e Ceres Rocha, e Roberto Loeb, privilegiando questões de composição ao invés de discussões estilísticas. O capítulo I traça breve panorama sobre a Praça da Alfândega e seu entorno seguido de informações biográficas sobre Wiederspahn. Os capítulos II, III, e IV desenvolvem os três estudos de caso. O capítulo V traz comparações e algumas conclusões sobre os edifícios. Uma breve reflexão acerca dos referenciais teórico-metodológicos é proposta em anexo.
This paper analyses three eclectic buildings that constitutes a monumental set in the edges of the Alfandega Square in Porto Alegre, all of them recycled in the last quarter of the XX’s and the XXI’s: the “Delegacia Fiscal”, “Correios e Telégrafos”, and “Banco Nacional do Comércio” projected by Theo Wiedersphan, today housing, respectively the “Museu de Arte do Rio Grande do Sul”, “Memorial do Rio Grande do Sul”, and “Santander Cultural”. The analysis occurs in three moments: the full operation, the disuse, and the new project, signed by Ediolanda Liedke, Nico and Ceres Rocha, and Roberto Loeb, and privileges topics of composition instead of stylistic ones. Chapter I points a quick overview on the Alfândega Square and its surroundings, followed by biographical informations about Wiedersphan. Chapters II, III, and IV develop three case studies. Chapter V brings comparisons and some conclusions about the buildings. A quick reflection about the theorical-methodological references is proposed on annex.
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Books on the topic "Museum reuse"

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Zürich, Kunsthaus. Tatort Leinwand: Eine Reise mit den Augen. Wabern/Bern [Switzerland]: Benteli, 2003.

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le-omanut, Muzeʾon Tel Aviv, ed. Ḥiriyah ba-muzeʾon =: Hiriya in the museum. Tel Aviv: Muzeʾon Tel Aviv le-omanut, 1999.

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Massó, Jaume. Gaudi & Reus: Museu Salvador Vilaseca, exposició permanent. Reus: Museu Salvador Vilaseca, Ajuntament de Reus, 2002.

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Niebuhrs Museum: Souvenirs og sjældenheder fra Den Arabiske Rejse 1761-1767. København: Forlaget Vandkunsten, 2016.

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Hofmann, Murad Wilfried. Reise nach Mekka: Ein Deutscher lebt den Islam. München: Diederichs, 1996.

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Reise nach Ostpreussen: Spurensuche zwischen Weichsel und Memel. Leer: G. Rautenberg, 1992.

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Brenner-Felsach, Joachim. Eine Reise nach Nias.: Unveröffentlichte Manuskripte aus dem Museum für Völkerkunde in Wien. Edited by Reinhold Mittersakschmöller. Wien: [s.n.], 1998.

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Nolde, Emil. Emil Nolde: Reise in die Südsee, 1913-1914 : Sprengel-Museum Hannover, 14.10.1992-3.1.1993. Hannover: Sprengel-Museum, 1992.

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1838-1874, Fortuny Mariano, Carbonell Pallarès Jordi A, Figueras Anna, and Museu Comarcal Salvador Vilaseca (Reus, Spain), eds. Marià Fortuny: Dibuixos i gravats : al Museu Salvador Vilaseca. Barcelona: Lunwerg, 1997.

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Historisches Museum der Stadt Wien. Blickfänge einer Reise nach Wien: Fotografien 1860-1910 aus den Sammlungen des Historischen Museums. 3rd ed. Wien: Museen der Stadt Wien, 2006.

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Book chapters on the topic "Museum reuse"

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Plevoets, Bie, and Koenraad Van Cleempoel. "Neues Museum." In Adaptive Reuse of the Built Heritage, 162–68. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315161440-16.

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Plevoets, Bie, and Koenraad Van Cleempoel. "Castelvecchio Museum." In Adaptive Reuse of the Built Heritage, 126–31. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315161440-9.

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Plevoets, Bie, and Koenraad Van Cleempoel. "Kolumba Art Museum." In Adaptive Reuse of the Built Heritage, 157–61. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315161440-15.

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Plevoets, Bie, and Koenraad Van Cleempoel. "Sir John Soane’s Museum." In Adaptive Reuse of the Built Heritage, 189–95. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315161440-20.

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Tiwari, Vivek, Sarika Suman, and H. K. Pandey. "Design of A Rain Water Harvesting Structure at Allahabad Museum, Allahabad City, U.P., India." In Wastewater Reuse and Watershed Management, 427–38. Includes bibliographical references and index.: Apple Academic Press, 2019. http://dx.doi.org/10.1201/9780429433986-36.

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"The Spam Museum." In Big Box Reuse. The MIT Press, 2008. http://dx.doi.org/10.7551/mitpress/7560.003.0011.

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Andrez, Bárbara. "Museu Escolar Oliveira Lopes : curadoria digital e preservação." In Museus e Formação: Novas Competências para a Transformação Digital, 84–99. FLUP-DCTP, 2021. http://dx.doi.org/10.21747/978-989-9082-07-6/musa6.

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This contribution results from the attendance of the Pilot Specialization Course in blended-learning format, Competences for 21st Century Museum Professionals, within the scope of Mu.SA Project - Museum Sector Alliance, summarizing the activity developed at the Oliveira Lopes School Museum during the Work-based Learning internship over 15 weeks. Based on an initial premise of collecting and preserving oral testimonies from former students, the development of ten audio visual objects was promoted as well as their documental production and the insertion of relevant metadata, following a specific task management. The focus on digital curation/preservation strategies validated the interoperability and the requirements for long term and continuous access, use and reuse of these conceived objects, with the creation of new objects and their availability through the Web 2.0.
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Jagodzińska, Katarzyna. "Adaptive reuse for museums." In Museums and Centers of Contemporary Art in Central Europe After 1989, 83–118. Routledge, 2019. http://dx.doi.org/10.4324/9781315148908-5.

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Blackwood, Robert. "A Swimming Pool, an Abattoir, and a Biscuit Factory: Discursive Presentations of Adaptive Reuse for Museum Spaces in France." In Reterritorializing Linguistic Landscapes. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350077997.0024.

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"Coffin Reuse in the 21st Dynasty: a Case Study of the Bab el-Gasus Coffins in the Egyptian Museum of Florence." In The Tomb of the Priests of Amun, 492–514. BRILL, 2018. http://dx.doi.org/10.1163/9789004386501_081.

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Conference papers on the topic "Museum reuse"

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Domenech Rodríguez, Marta, David López López, and Còssima Cornadó Bardón. "The role of cultural heritage in urban reuse." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.14392.

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Cities face the challenge of transforming existing buildings to be reused, particularly those that are underused or not used at all. Tackling this issue, the European Commission approved in 2014 a package of measures to promote a circular economy. According to this agreement, our cities can be more sustainable and resilient by transforming these underused existing buildings with proposals for their adaptive temporary reuse, favoring the citizens’ well-being and quality of life and promoting social inclusion and economic growth with respect for the environment. This paper studies the role of heritage education in adaptive urban reuse, exploring the possibilities and methodologies for the reprogramming of existing buildings for different types of activities to offer citizens and communities the opportunity to participate in the life of the city, favouring their social inclusion. In contrast to the common new-builds or refurbishment commissions, reuse offers a greater possibility of disseminating, transforming and reinventing architectural methodologies and approaches to integrate in the design process forms of citizen participation, favouring the transition towards a model of a circular economy and more sustainable consumption. The paper analyses the possibilities of urban reuse applied to five major public heritage buildings in Barcelona: the Post Office Building, the Old Customs House, the France Train Station, the Martorell Museum and the Castle of the Three Dragons. Each of them has a particular condition regarding current uses and its public owning institution and presents specific characteristics regarding building typology, heritage protection, conservation and construction materials and techniques. The buildings date either from the late 19th century or the early 20th century and are grouped along a 1 km axis on the threshold between the historic center and the port of the city. This unique location represents a great strategic potential for the regeneration and urban reactivation of the city.
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Lin, James Quo-Ping, Alan Chi-Gwong Cheung, and Shao-Chun Wu. "Approaching a new episode of digital content creative reuse at the National Palace Museum." In 2017 Pacific Neighborhood Consortium Annual Conference and Joint Meetings (PNC). IEEE, 2017. http://dx.doi.org/10.23919/pnc.2017.8203527.

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Herrmann, Hans, and Cory Gallo. "Just a Little Nudge: How Ideas, Elbow Grease, and an Old Gas Station Canopy Turned an Eyesore into an Amenity." In AIA/ACSA Intersections Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.aia.inter.19.5.

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"This paper looks at the development of a community based amenity through the application of adaptive design thinking, cleverness in material reuse, and the tactical deployment of heterodoxic assembly methods as significant facets of a well-comprised architectural education. Strategies for how one may engage and enable a community to participate in the design and construction process, through means other than unskilled voluntary labor or simply making a donation, were uncovered and refined through this undertaking. The SuperUse Pavilion at the Oktibbeha County Heritage Museum, located in northeaster Mississippi in the small city of Starkville, Figure 1 outlines the location and context for the project’s development."
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Varvaro, Stefania. "Protection and reuse of a forgotten heritage: the Parmesan cheese buildings. Notes for a widespread museum in the lower Reggio Emilia plain." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15285.

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The content of this proposal is a reflection on the landscape of the low Reggio Emilia plain and on the material traces still present in the area linked to the artisanal production of Parmigiano Reggiano (Parmesan) cheese dating back to the 1700s and 1800s. We refer in particular to the agricultural system related to the production of forage and high quality grass to obtain the so-called “white gold”, milk - the raw material for making cheese - and to the architectural buildings used for artisanal dairy production. These structures, called caselli, are much more numerous in the province of Reggio Emilia (the Dairy Charter of 1911 lists 711 caselli), compared to Parma and Modena, despite the fact that Parmigiano Reggiano has always characterized the economy of these areas. This kind of architecture, is characterized by buildings of reduced proportions, with a central, square or polygonal, plan, structurally set on a central pillar around which the processing phases of the cheese production were organized. With perimeters defined by brick walls, bearing on the edges and characterized by jealous paneling on the sides, they are a testimony of valuable constructive knowledge. The grid infills, designed to calibrate air and light, transform them into essential components for the cheese production. Starting from the idea of a widespread museum in the area, close to H. de Varine's thought on the ecomuseum, some design guidelines are established for the enhancement of this production tradition and its agricultural landscape. The rapid evolution of dairy technology on the one hand, and the changes in the territory on the other, have compromised the interpretation of a system that in the tradition of knowledge, techniques and materials had characterized a territory for at least two centuries.
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Rinciog, Octavian, and Vlad Posea. "LODRO: USING CULTURAL ROMANIAN OPEN DATA TO BUILD NEW LEARNING APPLICATIONS." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-038.

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Nowadays we are witnessing an exponential increase in open data which are published in order to be reused by third parties. The major problem about these data is that they have very different formats and structures as they are issued in totally different institutions. Modern elearning methods can be improved using these open data, but their different structures inhibit the development of such elearning applications. This paper describes LODRo, a platform containing standardized public data on existing museums and archaeological research centers in Romania. These data are published by the Romanian National Heritage Institute on Romanian Open Data portal, in CSV format. Standardizing their format involves transforming existing open data in RDF triples and attaching additional properties using online web services, such as geographical coordinates. Furthermore, the existing information is linked with other online resources available from Linked Open Data Cloud. After transforming these Romanian national heritage open data we obtained as results 1014 resources having 5836 RDF triples, each resource representing a Romanian museum and 4290 resources having 39458 RDF triples, each resource representing a Romanian archaeological research center. Also, using DBpedia and GeoNames datasets, we found links to all towns and counties that host a Romanian cultural heritage and to a number of 164 out of 1014 total Romanian museums, this number representing the total number of Romanian museums that are mention on DBpedia. In LODRo, all these RDF triples can be queried using an existing SPARQL endpoint. Using these enhanced data published by LODRo platform, developers can build mobile learning applications to help museum visitors and archaeological researchers to discover additional data about existing sites.
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Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.

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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of national and international exhibitions or events that could be hosted in museums has a twofold consequence: on the one hand, a cultural dynamics due to the permanent contact with unknown objects, and on the other hand, some visibility strategies in order to attract visitors. This latter effect actually embodies a shift within the perception of museums from entities of knowledge towards leisure environments. Within this context where the concept of edutainment(Eschach 2007) seems to prevail in the non-formal way of acquiring new knowledge, contemporary virtual museums display visual information without regard to geographic location (Dahmen, Sarraf, 2009). They play ?a central role in making culture accessible to the mass audience(Carrazzino, Bergamasco 2010) by using new technologies and novel interaction paradigms. Our study will aim at analyzing the way in which civilization was e-framed in the virtual project ?A History of the World in 100 Objects, run by BBC Radio 4 and the British Museum in 2010. The British Museum won the 2011 Art Fund Prize for this innovative platform whose main content was created by the contributors (the museums and the members of the public). The chairman of the panel of judges, Michael Portillo, noted that the judges were impressed that the project used digital media in ground-breaking and novel ways to interact with audiences. The two theoretical frameworks used in our analysis are framing theories and critical discourse analysis. ?Schemata of interpretation? (Goffman 1974), frames are used by individuals to make sense of information or an occurrence, providing principles for the organization of social reality? (Hertog & McLeod 2001). Considered cultural structures with central ideas and more peripheral concepts and a set of relations that vary in strength and kind among them? (Hertog, McLeod 2001, p.141), frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating text or e-text. We will interpret this virtual museum as a hypertext which ?makes possible the assembly, retrieval, display and manipulation? (Kok 2004) of objects belonging to different cultures. The structural analysis of the virtual museum as a hypertext will focus on three orders of abstraction (Kok 2004): item, lexia, and cluster. Dividing civilization into 20 periods of time, from making us human (2,000,000 - 9000 BC) up to the world of our making (1914 - 2010 AD), the creators of the digital museum used 100 objects to make sense of the cultural realities which dominated our civilization. The History of the World in 100 Objects used images of these objects which can be considered ?as ideological and as power-laden as word (Jewitt 2008). Closely related to identities, ideologies embed those elements which provide a group legitimation, identification and cohesion. In our analysis of the 100 virtual objects framing e-civilization we will use the six categories which supply the structure of ideologies in the critical discourse analysis framework (van Dijk 2000: 69): membership, activities, goals, values/norms, position (group-relations), resources. The research questions will focus on the content of this digital museum: (1) the types of objects belonging to the 20 periods of e-civilization; (2) the salience of countries of origin for the 100 objects; (3) the salience of social practices framed in the non-formal teaching of e-civilization/culture; and on the visitors? response: (1) the types of attitudes expressed in the forum comments; (2) the types of messages visitors decoded from the analysis of the objects; (3) the (creative) value of such e-resources. References Brown, M.F. (2009). Exhibiting indigenous heritage in the age of cultural property. J.Cuno (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Carrazzino, M., Bergamasco, M. (2010). Beyond virtual museums: Experiencing immersive virtual reality in real museums. Journal of Cultural Heritage, 11, 452-458. Cuno, J. (2009) (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Dahmen, N. S., & Sarraf, S. (2009, May 22). Edward Hopper goes to the net: Media aesthetics and visitor analytics of an online art museum exhibition. Visual Communication Studies, Annual Conference of the International Communication Association, Chicago, IL. Eshach, H. (2007). Bridging in-school and out-of-school learning: formal, non-formal, and informal education . Journal of Science Education and Technology, 16 (2), 171-190. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Cambridge, MA: Harvard University Press. Hertog, J.K., & McLeod, D. M. (2001). A multiperspectival approach to framing analysis: A field guide. In S.D. Reese, O.H. Gandy, & A.E. Grant (Eds.), Framing public life: Perspective on media and our understanding of the social world (pp. 139-162). Mahwah, NJ: Lawrence Erlbaum Associates. Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32 (1), 241-267. Kok, K.C.A. (2004). Multisemiotic mediation in hypetext. In Kay L. O?Halloren (Ed.), Multimodal discourse analysis. Systemic functional perspectives (pp. 131-159), London: Continuum. van Dijk, T. A. (2000). Ideology ? a multidisciplinary approach. London, Thousand Oaks, New Delhi: Sage.
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Günçe, K., and D. Misirlisoy. "Adaptive reuse of military establishments as museums: conservation vs. museography." In DEFENCE HERITAGE 2014. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/dshf140111.

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Ya'u, Badamasi Imam, Azlin Nordin, and Norsaremah Salleh. "Software Requirements Patterns and Meta Model: A Strategy for Enhancing Requirements Reuse (RR)." In 2016 6th International Conference on Information and Communication Technology for The Muslim World (ICT4M). IEEE, 2016. http://dx.doi.org/10.1109/ict4m.2016.047.

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Valiante, Caterina, and Annunziata Maria Oteri. "The Role of Heritage Communities in Local Development Processes through the reuse of Architectural Heritage. Some Examples in Italian Rural Areas." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.14304.

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Over the last three decades, various initiatives promoted by the European Union concerning the involvement and empowerment of communities in recognising and creating cultural values have flourished. They include, for instance, the Faro Convention, programs for ecomuseums and community mapping, and have contributed to giving voice to bottom-up initiatives for enhancing not only so-called monumental architecture but also "ordinary" architecture and built and vernacular cultural heritage. In general, this approach has also contributed to focusing attention on the importance of local communities in local development processes. In Italy, the so-called inner areas are often characterised by ordinary and vernacular heritage related to rural or manufacturing activities. In these small villages, some local communities, also thanks to the Italian National Strategy for Inner Areas, recognised reuse of part of the vernacular local built heritage as a strength for the community itself and the broader context. Some cases have demonstrated that valorisation of architectural heritage is possible without creating tourism-related facilities only (hotels, museums, etc.) but also creating services needed by "local" users that facilitate the everyday life of the place. In this perspective, attention should also be focused on heritage education and the intergenerational transmission of knowledge, which should involve the entire community at different levels, starting from experiences already in place in similar contexts. In this sense, a community can be intended as a broad concept, a constantly evolving process that includes the resident citizens and a broader network related to a specific territory. Through analyses of case studies, this contribution aims to propose reflections on the role of heritage community experiences in empowering vernacular architectural heritage and its wider context.
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San Cristóbal, Úrsula. "Cuerpo, límites y autobiografía: Una aproximación a lo sonoro en la obra de Marina Abramović." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.12845.

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Los elementos sonoros son una constante en el trabajo de Marina Abramović. No obstante, su presencia ha sido objeto de escuetos comentarios en la bibliografía especializada. Los pocos textos que se refieren al tema, abordan principalmente su obra temprana de la década de 1970. Autoras como Iles (1995) y Biesenbach (2010), solo se refieren al sonido como temporalidad en las instalaciones y performances realizadas en Belgrado. LaBelle (2006-2014) y Hegarty por su parte, se refieren de manera muy breve al uso de la voz en piezas de video performance como Freeing The Voice y Art Must Be Beautiful, sin aportar mayor información contextual al respecto. Pocos escritos abordan obras posteriores. Richards (2010) menciona la presencia de canciones populares en las obras de la década de 1990, pero las referencias suelen ser tan imprecisas que en ocasiones resulta imposible determinar qué músicas fueron empleadas. A la fecha no se ha realizado ningún estudio en profundidad sobre lo sonoro en la obra de Abramović. Cómo se relacionan el sonido, la escucha y el cuerpo, y qué rol cumple la música en el desarrollo conceptual de sus acciones, constituyen interrogantes aún por explorar. En esta ponencia intento ofrecer una panorámica general sobre el rol de lo sonoro en la obra en solitario de Marina Abramović. A través de un análisis comparado entre la serie Rhythm (1973-74) y las performances Delusional (1994) y Balkan Baroque (1997), intento poner en evidencia el paso del sonido a la música que opera en la artista y cómo ello llega a influir en su concepción de la performance. Bibliografía básica: Biesenbach, Klaus. 2010. «Marina Abramović. The Artist is present. The artist was present. The artist will be present». En Marina Abramović: The Artist is Present, 12-21. New York: Museum of Modern Art. ———. 2016. «The Fundamentals of Endurance: Marina Abramović on How She Learned to Refuse the Body’s Limits and Make Immortal Art». Artspace. 2016. Hegarty, Paul. 2015. Rumour and Radiation: Sound in Video Art. London & New York: Bloomsbury Publishing. Iles, Chrissie. 1995. «Cleaning The Mirror». En Marina Abramović: Objects, Performance, Video, Sound, 21-34. Oxford: Museum of Modern Art Oxford. LaBelle, Brandon. 2006. Background noise : perspectives on sound art. Continuum International. ———. 2014. Lexicon of the mouth : poetics and politics of voice and the oral imaginary. New York & London: Bloomsbury. Richards, Mary. 2010. Marina Abramović. New York: Rouletdge.
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