Добірка наукової літератури з теми "Museum of Old and New Art (Tas.)"

Entrepreneurial marketing is used to understand new venture creation in the vacation tourism sector through a case study of private art museum in Tasmania that has become a tourist destination of major international significance. The Museum of Old and New Art (MONA) has emerged as a major driver of tourism in the region. Interrogation of the arts and cultural tourism literature sets up a key research proposition – in arts and cultural tourism, the unique artistic tastes of the entrepreneur often trump customer needs and preferences by shaping the visitor’s experience through creative artistic innovation. The findings support our proposition, with additional grounding through the impact of the owner/manager and associated entrepreneurial marketing and effectuation impacts.

Hailed as the most important cultural event since the opening of the Sydney Opera House, the Museum of Old and New Art (Mona) in Tasmania seemingly made very substantial changes to visitor experiences of an art gallery, catalysed a significant cultural florescence in Hobart and achieved tourism-led urban and regional regeneration on a par with the Guggenheim Museum Bilbao. Drawing on a large survey of visitors this article illuminates the origins, social aims and impacts of successful attempts to push art museums beyond what Hanquinet and Savage call ‘educative leisure’. It contributes to our knowledge of the processes by which traditional forms of ‘highbrow’ cultural experience associated with the dominance of the classical and historical canon are being eclipsed by newer, performative, emotional and sensual forms of cultural taste.

AbstractThis essay presents a reflection on a selection of collections of Islamic art in Europe and the Middle East, focusing on new installations that emerged in the last decade. While various approaches have been discussed in the context of new installations, chronological narratives still prevail. Perhaps, these are indeed the best way to introduce audiences unfamiliar with the material to its complex historical and cultural contexts. The overarching goal of many of these displays may be to create positive public engagement with Islamic art in a global context where Islam is often associated with war and destruction.

As a result of the momentous changes taking place in Russia, people and institutions have acquired a new freedom which they have not been prepared for. Art libraries can offer opportunities for people to use their freedom well, but their collections are inadequate and they are desperately short of money. At the same time, prices of books have risen sharply, and the introduction of charges for inter-library lending is inhibiting smaller libraries from borrowing material for their users. Library collections are being depleted by theft, sometimes perpetrated by hard-up librarians. Cooperation between art libraries could help, but libraries accustomed to a rigid centralized system scarcely know how to begin to cooperate voluntarily; nonetheless, some first steps have been taken by a number of Moscow’s art libraries. Russian art libraries are of several kinds, notably museum libraries, serving their own institutions in the first instance, and art departments of large public libraries, but there is no national art library to serve as the focal point of a network; in the absence of cooperation and networking, collection development and stock-editing are guided only by the immediate needs of particular libraries. Russian libraries, not least the Library of Foreign Literature, desperately need not only to develop networking at home, but also to establish links with libraries abroad.

The final phase of the current Fraser collection Rescue Project (started autumn 1984) is now going ahead with the planned opening of a Fraser Geological Gallery at Wolverhampton Museum and Art Gallery. In March 1984 there was much rejoicing in the Art Gallery when the go-ahead was given for the new museum extension. Work started early in December 1985 and the alterations of the old red Polytechnic building into the new galleries is expected to take a year. The plans include a small separate gallery for the Fraser collection, which links thematically with the adjoining local history displays; so after an absence of fifty years, these fine fossils will be on view to the public again,...

The article is devoted to the culturological analysis of the initial stage of museum development in Samara region and, in particular, the identification of specific features of the church art collection formation in the Samara Public Museum. This museum was the first in the Middle Volga region and was the only large central museum of the province. In the article, the author studies the main stages in the development of the public museum and the organization of its stock activities, explores the ways to replenish the stock collections, as well as the sources of new exhibits and designs of the exposition. Having studied a number of historiographical sources, the author draws a conclusion about traditional approaches and methods of creating museum collections at the initial stage, typical for many Russian regions in the late XIXth – early XXth centuries, at the same time revealing the peculiarities of building a collection of Old Russian and church art in Samara. Along with other items of church heritage (sculptures, old printed and handwritten books, articles of arts and crafts), icon painting originally occupied one of the central places in the exposition area of the Samara Public Museum, being for the visitors, on the one hand, a window into the museum space itself, and on the other, a translation of complex and deep concepts of spiritual reality through a specific symbolic artistic language of art.

In the early 1980s a group of cuneiform tablets formerly in the collection of Sir Henry Wellcome housed at the Wellcome Historical Medical Museum arrived at the Birmingham City Museum and Art Gallery. The majority of these tablets were Ur III administrative texts that were published in Birmingham Cuneiform Tablets I–II. Other tablets in the collection included Old Akkadian, Old Babylonian and Late Babylonian documents, a Shulgi plaque, clay cones, inscribed bricks, a small group of astronomical texts, and a few unidentified miscellaneous tablets and fragments. One of these unidentified fragments turned out to be a hitherto unknown exemplar of Ludlul Bēl Nēmeqi Tablet I, and is the occasion of the current study.

This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries

In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.

Dans le cadre de la célébration du nouveau millénaire, la National Gallery de Londres a organisé l'exposition Encounters: New Art from Old (14 juin - 17 septembre 2000). La formule consistait à inviter vingt-cinq artistes contemporains à choisir une œuvre de la collection permanente du musée et à s'en inspirer afin d'en créer une nouvelle. Certaines des œuvres produites pour l’occasion ont été exposées près de leurs sources dans les salles historiques de la collection du musée. Ce mémoire examine comment la formule de cette exposition et son accrochage anachronique agissent de façon directe sur la temporalité de la collection historique en invitant à sa réactualisation, et à la mise en valeur de la création. Il situe cette formule dans le cadre d’un regain d’intérêt pour les collections, décortique la sélection des artistes par le musée et la sélection des œuvres de la collection par les artistes. Il propose aussi une classification des modalités par lesquelles ceux-ci ré-interprètent la tradition. Enfin, en s’appuyant sur la théorie de la réception, ce mémoire considère les réponses générées par l’exposition : celles des artistes aux œuvres de leurs prédécesseurs, celles des critiques et celles du public.
As part of the celebration of the new millennium, the National Gallery of London organized the exhibition Encounters: New Art from Old (June 14 to September 17, 2000). The concept was to invite twenty-five eminent contemporary artists to choose a painting from the permanent collection of the museum in order to create a new artwork. Some of the works produced for the occasion were displayed near the works that inspired them in the historic galleries of the museum. This dissertation examines how the anachronistic hanging of the works of art helped Encounters in shedding new light on the permanent collection of the museum and in showcasing the contemporary artists' interpretations. The dissertation seeks to situate Encounters in the context of a new interest in museum collections, to reflect on its selection of artists as well as on the selection of works chosen by the artists. It then proceeds to classify the new creations in four modalities of intervention and in conclusion addresses the reception generated by the exhibition: that embodied by the new works created and those of the press and the public.

AbstractThe artistic monuments inspired by the motives of the People’s Liberation Struggle and Revolution of Yugoslavia are stratified phenomena constructed through a multitude of meanings. They are an indispensable part of important movements of architectural thought: the Yugoslavian avant-garde and the synthesis of all arts as its distinctive operational mode; the process of how the modern non-figurative means became an official language to Yugoslavian socialist ideology as opposed to the soc-realist figuration of the Eastern Bloc; the popularization of the Yugoslavian heritage taking place in the last decade as a unique enclave of the world scene of modern architecture, etc. This paper aims to argument their conception and meaning as a complex synthesis of art, architecture, technology and nature, and at the same time to open a potential health paradigm positioning them in the context of open-air culture, new ritual practices of social memory and new museum-destination types of contemporary art forms. In terms of methodology, this study puts together architectural scholars who actively work on the problem of the synthesis of the arts, offers a detailed review of existing scientific knowledge on artistic monuments in order to provide a new conceptual frame, an instructive yet speculative material that can alter the perception away from the old ideological stand into a new and healthy synthesized experience. Apart from the theorization of this synthesis paradigm as a way of bringing back to life the artistic monuments inspired by the motives of the People’s Liberation Struggle and Revolution of Yugoslavia, this paper provides criteria for this new conceptual frame and showcases them upon selected case study.

ABSTRACT The nineteenth century was the dawn of scientific and systematic paleontology. The foundation of Natural History Museums—built as microcosmic “Books of Nature”—not only contributed to the establishment of this new discipline but also to its visual dissemination. This paper will take the metaphor of the “book” as a starting point for an examination of the paleontological exhibition at the Natural History Museum in Vienna. In keeping with “Natural Theology,” the earliest natural science museums in Britain were designed as expressions of the medieval idea of the “Holy Book of Nature.” Contrary to this, the Natural History Museum Vienna, opened in 1889, wanted to be a nonreligious museum of evolution. Nevertheless, the idea of the “book” was also influential for its design. According to the architects and the first director, it should be a modern “walk-in textbook” instructive for everyone. The most prominent exhibition hall in the museum is dedicated to paleontology. The hall’s decorative scheme forms a unique “Paleo-Gesamtkunstwerk” (Gesamtkunstwerk: total piece of art). The use of grotesque and mythological elements is a particularly striking feature of the hall’s decoration and raises the question of how this relates to the museum’s claim to be a hard-core science institution. As it was paleontology’s task to demystify the monsters and riddles of Earth history systematically, it seems odd that the decorative program connected explicitly to this world. This chapter sheds light on the cultural traditions that led to the creation of this ambiguous program that oscillates between science and imagination.

Nowadays, the Muslim community is one of the most discriminated groups in Europe. Anti-Islam hate speeches circulate online and offline especially through the intense use social media, fake news, bots, and click-baiting practices. However even if Muslim discriminatory practices have been gaining more media relevance in the recent years, anti-Muslim stereotypes date back far beyond our times. Using the theoretical frameworks developed by Said and Moscovici this research aims to analyze 31 semi-structured interviews conducted with the volunteers of the Amnesty International's Hate Speech Task Force, to investigate which are the most persistent anti-Muslim representations in Europe and Italy today. In bringing the theory into practice this work will explore the dynamics occurring on Facebook among users which show polarized and intolerant positions while engaging an Islam-related conversation. This specific case study will allow to show how and why old anti-Islam stereotypes persist almost unchanged from an offline to an online world.

Abstract Collecting and Displaying natural history specimens is a more complex and dramatic activity than most museum visitors appreciate. The specimens themselves, for example, have intriguing and elaborate histories that largely go untold, because, unlike fine art objects, their individuality must be subjugated to the needs of scientific pedagogy. Generations of visitors at the American Museum of Natural History, for example, examined an Inuit skeleton as part of a general anthropology exhibit, unaware of the skeleton’s own peculiar history. In 1993 the American Museum of Natural History finally returned this particular skeleton, the remains of an Inuit man named Qisuk, to his descendants in western Greenland. Qisuk and other Inuits, including his six-year-old son, Minik, had been “acquired” as living specimens during an Arctic expedition in 1897. After polar explorer Robert Peary convinced the Inuits to return with him, the new emigrants found themselves housed in the basement of the American Museum of Natural History. Shortly after arriving, Qisuk died of tuberculosis, and unbeknownst to Minik, the museum staff removed Qisuk’s flesh, cleaned his bones, and put him on display for New York audiences. Some time later Minik, who originally had been told that his father’s bones had been returned home for proper burial, stumbled across his own father in an exhibit display case.

Abstract “Authenticity” and “continuity” were words frequently mentioned by preservationists not simply to define the desired qualities of historic sites but implicitly to show their dissatisfaction with modernity. As a result, Appleton and his colleagues wanted to develop museums that would il lustrate the early lives of Yankees and show their relevance to modern New England. While SPNEA principally focused on preserving threatened buildings, it also worked to recreate the earlier environment by establishing an arts-and-crafts museum, developing period rooms, and building a folk park such as Skansen. Ironically, these efforts were both helped and hampered by a newer interest in antiques. More Americans were indeed finding solace in an imagined past through its material vestiges, but as art museums, speculators, and homeowners increasingly absorbed the nostalgia of the Colonial Revival, they began to ransack old buildings. By the 1920s preservation was readjusting to the contours of consumerism. What pushed SPNEA into the museum movement was the realization that there were glaring holes in the historical picture. For too long scholars had almost solely relied on the written records of once-famous Yankee men, thus slighting the more numerous settlers who left little or no written record. That omission was aggravated by the fact that many antiquaries, nurtured by a heady brew of Victorian domesticity, were interested in early home life.

In this chapter we discuss the development of edutainment systems supported by augmented reality applications, in order to enable augmented reality technologies for archaeology within the so-called communication engine for museums and cultural tourism. The task in hand is interdisciplinary and its successful implementation relies heavily on information technology as a detailed analysis of content-user needs and sound interaction design capable to support edutainment scenario is needed. This work identifies the role of each building component, describes their interrelationship within the wider context and adopts a suitably designed framework in order to develop multiple guided-tour types. Real-life case study scenario on a specific case, that of the Old Fortress in the UNESCO-listed Old Town of Corfu, Greece, are used to demonstrate the adaptive nature of content and how the system and developers handle different uses. The proposed approach offers new narration tools for content experts while it may be used to support personalised visitor experiences.

Great Museum Game (GMG) are short-term art educational projects carried out directly in museums in the context of museum collections. GMG is a synthesis of tabletop and role-playing game forms designed to immerse participants in creative activities, providing mobilization of cognitive motivation and creative will, activation of imagination. The games have no competitive purposes. The participants create their own artistic reality in the context of the museum, give birth to new ideas, metaphors, and images. The games are aimed on motivated teenagers from 14 to 18 years old, engaged in artistic activities on a permanent basis. Five GMG-format projects will be presented in this research.

Abstract This chapter argues that the commodifications of “simple” living and rural vernacular furniture were used as propagandistic tools by the Viennese furniture trade and related magazines, organizations, and retailers in constructing new and refashioning old definitions of Austrian modernity. Specifically, they hoped to sell the idea of Viennese charm to an international audience and shore up cultural and economic stability in the wake of World War I. The centerpiece of this effort was a series of exhibitions titled Einfacher Hausrat (Simple Household Goods) that took place at the Austrian Museum of Art and Industry between 1916 and 1921. Designers such as Hugo Gorge, Rudolf Lorenz, and Fritz Kruh sought comfort in a historicist mélange of styles, reinterpreting neoclassical, baroque, rococo, British Arts and Crafts, and Biedermeier forms in home furnishings. Socialist critics, incensed by the exhibitions’ high prices, argued that Einfacher Hausrat only paid lip service to supporting the dire needs for affordable home furnishings, while in reality the exhibitions served the growing market of luxury export furniture.

Not many prehistoric houses survive above their foundations. The three dimensions of the buildings are collapsed (sometimes literally) into the two dimensions of the site plan. That may be all that can be discovered by archaeology, and yet the missing component could have been all-important. The change of perspective is revealing, for the treatment of the walls and roof may be just as significant as the layout of the floor. Few excavated houses are as well preserved as those in the Near East, and there are many parts of Europe in which the question cannot be investigated directly. Here, the existence of ceramic models suggests an alternative approach. During 2010, two exhibitions featuring the arts of the first farmers took place in Britain. They ran simultaneously, one in Oxford and the other in Norwich. They also complemented one another geographically and thematically. The Lost World of Old Europe was organized by The Institute for the Study of the Ancient World at New York University (Anthony 2010), and Unearthed by the Sainsbury Centre for Visual Arts of the University of East Anglia (Bailey et al 2010). The display at the Ashmolean Museum in Oxford featured artefacts from Romania, Moldova, and Bulgaria, whilst that in Norwich was restricted to finds of figurines from Romania, Albania, and Macedonia, although they were compared with others from the Jomon Culture of Japan. Not surprisingly, the Neolithic and Chalcolithic objects spanned a long period of time and were associated with several regional groups. Some were elaborately decorated, while others were entirely plain. The artefacts shown in Norwich were all depictions of the human form, but those in Oxford also included pottery vessels, stone artefacts, and early metalwork. One small group of objects was especially striking, for it consisted of ceramic models of domestic buildings. In one case, from the Cucuteni Culture of Romania, a group of figurines had been discovered inside a miniature house of this kind. The evidence of such models is revealing. There were examples in which the outer wall was highlighted by angular designs, as if to emphasize the rectilinear outline of the building, but there was also a model in the Oxford exhibition which showed a structure with a similar ground plan whose exterior was covered by curvilinear motifs.

In 2020/21, the collaborative distributed Hungarian library platform will be completed and introduced, revolutionizing library services with state-of-the-art IT solutions. The Hungarian National Library Platform (HNLP) puts the national library services, the common catalog and interlibrary loan, the services of the ISBN office, the digitization cooperation on a new foundation, and integrates the Hungarian National Namespace and opens up entity-based data connections beyond the library world. It expands the range of services provided to readers, providing legitimate digital content to both library visitors and remotely logged in online users. It provides modern interfaces for publishers and authors to expand the range of information about their publications with relevant data. It is open to libraries to replace, in part or in full, their existing IT solutions and, moving into the cloud-based system, use it as their own integrated library platform. The parameterdriven HNLP allows connected libraries to create a unique brand image, deliver their collections in the most diverse way, while becoming an integral part of an entity-based data model-based metadata repository and digital object repository. The collaboration between libraries, which began in 2016 with the design of the new platform, has now entered a new phase: our partners review the specifications, the libraries provide their data for the developed modules, test the system elements, and then the entire platform in an integrated way. The first module of the HNLP, the “old and rare books” module, was launched in October 2019, followed by the launch of the Library Science Library in 2020, and in 2021 the operation of the National Széchényi Library in this modern environment will follow. What are the main pillars of this platform? What secures the required flexibility? What makes it capable of accommodating any type of metadata and serving any type of library? How can all types of libraries be connected, small and large libraries, university and church, public and private libraries alike? How is the system open to the processing of archival and museum materials? What has been achieved so far and what are the next steps until the full transition?

El Call de Girona, su barrio judío, es uno de los conjuntos monumentales más importantes de Cataluña y por su nivel de conservación de toda Europa. Caracterizado por sus estrechas callejuelas, herederas de la trama romana de la Gerunda original, unido al resto del casco antiguo de la ciudad, se configuran como el centro histórico-urbano más importante de Cataluña. La creciente afluencia de turistas, junto con la sucesiva mejora y ordenación de las viviendas y edificios singulares que configuran el barrio, totalmente habitado y lleno de vida, está propiciando una serie de medidas urbanísticas para mejorar la accesibilidad al mismo a la vez que se consolida su uso residencial y de equipamientos, mediante una normativa de especial protección urbanística. Por otra parte esta ciudad dispone de un extraordinario sistema de información geográfica, (UMAT) Unidad Municipal de Análisis Territorial, que permite disponer de toda la cartografía urbana de la misma e incluso de un modelo de reconstrucción cartográfica virtual desarrollada por un equipo de expertos bajo los auspicios del Ayuntamiento de Girona y el Museo de Historia de la Ciudad. Tomando como entorno esta zona e información, se propone el desarrollo de una investigación aplicada dentro del ámbito de la expresión gráfica arquitectónica, fundada primero en un trabajo de análisis y estudio de las fuentes bibliográficas, cartográficas e históricas en materia de desarrollo histórico-urbano de la zona y en segundo lugar, en un estudio de aplicación de las modernas técnicas de representación SBIM Sketch Based Interface and Modeling y la AR, Augmented Reality. Fundiendo todos estos registros y campos de trabajo, se lanza la hipótesis de que es posible ampliar la traza de callejuelas actualmente existentes mediante la catalogación y levantamiento de dos nuevos callejones, que denominaremos 1, conocido antiguamente como el callejón “d’Hernandez” que proponemos renombrar como el de la Última Sinagoga y otro callejón, el nº 2 que llamaremos de “Les Dones”, recuperando una referencia histórica anterior, que hasta la fecha tan sólo estaban documentados como paso cerrado el 1 y sin pistas del 2, y que con nuestro trabajo de campo y aportación se ha visto que son perfectamente recuperables. Esta recuperación se aborda en la investigación, mediante la simulación visual de los mismos usando las técnicas de SBIM y AR, antes citadas, de forma combinada y adaptadas a las especificidades del trabajo y habilidades de un arquitecto-urbanista, de manera que se desarrollan una serie de casos de estudio prácticos cuyo objetivo final es que un observador, situado ante la actual entrada tapiada del callejón, mediante un dispositivo tipo Tablet PC, conectado a una webcam y un programa de bajo coste, pueda hacerse una idea de cuál sería el aspecto de esa callejuela. Esta estrategia de pre-visualización, ha de servir además para que el diseñador pueda plantear las posibles alternativas a su recuperación, no siempre evidentes si no evalúan sobre el lugar. En ese sentido y como arquitectos proponemos una solución arquitectónica en cada caso junto con el ensayo del uso de información sobre el terreno (UMAT) con el objetivo último de facilitar la accesibilidad a los diferentes monumentos y edificios patrimoniales del casco histórico de Girona. Por otra parte como docentes de expresión gráfica arquitectónica, ensayamos nuevas estratégicas que permitan potenciar la creatividad. Por último, con nuestro trabajo aspiramos a facilitar a los investigadores informáticos datos y experiencias, que les permitan optimizar las nuevas herramientas y procesos, y a los arquitectos en general, darles a conocer las posibilidades actuales en materia de SBIM y AR. The Call of Girona, its Jewish quarter, is one of the most important monumental assemblies of Catalonia and by its level of conservation, from across Europe. It characterized by their narrow alleys, heirs of the Roman plot of the Gerunda original, along with the remainder of the old helmet of the city, they configure themselves as the most important historic-urban center of Catalonia. The growing affluence of tourists, along with the successive improvement and ordering of the dwellings and singular buildings that configure the neighborhood, completely inhabited and full of life, is giving a series of urban development measures to improve the accessibility to the same one, at the same time that their residential use is consolidated and of equipment, by means of a regulation of special urban development protection. On the other hand this city has an extraordinary system of information online that permits to have all the urban cartography of the same one and even of a model of Virtual cartographic reconstruction developed by a team of experts under them you promote of the City Hall of Girona and the Museum of History of the City. Taking as environment this zone and information, the development of an investigation applied inside the environment of the architectural graphic expression is proposed, founded first in a work of analysis and study of the bibliographical, cartographic and historic sources in matter of historic-urban development of the zone and in second place, in a study of application of the modern techniques of representation SBIM Sketch Based Interface and Modeling and the Augmented Reality. Melting all these registrations and fields of work, the hypothesis is thrown that is possible to expand the plan of at present existing alleys by means of the cataloguing and lifting of two new alleys, that will call 1, or "d' Hernandez", that we propose to rename as that of the Last Synagogue and 2, or "De les Dones", to date only documented to level of location but that with our work of field and contribution has been seen that they are perfectly recoverable. This recovery is undertaken in the investigation, by means of the visual simulation of the same using the techniques of SBIM and AR, before cited, of form combined and adapted to the specificities of the work and abilities of an architect-town planner, so that they develop a practical study cases series whose final objective is that a visitor, situated before the current entrance walled of the alley, by means of a device type Tablet PC connected to a webcam, can be get an idea of which would be the aspect of that alley, on the other hand inaccessible, given that at present is found walled. This strategy of pre-viewing, should serve besides so that the designer can present the possible alternatives to his not always evident, physical recovery. In that sense and as the architects we propose an architectural solution in each case along with the information devices trial on the land that facilitate the accessibility to the different monuments and hereditary buildings of the historic center of Girona. On the other hand as educational of architectural graphic expression, we practice new strategic graphic that permit to promote the creativity and as a group to facilitate the investigators data processing data and experiences that permit to optimize the new tools and processes, and to the architects in general, to bring to light the current possibilities in matter of SBIM and AR.

In the new era environment, the metropolitan public transportation system is constantly evolving. The relevant administrative departments in Shanghai have proposed measures to create cultural buses and build characteristic lines in order to promote Shanghai culture and improve bus service. Using the Shanghai NO.20 tram as an example, this paper investigates how to combine Shanghai culture with tram ride service in order to make the NO.20 tram a distinctive route. The study employed participatory observation and the AT-ONE rule to investigate the entire waiting, boarding, and alighting process, as well as to analyze the passenger experience and service flow of the NO.20 tram, in combined with the urban cultural elements of Shanghai. Based on the service design concept, the corresponding design strategies and measures were proposed.Study content. 1.Service design and the AT-ONE rule The goal of service design, which establishes the service from the customer's perspective, is to ensure that the service meets the user's requirements. One of the most common methods in service design research is the AT-ONE rule. It is a method of user-centered design that connects stakeholders through various touch points.2.Analysis of Shanghai culture Shanghai culture is a unique cultural phenomenon based on the traditional culture of Jiangnan (Wu-Yue culture) and the fusion of modern industrial civilization from Europe and the United States, which had a profound impact on Shanghai after the opening of the port. 3.Analysis of No.20 tram and design elements The "Mobile Bus Museum" is the name given to the No. 20 tram, which connects Jing'an Temple Station and Zhaofeng Park Station. Passengers, ride process, primary touch points, and other design components are all examined. This section examines individual passenger characteristics, focusing primarily on the elderly, with less emphasis on the young and middle-aged populations. The ride has three stages: waiting, riding, and getting off. The main points of contact are the armrests, seats, LED screen, and so on. Analyzing numerous design features is an important part of improving passenger riding experience and creating a cultural bus.4. No.20 tram design strategy External design strategy（1）External painting artistry The purpose of exterior painting artistry is to improve the appearance of the vehicle and the passenger riding experience. It primarily mixes Shanghai's history and contemporary style, with a concentration on Art Deco, technology, Pop, and retro styles.（2）Stylized external shape The outside shape is mostly mixed with Shanghai's characteristic architectural style for local enhancement, such as Art Deco style, in order to evoke a nostalgic feeling of Shanghai culture among local passengers and increase the recognition of No. 20 tram. Internal design strategy （1）Scientific interior layout The scientific layout of the car ensures the passengers' ease, comfort, and safety during the voyage. This part is concerned with the scientific design of the interior space in order to fulfill the needs of various passengers and improve their riding experience.（2）Humanized design of interior facilities Humanized design is a growing trend and an unavoidable requirement in modern urban bus design, and humanized interior facilities can improve passenger travel quality. The intelligent facilities (LED screen, intelligent audio, etc.) and infrastructure (seats, handrails, etc.) inside the bus are designed to effectively improve the comfort and fun of passenger travel based on the results of the pre-AT-ONE rule analysis. 5. 20 cultural bus prototype test The styling elements of the No. 20 tram were taken from the old trolleybus, and the side of the body depicts the major changes of Shanghai trams over the past century, presenting an overall retro style. The interior is predominantly blue, echoing the body painting. To meet the travel needs of different passengers, the interior space is divided into love seat area, wheelchair area, and seating area; the interior facilities are also optimized based on the preliminary contact analysis, such as more beautiful and intelligent LED screen style and interactive interface, more comfortable and safe seats and handrails, etc., which not only improve the travel experience of passengers but also promote the spread of Shanghai culture. 6. Summary Creating an image of Shanghai's 'Century Bus' culture and bus service is a major goal proposed by the Shanghai government, with the goal of combining Shanghai culture with buses, improving bus service, and promoting Shanghai's cultural heritage. The AT-ONE rule guides the exploration of cultural bus service design strategies for its five dimensions of service subjects, touchpoints, service supply, user needs, and user experience, with the goal of improving the original bus service model and enhancing user experience.