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The art museum as a city or a machine for showing art?
No full textThis paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–b]. Their ground floors are conceived as a space you walk through, as a ‘piazza’; their spatial organisation is modular and flexible; their visual construction, punctuated by powerful views to the city. Moreover, they are guided by similar spatial ideas and share common fundamental morphological properties. Interestingly, their affinities extend to their collections – both begin with the turn of the twentieth century and extend to the twenty-first century; and their curatorial practices – as, for instance, the practice of reprogramming the galleries on a regular basis. But the experience of visiting the two museums is entirely different and each appears to have its own idiosyncratic spatial character, quite distinct from the other (described metaphorically by the museum designers as the museum as a city in the case of the Pompidou and as a machine for showing art in the case of Tate Modern). So, could these obvious similarities hide critical differences between the two museums?</jats:p
แนะนำหนังสือ : Museum Space Where Architecture Meets Museology [NA 6690 T86 2015]
No full textลงใน FB museum siam : วันที่ 17 พ.ย. 2565Call no. NA 6690 T86 2015
หนังสือเล่มนี้ นิยามพื้นที่ว่าเป็นพื้นที่สามัญที่ใช้งานร่วมกันระหว่างสถาปัตยกรรมศาสตร์และพิพิธภัณฑ์วิทยา และตัวอาคารพิพิธภัณฑ์กับส่วนจัดแสดง พิพิธภัณฑ์แต่ละแห่งทำให้ผู้เข้าชมสัมผัสเรื่องการเรียนรู้มีประสบการณ์เฉพาะตนในขณะที่บางแห่งใช้วิธีการถ่ายทอดความรู้ให้เล
From the Real to the Virtual: The Re-Presentation of the Spatiality of the Museum on Its Website
No full textThe museum is not only a transmitter of information about objects, but also ‘a technology in its own right’: the spatial and conceptual arrangement of its display and the architectural layout of its spaces, which together constitute the spatiality of the museum, act as media that generate and structure the way it presents knowledge. This paper explores whether museums seek to re-present their spatiality in the virtual sphere of the website, and if so, in what ways and why. Studies of the use of websites which stress interdependence with the real museum, provide the grounding for these questions. Forty-three websites of the most visited European museums are analyzed, on the basis of 16 themes that index spatiality. The paper clarifies high variability in the way they interpret spatiality, distinguishing three modes of relating real and virtual: the synergetic, the presentational and the discursive. Methodologically, a conceptual framework is developed for interpreting these strategic differences. Theoretically, website design is related to museum theory, in that the philosophy among leading museums to transmit their spatiality powerfully through the website can be theorized as reflecting a performing, rather than informing, museological approach, and a move towards a more ‘participatory’ website culture
To Display is to Theorise
No full textThis is a short (1000 word) invited response to an essay by Kali Tzortzi applying the techniques of space syntax analysis to the National Gallery Sainsbury Wing in London and the Museo Nazionale di Castelvecchio in Verona
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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