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Copyright of Space & Form / Przestrzeń i FORMA is the property of West Pomeranian University of Technology, Department of Architecture & Urban Planning and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Museums are complex architectural works with many distinctive elements. One of the most significant museum features are routes or paths on which visitors circulate museums and perceive exhibitions. Children and people with special needs often have specific demands on physical accessibility of the surrounding environment, chronological arrangement of spaces and amount of information presented at a time. The arrangement of functional units in museum layouts affects wayfinding in space, understanding of the exhibition, as well as visitor guidance. The order in which people visit particular segments in a museum can also be described as one of the most important architectural and operational characteristics of this type of cultural buildings and areas. The article examines ways of arranging spaces in a museum building and the suitability of their application. These forms are evaluated based on various aspects; some of the created effects are studied, e.g. creation of a desired atmosphere. Existing concepts are compared and supplemented with other theoretical knowledge. The article aims to present variant suitable ways of composing routes that would meet the needs of different people, and bring them a quality leisure and educational experience from a museum tour. Various types of museum layout organisation and arrangement of exhibition spaces are illustrated with abstract schemes, as well as with specific case studies of five selected museums. The selection consists of architecturally exceptional and high-quality museums in Central Europe, which are able to attract a whole range of various groups of people including a younger audience. They are examples of both modern museums in this area and route planning options. The case studies highlight interesting local ideas, space concepts, routing methods, and also solutions for increasing inclusion of all visitors and children in particular. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Space & Form / Przestrzeń i FORMA is the property of West Pomeranian University of Technology, Department of Architecture & Urban Planning and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Along with the socio-economic changes in Poland after 1989 and the beginning of the industrial restructuring process, many industrial architecture objects lost their original purpose. At present, sustainable processes of reusing the building stock left over from the industrial period are proceeding. One of the possibilities includes adaptation to culture-related goals, where such activities have an established tradition in the world. The aim of the article is to analyze the adaptive reuse of post-industrial facilities in Poland for the functions of art exhibitions, such as museums, galleries, and art centers. The study was based on descriptive qualitative and quantitative research, in the following stages: identification and analysis of adapted objects; developing a typology of adaptive reuse strategies; questionnaire research aimed at institutions located in adapted facilities. The analyses show that the leading group of adapted facilities constitute former power plants, which ensure favorable exhibition conditions. The main result is the recognition of five types of adaptive reuse strategies implemented in Poland, resulting from a diversified approach to the historic substance, such as: the method of extension of an object; placing an exhibition; the character of the exhibition space, along with the type of intervention in the interior of a historic building.

Copyright of VLC Arquitectura is the property of VLC Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In South Africa, both the public art museum and commercial art gallery, as distinct spatial building types, have a level of framed separation from the urban context. By drawing general comparisons between local examples, and a direct comparison with two commercial galleries as case studies, I argue that it may be valuable to re-frame the place of the art gallery and the image of the gallery within the city. I propose a contextual reading of galleries as significant material sites in the contemporary urban landscape. This paper explores the thresholds between exhibition space and city, depiction and reality and interior and exterior space. Edward Casey's definition of boundary as pliable and porous, as distinct from the restrictive edge of a border, establishes a basis for the theoretical investigation. Both these definitions require consideration when viewing urban thresholds related to museum and gallery interventions. I refer to Werner Wolf and Joan Ramon Resina and the terms frame and framing as a conceptual tool to clarify the role of the building as a framing device and image in the city. This article builds on previous published research (2014, 2016, 2018) and aims to address the subtle border between an art institution and its immediate urban environment, and the relevance of architecture in this act of situating and framing. The interactions with the urban environment if it is viewed as a gallery and buildings as architectural works within it extends this aim. [ABSTRACT FROM AUTHOR]

In 2015 Het Nieuwe Instituut in Rotterdam programmed the exhibition 1:1 Period Rooms by Andreas Angelidakis, an environment featuring six evocations of historical period rooms, gradually evicted from the Stedelijk Museum as it adopted the white cube convention. This article interprets the exhibition, its six period room-white cube permutations, and Andreas Angelidakis's multiple authorial identity as an architect–artist–curator by positioning them at the crossroads of three interlocking contemporary 1:1 exhibition practices. The show is first contextualized within a current trend of 1:1 exhibition structures in architecture exhibitions increasingly used to address tensions between image and construction in the representation of architecture itself. The second and third reference fields are the institution–critical interventions on the exhibition space in artistic and curatorial projects from the late 1960s onwards, and the more recent reconstructions of historical displays and re-exhibitions of significant exhibitions. [ABSTRACT FROM AUTHOR]

Copyright of Vistula Scientific Quarterly / Kwartalnik Naukowy Uczelni Vistula is the property of Vistula University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recent exhibitions of interaction design have sought, and often struggled, to capture within the space of a traditional gallery the multisensorial, often performative nature of the user experience and the richness of the contexts within which that experience takes place. Similarly, many architecture exhibitions have attempted to reinvent the place of architecture in the modern museum - to portray architecture as a multimodal, multisensory shaper of the material landscape that impacts people's everyday lives. Yet, again, the "white cube" complicates curators' and exhibition designers' efforts to go beyond traditional materials - blueprints, renderings, models, and photographs - to convey the dimensionality and material richness of built space. This article will examine how interaction design and architecture, both experiential fields, present unique challenges to the exhibition designer. It will also consider how these fields, by virtue of the distinctive qualities of their designed objects, offer unique opportunities for us to rethink the relationships between the contexts and contents of exhibition. It will conclude with specific recommendations for ascertaining the limitations and affordances of - and critically negotiating between - the exhibition space, the exhibition's publics, and exhibition modes and media. [ABSTRACT FROM AUTHOR]

Typical exhibition spaces and museum galleries are not neutral structures, as their sparingly adorned walls seem to imply. Contemporary gallery experience is, in fact, highly codified by behavioral and analytic norms. If architecture is implicated in this process, what potentials exist for curators and architects who wish to explore alternate modes of engagement with exhibitions through architecture? The development of contemporary gallery architecture has evolved alongside twentieth century art. Within this process, architectural conventions have come to reify rationalized systems of knowledge, emphasizing the dominance of standardized techniques of reading meaning. This tendency to objectify-in- order-to-understand is a modern characteristic that early modern cultural theorists were critical of. Writers such as Walter Benjamin, Henri Bergson, Marcel Proust and Sigmund Freud expressed their skepticism of the dominance of this impersonal means of knowing, in favor of a mutual interest in an alternative type of non-rational experience, described in relation to memory, embodiment and the subconscious. The personally meaningful value of this alternate type of experience is a valuable tool that has been diminished in the face of the strictly rational trajectory of modern analysis. Considering the value of this non-rational approach in relation to a synthesis of Irit Rogoff's performative technique of looking away from prescribed exhibition narratives, and John Biln's evaluation of Jean Nouvel's Institute du Monde Arab-an architectural case study in which the materiality of exhibition spaces reflect and disrupt vision, making viewers aware of their own embodied experience-the potential emerges for exhibition architecture to encourage a more subjective type of experience as a supplement to rational forms of making meaning. By using architecture to intentionally obscure the immediacy of a sense of fixed meaning, the self is sensitized to an embodied, and therefore more intimate, experience of environment. [ABSTRACT FROM AUTHOR]

Along with the socio-economic changes in Poland after 1989 and the beginning of the industrial restructuring process, many industrial architecture objects lost their original purpose. At present, sustainable processes of reusing the building stock left over from the industrial period are proceeding. One of the possibilities includes adaptation to culture-related goals, where such activities have an established tradition in the world. The aim of the article is to analyze the adaptive reuse of post-industrial facilities in Poland for the functions of art exhibitions, such as museums, galleries, and art centers. The study was based on descriptive qualitative and quantitative research, in the following stages: identification and analysis of adapted objects; developing a typology of adaptive reuse strategies; questionnaire research aimed at institutions located in adapted facilities. The analyses show that the leading group of adapted facilities constitute former power plants, which ensure favorable exhibition conditions. The main result is the recognition of five types of adaptive reuse strategies implemented in Poland, resulting from a diversified approach to the historic substance, such as: the method of extension of an object; placing an exhibition; the character of the exhibition space, along with the type of intervention in the interior of a historic building. [ABSTRACT FROM AUTHOR]

El artículo discute el reconocimiento del trabajo de Lilly Reich, quien fue arquitecta alemana y fue una estrecha colaboradora de Ludwig Mies van der Rohe. El artículo también analiza una propuesta de producir y registrar sus narrativas en un documental para difundir sus aportes a la arquitectura y su experiencia en el diseño y espacios expositivos.