After Monday’s lecture on technology within the museum, I saw this on a walk and it made me stop and think about the simplicity I seek within museum walls. Everyday I walk (as I know everyone else in the class does too) past the light store- Filaments. The store, located near Parson’s on 13th Street, is filled to capacity with light bulbs, stands, and shades. I know this is a stretch, but every time I walk past the store, I always think of the Hall of Biodiversity located in the American Museum of Natural History. The Hall of Biodiversity is laid out in a similar manner, it is crowded, colorful, and completely attention-grabbing. There is a very small presence of technology, making the visitor rely almost solely on the presentation of the plants and animals.
If I said I adored this area of the museum, it would be an understatement. Every visit I am pleasantly overwhelmed by the information and models presented, and I always learn something new. I really appreciate the simplicity of this Hall, and I find it refreshing that I find myself thinking of the museum when I see things as simple as a store front.
This is something museums must strive for- a seamless transition between spaces. Museum learning cannot stop once a visitor leaves the confines of the institution. I applaud the Hall for it’s simplicity. If it was only technological displays, instead of the appropriate combination that it does have, I doubt it would make as strong as impact on its viewers.
Posted in aesthetics, architecture, audience, aura, collections, design, exhibition, knowledge, media, natural history, personal, science, specimens, storytelling, technology
Western Science Center, Michael Lehrer Architects
Two years ago the first museum to win a LEEDs platinum rating opened in the town of Hemet in a arid, rural basin just south of Los Angeles. Owned and operated by the County, and designed by Michael Lehrer Architects, the Western Science Center interprets a trove of fossils that were found when the Diamond Lake Reservoir was created by the Metropolitan Water District. Its mission is to educate the public to appreciate the importance of finite natural resources and our relationship to the environment we live in. The museum also generates its own power with a massive array of photovoltaic panels. Needless to say this museum fulfills its mission in in its architecture which is strongly influenced by massive public works infrastructure more so than it is by the iconic museum architecture we have come to expect.
Thousands of new and existing museums across the country are faced with an energy conundrum. While most museums adhere to a basic commitment to principals of conservation in their mission statements, and science museums are even more committed to discussing principals of sustabability, finite resources and stewardship of our environment, museums are also some of the largest energy consumers among building types. The requirements to maintain constant environmental conditons for the preservation of sensitive artifacts and specimens, the dramatic fluctuations in HVAC loads caused by the heat and humidity of daily throngs visitors and intense theatrical exhibit lighting all put a high price tag on building systems and require high energy consumption. Actually a large percentage of any museum’s project budget goes into the museum building’s mechanical systems. Sometimes this represents a higher percentage of budget than is spent on the public experience of the collections through exhibits and programs. So why not make those systems an integral part of the experience? My guess is that that is what Lerher intended with the Western Science Center. But looking at the design I wonder, is it a ‘green’ museum that fulfills its conservation driven mission, or is it a power plant with a museum attached?
This month’s issue of AAM’s Museum News features a great article on museums and energy consumption.
This month was Esquire Magazine’s Augmented Reality Issue. On the cover and throughout the magazine, picture codes known as Augmented Reality software were placed next to the featured articles. For example, Robert Downey Jr. had a code on the cover that he was selling. A male supermodel had a code next to the clothes he was wearing. Readers simply download AR Software to their computers and hold up the AR code to their webcam. Once the webcam registers the code, a video of Robert Downey Jr. in his interview pops up. A video of the Model modeling clothes pops up. These are not short clips. They run for a good three – five minutes. High –tech animations and graphics are of course included and by rotating the magazine at different angles, i.e. facing north instead of south, a different video pops up to talk to, entertain, and educate the reader.
The ease at which Esquire introduced Augmented Reality to the public struck me as something that Museums; particularly Natural History Museums can use to make their visitors more engaged. If they were to place these codes next to their still objects suck as earthen vases, traditional wedding costumes, or even primeval weapons, visitors can beep the codes located next to the objects and immediately watch a video of how they were used. For example, the Natural History Museum in NYC has a traditional Chinese Wedding Costume for a bride along with the Sedan Chair that she sits in. As accurate as those two items are, if I weren’t from Chinese heritage, I wouldn’t know the tradition and importance of the logic behind how the bride gets brought into the carriage. If a video can pop up immediately after scanning the adjacent AR code, visitors can be brought back to ancient China and see that the veiled bride has to be piggy-backed over a brazier on to the carriage by an older woman known as the matron of honor, that the bride was always sheltered with a red parasol and kerchief, and that the door of the Sedan Chair was always kicked open to chase away bad spirits that may have latched on the to bride before.
As these Augmented Reality codes can be beeped on any digital device, the Museum won’t have to worry about introducing a vast amount of technology into their actual exhibits. People can simply view these on their phones. Augmented Reality Codes and software can enhance the experience of viewing still objects!
Virtual Shipreck Explorer (photo by University of Hull)
Have you ever wanted to explore shipwreck without slipping on your wetsuit? This soon could be a reality not so far away.
The Black Sea holds the potential for a new form of experimental museum. This museum will not be any museum that has ever been imagined due to the fact that this museum could be 7,238 ft below sea level. This museum would allow people to virtually navigate a submersible that could allow people to investigate the site, as well as building a showcase of objects that could give greater insight into the past. The reasons for this museum to be imaged at such a depth is due to the fact that as objects are brought to the surface the pressure, oxygen, and UV cause them to change colour and become fragile. The current count for shipwrecks in this area are in the double digits and for explorers this means solving questions to the diverse nature of this region, but at the same time, this means that this type of museum could take decades before being realized and experienced.
Around The Black Sea region is an incredible enclave of various cultures, languages and traditions. It is this particular region for centuries that has made the Black Sea a crossroads for cultural movements and trade movements. The Black Sea is significantly different than any other ocean because of the harsh weather conditions that keeps the anoxic water (without oxygen) moving around at a depth closer to the surface creating a protective barrier for the shipwrecks. This preserves anything and everything that descends to that layer including wood, clay, the cargo, and potentially the crews of the ships. The shipwrecks are from the 13th to 15th century B.C. surrounding the Greek Empire which gives the significant of what these finding could mean, seeing that there are only a few manuscripts depicting this period but little insight as to what some objects were actually used for without speculation.
Currently, the majority of the findings are on exhibition at The National Museum of History in Bulgaria and at the Mystic Aquarium in Connecticut. The exhibitions at the Mystic Aquarium allow participants to dig for fossils and interact with animals on a more personal level.
Currently, virtual shipwreck exploration is becoming a reality through the Venus Project by the Dept of Computer Science at the University of Hull. The aim of this project is to digitally recreate Europe’s shipwrecks before they become eroded and therefore impossible to explore for real. As the project progresses, archaeologists and the public will be able to explore many more shipwrecks in this fashion. The participant interacts with a remote handset that enables the person to control the submarine. This form of application is perfect for the Black Sea due to the lack of decay that exists at these shipwrecks.
This store has been a landmark in Manhattan’s SoHo art district since 1993; it “sells unique natural history collectibles usually seen only in museums. These include butterflies and beetles, fossils, seashells, skulls and skeletons, medical models, and tribal art.” More here.
The second I walked into this store it immediately reminded me of the Cabinets of Curiosity; the way the objects are presented and the whole store is structured is similar to an early museum. For those of you who are not familiar with the Cabinet of Curiosities also known as Cabinets of Wonder, or Wonder-Rooms [Wunderkammern], these were encyclopedic collections of objects whose categorical boundaries were yet to be defined in Renaissance Europe . Modern terminology would categorize the objects included as belonging to natural history, geology, ethnography, archaeology, religious or historical relics, works of art and antiquities. It was regarded as a microcosm or ‘theater of the world’, and a ‘memory theater’.
Peter Thomas stated about Charles I of England’s collection that these were “a form of propaganda”, only for the aristocrats and only some could afford having them. Besides the most famous, best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in europe formed collections that were in fact the precursors to public museums.
Posted in art, aura, collections, economics, exhibition, identity, market, natural history, science, specimens, treasure