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design</title> <meta name="description" content="Search results for: exhibition design"> <meta name="keywords" content="exhibition design"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="exhibition design"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 12552</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: exhibition design</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12552</span> Modes of Seeing in Interactive Exhibitions: A Study on How Technology Can Affect the Viewer and Transform the Exhibition Spaces</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Renata%20P.%20Lopes">Renata P. Lopes</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The current art exhibit scenario presents a multitude of visualization features deployed in experiences that instigate a process of art production and design. The exhibition design through multimedia devices - from the audiovisual to the touch screen - has become a medium from which art can be understood and contemplated. Artistic practices articulated, during the modern period, the spectator's perception in the exhibition space, often challenging the architecture of museums and galleries. In turn, the museum institution seeks to respond to the challenge of welcoming the viewer whose experience is mediated by technological artifacts. When the beholder, together with the technology, interacts with the exhibition space, important displacements happen. In this work, we will analyze the migrations of the exhibition space to the digital environment through mobile devices triggered by the viewer. Based not on technological determinism, but on the conditions of the appearance of this spectator, this work is developed, with the aim of apprehending the way in which technology demarcates the differences between what the spectator was and what becomes in the contemporary atmosphere of the museums and galleries. These notions, we believe, will contribute to the formation of an exhibition design space in conformity with this participant. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exhibition" title="exhibition">exhibition</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a>, <a href="https://publications.waset.org/abstracts/search?q=exhibition%20design" title=" exhibition design"> exhibition design</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20media" title=" digital media"> digital media</a> </p> <a href="https://publications.waset.org/abstracts/96231/modes-of-seeing-in-interactive-exhibitions-a-study-on-how-technology-can-affect-the-viewer-and-transform-the-exhibition-spaces" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96231.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">136</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12551</span> Effects of Exhibition Firms' Resource Investment Behavior on Their Booth Staffs' Role Perceptions, Goal Acceptance and Work Effort during the Exhibition Period</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Po-Chien%20Li">Po-Chien Li</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Despite the extant literature has hosted a wide-range of knowledge about trade shows, this knowledge base deserves to be further expanded and extended because there exist many unclear issues and overlooked topics. One area that needs much research attention is regarding the behavior and performance of booth workers at the exhibition site. Booth staffs play many key roles in interacting with booth visitors. Their exhibiting-related attitudes and motivations might have significant consequences on a firm’s exhibition results. However, to date, little research, if any, has studied how booth workers are affected and behave in the context of trade fair. The primary purpose of the current study is to develop and test a research model, derived from role theory and resource-based viewpoint, that depicts the effects of a firm’s pre-exhibition resource investment behavior on booth staff’s role perceptions and work behavior during the exhibition period. The author collects data with two survey questionnaires at two trade shows in 2016. One questionnaire is given to the booth head of an exhibiting company, asking about the firm’s resource commitment behavior prior to the exhibition period. In contrast, another questionnaire is provided for a booth worker of the same firm, requesting the individual staff to report his/her own role perceptions, degree of exhibition goal acceptance, and level of work effort during the exhibition period. The study has utilized the following analytic methods, including descriptive statistics, exploratory factor analysis, reliability analysis, and regression analysis. The results of a set of regression analyses show that a firm’s pre-exhibition resource investment behavior has significant effects on a booth staff’s exhibiting perceptions and attitudes. Specifically, an exhibitor’s resource investment behavior has impacts on the factors of booth staff’s role clarity and role conflict. In addition, a booth worker’s role clarity is related to the degree of exhibition goal acceptance, but his/her role conflict is not. Finally, a booth worker’s exhibiting effort is significantly related to the individual’s role clarity, role conflict and goal acceptance. In general, the major contribution of the current research is that it offers insight into and early evidence on the links between an exhibiting firm’s resource commitment behavior and the work perceptions and attitudes of booth staffs during the exhibition period. The current research’s results can benefit the extant literature of exhibition marketing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exhibition%20resource%20investment" title="exhibition resource investment">exhibition resource investment</a>, <a href="https://publications.waset.org/abstracts/search?q=role%20perceptions" title=" role perceptions"> role perceptions</a>, <a href="https://publications.waset.org/abstracts/search?q=goal%20acceptance" title=" goal acceptance"> goal acceptance</a>, <a href="https://publications.waset.org/abstracts/search?q=work%20effort" title=" work effort"> work effort</a> </p> <a href="https://publications.waset.org/abstracts/63972/effects-of-exhibition-firms-resource-investment-behavior-on-their-booth-staffs-role-perceptions-goal-acceptance-and-work-effort-during-the-exhibition-period" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/63972.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">217</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12550</span> Origins: An Interpretive History of MMA Design Studio’s Exhibition for the 2023 Venice Biennale</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jonathan%20A.%20Noble">Jonathan A. Noble</a> </p> <p class="card-text"><strong>Abstract:</strong></p> ‘Origins’ is an exhibition designed and installed by MMA Design Studio, at the 2023 Venice Biennale. The instillation formed part of the ‘Dangerous Liaisons’ group exhibition at the Arsenale building. An immersive experience was created for those who visited, where video projection and the bodies of visitors interacted with the scene. Designed by South African architect, Mphethi Morojele – founder and owner of MMA – the primary inspiration for ‘Origins’ was the recent discovery by Professor Karim Sadr in 2019, of a substantial Tswana settlement. Situated in present day Suikerbosrand Nature Reserve, some 45km south of Johannesburg, this precolonial city named Kweneng, has been dated back to the fifteenth century. This remarkable discovery was achieved thanks to advanced aerial, LiDAR scanning technology, which was used to capture the traces of Kweneng, spanning a terrain of some 10km long and 2km wide. Discovered by light (LiDAR) and exhibited through light, Origins presents a simulated experience of Kweneng. The presentation of Kweneng was achieved primarily though video, with a circular projection onto the floor of an animated LiDAR data sequence, and onto the walls a filmed dance sequence choreographed to embody the architectural, spatial and symbolic significance of Kweneng. This paper documents the design process that was involved in the conceptualization, development and final realization of this noteworthy exhibition, with an elucidation upon key social and cultural questions pertaining to precolonial heritage, reimagined histories and postcolonial identity. Periods of change and of social awakening sometimes spark an interest in questions of origin, of cultural lineage and belonging – and which certainly is the case for contemporary, post-Apartheid South Africa. Researching this paper has required primary study of MMA Design Studio’s project archive, including various proposals and other design related documents, conceptual design sketches, architectural drawings and photographs. This material is supported by the authors first-hand interviews with Morejele and others who were involved, especially with respect to the choreography of the interpretive dance, LiDAR visualization techniques and video production that informed the simulated, immersive experience at the exhibition. Presenting a ‘dangerous liaison’ between architecture and dance, Origins looks into the distant past to frame contemporary questions pertaining to intangible heritage, animism and embodiment through architecture and dance – considerations which are required “to survive the future”, says Morojele. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architecture%20and%20dance" title="architecture and dance">architecture and dance</a>, <a href="https://publications.waset.org/abstracts/search?q=Kweneng" title=" Kweneng"> Kweneng</a>, <a href="https://publications.waset.org/abstracts/search?q=MMA%20design%20studio" title=" MMA design studio"> MMA design studio</a>, <a href="https://publications.waset.org/abstracts/search?q=origins" title=" origins"> origins</a>, <a href="https://publications.waset.org/abstracts/search?q=Venice%20Biennale" title=" Venice Biennale"> Venice Biennale</a> </p> <a href="https://publications.waset.org/abstracts/174636/origins-an-interpretive-history-of-mma-design-studios-exhibition-for-the-2023-venice-biennale" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174636.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">88</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12549</span> Different Levels of Mixed Reality: Mixed Reality as a Tool to Change the Visitor's Experience in the Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hector%20Valverde%20Mart%C3%ADnez">Hector Valverde Martínez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this text, the application possibilities of developments in MR are explored as an element within the museographic space that affects the visitor-museum relationship to satisfy the needs of knowledge and recreation that visitors have to improve the experience. The emphasis points out the way in which it is thinking from the digital to understand the possibilities in the design of museum experiences, and are analyzed the strategies used inside and outside the museum space are exemplified from the use of MR and their impact on the visitors' experience to reach different levels of depth of knowledge in an exhibition; the exploration of limits in the creation of atmospheres that allow visitors to feel immersed in a completely different reality from the one they live to better understand the topics addressed in the exhibition, and strategies that are used to encourage museum audiences to actively participate and extend the experience of the museum beyond its walls. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mixed%20realities" title="mixed realities">mixed realities</a>, <a href="https://publications.waset.org/abstracts/search?q=experience" title=" experience"> experience</a>, <a href="https://publications.waset.org/abstracts/search?q=visitor" title=" visitor"> visitor</a>, <a href="https://publications.waset.org/abstracts/search?q=museums" title=" museums"> museums</a> </p> <a href="https://publications.waset.org/abstracts/131779/different-levels-of-mixed-reality-mixed-reality-as-a-tool-to-change-the-visitors-experience-in-the-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131779.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">185</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12548</span> Short-Term Operation Planning for Energy Management of Exhibition Hall</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yooncheol%20Lee">Yooncheol Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Jeongmin%20Kim"> Jeongmin Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Kwang%20Ryel%20Ryu"> Kwang Ryel Ryu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper deals with the establishment of a short-term operational plan for an air conditioner for efficient energy management of exhibition hall. The short-term operational plan is composed of a time series of operational schedules, which we have searched using genetic algorithms. Establishing operational schedule should be considered the future trends of the variables affecting the exhibition hall environment. To reflect continuously changing factors such as external temperature and occupant, short-term operational plans should be updated in real time. But it takes too much time to evaluate a short-term operational plan using EnergyPlus, a building emulation tool. For that reason, it is difficult to update the operational plan in real time. To evaluate the short-term operational plan, we designed prediction models based on machine learning with fast evaluation speed. This model, which was created by learning the past operational data, is accurate and fast. The collection of operational data and the verification of operational plans were made using EnergyPlus. Experimental results show that the proposed method can save energy compared to the reactive control method. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exhibition%20hall" title="exhibition hall">exhibition hall</a>, <a href="https://publications.waset.org/abstracts/search?q=energy%20management" title=" energy management"> energy management</a>, <a href="https://publications.waset.org/abstracts/search?q=predictive%20model" title=" predictive model"> predictive model</a>, <a href="https://publications.waset.org/abstracts/search?q=simulation-based%20optimization" title=" simulation-based optimization"> simulation-based optimization</a> </p> <a href="https://publications.waset.org/abstracts/82946/short-term-operation-planning-for-energy-management-of-exhibition-hall" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82946.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">339</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12547</span> Beyond the White Cube: A Study on the Site Specific Curatorial Practice of Kochi Muziris Biennale</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Girish%20Chandran">Girish Chandran</a>, <a href="https://publications.waset.org/abstracts/search?q=Milu%20Tigi"> Milu Tigi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Brian O'Doherty's seminal essay, Inside the white Cube theorized and named the dominant mode of display and exhibition of Modern Art museums. Ever since the advent of Biennales and other site-specific public art projects we have seen a departure from the white cube mode of exhibition. The physicality, materiality and context within which an artwork is framed has a role in the production of meaning of public art. Equally, artworks contribute to the meaning and identity of a place. This to and fro relationship between the site and artwork and its influence on the sense of place and production of meaning is being explored in this paper in the context of Kochi Muziris Biennale (KMB). Known as the Peoples biennale with over 5 lakh visitors, it is India's first Biennale and its largest art exhibition of contemporary art. The paper employs place theory and contemporary curatorial theories to present the case. The KMB has an interesting mix of exhibition spaces which includes existing galleries and halls, site-specific projects in public spaces, infill developments and adaptive reuse of heritage and other unused architecture. The biennale was envisioned as an event connecting to the history, socio-political peculiarities of the cultural landscape of Kerala and more specifically Kochi. The paper explains the role of spatial elements in forming a curatorial narrative connected to the above mentioned ambitions.The site-specific nature of exhibition and its use of unused architecture helps in the formation of exhibition spaces unique in type and materiality. The paper argues how this helps in the creation of an 'archeology of the place'. The research elucidates how a composite nature of experience helps connect with the thematic ambitions of the Biennale and how it brings about an aesthetics distinct to KMB. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=public%20art" title="public art">public art</a>, <a href="https://publications.waset.org/abstracts/search?q=curatorial%20practice" title=" curatorial practice"> curatorial practice</a>, <a href="https://publications.waset.org/abstracts/search?q=architecture" title=" architecture"> architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=place" title=" place"> place</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art" title=" contemporary art"> contemporary art</a>, <a href="https://publications.waset.org/abstracts/search?q=site%20specificity" title=" site specificity"> site specificity</a> </p> <a href="https://publications.waset.org/abstracts/97350/beyond-the-white-cube-a-study-on-the-site-specific-curatorial-practice-of-kochi-muziris-biennale" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97350.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">159</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12546</span> Learning Predictive Models for Efficient Energy Management of Exhibition Hall</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jeongmin%20Kim">Jeongmin Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Eunju%20Lee"> Eunju Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Kwang%20Ryel%20Ryu"> Kwang Ryel Ryu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper addresses the problem of predictive control for energy management of large-scaled exhibition halls, where a lot of energy is consumed to maintain internal atmosphere under certain required conditions. Predictive control achieves better energy efficiency by optimizing the operation of air-conditioning facilities with not only the current but also some future status taken into account. In this paper, we propose to use predictive models learned from past sensor data of hall environment, for use in optimizing the operating plan for the air-conditioning facilities by simulating future environmental change. We have implemented an emulator of an exhibition hall by using EnergyPlus, a widely used building energy emulation tool, to collect data for learning environment-change models. Experimental results show that the learned models predict future change highly accurately on a short-term basis. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=predictive%20control" title="predictive control">predictive control</a>, <a href="https://publications.waset.org/abstracts/search?q=energy%20management" title=" energy management"> energy management</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=optimization" title=" optimization"> optimization</a> </p> <a href="https://publications.waset.org/abstracts/59405/learning-predictive-models-for-efficient-energy-management-of-exhibition-hall" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59405.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">274</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12545</span> Research the Counseling of Taichung Taiwan's 10 Creative Zones</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Feng%20Shih-Jen">Feng Shih-Jen</a>, <a href="https://publications.waset.org/abstracts/search?q=Chiang%20Yi-Hua"> Chiang Yi-Hua</a>, <a href="https://publications.waset.org/abstracts/search?q=Yang%20Min-Chih"> Yang Min-Chih</a> </p> <p class="card-text"><strong>Abstract:</strong></p> After going through mass production and contract manufacturing phases, under the global consumption trend, Taiwan’s traditional industry has turned to creative design, research and development to gain recognition in the consumer market, build competitiveness in the global market and further promote the products from Taiwan’s traditional industry. Taichung City is rich in cultural creative resources, outperforming other counties/cities in originality, creative talents, cultural taste, art/culture participation and global marketing. As the result this has created a diversified and vibrant cultural market in Taichung, giving Taichung the highest potential as a cultural creative city. This research, through the project by Taichung Cultural Creative Industry Promotion Office, has built an exchange platform for the cultural creative industry in central Taiwan. The platform will promote exchanges of creative ideas in the cultural creative industry in Taiwan as well as industrial transformation and brings more value for the industry. This study also proposes the idea of “Taichung Cultural Creative Exhibition” Therefore, this study was conducted in Taiwan, Taichung 10 Creative Zone Exhibition, which is divided into four stages counseling. Respectively, of the first order: the cultural creative Zone specialty shops offer; The second stage is the industrial settlement discussions and counseling workshops in the ground; The third stage of consultation for the recruitment of the cultural creative businesses separate estate; The fourth stage is the story of the build cultural and creative industry. Hope through periodic counseling, handling Taichung 10 Creative Zone Exhibition. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20creative%20industry" title="cultural creative industry">cultural creative industry</a>, <a href="https://publications.waset.org/abstracts/search?q=counseling" title=" counseling"> counseling</a>, <a href="https://publications.waset.org/abstracts/search?q=Taichung" title=" Taichung"> Taichung</a>, <a href="https://publications.waset.org/abstracts/search?q=Taiwan%27s%20creative%20zones" title=" Taiwan's creative zones "> Taiwan's creative zones </a> </p> <a href="https://publications.waset.org/abstracts/20564/research-the-counseling-of-taichung-taiwans-10-creative-zones" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20564.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">498</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12544</span> Biofeedback-Driven Sound and Image Generation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Claudio%20Burguez">Claudio Burguez</a>, <a href="https://publications.waset.org/abstracts/search?q=Mar%C3%ADa%20Castell%C3%B3"> María Castelló</a>, <a href="https://publications.waset.org/abstracts/search?q=Mikaela%20Pisani"> Mikaela Pisani</a>, <a href="https://publications.waset.org/abstracts/search?q=Marcos%20Umpi%C3%A9rrez"> Marcos Umpiérrez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> BIOFEEDBACK exhibition offers a unique experience for each visitor, combining art, neuroscience, and technology in an interactive way. Using a headband that captures the bioelectric activity of the brain, the visitors are able to generate sound and images in a sequence loop, making them an integral part of the artwork. Through this interactive exhibit, visitors gain a deeper appreciation of the beauty and complexity of the brain. As a special takeaway, visitors will receive an NFT as a present, allowing them to continue their engagement with the exhibition beyond the physical space. We used the EEG Biofeedback technique following a closed-loop neuroscience approach, transforming EEG data captured by a Muse S headband in real-time into audiovisual stimulation. PureData is used for sound generation and Generative Adversarial Networks (GANs) for image generation. Thirty participants have experienced the exhibition. For some individuals, it was easier to focus than others. Participants who said they could focus during the exhibit stated that at one point, they felt that they could control the sound, while images were more abstract, and they did not feel that they were able to control them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=audiovisual" title=" audiovisual"> audiovisual</a>, <a href="https://publications.waset.org/abstracts/search?q=biofeedback" title=" biofeedback"> biofeedback</a>, <a href="https://publications.waset.org/abstracts/search?q=EEG" title=" EEG"> EEG</a>, <a href="https://publications.waset.org/abstracts/search?q=NFT" title=" NFT"> NFT</a>, <a href="https://publications.waset.org/abstracts/search?q=neuroscience" title=" neuroscience"> neuroscience</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a> </p> <a href="https://publications.waset.org/abstracts/161610/biofeedback-driven-sound-and-image-generation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161610.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">72</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12543</span> Search for New Design Elements in Time-Honoured Shops in Tainan — On Curriculum Practice about Culture Creative Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ya-Ling%20Huang">Ya-Ling Huang</a>, <a href="https://publications.waset.org/abstracts/search?q=Ming-Chun%20Tsai"> Ming-Chun Tsai</a>, <a href="https://publications.waset.org/abstracts/search?q=Fan%20Hsu"> Fan Hsu</a>, <a href="https://publications.waset.org/abstracts/search?q=Kai-Ru%20Hsieh"> Kai-Ru Hsieh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper mainly discusses the research and practice process of a laboratory curriculum by leading students to perform field investigation into time-honoured shops that have existed for more than 50 years in the downtown area of Tainan, Taiwan, and then search again for design elements and completing the design. The participants are juniors from the Department of Visual Communication Design, Kun Shan University. The duration of research and practice is two months. Operators of these shops are invited to jointly appraise the final achievements. 9 works out of 27 are chosen for final exhibition and commercialization. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture%20creative%20industry" title="culture creative industry">culture creative industry</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20communication%20design" title=" visual communication design"> visual communication design</a>, <a href="https://publications.waset.org/abstracts/search?q=curriculum%20experimental" title=" curriculum experimental"> curriculum experimental</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title=" visual arts"> visual arts</a> </p> <a href="https://publications.waset.org/abstracts/7338/search-for-new-design-elements-in-time-honoured-shops-in-tainan-on-curriculum-practice-about-culture-creative-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7338.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">355</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12542</span> Post Disaster Community Support with Family Manga Exhibition as a Tool for Intervention and Outreach: Reflection on the past Five Years from a Narrative Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kuniko%20Muramoto">Kuniko Muramoto</a>, <a href="https://publications.waset.org/abstracts/search?q=Tadashi%20Nakamura"> Tadashi Nakamura</a>, <a href="https://publications.waset.org/abstracts/search?q=Shiro%20Dan"> Shiro Dan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> On March 11, 2011 the Great East Japan Disaster caused widespread damage. In the aftermath, we searched for ways to provide long-term support and enhanced resilience to affected areas, arriving at the Family Manga Exhibition: an art collection portraying family life. It became a tool for community outreach and intervention, and we implemented support programs by collaborating with local support agencies. This 10-year project has been touring through four prefectures in Tohoku since the disaster struck, bearing witness to the effects of disaster and recovery alike. At this five-year mark, we use a narrative perspective to present our findings and reflect on post-disaster community support. It is important to note that the exhibition’s art does not directly depict the disaster; it portrays stories of anonymous families instead. They stimulate viewers’ memories and remind them of their own family stories. We analyzed viewers' oral and written responses to the exhibition and discovered that family manga as an art form enhances the viewer’s sense of connection to people close to them. We also discovered that the viewers gained more universal perspective on their own situations by viewing the exhibition. Manga, we found, offered a certain safety by enabling the viewers to control how they would interact with the exhibition's content and themes. In addition, the purpose of the project was for us to become witnesses of the disaster and recovery. Supporters of the project became active listeners, functioning as interactive agents who helped forming stories. Voices of the story tellers and the listeners layered upon each other and, as a result, converged into brand new narratives. The essence of traumatic experience is ‘the sense of overwhelming powerlessness and isolation’. When we redefine trauma as ‘broken relationships’, we can say that ‘enhancing relationships’ and ‘weaving relationships’ are what strengthen our resilience. This project used narrative as a modality to fortify the resilience of people involved by enhancing the social capital of bonding, bridging, and linking. The manga exhibition functioned as a tool to achieve this end, suggesting that similar applications are possible. Programs we held in-between manga exhibitions also served to enhance narratives of resiliency in the regions. However, we will save that story for another time. We hope to continue collecting the precious and polyphonic voices of people to present as stories born out of the Great East Japan Disaster. This effort extends beyond the immediately affected area by helping us prepare our resilience for future disasters. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=community" title="community">community</a>, <a href="https://publications.waset.org/abstracts/search?q=manga" title=" manga"> manga</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=resilience" title=" resilience"> resilience</a> </p> <a href="https://publications.waset.org/abstracts/58640/post-disaster-community-support-with-family-manga-exhibition-as-a-tool-for-intervention-and-outreach-reflection-on-the-past-five-years-from-a-narrative-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58640.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">224</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12541</span> Content Creation as Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=D.%20van%20der%20Merwe">D. van der Merwe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Walter Benjamin observed a marked difference in test performances versus final performances, with special regard to film and the cinema setting versus the stage as the site of performance, exhibition, and consumption. The attention given to film is justifiable and valid given its position as the best example of media convergence of Benjamin’s era, that of late modernity. In contemporary terms, however, the film has been supplanted by content as the prime example of convergence at work, and the digital domain, materialized in the form of the mobile internet, as the substituted site for the cinema. By examining the performance of the polymediated self within social media content, this paper hopes to establish the practice of content creation as a cultural artefact evidencing exhibition value on par with -or at least comparable with- performance art. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=content%20creation" title="content creation">content creation</a>, <a href="https://publications.waset.org/abstracts/search?q=convergence" title=" convergence"> convergence</a>, <a href="https://publications.waset.org/abstracts/search?q=stage%20performance" title=" stage performance"> stage performance</a>, <a href="https://publications.waset.org/abstracts/search?q=test%20performance" title=" test performance"> test performance</a>, <a href="https://publications.waset.org/abstracts/search?q=polymediation" title=" polymediation"> polymediation</a>, <a href="https://publications.waset.org/abstracts/search?q=Walter%20Benjamin" title=" Walter Benjamin"> Walter Benjamin</a> </p> <a href="https://publications.waset.org/abstracts/193880/content-creation-as-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/193880.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">10</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12540</span> Temporospatial Mediator: Site-Specific Theatre within Cultural Heritages</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ching-Pin%20Tseng">Ching-Pin Tseng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cultural heritages are tangible and intangible catalysts for recollecting collective memories and cultural signification. Through visiting the heritage and with the aid of exhibition and visual indications, the visitor may visually and spatially grasp some fragments of the stories and occurrences of the site. However, there may be some discrepancies between the narration of historical happenings that occurred at the place and the spatial exhibition of the historic monument. Narratives of collective events may not be revealed merely by physical relics or objects. In order to build up a connection between the past and the present, the paper thus intends to discuss what means can engender vitalizations within cultural heritages. As the preservation of cultural heritages has been a universal consensus and common interests, its association with modern lives has also been an important issue. The paper will explore some site-specific theatres held in the art festivals in the south of Taiwan so as to examine the correlation between site-specific performances and the conservation of historic monuments. In the light of Victor Hugo’s argument that the place where events happened before can be silent characters for representing the reality of art and for impressing the spectator, this paper argues that site-specific theatres may bring vitality into tangible cultural heritages. At the end of this paper, the notion of localization will be utilized to examine the spatial setting and the materiality of scenic design in relation to the site-specific theatres within cultural heritages. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=site-specificity" title="site-specificity">site-specificity</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title=" cultural heritage"> cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=localization" title=" localization"> localization</a>, <a href="https://publications.waset.org/abstracts/search?q=materiality" title=" materiality"> materiality</a> </p> <a href="https://publications.waset.org/abstracts/132576/temporospatial-mediator-site-specific-theatre-within-cultural-heritages" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132576.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">124</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12539</span> The Design of Local Wisdom Learning for Providing Creative Activities for Juveniles with Exhibit Media: Suan-Oui Youth Center</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jong%20Boonpracha">Jong Boonpracha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper studied the application of the design of local wisdom learning for providing creative activity for juveniles with exhibit media. The Suan-oui Youth Center has the objectives to design and develop exhibit media that encourage participation and learning of youths on local wisdom of Ratanakosin Island. The research was conducted in three stages: 1) to study the principle of local wisdom learning of cultural heritage at Ratanakosin Island 2) to study exhibit media that encouraged participation and creative activities of youth on local wisdom learning, and 3) to design a youth center that provide media exhibition for local wisdom learning. The research revealed the following: 34.6 percent of respondents wanted to apply local living wisdom in their career and for hobby. At least two kinds of exhibit media effectively provided creative activities for youths. A multi-purpose area, for example, with still pictures, visual symbols, and simulations would increase the level of youths’ interaction and participation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exhibit%20media" title="exhibit media">exhibit media</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20wisdom" title=" local wisdom"> local wisdom</a>, <a href="https://publications.waset.org/abstracts/search?q=youth%20center" title=" youth center"> youth center</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a> </p> <a href="https://publications.waset.org/abstracts/3030/the-design-of-local-wisdom-learning-for-providing-creative-activities-for-juveniles-with-exhibit-media-suan-oui-youth-center" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3030.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">400</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12538</span> Prediction-Based Midterm Operation Planning for Energy Management of Exhibition Hall</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Doseong%20Eom">Doseong Eom</a>, <a href="https://publications.waset.org/abstracts/search?q=Jeongmin%20Kim"> Jeongmin Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Kwang%20Ryel%20Ryu"> Kwang Ryel Ryu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Large exhibition halls require a lot of energy to maintain comfortable atmosphere for the visitors viewing inside. One way of reducing the energy cost is to have thermal energy storage systems installed so that the thermal energy can be stored in the middle of night when the energy price is low and then used later when the price is high. To minimize the overall energy cost, however, we should be able to decide how much energy to save during which time period exactly. If we can foresee future energy load and the corresponding cost, we will be able to make such decisions reasonably. In this paper, we use machine learning technique to obtain models for predicting weather conditions and the number of visitors on hourly basis for the next day. Based on the energy load thus predicted, we build a cost-optimal daily operation plan for the thermal energy storage systems and cooling and heating facilities through simulation-based optimization. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=building%20energy%20management" title="building energy management">building energy management</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=operation%20planning" title=" operation planning"> operation planning</a>, <a href="https://publications.waset.org/abstracts/search?q=simulation-based%20optimization" title=" simulation-based optimization"> simulation-based optimization</a> </p> <a href="https://publications.waset.org/abstracts/59410/prediction-based-midterm-operation-planning-for-energy-management-of-exhibition-hall" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59410.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">322</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12537</span> Bauhaus Exhibition 1922: New Weapon of Anti-Colonial Resistance in India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Suneet%20Jagdev">Suneet Jagdev</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The development of the original Bauhaus occurred at a time in the beginning of the 20th century when the industrialization of Germany had reached a climax. The cities were a reflection of the new living conditions of an industrialized society. The Bauhaus can be interpreted as an ambitious attempt to find appropriate answers to the challenges by using architecture-urban development and design. The core elements of the conviction of the day were the belief in the necessary crossing of boundaries between the various disciplines and courage to experiment for a better solution. Even after 100 years, the situation in our cities is shaped by similar complexity. The urban consequences of developments are difficult to estimate and to predict. The paper critically reflected on the central aspects of the history of the Bauhaus and its role in bringing the modernism in India by comparative studies of the methodology adopted by the artists and designer in both the countries. The paper talked in detail about how the Bauhaus Exhibition in 1922 offered Indian artists a new weapon of anti-colonial resistance. The original Bauhaus fought its aesthetic and political battles in the context of economic instability and the rise of German fascism. The Indians had access to dominant global languages and in a particular English. The availability of print media and a vibrant indigenous intellectual culture provided Indian people a tool to accept technology while denying both its dominant role in culture and the inevitability of only one form of modernism. The indigenous was thus less an engagement with their culture as in the West than a tool of anti-colonial struggle. We have shown how the Indian people used Bauhaus as a critique of colonialism itself through an undermining of its typical modes of representation and as a means of incorporating the Indian desire for spirituality into art and as providing the cultural basis for a non-materialistic and anti-industrial form of what we might now term development. The paper reflected how through painting the Bauhaus entered the artistic consciousness of the sub-continent not only for its stylistic and technical innovations but as a tool for a critical and even utopian modernism that could challenge both the hegemony of academic and orientalist art and as the bearer of a transnational avant-garde as much political as it was artistic, and as such the basis of a non-Eurocentric but genuinely cosmopolitan alternative to the hierarchies of oppression and domination that had long bound India and were at that moment rising once again to a tragic crescendo in Europe. We have talked about how the Bauhaus of today can offer an innovative orientation towards discourse around architecture and design. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=anti-colonial%20struggle" title="anti-colonial struggle">anti-colonial struggle</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20over%20architecture" title=" art over architecture"> art over architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=Bauhaus%20exhibition%20of%201922" title=" Bauhaus exhibition of 1922"> Bauhaus exhibition of 1922</a>, <a href="https://publications.waset.org/abstracts/search?q=industrialization" title=" industrialization"> industrialization</a> </p> <a href="https://publications.waset.org/abstracts/50760/bauhaus-exhibition-1922-new-weapon-of-anti-colonial-resistance-in-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50760.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">259</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12536</span> Using Electronic Books to Enhance the Museum Visitors' Experience</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elvin%20Karaaslan%20Klose">Elvin Karaaslan Klose</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Museums are important sites of informal, often semi-structured and self-paced learning. Challenged by digital alternatives and increased expectations from their visitors, museums have to adapt to the digital age by enriching their collection and educational content with additional options for interactivity. One such option lies in the concept of the electronic book, which can be used either on dedicated devices or downloaded by visitors before entering the exhibition area. These electronic books serve as an alternative or supplement to the classic audio guide and provide visitors with information about artifacts as well as background stories and factoids about the subjects of the exhibition. Bringing such interactive elements into the museum experience has been shown to increase information retention and enjoyment among young aged visitors and adults. This article aims to bring together both theoretical frameworks and practical examples of how interactive media in the form of electronic books can be used to enhance the experience of the museum visitor. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electronic%20books" title="electronic books">electronic books</a>, <a href="https://publications.waset.org/abstracts/search?q=interactive%20media" title=" interactive media"> interactive media</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20education" title=" arts education"> arts education</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20education" title=" museum education"> museum education</a> </p> <a href="https://publications.waset.org/abstracts/49035/using-electronic-books-to-enhance-the-museum-visitors-experience" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49035.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">212</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12535</span> Temporality in Architecture and Related Knowledge</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gonca%20Z.%20Tuncbilek">Gonca Z. Tuncbilek</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Architectural research tends to define architecture in terms of its permanence. In this study, the term ‘temporality’ and its use in architectural discourse is re-visited. The definition, proposition, and efficacy of the temporality occur both in architecture and in its related knowledge. The temporary architecture not only fulfills the requirement of the architectural programs, but also plays a significant role in generating an environment of architectural discourse. In recent decades, there is a great interest on the temporary architectural practices regarding to the installations, exhibition spaces, pavilions, and expositions; inviting the architects to experience and think about architecture. The temporary architecture has a significant role among the architecture, the architect, and the architectural discourse. Experiencing the contemporary materials, methods and technique; they have proposed the possibilities of the future architecture. These structures give opportunities to the architects to a wide-ranging variety of freedoms to experience the ‘new’ in architecture. In addition to this experimentation, they can be considered as an agent to redefine and reform the boundaries of the architectural discipline itself. Although the definition of architecture is re-analyzed in terms of its temporality rather than its permanence; architecture, in reality, still relies on historically codified types and principles of the formation. The concept of type can be considered for several different sciences, and there is a tendency to organize and understand the world in terms of classification in many different cultures and places. ‘Type’ is used as a classification tool with/without the scope of the critical invention. This study considers theories of type, putting forward epistemological and discursive arguments related to the form of architecture, being related to historical and formal disciplinary knowledge in architecture. This study has been to emphasize the importance of the temporality in architecture as a creative tool to reveal the position within the architectural discourse. The temporary architecture offers ‘new’ opportunities in the architectural field to be analyzed. In brief, temporary structures allow the architect freedoms to the experimentation in architecture. While redefining the architecture in terms of temporality, architecture still relies on historically codified types (pavilions, exhibitions, expositions, and installations). The notion of architectural types and its varying interpretations are analyzed based on the texts of architectural theorists since the Age of Enlightenment. Investigating the classification of type in architecture particularly temporary architecture, it is necessary to return to the discussion of the origin of the knowledge and its classification. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=classification%20of%20architecture" title="classification of architecture">classification of architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=exhibition%20design" title=" exhibition design"> exhibition design</a>, <a href="https://publications.waset.org/abstracts/search?q=pavilion%20design" title=" pavilion design"> pavilion design</a>, <a href="https://publications.waset.org/abstracts/search?q=temporary%20architecture" title=" temporary architecture"> temporary architecture</a> </p> <a href="https://publications.waset.org/abstracts/71934/temporality-in-architecture-and-related-knowledge" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71934.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">365</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12534</span> Aesthetic Embodiment of the Visual and/or Non-Visual: the Becoming of a Spatial Installation Exhibition Influenced by Shamanic Healing</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ningfei%20Xiao">Ningfei Xiao</a>, <a href="https://publications.waset.org/abstracts/search?q=Simon%20Twose"> Simon Twose</a>, <a href="https://publications.waset.org/abstracts/search?q=Hannah%20Hopewell"> Hannah Hopewell</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In urban settings worldwide, artists and researchers have drawn from shamanic healing, providing insightful responses to the environment. This project is a transdisciplinary creative research project where architecture and art practice draw from shamanic healing and provide the potential to expand knowledge of public space and inspire more aesthetic explorations of public spatial visions. The research started from the encounters with the Ewengki/Evenki shaman tribe in settlement areas of northern China in 2019 and extended through the partnerships with Maori artists in Poneke Aotearoa, New Zealand, in 2023. Based on the learnings and collaborations with female indigenous tradition practitioners and the healing that the researcher received from the land, a spatial installation exhibition was developed in this project. Indigenous practices are intricately woven with contemporary technology, merging visuals, soundscapes, and other non-visual aesthetics influenced by the researcher's personal experiences of embodied shamanic healing with brainwave generative technology. This synthesis seeks to ritualize and reimagine future public spaces, encompassing streetscapes and greenscapes from China to Aotearoa, and fostering connections between urbanized human body, mind, spirit, and land. In doing so, the project presents a feminist posthuman inquiry into how individuals perceive materiality within the context of a future city. Grounded in creative research and embodied methodologies, this paper focuses on the conceptual and autoethnographic aspects of visual-non-visual aesthetics and their creative representation. Through the exploration of aesthetics beyond the visual realm within urban and spatial contexts, this project showcases the spatial installation exhibition as an example of shamanic influence and related response to public space through embodied artistry and transdisciplinary creative inquiry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title="aesthetic">aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=embodiment" title=" embodiment"> embodiment</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20and%2For%20non-visual" title=" visual and/or non-visual"> visual and/or non-visual</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial%20installation" title=" spatial installation"> spatial installation</a>, <a href="https://publications.waset.org/abstracts/search?q=shamanic%20healing" title=" shamanic healing"> shamanic healing</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20space" title=" public space"> public space</a> </p> <a href="https://publications.waset.org/abstracts/184619/aesthetic-embodiment-of-the-visual-andor-non-visual-the-becoming-of-a-spatial-installation-exhibition-influenced-by-shamanic-healing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184619.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">59</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12533</span> Mapping the Urban Catalytic Trajectory for 'Convention and Exhibition' Projects: A Case of India International Convention and Expo Centre, New Delhi</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bhavana%20Gulaty">Bhavana Gulaty</a>, <a href="https://publications.waset.org/abstracts/search?q=Arshia%20Chaudhri"> Arshia Chaudhri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Great civic projects contribute integrally to a city, and every city undergoes a recurring cycle of urban transformations and regeneration by their insertion. The M.I.C.E. (Meetings, Incentives, Convention and Exhibitions) industry is the forbearer of one category of such catalytic civic projects. Through a specific focus on M.I.C.E. destinations, this paper illustrates the multifarious dimensions that urban catalysts impact the city on S.P.U.R. (Seed. Profile. Urbane. Reflections), the theoretical framework of this paper aims to unearth these dimensions in the realm of the COEX (Convention & Exhibition) biosphere. The ‘COEX Biosphere’ is the filter of such catalysts being ecosystems unto themselves. Like a ripple in water, the impact of these strategic interventions focusing on art, culture, trade, and promotion expands right from the trigger; the immediate context to the region and subsequently impacts the global scale. These ripples are known to bring about significant economic, social, and political and network changes. The COEX inventory in the Asian context has one such prominent addition; the proposed India International Convention and Exhibition Centre (IICC) at New Delhi. It is envisioned to be the largest facility in Asia currently and would position India on the global M.I.C.E map. With the first phase of the project scheduled to open for use in the end of 2019, this flagship project of the Government of India is projected to cater to a peak daily footfall of 3,20,000 visitors and estimated to generate 5,00,000 jobs. While the economic benefits are yet to manifest in real time and ‘Good design is good business’ holds true, for the urban transformation to be meaningful, the benefits have to go beyond just a balance sheet for the city’s exchequer. This aspect has been found relatively unexplored in research on these developments. The methodology for investigation will comprise of two steps. The first will be establishing an inventory of the global success stories and associated benefits of COEX projects over the past decade. The rationale for capping the timeframe is the significant paradigm shift that has been observed in their recent conceptualization; for instance ‘Innovation Districts’ conceptualised in the city of Albuquerque that converges into the global economy. The second step would entail a comparative benchmarking of the projected transformations by IICC through a toolkit of parameters. This is posited to yield a matrix that can form the test bed for mapping the catalytic trajectory for projects in the pipeline globally. As a ready reckoner, it purports to be a catalyst to substantiate decision making in the planning stage itself for future projects in similar contexts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=catalysts" title="catalysts">catalysts</a>, <a href="https://publications.waset.org/abstracts/search?q=COEX" title=" COEX"> COEX</a>, <a href="https://publications.waset.org/abstracts/search?q=M.I.C.E." title=" M.I.C.E."> M.I.C.E.</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20transformations" title=" urban transformations"> urban transformations</a> </p> <a href="https://publications.waset.org/abstracts/90744/mapping-the-urban-catalytic-trajectory-for-convention-and-exhibition-projects-a-case-of-india-international-convention-and-expo-centre-new-delhi" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90744.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">158</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12532</span> Museums: The Roles of Lighting in Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fernanda%20S.%20Oliveira">Fernanda S. Oliveira</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The architectural science of lighting has been mainly concerned with technical aspects and has tended to ignore the psychophysical. There is a growing evidence that adopting passive design solutions may contribute to higher satisfaction. This is even more important in countries with higher solar radiation, which should take advantage of favourable daylighting conditions. However, in art museums, the same light that stimulates vision can also cause permanent damage to the exhibits. Not only the visitors want to see the objects, but also to understand their nature and the artist’s intentions. This paper examines the hypothesis that the more varied and exciting the lighting (and particularly the daylight) in museums rooms, over space and time, the more likely it is that visitors will stay longer, enjoy their experience and be willing to return. This question is not often considered in museums that privilege artificial lighting neglecting the various qualities of daylight other than its capacity to illuminate spaces. The findings of this paper show that daylight plays an important role in museum design, affecting how visitors perceive the exhibition space, as well as contributing to their overall enjoyment in the museum. Rooms with high luminance means were considered more pleasant (r=.311, p<.05) and cheerful (r=.349, p<.05). Lighting conditions also have a direct effect on the phenomenon of museum fatigue with the overall room quality showing an effect on how tired visitors reported to be (r=.421, p<.01). The control and distribution of daylight in museums can therefore contribute to create pleasant conditions for learning, entertainment and amusement, so that visitors are willing to return. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=daylight" title="daylight">daylight</a>, <a href="https://publications.waset.org/abstracts/search?q=comfort" title=" comfort"> comfort</a>, <a href="https://publications.waset.org/abstracts/search?q=museums" title=" museums"> museums</a>, <a href="https://publications.waset.org/abstracts/search?q=luminance" title=" luminance"> luminance</a>, <a href="https://publications.waset.org/abstracts/search?q=visitor" title=" visitor "> visitor </a> </p> <a href="https://publications.waset.org/abstracts/15202/museums-the-roles-of-lighting-in-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/15202.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">486</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12531</span> Loud Silence: A Situation Analysis of Youth Living with Hearing Impairment in Uganda</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wandera%20Stephen%20Ojumbo">Wandera Stephen Ojumbo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> People living with hearing impairment in Uganda are one of the most excluded minority groups in the country. The Uganda National Association of the Deaf estimates that deaf people make up 3.4% of Uganda’s 43 million people. Deaf Children and youth often appear withdrawn because they face social stigma. In 2009, photojournalist Stephen Wandera Ojumbo conducted an exhibition in Kampala titled “Silent Voices with colourful Hearts” showcasing the life of deaf children at Uganda School for the Deaf, Ntinda, in order to create awareness of their plight, raising funds for the construction of a vocational centre for the deaf that didn’t continue their education due to: lack of funds, non-inclusive educational institutions, and for those who cannot read and write. These children, whose lives were exhibited in 2009, are currently youths. In Uganda, there are just five primary schools for the deaf (three of these are located in Kampala, the capital city), and barely five secondary schools for the deaf. At the moment, some deaf children only receive special needs training equivalent to primary seven levels and the majority don’t make it to secondary school education level due to the fact that English is a second language to them. There is a communication gap between speaking parents and deaf children, which leads to the breakage of family bonds. The deaf youth run away from their homes to form a community where they can communicate freely. Likewise, employment opportunities for the deaf are equally very limited. It’s for this reason that a follow-up photo exhibition was conducted to expose more about what the youthful deaf people and their guardians go through in Uganda to get jobs, live and fit in the community, how they communicate and get understood, bonding with families instead of running away to bond with fellow deaf persons. The photo exhibition under the theme “Loud Silence” was significant in showcasing the ability of deaf youths in Uganda and eliciting solutions to make a more inclusive society for the deaf. It is hoped that partners in development will join in for intervention. The methodology used included individual interviews with the deaf youth and their parents and caretakers; photography at household and community levels; document review at organizations working with the deaf; observations; and key informant interviews with relevant personnel working with the deaf. Some of the major findings include: i) Effective sign language communication is key in deaf education, family bonding, and developing a sense of belonging; ii) Love and intimacy can keep the deaf bound together; iii) Education is important; everybody should struggle even if alone; iv) Games and sports are a unifying factor and most loved among the deaf; and v) better communication skills build confidence in deaf youth. In conclusion, concerted efforts are still needed to make Uganda schools more inclusive for deaf persons. This will enable a secure future for deaf youths. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=deaf" title="deaf">deaf</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=excluded" title=" excluded"> excluded</a>, <a href="https://publications.waset.org/abstracts/search?q=photo%20exhibition" title=" photo exhibition"> photo exhibition</a> </p> <a href="https://publications.waset.org/abstracts/173075/loud-silence-a-situation-analysis-of-youth-living-with-hearing-impairment-in-uganda" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173075.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">88</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12530</span> Cultural Consciousness in an Art Museum: A Case Study of Museum of Modern and Contemporary Art in Nusantara in Indonesia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pin-Hua%20Chou">Pin-Hua Chou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> MACAN (Museum of Modern and Contemporary Art in Nusantara) is a new private art museum in Jakarta, Indonesia. Facing challenges of rapidly changing social, cultural environments, MACAN is responding by devoting themselves to not only presenting famous international artists but also constructing the context of artists from Indonesia by interdisciplinary education and cultural exchange. This paper discusses the exhibitions, collections and the activities of MACAN. The purpose of this museum is to make people aware of the dialogue between local and international artist, and also Indonesia’s own art history. Yet how they build up the cultural consciousness for their audience inside and outside Indonesia? What strategy or method do they adapt to enhance general understanding of their own history and the relation between Indonesia and the world through their exhibition? MACAN has tried to convey their mission by every action they took since its opening (2017). The discussion begins with the premise that the initiative of MACAN offers us a new vision to better understand how a modern and contemporary art museum can make an effort to connect art with cultural identity and stimulate the awareness of recognition in Indonesia. This paper will adopt a case study, curator interview, and document analysis. Last but not least, the paper seeks to contribute towards the narrative of its first exhibition Art Turns, World Turns, Exploring the collection of the MACAN, as well as the possibility of raising audience’s cultural consciousness by a variety of public programs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art%20museum" title="contemporary art museum">contemporary art museum</a>, <a href="https://publications.waset.org/abstracts/search?q=challenges%20for%20art%20museum%20curators%20today" title=" challenges for art museum curators today"> challenges for art museum curators today</a>, <a href="https://publications.waset.org/abstracts/search?q=culture%20heritage" title=" culture heritage"> culture heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20collections%20and%20exhibitions" title=" museum collections and exhibitions"> museum collections and exhibitions</a> </p> <a href="https://publications.waset.org/abstracts/95615/cultural-consciousness-in-an-art-museum-a-case-study-of-museum-of-modern-and-contemporary-art-in-nusantara-in-indonesia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/95615.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">198</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12529</span> Research on Ecological Space Improvement Strategy from the Perspective of Urban Double Reform</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sisi%20Xia">Sisi Xia</a>, <a href="https://publications.waset.org/abstracts/search?q=Dezhuan%20Tao"> Dezhuan Tao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Urban Double Reform is an effective means to improve the quality of ecological space, based on improving the living environment and urban functions and promoting the organic integration of the city and nature. This paper takes the design of Qinyang Wetland Park in Jiaozuo, Henan Province, as an example, attempting to closely link the ecological restoration of wetland with the urban culture and to extend the urban spirit of the ancient county of Qinyang while purifying the ecological water system. This design uses ecological technology to repair underwater forests and underwater turf, rapidly improving the quality of urban water without biological side effects. The ecological grass slope is used to create multiple bank forms, combining with a number of hydrophilic platforms to provide a good view of the public. Through the placement of ecological education bases, urban cultural exhibition halls, and other means, the cultural value of wetland parks will be enhanced, and the citizens will return to nature and experience the ecology and appreciate the charm of urban culture in the ecological space. Repair the ecosystem, sculpt the urban culture, let the public return to nature, experience the ecology, and experience the charm of urban culture in the ecological space. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=urban%20double%20reform" title="urban double reform">urban double reform</a>, <a href="https://publications.waset.org/abstracts/search?q=ecological%20space" title=" ecological space"> ecological space</a>, <a href="https://publications.waset.org/abstracts/search?q=improvement%20strategy" title=" improvement strategy"> improvement strategy</a>, <a href="https://publications.waset.org/abstracts/search?q=wetland%20park%20design" title=" wetland park design"> wetland park design</a> </p> <a href="https://publications.waset.org/abstracts/140912/research-on-ecological-space-improvement-strategy-from-the-perspective-of-urban-double-reform" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/140912.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">238</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12528</span> The Porsche Pavilion in Wolfsburg, Germany</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H.%20Pasternak">H. Pasternak</a>, <a href="https://publications.waset.org/abstracts/search?q=T.%20Krausche"> T. Krausche</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Porsche Pavilion is an innovative stainless steel construction using the principle, often used in ship and car design, as an advantage for building a light but stiff structure. The Pavilion is a one of a kind and outstanding construction that you can find. It fits right in the existing parts of the Autostadt within the lagoon landscape and was built in only eight months. With its curving lines and exiting bends the structure is an extraordinary work which was designed by Henn architects, Munich. The monocoque has a good balance between material and support structure. The stiffness is achieved by the upper and lower side sheathing plates and the intermediate formers. Also the roof shell has no joints and a smooth surface. The assembling of the structure requires a large time and effort cost due to many welds which are necessary to connect all section to one large shell. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=construction%20welding" title="construction welding">construction welding</a>, <a href="https://publications.waset.org/abstracts/search?q=exhibition%20building" title=" exhibition building"> exhibition building</a>, <a href="https://publications.waset.org/abstracts/search?q=light%20steel%20construction" title=" light steel construction"> light steel construction</a>, <a href="https://publications.waset.org/abstracts/search?q=monocoque" title=" monocoque"> monocoque</a> </p> <a href="https://publications.waset.org/abstracts/2818/the-porsche-pavilion-in-wolfsburg-germany" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/2818.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">523</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12527</span> String as a Design Element: The Work of Students for International Architecture Biennale, Antalya and Lohberg Coal Mine, Germany</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ay%C5%9Fe%20Duygu%20Ka%C3%A7ar">Ayşe Duygu Kaçar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Industrial regions and buildings that have stopped their primary functions are in the interest of the discipline of architecture in the last decades. The renewal of these spaces of production for different functions is a common aspect for contemporary world countries. Totally different functions can be added to the existing as well, which can help improving the social, cultural and aesthetic character of these beings and sustaining their uniqueness. Therefore, these sites linking the past and future can be used as museums, exhibition centers, art ateliers, city parks, recreational centers, botanic gardens, sculpture parks, theatres, etc. in order to continue their place in the collective memory of the cities. The present paper depicts a way of shedding light on the Cotton Textile Industry (İplik ve Dokuma Fabrikası A.Ş), a local industrial site in Antalya, the most popular tourism center of Turkey, as a part of International Architecture Biennale, 2011 and on Lohberg coal mine, a local industrial site in the Ruhr region of Germany. As a transparent, fragile, temporary and economical material, the string was used as a design element in both experiential architecture works with architecture students and the outcomes will be discussed and presented through the theme 'rejecting / reversing architecture'. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=industrial%20sites" title="industrial sites">industrial sites</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20Cotton%20Textile%20Industry%20Antalya" title=" the Cotton Textile Industry Antalya"> the Cotton Textile Industry Antalya</a>, <a href="https://publications.waset.org/abstracts/search?q=Lohberg%20coal%20mine" title=" Lohberg coal mine"> Lohberg coal mine</a>, <a href="https://publications.waset.org/abstracts/search?q=architectural%20design" title=" architectural design"> architectural design</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a> </p> <a href="https://publications.waset.org/abstracts/70311/string-as-a-design-element-the-work-of-students-for-international-architecture-biennale-antalya-and-lohberg-coal-mine-germany" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/70311.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">309</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12526</span> The Home as Memory Palace: Three Case Studies of Artistic Representations of the Relationship between Individual and Collective Memory and the Home</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laura%20M.%20F.%20Bertens">Laura M. F. Bertens</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The houses we inhabit are important containers of memory. As homes, they take on meaning for those who live inside, and memories of family life become intimately tied up with rooms, windows, and gardens. Each new family creates a new layer of meaning, resulting in a palimpsest of family memory. These houses function quite literally as memory palaces, as a walk through a childhood home will show; each room conjures up images of past events. Over time, these personal memories become woven together with the cultural memory of countries and generations. The importance of the home is a central theme in art, and several contemporary artists have a special interest in the relationship between memory and the home. This paper analyses three case studies in order to get a deeper understanding of the ways in which the home functions and feels like a memory palace, both on an individual and on a collective, cultural level. Close reading of the artworks is performed on the theoretical intersection between Art History and Cultural Memory Studies. The first case study concerns works from the exhibition Mnemosyne by the artist duo Anne and Patrick Poirier. These works combine interests in architecture, archaeology, and psychology. Models of cities and fantastical architectural designs resemble physical structures (such as the brain), architectural metaphors used in representing the concept of memory (such as the memory palace), and archaeological remains, essential to our shared cultural memories. Secondly, works by Do Ho Suh will help us understand the relationship between the home and memory on a far more personal level; outlines of rooms from his former homes, made of colourful, transparent fabric and combined into new structures, provide an insight into the way these spaces retain individual memories. The spaces have been emptied out, and only the husks remain. Although the remnants of walls, light switches, doors, electricity outlets, etc. are standard, mass-produced elements found in many homes and devoid of inherent meaning, together they remind us of the emotional significance attached to the muscle memory of spaces we once inhabited. The third case study concerns an exhibition in a house put up for sale on the Dutch real estate website Funda. The house was built in 1933 by a Jewish family fleeing from Germany, and the father and son were later deported and killed. The artists Anne van As and CA Wertheim have used the history and memories of the house as a starting point for an exhibition called (T)huis, a combination of the Dutch words for home and house. This case study illustrates the way houses become containers of memories; each new family ‘resets’ the meaning of a house, but traces of earlier memories remain. The exhibition allows us to explore the transition of individual memories into shared cultural memory, in this case of WWII. Taken together, the analyses provide a deeper understanding of different facets of the relationship between the home and memory, both individual and collective, and the ways in which art can represent these. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anne%20and%20Patrick%20Poirier" title="Anne and Patrick Poirier">Anne and Patrick Poirier</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20memory" title=" cultural memory"> cultural memory</a>, <a href="https://publications.waset.org/abstracts/search?q=Do%20Ho%20Suh" title=" Do Ho Suh"> Do Ho Suh</a>, <a href="https://publications.waset.org/abstracts/search?q=home" title=" home"> home</a>, <a href="https://publications.waset.org/abstracts/search?q=memory%20palace" title=" memory palace"> memory palace</a> </p> <a href="https://publications.waset.org/abstracts/121241/the-home-as-memory-palace-three-case-studies-of-artistic-representations-of-the-relationship-between-individual-and-collective-memory-and-the-home" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/121241.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">159</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12525</span> World’s Fair (EXPO) Induced Heritage</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=I%C5%9F%C4%B1lay%20Tiarnagh%20Sheridan">Işılay Tiarnagh Sheridan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> World EXPO, short version for the “exposition”, is a large universal public exhibition held since 1851. Within the 164 years, it was organized 34 times in 22 cities and as a result it has given birth to its very own culture unlike most of other international events. It has an outstanding power in transforming the places, in which it is held, into trademarks via changes in their urban tissues. For that, it is widely remembered with its cities instead of its countries. Within the scope of this change, some constructions were planned to be temporary, some planned to be permanent and some were thought to be temporary but kept afterwards becoming important monuments such as the Crystal Palace of London (though it was destroyed later by a fire) and the Eiffel Tower of Paris. These examples are the most prominent names upon considering World EXPOs. Yet, there are so many other legacies of these events within modern city fabric today that we don’t usually associate with its Expo history. Some of them are leading figures not only for the housing city but for other cities also, such as the first Metro line of Paris during 1900 World EXPO; some of them are listed as monuments of the cities such as Saint Louis Art Museum of 1904 World EXPO; some of them, like Melbourne Royal Exhibition Building of 1880 World’s EXPO, are among UNESCO World Heritage Sites and some of them are the masterpieces of modern architecture such as the famous Barcelona Pavilion, German pavilion of the 1929 World’s EXPO, of Ludwig Mies van der Rohe. Thus, the aim of this paper is to analyze the history of World’s EXPO and its eventual results in the birth of its own cultural heritage. Upon organizing these results, the paper aims to create a brief list of EXPO heritage monuments and sites so as to form a database for their further conservation needs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=expo" title="expo">expo</a>, <a href="https://publications.waset.org/abstracts/search?q=heritage" title=" heritage"> heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=world%27s%20fair" title=" world's fair"> world's fair</a>, <a href="https://publications.waset.org/abstracts/search?q=legacy" title=" legacy"> legacy</a> </p> <a href="https://publications.waset.org/abstracts/29762/worlds-fair-expo-induced-heritage" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29762.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">440</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12524</span> Students' Satisfaction towards the Counseling Services of the Faculty of Industrial Technology, Suan Sunandha Rajabhat University</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Weera%20Chotithammaporn">Weera Chotithammaporn</a>, <a href="https://publications.waset.org/abstracts/search?q=Bannasorn%20Santhan"> Bannasorn Santhan </a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this study was to investigate the students’ satisfaction towards the counseling services of the Faculty of Industrial Technology, Suan Sunandha Rajabhat University. The sample group consisted of 311 students coming for counseling services during September to October 2012 BE to complete the questionnaires developed by the researcher. The data were analyzed to find percentage, arithmetic mean, and SD, from which it can be concluded that: 1) Personal information including gender, GPA, department, year of the study, and hometown revealed that most of the students in the Faculty of Industrial Technology, Suan Sunandha Rajabhat University were female with the GPA between 2.01 and 2.50 and studied in the Department of Interior and Exhibition Design and Graphic and Multimedia Design. Most of them were in the first year of the study and came from the southern part of Thailand. 2) The level of students’ satisfaction towards the counseling services of the Faculty of Industrial Technology, Suan Sunandha Rajabhat University was in overall at high level with the highest aspect on IT services followed by follow-up and evaluation service, counseling service, individual personal data collecting service, and personal placement service respectively. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=satisfaction" title="satisfaction">satisfaction</a>, <a href="https://publications.waset.org/abstracts/search?q=students" title=" students"> students</a>, <a href="https://publications.waset.org/abstracts/search?q=counseling%20service" title=" counseling service"> counseling service</a>, <a href="https://publications.waset.org/abstracts/search?q=Faculty%20of%20Industrial%20Technology" title=" Faculty of Industrial Technology"> Faculty of Industrial Technology</a> </p> <a href="https://publications.waset.org/abstracts/11981/students-satisfaction-towards-the-counseling-services-of-the-faculty-of-industrial-technology-suan-sunandha-rajabhat-university" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/11981.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">281</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12523</span> Working With Accessibility in Latvian Contemporary Art: Research, Barriers, and Implementation From a Curator’s and Production Manager’s Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Agnese%20Zviedre">Agnese Zviedre</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In 2010 Latvia ratified the United Nations Convention on the Rights of Persons with Disabilities, which states that the state will recognize the importance of accessibility to the physical, social, and cultural environment. Nevertheless, accessibility of art and culture in Latvia has become a focal point only since 2020. A study on the impact of cultural consumption and participation done by the Latvian Academy of Culture and the research center “SKDS” results show that art and cultural institutions lack knowledge and understanding of needs and required accessibility measures for people with disabilities to participate in cultural and art events. At the same time, even if art institutions want to create accessible events for people with diverse bodies and minds, many barriers exist, such as budget, lack of time, and lack of knowledge. Even though disability is still largely invisible in the public space, due to recent public campaigns and awareness of the need for accessibility, the media and society are starting to speak about disability as a social issue, not a medical one. Thus, this paper focuses on the first-hand experience of implementing different Western accessibility guidelines and working with communities as a production manager for the multidisciplinary exhibition project “Invisible Lives” in Riga and curator of the education program of Riga Photography Biennial’s 2022 Central Event - Exhibition “Screen Age III: Still Life”. Analyzing two events from the Disability studies perspective, this paper focuses on working with existing knowledge and budget to achieve accessibility. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=accessibility" title="accessibility">accessibility</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art" title=" contemporary art"> contemporary art</a>, <a href="https://publications.waset.org/abstracts/search?q=curatorial%20practices" title=" curatorial practices"> curatorial practices</a>, <a href="https://publications.waset.org/abstracts/search?q=disability%20studies" title=" disability studies"> disability studies</a> </p> <a href="https://publications.waset.org/abstracts/157168/working-with-accessibility-in-latvian-contemporary-art-research-barriers-and-implementation-from-a-curators-and-production-managers-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157168.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">100</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=exhibition%20design&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=exhibition%20design&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=exhibition%20design&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=exhibition%20design&page=5">5</a></li> <li class="page-item"><a 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