Museum Making Narratives Architectures Exhibitions 1st Edition Suzanne Macleod
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- 5. Museum Making Narratives Architectures Exhibitions 1st Edition Suzanne Macleod Digital Instant Download Author(s): Suzanne Macleod, Laura Hourston Hanks, Jonathan Hale ISBN(s): 9780415676021, 0415676029 Edition: 1 File Details: PDF, 12.04 MB Year: 2012 Language: english
- 7. MUSEUM MAKING Over recent decades, many museums, galleries and historic sites around the world have enjoyed an unprecedented level of large-scale investment in their capital infrastructure; in building refurbishments and new gallery displays. This period has also seen the creation of countless new purpose-built museums and galleries, suggesting a fundamental re-evaluation of the processes of designing and shaping museums. Museum Making: narratives, architectures, exhibitions examines this re-making by exploring the inherently spatial character of narrative in the museum and its potential to connect on the deepest levels with human perception and imagination. Through this uniting theme, the chapters explore the power of narratives as structured experiences unfolding in space and time, as well as the use of theatre, film and other technologies of storytelling by contemporary museum makers to generate meaningful and, it is argued here, highly effective and affective museum spaces. Contributions by an internationally diverse group of museum and heritage professionals, exhibition designers, architects and artists, with academics from a range of dis- ciplines including museum studies, theatre studies, architecture, design and history, cut across traditional boundaries including the historical and the contemporary and together explore the various roles and functions of narrative as a mechanism for the creation of engaging and meaningful interpretive environments. Suzanne MacLeod is Senior Lecturer in the School of Museum Studies, University of Leicester, UK. Laura Hourston Hanks is Associate Professor in the Department of Architecture and Built Environment, University of Nottingham, UK. Jonathan Hale is an architect and Reader in Architectural Theory at the University of Nottingham, UK.
- 8. Museum Meanings Series Editors Richard Sandell and Christina Kreps Museums have undergone enormous changes in recent decades; an ongoing process of renewal and transformation bringing with it changes in priority, practice and role as well as new expec- tations, philosophies, imperatives and tensions that continue to attract attention from those working in, and drawing upon, wide ranging disciplines. Museum Meanings presents new research that explores diverse aspects of the shifting social, cultural and political significance of museums and their agency beyond, as well as within, the cultural sphere. Interdisciplinary, cross-cultural and international perspectives and empirical investigation are brought to bear on the exploration of museums’ relationships with their various publics (and analysis of the ways in which museums shape – and are shaped by – such interactions). Theoretical perspectives might be drawn from anthropology, cultural studies, art and art history, learning and communication, media studies, architecture and design and material cul- ture studies amongst others. Museums are understood very broadly – to include art galleries, historic sites and other cultural heritage institutions – as are their relationships with diverse constituencies. The focus on the relationship of the museum to its publics shifts the emphasis from objects and collections and the study of museums as text, to studies grounded in the analysis of bodies and sites; identities and communities; ethics, moralities and politics. Forthcoming: Museums, Equality and Social Justice Edited by Richard Sandell and Eithne Nightingale Also in the series: Museums in a Troubled World Renewal, Irrelevance or Collapse? Robert R. Janes Heritage and Identity Engagement and Demission in the Contemporary World Edited by Marta Anico and Elsa Peralta Museums and Community Ideas, Issues and Challenges Elizabeth Crooke
- 9. Recoding the Museum Digital Heritage and the Technologies of Change Ross Parry Rethinking Evolution in the Museum Envisioning African Origins Monique Scott Museums and Education Purpose, Pedagogy, Performance Eilean Hooper-Greenhill Museums Texts Communication Frameworks Louise Ravelli Reshaping Museum Space Architecture, Design, Exhibitions, Edited by Suzanne MacLeod Pasts Beyond Memory Evolution, Museums, Colonialism Tony Bennett Liberating Culture Cross-Cultural Perspectives on Museums, Curation and Heritage Preservation Christina F. Kreps Re-imagining the Museum Beyond the Mausoleum Andrea Witcomb Museums, Society, Inequality Edited by Richard Sandell Museums and the Interpretation of Visual Culture Eilean Hooper-Greenhill Museum, Media, Message Edited by Eilean Hooper-Greenhill Learning in the Museum George Hein Colonialism and the Object Empire, Material Culture and the Museum Edited by Tim Barringer and Tom Flynn
- 10. MUSEUM MAKING Narratives, architectures, exhibitions Edited by Suzanne MacLeod, Laura Hourston Hanks and Jonathan Hale
- 11. First published 2012 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2012 Suzanne MacLeod, Laura Hourston Hanks and Jonathan Hale, selection and editorial matter; individual chapters, the contributors. The right of Suzanne MacLeod, Laura Hourston Hanks and Jonathan Hale to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted, in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Museum making : narratives, architectures, exhibitions / edited by Suzanne MacLeod, Laura Hourston Hanks, and Jonathan Hale.—1st ed. p. cm.—(Museum meanings) Includes bibliographical references and index. 1. Museum architecture.2. Communication in architecture. I. Macleod, Suzanne. II. Hourston Hanks, Laura. III. Hale, Jonathan. IV. Title: Narratives, architectures, exhibitions. NA6690.M8685 2012 727'.6—dc23 2011037793 ISBN: 978–0–415–67602–1 (hbk) ISBN: 978–0–415–67603–8 (pbk) ISBN: 978–0–203–12457–4 (ebk) Typeset in Bembo by Swales & Willis Ltd, Exeter, Devon Printed and bound
- 12. CONTENTS List of illustrations x List of contributors xiii Acknowledgements xviii Introduction: Museum making: the place of narrative xix Laura Hourston Hanks, Jonathan Hale and Suzanne MacLeod PART I Narrative, space, identity 1 Introduction 1 1 Imaginary museums: what mainstream museums can learn from them 5 Rachel Morris 2 Staging exhibitions: atmospheres of imagination 12 Greer Crawley 3 Writing spatial stories: textual narratives in the museum 21 Laura Hourston Hanks 4 Athens, London or Bilbao? Contested narratives of display in the Parthenon galleries of the British Museum 34 Christopher R. Marshall 5 This magical place: the making of Yorkshire Sculpture Park and the politics of landscape, art and narrative 48 Suzanne MacLeod
- 13. 6 Narrative space: three post-apartheid museums reconsidered 63 Nic Coetzer 7 The museum as narrative witness: heritage performance and the production of narrative space 74 Jenny Kidd 8 Beyond narrative: designing epiphanies 83 Lee H. Skolnick 9 Place, time and memory 95 Stephen Greenberg PART II Narrative, perception, embodiment 105 Introduction 105 10 Scales of narrativity 107 Tricia Austin 11 City as museum, museum as city: mediating the everyday and special narratives of life 119 Dorian Wiszniewski 12 Narrative transformations and the architectural artefact 132 Stephen Alexander Wischer 13 Architecture for the nation’s memory: history, art, and the halls of Norway’s national gallery 144 Mattias Ekman 14 Arsenic, wells and herring curing: making new meanings in an old fish factory 157 Sheila Watson, Rachel Kirk and James Steward 15 Accessing Estonian memories: building narratives through game form 168 Candice Hiu-Lam Lau 16 Narrative landscapes 179 James Furse-Roberts 17 Narrative environments and the paradigm of embodiment 192 Jonathan Hale viii Contents
- 14. PART III Narrative, media, mediation 201 Introduction 201 18 Narrative space: The Book of Lies 203 Paola Zellner 19 Productive exhibitions: looking backwards to go forward 213 Florian Kossak 20 Incomplete stories 223 Annabel Fraser and Hannah Coulson 21 In the museum’s ruins: staging the passage of time 234 Michaela Giebelhausen 22 Meaningful encounters with disrupted narratives: artists’ interventions as interpretive strategies 247 Claire Robins and Miranda Baxter 23 Where do you want the label? The roles and possibilities of exhibition graphics 257 Jona Piehl and Suzanne MacLeod 24 The narrative of technology: understanding the effect of New Media artwork in the museum 267 Peter Ride 25 The thick present: architecture, narration and film 277 Samantha L. Martin-McAuliffe and Nathalie Weadick 26 A narrative journey: creating storytelling environments with architecture and digital media 288 Tom Duncan and Noel McCauley Select bibliography 298 Index 305 Contents ix
- 15. ILLUSTRATIONS Figures 2.1 Space and Light, Edward Gordon Craig Exhibition, V&A 17 2.2 Atalanta, Ashmolean Museum 19 3.1 Large-scale glass relief replica of the damaged Treaty of Waitangi, Museum of New Zealand Te Papa Tongarewa 25 4.1 British Museum, Elgin Gallery, London, 1923 35 4.2 Edgar John Forsdyke, sketch-plan of a screened room for the sculpture of the Parthenon, late 1929 38 4.3 Richard Allison, proposal for new Parthenon Sculpture gallery, May 1929 39 4.4 John Russell Pope, proposal for new Parthenon Sculpture gallery, early 1930s 40 4.5 Acropolis Museum, Parthenon Sculpture Galleries, Athens 41 4.6 Acropolis Museum, Parthenon Sculpture Galleries, Athens. View of the Parthenon 43 5.1 Map of Yorkshire Sculpture Park 50 5.2 View of Bretton Hall 51 5.3 Visitor centre, Yorkshire Sculpture Park 58 6.1 District Six Museum, Cape Town, South Africa 65 6.2 The Apartheid Museum, Soweto, Johannesberg, South Africa 67 6.3 Interior of Red Location Museum of Struggle, Port Elizabeth, South Africa 69 6.4 Exterior of Red Location Museum of Struggle, Port Elizabeth, South Africa 71 8.1 The Walt Disney Concert Hall, Los Angeles, California 89 8.2 The Villa Savoye, Poissy, France 90 9.1 Types and uses of museum buildings 99 10.1 Axis of narrativity 111 10.2 Narrativity bi-axial quadrant 113 10.3 The narrative process in context 116 10.4 Der Ruine der Kuenste, Berlin 117 11.1 The Medici Bank Museum, Florence: allegorical model 121
- 16. 11.2 The Medici Bank Museum, Florence: building model 122 11.3 Gabinetto Vieusseux, Florence: allegorical model 123 11.4 Gabinetto Vieusseux, Florence: view of proposed library 123 12.1 Twin House artefact (first evolution) 138 12.2 Twin House artefact (second evolution) 138 12.3 The Twin House for Hans and Grace 139 12.4 Tea Vessel for Teahouse 140 13.1 Front façade of the National Gallery, Oslo 144 13.2 Langaard Hall, National Gallery, Oslo 147 13.3 A group of tourists in front of Edvard Munch’s Madonna 151 13.4 The hall of nineteenth-century Norwegian landscape painting, National Gallery, Oslo 153 14.1 Site before restoration, Tower Curing Works, Great Yarmouth 160 14.2 Gallery interior, Tower Curing Works, Great Yarmouth 161 15.1 Estonian playing cards 171 15.2 Estonian Exhibition Experience, Powerhouse Museum, Sydney, Australia 172 15.3 Wireframe diagram of installation Estonian Exhibition Experience 173 15.4 Estonian Exhibition Experience, Powerhouse Museum, Sydney, Australia 174 16.1 Freytag’s analysis of Shakespearean and Greek dramas 183 16.2 Hill’s analysis of drama in modern film 184 16.3 Route of Mam Tor seven-mile circular walk in the Peak District, England 185 16.4 Sectional view of route of the Mam Tor walk, Peak District, England 187 16.5 Illustrations of the view at seven points along the Mam Tor walk, Peak District, England 188 18.1 Eugenia Butler in The Book of Lies 208 18.2 Book Constellation 3 209 18.3 The Lantern 210 18.4 The Book of Lies 211 21.1 The Egyptian Courtyard, Neues Museum, Berlin 238 21.2 Glass beads displayed in the Neues Museum, Berlin 240 21.3 The Greek Courtyard, Neues Museum, Berlin 241 21.4 The Fragmentarium, Neues Museum, Berlin 242 22.1 Mining the Museum, No. 10: Metalwork 251 23.1 A matrix which plots the graphic roles of four exhibitions 260 24.1 David Rokeby, n-Cha(n)t (2001) 269 24.2 Mark Hansen and Ben Rubin, Listening Post (2003) 272 24.3 Jason Cleverly, The Interactive Dictionary (2009) 273 25.1 The Lives of Spaces, dePaor Architects (2008) 283 25.2 The Lives of Spaces, Hassett Ducatez Architects (2008) 285 26.1 Zehdenick Brickworks, circular kiln and new entrance element 290 Colour plates Plates can be found between pp. 104–105 and 200–201. Plate 2.1 In Praise of Shadows, V&A Plate 2.2 Casson Mann, Museolobby, Moscow Illustrations xi
- 17. Plate 3.1 Drawers of a ‘Timestack’, Imperial War Museum North Plate 3.2 Holocaust Exhibition, Imperial War Museum, London Plate 4.1 Parthenon Sculpture Galleries, British Museum, London Plate 5.1 Henry Moore in the Country Park Plate 5.2 Underground Gallery, Yorkshire Sculpture Park Plate 8.1 The Rose Center for Earth and Space, New York Plate 8.2 Westminster Cathedral, London Plate 9.1 The First Emperor: China’s Terracotta Army, the British Museum, 2007–2008 Plate 9.2 El Presidio Chapel, render Plate 9.3 Story Masterplan for the Sur-i Sultani, Istanbul Plate 10.1 The Eric Morecambe memorial area Plate 12.1 Tea cup for teahouse design, by Dani Pauley Plate 12.2 Stretching bar for dance studio, by Peder Lysne Plate 14.1 Reconstruction of the Tower Curing Works, Great Yarmouth, in the 1950s Plate 14.2 Burnt out curing houses, Tower Curing Works, Great Yarmouth Plate 15.1 Memories Passed, Kiek in de Kök Museum, Tallinn, Estonia Plate 16.1 Stepping stones, Heian Shrine, Kyoto, Japan Plate 16.2 View of the Temple of Ancient Virtue, Stowe Landscape Gardens, Buckinghamshire, England Plate 20.1 A plaque in George Watts’ Memorial of Heroic Self-Sacrifice in Postman’s Park, London Plate 20.2 A plaque in George Watts’ Memorial of Heroic Self-Sacrifice in Postman’s Park, London Plate 22.1 Exhibition image from Fred Wilson: The Museum: Mixed Metaphors (1993) Plate 22.2 Maryland Historical Society, Furniture in Maryland Life exhibition (2007) Plate 22.3 Detail, Yinka Shonibare, MBE, Colonel Tarleton and Mrs Oswald Shooting (2007) Plate 22.4 Detail, Yinka Shonibare, MBE, Colonel Tarleton and Mrs Oswald Shooting (2007) Plate 22.5 Sophie Calle from The Appointment (1999) Plate 23.1 The Golden Age of Couture, V&A (2007) Plate 23.2 Ice Station Antarctica, Natural History Museum, London (2007) Plate 23.3 The British Music Experience, London (2009) Plate 23.4 Medical Futures at Miraikan (2006) Plate 25.1 The Lives of Spaces, Dara McGrath (2008) Plate 25.2 The Lives of Spaces, Simon Walker and Patrick Lynch (2008) Plate 26.1 Still from the film Plansoll Plate 26.2 Zehdenick Brickworks, ‘Talking Heads’ installation Plate 26.3 Zehdenick Brickworks, ‘The Trolley Shift’ Plate 26.4 Zehdenick Brickworks, circular kiln Table 16.1 Key points of Mam Tor seven-mile circular walk in the Peak District, England 186 xii Illustrations
- 18. CONTRIBUTORS Tricia Austin is a Design Researcher and the Course Leader of MA Creative Practice for Nar- rative Environments at Central Saint Martins College of Art & Design, University of the Arts, London. Tricia is co-author of New Media Design (Laurence King, 2006). She has lectured in Europe and Asia and led a number of collaborative narrative environments projects with universities and governmental organisations across the world. Miranda Baxter is a museum and gallery educator, currently responsible for family and access provision at The National Gallery, London, where she is exploring alternative ways intergen- erational audiences can engage with the collection. In 2009, she earned an MA in Museums and Galleries in Education from the Institute of Education, University of London. She contin- ues to develop her thinking about the intersections of art, interpretation and experience. Nic Coetzer is a Senior Lecturer at the University of Cape Town where he teaches design and the history and theory of architecture. He completed his PhD at the Bartlett in London in 2004. Nic’s interest in space, identity and power was defined through his thesis ‘The Produc- tion of the City as a White Space: Representing and Restructuring Identity and Architecture, Cape Town, 1892–1936’. Hannah Coulson studied Illustration at Glasgow School of Art. After graduating she worked for the Drawing Center in New York and the Campaign for Drawing in London. She com- pleted an MA in Communication Art and Design at the Royal College of Art where her dissertation, The Celestial Emporium of Benevolent Knowledge: How the Imagination Inhabits the Museum was awarded a distinction. In addition to her freelance work as a curator and illustra- tor, Hannah leads education projects for ReachOutRCA. Greer Crawley is Senior Lecturer in Spatial Design at Buckinghamshire New University and a visiting lecturer, MA Scenography, Central School of Speech and Drama. A practising designer and researcher, she received a Masters in Scenography from The University of the Arts, Zurich and a DPhil from the Institute for Theatre, Film and Media Studies, University
- 19. xiv Contributors of Vienna. She is editor of Transformation & Revelation: UK design for performance 2007–2011 (SBTD, 2011). Tom Duncan is a founding member of Duncan McCauley (2003); a studio for architecture and exhibition design in Berlin. His career encompasses working as an architect on regenera- tive urban and industrial projects in Germany and also as an art director in the film studios, Studio Babelsberg. Experienced in film and scenography, he specializes in combining archi- tecture and digital media to create narrative environments. Mattias Ekman is an architect and doctoral research fellow at the Oslo School of Architecture and Design. His PhD project investigates the significance of the built environment for societal memory practice. This interdisciplinary study provides a critical reading of Maurice Halbwa- chs’ spatial framework, a sub-concept of the collective memory, by drawing on contemporary memory studies in the humanities as well as in the social and natural sciences. Annabel Fraser studied Architecture at Cambridge University, specializing in exhibition design after completing her diploma. Before setting up her own business in 2008, she worked for Casson Mann in London, Imrey Culbert in New York and Bodin et Associés in Paris. To complement her work in exhibition design and narrative construction, she completed an MA in Communication Art and Design at the Royal College of Art (2006–08). James Furse-Roberts is the founding Director of FRLA Ltd, a design practice that specializes in providing interpretation, master-planning and landscape design services to natural heritage organisations, such as botanic gardens, zoos, nature reserves and public parks. He has worked on projects in a number of countries. In 2010 his design for a sustainable education pavilion, which embodied the water-cycle within its form, won the Dyson Design Competition. Michaela Giebelhausen is Senior Lecturer and Co-director of the Centre for Curatorial Studies at the University of Essex. She has published widely on the history of museum archi- tecture and edited The Architecture of the Museum: symbolic structures, urban contexts (Manchester University Press, 2003). She is currently preparing a volume on the museum for Reaktion’s Objekt series. Stephen Greenberg is the founding Director of Metaphor, a company specializing in museum design and masterplanning. Stephen has overseen the making of major exhibitions at the British Museum, the V&A and Guggenheim Bilbao; the masterplans of the historic peninsula in Istanbul and the Grand Egyptian Museum in Cairo; as well as major redesigns such as the Ashmolean Museum, Oxford. Trained as an architect, he is also a writer and teacher. Jonathan Hale is an architect and Reader in Architectural Theory at the University of Not- tingham. He is the author of Building Ideas: an introduction to architectural theory (Wiley, 2000); Merleau-Ponty for Architects (forthcoming, Routledge, 2012) and co-editor of Rethinking Tech- nology: a reader in architectural theory (Routledge, 2007). He has also worked on a series of col- laborative practice-led projects with the Mixed Reality Lab employing digital technologies in exhibitions.
- 20. Contributors xv Laura Hourston Hanks is Associate Professor in the Department of Architecture and Built Environment at the University of Nottingham, where she leads the Masters in Theory and Design, and Year 5 of the Diploma in Architecture. Her research interests include contem- porary museum design and the architectural expression of identities, and notable among her publications are Museum Builders II (John Wiley and Sons, 2004), and contributions to Archi- tectural Design and ARQ. Jenny Kidd is Lecturer in Cultural Policy at City University London. Jenny publishes across the fields of media, museum, memory and performance studies, and is editor of Performing Heritage (with Anthony Jackson). The research recounted in this volume was carried out as part of the AHRC-funded Performance, Learning and Heritage project based at the Univer- sity of Manchester (www.manchester.ac.uk/plh). Rachel Kirk joined Norwich Museums in 2006. As Museums Manager she is responsible for Norfolk Museums and Archaeology Service’s flagship museum, Norwich Castle, together with Strangers’ Hall, The Bridewell Museum, The Royal Norfolk Regimental Museum and the reserve and study collections services. Previously she worked in Great Yarmouth in a number of roles including Project Manager for the Time and Tide Museum. Florian Kossak is a Lecturer at the University of Sheffield, School of Architecture, where he directs the MA in Urban Design programme and lectures in urban history and theory. He has previously taught in Munich and Glasgow and practised with a focus on exhibition curating and design. He was a founder member of the workers’ cooperative G.L.A.S. Publications include several authored and co-edited books and exhibition catalogues. Candice Hiu-Lam Lau is currently a designer at the digital/interactive company The Rumpus Room in London. She holds a Masters in Design by Research from the University of Tech- nology, Sydney, Australia, where she explored the representation of cultural narratives and collective memory within museum spaces and ways to transmit knowledge through immer- sive experiences. Her work is influenced by her interest in illustrations and storytelling. Suzanne MacLeod is Senior Lecturer in Museum Studies at the University of Leicester. She is editor of Reshaping Museum Space: architecture, design, exhibitions (Routledge, 2005) and, with Knell and Watson, of Museum Revolutions (Routledge, 2007) and is currently completing a monograph on museum architecture. She is Managing Editor of the online journal Museum and Society. Christopher R. Marshall is Senior Lecturer in Art History and Museum Studies at the Uni- versity of Melbourne. His publications include Sculpture and the Museum (Ashgate, 2011) and chapters for Reshaping Museum Space and Rethinking Art History (Routledge, 2005 and 2007). His publications on Baroque art include chapters in Painting for Profit (Yale, 2010), Mapping Markets (Brepols, 2006); and The Art Market in Italy (Pannini, 2002). Samantha L. Martin-McAuliffe is an architectural historian who lectures on the History and Theory of Architecture. Her primary research interests include the topography of ancient cit- ies, as well as the intersections of architecture and food. At present she is completing a book on
- 21. xvi Contributors the idea of commonality in Classical Athens. She obtained a PhD and MPhil from Cambridge, and a double BA from Smith College. Noel McCauley worked extensively in the area of museum design on projects such as the Jew- ish Museum Berlin for Studio Daniel Libeskind before co-founding the Duncan McCauley studio in 2003. Duncan McCauley explores the narrative potential of combined architectural and audiovisual environments to communicate cultural heritage. Noelcomplements studio practice with lecturing at universities such as UDK Berlin, NYU, and Central Saint Martin’s, London. Rachel Morris is a Director of Metaphor, a company that creates museums and visitor experi- ences in historic houses, palaces, forts, gardens and landscapes worldwide. Metaphor is known for its thoughtful approach to museum making, blending together story and design. Metaphor is currently working on the Grand Egyptian Museum beside the pyramids at Giza. Before joining Metaphor Rachel was a journalist, an archaeologist and a published novelist. Jona Piehl studied Illustration and Communication Design, and works as an independent consultant, writer and lecturer. Having led the graphic design team at the exhibition design consultancy Land Design Studio for five years, she is now investigating the role of graphic design and visual storytelling in exhibitions at Central Saint Martins College of Art and Design, London. Peter Ride is Principal Research Fellow at The University of Westminster, London, and the course leader for the MA in Museums, Galleries and Contemporary Culture. He was one of the first curators in the UK to produce Internet artworks and his research is around digital media and interdisciplinary arts projects. He co-authored, with Andrew Dewdney, The New Media Handbook (Routledge, 2006). Claire Robins is a lecturer at the Institute of Education, University of London. She is cur- rently completing a monograph which examines the ways in which galleries and museums have deployed ‘artists’ interventions’ to reinterpret and critique collections. She is particularly interested in artists whose work might be defined as ‘parafictional’ and who intervene in edu- cational contexts in powerful, ludic and disruptive ways. Lee H. Skolnick is founding Principal and Lead Designer of Lee H. Skolnick Architecture + Design Partnership, an internationally renowned firm that integrates architecture, exhibi- tion design and education. In addition to bringing his philosophy-based interpretive design and planning services to a broad range of cultural, institutional, corporate and private clients, Lee writes and teaches extensively and is co-author of the book, What is Exhibition Design? (RotoVision, 2007). James Steward was formerly Project Curator for the Tower Curing Works, renamed Time and Tide, as featured in this book. He is now Eastern Area Manager for Norfolk Museums and Archaeology Service. Sheila Watson joined the School of Museum Studies at the University of Leicester in 2003. Before this, she worked in Great Yarmouth Museums Service for fourteen years, first as
- 22. Contributors xvii Education Officer and then as Area Museums Officer, managing three museums and an art gallery for a local authority. Her main research interests relate to how and why different groups of people understand and interpret the past. Nathalie Weadick is Director of the Irish Architecture Foundation, an organisation commit- ted to communicating architecture to the public. She was Commissioner for Ireland at the 11th and 12th Architecture Biennales in Venice. Between 2004 and 2007 she was Deputy Director at The Architecture Foundation, London. Formerly she was Director of the Butler Gallery in Kilkenny, where she curated international exhibitions. She writes and lectures on art and architecture. Stephen Alexander Wischer is an Assistant Professor of Architecture at North Dakota State University where his teaching and research emphasizes embodied knowledge as central to both artistic and architectural orientation. He completed both an MFA and MArch in lockstep at the University of Calgary in 2004. His current PhD research at McGill University in Mon- treal, Quebec, explores the hermeneutic reading of artistic creation in relation to architectural praxis. Dorian Wiszniewski graduated through the Mackintosh School, Glasgow, becoming a regis- tered architect in 1986. He worked in London from 1985 to 1993. He joined the University of Edinburgh in 1995 where currently he directs the PhD by Design. In 1996 he co-founded Wiszniewski Thomson Architects, winning the Royal Scottish Academy Medal for Architec- ture in 2006. He promotes design-led research intersecting philosophy and architecture. His work has been published widely internationally. Paola Zellner studied Architecture at the Universidad de Buenos Aires and at SCI-Arc in Los Angeles. She has practised with Norman Millar Architects, and co-founded Zellner+Bassett. She taught at Woodbury University, the University of Michigan and is currently an Assistant Professor of Architecture at Virginia Tech, where she initiated the Textile Lab dedicated to explorations of form and space through weaving and textile constructs.
- 23. ACKNOWLEDGEMENTS Early versions of the chapters included in this book were presented at Narrative Space, an inter- national conference co-organized by the Department of Architecture and Built Environment, University of Nottingham and the School of Museum Studies at the University of Leicester in 2010. The conference and the book would not have been possible without the support of the University of Leicester, the University of Nottingham, Haley Sharpe Design and Click- Netherfield. The project also benefited from the generous support of Nottingham Contem- porary, Leach Colour Ltd, DJW Ltd and Patton Heritage. At the University of Leicester, Barbara Lloyd, Jim Roberts and Bob Ahluwalia provided invaluable administrative and tech- nical assistance. We are incredibly grateful to all the contributors for their work in writing chapters for the book as well as the wider group of speakers at Narrative Space who made significant contributions to its intellectual framing. As an event in April 2010, Narrative Space was rudely and unexpectedly interrupted by the eruption of a volcano at Eyjafjallajökull in Iceland and we are particularly grateful to all those speakers and delegates whose plans were disrupted but who maintained such good humour throughout. One of those affected was film maker Peter Greenaway who was due to fly in from Amsterdam. He was finally able to deliver his keynote lecture 12 months later in London. We are very grateful to the V&A and particularly to Jo Banham, Head of Adult Learning, for hosting this event. We would like to thank Routledge for their confidence in our project. In particular Matt Gibbons and Amy Davis-Poynter have provided helpful and precise advice and we have benefited greatly from the ongoing encouragement of the Museum Meanings series editor Richard Sandell. Finally, a personal thank you to Martyn Hale for expert assistance with proof reading and to Lee, Frances, Phil, Isla and Jocelyn for all their love and support.
- 24. INTRODUCTION: MUSEUM MAKING The place of narrative Laura Hourston Hanks, Jonathan Hale and Suzanne MacLeod Scene Museum making in the twenty-first century is challenging, creative, complex and, ultimately, collaborative. Operating across different scales of activity from the level of the object to the level of the building, city or landscape, museum making also cuts across a range of professional practices from curation to design and from architecture to theatre and film. In the twenty-first century, the reality of museum design is multidisciplinary, multifaceted and as complex as the variety of exhibitions and interpretive approaches we see across the contemporary museum landscape. The context for the recent reformulation of museum design is of course partly economic. Recent decades have seen many museums, galleries and historic sites around the world enjoy large-scale investment in their capital infrastructure; in building refurbishments and new gal- lery displays. The period has also witnessed the creation of a series of new purpose-built museums and galleries. This massive investment has received significant media coverage, including the often sensational reporting of occasional high-profile failures. It has, however, overwhelmingly been a period of much-needed and often very successfully utilized invest- ment which has changed the face of culture, drastically improving the standards of museum and gallery facilities, the quality and variety of displays and media employed in museums and, in very successful cases, driving positive organizational change. It has also, then, been a period of fundamental reinvention in the design and shaping of museums. Fascinating examples of ‘the new museum making’ include high-profile and highly communicative buildings, evocative landscapes, sophisticated and emotive exhibitions and, sometimes, small and quirkily interpretive interventions within existing museum and gallery spaces. What unites many of these approaches is the attempt to create what might be called ‘narrative environments’; experiences which integrate objects and spaces – and stories of peo- ple and places – as part of a process of storytelling that speaks of the experience of the everyday and our sense of self, as well as the special and the unique. Driven by the availability of signifi- cant funding, but also by advances in digital technologies and a shared awareness of the role of museum maker as storyteller, the field of museum design has become a varied, media-rich
- 25. xx Introduction and highly interpretive landscape. Most would agree that above all, this period of investment and expansion has had a significant impact on the ability of many museums and galleries to offer up consistently engaging, meaningful and memorable experiences to a broader range of visitors. In the current economic climate, cultural institutions are thinking more cautiously about smaller-scale, less capital-intensive and increasingly sustainable solutions to the mainte- nance, production and regeneration of museum space. Similarly, as many museums anticipate cuts in their provision of learning and education services, the interpretive effectiveness of their displays take on added significance. It therefore seems especially relevant to ask what we have learned from this recent process of re-making and re-telling. Dialogue This volume has emerged from a vital conversation over a number of years between museum and heritage professionals, exhibition designers, architects and artists, with academics from a range of disciplines, including museum studies, film studies, theatre studies, architecture, design, animation and history. Initially sparked by the international conference Creative Space held at the University of Leicester’s School of Museum Studies in 2004 and the book that followed,1 the shared exploration of theories and practices of exhibition and experience mak- ing continued with, The Museum: Meanings + Mediation; a professional network and seminar series hosted by the University of Nottingham’s School of the Built Environment between 2007 and 2008. The culmination of the network’s activity came in 2010 with Narrative Space; an international interdisciplinary conference jointly hosted by the Universities of Leicester and Nottingham and from which the chapters in Museum Making are distilled. Through this extended dialogue the theme of narrative emerged as the strongest of a number of shared preoccupations – a potential ‘common language’ linking the interests of researchers and prac- titioners in both architecture and museum studies with the realities of museum experience. Evident within the chapters that follow, then, is a collective ethos, the result of a larger organic but framed discourse. This said, as with all edited collections, the presence of multiple voices provides animation and even divergent viewpoints. Nowadays the term ‘narrative’ appears ubiquitous, having been appropriated into diverse spheres from politics to the media, and often tarnished by its associations with the ‘spin’ of grandiose conceptions and post-rationalized excuses; tall stories and cover stories. In muse- ums, narrative has come to be associated, negatively, with ‘top-down’, macro histories; linear interpretive frameworks which present a dominant version of history, silencing the experiences and values of others in the process. However, in the context of contemporary museum making, we propose to reclaim the term narrative as it appears to offer a way forward. Museum space and its production are traditionally compartmentalized: disciplinary boundaries between curators, graphic designers, script writers, architects and developers, for example, are entrenched, and perpetuated by professional and institutional amnesia. These discrete profes- sions of course derive from the inherently different ‘stuff’ of which the museum is composed: artefacts; textual, visual and audio interpretation; digital media; and architecture. Within this spectrum of material and activity, the largest disconnect – between the worlds of museums and architecture – requires a strong linking dialogue, and narrative may enable this. As a broad currency, narrative can facilitate the collaboration of professionals and the integration of media, and could therefore play an important part in the creation of powerful and embodied museum experiences.
- 26. Other documents randomly have different content
- 28. PEASANTS OF THE PROVINCE SEGOVIA
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- 31. PEASANTS OF THE PROVINCE SEGOVIA
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- 34. PEASANTS OF THE PROVINCE SEGOVIA
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- 37. PEASANTS OF THE PROVINCE SEGOVIA
- 38. Plate 166 VIEW OF ZAMORA
- 39. Plate 167 VIEW OF ZAMORA
- 40. Plate 168 WALLS AND POSTERN GATE WITH THE HOUSE OF DOÑA URRACA ZAMORA
- 41. Plate 169 STONE BRIDGE OVER THE DUERO ZAMORA
- 42. Plate 170 BRIDGE OVER THE DUERO ZAMORA
- 43. Plate 171 VIEW OF THE CATHEDRAL ZAMORA
- 44. Plate 172 FAÇADE OF THE CATHEDRAL ZAMORA
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- 47. CATHEDRAL. GATE OF THE BISHOP ZAMORA
- 48. Plate 174 THE CATHEDRAL. EAST FRONT ZAMORA
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- 50. CATHEDRAL. GATE OF THE BISHOP
- 51. ZAMORA
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- 53. CATHEDRAL. GATE OF THE BISHOP
- 54. ZAMORA
- 55. Plate 177 ANCIENT CISTERCIAN MONASTERY OF MORERUELA PROVINCE OF ZAMORA
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- 57. ANCIENT CISTERCIAN MONASTERY OF MORERUELA PROVINCE OF ZAMORA
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