Seeing religion with new eyes at the asian civilisations museum

ABSTRACT

In Asia and even in cosmopolitan Singapore, religion still plays a major role in national affairs as well as in the everyday lives of many ordinary people. Singapore is a secular state with a multifaith and multi-ethnic showcase. The plurality of cultures, religions, races, and origins still has a significant impact on state matters such as the school curriculum, citizenship education, and preservation of traditional cultures. Museum educators need to understand the opportunities and challenges diversity creates so that our collection and programs may be rendered relevant and meaningful to our visitors. Continual experimentation and responsive improvisation raised many questions and offered numerous possibilities for our museum educators to help visitors see religion with new eyes, not as exclusive sets of beliefs but an ecosystem of diverse ideas bound by rich civilizations that are connected by centuries of trade and cultural exchange. The Asian Civilisations Museum is the first museum in the region to present a broad yet integrated perspective of Asian cultures and civilizations. Can this museum really help people in our society, especially students; discover “selves” and “others“? Is it necessary to introduce new ways of looking at religion? Is impactful learning about various religions possible in a secular space?     

The Heromartyrs of Cyprus: National Museums as Greek Orthodox Hagiographical Media

ABSTRACT

In 1961, a “Museum of the Struggle” was created to remember and glorify the heroes of the Greek Cypriot anticolonial war (1955–1959). The museum functions, this article argues, as an apparatus of hagiographical mediation, rendering for local and international publics an aura of sanctification around the war’s fallen fighters. Such an impression is generated by the museum’s spatial mise-en-scène, its progressive orientation of visitors who move through its halls, its ways of curating belongings and images of the dead, its narrative construction of the life and conduct of the fighters, and its subtle evocation of traditional saintly patronage associated with the island’s communities. Drawing on original fieldwork in Cyprus between 2012 and 2018, the article treats the musealization of the Greek-Cypriot national struggle as a tight lens through which to consider the diversity of processes by which modern Orthodox Christians in (post)colonial situations construe, commemorate, and maintain relationships with holiness. In particular, it finds that the celebration of the dead anticolonial fighters as “heromartyrs” (ērōomartyres) serves to constitute a distinctive category of Christian martyrdom that infuses a post-Byzantine martyriological identity with the imagination of ancient Greek heroic virtue and epic violence.     

浅析美秀美术馆建筑的环境-行为模式

美术馆和博物馆一样,是以展陈艺术品为主的博览型公共建筑。由于其自身特有的对艺术方面的要求,使得美术馆建筑本身就与艺术品划上了等号。在设计美术馆的建筑空间以及对场所、环境的营造时,设计者会充分考虑环境与参观者行为之间的相互关系。该文从人与环境的相互作用入手,对美秀美术馆的建筑设计手法进行了环境-行为的分析。     

Once upon a sign relationships of architecture and narrative in the United States Holocaust Memorial Museum

This paper is concerned with ways in which meaning, assembled into narratives, can be injected into architecture. Rather than seeking the translation of narrative tools into new architectural devices, each section interrogates an existing architectural technique to examine the ways in which it can become the entry point for narrative into a corner of a design. The United States Holocaust Museum, as a building infused with narrative, is used as a testing ground for these hypotheses.     

Once upon a sign relationships of architecture and narrative in the United States Holocaust Memorial Museum

This paper is concerned with ways in which meaning, assembled into narratives, can be injected into architecture. Rather than seeking the translation of narrative tools into new architectural devices, each section interrogates an existing architectural technique to examine the ways in which it can become the entry point for narrative into a corner of a design. The United States Holocaust Museum, as a building infused with narrative, is used as a testing ground for these hypotheses.     

The mystery of the “spinning statue” at Manchester Museum

Abstract

This paper discusses the emergence, and impact, of public perceptions of Ancient Egypt and diverse ideas of “magic” at the Manchester Museum, following the huge response to the episode of the “spinning statuette.” In June 2013, a video of an Egyptian statuette spinning of its own accord in its case in the Egypt Gallery of the Manchester Museum went viral. During the media storm that followed the publication of the video, many hinted at a “magic event,” which could be related to popular perceptions of Ancient Egypt: ideas from movies and popular culture were widely used to explain and comment, often ironically, on the episode. At the same time, in the museum galleries people were jostling to see the statuette and questioning the museum staff. Therefore, this paper will observe how media and museum audiences have used the concept of “magic” in relation to the spinning statuette: what beliefs and attitudes towards “magic” emerge from these comments? Why was the museum criticized for suggesting a “magic” connection? And what have been the outcomes of the episode for the museum and for our understanding of public perceptions of Ancient Egypt?     

从展示设计的角度分析南通城市博物馆

本文拟从展示设计的视角出发,分析南通城市博物馆在室内展示环境、概念手法与空间基本功能以及各种基本功能所需的空间特性。通过个案了解现今博物馆建筑本身特有的空间形态构成的内在组构逻辑,探讨配合实地参观者参观行为加以验证博物馆建筑空间配置形态的合理性,尝试于展示各项要素的间建立起一个分析的架构,供室内/展示专业者参考。     

无家可归与还乡——柏林犹太人大屠杀纪念馆的现象学解读

该文通过对利伯斯金的柏林犹太人大屠杀纪念馆的现象学分析，说明20世纪因家园破碎导致人类无家可归．返乡也只能是永远漂泊在路上的命运，而所有这些对人类及其命运的关照都是建筑师通过建筑揭示出来的。     

视觉与展示博物馆光环境设计

博物馆是对光与照明有特殊要求的一类建筑，视看与展示是人与空间的基本关系，文中主要对人的视觉、展示特征与空间光环境的关系作了分析，特别是对展示照明最新的设计方法做了详细介绍。最后对我国博物馆目前的光环境现状做了调研分析并对工程建设提出了一些思路。     

The Year of the Built Environment: a Conversation

In April 2007, the Stedelijk Museum in Amsterdam finally began the construction of a new extension, designed by the Dutch firm Benthem Crouwel Architects, after seventeen years of internal and public controversy. In the context of a global enthusiasm for museum refurbishment or renewal, this article analyses the new building for the Stedelijk Museum and asks if it will bring about the long-awaited salvation. Via a detailed analysis of a report of 2003 on the future of the museum on the one hand and of the building brief on the other, the article demonstrates that the new extension of the Stedelijk is not so much aimed at defining a new and challenging museum typology, but is plagued by both pragmatism and nostalgia about a glorious period in its history, epitomized by the charismatic museum director Willem Sandberg.     

生活的展场--丽江东巴文化博物馆设计研究

对博物馆建筑展示空间模式的思考与研究，侧重于在地方乡土环境下，如何体现建筑的现代性这一主题，并且以设计的方式进行了有益的尝试。设计概念源于特定的环境——云南丽江大研古城，以东巴文化博物馆扩建为载体，重点表达了在丽江地区传统文脉条件下，以特定的方式体现建筑的现代性——将设计概念建筑化，形成“开放式”的展示空间系统，最终融入纳西人的现代生活。     

建筑在博物馆品牌重建中的作用研究——以纽约新当代艺术博物馆为例

重建品牌形象是当前老博物馆发展和更新的重要目标,2007年底,由著名建筑师妹岛和世设计的纽约新当代艺术博物馆开幕了,新博物馆取得了巨大的成功,获得了建筑和品牌的“双赢”,文章以此为例,分析了新馆建筑对提升参观体验和机构形象的重要作用,研究了建筑为博物馆争取社会关注和资金支持的方式,最终说明了建筑在博物馆品牌营销中的多重角色和重要意义,文章在结尾进一步提出,建筑师应该以开放的态度．专业的精神,批判性地展开合作并创造性地进行设计。     

主题博物馆环境的营造--谈杭州·中国茶叶博物馆环境整合工程

杭州·中国茶叶博物馆环境整合工程在营造适合博物馆主题的环境方面进行了一系列有益的探索与尝试.论述了博物馆环境整合设计是以茶为主题,借景自然,寄情山水,缅怀历史,营造以人为本的博物馆环境.整合后重新定位为:既是以茶为主题的特色博物馆,又是传承茶文化的宣传阵地、国际茶文化交流场所,还是具有自助旅游休闲功能,生态自然、充满独特东方园林风格的博物馆.     

中型博物馆建筑设计中功能分区的研究

博物馆往往是一个涵盖了多个部分的综合体，如何将各个部分有效地布局，是博物馆设计成功与否的关键，本文从基地中各功能区入口布局和馆内功能分区两方面加以探讨，将博物馆的布局方式分为嵌入式、并联式、独立式，并分析了各种布局方式的长处与不足。     

In Search of the Uncanny: Inspirited Landscapes and Modern Witchcraft

Abstract

The uncanny is commonly identified as an emotional encounter, where the known somehow slips out of place; it is embodied and sensory, but understood primarily as feelings. Home is safe and familiar, history is considered rational and chronological, and the supernatural is both untrue and to be feared. Yet all these are challenged by modern witches with their view of an inspirited world. Practitioner-visitors to the Museum of Witchcraft and Magic in Cornwall report a wealth of eerie experiences. Situated at the foot of Boscastle harbor, nestled down a steep and winding route, its place in the landscape encourages ready connections to esoteric experiences. This sense is reinforced by a network of sacred sites weaving outwards from the museum, and the well-used occult and folk magic items held in the displays: tangible and material sites of the uncanny. For these visitors, such encounters in the museum hold particular significance. Here, a dynamic landscape, inhabited by genius loci (spirit of place) combines with an inspirited material culture contained inside the museum. In an animated cosmology, the uncanny is encountered through emotional, sensory, and embodied materialities.     

缸压之魅惑——现代性与博物馆建筑的空间、造型和氛围

二战以前的博物馆建筑作为“艺术的殿堂”的理念深入人心．即使这个殿堂内宣传的是与其背道而驰时启蒙和祛魅”的现代性理念。白色立方体博物馆建筑似乎终于找到并回归了博物馆启蒙和祛魅的宗旨，也出现了一大批真诚或貌似真诚的祛魅博物馆建筑。但获得成功的立方体盒子们唯一相同之处是它一定具有另外一种别有用心的缸压或魅惑。因为3M主义奠定了博物馆在西方艺术界的地位，其馆舍也进入了一个为竞相成为“第一件展品”而花样翻新、精彩之作不断涌现的新时期。今天。寻找缸压、寻找博物馆之魅成为当今博物馆造型、空间和氛围设计的重要指标。     

布罗德当代艺术博物馆(洛杉矶州立艺术博物馆扩建工程一期),洛杉矶,美国

洛杉矶州立艺术博物馆的(LACMA)一期改造工程持续多年,统一并扩展了博物馆园区,改造后便于参观者经由美术馆和广场轻松横穿8hm2(20英亩)的园区,观看博物馆百科全书般的藏品,当然也包括布罗德当代艺术博物馆(BCAM)。布罗德当代艺术博物馆画廊的增建提升了洛杉矶州立艺术博物馆的策略,它将现代艺术融入展览和公共项目之中,并探索我们时代的艺术与过去艺术之间的相互关联。此外,由于布罗德当代艺术博物馆的存在,在划出大规模空间用于当代艺术的展示而非用于其他百科全书式的博览方面,洛杉矶州立艺术博物馆是领先的。     

博物馆建筑文化性的外在与内在表达——以铜陵市博物馆设计为例

博物馆建筑文化性的表达是博物馆设计的关键,分为内在与外在两种方式：外在的表达方式主要指通过建筑体量、形式、肌理等元素来表达,属于“外观”的范畴;内在的表达方式主要指通过空间的相对关系来表达,属于“类型”的范畴。结合铜陵市博物馆的实例论述了两种表达方式的具体运用。     

质真若渝:文化遗产地博物馆建筑设计探析--以山海关长城博物馆扩建设计为例

在以文化遗产为背景的博物馆建筑设计中，由于文化遗产的不可再生性，遗产保护的要求成为绝对的主导秩序。该文结合对山海关长城博物馆的案例分析，尝试探讨文化遗产保护规则和此类博物馆设计之间的制约关系。