The Museum of Sydney - Case Study Example

Analysis of museum Name Institution Course Lecturer Date Introduction The Museum of Sydney was built in 1788 on the ruins of the first governor of New South Wales building1. The museum has a rich history since its present location was the point of first contact between exiles arriving on first fleet from British and the Gadigal inhabitants of Australia. Its particular site was exposed by archaeologists in late 1983 and this unique museum was developed and officially opened in 1995. Today the MoS remain as a very meaningful and dynamic place both for reflection of the history and learning of the past. A lot of artifacts, possessions and materials that were discovered from the past archaeological excavation are displayed in the museum. This gives an idea to of the life of convicts that were sent to Australia in 1788 and how they lived2. Utilizing traditional object based backed together with modern visual displays provides a more evocative showcase that brings the history and the present in a very spectacular and vivid way leaving a long lasting impression in the minds all of visitors. The aboriginal story of creation “dreamtime” is well explored in this historic museum in a more thought invoking combined with dramatic visual displays3. The discussion below focuses on the current trend of MoS museum on placing lot of emphasis on more open ended evocative visuals display instead of traditional object oriented display methods and whether they pose any risk towards alienating its visitors. Focusing on the design elements as applied and installed by the museum of Sydney. Artificial lightings Installation of artificial lighting systems instead of natural lights in promoting the museum spaces by enhancing a controllable brightness which is flexible while still not causing any damage to objects. Installation of the museum spaces with windowless black box setting with no color and cold cathode lightings which punctuate the ceiling with random slashes criss- crossing each other. Use of aesthetic lights to illuminate objects and artifacts may fail in revealing the actual and natural nature they posses in the clearest manner4. Current trend practice by the museum of illuminating the exhibition spaces with artificial lights can be unfair to a given set of visitors who may find it problematic to read some images, texts and labeling in lack of natural lights. MoS have turned into use of cathode lightings in the inner spaces with an intention to create dominating visual impression to visitors5. The museum curator has succeeded in installing lightings of varying colors and temperature variations, this has worked to promote curiosity among visitors and make them remain engaged in interacting with the exhibits. Application of lights in the galleries to illuminate objects has helped to keep visitors more engaged while still creating an emotive scene with a mysterious atmospheric feeling. The emphasis on use of lights in the museum spaces and exhibits will work to motivate visitors rather than making them feel not welcomed. Visitors will appreciate the fact that the museum management is concerned on their welfare and concern by applying current trend in technology in its exhibition. Visual aids, films, audios and poetic displays Creative approach to history by use of visual images sounds and installation of arts are outstanding features of this particular museum. Videos and films are used in the exhibition spaces to bring a more emotive scene to visitors. An example is a case of an installed glass box in the exhibition area of the museum which is installed with a poetic sound play, this particular exhibits attempts to represent a daily interaction between two people. Through audio and poetic display the visitors are moved into an imagined conversation taking place between an indigenous woman and an English speaking man6. Such poet presentation aided with audio aids provokes the visitors to relate with history. With the MoS investing on use of multimedia in displaying showcases works not to alienate visitors but the approach successfully attracts another different set of guest altogether by portraying the museum experience that is not stacked to one kind of displays and objects like artifacts alone7. The use of visual images, audios and films in the museum exhibition spaces which displays giant video walls showcasing life sized images of the natural environment. The visitors are brought into a reality kind of sensation with moving escarpments, shores and plants in the screens. Water colors pictures, drawings with animated images of Eora artifacts are displayed on the screens in a more vivid and lively manner. Films are utilized in the exhibition places where visitors are made to follow a family picnic whereby Eora places are visited with stories and memories of such places narrated. On a different level the MoS shows diverse panoramic images slowly dissolving to each other with interspersed images though in small scale, individual’s details and views. Through this, the exhibition is able to interject individual’s stories with narratives of those places. Use of audio-visual presentation as a new trend by the MoS and disregarding the traditional use of objects and artifacts in passing history to visitor, the museum alienate specific set of visitors but still attracts another group which love such theatrical and cinematic type of presentation of artifacts8. The museum floor Museum management has managed to install concrete solid surface on its exhibition spaces making it easy to clean and reducing energy costs by maximizing on light reflectivity. Different sections are polished using different concrete colors with varying degree of reflectivity. Inner spaces of the museum are installed with different color themes with an aim to enhance the visitor’s curiosity once inside the museum. Use of contemporary sculpture with shiny and reflective asphalt material has resulted in a more exciting way with an ability of keeping engage visitors9. The choice of the floor surface utilized by MoS helps draw visitor’s attention on the exhibits and still reflecting light to the objects making them to shine. The styles of designs and texture used in the inner surfaces are viewer provocative as they are enhanced with aesthetic attributes that are welcoming to the visitors and keep provoke their desire to explore more themes. Current improvements on floor spaces of this museum which involved merging of both first and second floor of the double height enclosed exhibition space enhanced with visual grand staircase of broad cement stairs10. The floor generates an extravagant feeling of welcome to visitors. This improvements from old traditional dull floors to modern visually reinforced and themed ones, is serving to meet current trend and a more engaging exhibition space for visitors. It is clear that with such an engaging and attractive floor installation the museum will not only have added value to its visitor experience but end up encouraging more new ones. Museum Walls The wall design of the MoS museum has an integral function as part of exhibition and display of objects, artifacts and drawings attached. The walls have been perfectly constructed with reflecting texture and different color theme depending on a specific perspective coupled with its functionality. The museum walls are well tiled and with such a smooth texture and a color theme that is light reflective. Numerous objects are displayed on the wall in almost every exhibition area. Visual images are displayed on the walls providing visitors with an inspirational, exploration and a reflection of the history. Most of artworks displayed on the exhibition walls are attached with label cards well illuminated with visual aids and lights. The use of label cards encourage the viewers to reflect while still introducing them to vocabularies of the art, this promotes the viewers to connect with the artworks. Mirrored walls are used in specific inner spaces and some gallerys, objects and paintings when illuminated in mirrors appear to be more attractive11. Shiny wall surface with highly polished reflective texture is the main feature of the exhibition surfaces with an ability to reflect visual lights. Mirrors and reflective surfaces make an artwork to appear interesting and fascinating to the visitors. The change to current attractive and reflective walls enhanced with different color themes will serve to motivate visitors to enjoy the exhibition spaces rather than making them feel alienated. Conclusion The MoS current approach towards favoring a more open needed evocative installations in object display and exhibitions and placing no or minimal emphasis on traditional didactics methods is a good step towards communities’ involvement. The museum ability to create and manage an image of a warm, welcoming and which is inclusive and at the same time encouraging involvement is commendable. Installation of the visual aids, digital media, films and more visitor involving pictures and themes goes a long way in creating a welcoming atmosphere that makes visitors feel relaxed and calm even as they interact with the objects and artifacts12. Particularly such an improvement targeting specific group of visitors will overall promote visit of all even the existing ones. In addition due to changing range of demands MoS has taken the right approach as a beginning step towards meeting the needs and demands of the current generation. Furthermore this trend by the MoS of installation of visitor oriented and friendly museum where they can freely interact with its spaces in a more friendly and involving atmosphere. Providing visitors with guide label and exhibitions making use of a mixture of display approaches complemented with support materials has facilitated in meeting different visitor needs13. To avoid alienating some visitors, the museum administrators should try to engage directly with its target group of visitors so as to evaluate the possible impacts of its current trend towards a more evocative installation. Reference Bilous, Rebecca H. "Macassan/Indigenous Australian ‘sites of memory’in the National Museum of Australia and Australian National Maritime Museum." Australian Geographer 42, no. 4 (2011): 371-386. Brown, Bill. "Objects, others, and us (The refabrication of things)." Critical Inquiry 36, no. 2 (2010): 183-217. Gojak, Denis. "Convict archaeology in New South Wales: An overview of the investigation, analysis and conservation of convict heritage sites." Australasian Historical Archaeology (2001): 73-83. Grenfell, Janette. "The Best of All Worlds: Immersive Interfaces for Art Education in Virtual and Real World Teaching and Learning Environments." Online Submission 3, no. 6 (2013): 391-406. Karp, Ivan. Exhibiting cultures: The poetics and politics of museum display. Smithsonian Institution, 2012. Lewis, Geoffry. "The history of museums." Encyclopaedia Britannica 24 (2011). Mackay, Richard, and Grace Karskens. "Historical archaeology in Australia: historical or hysterical? Crisis or creative awakening?." Australasian Historical Archaeology (1999): 110-115. Meecham, Pam, and Julie Sheldon. Modern art: a critical introduction. Routledge, 2013. Ulas, Emrah Baki, and Mirjam Roos. "Looking at Art in a New light." (2013). Read More