Photographic Exhibition in the Anti-Cube Gallery : a Case Study of Daniel Libeskind’s Roloff Beny Gallery

Museum of Contemporary Art by Artists

New Light on the Earliest Hominid Occupation in East Asia

The aim of this article is to examine the notion of the “white cube”. The “white cube” is a specific space designed for demonstrating and exposing art objects in museums and galleries. During the 19th century, the concept of how the context of museum’s or gallery’s space influences the reception of art was widely discussed. It becomes clear that the new form of art exhibition is required. Art directors started to bring new ideas, painting the museum walls in different colors and challenging the traditional ways of hanging art objects. In the end, the new space for demonstrating and exhibiting art was installed. Brian O’Doherty, an Irish writer and artist, coined the term “the White Cube” to describe the brand-new art space. In his writings, such as Inside the White Cube: The Ideology of the Gallery Space, O’Doherty argued that the experience of art perception in the “white cube” is similar to the religious one. It was Alfred H. Barr Jr, an American art historian and the first director of the Museum of Modern Art in New York City, who made a “white cube” the model to exhibit art in museums and galleries. Alfred Barr argued that a space for exhibiting and demonstrating modern art should have white and neutral color of the walls, and minimalistic decor; the art-space should not be ideological. Its main purpose is to demonstrate art in the most neutral way. “White cube” is a global phenomenon now, suitable for small, mid-sized galleries and the big art-fairs and Biennales as well. Therefore, it is important to observe its origins and initial purposes. Exploring the ways how the context of art gallery or museum influences the art has become the art practice itself, which is called “the institutional critique”. Accordingly, this research also examines how Marcel Duchamp, Yves Klein, Michael Asher, Daniel Buren and others creflected on the way art galleries and museums organized their activities. Article received 23.04.2018

My thesis explores the family album as an indivisible object within a museum’s collection. Family albums hold both private and public importance for their ability to share collective memories and are valuable resources for scholars and the general public. To realize the inherent value of albums, I argue that we need to treat them as singular objects. Most institutions – such as museums, libraries or archives – treat family albums merely as a group of individual images. In this thesis, I propose an alternative approach: viewing and digitizing the albums as whole objects that are inseparable, lest we distort the narrative shaped in the album. The digitization process advances three services: first, digitization increases access to the album; second, digitization often enables the public to see and understand the album as a whole, maintaining the vision that the album’s maker sought to construct; third, digitization helps preserve the albums. My thesis investigates best practices for family album digitization so that the public can see albums as whole objects. A case study will focus on the Evans family collection from the FamCam at the ROM (accession numbers: 2018.24.1-21), a family collection which comes from a Canadian family that lived in China from 1888, for nearly a 100 years. Twenty-one family albums comprise the collection. The collection portrays the lives of a Western family in China, and provides insight into a century of photography and history. My thesis discusses the methodology, tools, and specific techniques for digitization, while highlighting the complexity of family albums. Though this digitization process may differ from the typical protocols for artifacts, the uniqueness of family albums necessitates genre-specific procedures. My thesis contributes to the emerging literature on family photography in public institutions, and develops an original method for preserving and archiving them digitally.

By taking participatory action research, utilizing sound as a means of harnessing the socio-cultural, and documentary exhibiting as mimesis, this paper takes themes of contemporary underground dance music culture, sonics, political engagement, and human development in urban spaces and looks at the key processes involved in formulating my documentary project Sonic City throughout the years 2014-2016. From personal experiences in Berlin (GER), London (UK), and Toronto (CAN) to research on the ephemeral nature of what creates thriving underground dance music scenes, this paper proposes that discotheques are vital and underestimated spaces for urban development, where complex socio-cultural monads of production and consumption are exercised and actualized. Sonic City as a documentary project is meant to shed light onto the places, spaces, and people involved in this vibrant culture, while as an artistic endeavour is attempting to put relational aesthetics at the forefront of documentary exhibiting, blurring the lines between gallery expectations and dance space experience.

Active from April 2016 to March 2019, The Family Camera Network was a collaborative project that explored the relationship between family and photography. The project established a public archive at the Royal Ontario Museum (ROM) and The ArQuives. The collection is composed of photographs, albums, home videos and miscellaneous objects. Among the objects collected by the ROM are 126 born-digital photographs. This thesis focuses on the development of cataloguing methods for born-digital vernacular photographs using existing fields in the museum’s collection catalogue, TMS. Through the use of digital metadata, this thesis describes and analysis how information embedded in the born-digital archives can assist in the production of valuable collection records.

Sean Stanwick, the co‐author of Design City Toronto, describes Daniel Libeskind's crystalline centrepiece for Toronto, which has become a catalyst for the city's cultural and architectural renaissance. Copyright © 2007 John Wiley & Sons, Ltd.

BOOK REVIEWS many excluded. Selftends to favor projects with iconic intentions and ambitious, transformational urbanistic aspirations. The museums considered are the Modern Art Museum of Fort Worth (Fort Worth, Texas; Tadao Ando & Associates); the Contemporary Art Center (Cincinnati, Ohio; Zaha Hadid, Architects); the Kunsthaus Graz (Graz, Austria; Spacelab Cook/ Fournier); the Nasher Sculpture Center (Dallas, Texas; Renzo Piano Building Workshop); the Museum of Modern Art expansion (New York, New York; Yoshio Taniguchi and Associates); the Walker Art Center expansion (Minneapolis, Minnesota; Herzog & de Muron); the Museo Nacional Centro de Arte Reina Sofia expansion (Madrid, Spain; Ateliers Jean Nouvel); the de Young Museum (San Francisco, California; Herzog & de Muron); the Toledo Museum ofArt Glass Pavilion (Toledo, Ohio; Kazuyo Sejima + Ryue Nishizawa/SANAA); the Denver Art Museum (Denver, Colorado; Studio Daniel Liebeskind); the Institute of Contemporary Art/Boston (Boston, Massachusetts; Diller, Scofidio +Renfro); the NelsonAtkins Museum of Art Bloch Building (Kansas City, Missouri; Steven Holl Architects); the Akron Art Museum (Akron, Ohio; Coop Himmelb(l)au); the New Museum (New York, New York; Kazuyo Sejima + Ryue Nishizawa/SANAA); the Acropolis Museum (Athens, Greece; Bernard Tschumi Architects); the Museum Brandhorst (Munich, Germany; Sauerbruch Hutton); and the Museo Nazionale delle Arri dell XXI Secolo (Rome, Italy; Zaha Hadid Architects). This list of case studies includes virtually all the major players in contemporary art museum design, though Renzo Piano, the leading art museum architect of the period, is represented only by the Nasher Sculpture Center which, though incorporating his trademark glass roof and natural lighting, is not the most representative of his work because of the institution's sole focus on sculpture. Important projects conspicuous in their absence are the DIA: Beacon Riggio Galleries (Beacon, New York; the ARRIS 70 § Volume 25 § 2014 installation artist Robert Irwin, in association with OpenOffice); the Musee de Quai Branly (Paris, France; Jean Nouvel); and the Smithsonian American Art Museum/National Portrait Gallery expansion (Washington, DC; Foster+ Partners). This said, these exclusions are largely explained by Self's interest in what he terms "the Bilbao effect" or "the Sydney effect": the quest of clients and architects to use these buildings to create destinations that will also become transformative symbols of their cities. Further, the other pole of contemporary art museum design (that of the understated, spiritual envelope for collections) has been virtually monopolized over the past thirty years by the practice of the Renzo Piano Building Workshop. Self's critiques are always judicious, taking into account the realities of process and clients' desires rather than long discussions of aesthetic preferences, though he clearly articulates the relative success and failure of the buildings analyzed. The journalistic origins of the case studies are apparent, however, in their uniform length; some of the more complex projects, such as the MoMA or Reina Sofia expansions, would have benefited from longer exposition and exploration than some ofthe simpler projects. Perhaps a little more time could also have been spent on the museological implications of radical architecture (Self acknowledges that many of the projects present challenges to curators; should they? The preference of many ofthe great collections for "white cube" galleries and warehouse-type exhibition spaces endures for a reason), but The Architecture ofArt Museums presents a terrific summation of the building type over the first decade ofthe twenty-first century and is the definitive reference work on the subject. It belongs on the shelf of any architect engaged in museum design. ERICMICHAEL WOLF The Menil Collection Houston, Texas A Field Guide to American Houses Th Definitiv Guid to Identif ing and Und r tand.ng Am nca Dome tic Architec ure Virginia Savage McAlester Virginia Savage McAlester. A Field Guide to American Houses: The Definitive Guide to Identifying and UnderstandingAmerica's Domestic Architecture. New York: Alfred A Knopf, 2013, 848 pp., black-and-white illustrations, hardcover, ISBN 978-1-4000-4359-0. This book is the long-awaited second edition of the nationally recognized standard for identifying American domestic architectural styles. The first edition, published in 1984 and in print since its release, is in the library of every preservation architect, State Historic Preservation Office, historic preservation specialist, and educator and serves the professional and advocate with an illustrated and comprehensive architectural vocabulary and a national...

This research paper discusses the growing trend of interactive displays in art institutions as a relevant shift in the discourse on photographic literacy, and it is addressed towards curators, archivists, museum professionals, and new media artists with a specialization in photographic studies. The paper explores the concerns of digitized materiality in interactive exhibitions, virtual museums, and image databases. Four case studies will be utilized in this discussion, including the Peel Art Gallery Museum and Archives, Google Cultural Institute, Flickr: The Commons, and The Lowcounty Digital History Initiative. The relationship between digitized materials and visitors requires an ongoing review of how a diverse demographic of museumgoers read photographs and relate to them in exhibitions. This research paper utilizes topics from new media studies to better understand the implications, benefits, and drawbacks of these different types of displays, and how they fit into the narrative of photographic theory and exhibition design.

TombSeer immerses the wearer in a museum space engaging two senses (sight and touch) through a holographic, augmented reality, heads-up interface that brings virtual, historical artifacts back to life through gestural interactivity. The purpose of TombSeer is to introduce more embodied interaction to museum visits using an emerging hardware platform for 3D interactive holographic images (e.g., META Head-mounted display) in combination with customized software. The Tomb of Kitines case study was conducted at The Royal Ontario Museum in Canada. TombSeer's embodied gestural and visual augmented reality experience functions to aesthetically enhance museum exhibits.

In a typical engineering design, there are often many design parameters to consider. Also, there are multiple competing requirements and objectives to meet. Manual approach of adjusting the parameters to achieve specific objectives is not optimal especially as the design becomes complex. In the quest for optimizing complex engineering systems, the exploration of the design space becomes imperative, especially when dealing with multi-objective systems characterized by an array of independent variables. This paper presents a comprehensive study on the design space mapping of complex engineering systems, utilizing a turboshaft engine as a case study. The initial phase of our methodology employs a physics-based model to generate synthetic dataset, reflecting the intricate interplay of various system parameters underpinning the engine's operation. This synthesized data serves as a foundation for the subsequent development of a Machine Learning or Deep Learning based surrogate model. The surrogate AI model, will be crafted to encapsulate multiple inputs and outputs inherent in the turboshaft engine's functioning, thereby facilitating an efficient and accurate exploration of the design space. Through this investigation, we will evaluate the efficacy of combining physics-based models with AI-driven techniques in mapping the design space of multi-objective systems. The core of our investigation revolves around the utilization of the AI surrogate model for achieving multi-objective optimization. This optimization process is not only focused on enhancing specific performance metrics but is also geared towards identifying a comprehensive family of feasible design solutions. Such an approach enables the delineation of the entire design space, offering invaluable insights into the trade-offs and synergies among different design objectives. Through this methodology, our goal is to uncover a wide spectrum of viable design alternatives, thereby providing a robust framework for decision-making in the engineering design process.

The book The Art (of) Museums: Creating Contemporary Spaces of Identity; Ars Aevi Sarajevo, authored by Associate Professor Senka Ibrišimbegović PhD, represents the culmination of her many years of work in culture, education, and research. It emphasizes the importance of museums, architecture, and art in promoting social development. It discusses the transformation of the cultural landscape—from being a survival element during the siege of Sarajevo to becoming a key component of sustainable development over the past three decades. The book explores the architecture of contemporary art museums within various social contexts, highlighting their role in fostering cultural diversity and urban development. It concludes by advocating for socially responsible architecture in contemporary art museums, presenting a vision for the future of museum architecture, and emphasizing the need to construct the Ars Aevi Museum of Contemporary Art in Sarajevo, Bosnia and Herzegovina. This research offers a deep reflection on the intersection of culture, history, and architecture, providing insights into how cultural institutions can contribute to both the preservation of identity and the advancement of society. Case study in Bosnia and Herzegovina: Ars Aevi Museum of Contemporary Art in Sarajevo, Bosnia and Herzegovina.

The factors that influence product development depend, amongst other things, on the type of product, the economic situation, the state of the art technology and various social and cultural trends. In modern era, often not the specs and costs are the decisive factors for purchasing a product, but aspects like design and brand personality. One of the reasons for this is the abundance of products of the same type for the same purpose. In fact, this is the current situation for dry powder inhalers (DPIs) although the self-congruity concept seems more applicable to the doctors who prescribe the inhalers than to the patients who are using them. For the early DPIs from the 1960s and 1970s the driving factor for development was the necessity of having an alternative for cholofluorocarbon (CFC) containing metered dose inhalers (MDIs). An important factor affecting their design could have been the desire to improve pulmonary drug delivery compared to that from MDIs, but unfortunately this oportunity was missed. Instead, available technology like hard gelatin capsules and adhesive ('ordered') mixtures were used and lung deposition remained more or less the same as from MDIs (only approx. 10% of the dose). After the capsule (and multi-dose reservoir) DPIs became more widely accepted and patents on inhaled drugs expired, consulting groups and generic manufacturers became more and more involved in the emerging DPI market, purely on an economic basis. This does not mean that there have not been developments yet aiming at improvement of the therapy with DPIs and various future applications may give a new boost to using new technology for dry powder inhalation.

Critiques of the cult of artists, life-and-work narratives, and the authority of authors over the meaning of their works not only unsettle the conventions of literary and art historical studies. They also challenge the importance of the artist museum and its architecture. Adopting Roland Barthes’ discussions of the ‘death’ and ‘return of the author’ of the late 1960s and early 1970s as a critical lens, this article examines how the architecture of artist museums reflects and contributes to the discursive construction of the resilient figure of the artist-author. To do so, the article compares the cultist make-up of the 19th-century Thorvaldsen Museum-Mausoleum (opened in 1848) with the resolutely work-centred museums of Van Gogh (1973) and Roger Raveel (1999). The architecture of the last two examples is significantly different, however. The Van Gogh Museum seemingly negates its monographic orientation, while the Raveel Museum amends a white cube logic with a reserved interpretation of artistic individuality and site-boundedness. Parallel to the institutional interpretation of a museum’s monographic mission, and the curators’ representation of the artist-life-work nexus in exhibitions, architecture is yet another element in a museum’s assemblage of an artist presented as a dead or revived author to its visitors.

A regression-based design space exploration methodology is proposed that models the impacts of the memory hierarchy and the network-on-chip (NoC) on the overall chip multiprocessor (CMP) performance. Designers cannot explore all possible designs for a NoC without considering interactions with the rest of the uncore, in particular the cache configuration and memory hierarchy which determine the amount and pattern of the traffic on the NoC. The proposed regression model is able to capture the salient design points of the uncore for a comprehensive design space exploration by designing memory and NoC-specific regression models and leveraging recent advances in uncore simulation. To show the utility of our methodology, Uncore RPD, two case studies are presented: i) analyzing and refining regression models for an 8-core CMP and ii) performing a rapid design space exploration to find best performing designs of a NoC-based CMP given area-constraints for CMPs of up to 64 cores. Through these case studies, it is shown that i) simultaneous consideration of the memory and NoC parameters in the NoC design space exploration can refine uncore-based regression models, ii) sampling techniques must consider the dynamic design space of the uncore, and iii) overall, the proposed regression models reduce the amount of simulations required to characterize the NoC design space by up to four orders of magnitude.