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arch. Anda-Ioana Sfinteș

Museums had, from the beginning, a strong relationship with The other. As
time passed, the relationship changed from displaying him as exotic to negotiating
authority, identity, authenticity and acceptance.
The institution is linked both with the place/identities displayed and the
place/identities of the place where it is located, bringing into question different













Nowadays museums promote culture and symbols at an international level,
frequently through spectacular activities and iconic buildings. Architecture
becomes as well a form through which local and global forces are being disputed and

Ordos Museum
New museums like the one designed by MAD in Ordos, Mongolia, are more
than a simple enclosure created to accommodate and expose valuable objects or ideas.
The building itself makes a statement by interpreting a collective identity. Standing
in the center of a new city, built in the Gobi Desert, the museum architecture is a

The proposal – a blob-like form – wishes to integrate the new building into the surroundings through form and finishing (reflecting polished metal louvers) and to become an expression of local history and tradition. new museology elitist public wider public the simple display of objects narrative discourse placing objects in a conceptual context organization of knowledge questioning and challenging themes neutral and passive position of the visitor central and dynamic constructing. THE PRIMARY IMPORTANCE OF VISITORS AND THE ESTABLISHMENT OF MUSEUM BRANDS old vs. perceived quality. 2. The heterotopic museum facade separates not only the inside from the outside but also an urban. MUSEUM CROSSOVERS . discrepant reality from a timeless one. 3. associations and visitor satisfaction. which showed no consideration for the residents.reaction against the systematic plan of the city. sharing and negotiating meanings and values authoritarian voice interpreting the exhibition understanding an exhibition as a subjective and progressive process participation a single discipline multi-disciplinary homogeneous public heterogeneous public Museum brands are value brands measured in name awareness.

At the same time. the weak economy (meaning less paying visitors). thin or massive. formal and official character of the institution. The Riverside Museum At The Riverside Museum in Glasgow. b. Crossing over the physical boundary – museums on the streets o In between museums and street The threshold between inside and outside isn’t always just a physical delimitation. Pompidou Centre The plaza in front of Pompidou Centre is an invitation to improvisations which blurs the differences between high and low culture and dissolves the clear inside/outside distinction. in its brochure edited in 2012 – Trends Watch – as main reasons for taking it to the street. the area in front of the museum has been transformed into a civic space and put to an informal use in order to attract a less accessible public like bicyclists and skateboarders. Why do museums go beyond their walls The shifting from old to new museology led also to museums transgressing their limits. be it transparent or opaque. their motivation for going beyond their walls is not only that of wishing to perform social work in a wider setting. The events that take place . It sometimes becomes spatial – a communication liaison between museum and street (like courtyards or plazas). In this context. these spaces are often pretences for organizing cultural events which question the solitary. museums meet their potential visitors and their needs halfway. Social impact of different museum crossovers i. but the museums that went into the street don’t solely address to their common public. the cultural authority diminution (the blurring of high/low culture differences) and the rediscovery of localism (eventually as a reaction against globalism).a. Through this extension. The American Association of Museums names.

concerning the self. but rather with their cultural and social role at the community. locality. In order to do so. ii. areal. Tate (Britain. Venice. The act is seen as a way of shifting the interest on public participation in accumulating knowledge and on discovering the consequences of the past. Branching inside and outside borders Museum brands are. museums go beyond their walls and run all kinds of activities which are not exclusively addressed to the visitors. By proposing this LCD wall. associations and perception. It facilitates communication and encourages interaction and sharing of information. as I said before. a connection between past-present-future has been created. the family or group. cultural tendencies. Las Vegas) . Bilbao. identities etc. not necessarily interconnected with the main exhibition. Liverpool. ways of life.). Museums involve in solving not only basic. o Beyond the walls – Satellites Contemporary museums engage in various activities. The Wall [Væggen] The Wall is an installation placed by the Copenhagen Museum in various city plazas. St Ives) Guggenheim (New create a stronger interrelationship between the museum ant the community it services. national or international level. using the same name for newer locations cuts short the process of making a name and a brand. transformative and evolutional problems. Thus. but also social. Abu Dhabi) + closed (Berlin. images. linked to name awareness. Modern. It interactively illustrates the urban transformations which took place (through the medium of stories. events. It also assures the communities involved of the interest the institution pays to get closer to their needs. Some of the manifestations that take place outside the museum consist of placing representative satellite buildings which mark their affiliation.

The attention shifts. from the art collection to the architecture as a work of art. Travelling collections and museums Nomadic Museum The Nomadic Museum represents the “travelling home” of the exhibition known as Ashes and Snow (pictures and movies depicting the human/animal interaction in a try to rediscover the primordial harmony between them). used to raise the number of tourists. the museum has been located in public plazas in New York (2005). . Virtual space museums The blurring of the boundaries between leisure / education / consumption transforms the museum websites into places of (re)presentation / information / exhibition / marketing / kindling.Guggenheim. seen as the first global museum because of its worldwide spread branches. Since its foundation in 2005. but also commercializing exhibitions. in this case. received many critiques because its expansion did not mean only getting closer to a wider public. emphasized by its placement in public places. by Gregory Colbert. iii. It had a high social. Santa Monica (2006). international and trans-cultural importance. This nomadic museum exceeded boundaries and borders. Tokyo (2007) and Mexico City (2008). iv.

taken from the museum aims and purposes. Understanding that. inclusion/exclusion etc. The Science Museum. IN CONCLUSION Museums are caught between local and global forces. should prevail? . uniqueness/universality. It is not easy to create equilibrium between all the factors involved. 4. in the same time.) needs to be continuously negotiated and reasserted. but this is not a bad thing. Their position between the dualities discussed earlier (continuity/discontinuity. It gives the opportunity to creatively respond to the challenges raised. London 2012) social ultra-socialization and personalization situated providing specific content to the visitor based on his location sensory recognize and use accordingly the blurring of the boundary between digital and not-digital semantic the ability to make online connections between items v. It gives them the opportunity to assert their own authority. a keeper of the native values. to socialize and manifest solidarity. Architecture should mediate these tensions and disclose the position of the institution. Museums of the border crossovers – Immigrant Community Museums For immigrant communities the museum space becomes helpful in the process of accommodation to a new society and. we must also ask ourselves what happens with the fixed built environment in the face of these changing positions.The future of museums in the information age (Ross Parry at the Museums in the Information Age: Evolution or Extinction? debate. but the actual question is rather: What aspects.