CHAPTER 1: INTRODUCTION

1.1 Introduction and background

1.2 The Definitions and Meaning of the important parameters

1.3 Significance of the project/topic

1.4 The Central Claim/ Hypothesis

1.5 The Research Question(s)

1.6 The Aim and Objectives of the Research

1.7 The Scope and Limitations of the Research

1.8 Research methodology

INTRODUCTION AND BACKGROUND

 Today the museum spaces are re-imagined by museum professionals as a result of the approach of new
kinds of museum displays developing over time. Hence, the diverse nature of museum display is itself
establishing in a sense.

 The need to transform the exhibit of museum content is because of its function and changing role of
museums. New modes of display of objects and other artifacts have been adopted over the years.

 The physical display of objects is not the only way to represent the museum exhibits but has shifted in such
a way like following the other disciples such as theater performance, media technology, and films. Thus,
creating an immersive environment for the visitors.

 The research is done to know and analyze the museum’s relation to scenography. The study’s ultimate goal
is to obtain the factors that relate to the features of scenography as complex and multiple interpretations.

 Hence the theories and principles within the scenography and its relation, and connection with the museum
are the main aims of the research, to look upon how it expands its framework.

BACKGROUND OF THE STUDY

 Today museums are regarded very much as both a public service and leisure attraction.

 Scenography has been historically denominated with theatrical architecture.

  Scenography has an introduction of characters, a script, and the visitors here becomes the
characters playing a main role as an indispensable element of a lesuire space.

 As a result, scenography of spaces and their scale is not limited to the physical display of objects
but have shifted to generate an immersive environment for visitors.

 Scenography is multisensory, engaging the audience’s different physiological senses and

bringing into play different emotions. its development through the time of theatrical
performance that it becomes scenography.

 This research aims to expand upon relevant theories and principles within the field of
scenography and thus an analytical framework for its alignment with museums.

 Hence, the study is an approach toward analyzing and investigating the relationship between
scenography and museums.

 How do the visitor’s encounters with museum spaces and objects are being affected by the use
of scenography?

 Does the scenography provide staging techniques as a new mode of interpretation for museum
spaces?

 Does the role of scenography with space and scale provides new ways for museums to exhibit
their content?

DEFINITION AND MEANING OF IMPORTANT PARAMETERS

WHAT IS SCENOGRAPHY?

 Scenography implies something more than creating scenery or costumes or lights. It carries a connotation of
an all-encompassing visual–spatial construct as well as the process of change and transformation that is an
inherent part of physical space.

 It focuses on scenic objects and the three–dimensional nature of space. Scenography is thus originally
about storytelling through artifacts and objects, where the visitors will be the audience and objects as a
stage to perform.
 Scenography is however linked to time, space and scale. It contributes to the experience we have in an
exhibition and engages the audience through the exhibition space and creates a presence correlating to
objects and text.

 Thus, it is constantly evolving its meaning and expanding its paradigm. It can be characterized as spatial
instruments and effects created to form a reaction and engage us as audiences – all this without appearing
as decorations, backdrops, or isolated art installations.
  Scenography has emerged as a medium to communicate in real time between humans (visitors) and display
objects.

IMPORTANT PARAMETERS
 Conveys their multi-layered (historical, social spaces) levels of meaning.
 Accessible subjects
 Contextualizes objects

 The main parameters of scenography include – content, object, space, and recipient as well as routing and
dramaturgy.

1. CONTENT PARAMETER -

Representing storytelling, the plot, and overall narrative. Scenography is about lending shape and content
and generating a new perspectives. It creates form from content and endows it with meaning.

The beginning always involves an exploration of the content resources, the objects, possible narratives, and
information. What is to be narrated? What messages are to be conveyed? What is the storyline? What is the
story that can be condensed to produce a plot?

The plot contains the important action and events in a story. Following a narrative structure with a prologue,
a middle part, and an epilogue.

2. OBJECT PARAMETER –

The museum is a medium that, on the one hand, collects and preserves historical artifacts, on the other
hand, exhibits and interprets a selection of them for the public.

Museum objects is a carrier of information relating to natural history, society, and aesthetics. Thus objects
have therefore been separated from the real environment, and living context and then infused with
meaning again in the context of the museums.

The change of context and the transfer of meaning do more than putting the thing in a new perspective.

The objects cannot tell about the past until a context has been created.

3. SPACE PARAMETER –

It is a central medium used as an instrument itself. The “space parameter” consists of four categories,
which are basic to all stages: the physical, the atmospheric, the narrative, and the dramatized space.
 The space is a narrative medium that helps to stage objects and makes a change of perspective visible.
Hence the space is analyzed as a physical condition according to dimension, entrance, exit, and its
physical surfaces like floor, walls, and ceiling.

So the space is instead a subject for everything that is conveyed informatively and emotionally, enabling
the visitors to participate and allow them to become a part of the scenographic setting.

4. RECIPIENT PARAMETER –

The fourth parameter plays a central role ie understanding scenography and influencing how staged
settings are designed.
Staged settings are the information conveying process that assesses its meaning.
The recipient is regarded as a design “parameter of scenography”. The recipient is not the central point but
the starting point for all consideration regarding the conceptualization and design of museum spaces.

SIGNIFICANCE OF THE PROJECT/TOPIC

Defining the relational aspect of scenography and museums. To Understand both disciples from the
perspective of spatial space integrity and its context.
Scenography in museums can be seen as one rooted in the idea of “reality construct” revealed through
space and scale. regardless the scenographer’s aim is playing with spectators’ imagination because the
scenographer’s task is rather to reveal the subtle context.
Significantly focusing on the physical reality of a space and bodily experience that exist through time.
Hence making each space to stand out exceptionally and immersively as connected.
Scenographic environment that encourages visitors to actively explore and it makes a statement about the
content within museum and flowing spatial experience as visitors feel connected and participatory sense.
EXAMPLE: -
National Museum of Qatar gift shops by KOICHI TAKADA ARCHITECTS where scenography is such
overseen that breaks down the space between natural and architectural by combing of 400000 induvial
wooden pieces and all curved thus giving a sense of expression and uniqueness carried into the museum
space.

CENTRAL CLAIM / HYPOTHESIS

The Appropriate role of scenography in museums will result in preserving and enhancing the space and scale of
objects and artifacts in museums correlating with human experience and motion.
AIM
The research aims to recognize the role of Scenography with space and scale within the Museums.

OBJECTIVE
 In the field of spatial design the study needs to focus on scenography.
 Understanding the various aspects connected and the concept of scenography
 Understanding the arrangement of principles of scenography so that they can be analyzed well in spaces of
the museum.
 Exploring whether in the context of museums the scenography role remains the same or not.
 Concluding whether based on case studies and examples the components of the museum in various spaces
are utilized how and why.

NEED OF THE PROJECT

The need for scenography in museum design examines how scenography can influence the value of visitor
experience.
Existing knowledge of visitors’ experiences, museum design, and the relationship between them.
With ever-increasing and improving competition for the public's leisure time, museums are increasingly recognized as
part of the leisure industry.
To remain culturally relevant and financially sustainable, museums have had to develop a deeper understanding of
not only who their audiences are, but also what users want from their experiences and how they can deliver that.
To focus on the visitor as an investor and uses the concept of ‘value of experience’

SCOPE AND LIMITATION

The research considers the study of Scenography as a concept that can be applied to museums.
The research does not limit the understanding of scenography as a mere visual phenomenon but introduces theories
in the field of scenography. The meaning of scenography has changed over time, so the research does not focus on
any specific definition, but tries to share perspectives on concepts related to scenography.
The discussed concepts and principles related to scenography have a complex meaning, and therefore the research
derives approaches to their study by obtaining a theoretical and analytical framework.

RESEARCH QUESTION
1. What is the role and scale of scenography in a museum?
2. How can the scenographic operation be engaged in a museum?
3. What sensorial experience will impact the different scenographical elements in museum spaces?
4. Can scenography be extended beyond theatre?
5. What are the approaches by which scenography can be analyzed in museums?
6. How does the use of principles of scenography results in the creation of performance, setting and
dramaturgy in museums?
RESEARCH METHODOLOGY

Based on (FACTORS)
Identifying the need to study scenography in museums Changing approaches to
Role of communicating
Museums scenography

Understanding concept of scenography notions and expandation

beyond theatre

Analyzing the role of scenography Concepts and role of

Scenography and demonstrating
what kind it is produced in museums

RESEARCH IMPLICATION
Developing an insight for understanding how conceptualization in the field of spatial design can be practiced.
Demonstrating its expansion in museums.
An approach toward the creation of corresponding principles, roles, and values of scenography.