TarraWarra Museum of Art’s Post

Tarrawarra Museum of Art in Victoria's Yarra Valley has unveiled plans for a new cultural hub designed by Kerstin Thompson Architects in collaboration with Oculus and Wurundjeri horticulturalist and artist Craig Murphy-Wandin.

I was struck by this quote from Javier Sainz de los Terreros of the Museo Nacional del Prado when speaking about museum patrons at the NEXTIN Summit in Madrid: “They are now empowered”, he said. “They want to take part in decision making and effect change. Museums have now become listeners.” This sums up the shift as we move from a content-centric world to a community-centric world. It's no long just about just creating content for audiences to passively consume. It's now about creating spaces where fans can come together, connect with each other, and actively shape the experience. Of course, creating this space is a lot easier if you already have a museum. But just providing a space isn't enough. You have to design it to facilitate connections, not just for consumption. Blooloop has a full summary of the NEXTIN conference here: https://lnkd.in/gSyyYWpA #museums #communitybuilding #communitymanagement

#webreview ArchDaily A Culture of #Reuse: 5 European Museums Embedded into Their Historical Contexts Throughout their relatively recent history, museums have evolved to condense particular aspects of a culture and present them in a coherent and unified manner. This makes the connection between the architecture and the exhibit a crucial matter, as the architect is tasked with designing not only the framework and background of the exhibited arts or artifacts but also taking charge of the journey undertaken by the visitor, harmonizing the cultural gain with the lived spatial experience of walking the exhibition halls. However, not all museums have been purposely built for this task. Across Europe, museums are being organized within or expanding upon historical monuments and buildings that have lost their original purpose. Then in a state of decay, this decision to reorganize them as cultural venues stops the decay and preserves the historical material, adding a new layer of complexity to the intended exhibits. The architect's role becomes that of introducing order and a system that can balance the heritage of the place with the needs of modern functionality, ensuring that the essence of the original structure is preserved while meeting the needs of contemporary exhibitions and public engagement. https://lnkd.in/eQR5mqnd

The Cleveland Museum of Natural History has become the first United States museum to earn the LEEDv4 BD+C NC Platinum certification. The $150 million transformation expanded the existing 217,250-square-foot facility to more than 375,000 square feet with more than 2 acres of outdoor visitor areas. #inparknews #themedentertainment #museums #sustainablebuilding #sustainability #sustainablearchitecture #naturalhistorymuseums

Museums Association recently announced their next conference will be hosted at St Fagans National Museum of History, Cardiff (Amgueddfa Cymru – Museum Wales) next October. The 100-acre site sits within the grounds of a castle and consists of over 40 historic buildings. From 2013-2018, we worked alongside the team at St Fagans to design three of their new exhibition spaces. This project was part of a £30 million redevelopment project, the biggest transformation for St Fagans since it was founded in 1948. "What makes working on the projects that go onto win major prizes like the Art Fund Prize so special is the vision and innovation that characterises the clients and the ability of the architects and the exhibition designers to rise to those aspirations and deliver inspirational visitor experiences. St Fagan's won the Art Fund prize in 2019 for standing as "a monument to modern museum democracy. All three galleries required a sense of informality and welcome which drove the aesthetic of the displays, the nature of the layouts and in particular the tone and style of the graphics. Each gallery had to be designed with the capacity to constantly evolve and incorporate ongoing contributions. Combining collections display with visitor activity, rather than separating the two as many museums do, requires careful consideration and planning. As a designer, you have to get under the skin of what that means." Esther Dugdale. Esther is a Creative Director and Expert Advisor who works alongside us. Find out more about this extensive project below. https://lnkd.in/eyV4ih_X 📷 Museums Association

Welcome to the vernissage 29/3 at Omarcity.world Solo expo 'Fragments' Through colour, form and composition, images use a language. They speak to viewers. But do they also talk among themselves? Browsing through her portrayals of urban landscapes and architecture compiled over the course of five years, Kaatje discovers dialogues between her photographs. Impressions from distant places, such as Milan, Antwerp, Hong Kong, Paris and Seoul, engage in conversation through the language of form. Rather than telling viewers the meaning behind images, FRAGMENTS lets us in on the playful dialogue of images with no need for words. At Omarcity, we value this approach to the language of form. Even when objects, designs and art don’t immediately tell you where they are from or how to look at them, they can still together form a whole that feels unexpectedly familiar and welcoming. We travel the world and get inspired by the talent and creativity in less obvious creative cities worldwide. We invite our visitors to look beyond the trends. Let the language of form be more powerful than words and become fellow explorers of new possibilities in architecture, design, art and lifestyle.

As museums strive to be more accessible, the architectural response does not need to be an expected or formulaic one. https://lnkd.in/gvVGyixZ

URBBAN CANVAS HYBRID COLLECTIVE EXHIBITION SEP 20 - NOV 20 @ Kulturnest Artkill_0005 by ASK The Web The Web explores the entanglement of humanity within the sprawling cities, and the environmental and psychological tolls of this unchecked expansion. The artwork visually mirrors the urban bang initiating the disintegration of natural landscapes. It portrays the tension between the urban and non-urban through fragmented geometric shapes and distorted structures. At the heart of The Web, we witness the footprint of an initial settlement that has broken free from its containment structure, hinting the historical shift from compact medieval forms to the scattered urbanization sparked by the industrial revolution. This shift is also represented by the urban silhouette on the horizon, driven by insatiable greed. Like a web being cast outward, this sprawling growth relentlessly stretches across the landscape defying ethical boundaries and ecological limits in its quest to conquer space at any cost. While growing, the city consumes its surrounding territories, transforming them into temporary farmlands to sustain its inhabitants, who naively came to believe that resources on Earth are limitless. Blinded by the allure of progress and prosperity, urban population unknowingly drift toward an uncertain fate, only to realize too late that the notion of inexhaustible resources was nothing but a pure illusion. The Web unveils the deeper consequences of humanity’s overreach. The balance between different (eco) systems collapses and the over-exploited farmlands wither, unable to regenerate after years of misuse. The psychological impact on the inhabitants intensifies. The disconnection from nature and the ever-growing isolation of sprawling developments fuel anxiety and alienation. They are trapped in a web of congestion, pollution, and a deepening sense of hopelessness. The promised progress turns out to be a mirage, leaving them to face the devastating consequences of unsustainable growth. With the natural landscape disintegrated and the city’s resources depleted, The Web poses a final question: Can humanity restore balance, or will it be consumed by the same web of its own short-sighted voracity? The artwork leaves the answer deliberately unresolved, urging us to contemplate the costs of our choices on the future of our cities and the planet.

Spaces-31 is a Yangon- based art space that recognizes the complexity and diversity of past and present art. It is also a place that will approach its focus on the culture and art history, both local and international. We believe access to art is a universal human right, and we see our art spaces as sites of creative learning. At Spaces-31, we encourage making art and intend to guide people in exploring their own creative potential, revealing many ways. In addition to the exhibition services we have provided previously, we will also be working on hosting exhibitions, art-related projects, installations, digital artworks, collaborative exhibitions with organizations, performances, workshops, cross-cultural events, and along with an education program, we will be taking on various new challenges, including sharing projects across multiple subjects. These developments are in anticipation of our upcoming opening. We will redefine the art space experience and offer a wide range of experiences to all local visitors through our curated collections, exhibitions, cultural events, and overall ideas about art. Therefore, we provide a space where all artists, collectors, and enthusiasts can meet in one place. Our location at (1/A Union Lane, Sayar San Road, Bahan, Yangon) serves as an intersection for the exchange of creative arts and as a hub for those who are looking to find an artistically unconventional place.We will share up-to-date information on our platforms to engage with contemporary art and we hope that Spaces-31 will serve as a transitional, cross-cultural space during these difficulties. “We are chaos, We wield chaos” Space location - 1/A Union Lane, Sayar San Road, Bahan, Yangon #spaces31 #ss31 #contemporary #art #culture #society #community #contemporaryartspace #yangon

WUDA Advent Calendar 2024 ✨ DAY 15 / 24 days, 24 inspirations Leonardo da Vinci - People Who Inspire Us Leonardo da Vinci stands as one of history’s most inspiring polymaths—an artist, scientist, engineer, and architect whose mind soared as high as the flying machines he imagined. Leonardo da Vinci wasn’t just an artist or inventor—he was a designer of dreams, whose ideas bridged art, architecture, and the natural world. Alongside masterpieces like The Last Supper, his lesser-known creations include flying machines inspired by birds, centuries ahead of their time. His notebooks, filled with intricate drawings and mirrored handwriting, blur the lines between art and science. Leonardo’s architectural work was equally visionary. His contributions included designs for fortifications, centralised churches, and, most notably, his concept of the ideal city, imagined as a blend of beauty and functionality. If you’re ever in Milan, a visit to the Leonardo da Vinci Museum of Science and Technology is a must. Located near the Last Supper, this museum brings his genius to life, showcasing models of his flying machines and other designs that make you marvel at his unparalleled ingenuity. Leonardo reminds us that to design is to dream and to dream is to dare. At WUDA, we celebrate design that pushes boundaries and blurs the lines between art, science, and possibility. What designs will you dream of that, like Leonardo’s, can take flight? #LeonardoDaVinci #WUDAAdventCalendar #IdealCity #VisionaryDesign #FlyingMachines