The musealisation of the artist's house as architectural project

Artist’s houses that are opened to the public as museums shift from a private and everyday to a semi-public and institutional functioning. This transformation of an artist’s house into a house-museum might appear as a mere legal issue or as a matter of making previously secluded rooms and collections accessible to the public. But this musealisation of an artist’s house always involves a set of museological and architectural interventions as well. Not only need the house and its content to be displayed as historical documents through a careful mise-en-scène and through the addition of a sub-text of labels or explanatory panels that disclose the meaning of these historical documents; there is also a need for a logic and clear visitor’s route in a house that was not intended for this. Often this already demands architectural design decisions, but it is mainly in the introduction of the supporting museum functions like the necessary office spaces and an entrance hall with reception desk, cloakroom and bathrooms that the musealisation comes down to an architectural design challenge. The proposed paper wants to discuss the artist’s house museum from an architect’s point of view, on the basis of a selection of artist’s houses that were recently transformed into museums, such as the Atelier-Museum Luc Peire in Knokke (B) or the renovations of the Permeke and Rubens house museums. I want to propose the artist’s house museum as an architectural typology by mapping its various typical architectural and spatial characteristics. The first crucial point of interest here is how the spatial division is articulated between the historic interiors, the exhibition spaces and the museum’s service spaces outside of the visitor’s circuit. A second architectural question is how the museum as an active institution can be given an architectural ‘face’ while respecting and presenting the house and its collections as historical documents; how can both the ‘authentic’ private atmosphere and the contemporary public museum be given shape, and is there a place for authorial design in this mediating exercise

Brass Art: A house within a house within a house within a house

Performances from Brass Art (Lewis, Mojsiewicz, Pettican), captured at the Freud Museum, London, using Kinect laser scanning and Processing, reveal an intimate response to spaces and technologies. ‘A house within a house within a house within a house’ links historical and cultural representations of the double, the unconscious and the uncanny to this artistic practice. The new moving-image and sonic works form part of a larger project to inhabit the writing rooms of influential authors, entitled ‘Shadow Worlds | Writers’ Rooms’

Vernacular museum: communal bonding and ritual memory transfer among displaced communities

Eclectically curated and largely ignored by the mainstream museum sector, vernacular museums sit at the interstices between the nostalgic and the future-oriented, the private and the public, the personal and the communal. Eluding the danger of becoming trivialised or commercialised, they serve as powerful conduits of memory, which strengthen communal bonds in the face of the ‘flattening’ effects of globalisation. The museum this paper deals with, a vernacular museum in Vanjärvi in southern Finland, differs from the dominant type of the house museum, which celebrates masculinity and social elites. Rather, it aligns itself with the small amateur museums of everyday life called by Angela Jannelli Wild Museums (2012), by analogy with Lévi-Strauss’ concept of ‘pensée sauvage’. The paper argues that, despite the present-day flurry of technologies of remembering and lavishly funded memory institutions, there is no doubt that the seemingly ‘ephemeral’ institutions such as the vernacular museum, dependent so much on performance, oral storytelling, living bodies and intimate interaction, nevertheless play an important role in maintaining and invigorating memory communities

The Chawton House Experience - Augmenting the Grounds of a Historic Manor House

Museum research is a burgeoning area of research where ubiquitous computing has already made an impact in enhancing user experiences. The goal of the Chawton House project is to extend this work by introducing ubicomp not to a museum as such, but a historic English manor house and its grounds. This presents a number of novel challenges relating to the kinds of visitors, the nature of visits, the specific character of the estate, the creation of a persistent and evolving system, and the process of developing it together with Chawton House staff

Levi Pennington Writing to Lura Miles, February 14, 1947

Levi Pennington writing to Lura Miles about his work on relief, the college\u27s purchase of the house Herbert Hoover lived in with his uncle (the Hoover-Minthorn House) with the intention of turning it into a museum, and other news.https://digitalcommons.georgefox.edu/levi_pennington/1135/thumbnail.jp

Joseph Priestley: the man who drew time

The Joseph Priestley House Museum at Northumberland, Pennsylvania became interested in Priestley's pioneering timelines as a complement to his better known work in chemistry, electricity, biblical scholarship and political radicalism. Boyd Davis wrote this short article for the newsletter published by the Friends of the museum. The article concentrates on the connections between Priestley, his French contemporary Barbeu-Dubourg and Benjamin Franklin at the time of the struggle for American Independence, and Priestley's two key chronographic innovations: the use of drawn or printed lines to represent the duration of lives, and the associated use of dots to show when the dates of such lives are in doubt or dispute. Keywords: timeline, chronographic

Ohio Connecting to Collections survey results -- History Organizations Crosstab

OhioSurvey MonkeyCrosstab of survey results showing results for historical organizations (historical society, museums, historic house or site) completing the surveyInstitute of Museum and Library ServicesState Library of Ohio, Ohio Historical Society, Intermuseum Conservation Association, Ohio Museums Assocation, Ohio Local History Allianc

Negotiating the Nation: Knowledge and Meaning at Vaucluse House in its First Curatorial Period

Inaugurated during World War I, Vaucluse House museum aimed to educate visitors of the work of nineteenth century parliamentarian William Charles Wentworth, in particular his role in the installation of responsible government in New South Wales, indeed his writing of the first Constitution, for this and other Wentworth projects were among those which underpinned twentieth century democracy. This article uses museum theory concerning the character of the modern disciplinary museum, and also the tendency of that institution to shape knowledge, to investigate the experience offered to audiences at Vaucluse House over the museum’s first curatorial period. It argues that, in the context of war and an official need to press empire nationalist identity, particular curatorial practices and museological assumptions shaped the themes available and assumed certain audience responses. In the absence of any contemporary methods for assessing museum work in detail, the decision to install a major thematic display of constitutional history intermingled with a house museum interpretation produced mixed messages. Unexpected new evidence and ingenuous curatorial expansion of the rooms available for inspection soon produced unintended consequences. In a changing historical and cultural context, the major theme and rationale of the museum began to be undermined and the house museum interpretation began to dominate. It was this focus which was finally and belatedly endorsed by the museum Trustees in the mid 1950s

Parliament bounces back – how Select Committees have become a power in the land

Much reformist discussion of the House of Commons views it as an institution in permanent decline, operating in a museum-building with stuffy and out-of-date processes that MPs stubbornly refuse to change. But Patrick Dunleavy and Dominic Muir show that the reforms pushed through in 2009-10 by Tony Wright have already made a dramatic difference. The media visibility of the Commons’ Select Committees has grown substantially, giving them unprecedented national (even global) attention