There are various archive exhibitions held in art museums around the world. With the advent of Google, YouTube, digital cameras, and many other technologies, the way of recording and showing artwork has completely changed. In addition, archive exhibition related art has different characteristics compared to history museums and science museums. An art archive exhibition should have a close relationship with the displayed artwork, and it also has to be an artwork itself. It should satisfy the different expectations of visitors such as providing a new sensory experience or artistic knowledge. Also, the importance of archive sessions that can inform the context and meaning of the entire exhibition is growing because understanding the individual artwork is becoming more difficult as most of art has become more conceptualized. This article will present the process of a project our research team has been working on. This project composed an archive session for the robotic artwork from the “Robot Essay” exhibition that opened this past April at the Korea National Museum of Contemporary Art. Our archive session, inter-shelf, focused on how to increase the visitors’ engagement with the art exhibition by using rich and interactive experiences such as books and bookshelves as design motifs. The Inter-shelf consisted of four layers of information including a timeline, video, interactive installation, and real-time info-aesthetic visualization based on the visitors’ survey.
In the digital age, the hyperspace of virtual reality systems stands out as a new spatial concept creating a parallel realm to “real” space. Virtual reality influences one’s experience of and interaction with architectural space. This “otherworld” brings up the criticism of the existing conception of space, time and body. Hyperspaces are relatively new to designers but not to filmmakers. Their cinematic representations help the comprehension of the outcomes of these new spaces. Visualisation of futuristic ideas on the big screen turns film into a medium for spatial experimentation. Creating a possible future, The Matrix (The Wachowskis 1999) takes the concept of hyperspace to a level not-yet-realised but imagined. With a critical gaze at the existing norms of architecture, the film creates new horizons in terms of space. In this context, this study introduces science fiction cinema as a discussion medium to understand the potentials of virtual reality systems for the architecture of the twenty-first century. As a “role model,” cinema helps to better understand technological and spatial shifts. It acts as a vehicle for going beyond the spatial theories and designs of the twentieth century and for defining the conception of space in contemporary architecture.
With a growing disconnect between children and nature, researchers and educators are looking for ways to (re)establish bonds with the environment, and through those bonds to help children to learn about and act sustainably. This article discusses findings of a postcards project between children in Australia and Singapore, where children created drawings and stories of their environments to share with their peers overseas. Through this largely arts-based, multimedia approach, children’s understanding of “environment” increased and their depictions moved beyond their homes to locations further afield. However, for one group, the preference for the indoor environment increased, indicating, as Louv suggests, the need for children to reconnect with nature.