AI Summary & Key Takeaways
AI InsightEnriching the visitor’s experience about the spac
📌 3 Key Takeaways
Abstract
To remember is based on imagining and perceiving. The better a space is perceived and experienced, the more it will be impinted on the memories. The goals of museums to become a memorable space, that people may visit again, will be parallel with the qualification of behavior and the quality of time spent. The relationship between space and its user, which has a dynamic structure; is expected to develop positive behavior patterns with the ‘ideal’ one in museum spaces that should improve the society’s education, culture, aesthetics and etc awareness. Design museums are non-profit and open public organizations that bring together the products and archival materials of manufacturers and designers from past to the present, carry and share this knowledge to the international platform, conduct researches to create a national product design memory, offer all their activities to the development of the society just as other museums, focus on graphic, fashion, architecture, industry and industrial product designs in its collections. Design museums can be a source of inspiration for their visitors. With their collections, events, workshops and training programs or their own architecture, they are beneficial places not only for designers but also for all segments of society. While the number of design museums in the world is increasing each day, there is no specialized ‘design museum’ in Turkey, that has focused on organizing many events on design culture in the 2000s. The most important step towards the idea of establishing a physical design museum was taken when Istanbul was accepted as a ‘City of Design’ within the scope of UNESCO Creative Cities Network (UCCN) in 2017. With this participation, the Design Strategy Common Mind Conference was held in February 2018 by the Istanbul Metropolitan Municipality within the framework of Istanbul’s commitments. In the speeches of this conference, the studies for the establishment of a ‘Design Center’ which includes a design library, youth center and design museum were mentioned. In the suggestions brought to the current situation analysis of Istanbul, the creation of an architecture and design archive and the necessity of bringing together of all written, visual and etc. design related works with a design museum to be established were emphasized. This research -which covers the readings of the relationship between spatial configuration and quality in museums as a public/social space through the Zurich Design Museum, and the current content and programs that can be applied during the establishment of a physical design museum in line with the developments in Turkey- is a preliminary study in order to accurately define the needs of the museum spaces, that are expected to improve the education, culture and aesthetic etc. awareness of the society. Therefore, in pratical terms, academicians who carry out museum studies, design offices, curators, a city-environment-building-space professionals from all disciplines who need to work together can benefit from this study in particular. Zurich Design Museum is Switzerland’s leading museum in the field of design and visual communication arts, which is also actively involved in research, education and training activities as part of the Zurich University of the Arts (Zurich Hochschule der Künste- ZHdK). Since 2018, it has been carrying out its activities in two different venues, the main building and the warehouse. The main building, which is named with the street where it is located -Ausstellungsstrasse- was completed by Adolf Steger and Karl Egender in 1933, and entered into a 7-year renovation process in 2010. With the end of the renovation process in 2017, the museum, which started to welcome its visitors again in March 2018, has permanent collections and temporary exhibition spaces that are intended to host five to seven exhibitions every year. The warehouse called Schaudepot; is located at the former Toni yogurt factory in District 5, that was the largest factory of Europe at the time and today named Toni-Areal, which was converted into an education, culture and life complex by EM2N Architects. The four collections of the museum (decorative arts, design, graphics and poster) are permanently displayed in this warehouse, with a total of more than 500,000 objects. In addition, there is an exhibition space where temporary exhibitions can be held. The collection archives here can only be accessed by guided tours, at certain times of the day, by prior reservation as the number of participants is limited. Besides; the museum, which is highly appreciated on the international platform, aims to reach more viewers and visitors by keeping its audience wide with travelling exhibitions and digitalized eGuide/eMuseum information packages. Some findings of this research about the sample museum summarizes as follows can be an guide for future design museum studies. Enriching the visitor’s experience about the spac
Özet
Hatırlamak; hayal etmek ve algılamak üzerine kuruludur. Bir mekân ne kadar iyi algılanır ve deneyimlenirse, hafızada o denli yer edinecektir. Müzelerin akılda kalıcı ve insanların tekrar ziyaret edeceği bir yer olma hedefleri, kurguya bağlı olarak ortaya konacak davranışların niteliği ve harcanan zamanın kalitesiyle paralel olarak gerçekleşecektir. Mekân ile kullanıcısı arasındaki dinamik bir yapıya sahip ilişkinin; toplumun eğitim, kültür, estetik vb. bilincini geliştirmesi öngörülen müze mekânlarında ‘ideal’ olan ile birlikte olumlu davranış biçimlerini de geliştirmesi beklenir. Bu doğrultuda çalışma, bütününde literatür taraması ve yerinde gözlem olmak üzere iki temel yaklaşım üzerine kurgulanmıştır. Müze mekânlarında gereksinimleri doğru tanımlayabilmek için öncelikle, müze mimarisinin tarihsel gelişim/değişimine ve tasarım müzelerinin ortaya çıkış sürecine paralel olarak oluşturulmuş işlev ve programlarına değinilmiştir. İkinci adımda araştırmanın amacına uygun bir yol izlenebilmesi için tarama modeline bağlı olarak örnek olay taraması gerçekleştirilmiş, analiz ve değerlendirmeler ile yargısal sonuçlara ulaşılmıştır. Araştırmacının aynı zamanda hem iç mimar hem de mekânın kullanıcısı olarak bulunduğu müzeyi kişisel deneyimleri üzerinden yorumlamasının, bir mimari yapıya dair yargıların geliştirilmesinde önemli olduğu düşünülmektedir. Ayrıca gelecek yıllarda Türkiye’de kurulabilecek bir tasarım müzesi için altlık oluşturabilecek çalışmaların henüz literatürde yeteri kadar yer almaması teorik ve pratik anlamda çalışmanın kullanılabilirliğinin etkili ve özgün niteliğinin net olduğunu açıkça ortaya koymaktadır.