A valorização da função do objecto de design em contexto museológico : lógicas expositivas - a museologia do design industrial

The design objects give us a testimony of those who imagined, designed, developed, manufactured and used them. Each object, intentionally or not, portrays its own story, all the visible details are part of a decision taken by someone at some time of its chronology. The act of collecting objects, as well as private collections are the basis for the creation of museums as we know them today. Musealization - taking objects into a museum - means that one is restoring, preserving, enhancing some objects compared to others. And when restoring these objects, one is restoring their symbolic capacity, i.e. the fact that they tell a story, means you are restoring its message. In a museum, although out of context and deprived of most of the functions to which they had been designed for, the objects acquire other function(s), preserving their importance. Design museums give us the possibility to have a closer view of the objects, rather than just look at them, along with the pedagogical function. Thus presents a proposal for museography regarding industrial design, which is based on the appreciation of the function of anonymous design objects, based on expository logic, that takes the visitor to see, instead of just looking at objects, offering the possibility of interaction with the same, increasing the relationship between human being - object - museum, including groups with special needs, which are often forgotten in these exhibitions. This dissertation is a reflection and a projectual intervention on the design object in a museum, clarifying the concepts of object and museum, covering issues regarding the relevance of design museums, and culminating in the presentation of a museography project, where the function of an object prevails

La théorie sociale de la connaissance et la gestion du patrimoine documentaire à l’ère numérique

Les institutions de mémoire et de savoir (par exemple, les bibliothèques, les archives, les musées) font face à des défis importants dans leurs responsabilités d’assurer la pérennité du patrimoine documentaire à l’ère numérique. Citons la surabondance de l’information numérique, la possibilité de production, théoriquement illimitée, offerte aux individus comme aux groupes sociaux, les limites dans les capacités de stockage et de diffusion de l’information numérique qui sont à la disposition des institutions mandataires du patrimoine documentaire. De plus, il est apparu que les approches et les méthodes utilisées pour identifier, gérer, préserver et diffuser le patrimoine documentaire de la société canadienne dans un environnement analogique n’étaient transférables à un environnement numérique. Nous suggérons que la théorie sociale de la connaissance peut servir de base à une réflexion portant sur le développement d’une politique publique qui viserait à encadrer l’identification, la sélection, la gestion et la préservation du patrimoine documentaire d’une société à l'ère numérique. Nous définissons la problématique puis proposons des réponses à travers trois articles scientifiques. Les résultats indiquent que les connaissances et les pratiques professionnelles utilisées demeurent persistantes et limitent la formulation et l'application de nouveaux cadres théoriques, de politiques administratives et de techniques associés à l'identification et la sélection du patrimoine documentaire. Cette recherche propose un cadre conceptuel qui permet de développer des politiques publiques sur le patrimoine documentaire du Canada.

Rear view of old museum, now Romance Language

William L. Jenney, architect. Originally University Museum, built 1880-1881. Roof replaced 1894. Museum moved in 1928. Housed Department of Romance Languages after 1928. Building razed in 1958. On verso: Photographed in 1887 by A.L. Colton of '89

Romance Languages

Photo toward southwest. Taken from rear of Romance Languages Building. South Quad and Michigan Union to rear. William L. Jenney, architect. Originally University Museum, built 1880-1881. Roof replaced 1894. Museum moved in 1928. Housed Department of Romance Languages after 1928. Building razed in 1958. On verso: University of Michigan. News Service. 3564 Administration Building. Ann Arbor, Michigan

Museum. Romance Languages

William L. Jenney, architect. Originally University Museum, built 1880-1881. Roof replaced 1894. Museum moved in 1928. Housed Department of Romance Languages after 1928. Building razed in 1958. Typed caption pasted on verso: Museum. Built in 1879. Considered finest building on campus but I notice now it is so old and obsolete it should be torn down

Museum

William L. Jenney, architect. Originally University Museum, built 1880-1881. Roof replaced 1894. Museum moved in 1928. Housed Department of Romance Languages after 1928. Building razed in 1958. Old University Hall on left.

Romance Language Bldg.

William L. Jenney, architect. Originally University Museum, built 1880-1881. Roof replaced 1894. Museum moved in 1928. Housed Department of Romance Languages after 1928. Building razed in 1958.