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1

EXPOSITIONAL DESIGN OF THE AUDI MUSEUM IN INGOLSTADT: REPRESENTATION OF THE BRAND’S CHARACTERISTICS IN AUTOMOBILE INDUSTRY HISTORY

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Bondarenko I., Bondarenko B., Gonchar O.
Muzeológia a kultúrne dedičstvo
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2020
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vol. 8
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issue 1
19 – 30
EN
Modern automotive brand museums belong to the corporate museum class; thus, they are versatile in that they perform multiple tasks. They not only satisfy the visitors’ desire to receive new information, but also realise the business goals of brand representation, both increasing loyalty to it, and developing corporate culture. The current trend in automotive brand museums’ design is that the artistic solutions for the exhibition environment form associations among visitors that reflect the personality of a particular brand. This article analyses the scenario-design organisation of the museum exhibition of the Audi brand, which, during over 100 years in the automotive market, has formed its unique and inimitable image. Here we reveal the design means of exposition construction, where the exhibits are integrated into the economic and social conditions of their existence, forming an idea of important milestones in the history of the twentieth century.
2

SYNTAX AND SEMANTICS OF MODELLING EXHIBITION SPACES: A CASE STUDY OF THE HRYHORII SKOVORODA NATIONAL LITERARY AND MEMORIAL MUSEUM, UKRAINE

100%
Bondarenko I., Tarasov V., Severyn V., Yermakova T.
Muzeológia a kultúrne dedičstvo
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2023
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vol. 11
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issue 3
5 - 22
EN
The aim of this article is to analyse the exhibition semantics of the exposition of the H.S. Skovoroda National Literary and Memorial Museum (Ukraine, Kharkiv region). The authors substantiate the concept of dearchaisation of Skovoroda’s image by means of modelling the syntax and semantics of the exhibition space. According to the authors, exhibition design cannot ignore symbolism, as the principles of cultural consumption of “places of memory” function in the stream of consumption of a work of art. The viewer does not come for the subject, but for emotions and experience. Therefore, design should go beyond the physical properties of objects, subjects, compositions, and so on, and the content of any design should ultimately be the conditions for gaining new experience. The relationship between the material (object) and the imaginary (interpretation) is projected at the intersection of exhibition syntax and semantic modelling.
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