As students and museum professionals, we are constantly revisiting the question of, “What is a museum?” We ask it of ourselves and of the visitors we serve – a quick search on Youtube, for example, yields such entertaining videos as What is a Museum? from …
I don’t know about you all, but now that I am busy with graduate school and work, I don’t have a lot of time to read for fun like I once did. I spend a lot of time watching TV that inspires me, but maybe …
With climate change as a constant impending threat, historic sites must consider their future sustainability with regards to the environment. Sea levels are rising, and many historic sites are located close to harbors and ports, which used to be the economic centers of many towns. However, this puts them in the prime position to be damaged by the environment. While the historic house field is very aware of this problem, it is something that requires continuous attention.Personally, this issue has been on my mind because I am interning at the Nantucket Historical Association this summer, and this problem is something that the entire island will face in the next several hundred years. However, some historic sites have come up with creative solutions to combat the sea level rise, as well as other natural issues.
The Sankaty lighthouse on Nantucket was moved inland in 2007 because of eroding shorelines and a terrible storm. Mounted on rails, the entire lighthouse was pushed farther inland in one piece to preserve it for longer. While this solution saves the lighthouse for now, it is not a permanent solution to the problem, and it will probably need to be moved again in the future.
Farnsworth House in Plano, Illinois experiences flooding that has damaged many different parts of the property, including textiles and flooring. The National Trust owns the house, and they are very open on their website about the different methods that they considered when trying to redirect the flood water. In conjunction with Robert Silman Associates, they explored five different options before finally choosing a system that will raise the house up temporarily when the area floods, and then the house can be returned to its original state afterwards. This option preserves both the architect’s vision and the physical house.
Many houses in Newport, RI are experiencing the same issues of coastline erosion, including the Christopher Townsend House that the Newport Restoration Foundation (NRF) owns. A recent New York Times article highlighted some possible ways to adapt historic houses for the future. The Townsend House currently employs a method of “dry-proofing,” which involves sandbags to block flooding from the house as well as a pump to keep water from standing in the basement. Some other suggestions for the house include replumbing houses so the water diverts underneath the house and is drained elsewhere, a cistern under the house to collect the water, or a way of floating the house using guide posts.
We may not be able to change what has already happened to our planet, but we can at least be as prepared as possible to try to adapt with these environmental hazards, as well as advocate for conservation and environmentally sustainable practices. Many historic sites are organizing conferences and trying to set an example of innovative planning while also maintaining the integrity of their sites.
Transformation creates opportunities and problems that call for collective interpretation: What are we about? Who are we? What is important? What are our priorities? (Eckel & Kezar, 2003a) In May of 2019, a story of racist behavior directed at students of color at the MFA …
The opportunity to travel into the past has arisen at the National Museum of Natural History in D.C. The famous Fossil Hall has been closed for renovations the past five years, and I am in the lucky position of being around when it reopened with …
In May, I took a trip to China to visit a friend who is working as an English teacher in the city of Xiangtan. While I was there, I wanted to visit as many museums as possible to see if there was a cultural difference. Of course, I could only visit museums that were near the city, but I felt that I left with some new inspirations and understandings of the way we run our museums in this country. My few key takeaways:
Pig statue projection.
Technology was everywhere! From the moment we walked in the door at the Xiangtan museum, we were surrounded by technology, but it didn’t feel obtrusive. Instead, it was used to bring the visitor closer to the objects. The picture to the right shows the projection of a statue of a pig that was on display in one of the museum’s cases. The projection of the statue allows the visitor to see all sides of the object because there were designs that were hidden in the case display. This technique worked particularly well for vases or objects that need to be displayed in-the-round. In fact, they had a section dedicated exclusively to pottery with the technological ability using QR codes to bring up digital recreations of vases and pottery that matched some pottery shards that were on display (see picture below). Using technology to put the objects in a greater context was an excellent way to engage visitors, who otherwise might have passed over this section of fragmented pottery.
This history was so much older than I expected. While in the US, we have Native American art and artifacts, which I have seen dating back as far as 12,000 years old, it was a totally new experience to see some pieces in the Xiangtan museum that could be dated as far back as 300,000 years ago! This was not something that I had thought in-depth about prior to visiting. The artifacts that have survived this long are mostly fragments of stone tools, and the technology that the museum incorporated allowed the visitor to feel like they could actually interact with the object because you could pull it up on the touchscreen kiosks to look more closely at them.
Less programming – the museums that we visited had less programming and more focus on history and the objects in the collection. In the United States, museums often attract people based on their programming, which is designed around their objects and the stories that the museum is trying to tell. None of the Xiangtan museums that I visited had programming to supplement their exhibits.
While I cannot speak for the culture of museums in other parts of the country, I had an excellent time visiting the ones in Xiangtan and seeing new ways to integrate technology into the experience. Even though I personally prefer our model of involving community programming, I found it compelling that the objects were such a focus in the museum experience.
My friend, Mariah, using the interactive display about pottery.