POLITECNICO DI MILANO
School of Architecture
Urban Planning
Construction Engineering
DEVELOPMENT OF DIGITAL MUSEUM AND
APPLICATION PLANNING OF VIRTUAL
TECHNIQUES ON MOBILE MUSEUM
Prof. Alfredo Ronchi
Thesis of Master of Science by:
Chen Shiying
Matr. 834033
Anno accademico 2015/2016
I
Acknowledgements
I have the greatest pleasure in submitting this thesis on ―Development of digital museum
and application planning of virtual techniques on mobile museum‖.My special
acknowledgements to my professor Alfredo Ronchi. This thesis is completed under the
guidance of Prof Ronchi. With his vast expertise, rigorous scholarship and keep
improving work style, I benefit a lot in finishing this thesis work.
During the thesis I not only enhanced the knowledge I ever got, but also expand my
cognitive level as well as research skills. It would be difficult for me to finish this thesis
without prof Ronchi‘s help.In this thesis, starting from the first phase to select the topic
until the end, each step is completed under the guidance of instructors, Prof Ronchi
devoted a lot of effort. Here I show my highest respect and heartfelt thanks to him.
I am also thankful to Professor Stefano Della Torre for his timely suggestion, help,
guidance and encouragement during the thesis,especially the examination of the thesis
during the final stage that makes me have the chance to present my thesis in the best
way.
I must pay cost sincere indebtdness towards all the profs and stuff during my learning
stages. It is all of their help that makes me get the knoledge which supports my
development of thesis. The completion of the thesis would be difficult witout their
teaching and patiance. I am also thankful to my friends.
STUDENT:CHEN SHIYING
.
III
Summary
In this thesis I analyzed the current situation of museum and their developing trend,
which is closely connected with digital technologies. Comparing the difference of
traditional museum and digital museum, we can see that digitization has become the
inevitable result of future development of cultural industries. Later I made analysis of
four museums case studies, from which we can tell the important role that digital
techniques have played. With all of these information I got, I designed the museum in a
new form which is mobile digital museum. This type of museum can be moved easily
among different destinations carring digital exhibit machines. This thesis made the
hypothesise about the material being used and system to be build. After that, visitors
and potential audience have been analysed according to specific cultural performance.
Finally, the impact and influence of this new form are discussed, as well as the
development situation in the future.
Key words: museum; digital technology; new form; development trend of digitization.
V
Index
ACKNOWLEDGEMENTS ...................................................................................................... I
SUMMARY ............................................................................................................................... III
INDEX ......................................................................................................................................... V
LIST OF FIGURES ............................................................................................................... VII
LIST OF TABLES ..................................................................................................................... X
CHAPTER 1 INTRODUCTION ............................................................................................. 1
1.1 RESEARCH/SURVEY BACKGROUND ....................................................................................... 2
1.2 SIGNIFICANCE OF THE RESEARCH AND APPLICATION ........................................................... 3
1.3 INEVITABILITY ANALYSIS OF DIGITAL MUSEUM DEVELOPMENT .......................................... 6
1.4 FUNDAMENTAL ADVANTAGES OF MUSEUM DIGITIZATION ................................................... 7
1.5 ADVANTAGES OF DIGITAL MUSEUM IN EXTERNAL INFORMATION DISPLAY................................7
1.6 ROLE AND FUNCTION OF MUSEUM DIGITIZATION ................................................................ 8
CHAPTER 2 INTRODUCTION OF DIGITAL/VIRTUAL MUSEUM ....................... 9
2.1 CONCEPT OF DIGITAL MUSEUM ............................................................................................ 9
2.2 THE BASIC CHARACTERISTICS OF DIGITAL MUSEUM .......................................................... 10
2.3 COMPARISON BETWEEN TRADITIONAL MUSEUM AND DIGITAL MUSEUM .......................... 12
2.4 OUTSTANDING ADVANTAGES OF DIGITAL MUSEUM ........................................................... 13
2.5 MANAGEMENT OF DIGITAL MUSEUM .................................................................................. 16
CHAPTER 3 CASE STUDIES .............................................................................................. 20
3.1. MUSEO ARCHEOLOGICO VIRTUALE .................................................................................... 20
3.2. MUSEUM OF HISTORY, PALAZZO PEPOLI .......................................................................... 25
3.3. UFFIZI GALLERY ................................................................................................................ 27
3.4. THE CANADIAN MUSEUM FOR HUMAN RIGHTS ............................................................... 34
VI
CHAPTER 4 MOBILE DIGITAL MUSEUMS ................................................................ 41
4.1 REAL CASE OF MOBILE DIGITAL MUSEUM .......................................................................... 42
4.2 MOBILE DIGITAL MUSEUM TRANSPORTATION METHOD ................................................... 44
4.3 SHELL STRUCTURE DESIGN ................................................................................................ 46
4.4 SYSTEM DESIGN .................................................................................................................. 54
4.5 SYSTEM STRUCTURE DESIGN SUMMARY ........................................................................... 62
CHAPTER 5 INTERNAL CONTENTS DESIGN OF MOBILE DIGITAL
MUSUEM .................................................................................................................................. 64
5.1 DIGITAL COLLECTIONS PRINCIPLE ...................................................................................... 64
5.2 DESIGN PRINCIPLES OF MUSEUM MULTIMEDIA EXHIBIT DISPLAY .................................... 66
5.3 EXHIBITION METHODS AND MACHINES LAYOUT DESIGN .................................................. 71
5.4 TOPICS OF THE MUSEUM BEING DESIGNED........................................................................ 85
CHAPTER 6 VISITORS AND IMPACT ANALYSIS .................................................... 94
6.1 VISITORS ANALYSIS AND SERVICE FOR THEM ..................................................................... 94
6.2 DIGITAL MUSEUM SWOT ANALYSIS ................................................................................. 98
6.3 IMPACT.............................................................................................................................. 101
CONLUSION .......................................................................................................................... 104
REFERENCE .......................................................................................................................... 108
VII
List of figures
Figure1. Examples of digital exhibition...............................................................................9
Figure2. Collections digitization .......................................................................................10
Figure3. Database backstage management........................................................................ 11
Figure4. Application examples of digital technology........................................................ 11
Figure5. Relics digitization ................................................................................................18
Figure6. Interior scenes show of MAV .............................................................................20
Figure7. Location map of MAV .........................................................................................21
Figure8. Summary perspective view of the scene ............................................................21
Figure9. Reconstructed heritage scene representation.....................................................22
Figure10. App to play "Pompeii" .......................................................................................24
Figure11. Interior scenes show of Museum of History, Palazzo Pepoli ............................25
Figure12. Location map of Palazzo Pepoli ...................................................................... 25
Figure13. Combination of collections and digital technique.............................................26
Figure14. Interior scenes show of Digital .........................................................................26
Figure15. Interior scenes show of Uffizi Gallery...............................................................28
Figure16. Phone app examples show ................................................................................29
Figure17. Map of Uffizi Gallery via phone app..................................................................30
Figure18. Content explaination segment via phone app ..................................................31
Figure19. Museum history introduction via phone app....................................................31
Figure20. The film works .................................................................................................32
Figure21. Interior scenes of Canadian Museum for Human Rights ................................34
Figure22. Location map of Canadian Museum for Human Rights................................. 34
Figure23. Summary perspective view of the scene ...........................................................35
Figure24. Digital Broadband touchscreen in CMHR .......................................................36
Figure25. Cabinet digital indicator in CMHR...................................................................37
Figure26. 360°digital surround screen in CMHR ..........................................................38
Figure27. Activities with digital technologies in CMHR ...................................................39
Figure28. Case of Mobile Museum ICRU ..........................................................................41
VIII
Figure29. Mobile digital museum in Inner Mongolia.......................................................42
Figure30. Top view of the internal structure ...................................................................43
Figure31. News of exhibition display.................................................................................44
Figure32. Transportation method of mobile musuem......................................................44
Figure33. Front side demonstration of CELL EXPLORER...............................................46
Figure34. side view of truck stretching process of CELL EXPLORER ........................47
Figure35. side view of truck stretching process 2 of CELL EXPLORER.......................48
Figure36. side view of truck stretching process 3 of CELL EXPLORER .....................48
Figure37. Mountable mobile museum Sketch Model .....................................................49
Figure38. Mountable mobile museum Sketch Model side show .....................................50
Figure39. Break down container components demonstration..........................................50
Figure40. Installation Flow steps.......................................................................................53
Figure41. Schwaiger, sistema antenna SAT 80 cm...........................................................54
Figure42. Wall-Air Displacement Advanced WDE ..........................................................57
Figure43. Illustration of the inner loop operation............................................................58
Figure44. Dimensions of phoenixlighting.........................................................................59
Figure45. Mounting assembly of phoenixlighting............................................................60
Figure46. Bathroom in the mobile museum ....................................................................60
Figure47 Case of vertical projector ...................................................................................71
Figure48. Vertical projector in Manual Cultural Museum................................................72
Figure49. Position arrangements of projector .................................................................73
Figure50. Interaction machine example ..........................................................................74
Figure51. Position arrangements of Audio-based interaction .........................................75
Figure52.Digital Museum Exhibitions of Uffizi Gallery in Milan ....................................76
Figure53. Position arrangements of Cabinet Touchscreen .............................................. 77
Figure54. Takee concept schematic .................................................................................78
Figure55. Position arrangements of Takee Showcase .....................................................80
Figure56. Virtual reality or virtual realities (VR) .............................................................80
Figure57. Google Cardboard headset ................................................................................82
Figure58. Imitate view in Virtual reality application ......................................................82
Figure59. Colosseo prototype in digital forms ..................................................................83
Figure60. realistic life science in Colosseo dexodidation .................................................83
Figure61. Position arrangements of VR ...........................................................................84
Figure62. Cave in Sardegna .............................................................................................87
Figure 63. State museums/monuments/sites and visitors per region (in thousands) ...88
Figure64. Pompeii heritage................................................................................................89
IX
Figure65. Lady with an Ermine .......................................................................................89
Figure66. Pasta clay …………………………………………………………………………………………….90
Figure67. Documentary Heritage example .......................................................................91
Figure68. Readers per geographical area..........................................................................92
Figure69. papers owned per region .................................................................................92
Figure 70 Total presence of 2014 Museo Storia Naturale del Mediterraneo....................93
X
List of tables
Table1. Difference of functions of traditional/digital museum.........................................12
Table2. Difference of management of traditional/digital museum...................................13
Table3. Comparing of the previous and after size.............................................................49
Table4. Standard container size........................................................................................ 51
Table 5. Dati tecnici of satelight ........................................................................................56
Table6. Wall-Air desplacement model and type ...............................................................58
Table7 Specifications: of the phoenixlighting ..................................................................59
Table8. Dimension (m)and weights (kg) ...........................................................................61
Table9. System Structure Design Summary.................................................................... 62
Table 10. Visitors to municipal museums in major cities of art .....................................88
Table 11. CULTURAL PARTECIPATION ..........................................................................94
1
CHAPTER 1
INTRODUCTION
The museum is a powerful witness to a country and regions inherit and development of
cultural heritage, the role of the museum is mainly reflected in the protection, research,
exhibitions, cultural and educational aspects of cultural relics collection. As a cultural
and social phenomenon of human aggregates, the museum shows different
morphological characteristics at different times along with the development of economic,
ideology, science and technology. Museum is an integrated project made for planned,
purposeful, safe and logical design and implementation of space environment, visual
images, color, sound and art, which is designed for the audience to get related
information of heritage exhibits. Exhibition design and display technology related to the
quality and development of the museum, thus they play a role of major driver to the
development of modern museum along with people‘s pursue of art and culture.
With the rapid development of digital technology, we may realize that digital technology
affects every aspect of our lives, and there‘s a digital presence in the life of almost every
area. Museums began moving onto digital direction. People have started to using digital
methods such ad computer technology, network technology, information technology and
so on to show to the audience those museum collections. Digital, integrated, networked,
intelligent will be inevitable trend in the development of the exhibition design. Concept
of museum digital display is the use of computer technology to real museum exhibits and
relevant knowledge of information processing.
The concept of museums‘ digital display is the use of computer technology to process
information real museum exhibits and relevant knowledge, from which audience in the
2
information display space can choose freely how and what to visit according to their
individual needs. This method provides the audience humanized and convenient service
in museum display and follows the purpose of museum exhibition.
1.1 Research/Survey background
“… transformations are not only due to the use of increasingly sophisticated
technologies, which more and more rapidly becomes obsolete, but also due to a re-
examination of the role of modern public institutions in today‘s society and the related
fast changing user demands. These trends affect all the functions of the modern culture
institutions, from collection management and scholarly study through restoration and
preservation to providing new forms of universal and dynamic access to their
holdings.‖[1]
Flying development and application of virtual technique provide new chance and
opportunity for human‘s protection and use of cultural/natural heritage. In recent years,
multimedia techniques have been widely used for enhancing users' experience and
attracting more visitors to museums, as well as for providing a new means for
communicating their content and consequently information.
In the Development of the Museum Definition according to ICOM Statutes, for the
first time it contains that VIII-cultural centers and other entities that facilitate the
preservation, continuation and management of tangible or intangible heritage resources
(living heritage and digital creative activity); The supplemental content is indicative that
digital technology has become increasingly important, and gradually research and
application in the museum field[2].
Some examples such as the Large digital engineering at Stanford University named
"Digital Michelangelo Plan" using three-dimensional quickly draw technology
reproduced the Florence old downtown attraction of Italian city , so magnificent
panoramic view of the classic ancient architecture are seen by people. As well as the
Digitalisation Projects and European Cooperation:Internet Culturale access portal to
Italian Libraries, integrating the various library catalogues and providing access to
digital collections with 750,000 records and over 8 million images Michael multilingual
European Inventory; 9,000 digital collections in museums, archives, and libraries,
3
involving 3,000 organizations in 19 European countries; 4,039 Italian collections in
1,889 institutions Europeana European cultural portal participated by all Member States,
providing access to over 23 million records, of which 1.2 million provided by Italian
institutions (images, texts, videos and sound tracks); contributions also by the
Europeana Athena and Judaica Projects, coordinated by the ICCU, with over 4 million
records from 150 museums and European cultural institutions. CulturaItalia portal of
Italian culture are with over 2.5 million consultable records, thousands of articles,
hundreds of news and over 1,000 videos and images[3].
Today's society has entered the electronic, digital information age, digital
information has penetrated into every aspect of our lives, and digital technology will
undoubtedly have a profound impact on the work of the museum. With the rapid
development of computer technology, multimedia technology, communication
technology, network technology, digital museum starts to demonstrate its superiority,
which brings vitality and new opportunities to the development of museum. Digital
museum is a new stage the museum of development of, It makes the museum structure
and the way to achieve museum‘s function changed, as well as fundamental change in
ways of thinking, ways of working and knowledge structure of the stuff engaged in the
work of the museum, which brings opportunities and challenge to the museum work.
Digital museum is built on the Internet, based on "online museum", also known as
the "museum without walls", which is the inevitable product of the museum to adapt to
the digital age. The virtual museum: the next step on from the learning museum is to
provide not only information about the institution‘s collection but to link to digital
collections of others. In this way, digital collections are created which have no
counterparts in the real world. This is the implementation of André Malraux‘s vision of
the ―museum without walls‖.
1.2 Significance of the research and application
1. The development of digital museum opened up a new direction for
museums
Since the birth of museum, it acts as a special cultural phenomenon and social
existence to develop slowly. In the long course of development, it gradually derived basic
functions such as collections, research, exhibition, education and so on. To the 1980s,
with the change of the world economic environment, the museum began to face more
4
and more challenges—shrinking museum funds; the means of traditional research,
demonstration and education are facing a severe test; the museum cannot always
respond quickly to the change of audience needs and so on, which poses a threat to the
existence and further development of museums. In Italy, in addition to those museums
that rely on a large number of well-known architecture and heritages or those ones with
cultural facilities to whom the government acts as a key role to assist, most small
museums are facing predicaments such as lack of funds, single means of showcasing and
scarcity of audience. People‘s interest in the museum is losing; while exhibits of national
characteristics, history and culture are not able to express their own value, which results
in a huge waste of museum resources.
The advent of digital museum，make up the monotonous that the traditional means
of museum showcasing and form of display are backward，break time and space
constraints of the museum, which helps to meet the modern audience’s habits to learn
knowledge on a computer through network, as well as an unprecedented expansion of
the museum's audience, so that not only injected new vitality to the development of the
museum, but also created a new type of museum , opening up a new direction for the
development of museums. The prospects for the future development of the museum, will
be the situation that entity museums keep pace with the digital ones, complement each
other and develop together[4].
2. The construction of digital museum avails the protection and inherit of
culture heritage
According to relevant studies of the EGMUS(European Group Museum Statistics，
until the end of 2013, the number of museums has been more than 450 according to type
of collection, total number of visitors has been more than 80.000.00, and total income
(in Euro) is more than120.000.000[5]. Limited by conditions such as the exhibition
space, display techniques, and the requirements of safekeeping of cultural relics, among
so many resources of museums, there‘s only a extremely small number of relics is being
displayed, while the changing rate is relatively low. For the most part of the collections,
they are dust-laden in the warehouse of the museum and might be kept there for a very
long period. Along with the appearance of digital museums, these defects of traditional
museums are made up to a large extent. Digital museums using digital technologies, a
large number of cultural relics are made into various types of video data displaying for
people to study and work with. For those artifacts and collections that are on the verge of
5
disappearing or have a very demanding environment of displaying, digital museum is
undoubtedly the best choice. At the same time, thanks to a permanent "electronic files",
there‘s very important significance for the future restoration, repair and so on of
artifacts and collections. Those digital museums being placed on the Internet play an
essential role in inheriting Italian cultural heritage and Italian civilization, and
promoting exchanges between different cultures of different nationalities.
3. Digital Museum provides a new base for science education
The advent of digital museum opened up new avenues for the prosperity of science
career and integration of science resources[6]. Digital Museum fully rely on the
advantages of online media, museum integrated a variety of information such as
technology, culture, history and others into the science column, with rich display means,
it becomes a large integrated science synthesis making a set of culture, education and
entertainment. It will be an important base to promote its scientific knowledge, history
and culture, and play an increasingly important role in the development of the career of
science.
4. The development of digital museum also facilitates the process of social
information
With its special benefits and features comparing with traditional museum, digital
museum attracts social concern and attention once it appeared in public‘s view. After
recognizing the importance and advantages of digital museum, a growing number of
museums, community organizations, government departments began to invest in the
construction of digital museums, and promote the development of peripheral
information industry. Meanwhile, the digital museum put forward higher requirements
about computer technology and network technology, which stimulates a number of
researches and application of key technologies. The advent of digital museum also
causes great interest of public in this new type, more and more people began to use
digital museum. There‘s no doubt that all of these aspects has played a positive role in
promoting the process of the information society.
6
1.3 Inevitability Analysis of digital museum
development
Museum digitization includes collections display, archaeological excavations, heritage
conservation and management, scientific research, organization and management of
personnel and logistics, such as relics sorting inventories, warehousing records, color
restoration and analysis, cultural debris splicing and presentations, displays and other
security measures.
1. Museum digitization is the inevitable result of cultural development and
modern science as well as new technologies.
With the rapid development of modern science and technology, the popularization and
application of Internet industry, museum is adapting technology trends, getting rid of
the shackles of tradition and reaching the digital revolution, which engenders the further
cross-integration between social and natural sciences, so that to create a new field to
combine cultural transmission and high-tech, from where the museum functions and
organizational management achieve the re-positioning, therefore to meet the needs of a
modern information society. As international institutions explore further discussion
about the concept cultural heritage, in addition to study of the static cultural entities
result, people began to focus on the dynamic process and technical formation of cultural
studies, from which we can conclude that the museum digitization is also the inevitable
result of in-depth development of cultural career[7].
2. Museum digitization is the inevitable requirement of the development of
organization and management
Museums use the office network. The stuff improves work efficiency by making use of
network email, off-site events, information network transmission for exhibits, as well as
simple data storage; meanwhile, people have cultural discussion or social surveys of
seminars and other programs through the network, which expands the exchange area,
leads the social forces to participate in. In this way, high-speed, efficient office formats
are achieved while we save material resources, manpower, time and space at the same
time. Thus we can say that not only the costs are saved, but also the work organization
system is greatly improved, which promotes the development of museums.
7
1.4 Fundamental advantages of museum
digitization
Insiders sum up the advantages into three fundamental aspects:
1. Digital museum makes management more intelligent.
Based on automation technology, with building automation and fire systems and other
artifacts we establish environmental monitoring systems as well as specially developed
cultural relics protection device systems , which scientifically and simply complete
intelligent management of artifacts.
2. Museum digitization enhances information advantages.
With rapid exchange of information, the museum work structure adjustment is
implemented, while the requirements are improved to be stricter. And automation of
office systems, scientization of heritage collection database and professionalization of
conservation work, all of these can reflect the advantages.
3. Museum digitization helps make knowledge project of heritage more
standardized.
So that classification, naming, terminology, methods, label, environment, identification,
language processing become more complete and appropriate.
Improvements:
By using various forms of information in digital museums, we improve the cultural relic
exhibition rate and display effect[8]. Digital exhibition of cultural relics overcomes the
limitations of reality by funding and exhibition galleries space, when in traditional
museums the proportion of space for displaying is small. Through digitization, you can
use the virtual space, image and sound and other multimedia technologies for online
display and collectibles presentation, to meet the various needs of visitors.
1.5 Advantages of digital museum in external
information display
Advantages of digital museum in external information display mainly includes two
aspects, first one lies in advantages of the Internet information display, the other one lies
in the advantages of showing site information to visitors.
8
1. display advantages of digital information through the Internet[9]
Museum digitization helps reduce the physical space, simplify procedures and
facilitate the people to visit. Digital museum is a combination of virtuality and reality,
where a large amount of data is stored in the memory disk, and form a line system via a
computer network, which helps reduce the physical space; using the museum digital
virtualization, visitors don‘t need to meet the museum stuff directly, instead, they‘ll be
able to make consulting and relevant formalities through online network, then browse
the various museum collections and their related presentations, as well as know about
recent exhibition activities in advance, which assist in reducing time and achieving the
double combination of culture and leisure, and technology and research.
2. advantages of showing site information to visitors.
According to audience preferences and other factors, making use of multimedia and
video-on-demand for site presentation, it can meet the audience interests in retrieving
their own exhibition blocks, and makes it convenient to select their favorite exhibits in
showrooms.
1.6 Role and function of Museum digitization
Museum digitization facilitates rapid dissemination and information exchange of culture,
while acts as also the best means of preserving the cultural heritage.
On the one hand, through the network we can access various pieces of the collection of
data, pictures, descriptions, detailed information of the video images, 3D simulation
display and so on, which is more intuitive. And with 3D dynamic process, we strengthen
the emotional experience as well as make up the monotonous of traditional exhibition
forms. On the other hand, the museum is a collection of cultural heritage, with the
digital management of museum collections, we create digital archives and collections of
intangible assets, so that to reduce the flow numbers of the physical collections, reduce
losses, reduce the risk of theft. And by means of digital processing and resources sharing,
we‘ll be able to have academic research more in-depth and extensive.
9
CHAPTER 2
INTRODUCTION OF DIGITAL/VIRTUAL
MUSEUM
In this Chapter I will mainly introduce the concepts of digital and virtual museum,
what are the characteristics, and I compare the features of traditional museum and
digital museum to find out their difference, what they focus on so that we will recognize
the superiorities of digital museum, thus why we should keep on developing it.
2.1 Concept of digital museum
Figure.1 Examples of digital exhibition
10
A virtual museum is a digital entity that draws on the characteristics of a museum, in
order to complement, enhance, or augment the museum experience through
personalization, interactivity and richness of content[10]. Virtual museums can perform
as the digital footprint of a physical museum, or can act independently, while
maintaining the authoritative status as bestowed by the International Council of
Museums (ICOM) in its definition of a museum.
Museum digitalization is based on physical museum entity and reproduced and
supplemented by digital technologies. Specifically, it is the use of Internet technology
and in-house information, combining daily activities of traditional museums and
management of content with computer networks, to build the museum environment,
create networks, digitization and virtualization of the new image of the museum.
Oltre al titolo di primo livello usato per il titolo del capitolo e al titolo di secondo livello
usato per il titolo di questo paragrafo è possibile inserire anche un titolo di terzo livello
usato per i sottoparagrafi.
2.2 The basic characteristics of digital museum
1. . Museum‘s real collection is the material
basis for the survival of the entity, while the
digital museum is built on the digital space
and its data and other information of the
collections are stored in digital forms
including text, sound, images and so on.
Digital collections eliminate those
requirements for storage of real collections
or showcasing venue, achieving the
permanent preservation of resources, and make it more convenient for users to access
and use information resources.
2. The implementation of digital-based database management. The database of digital
Museum corresponds to the storeroom of entity museum collections, all collections of
digital information is stored there. To achieve the basic functions of digital museum, it
must be based on certain databases and a series of such as storage, processing, display
Figure 2.Collections digitization
11
and other digital management
platform. Without the
database, people cannot get
more information; digital
museum will lose the meaning
of existence [11].
3. Multimedia presentations to
the public. In modern society,
showing is the main function
of museum, without exhibition
display it cannot be called museum, while the level of exhibition reflects the level of a
museum. Digital Museum is no exception. By means of various display methods
including text, audio and video as well as two-dimensional, three-dimensional, virtual
roaming and so on, digital museum disseminate to the public relevant knowledge and
information to help develop social intelligence enlightenment and civilization. A good
digital museum necessarily provides rich multimedia presentations.
4. The display and use of collection resources can cross time and space and be shared
globally. Since being limited by time and space, people must comply with open and cloe
time as well as geographical constraints during their visit to the museum entity, while
collections display and use must be within a certain time frame and geographical scope.
But for digital museum, all of these won‘t be
problem anymore for people. As long as the
digital museum is put on the internet, people
will be able to visit at anytime and anywhere,
which helps realize the sharing of resources in
collections worldwide. In another sense, the
emergence of digital museum helps those people
who are not convenient to visit entity museums
such as elderly, disabled and other conditions
have a better condition and opportunity to have
a visit, so that the use of collections of
information resources is maximized which can
also be regarded as kind of global sharing in
another sense.
Figure3. Database backstage management
Figure4. Application examples of digital technology
12
5. Providing personalized service. When visiting the entity museum, we often only enjoy
passively. But in digital museum, people will have the chance to choose their collections
of interest to visit according to their own needs, they can change hall color, perspective
views of collections according to their preference, sometimes they can even make their
own favorite model in the virtual world, with which individual needs of users has been
greatly satisfied, while improves effectively the reputation of the museum to public.
2.3 Comparison between traditional museum and
digital museum
From the basic functions of the museum, the differences between the two [12] are in
the following table:
Table1. Difference of functions of traditional/digital museum:
Traditional museum Digital museum
Call for
collections
Excavation, collection, purchase,
donation, exchange, transfer, etc.
Digital collections acquisition,
converting analog information,
information exchange
Collections
custody
Needs storeroom, heritage cabinet.
Vulnerability, damage reasons are
complicated, difficult to repair and
save.
Need computer, disks, optical
disks and other storage
devices. With the use of data
redundancy and coding
techniques, it can be achieved
to save the lossless data.
Display and
propagation
Showcase display, single way, poor
interactivity. Tour mode, slow, small
sphere of influence
Multimedia, virtual reality and
three-dimensional technology,
vivid, high levels of
interactivity. transmission
through network, high-speed,
high-impact range.
Research Intuitive, easy to find the details of
collections, but mutual comparison is
difficult, and correlation is not easy
Retrieval, comparison,
statistics are convenient and
easy access to breakthrough in
the study of cultural relevance
Openness bad good
13
Museum management, the differences between the two are in the following table
Table2. Difference of management of traditional/digital museum:
Traditional museum Digital museum
Nature of the
museum
It‘s necessary to have real objects Have digitized collection
Information
Processing
The formation of the collections;
retrieve; organize.
Digital Archives to be
consolidated, organized and
classified.
Talent Demand experts and professional researchers
of various subject
Experts and professional
researchers and digital
information technology staff
of various subject.
Collections
presentation
Organizing theme of display and
exhibition
Collection display and
dissemination through digital
media
Functional value Feedback lag; items on display have
entity values and education, cultural
values
With real-time information
feedback; collections have
educational and cultural
value, but do not have the
physical value
As we can see from the above two tables, in terms of storage, display, research, scope,
the speed of transmission, and in interaction with the public, digital museum collections
have an incomparable advantage to traditional museum, which is also important reason
to develop digital museum all over the countries.
2.4 Outstanding advantages of digital museum
Digital Museum has several distinct advantages[13]:
1. The infinite reproducibility of exhibits gives protection of cultural relics, reduces the
frequency of reality show, as well as reduces the damage to the exhibits and possibility of
theft , while it also effectively solves the contradiction between exhibition and protection
of cultural relics. Cultural relics are resources non-renewable, if the collections of the
museum are age-old, the texture will become very fragile, the exhibition must be paid
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great attention to light and air humidity, but even so, there will still be irreparable
damage to the exhibits after long time. And all these kinds of restrictive measures for the
protection of the museum exhibits may also enable visitors to take an uncomfortable
experience (too dark or too cold), so much as some ancient relics must be isolated to be
protected, visitors can not be viewed up closely or even not to take pictures. Using the
digitization for storaging and exhibition may break through such restrictions, visitors
can sit and very comfortably take a closer look at the article from any angle, while
museum don‘t need to worry about the problem of being stolen. In the museum entity,
since the means of protection, exhibition space and other reasons, exhibits may count
only a small proportion of the collections. In some museums, annual exhibits count only
a little percentage of all the collections of the museum, which is huge waste of cultural
resources. But For digital museum, the exhibits and collections increasingly blurred, the
museum's collections can do a virtual show on the network, which makes full use of
cultural resources.
2. The diversity in display methods are more favorable for integrating national resources
of all kinds of exhibit, it gives favor of sharing resources among the exhibits hall. Digital
museum conveys large amount of information to users. Sound, pictures, animation and
other multimedia information are presented to the user at the same time, which expands
the imagination of the audience, makes it easier to form a sense of immersion as well as
related cultural ideas of those exhibits. After the appearance of ancient artifacts in digital
cameras forms, it will be available on the network in a variety of ways to be displayed.
Something that you cannot experience on site will become available in digital museums.
For example, in musical instruments museums, people can only see the objects and
words introduction in those traditional ones; the means for displaying are single and
lake depth of information, since there are kind of too many types of ancient musical
instruments while their forms varies a lot, which makes it difficult to understand, thus it
will be hard to cause audience‘s interests. But as for musical instrument museums in
digital ways, people not only can see a huge number of detailed pictures and word
instructions, but they will also have the chance to hear beautiful sound of this kind of
instruments through audio, as well as see its production processes and procedure, from
which can really inspire the enthusiasm of visitors to visit.
3. The use of real and meticulous virtual technology can pre-show cultural relics‘ original
forms after conservators, thereby testing the feasibility of restoration techniques. They
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can combine computing technology and views to examine the various aspects of the
repair process and durability after the repair.
4. Contribute to improve the scientific and cultural level of the whole nation. When
visiting traditional museums, the audience routes to visit and methods are almost set
and decided my designers, thus audience don‘t have autonomy. But for visiting digital
museums there will be no restriction in space, people can visit casually whatever they
want according to their interests and hobbies. They can spend more time to observe
their interested objects from all directions and to understand their origin, history and
development process. If there‘s no more interests, people can exit whenever they want.
Therefore they don‘t have any artificial restrictions in digital museums.
5. The collection of the museum exhibits is a release behavior; it is spun off from its
original context into the presence of isolated museum exhibition, which undoubtedly has
lost some information background on the exhibits. When in the entity museum, restore
or partially restore the original present environment of exhibits is more expensive and
more difficult .But in digital museums, it is easy to restore the environment of its
original existence through computer techniques, thus to increase the atmosphere of the
exhibits and demonstrate its attached cultural background.
6. Improve the management of museum exhibits and makes it easy to access and to
make research[14]. It lets the protection of exhibits and methods to display and study
reach a higher level. Digital Museum not only, for externality, played a role in the
publicity and education; internally, the digital storage and management can greatly
improve the museum's own management of collection and improve work efficiency
Construction of digital museum will quickly reverse situation that on the Internet there‘s
a lack of cultural information, and with digital library it will form overall advantages of
the Internet culture, which can constantly enhance the penetration of culture, maintain
the independent character of culture , as well as reserve cultural sovereignty. Through
the construction of digital museum, we can reveal the long history and splendid culture
of a country to the world through the Internet. In addition, building digital museum can
also promote the development of computer technology, network technology, multimedia
technology, better serve the scientific research and teaching.
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2.5 Management of digital museum
"Digital" refers to the process transferring text, graphics, images, video, audio and other
information into the binary numbers that computer can recognize and deal with[15].
Museum digitization is the prerequisites and conditions of building a digital museum,
museum digitization can be divided into three aspects: the first is the digitization of
museum‘s collections, which is the premise of building a digital museum; second is the
digitization of museum business information, which is for the scientific management by
computer; the third one is the digitization of museum‘s research studies and make it
spread through internet, which makes it more convenient to communicate and discuss.
Digital museum aims to use computer technology to manage information scientifically,
and widely disseminate information across the globe via the Internet. through digital
methods as well as modern technological means to get further development of the
museum.
Discussion of these three aspects:
1. Digitization of museum’s collections
digitization of museum‘s collections means make the collections or using the collections
to implement museum‘s performance including display, storage, education, research,
archeology and so on, of which to transform to media information that people can get
through vision, hearing or other senses via computer technologies. The development of
computer technology and multimedia network communication technology makes the
digitization of museum and digital information to be disseminated worldwide is made
possible via computer network. So what hardware and software facilities digitizing needs?
We know that the museum digitization is to create museum digital information,
specifically the museum collections storage information, collections display information,
education information, research information, archaeological information and so on. This
information This information is based on heritage collections photographs, drawings,
descriptive text, audio and video materials, models and other forms to be manifested ,
and through the appropriate device to become a digital form of a computer multimedia
information. To make museum collections be digitized, the reference hardware and
software configuration is as follows:
a. Computer Hardware: Multimedia computer, color scanners, digital cameras,
video recorders, tape recorders, can read and write CDs, CD burners;
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b. Computer software: such as windows 7, graphics software such as PhotoShop,
dynamic image processing software such as Premiere, non-linear editing systems,
voice processing software, 3D Studio, etc.
2. Digital management of museum’s business information[16]
Computerized business information management belongs to the category of digital
museum. The establishment of the museum business information management system
by computer network is a basic requirement of digitized museum. From the view point of
information transmission, digital museum includes two aspects: One is for external, so
that people of the world through the Internet may not be limited by time or geographical
restrictions. They can log into the museum website visit the Museum's information via
the Internet at anytime, anywhere. The museum can also be networked to deepen
mutual understanding, enhance information exchange, joint research as well as mutual
promotion；
The second is to use the internal network of museum to have modern and scientific
management of the information. Making the modern technology be used in the effective
use of information technology in museum work will promote the museum to be adapted
to meet the need of information technologies‘ development, to meet the challenges from
information technology for the museum, to achieve the functions of the museum,
furthermore promote the museum to have constant development. Since the digital
management of museums‘ information is related to the museum collections custody,
display, education, research, archeology and other information, thus they belong to the
scope of the functions of the museum, so that the information of these aspects is part of
the work that digital museum handles.
For example, in computer management of cultural relics, computer processing of
archaeological excavations information, on the display of computer data management,
etc, Uffizi Gallery has made efforts in these areas, having the application of computer
science management of business information, while making the use of computer touch
screen multimedia navigation system in publicity to explain for audience. The
application of computer digital information management greatly improved the business
management level of the museum. To realize the full function of museums, people
combine the advantages of digital museum and ordinary museum in dissemination of
information, leading further development for both of them and unite them to grow
better.
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Having digital information processing for storage, display, education, research,
archeology and so on of relevant cultural relics in the museum and establishment of a
management system software, will have great help in making full use of information for
research work as well as improving the modern management level of the museum.
Computerized management of museum operations is generally via established
multimedia library; applying computer programming as software development tools,
write computer application software for scientific and modern management of
information. Common visual database programming tools such as Visual FoxPro、
Visual Basic、PowerBuilder and other development information systems.
Figure 5. Relics digitization
3. Digital Management of Museum research information
In addition to collect and keep, display and exhibit, and conduct public diplomacy
programs of cultural relics of museum collections, the more important aspect is the
scientific research. Publishing on the Internet dynamic digital information and the latest
research of the museum, will contribute to strengthen the information communication
between museums and help to promote carrying out study work. Museum researchers
can also conduct and have mutual thematic discussion together with network news
writing papers in order to improve together with counterparts in cultural sector[17].
Information of digital museum studies generally includes the following aspects:
a. Studies that aim at material culture spiritual culture which is reflected from
preserved-relics, such as computerized management information of cultural studies,
historical studies, archaeological research and so on;
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b. Research about modern management of museums, such as computerized
management information of related cultural relics‘ storage, display, education, study,
archaeological research and so on.
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CHAPTER 3
CASE STUDIES
3.1. Museo archeologico virtuale
Introduction
“Il museo archeologico virtuale, conosciuto anche con l'acronimo di MAV, è
un museo di tipo archeologico-virtuale, ubicato ad Ercolano, a pochi passi
degli scavi archeologici, che racconta la vita delle città romane ai piedi del
Vesuvio, poco prima dell'eruzione del 79: si tratta, nel suo genere, di uno
dei più importanti al mondo.”[18]
Figure6. Interior scenes show of MAV
The MAV is located a few steps away from archaeological excavations of ancient
Herculaneum. It is a center of culture and technology applied to cultural heritage and
communication among the most advanced in Italy. Inside is a unique and extraordinary
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museum: a virtual and interactive tour where the excitement of an amazing journey back
through time just before the Plinian eruption in 79 AD that destroyed the Roman cities
of Pompeii and Herculaneum.
Figure7. Location map of MAV
Figure8. Summary perspective view of the scene
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In the Museo archeologico virtuale visitors can have a dive into the past through a
multisensory experience, to know and find out in detail, the historical realities of
Herculaneum and Pompeii before the eruption of Vesuvius in 79 A.D.
This is the mission of the MAV, a structure that was born in the heart of Ercolano and
that guarantees a new cultural fruition. Visitors will be transported in a virtual
environment faithfully reconstructed, thanks to the use of the latest technologies.
Figure9. reconstructed heritage scene representation
The journey begins after passing a sort of ancestral door that dematerialized bodies in
connective intelligence flows, and leading to the discovery of the names and faces of the
ancient Herculaneum, with which you become aware of the community's history and
their style of life.
Along the Bourbon tunnels you can then see the magnificent building of the Villa dei
Papiri, which gathered the Greek philosopher Filodemo with his friends, in a similar to a
kepos Athenian Garden.
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Passing through a glowing cloud is the prelude of discovering the houses and
monuments of the ancient Vesuvian cities shown in their splendor; wandering among
these beauties visitors would be able to see an old chest which contains wonderful jewels
in holographic form.
Continuing the journey you enter the library of the Villa dei Papiri, which returns
fragments and thoughts of philosophers and poets Herculaneum.
Among items, pictures and market cries, people move in an environment where it is
positioned an interactive table that, with a slight touch, the uses and customs of the
peoples who inhabited the area will be shown.
A dark corner will then light up with some of the most beautiful Vesuvian murals, larger
size to every nuance can be shown in detail.
The practice of idleness for the pursuit of pleasure, which is so dear to Epicureans,
intimately belongs to the Roman world. Lightweight thermal steam introduces the
paintings features found in brothels and suburban baths of ancient Pompeii.
The last installation is an animated reconstruction of Pompeii hole, the vital center of
the city, which gives the visitor a summary of the transformation of those places over the
last 2000 years. It is not only a cultural visit, but a journey into the unique past of its
kind.
The technologies being used:
3D reconstructions
Multisensory effects
Visitor Tracking
Interactive interfaces
Localized audio
Multimedia tables
Touch screen
Virtual books
Holograms
Reproductions of findings
Cave immersive
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Environmental effects
Fog Screen
Synchronized multi-projections
Hypersonic Sound
Hologram Mirage 3D
On Wednesday, April 22, 2015, there even comes news that an app to play "Pompeii" has
been submitted. The game set the eve of the eruption of AD 79.
Figure 10. App to play "Pompeii"
It is developed by Francesco Catalano. It will be presented at Museo Archeologico
Virtuale of Herculaneum "Pompeii". It‘s a Adventure game which can be download on
smartphones and iphone. The game is set in the reality of Vesuvius in 79 AD on the eve
of the catastrophic eruption. On Thursday, April 30 of 2015, in the museum not far from
the ruins of Herculaneum, there was an open to the public event in which fans of the
genre and curious met the developers of the game.
For the creation of video games, they have been reconstructed graphically over 80
Pompeian period rooms, with music and characters of the time. Made from the start-up
Imago M, the game is to resolve an investigation into a crime took place 2,000 years ago
in popular uprisings and political intrigue. A curiosity: to make the challenge even more
realistic, you can play by setting dialogues in Latin, the language of the time.
From the Museo archeologico virtuale we can see that over seventy multimedia
installations returned life and splendor to the main archaeological sites of Pompeii,
Herculaneum, Baia, Stabiae and Capri. Through reconstructions, visual interfaces and
holograms, the visitor is conducted in the virtual world, where new multimedia
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technology offers new opportunities to experience, in a playful and interactive way, the
pleasures of archaeological heritage. And in the past few years, the MAV not only played
a role as a museum, but also act as an institution to develop the education and research
work. With the C.I.V.E.S. FOUNDATION, MAV has carried out works such like Planning
and realization of the theatre for the projection of stereoscopic virtual i3D/multiD movie
about the 79 A.D. eruption of Vesuvius (in 2011,) Herculaneum Ruins ―Buried Stories
Project‖(in 2013, Mav School – Open day. A day of scientific and educational divulgation
for teachers and school operators(in 2013), and etc. We can see that the MAV, on the
basis of the advantages coming from a museum, uses digital technology as a secondary,
reach the combination of classical and modern, for the audience to create a combination
of virtual and real experience, making the knowledge of the heritage into the
reconstructed scene. This unique way on the one hand develops the museum itself, on
the other hand, the museum has promoted the continuous development of digital virtual
technologies.
3.2. Museum of History, Palazzo Pepoli
Heart of Genus Bononiae, Palazzo Pepoli. Museo della Storia di Bologna (Museum of the
history of Bologna) houses a museum dedicated to the history, culture and
transformations of Bologna, from the ‗Felsina etrusca‘ to modern times [20].
Figure11. Interior scenes show of Museum of History, Palazzo Pepoli
Figure12. Location map of Palazzo Pepoli
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It addresses a wide and varied public such as Bologna‘s citizens wishing to rediscover the
history and the cultural heritage of their own city, tourists, schools and young people in
general, university students, foreign communities living in Bologna, etc[21].
Figure13. combination of collections and digital technique
The museum is divided into chronological and thematic routes, supported by cutting-
edge multimedia technology experiences: Bologna antiquity can be visited in the halls 1-
4, the medieval one in the halls
5-7 and 9-10, the Renaissance
(especially of Bentivoglio) in the
halls 11 and 12; in the halls from
13 to 16 is on the political stage;
religious and collective in the
history of the city, are in the 17-
19 and 21:22 we find one of the
most interesting collections in
our opinion, are the Bologna
arts and sciences, followed in
the next rooms (from 23 to 32)
from Bologna of the eighteenth, nineteenth , twentieth century and of the future.
Figure14. Interior scenes show of Digital Showroom
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The thematic studies are just not to be missed: in particular you should visit the hall to
admire the copy of the large map Renaissance Bologna, 1575 (the original now kept in
the Vatican), the room 8 (Forma Urbis) for urban transformations from Roman times to
the contemporary age, the C hall for media space and interactive teaching; D center for
the virtual theater and watching movies in 3D (here in particular are witnessing the
projection of the cartoon APA, an Etruscan leading the city to whom Lucio Dalla has lent
her voice); the 20 room, which tells Bologna waters, and the role economic channels
played in social development of the city and the region; rooms 33 and 34 which tells the
interesting historical experience of Bologna City about languages and communication
exchange;
We chose this museum as a case study since the Museum of the History of Bologna in
Palazzo Pepoli Vecchio was inaugurated in January 2012, which is not far from now, so
that it indicates the recent development trend of museums. It is an innovative museum
dedicated to the history, culture and transformations of Bologna, the Etruscan Felsina to
this day, giving visitors an amazing journey with multimedia and sensory through 2500
years of history. Palazzo Pepoli has been transformed into a unique and innovative
global and interactive museum which adds to other local museums, by supporting them
in four important ways: through cross-references, available at the video points where the
city museums having a connection with a given theme are presented. Palazzo Pepoli.
Museo della Storia di Bologna tells the story of the history of the city and its inhabitants
from the Etruscan period to the present day, offering a sequence of exhibition units built
around key episodes, symbolic figures, anecdotes and cross-cutting themes.
The presentation of these contents is made through a combination of objects, images
and multimedia elements instead of adhering to the traditional form. Therefore this case
also gives us new understanding about how the musuem develop itself with the trend of
digital technologies.
3.3. Uffizi Gallery
The Uffizi Gallery (Italian: Galleria degli Uffizi), is a prominent art museum located
adjacent to the building of Uffizi complex was begun by Giorgio Vasari in 1560
for Cosimo I de' Medici so as to accommodate the offices of the Florentine magistrates,
hence the name uffizi, "offices"[22]. The construction was later continued by Alfonso
Parigi and Bernardo Buontalenti and completed in 1581. The cortile (internal courtyard)
28
is so long and narrow, and open to the Arno at its far end through a Doric screen that
articulates the space without blocking it, that architectural historians[2] treat it as the
first regularized streetscape of Europe. Vasari, a painter and architect as well,
emphasised its perspective length by the matching facades' continuous roof cornices,
and unbroken cornices between storeys and the three continuous steps on which the
palace-fronts stand. The niches in the piers that alternate with columns filled with
sculptures of famous artists in the XIX century.
Figure15. Interior scenes show of Uffizi Gallery
Over the years, more sections of the palace were recruited to exhibit paintings and
sculpture collected or commissioned by the Medici. According to Vasari, who was not
only the architect of the Uffizi but also the author of Lives of the Artists, published in
1550 and 1568, artists such as Leonardo da Vinci and Michelangelo gathered at the Uffizi
"for beauty, for work and for recreation."[23]
Because of its huge collection, some of its works have in the past been transferred to
other museums in Florence—for example, some famous statues to the Bargello. A project
is currently underway to expand the museum's exhibition space in 2006 from some
6,000 metres² (64,000 ft²) to almost 13,000 metres² (139,000 ft²), allowing public
viewing of many artworks that have usually been in storage.
About the Uffizi Gallery, there are not only the entity museum itself, but also may other
derived varieties, such as the construction of official website, smart phone application,
films, roving exhibition with digital machines and so on.
There are not only one smartphone applications of Uffizi, we will mainly talk about the
most popular two. One is called Uffizi touch:
29
Figure16. Phone app examples show
Uffizi Touch lets you discover all the masterpieces of the Uffizi Gallery in very high
resolution. The research of the works is by artist, historical period and location. If there
is Wi-Fi or 3G connection, you can display images up to 100 megapixels, the highest
resolution currently available.
Not only the masterpieces of the Italian Renaissance as the Annunciation by Leonardo,
Botticelli's Primavera and the Venus of Urbino by Titian, but also all the works of Vasari
Corridor and Deposits.
This app is the perfect companion for people‘s next visit to Florence.
All of those descriptions of the works are in Italian and English.
The other one named Uffizi, which is the only one authorized by the Soprintendenza
Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale
della città di Firenze and by the Uffizi Gallery.
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Visitors can discover the oldest museum in modern Europe with the UFFIZI application,
which is now updated with the news sections of the museums.
With UFFIZI you can discover the great masterpieces of Italian and European art, find
your way around the rooms of the Gallery and plan your trip to Florence, having
practical information about the museum constantly at your fingertips.
Giotto‘s Madonna Enthroned, or Maestà, Botticelli‘s Birth of Venus, Leonardo‘s
Annunciation, the Doni Tondo by Michelangelo, Raphael‘s Madonna of the Goldfinch
and the Medusa by Caravaggio are just a few of the masterpieces displayed in the
Florentine museum.
The Parallelo ―Uffizi‖ allows you to plan your visit and guides you through the rooms of
the Gallery. It will enhance your understanding of the most famous paintings and
statues, and enable you to remember the most beautiful works and take them with you
wherever you go.
The application permits different types of ―visit‖, and the information is presented in a
clear and simple format:
MAP :
Figure17. Map of Uffizi Gallery via phone app
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showing all the rooms and listing all the works, keeps you updated with the new
arrangements.
WORKS :
Figure18. Content explaination segment via phone app
Figure19. museum history introduction via phone app
describes ALL the works available (more then 1500), most of them with photos and
vedios. The top 100 must-see works also have a brief factsheet on the history and
significance of each work.
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INFO: provides essential info for the visit: opening hours, ticket prices and other
practical information
NEWS: news about the Gallery: announcements, events, current exhibitions, the city of
the Uffizi[24].
For many years Parallelo has been in charge of the official website of the Uffizi and the
other Florentine State museums (including the Accademia Gallery and the Pitti Palace),
as well as dealing with their major IT projects regarding the cataloguing of the works of
art, electronic documentation systems for the historic archive and the library, touch
screen systems for exhibitions, and IT networks.
The film
Figure20. The film works
With the film audience can have a multi-dimensional and multi-sensory journey into
Florentine Renaissance through its most representative beauties. It presents how
Florence and the Uffizi 3D / 4K - Journey into the Heart of the Renaissance. The film is
the latest Sky 3D production (in collaboration with Sky Arte HD, Nexo Digital and
Magnitude Film), that enhances the Tuscan city and its cultural heritage thanks to the
technologies of the latest generation 3D and 4K and to the most advanced modeling
techniques and dimensionalisation, making "speak" the works with all the power of their
extraordinary beauty enhanced by the vision in three dimensions.
The film was designed to enhance the national artistic heritage and export it around the
world - it has been distributed in 60 countries - the film was in the world premiere in
240 theaters of Italy on November 3-4-5 2015 in 3D and 4K before being distributed in
all cinemas the world by Nexo Digital.
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With points of unusual and surprising footage, the film crosses the landmarks of the
open-air museum that is the city of Florence: from the Brancacci Chapel (with frescoes
by Masolino and Masaccio, emblem of the transition from the Middle Ages to the
Renaissance) to the Bargello Museum With points of unusual and surprising footage, the
film crosses the landmarks of the open-air museum that is the city of Florence: from the
Brancacci Chapel (with frescoes by Masolino and Masaccio, emblem of the transition
from the Middle Ages to the Renaissance) to the Museum of Bargello that holds the
Donatello David ; S. Maria del Fiore with its gleaming windows and Brunelleschi's Dome
at Palazzo Medici; Piazza della Signoria, Palazzo Vecchio until the Accademia Gallery,
which holds Michelangelo's David.
The heart of the film is of course the Uffizi Gallery, where viewers can access the inside
of the Tribuna (place visible to the public only by three points outside) "accompanied" by
Antonio Natali, director of the Gallery from 2006 to 2015, in a narrative excursus
ranging from Giotto to Gentile da Fabriano and Piero della Francesca, Raphael and
Titian, from the Annunciation by Leonardo in the Doni Tondo by Michelangelo, without
mentioning the symbol works such as Primavera and Birth of Venus by Botticelli and the
Medusa Shield Caravaggio.
The Uffizi Gallery is a very good case in explaining a lot of aspects of musuem due to its
outstanding properties in different feilds, which has well adopted the digital techniques
in related area. From the above discussion we see that there are a lo of derived varieties
via digital techniques such as the construction of official website, smart phone
application, films, roving exhibition with digital machines. Everyone knows that in order
to visit the Uffizi you have to wait long queues, which proves that Uffizi Gallery is very
famous, this success cannot be inseparable from its complete system connecting both the
museum entity itself but also the innovation updated with modern methods. We can
regard Uffizi Gallery as a good model to develop new forms of museums.
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3.4. The Canadian Museum for Human Rights
Figure21. Interior scenes of Canadian Museum for Human Rights
The Canadian Museum for Human Rights (CMHR) is a national museum
in Winnipeg, Manitoba, located adjacent to The Forks. The purpose of the museum is to
"explore the subject of human rights with a special but not exclusive reference to Canada,
in order to enhance the public's understanding of human rights, to promote respect for
others and to encourage reflection and dialogue." [25]
Figure22. Location map of Canadian Museum for Human Rights
The Museum recently won four MUSE Awards from the American Alliance of Museums,
one of which was a Gold Award for its digital infrastructure.[26]
35
Figure23. Summary perspective view of the scene
The building is a design that has posed significant electronic challenges when it comes to
integrating the complex AV installation that has been equipped with the building. The
museum galleries are developed within the volume that evokes a "mountain" covered by
Tyndall stone, a type of limestone extracted from a mountain range in the vicinity of the
Red River. The "mountain" hosts eleven major galleries that overlap freely in space and
connected by a 'impressive system of ramps covered with translucent alabaster. The
book is wrapped by a glass shell designed to transmit natural light from the south-west
into the interior space of the museum.
The eleven thematic exhibition galleries, designed by Ralph Appelbaum Associates, is a
fascinating set of site-specific installations, photographs, multimedia immersive
environments, interactive exhibits, soundscapes, feature films and music videos,
artifacts and works of art; communication tools for powerful narratives on the theme of
human rights. Live shows, debates and learning programs are also an integral part of the
museum.
36
The museum breaks the tradition with its cutting-edge AV installation. The architecture
of the building housing the Canadian Museum for Human Rights Winnipeg raised
significant electronic challenges when it comes to implement complex AV infrastructures
in 11 galleries.
Electrosonic was responsible, together with Pro Advance, the installation of the
audiovisual design of eleven galleries that make up the Museum and where a large
number of interactive touch screens and projection equipment are installed, as well as
audio infrastructure that has had to be adapted to the acoustics of the building. It is a
project that was also attended by companies acoustic SH, LLC in Milford and
Connecticut to supply the sound structure.
Figure24. Digital Broadband touchscreen in CMHR
This is not a museum with typical galleries, since there is no single-wall with right angles,
some are triangular with less than half a meter of space at its widest point. It is designed
to be seen from the first floor of display being performed to fifth floor, sound aspects had
to be taken into account when making infrastructure.
Similarly, throughout the museum various theaters are organized. There is also one of
those three projectors that were installed on the outdoor ceiling Boat HDX-W20 Flex,
which are managed with Dataton Watchout system for projections.
37
Indigenous perspectives Gallery is one of the most spectacular museum spaces that
things are focused in a theater where a curved 360 ° screen is installed. There visitors
can see a video from which they share the rights and responsibilities of indigenous
stories, told by four generations .
Figure25. Cabinet digital indicator in CMHR
The Canadian travel, the largest in the museum room, explore dozens of Canadian
stories, democratic rights, language rights and the freedom of conscience of non-
discrimination. It has a theater with a CNWU-61B single Barco projector and a digital
canvas broadcast stories through a screen of 29 meters. There are also four Panasonic
PT-DS20KU projectors.
Another gallery, examining the Holocaust, has a CNWU-61B single screen and projector.
Its walls present fragments that symbolize Kristallnacht 'infamous' of the Nazis. Another
theater, people can see a movie about the Ukrainian Holocaust, which has a similar
configuration. The combination of four power projectors projection is of 24.3 meters.
Finally, the rights of the gallery now are installed three CNWU-61Bs that displays the
contents, the surface of an interactive wall is achieved through a TVOne system. It also
has a small theater that catches the viewer thinking critically about what they see and
read.
38
Figure26. 360° digital surround screen in CMHR
Interactive AV infrastructure
Visitors also have, during the visit in Canadian Museum for Human Rights, many
interactive displays, including touch models such as Elo Touch 27 inches. To ensure that
everyone has access to interactive services, Electrosonic worked closely with the
Museum team to design key pads that allow people with disabilities can also enjoy this
technology.
The museum has an audiovisual infrastructure including machines from different
manufacturers, so different equipments from Samsumg, NOR and ViewSonic are
arranged. As the protection of rights, it has 15 points of information that includes Elo
touchscreen and Samsung 65-inch monitor.
In the gallery exploration of the universal declaration of human rights, four interactive
stations have been installed, and in each one of them is supplemented by two Samsung
55-inch monitors that are mounted in the portrait format with recognition technology
and Microsoft Kinect gesture. You can also see that a digital studio table is made up of 12
55-inch MultiTouch touch screen that are mounted upside down, side by side. A Media
39
Literacy theater incorporates two Samsung 75 inch monitor, which is hung in a vertical
mode, one above the other.
Figure27. Activities with digital technologies in CMHR
For young visitors, it presents a visual solution consisting of three interactive tables that
offers a set of gesture recognition. The aim is to make visitors think carefully about how
others can influence the decisions taken in daily life. To complete the dining experience
there are three CNWU-61B Barco projectors.
Sounds and Audio
In this architecture museum, insolent assemblies compact linear speaker, and ceiling
matrices, while Renkus Heinz and shelving equipment Tannoy 2-d enhance the feeling
40
of immersion in the theaters. In the galleries examining the Holocaust and break the
silence has been used Innovoxincorporato speakers in banks.
Indigenous perspectives, equipped with banks located during your stay so that it will be
easy to view large widescreen size and visual access to the central area where and
technicians involved raised a great challenge to artists. Instead of directing the sound
through the room, Tannoy loudspeakers have been placed behind the screens.
Furthermore, it arranged a wooden wall in corrugated shape that creates the perfect
diffusion in this circular room, and offers another element of design that is 'only visually'
with compact subwoofer of James Loudspeaker,which has been placed under the banks.
Biamp AudiaFLEX CMs are the main audio processors used in the museum, while
Medialon Manager provides monitoring and control of most teams in the museum.
The Canadian Museum for Human Rights was chosen for the case study since it has won
four MUSE Awards from the American Alliance of Museums,among which we should
notice the gold award for its digital infrastructure. Since here we are discussing the
meaning of digital techniques and how do they contribute to the development of
museum, CMHR gives us a typical example. What‘s more, the CMHR is not only a
ordinary museum that focus on the historical and cultural aspects, such as the heritages
or relics, but instead, it focuses on thinking about human rights. Via the application of
modern technologies, it displayed related history, making people have profound
thinking about human‘s equal rights in a modern and virtual environment. From this
case we can understand that the digital science and technology has permeated in our life
and can be developed in much more fields. How to expand people‘s mind via digital
technologies causes us to ponder.
41
CHAPTER 4
MOBILE DIGITAL MUSEUMS
From what we observe during previous discussion, I would like to put out a thought
with which we may have a good opportunity to adapt those technologies in a better way
that is mobile digital museum.
In 2014, there was one called The University of Iowa that was launched. It acts as a
role of partnership between the UI Vice President for Research and Economic
Development, the Office of the State Archaeologist, the UI Museum of Natural History,
and the Old Capitol Museum.
Figure28. Case of Mobile Museum ICRU
42
ICRU is partnering with the Mobile Museum to showcase the vital role that students
play in UI‘s research and creative community and tells the stories of our undergraduates‘
engagement beyond the classroom. That means the key function of this mobile museum
is to teach students in an interesting way which can draw their attention with its modern
and unique way.
Since we all know that applying digital techniques into museums is the future trend
due to its outstanding superiority in different aspects including space, storage,
transmission and so on, we consider to combine these technologies and this type of form
museum exist, thus we propose the idea that we can have a mobile digital museum.
4.1 Real case of mobile digital museum
From the information we have collected so far, in China there‘s a real case of Mobile
digital Museum, which was designed and built for the Inner Mongolia Museum by a joint
collaboration between Chasen and Amber Digital Solutions[27].
Figure29. Mobile digital museum in Inner Mongolia
It was kicked off in late December 2012 and completed and handed over to the
museum 17 May 2013. The museum shell size is 13m in length while 2.5m in width, but
with its extensile structure, the museum space can be expanded to 5.3m wide creating a
space of 45 square meters when you press the button, just as the picture shows below:
43
Figure30. Top view of the internal structure
In order to control all those advanced interactive screens as well as contents of the
museum, a central computerized system was designed and have been applied. It spent
three years to design and now has acted as the first one all-digital, highly
integrated ‖liquid‖ museum.
The Digital Exhibition of Inner Mongolia extensively use touch screen technology
and AR Augmented Reality technology, in the form of text, sound, pictures, video, and
3D models, shows the historical and cultural heritage carried all-round. As long as the
finger tap you can rotate to any angle, zoom in and out, so that the details of 3D digital
artifacts are clearly displayed. Meanwhile, more than a thousand pieces of digital
artifacts can quickly change their recombinant so that digital exhibitions with different
themes are formed of, which, for the audience, brings "immersive" sensory experience.
When being interviewed, the curator Tara of The Digital Exhibition of Inner
Mongolia introduced that, traditional mobile museum uses panels, copy or few cultural
entity for the main display parts, but would be limited only to promote its display in flat
panels, even with illustrations and rich content, there still lacks three-dimensional and
vivid understanding; Those copies often let the audience feel a pity which indirectly
44
affect the attractiveness of
the exhibition; There is a lot
of potential security risks
during transport for heritage
relics, while there is also no
opportunity that many
precious cultural relics on
display outside to be met
with people.
"Our mobile digital
museum is loaded with 3D
high-definition digital
artifacts, not only we ensure
the physical safety of cultural relics, but also improve the rate of precious cultural relics
on display, even in inaccessible remote areas, relics being kept deeply in the museum
can walk to ordinary people. " Tara said.
The Digital Exhibition of Inner Mongolia will starts to have its exhibition tour in
Inner Mongolia since then.
4.2 Mobile digital museum transportation method
We are planning a digital mobile museum, thus due to this reason, movability and digital
technologies to be applied play great roles. Here we will talk about the external design
and internal distribution and techniques to be adapted.
Introduction of the transportation method
Figure31. News of exhibition display
Figure32. Transportation method of mobile musuem
45
As far as the mobility is concerned, we have to pay attention to how could this mobile
museum be transported. From what we saw and discussed before, in order to better play
the function of mobility, some has started using trailer, therefore we say that using the
trailer can be the most popular and common way to transfer the ―museum‖ part.
Characteristics of Trailer being used in Mobile Digital museum [28]:
1. Efficient mode of transport
(1) Comprehensive Transport
All the components can be packed and transported as a whole, thus saving time for
piecemeal member assembly. The whole can be easily transferred, which improves
transport efficiency. For the mobile museum exhibits they can be stored within the shell
without having to move, which not only saves time handling, but also makes unified
planning easier of the whole to be transported.
(2) High utilization of Transportation
Since loading and unloading efficiency is high while the trailer itself acts as a means of
transportation，It brings its flexibility without the help of external transport and can be
moved at any time.
2. High benefits means of transportation
(1)save on transportation costs
Without the help of other means of transportation to boot, it reduces the cost of rent and
labour for related staff employed
(2) Save handling costs
Reducing the tedious step of assembly parts and vehicles, therefore it reduces the steps
and labor required for consumption.
(3) save packaging costs
Since the container itself is a type of packing receptacle having a high intensity, during
shipping it can play a role of shell. when using the container to transport articles,
transport packaging can be simplified therefore saving packaging costs.
(4) Simplified packaging, save a lot packing charge
There must be reliable packaging so that to avoid damage to relics during transit. The
containers have strong, sealing characteristics, which itself is an excellent package. Use
containers packaging can be simplified while some do not even need packaging, and this
results in significant savings in packaging costs for internal relics being placed.
(5) Reduce cargo damage, improve the quality of freight.
46
Since the container is a solid and sealed box, during transit there‘s no need to unpacking,
thus we need only once the transportation process for each time when we transfer the
destination. Even after long-distance transport, it is still difficult to damage those
internal objects. containers transport can reduce losses and errors due to theft, moisture,
stain and so on, which not only reduced waste of social wealth, but also leads to great
social benefits.
3. High transport cooperation
Container is a complex transportation system that involves a wide range, many links and
high-impact. All relevant entities and departments need to coordinate the work such as
place to park, the planning routine, as well as arrangement of related stuff. If the
cooperation with each other doesn‘t act properly, it will affect the play of the
functionality of the entire transport system, and if there a failure is happened within one
link, no doubt it will affect the overall situation. Therefore, it requires improving to a
high degree of coordination among various aspects of the transportation system as well
as various departments.
4.3 Shell structure design
More concretely we need to create an easily transportable structure which allows to
achieve a lot more distant places of museum centers. Also another possible use of the
structure guaranteed by the ease of shipping is to serve as "cultural showcase" at the
embassies for temporary exhibitions.
The first type we consider to use a Stretchable Mobile structure. During process of
collecting data and information, we found such a mobile system for educational entity,
which is The CELL Explorer[29]..
Figure33. Front side demonstration of CELL EXPLORER
47
The CELL Explorer is a Mobile Experiential Learning Facility: built in 2013, it's the
―Next Big Thing‖ in Continuing Medical Education. The features of THE CELL
EXPLORE can be concluded as follows:
1. Mobile Facility that ensures logistic support for experiential educational events
with simulation technologies, offering the same comfort and cutting-edge
methodological approach that we provide in Padua‘s CELL.
2. State-of-the-art technology in medical simulation learning.
3. Real-time audio-video connection for engaging performances , everywhere in the
world.
4. Multimedia role-playing
5. Substantial savings in logistics for Sponsors.
The CELL Explorer can be stretched almost three times as its original width and twice
the height. The process of change we can observe from pictures below:
Figure34. side view of truck stretching process of CELL EXPLORER
Above all, the first shell can be lifted so that it has not only the ground floor but also the
first floor; so that the intern space will be six times as its original one and the height is
twice as normal container due to its two-tier structure.
48
Figure35. side view of truck stretching process 2 of CELL EXPLORER
Then the side portions can be pulled out and the shielding plate in front of the wheels
can act as a supporting structure with the vertical bracket. The other side act likewise.
Figure36. side view of truck stretching process 3 of CELL EXPLORER
After that once we have the supporting platform for the first floor, the side portions can
be pulled out similar to the ground floor.
Finally, we put stairs there near the door and the main structure can be finished.
49
Here we have a table showing its previous size and the after being stretched size:
Table3. Comparing of the previous and after size
Length（m） Width（m） Height（m） Volume(m³)
Before 12.19 2.44 2.59 67.3
After 12.19 6.92 4.78 403.8
Another type we consider the mountable container house.
This design continues the trailer transportation method mentioned before as well as the
use of container. This is due to the fact that it ensures greater portability ever seen, that
the type of "container" for a lot of goods are used in the world.
Figure37. Mountable mobile museum Sketch Model
Using the standard container not only have the possibility in purchasing procurement,
with a wide selection due to its extensive applications, but also lies in perfectly
intermodal being transportable by truck, rail and air.
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Figure38. Mountable mobile museum Sketch Model side show
The container we used are international standard container, which is a designed and
built for intermodal freight transport, meaning these containers can be used across
different modes of transport – from ship to rail to truck – without unloading and
reloading their cargo. The most widespread among the container is ISO (International
Organization for Standardization), whose measures have been established at
international level in 1967, among which include the 20-foot (by far the most used) and
40 feet; in the table below also shows the option of 30 feet, used by some companies
offering containers for residential use, offices etc. In the above mentioned table it is also
reported the weights, whereas already the insulating material which can be mineral wool
and polyurethane.
Figure39. Break down container components demonstration
51
Table4. Standard container size[30]
Modello Esterno (m) Interno (m) Weight (kg)
(misure indicative)
Length Width Height Length Width Height mineral
wool
polyurethane
20‘ 6.06 2.44 2.59 5.86 2.24 2.34 1.95 1.75
30‘ 9.12 2.44 2.59 8.93 2.24 2.34 2.55 2.45
40‘ 12.19 2.44 2.59 12.01 2.24 2.34 3.60 3.00
Structure of container
For the exhibit machine we have decided to the standard 40 'and a modular structure to
construct the mountable museum (see figure 37). that combines an effective
transportability closed structure and the maximum capacity of the open structure.
Container steel:
1. Steel： Frame materials all used 2mm ~ 3.5mm hot rolled steel sheet or hot-rolled
galvanized steel,Frame Specifications Model：ZL 2012 2 0360569.5
2. steel surface treatment:
Two methods are adopted：
1) When hot-rolled sheet steel is selected, the first step is to rust the steel surface，and
coat twice epoxy iron red rust primer of thickness of 30μm and once topcoat of
thickness of 60 ~ 70μm;
2) When the selection of hot-rolled steel galvanized steel, Zinc layer content ≥180g,
then coat 10 μm epoxy primer and an epoxy intermediate coat whose thickness is also
10μm; finally alkyd coating thickness of 60μm as the finish one.
3. corner fittings：Up and down each four corners with a total of eight corner fittings
(ISO1161), the thickness of the corner fittings is 5mm. Those ones are used for top frame
crown sheet, the thickness is 20mm，while those ones are used for bottom frame crown
sheet, the thickness is 10mm。
4. fork pockets: in the center bottom frame there is a fork pockets for shovel,transport
vehicles, the two slots apart 1200mm, and the fork notch size is of 90mm × 280mm.
52
Bottom plate structure
1.Composition: Bottom is composed by a steel frame, floor grassroots, floor surface, and
floor close sidebar.
2. floor grassroots have the following options:
1) multi-layer glued wood, thickness of 18mm, plywood surface covered with waterproof
membrane, plywood conform GB18580-2001E1 standards. Thermal conductivity of
0.12W / ( k).
2) cement fiberboard, thickness of 18mm, non-combustible material of class A, in line
with GB8624 standard. Thermal conductivity of 0.3W / ( k).
Container plates：
For panels we have the following options:
1) 50mm thick EPS steel sandwich panel, thermal conductivity is 0.663W / ( k), fire
rating class B (according to Classificazione europea EN 13501-1)
2) 75mm thick EPS steel sandwich panel, thermal conductivity is 0.442W/（ k）, fire
rating class B
3) 50mm thick PU steel sandwich panel, thermal conductivity is 0.41W/（ k）, fire
rating class B
4) 75mm thick PU steel sandwich panel, thermal conductivity is 0.28W/（ k）, fire
rating class B
5) 50mm thick rock wool sandwich panels, thermal conductivity is 0.749W / ( k), fire
rating Class A.
6) 75mm thick rock wool sandwich panels, thermal conductivity is 0.530W / ( k), fire
rating Class A.
Obviously the entire complex structure has to ensure a certain degree of resistance to
stress, this was done having the basis of the static calculation of the so-called Eurocodes,
more specifically for side actions were followed by EN 1990 (European Code 0 , bases),
EN 1991-1-3 (European code 1; snow), EN 1991-1-4 (European code 1; wind), while for
the calculation of lateral resistance were followed to EN 1993-1-1 (European code 3;
steel), EN 1995-1-1 (European code 5; wood).
With regard to the load capacity of the container floor it is able to guarantee a maximum
useful load of3.0 kN / , or 300 kg per .
53
Installation Flow：
Figure40. Installation Flow steps：
Comparing these two types of mobile musuem structure, the first type, which adopts the
CELL Explorer shell structure, has higher mobility. It travels with the trailer and can
stop at one place for few days, the travel cycle is shorter and the destinations are much
54
more. And due to its high mobility, it can travel not only in one country, but also to all of
those countries as long as they are bordered by each other. It is a very convenient way to
exchange culture of different countries.
The second typy, which is the mountabel mobile museum constructed with containers ,
is also movable. But comparing with the first type, it has lower mobility. The temporary
structures takes few days to construct and the house can stop at one place for a longer
time. For example, it can be remained at the same place for 6 months, thus during this
time, more visitors have the chance to take a look at the museum and enjoy the
entertainment.
Both these two types have similar internal area and volume, and will maintain exhibition
demand, here we will discuss the system design inside them.
4.4 System design
1. Portable satellite system
With the rapid development of science and technology, the original fixed station antenna
has been unable to meet the needs of emergency communications, giving rise to a mobile
station, the static and mobile communications through satellite communications
antennas that are small, highly mobile, is widely used in emergency communications[31].
Figure41. Schwaiger, sistema antenna SAT 80 cm:
55
Satellite system
Full name:
Schwaiger, SAT antenna system 80 cm 8 users Quattro-LNB anthracite with multi
switches 5/8
Item number: 942036-62
Cod. Manufacturer: SPI9961SET6
EAN: 4004005113013
Strong points and details:
For 1 satellite + terrestrial input
For 8 users
SAT dish 80 cm – anthracite
Description:
With this kit Sat kit it is possible to meet up to independent 8 users，each of them can have
analog and various digital programs. It is possible to align the satellite pot to a satellite. The
satellite signal and a further signal TV / Radio terrestrial antenna are distributed on a multiple
switch 8 outputs.
Selection of satellite TV receivable from satellite locations in Europe:
Eutelsat W3A, 7 ° east, starting from the parable a diameter equal to 80 cm
Eutelsat (Hot Bird), 13 ° east from Ø 60 cm
Eutelsat W3C, 16 ° east, from Ø 65 cm
Astra 19.2 ° East, from Ø 35 cm
Astra, 23.5 degrees East, from Ø 50 cm
Astra / Eurobird 28.5 ° East, from Ø 60 cm
Arabsat 3A, 26 ° east, from Ø 90 cm
Hellas Sat, 39 ° east, from Ø 70 cm
Türksat, 42 ° east, from Ø 90 cm.
The diameters of the parabola are indicated minimum data, for which there must be
taken into account no reserve for the weather. In addition, it is assumed that the
reception is limited to digital programs. In case of doubt you lean for a higher pot size, so
as to receive the corresponding satellites without interference.
56
Table 5. Dati tecnici of satelight
User 8
LNB NB Four (no switch)
Color Anthracite
satellites 1
shaft support 32 - 76 mm
Multiswitch 42498
kit contents LNB, Multiswitch, Antenna SAT
Category SAT system without receiver
Height 85 cm
mirror diameter 80 cm
Width 75 cm
Characteristics:
Satellite Multiple switch 5 of 8
Four LNB distributes up to a maximum of 8 outputs independently of each other
Possibility of terrestrial signals power (p. Eg. For regional programs)
Switching Power Supply with external plug
Multiple switch data: • SAT Inputs: 4 x (F connectors)
Outputs: 8 x (female connectors)
Frequency range: 950 - 2150 MHz
Attenuation of the transmission: 10-3 dB (typ.)
IM3 output level: 100 dB microvolts
Decoupling output: 25 dB
TV / radio
Inputs: 1 x (F connector)
Frequency range: 47-862 MHz
Attenuation of the transmission: 5 dB (typ.)
Generic
power supply for LNB: max. 500 mA
H / V switching: 14.8 V
Switching LNB 1/2: 0/22 kHz
Weight 404 g (without power supply)
Mains connection: 230 V ~ / max. 15 W
Operating: -10 ° C to + 50 ° C.
57
Included in delivery
Dish 80 cm
Four-LNB Universal
Plug-in Power
5/8 multi-switch.
2. Air condition:
Another important element of the exhibits is the air conditioner / heat pump, not only
because it ensures, through the regulation of the temperature, the comfort of the user ;
but also because it reduces the moisture, allowing to avoid condensation to ' internal
structure and allowing a longer life cycle of those tools. We have chosen the type of roof,
because it allows to have acertain weight, is more aesthetically pleasing other solutions
because it uses efficiently a basic principle of physics: warm air that rises is drawn in and
cooled down, while cool air sinks naturally down.
Considering the convenience and easy assembling we chose the Wall-Air Displacement
Advanced WDE.
Technical features:
Displacement principle for quiet running
Outside air conditions -20/+50 °C winter/summer
G4 zigzag filter
Night mode
Sequencing operation
Options
High temperature operation up to 55 °C with R134a
Compressor soft start
Electric heating
Aluminium housing
Serial interface RS485 for connection to BMS
systems
Electrical cables ready to plug in
Winter kit up to -40 °C
External operator terminal for C2020
Humidity sensor
Figure42. Wall-Air Displacement Advanced WDE
58
Running work Graphic:
Figure43. Illustration of the inner loop operation
Table6. Wall-Air desplacement model and type
1) Outside temperature 35 °C/Inside temperature 30 °C/rel. humidity 30 % 2) 400V/3Ph/N/50Hz (Plus) 48V DC 3) Measured at 2m distance, free field’’
3. Light system:
Here we adopt the phoenixlighting due to its high efficiency and Firmness, which, for the
construction of mobile museum, has Incomparable advantages.
Australian Design No. 359170
US Patent Pending
Wall-Air Displacement
Model WDE40 WDE60 WDE80 WDEA0 WDEA2 WDEA4 WDEA6
Total cooling capacity 1) 2) kW 4.3 6.1 8 10 12 13.9 15.7
External sound pressure level 3) dB(A) 50 51 52 53 54 58 60
Weight kg 170 200 200 240 240 250 250
Height (including condenser fan) mm 2,085 2,085 2,085 2,226 2,226 2,226 2,226
Width mm 879 879 879 992 992 992 992
Depht mm 565 565 565 730 730 730 730
Air fl ow in cooling mode m³/h 1,100 1,700 2,700 2,400 2,800 3,600 3,600
Air fl ow in free cooling mode m³/h 900 1,300 1,800 2,500 2,500 3,000 3,000
59
Figure44. Dimensions of phoenixlighting
Table7 Specifications: of the phoenixlighting
Construction Cast aluminum housing
Finish White thermoset powder coat
Hardware Marine grade (316) stainless steel
Lens Impact-resistant, diffuse polycarbonate
Diffuse red and green lens accessories available (RED-CL, GRN-CL)
Light source 13W, up to 1000 lumens
Conformal coated
CRI ≥ 80
CCT 5000K
50,000 hour rated life
Power source 120V, 50/60Hz
240V, 50/60Hz
13-27V DC
Wiring Stranded wires
Cord not included - standard
72.00 inch (1829 mm) cord with pigtail option (CD)
NEMA 5-15 plug (120V only) sold separately (PLG-515)
Through wiring Continuous row mounting option (TW)
Ambient operating
temperature
-30°C to +50°C
Mounting Flush mount brackets - standard
Harp mount available
Rail mount available - 2.00 inch overall diameter
Fixture can be mounted in any orientation
Weight 2.0 lb (0.9 kg)
Warranty 3 years
60
Mounting: Since the shell structure are always being mounted and moved to other places, the easy of assembling is an important aspect to be considered. Phoenixlighting can be assembled with the following module and components, from which we can tell the convenience.
Figure45. Mounting assembly of phoenixlighting
4. Sanitory system
Sanitory system is another necesspary part of the digital museum, considering visitors
may spend a certain period in the building, we need to design the bathroom for visitors
in case they need.
The sanitary in container can be used, thanks to their robust construction and high
standard of quality, for the short term or for a longer period.
Figure46. Bathroom in the mobile museum
61
The container can be connected directly to an available drainage system or can be
operated using a buffer tank with an odour trap. When closed, the tanks hold between
7,000 and 10,000 litres and provide you with additional flexibility when selecting an
installation site.
Here is the description of some types:
Table8. Dimension (m)and weights (kg):
Type Exterior Interior
Lenghth Width Height length width Height Weight
SA 10' 2.989 2.435 2.591 2.851 2.260 2.340 from
1.490
SA 16' 4.885 2.435 2.591 4.710 2.260 2.340 from
2.000
SA 20' 6.055 2.435 2.591 5.880 2.260 2.340 from
2.490
SA 24' 7.355 2.435 2.591 7.140 2.260 2.340 from
3.000
SA 30' 9.120 2.435 2.591 8.925 2.260 2.340 from
3.490
SA 5' 1.200 1.400 2.540 1.055 1.255 2.200 350.000
SA 8' 2.400 1.400 2.540 2.255 1.255 2.200 570.000
Thus we can chose among these choices according to the specific circumstances of the
sites since the museum will move to different destinations and the real situation may
change.
It Has hygiene and cleanliness at the highest level, with the following features:
Quick assembly on site
Promptly usable
Robust steel construction
High quality insulation
Complete and comfortable equipment
Fresh water instead of chemicals
Various equipment options possible
Steel interior design (optional)
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4.5 System Structure Design Summary
Table9. System Structure Design Summary
Item Sort Name Specification and parameter
1 product model standard intensity standard product with standard dimension, it was produced according to the plan
2 specification length length of the building：1219mm
3 width width of one building：2440mm (clear
dimension indoor 2340mm)；length of 3
buildings：3*2440
4 height height of one building:2900mm*2（clear
height indoor 2550mm）
5 standard component
steel structure
floor main beam is 14a U-steel and secondary beam is U70*50*2.0 bending steel made of Q235 galvanized material
6 roof main beam is 16a U-steel and secondary beam is Z60*60*2.0 bending steel made of Q235 galvanized material
7 steel column
100*4mm rectangle tube made of Q235 galvanized steel
8 wall panel 50mm double-faced coloured steel sandwich board
9 roof panel 0.426mm colored steel single board roof
10 roof insulation 50mm glass wool
11 floor insulation 60mm polystyrene
12 suspended ceiling 40mm double-faced coloured steel sandwich board
13 floor 18mm CCA plywood and decorative floor leather on its surface
14 door high quality aluminum alloy sandwich door with the specification of 800mm*2000mm,each door equips with one frame
15 window high quality plastic and steel swing window with two layers glass with the specification of 700mm*1000mm,each unit matches 4 frames
16 electricity hidden wire tube (the tubes are in the wall panel)
17 light phoenixlighting 13W with white thermoset powder coat
63
18 switch switch*16
19 socket 5opening sockets*4,air-conditioner socket*2
20 breaker 30A
21 elective component
air-conditioner Wall-Air Displacement Advanced WDE
22 floor composited wooden floor
23 wall panel medium density(no painting and healthy) can be decorated on the wall panel indoor
24 bathroom device: standard shower, toilet, wash basin, water heater
25 furniture and appliance
custom made
26 designing parameter
roof load 1.0KN/
27 wind pressure wind pressure：0.6KN/；the scale of
the wind force ： 11 grade ； designing
speed of the wind：32m/s
28 ground load 3.0KN/
29 seismic fortification intensity
magnitudes 8 (close to 6.1 on the Richter Scale)
30 panel heat emission parameter
wall：0.442w/ k， roof：0.55w/ k，
ground：1.1w/ k
31 weather condition air condition: the minimum temperature is
no less than -25 outdoor
32 empty weight unit:2000kg(count the package in)
33 construction construction tools crane(5 tons), spanner, electrical drill, the decoration indoor needs power
34 construction efficiency
4 experienced technicians can build 3 unit(include the decoration indoor), the whole building is with 6 units.
35 transportation transportation by platform trailer
each truck with 12 meters can load two buildings, and it is suitable for domestic short distance transportation
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CHAPTER 5
INTERNAL CONTENTS DESIGN OF
MOBILE DIGITAL MUSUEM
In this Chapter, we will mainly talk about the internal contents design of the museum,
including the exhibition contents, like what should be displayed,what is the based on;
then we discuss the advantages of some exhibit machines and decide what to be selected
due to their particularity; after that, I made the plan for the layout to put those machines
in suitable positions and make the best of their functions; And after all, I explained how
to apply the heritages we want to display via the use of those machines.
5.1 Digital collections principle
Since we will make a list of the heritages to be exhibited, we should the basic principles
so that to choose the best ones and make better use of them, here I analyzed the
principles of digital collections[32][33].
A digital collection consists of digital objects that are selected and organized to facilitate
their discovery, access, and use. Objects, metadata, and the user interface together create
the user experience of a collection. Principles that apply to good digital collections are？
:
Collections Principle 1: A good digital collection is created according to an explicit
collection development policy.
Collection development is tied tightly to the goals and constituencies of an organization
among all of those factors. The digital collections builders must refer to the mission
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statement of their organization and articulate how a proposed collection furthers or
supports that mission. And managers should be able to identify the target audience(s)
for the collection as well as think about unexpected uses and users.
Collections Principle 2: Digital collections should be described clearly since in this
way those users can discover characteristics of those collections such as the scopes,
features, formats and any information significant for determining the collection‘s
authenticity, integrity, and interpretation thus comprehend better.
Collections Principle 3: The digital collection is curated, which is to say, its resources
are actively managed during their entire lifecycle. The digital form of the collections is
made from all those collected information so that the correction and update should be
continued and managed during its whole lifecycle.
Collections Principle 4: A good digital collection is broadly available and avoids
unnecessary barriers to use. Persons with disabilities shouldn‘t have difficulties in
understanding or using those techniques. So here we say that, even the technologies we
applied are modern and high-tech ones, the availability, usability, and accessibility are
required.
Collections Principle 5: A good digital collection should respect property rights. We
know clearly that each digital collection are made from the data and information we
found, which is connected to intellectual property, thus when turning the relics into
digital forms we must respect its owner‘s willing.
Collections Principle 6: A good collection has mechanisms to supply usage data and
other data that allows standardized measures of usefulness to be recorded. Digital
collections should be evaluated periodically to monitor usage, assess service
effectiveness, demonstrate return on investment, inform collection development, inform
strategic planning, and support funding requests.
Collections Principle 7: A digital collection should have nice interoperability. This
means, the digital collection can be made via popular methods that the others used so
that reduces the complexity. And at the same time, there should be mechanism that the
collections can be compared with ezch other so the audience can easily tell the similarity
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communality and differences, which makes them have a better view in comparing and
comprehension.
Collections Principle 8: The digital collections should be monitored during its
lifecycle. The collections involved all the processes from the beginning producing and
the final stage that transfer into digital forms and deliver to visitors. Those processes
should be monitored so that the error can be easily to found out and corrected while the
information could be updated. And according to audience‘s feedback we can tell which
type of the collections attract more visitor‘s interests so that to improve.
Collections Principle 9: A good digital collection is sustainable in the long-term. Not
only real collections need sustainability, but also the digital ones do. When having the
digital collections, we have to keep the copy of them, since it is not easy to develop a end
product of a digital collection, this requires related stuff pay attention to it. The stored
data should be checked up continuously within specific period in order not to be lost or
damaged. And, on the other hand, with the stored data, better method can be discovered
so the collections would be optimized.
5.2 Design principles of museum multimedia exhibit
display
After I put out the principles of digital collections, I need to think about the multimedia
techniques to better display these contents. In order to meet all these collections
principles, I list the also the principles of museum multimedia exhibit display. So we will
see them clearly that we can combine them with each other in a better way[34][35].
1. First, everything aims at exhibits.
What multimedia display really should be shown is the relic itself, rather than the
technical methods.
This requires that before designing we need a complete and appropriate exhibition
design idea,which stems from the understanding of the content of the exhibition. It is
the reasonable and comprehensive grasp of the exhibition contents, the audience
psychology, hall environment and other factors. The design, implementation of
multimedia display must be confirmed with exhibition design idea as guideline.
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Different types of museum have various ideas of exhibition design. The museum we
designed is a mobile digital one that uses digital technologies as a propaganda tool to
show history and culture. Multimedia display application introduces a number of
technologies and equipment, under which the main purpose is to present cultural history
behind the relics themselves instead of the display technology itself. The successful
implementation of the museum multimedia display should be based on a deep
understanding of ―science, art and culture‖, forming an atmosphere that combines the
environment and contents, which vividly demonstrates the appearance and process of
culture‘s characterization, as well as meet the audience‘s aspirations to experience the
exhibition, exploration and adventure.
In each project of a multimedia display, we need to analyze the specific features of the
exhibition, having a clear idea on which point to make use of multimedia technology, so
that we truly have the finishing touch, and strive to achieve the seamless integration of
performance of technology applications and content. With these considerations, the
audience does not feel obtrusive feeling with techniques applied during the visit, and will
be able to enter the environment that multimedia exhibition expressed unconsciously.
2. Customer-centric
Visitors are the main elements of museum to be able to develop and exist. Multimedia
exhibit display must establish its own service concept: all should be customer-centric
that we provide services standing in the audience position.
We need to set the idea that audience is the first consideration. For multimedia display,
it means that we must create excitation and an interactive relationship between
exhibition and the audience among a variety of environments, including environment for
groups visit , for individual visit, the network environment and so on. Attaining this
would help achieve one step ahead in services, increasing audience retention.
Environment for groups visit -——The entity exists in the museum exhibition among the
exhibits. We need to combine it with relics been exhibited, with the data, reaching a
convergence of audio and video, information technology as well as automation
technology, creating a linear dynamic display environment. In such an environment for
group to visit, consistency is the first element of collective action, the lack of ability to
interact should be avoided. On the interface with the audience, we focus on succinct
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expression, impact and behavioral safety while on the background technical interface;
we focus on the high degree of automation, low maintenance cost, and strong scalability.
Environment for individual visit——exists in the museum exhibition among the exhibits.
Under an interacted situation we achieve the combination of display entity, data.
Visitors would have a environment where there‘s convergence of audio and video,
information technology as well as automation technology. In such an environment for
individual visit, the audience can focus on a specific problem for a long time. So in such
showcasing devices, it‘s required in-depth exposition, interpretation, extended
exhibition, with personalized content of customization, interoperability, with perfect
information exchange, output and service functions. And we have to fully consider the
device robustness, security, ease of use and recoverability.
Environment for network visit——it is existed in internet and under a interacted
situation, combining relics images and data. It‘s an environment providing services with
convergence of audio and video, information technology and remote Interactive display.
In this environment most occur individual visits behavior, which is similar to the
environment of that in museum entity. However, the difference is that, in this case the
audience is a personal self-operated information terminal, its performance vary widely,
there may be a multimedia computer, there may be a smart phone, so we need to fully
consider the compatibility, portability, and simple nature of multimedia exhibition
software.
3. Setting goals in order to demonstrate the effect
Getting benefits is the fundamental purpose of establishment of the exhibition, the
multimedia during the process of display program design it‘s necessary to fully analyze
the application technology point, grasping the seamless integration of content and
technology, open up profitable technology joint and achieve direct effect, social,
economic and other aspects for success.
Novel and profound experiential visit——For the audience, this is the direct feeling, and
is also the most intuitive effect of multimedia display. As long as catching a profound
cultural understanding of the content of the exhibition, the skilled ability to control
multimedia technology, fully understand the creative arts of showcasing designers, and
have a comprehensive analysis of all kinds of external influences exhibition, it would be
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possible to enable multimedia display and the whole exhibition complement each other
together, so that promote audience participation, understanding and thinking.
Pass information to the audience from past history of the development process, inspire
ideas for the future direction of social development, improve and enhance the quality
cultivation of the audience, and promote social harmony and development is the
important social benefits of multimedia display. At the same time, multimedia display
not only can enhance the show effect, but also to mobilize the interest of the audience
participation, so that build a good profit internet. Release endorsement image of
multimedia exhibition with unified elements that implement all aspects, gradually create
its own brand of the museum. Development involves memory, knowledge, fun, game
products, so that also expands revenues space. Via the use of multimedia techniques,
network technologies, automatic control technology for packaging, it will be able to
establish the image and create the brand, as well as lead the development of derivative
products, build recreational space, forming a new type of popular public leisure and
entertainment.
4. Technically keep forward – looking in techniques
Media display is an emerging field, direction of design development has a lot of
uncertainty, and a new product or new technology can bring significant changes to the
design. Accordingly, the multimedia exhibit on display at the Museum must have
considerable forward-looking in technology application.
For any introduction of a new technology, it‘s necessary to experience a process of
transferring and adapting according to propagation principle and the need of
performance content. For museums, it means that we are required to behave a better
planning during the continuing development of scalable functional modules, thus having
the capability to update, replace and expand, so that satisfy audience‘s present demand.
In other words, it refers to the coordinated development of subject knowledge,
technological progress, and social politics, all of them are an inseparable system. It is
necessary to achieve the purpose of displaying full and beautiful content, and also leave
space for expansion and technical adjustments.
In the digital era with rapid technological change, new ideas realization depends on
technological innovation. The introduction of cutting-edge digital media and broadcast
control technology in multimedia display, and embracing new forms of perception
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created by technology, not only bring the audience a special immersive experience, but
also greatly accelerate speed of communication and interaction. Many results presented
vary due to different reactions and operation of participants with showcasing projects
thus creates new meaning and interpretation.
5. Design of interactive multimedia software of the museum
Applying multimedia technology to museum exhibitions, the software design is the key
and complicated task. The main designer should be proficient enough in computer
software, multimedia, network technology and heritage knowledge in order to fully grasp
the software points.
Relics are the subjects. The application of multimedia technology in digital museum
aims to present those relics more thorough and comprehensive, thus we say the
technology is a means of tool instead of dominate.
Museum faced great different understanding coming from various cultural background
with diverse knowledge of the audience so there‘s unpredictability. Therefore it is
suggested to use a large number of large-size touch-screen during the display, with its
simplicity of operation to facilitate audience. Here in the mobile digital museum we
consider the choice of those types of equipment and devices with abrasion resistance,
scratch resistance and higher resolution.
First of all, multimedia software is designed considering the exhibition themes and
content, as well as to make up for shortcomings of traditional means. Meanwhile, we
need also think about the problem of limited space.
Second, the software should show content in page units, operation button or text should
be significant and clear, because such software is different from ordinary multimedia CD
software, ease of operation is far from finger and mouse, so scrolling, small button
design should be avoided. At the same time, it is appropriate that each page reflect one
content, that‘s to say, the full content that need to be addressed will be revealed in a
single complete page, and in each page there must be clear signposts.
Third, the design of the software operation and graphic style need to be consistent. One
museum, its display is generally divided into several exhibition halls or relatively
independent parts, each hall can be arranged in one or more multimedia exhibition
showcase according to its need. Each operational design of software should be unified,
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and style in each plane needs to be consistent and try to reach a unified style of
displaying, however, we do not require the same plane style of every multimedia
software.
5.3 Exhibition methods and machines layout design
Our Mobile Digital Museum will focus on interactive experience. Here we list the
principles of interactive experience:
1. Ease of use of interactive mode;
2. The fun of interactive mode;
3. The artistic feature interactive environment
Main ways:
1. Visual interactive experience;
In general, as long as there are internet and interactive display devices, the design of
visual communication can be implemented.
Vertical Projector[36]
Figure47 Case of vertical projector
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A projector or image projector is an optical device that projects an image (or moving
images) onto a surface, commonly a projection screen.
Here what we are introducing is not a traditional projector that give the projection from
back side, instead, it would be but at the top of the screen and spread the shadow from
upside, since in the Mobile Digital Museum we need to consider the space limitation If
we use traditional projectors, a distance between the projector and the screen is needed,
which may cause a problem that there would form a dark shadow when there‘s visitors
coming and standing between them. Instead, this phenomenon will not exist with the
vertical projector because we don‘t need the distance to make the projection, and
meanwhile, the requirement for the screen is kind of low that there‘s no special
techniques are needed, even a white wall can meet the requirements, which can be
achieved more easily.
Figure48. Vertical projector in Manual Cultural Museum
Here is the real case that I found in the Manual Cultural Museum which is located in
Sardegna. From this picture we can tell that the white wall acts as the background for the
projection, while the assumption energy is relatively low. Thus we say it‘s quite
meaningful to use this type of existed method considering both convenience and
possibility of implementation. In this case, the digital methods is combined with the real
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relics, therefore when visitors take a look at those collections, the video is being played
simultaneously, from which customers not only know about the entity of those relics, but
also learn their history behind.
Figure49. Position arrangements of projector
The projector will be arranged at the entrance of the museum,(in the figure, Space A).It
will played circular broadcast of the introduction of the museum, the contents of the
exhibition (especially the native heritage of the destination ).
This is a monodirectional display segment that gives audience the information of general
description of local culture and histories, making the visitors have a rough idea, so that
to increase their interest to have a deep understanding of inside entertainments.
2. Audio-based interaction design
Most machines use interactive audio input and feedback to present sound, sight, touch
and other artistic effect.
Holographic screen
Is a two dimensional display technology that uses coated glass media for the projection
surface of a video projector. With it we can have a holographic display which is a type of
display that utilizes light diffraction to create a virtual three-dimensional image of an
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object[37]. "Holographic" is intended to refer showing a three-dimensional virtual image
in the real world, this concept from the mid-20th century began to be explored to
achieve varying degrees. Holographic projection technology (front - projected
holographic display), also known as virtual imaging technology, is a technology using the
principles of interference and diffraction to record and reproduce objects image in real
three-dimensional.
In the CELL EXPLORER they use this technology for medical training which simulates a
real stage of lecture room. We use this for reference that we can create the simulated real
stage for teaching visitors knowledge and history of relics related to this mobile museum.
We not only provide a teaching environment, but also maximize the use of the space at
the same time.
Figure50. Interaction machine example
Via the combination and application of media such as video, audio, animation, images,
text and other media, we explore the depth background and significance of exhibited
relics, achieving not only vertical depth knowledge of anatomy, but also laterally
dynamics of the exhibition form associated with the extension. In this way, it is possible
to promote audience with vision, auditory, and other senses and acts thus to create a
new tour experience, which will increase their entertaining and explore interests, so that
to the maximized extent visitors capture exhibition designer's intentions. Vivid display
multimedia exhibition has become a new important form of expression museum in
exhibition display art.
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Features:
1. Sufficiently attract customer‘s attention; The effect can be achieved that it would
be difficult to forget;
2. Strong selectivity of Screen size, long life of system;
3. There is no cable around the screen that gives the user a mysterious and magical
feeling;
4. Dynamic visual effects can be created indoors
5. Human-Computer Interaction, customers are free to understand the information
content of their interest;
6. Enhance the texture of digital experiences for customers in cultural aspects;
7. Use non-fixed installation which brings in great convenience;
8. Rational use of the available space forms teaching-style atmosphere, and it
facilitates relevant historical knowledge and other aspects of learning.
Via these features of holographic projection technology, it is possible to establish
national and even worldwide cultural relics database, use the database of holographic
display we make it possible to view artifacts, artwork anywhere and at any time. Through
the application of holographic projection technology, we create "immersive" digital
museum, which will bring new vitality in this area.
Figure51. Position arrangements of Audio-based interaction
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The Audio-based interaction device will be arranged on the right side of the first floor
after the stairs(in the figure, Space D). Here we make good use of the relatively wide
space to set sofas and Audio-based interaction screen here to give those who coming
upstairs the chance to take interacted education via the device.
3. Touch interactive technology design.
Touch monitor is a typical touch interactive technology, by touching the switch on the
touch screen the computer system would react and then provide feedback.
(1) Cabinet Touchscreen
The touchscreen is liquid crystal display monitor or flat screen device that is acceptable
contacts (including fingertip or gum, etc.) of the input signal or sensor. When contacting
a graphical on-screen buttons, haptic feedback system can drive a variety of on-screen
link apparatus according to pre-programmed procedures. It can be used to replace
mechanical button panel, and by the display screen to create a vivid video effect. The
application of touchscreen is very versatile.
.
Figure52.Digital Museum Exhibitions of Uffizi Gallery in Milan
Here we are not only talking about the touchscreen itself, but the cabinet touchscreen,
which is a cabinet equipped with suitable touch panel. The picture shows a real case of
the Uffizi Gallery digital exhibition in Milan. We can tell from the picture that each
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cabinet is equipped with two touchscreen that those two devices can be operated at the
same time. Considering the fact that in the mobile digital museum the surface is limited,
we need to make maximum use of the space, cabinet touchscreen can be a good choice.
And nowadays the technology of touchscreen is relatively mature. Historically, the
touchscreen sensor and its accompanying controller-based firmware have been made
available by a wide array of after-market system integrators, and not by display, chip,
or motherboard manufacturers. Display manufacturers and chip manufacturers
worldwide have acknowledged the trend toward acceptance of touchscreens as a highly
desirable user interface component and have begun to integrate touchscreens into the
fundamental design of their products. Thus reasonable arrangements for its use are not
complicated.
Figure53. Position arrangements of Cabinet Touchscreen
The Cabinet Touchscreen will be arranged on the left side of the ground floor, making
good use of this wide space, six cabinets will be placed. Each of the cabinet has four sides,
thus four touch screens can be provided to audience. In this way we maximize the use of
area so that at highest level twenty-four people can operate the touchscreen at the same
time. Visitors will be able to, after they have the general information from the vertical
projector, operate on their own to select their favorite contents from the cabinets. The
exhibits in the cabinets can be intangible cultural heritage and so on.
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ADVANTAGES
-Touchscreen devices have limited buttons that will possibly break after 3 – 4 years
-Touchscreen devices usually have more simple user interfaces Ex. Ipod Apps
-Having less or not buttons means that you can put more effort into having a big screen
–For the people worried about hygiene, most devices are easy to clean, some are even
dirt, dust and grease resistant
-For people new or uncomfortable with normal desktops, touchscreens are easy to use
helping more people get used to using computers
2. Takee-World’s first 3D Smartphone [38]
New idea with new design smartphone
Figure54. Takee concept schematic
This award-winning 3D holographic smartphone offers stunning 3D visuals and
impressive compatibility. Pair it with another of our devices and experience media the
way you were meant to.
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Configuration:
5.5 inches 1080p resolution display screen;
Core uses 2.0GHz eight-core 6592T;
preposition 500+ postposition 13 million pixel dual-lens.
Besides, two Standard original battery (2500mA) are configured with takee.
Overview
What's in the Box?
Takee 1 Holographic Smartphone
Custom key for unlocking back cover
Earphones with Mic
USB-AC Adapter
USB-Micro USB cable
Quick Start User Manual
Features
Unique holographic display screen provides user with immersive, realistic content.
Revolutionary eye-tracking technology further improves HD visuals for personalized
3D experience.
AudioCauldron 3D Sound headphone technology for augmented reality listening
enjoyment.
Rechargeable, long-life Lithium polymer battery.
Supports dual SIM cards for enhanced functionality and convenience.
Reasons to use：
Taking into account the problem that the interior space of Mobile Digital museum is
relatively small, it is necessary to maximize the use of interior space. Using devices
whose volume is smaller can better meet this requirement. Comparing with other
devices, the space needed for this Takee smartphone is very limited, but it can provide
very comprehensive functions, thus offers a wide range of services for those customers
who use the phone. And because of its unique 3D feature, customers will be able to have
an intuitive and better three-dimensional experience during the process.
In the protection aspect of the equipment, technology can be applied for those that
are being used in all kinds of mobile phone shop how they display, which is using a
lockable cable to connect phone, therefore the phones can be moved and used, but do
not be taken away, the measure would be able to prevent theft.
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Figure55. Position arrangements of Takee Showcase
The area for Takee showcase will be settled at left side corner. Because the phone doesn‘t
need to take a lot of space so that we put them here, on the one hand, we save the room
for the special arrangements of the phones; on the other side, in consideration of
insurance, there might be risk of being stolen, but with surveillance it will be easy to
control the situation below the system.
4. Integrated inductive interaction design
It is a form of exchange is between human and entity combining integrated application
of vision, hearing, touch and feel and material, which is widely used.
Figure56. Virtual reality or virtual realities (VR)
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also known as immersive multimedia or computer-simulated reality, is a computer
technology that replicates an environment, real or imagined, and simulates a user's
physical presence and environment to allow for user interaction. Virtual realities
artificially create sensory experience, which can include sight, touch, hearing, and
smell[39]
In order to have good virtual reality, we need to have Virtual reality headset, which is a
head-mounted device aimed to provide an immersive virtual reality experience, for the
purpose of computer games and 3D simulations. It consists of a stereoscopic head-
mounted display (providing separate images for each eye) and head motion tracking
sensors (which may include gyroscopes, accelerometers, structured light systems etc.).
Some devices also include headphones, eye tracking sensors [40] and gaming controllers.
In Medical training，Virtual reality headsets are being currently used as means to train
medical students for surgery. It allows them to perform essential procedures in a virtual,
controlled environment. Students perform surgeries on virtual patients, which allows
them to acquire the skills needed to perform surgeries on real patients.[41] It also allows
the students to revisit the surgeries from the perspective of the lead surgeon.[42]
Traditionally, students had to participate in surgeries and often they would miss
essential parts. But, now surgeons have been recording surgical procedures and students
are now able to watch whole surgeries again from the perspective of lead surgeons with
the use of VR headsets, without missing essential parts. Students can also pause, rewind,
and fast forward surgeries.[43]
Here taking into account the high mobility problems of visitors, for use of Virtual reality
headset we must take into account the cleaning issues. If it‘s not cleaned after finishing
using from the previous customer, it may not reach a certain standard of hygiene. The
Mobile Digital Museum‘s space and resources are limited; therefore we need to consider
the most simple and effective way not only to implement Virtual reality headset‘s
functionality, but also to meet the cleaning requirements of equipment being used for
visitors.
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Figure57. Google Cardboard headset
Google Cardboard headset that uses the display and GPU of a smartphone provides a
good idea (of course not limited to this) that we can combine disposable paper casing
with a simplified instrument to be used in conjunction, it will ensure Virtual reality
headset‘s functionality, which is to provide customers an immersive virtual reality
experience, but also meet the requirement of cleanness.
Figure58. Imitate view in Virtual reality application
The device can also help visitors to experience some of the heritages, that in reality they
have become ruins but with some technologies they have be repaired in digital forms
(including but not limited to non-existent sites, it can also be some heritages far from the
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site such as places far away from EUOPE , for instance, Asia).除此之外，some heritages
are in a weak situation, in order to protect them better, they are closed to visitors since
the tourism may bring in some damages. Therefore except scholars, archaeologists or
some other special roles working in this field, ordinary people will not have the chance to
step into the heritage site.
Here we give you an example[44]
Colosseo:
We are very familiar with Colosseo，
which is an oval amphitheater in the
center of the city of Rome, Italy. The
Colosseo is built of concrete and sand,
and it is the largest amphitheater ever
built. Although partially ruined because
of damage caused by earthquakes and
stone-robbers, the Colosseum is still
an iconic symbol of Imperial Rome. It is
one of Rome's most popular tourist
attractions and has also links to the
Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the
Cross" procession that starts in the area around the Colosseum.
As we can see, now the Colosseo is being maintained and would not be restored back
Figure59. Colosseo prototype in digital forms
Figure60. realistic life science in Colosseo dexodidation
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To its original state(which is costly but meaningless), but meanwhile, building its digital
form will be much easier. With Virtual reality technology, people will also have the
chance to see Colosseo‘s original appearance which they cannot achieve in reality.
On the other side, technicians can make effort to manufacture the internal scene, thus
when people use the virtual reality headset, they would have the chance to experience
the inside activities,hence they understand the relative literature about Colosseo better.
Making the experience like a game also have great attraction for children and young
people, since this is a type of immersion program that allows users to deeply be in
original scene to relieve their bored with the learning experience, we can conclude
these benefits of VR in the cultural education：
Active rather than passive experience
Immersive experience means no distractions
Immediate engagement: useful in today’s world of limited attention spans.
Exploration and hands on approach aids with learning and retention.
Helps with understanding complex subjects/theories/concepts
Suited to all types of learning styles, e.g. visual
All of these may help them interest more in cultural civilization, which is good for
the development of cultural career.
Here the adjustable seat inside the Mobile Digital museum should be mentioned, that in
order to give visitors better feeling during their virtual experience, we can set the
adjustable seat, which, on the one hand, the control center can make them have the
virtual experience simultaneously so that the management will be more easily carried
out, on the other hand, the amount can be more convenient to count, thus with the
statistic result, activities would be improved and adjusted more simply.
Figure61. Position arrangements of VR
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Here we make use of half of the space in first floor for virtual reality. Here visitors can
enjoy the virtual experience with the equipment to appreciate those heritages they don‘t
have chance to look at or those ones that have already disappeared. With the digital
techniques, heritages can be restored in a virtual angel of view. This will be an
interesting way for both adults and children, due to its game-like form. It can especially
attract children‘s eyes to give them immersion program. At the corner, reception desk
will be arranged to distribute the equipment and give visitors indications about the
devices so that to ensure the fair use the VR.
Another example:
Lastly, Britain has made an attempt in this regard. In the seventies of last century to the
eighties, after they explored the ruins area, which is of tenth century, in one block of
Coppergatedistrict of York City, in creative thinking, they combined with modern high-
tech means, and made a comprehensive rehabilitation. People come here through the
"time tunnel" here and will be able to see the tenth century street, houses, fishermen,
merchants and other production life scenes and utensils, as well as hear Viking language
from those who used to live here, even the birds singing that fly in the sky . This very
creative presentation forms, has achieved great success, attracting a large audience,
while also made a very good economic and social benefits. This unique and new thinking,
as well as many other domestic and foreign countries‘ methods and useful experience,
are very worthy of our study and learn to improve our level of museum display work.
5.4 Topics of the museum being designed
1. Basic exhibition that the culture and history of the destination city as the
background.
Due to the mobile feature of the digital museum, the museum will travel around the
country. And since different cities have different native culture, we can use the local
culture and history of that city as the basic content of the exhibition when the mobile
museum arrive there. Promote local cultural can generate impetus for tourism.
There are different development path, creating a different cultural heritage among
different cities, these had a profound impact on the status of different historical and
cultural sites in the eyes of the modern. Those ancient buildings and intangible cultural
heritage surviving are witness of the progress of human civilization, which, after several
hundred years of ups and downs, carried countless human‘s suffering and hope,
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contained a historical context and the city's cultural heritage, as well as important roles
played by historical and cultural sites in the modern urban development. In today's
rapid urban development, historical and cultural sites are, in addition to infrastructure
and land resources, valuable, non-renewable resources, especially can be reflected in the
the development of tourism. Therefore, we should make full use of them, protection,
update,and inherit historical and cultural heritage, as well as make education and
outreach. Some specifically described by the following action to promote local cultural
heritage of urban development. We will, by the following points, discuss about the
function how promoting local cultural heritage can influence.
First, the foundation of a national culture and a spiritual civilization inheritance need
support. During the historical development of the city, cultural and urban development
are closely linked, or we can say that the inspiration of urban construction comes from
history and culture. The long culture is above the millennium cultural heritage such as
customs, habits, traditional performing arts, ancient ruins, and ancient architecture. If
the support carrying the the historical information are forgotten, the history and culture
load on them are also bound to be watered down or die. Therefore, it is necessary have
education and publicity for these historical support. They reflect the cultural background
of the city.
Secondly, when there is historical and cultural site of the city, the city has its own unique
characteristics style. The confusion of traditional culture, backward culture and old
cultural directly led people‘s the poor protection of historical and cultural heritage.
Inappropriate innovative transformation of the site changed the style of the historic city.
This not only wiped out urban style of the original cultural relics and local customs, but
also cut off the historical consistency of the society. Therefore, focusing on the
promotion of local culture helps people understand the history of the city and continue
its unique characteristic style.
Then，historical and cultural sites exist to meet people‘s different understanding of
culture in different times, and to obtain material and spiritual needs they desired, which
has played a positive role during the urban development. From individual to the whole,
from individual person to the city, local cultural sites not only has played a catalytic role
for the material needs of urban construction, but also gave great enhancement in
people‘s mind during the development process of the city. Each city's unique culture
formed a different style of people‘s thinking, thereby forming a cultural diversity;
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Furthermore, historical and cultural sites promote the development of
tourism in the city. Via promoting education of the local culture, urban tourism has
given a reasonable platform for cultural heritage. At the same time, letting people have
deeper comprehension of cities‘ cultural development would make them get the intimacy
of the city. Therefore we say that the promotion of local culture of the destination city via
mobile digital museum will increase their influence thus promoting the development of
the local tourism industry。
For example, this cave locates in Dorgali, Nuoro, Sardegna; it is one of the places that
tourists in Sardegna must visit. However, before entering the cave, visitors have to go
downstairs along hundreds of steps, and when they return they still have to backtrack,
which might be too difficult for some elder people. From what we observed that there are
some aged gave up this journey, which can be quite a pity during their trip.
However, if we consider using Virtual Reality as we mentioned before, those regrets
would be solved.This is a typical example of local heritages.
Figure62. Cave in Sardegna
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Table 10. Visitors to municipal museums in major cities of art
City Institutes 2009 2010 2011
VENICE 10 1,866,530 2,005,861 2,208,320
ROME 20 1,447,922 1,574,901 1,635,529
MILAN 13 871,751 1,091,809 1,498,151
FLORENCE 6 532,866 624,220 680,929
TURIN 4 358,859 367,779 424,231
[45]
Figure 63. State museums/monuments/sites and visitors per region (in thousands)
From the statistic we can tell that the amount of visitors there‘s great difference among
different regions. We can tell that this result, on the one hand, is due to the number of
tourists, but on the other hand, is due to the amount of local heritages. For example, in
region Lazio, even though the population is not the greatest, since it has very famous
heritages, there are quite a lot visitors while even though the region LOMBARIDIA has
the highest population, due to its relatively lower number of heritages compared with
Lazio, the visitors are less.
Therefore, due to this phenomenon, we can consider the adjustable strategy that, for
some cities of destination, probably there are not enough heritages for digital exhibition,
or the heritages are not enough to attract visitors, when we set the contents of the
exhibition, we not only consider the local culture, but also involve those culture coming
from other places, so we will discuss the next topic.
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2. Highlight exhibition that focused on national key cultural relics
As we mentioned before, in some regions and cities, local heritages are not enough for
propaganda, while there are still a lot of famous ones from other places. We consider
selecting national key cultural relics as part of the content of our museum.
Here we will mainly display following types via digital techniques:
Tangible Heritage Property
It refers to cultural property that cannot be moved or covers, including both
archaeological sites (huacas, cemeteries, temples, caves, platforms, etc.) as well as
colonial and republican buildings.(definition-reference)
Figure64. Pompeii heritage
Due to the immobility feature of this type of property, visiting it through digital
techniques will be much easier and meanwhile, can also raise audience‘s interest to have
a look at the real one on site.
Tangible Heritage.
Lady with an ErmineThis includes all cultural property
that can move from one place to another, that is, objects
such as paintings, ceramics, jewelry, furniture, sculptures,
coins, books, papers and textiles, among others. Depending
Figure65. Lady with an Ermine
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on the time in which it was created, the movable heritage as property is divided into two
broad categories: archaeological heritage, which are basically cultural property from pre-
Hispanic times; and historical heritage, which are those dating from the arrival of the
Spaniards.
Intangible Heritage.
It refers to what we call alive culture, as is the folklore, traditional medicine, folk art,
legends, culinary art, ceremonies and customs, etc. It is the practices, representations,
expressions, knowledge and techniques associated with instruments, objects, artifacts
and cultural spaces that belongs to them, which are transmitted from generation to
generation, often vividly or through practical demonstrations.
Figure66. Pasta clay
The feature of intangible heritage is that the transmission range is small while the
narrow access to audience. Usually intangible cultural heritage is more regional, and
lives in the environment with relatively isolated information. Those artists who can
completely inherit the skills and arts are relatively elder and the quantity of them is few.
Oftentimes they assume the role to inherit due to their sense of mission or senior‘s
exhortations, to secure the craft not to be interrupted or lost in their own hands. In this
context, the transmission range of majority of intangible cultural heritages are relatively
smaller, therefore cultural and artistic value are not reflected, and many people do not
recognize the value of the uniqueness an irreplaceability. And because of narrow access
to audience, their economic value is difficult to be agreed with the people, which results
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in making the artists lack of economic, so that they wouldn‘t have the chance to dig or
promote with modern media and communication tools. And due to these reasons it
becomes even hard to combine them as part of the cultural and creative industries to be
flourished.
But with the digital processes, people will get over these problems and be able not only
to learn their appearance and characteristics，but also understand the background and
history behind them.
Documentary Heritage
As its name suggests, it basically refers to the documentation preserved in archives and
similar institutions. The bibliographic heritage, in turn, refers to books, newspapers,
magazines and other printed materials, primarily stored in libraries. Although it refers to
documents and printed texts on paper, with the new technology in the strictest sense of
the term also we consider recordings as documents, digital media and others.
Figure67. Documentary Heritage example
According to Istat, Holdings and Users of the State Archives are the following:
1,603,937 linear meters of shelving
1,346,974 parchments and 13,332,990folders, volumes, registers, etc.
291,245 visitors of which 11,183 foreigners
141,216 researches of which 103,851 in situ and 37,365 by correspondence
925,576 archival units consulted
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Figure69. papers owned per region
From the statistics we can see that there‘s great difference in the amount of readers and
papers among different cities, via the digital mobile museum, we can balance this
disequilibrium and provide those regions and cities more chance to have a look at the
archives about heritages.
We can easily tell that these type of heritage usually are nor opened to public due to their
vulnerability. So there‘s only limited number of scholars and expertise have the access to
them. But via digital forms, ordinary people still have a chance to look at them since the
data don‘t have vulnerability.
Figure68. Readers per geographical area
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Underwater Cultural Heritage
This means all vestiges of human existence with cultural, historical and archaeological
character which have been partially or totally submerged in water, periodically continua
for at least 100 years.
3. Flow display with other countries’ nature, history and culture as the
auxiliary.
Museum acts as an educational institute, with convenience of the digital one, we can
look forward instead of limiting our eyes only for those heritages belong to their own
country, therefore other countries‘ nature, history and culture can also be content to be
exhibited.
International cultural exchange is an important driving force to promote bilateral
exchanges or multi-cultural development, is a powerful tool for development of
productive forces , and is also the driving force to promote social progress, thus have
extreme significance. By conducting foreign cultural exchanges works, on the one hand it
can enhance the understanding of the world for Italian people, to absorb all the
outstanding achievements of human civilization, enrich and develop the culture,
participate in the development process of world culture and art; On the other hand it can
expand its influence and establish a good image of Italy, so that to help the world
correctly understand Italy, and to spread to the world culture and art of Italy, as well as
cultural traditions and values;
This can also help the exchange of cultures among various countries and thus promote
the development of tourism.
Should we consider designing a part connected to current time news of heritage or
something
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CHAPTER 6
VISITORS AND IMPACT ANALYSIS
Since the mobile digital museum is designed for the audience, here we analyze and
discuss the visitors and then set suitable service for them, and think about the influence
and impact of the area.
6.1 Visitors analysis and service for them
Table 11. CULTURAL PARTECIPATION [46]
Out of 100 Italians aged 6 or more
2008 2009 2010 2011
HAVE READ AT LEAST ONE BOOK 44 45 47 45
- 1 TO 3 BOOKS A YEAR 21 20 21 21
- 12 OR MORE 6 7 7 6
HAVE READ DAILY NEWSPAPERS AT
LEAST ONCE A YEAR
57 56 55 54
HAVE WATCHED TELEVISION 94 94 93 94
HAVE LISTENED TO THE RADIO 60 60 59 59
HAVE GONE TO THE CINEMA 50 50 52 54
HAVE GONE TO THE THEATRE 21 21 22 22
HAVE GONE TO CLASSICAL MUSIC
CONCERTS AND OPERA
10 10 10 10
HAVE GONE TO POP MUSIC CONCERTS 20 20 21 21
HAVE VISITED EXHIBITIONS AND/OR
MUSEUMS
28 29 30 30
HAVE VISITED ARCHAEOLOGICAL SITES
AND MONUMENTS
21 21 23 23
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Figure70. Statistics of visitors of cultural places
From the statistic we conclude that over the past four years the trend of CULTURAL
PARTECIPATION holds steady, and the northern part is higher than southern part. New
things are often attractive therefore may help increase the cultural participation in
cultural fields. Considering the visitors, we must think about the social and mass
character, since when one social sector really play a role in the community, meet the
community needs, we must have the awareness and understanding of the community.
Though the educational effect doesn‘t only depend on the measurement of the number of
viewers, there have to be some audience so that the propaganda can be implemented.
Public is the basis of education. Under ordinary circumstances, the higher the number of
viewers, the more possible that more extensive parameter would be educated. Thus, we
need to pay particular attention to the number of the audience and effectiveness of the
education. It is necessary to fully take into account the needs of society and the needs of
the public, and regard this as the center to spread out the work. Native and nonlocal
people, people live nearby should all be considered.
From the current situation, according to the purpose of visiting to analyze the museum
audience, it‘s mainly divided into the following two categories: The first category is
organized learning, including scientific research and school education; The second
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category is non-organized tourism and leisure. In total number of visitors these two
categories of viewers are about half and half. The former can be called Learning - type, of
which the majority is students. The traditional approach is to have the student
population as the main target of museum education, to improve students' moral and
cultural qualities, And it proved that the museum has always been the second classroom
for the youth to learn. The latter that is non-organized audience, most of which is due to
the improvement of living standards and require better and more rich spiritual and
cultural life. This mainly refers to adults, to the public and tourists.
The functions of the museums, one of which is to collect cultural relics, the second is for
professional research while the third is for provision of social education. We‘ve talked
about how and what to be stored and exhibited, now we will focus on the professional
research and social education functions. About professional research, it is mainly for
scholars, expertise, researchers and so on, while educational functions mainly face
students、enthusiasts. According to related statistics, the second type of audience
dominates the total number of visitors, and tends an upward trend. In terms of museum,
rational and effective use of collection resources will let the audience of the second type
better enjoy their basic cultural rights and interests, which makes the museum become a
synthesized place combining a set of recreational, artistic taste, knowledge and culture
education. It is unshirkable responsibilities and obligations of museum education to act
as the pioneer to enhance the cultural quality and educational attainments of the whole
nation. For the second category of viewers, leisure education, aesthetic education and
lifelong learning can best embody the characteristics of museum education.
As for the showing aspect, the application of different types of information, and the
display format adapting to different levels of knowledge, will meet the needs of various
audiences. The museum will gradually establish social relationships with various
audiences and play an important role in the construction of spiritual civilization
education. On the display function to further study the new visual modern audience‘s
need. To take full advantage of the physical effect, use vivid and clever modern design to
build context and atmosphere, the audience will, in the knowledge realm with blink of
wisdom and fantastic, get a new state of mind
In the museum institution, in addition to set the person who about to explain the use of
the device, appropriate professional education personnel configuration should be
provided, these people have a museum expertise and educational skills. They play the
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role to contact other social institutions, to develop educational programs, such as
contacting with different types of schools, to take specific plans via using of museum
information so that to carry out secondary education outside the school curriculum for a
variety of school-age student. Another example, they can organize for the elderly or
young people with different themes and various informative research seminar, as well as
held special exhibitions for college students and so on, and accordingly video equipment
and film archive should be set up. The information will be systematized and
concentrated, so that to give the audience a more convenient, more vivid education. We
should combine together the museum education, as well as the desire for knowledge
and interest of the audience. The museum should be in a way to stimulate the audience
thinking, find answers to their question so that the audience can get more knowledge. At
the same time, some activities will be organized such as "Friends of the Museum", to
unit together those social groups and individuals who concern and support for the work
of the museum, and carry out some more useful works for museum through them.
Table 11. Total presence of 2014 MUSEO STORIA NATURALE DEL MEDITERRANEO
Totale Presenze 2014 MUSEO STORIA NATURALE DEL MEDITERRANEO
2014 EXHIBITI
ON
SECTORS
excluded
schools
SCHOOLS
teaching
and
exhibition
sectors
CHILDREN
ACTIVITY
birthdays
and playing
EVENTS/
ACTIVITI
ES/
MUSEUM
AND
GROUPS
CONGRESS
CENTER
ACTIVITIE
S OF THE
MUSEUM
UNIVERSITY
STUDENTS
library
Total
visitor
attendance
users
Museum
2014
GEN 1295 700 467 1538 260 967
FEB 813 842 341 1835 461 584
MAR 1378 3229 379 1439 744 483
APR 1053 3414 250 1182 789 398
MAG 1488 3670 338 1048 895 525
JUN 2191 703 265 513 773 697
JUL 850 119 209 390 415 493
AUG 577 0 52 85 1504
SEP 440 496 196 190 150 796
OCT 1282 108 156 656 385 460
NOV 824 803 95 1940 760 673
DEC 1441 1060 124 848 478 425
Total 13632 15144 2872 11664 6110 8005 57427
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Figure 70 Total presence of 2014 MUSEO STORIA NATURALE DEL MEDITERRANEO
From this table, we can see the seasonal trend of each activity, and there are different
sectors. So the museum managers should think about arranging different destination of
different season with various events such as Educational activities, seminar, etc. On the
one hand, it can meet the seasonal demand; on the other hand, it will meet demand of
different groups‘ needs. So that to be adapted better to attract viewers, inspire the
audience as well as educate them. Via the analysis and application of the result, more
potential audience may be attracted
6.2 Digital museum SWOT analysis
Strength
1. Digital museum can better interact with audience; it can use three-dimensional
fashion collections on display to have better fun. Considering the categories, dynamic or
immaterial cultural relics can be well displayed.[47]
2、through the establishment of a database to better analyze and summarize the needs
of the public, museum ―space‖ and ―time‖ may be extended broader. Visitors especially
groups are able to visit not only in the specified time when the museum is open with
better organized time schedule. The museum can use fragmented time, be based on the
user's own needs and life working time to make the arrangements;
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3 、 The mobile features of mobile digital museum promote exchange and
communication between the museum and the public, the easier access enhance public
understanding of such a museum in close contact with the public;
4、Solve the desire problem when it is difficult to visit the museum entity because of the
distance, time and space barrier,.
5、Social benefits, digital museum is an important channel widely disseminating
museum culture, as well as an effective way of spread social core values and building a
social civilization. Due to Italia‘s rich cultural heritage, there remains kind a lot relics
that have not been studied yet. But via the mobile feature, it would become much easier
to let people coming from different places focus on the same heritage. Allowing more
professionals or hobbyists to study is also a protection of cultural relics.
6、Via the use of multimedia tools to create realistic, vivid showing effect, So that
knowledge and information provided become rich and colorful, which increases and
enriches the way for the public to understand cultural knowledge.
7、Digital museums can do more and better detailed classification of the resources so
that to reduce potential human errors, which helps preserving heritage files and making
the searching method more convenient.
8、Security monitoring and remote classroom teaching can also be carried out thus
reduce tasks.
Weaknesses
1. Currently considering the construction cost of the new forms of digital museum, the
capital investment will be higher than the traditional museum. This makes the digital
museum in a weak position in government investment, leading to the lack of the
necessary policy and financial support.
2、For public, there‘s no uniform definition of the digitized museum in their mind, and
this affects the cognitive level of museum‘s digitization. Imbalance awareness hindered
the development of the digital museum. Therefore due to the plain understanding of
digital museum it may be difficult to drive initial interest of visitors to take part in this
type of museum.
3、For this type of mobile digital museum, there are deferent requirements of the
construction and planning system specifications, such specification makes it difficult to
unify digitized museums‘ legal system and regulations;
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4、Digital museum technology development and applications need more technical
support. but considering the lack of network platform or the corresponding software
development, there is still some space for improvement;
5、Due to the application of digital museum, there comes "hackers" and network failure,
these aspects may bring in network security risks;
6、Risks due to the staff because they believe in or rely too much on the digitization
security,for example, there may occur failure in the monitoring equipment or fire safety
equipment;
7、The much-needed compound talents are starved during the development process of a
digital museum, but there are not enough corresponding training institutions for the
stuff.
Opportunity
1. The museum has become an essential public place for popularity to understand and
learn cultural knowledge. For the people's daily life it plays an increasingly important
role. With the accelerated digitization, digital museums have a broader prospect for
development; the future development of the Italian digital museum will be more
dynamic.
2、Digital museum makes the experience from monodirectional to bidirectional. The
public can have more ways to visit the museum exhibits while the museum can also
more be updated timely according to users‘ feedback.
3、Digital museum will make museum knowledge be more specific and visualized and
give the public more intelligent experience. The trend adapts the development of
socialist culture so that can be better accepted and used by people, so that the heritage of
civilization can be inherited in a relaxing and entertaining method. All of these positive
aspects meet the growing needs of people in cultural life.
4 、 When the individual needs of the public are met, at the same time, more
development opportunities are being brought in, such as digital products‘ exploitation
and design.
5、Along with the development of technology, people have more and more ways to use
the network. So we can develop mobile applications and other smart client apps on the
digital basis. Some museums have a specific app nowadays, thus future development of
the corresponding functions of Mobile Digital Museum may be achieved.
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Threats:
1、Government or other support funding plays an important role for the development of
digital technology of the museum.
2、Professional training of the stuff needs professional organizations and personnel, or
at least needs specialized schools and training institutions to complete. However,
considering this type involved a relatively new field, no schools have set such specialty in
Italy, some just take it as a specialty branch of museum major;
3、Mobile digital museum space is relatively narrow, there are some difficulties in the
transformation.
4、About App we have to consider signal reception range of mobile phones or other
electronic communication devices;
5、Imperfect legislation could bring the issue of intellectual property protection.
6、The using languages such as Italian, English, French, German and so on, should be
implanted during the development of mobile applications, according to the frequency
and equipment requirements from different users.
6.3 Impact
1. To promote local culture
Due to the mobile feature of the museum, it will act as a regional cultural communicator,
to actively explore the origins of the local culture, folk customs and other characteristics.
All of these contents of the exhibition act as a starting point. Fresh, funky and those
cultural things with strong regional characteristics in non-material forms should be
actively introduced to resonate with the public, so that to obtain better results of the
exhibition.
The basic display of local museum should highlight the geographical and cultural
characteristics, and lean on this main line to run through the local history and culture.
Temporary exhibitions should pay attention to private collections, emphasizing the folk
culture. We can either get out mistakes that general collection exhibitions sided pursuit
of high-grade and high-grade features; but also can concentrate scattered folk intangible
cultural heritages through digital means to showcase. Through the low threshold, more
public viewer will actively step into the museum. At the same time, we should also focus
on interactive exhibitions with the audience, and even exchange space for them to
participate in. Each of the local history and customs, are an encyclopedia explaining
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obvious place characteristics. As long as with careful excavation and display, there will
possibility to raise audience‘s interest as well as their affinity.
2. To promote local education
The role of social education that museum is implementing and school education are
complementary and mutually reinforcing, young students occupied a very heavy weight
in the museum community education service object. However, nowadays even the
quality education are being strongly advocated, some museums and schools still lack the
necessary contact and interaction.
With digital museum, we pay attention to equip students with learning content in a
relaxing and lively atmosphere; Focus on "museum-oriented, student-centered"
educational activities.
On the one hand, to hold more exhibitions complying with students' cognitive
characteristics, to make up the defects that in school education preaching factors are
relatively more. For example, understanding the historical and cultural diligence and
wisdom of their ancestors via exhibition; through its kind enhanced power of knowledge,
etc. - on the other hand we want to broaden their horizons.
3. Improvement of people's cultural quality
This new form will be of interest to residents in the vicinity of the destination. The best
way to improve people‘s cultural quality is carried out in a complete autonomy and free
circumstances to let them accept scientific and cultural edify, while the museum is
exactly the idea place. Museums often take colorful, eclectic ways to carry out exhibitions,
visits, training and other educational activities, so those who will nit be not taught by
classroom education in the form of restrictions, while there is no extrinsic pressure such
as competition or eliminate ,so that the visitors can sufficiently complete the self-study
and education in an open condition.
4. Promote the Development of the museum itself
Update educational concepts and innovation in educational methods of the
contemporary makes the amount of information and knowledge spreaded to the
audiences grow. The dissemination of knowledge is no longer a one-way transmission,
but two-way communication, both siedes affect each other sumutaneously. Taking
interactive education gives audience space to think and discusion so that making
progress togethe. The method changed from passive "listening" to actively absorb
knowledge, with which the educational function of the museum are maximized.
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5. Promote the exchange of different cultures
On the one hand, the mobile digital museum will travel aroung the country or even
Europe, thus it has great opportunity to have culture exchange, and,due to the digital
feature, information and data will be more easily restored.
6. Promote the development of tourism-related industries
The basic exhibition will focus on the native culture and local heritage, therefore
corresponding cultural industry has got publicity, which becomes an attraction for
tourists. Those heritages not only become a bright spot in the city, but also it reveals
history that less people know and understand, hence trigger interest of audience.
For each tourist stepping into the area, they always consciously or unconsciously accept
the influence of some kind of infection and culture, rather than just enjoyment and
sightseeing. Thus, the consumer of tourism activities, to a large extent is to consume a
cultural product. It can be said, the tourism industry relies on cultural characteristics,
tourism can live without culture. tourism is the best carrier of culture development and
promotion while culture is a vehicle for propaganda. They are with special features and
broad space for development. An important part of building a culture of the city is to
develop cultural tourism.
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CONLUSION
In this thesis, I started with the current situation of museum and digital technologies
and the link between these two fields. That the digitization trend affects all the functions
of the modern culture institutions, more and more multimedia techniques have been
widely used nowadays. We can even see that in the Development of the Museum
Definition according to ICOM Statutes, digital aspects have been included. This is the
reason I carried out the research and design in the thesis.
In the current situation analysis we can tell that the development of digital museum
opened up a new direction for museums. From the information collected we then have a
better understanding about the concepts and definitions of digital museum, which is a
digital entity that draws on the characteristics of a museum. It is based on physical
museum entity and reproduced and supplemented by digital technologies. The nature of
digital museum is ―museum‖, thus we made the comparison between these traditional
ones and digital ones and then we not only see the difference between these two but also
found out the advantages of digital museum. We can see that the construction of digital
museum avails the protection and inherit of culture heritage as well as provides a new
base for science education, and what‘s more, the development of digital museum also
facilitates the process of social information.
In order to have more intuitive display, I used four case studies then. The cases of
museums have various features therefore provide different views for us to better analyze
aspects in different areas. In the Museo archeologico virtuale visitors can have a dive
into the past through a multisensory experience via a virtual and interactive tour. This
case was chosen since it is not only a famous entity museum, but also it adopted the
most advanced digital technologies in Italy and provides audience a combination
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experience both with reality and virtuality . Then Museum of the History of Bologna in
Palazzo Pepoli Vecchio was chose since it was inaugurated in January 2012, thus a quite
new museum. The new museum can reflect the development trend and construction
form of recent museums, that digital technologies have been widely permeated in future.
Then Uffizi Gallery has been introduced due to its outstanding in a lot of aspects. This
museum is a good case explaining its outstanding properties in different fields, which
has well adopted the digital techniques in related area, such as the exhibition machines
in the museum itself, the developed app on cellphones, the construction of its web, as
well as the production of relative film. It provides a good model, which combined with
digital techniques in many fields, for future construction of museums. After all of these
museums, the Canadian Museum for Human Rights that locates in other countries has
also been introduced. The CMHR was chosen due to its digital infrastructures that have
even helped CMHR win the Gold Award from the American Alliance of Museums, which
GEI us good example in the research area we want to discuss. However, not only limited
to this, what the CMHR focused on differs from traditional museum, that it pay
attention to human rights, so that we can say that the digital science and technology has
permeated in our life and can be developed in much more fields. All of these case studies
gave us a 360-degree view of how a museum success does and what efforts they‘ve made
to keep up with the times pace, from which we recognize the advantage should be
adopted.
So from what we learned, I step forward to put out the idea about the application
planning of virtual techniques on mobile museum. The mobile museum is a burgeoning
form of museum and nowadays only a few cases adopt this style. However, this results in
a good prospect to develop this type combining the application of digital technologies. I
firstly put out two mobile museum cases to make readers have a better comprehension.
Then the design of the mobile digital museum was made. Considering the mobility, I
chose the trailer as the transportation method. And for the shell structure, two types are
introduced. The first one comes from the CELL Explorer which is a Stretchable Mobile
structure. The CELL Explorer is a Mobile Experiential Learning Facility that was built in
2013. I adopted this ready-made form for the mobile museum, and also designed
another type which is a mountable mobile museum that has longer period to stay. The
mountable type I chose the suitable container that is the 40‘ size considering the
transport convenience. Then bottom plate structure, installation flow, container plates,
container steel with different materials such as insulation and so on, have been put out
and selected, considering the different real situation, environment and etc. After that,
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the system, including Portable satellite system, Air condition, and Light system and
Sanitary system has been designed for both these two types of shell structure since they
have similar internal space.
Then the internal contents design of mobile digital museum was made, since besides the
external part, the internal parts also matter a lot. First a list of principles of digital
collections and exhibit displayed are analyzed. And according to these principles,
exhibition methods and machines are selected in order to give visitors best experience
with visual interactive, audio-based interaction, touch interactive technology as well as
integrated inductive interaction. These are achieved via the use of vertical projector,
cabinet touchscreen, takee phone, and virtual reality and so on. And since the space is
limited, in order to better express their function, the layout has been designed to reach
the maximized use. Different areas are occupied by various machines and the corners
are also being used. The bathroom has been designed so that there‘s no problem to
handle the sanitary situation. The contents to be displayed are discussed so that culture
and history of different places can both be catered. And in this way, this new form of
museum can attract visitors‘ interests, which helps the development of the mobile digital
museum.
The mobile digital museums designed in this thesis based on the discussion of digital
application and meet the development trend of future museum. The particularity of the
mobile digital museum is that it combines the application of both modern techniques
and the use of convenient means of transportation. The mobility feature helps the
museum move easily from one destination to another, and with its modern machines
and technologies, it will bring in new blood for the destination area. And the contents
designed are made according to the analysis of the seasonal tourism trend and the
percentage of audience; it will meet the visitor‘s requirements so that the satisfaction
increase and this new form of museum will have good market prospect and gradually
become popular.
After the external and internal design for the mobile digital museum, I analyzed the
visitors and audience in order to figure out where their attention lies, and where is the
gap, we see that the cultural participation holds steady and the northern part is higher
than southern part, so how to meet the situation and the activities are put out. And
what‘s more, from the statistics we can find the seasonal tourism trend and type of
107
visitors, therefore we have the plan arranging for them, so that on the one hand, it can
meet the seasonal demand; on the other hand, it will meet demand of different groups‘
needs. After all, I made the SWOT analysis for mobile digital museum, from which we
can tell the strength we have, the weakness to be improved, the opportunity we can catch
and threats we should avoid. And the impact are being discussed, that we can see the
creation of mobile digital museum can not only influence people‘s current life, it may
also bring in advantages for the future. There are positive aspects that local culture and
education as well as development of the museum itself can be promoted, people's
cultural quality would be improved with the appearance of this form of museum. What‘s
more, due to the mobility feature of this type of museum, there will be the chance to
have exchange of different cultures, which makes the culture more splendors. And all of
these result also in Promoting the development of tourism-related industries.
108
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