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Abstrak :
Ruang pamer umumnya berisikan objek-objek yang tidak dapat disentuh secara langsung dan bersifat dominan visual. Hal ini merugikan bagi khususnya orang tunanetra yang memiliki keterbatasan dalam melihat. Perancangan ruang pamer yang inklusif terhadap tunanetra perlu dicapai dengan metode khusus melalui interaksi multisensor. Salah satu diantara metode yang paling efektif dipakai pada pameran untuk tunanetra adalah dengan memakai audio (bunyi). Tulisan ini akan membahas bagaimana metode penyampaian pameran melalui audio dapat membantu tunanetra memahami sebuah objek visual. Pembahasan dilakukan melalui 2 buah studi kasus (“Oregon Project”; “IMG Exhibition”) yang menerapkan metode ini untuk tunanetra. Hasil studi kasus kemudian akan menjadi dasar pengetahuan mengenai efektivitas dan performa pameran untuk menghasilkan pengalaman yang baik bagi tunanetra. ......Exhibitions generally contain objects that cannot be touched directly and are visually dominant. This is detrimental for especially blind people who have limited vision. The design of an exhibition that is inclusive of the visually impaired needs to be achieved by a special method through multisensory interaction. One of the most effective methods used at exhibitions for the blind is to use audio (sound). This paper will discuss how the method of delivering exhibitions through audio can help the visually impaired understand a visual object. The discussion was carried out through 2 case studies (“Oregon Project”; “IMG Exhibition”) that applied this method to the visually impaired. The results of the case studies will then become the basis for knowledge about the effectiveness and performance of the exhibition to produce a good experience for the visually impaired.

Abstrak :
Penulisan ini mempelajari mengenai ruang pamer komersil dan untuk melihat bagaimana taman tematik sebagai bagian dari ruang pamer komersil. Fungsi dari ruang pamer komersil adalah untuk menjual brand, menawarkan pengalaman pada alur ceritanya, dan untuk memamerkan produk brand di dalam sebuah properti panggung. Ruang pamer komersil terdiri dari leisure, retail, dan entertainment industries yang mana dalam hal ini memiliki kesamaan dengan sebuah taman tematik, yang merupakan tempat untuk mencari kesenangan, menjual brand/tema budaya Amerika, dan sebagai industri hiburan besar. Studi literatur mengenai ruang pamer komersil di dalam penulisan ini digunakan sebagai dasar dalam mengobservasi dan menganalisis taman tematik Universal Studio Japan dan Trans Studio Bandung. Hasilnya kemudian digunakan sebagai parameter dalam menganalisis studi kasus, yaitu narasi, konsep part-to-whole, dan brand. ...... This paper studies about commercial exhibition to see how Theme Park works as part of commercial exhibition. The function of commercial exhibition is to sell the brand, to offer experiences in its flow, and also to show us the brand product as an object within the stage property. Commercial exhibition aims satisfactions from both customers and the owner. It consists of leisure, retail, and entertainment industries, which similar to the Theme Park a place for seeking happiness, selling brand, or themes about American culture, and also has been proved as one of big entertainment industry. Study literature about commercial exhibition in this paper is conducted as base to observe and analyzed theme park Universal Studio Japan and Trans Studio Japan. The results are used to be the parameters to analyze the study case, which is about the narration, part to whole concept, and brand.

Abstrak :
Summary: The Future of Museum and Gallery Design explores new research and practice in museum design. Placing a specific emphasis on social responsibility, in its broadest sense, the book emphasises the need for a greater understanding of the impact of museum design in the experiences of visitors, in the manifestation of the vision and values of museums and galleries, and in the shaping of civic spaces for culture in our shared social world. The chapters included in the book propose a number of innovative approaches to museum design and museum-design research. Collectively, contributors plead for more open and creative ways of making museums, and ask that museums recognize design as a resource to be harnessed towards a form of museum-making that is culturally located and makes a significant contribution to our personal, social, environmental, and economic sustainability. Such an approach demands new ways of conceptualizing museum and gallery design, new ways of acknowledging the potential of design, and new, experimental, and research-led approaches to the shaping of cultural institutions internationally. The Future of Museum and Gallery Design should be of great interest to academics and postgraduate students in the fields of museum studies, gallery studies, and heritage studies, as well as architecture and design, who are interested in understanding more about design as a resource in museums. It should also be of great interest to museum and design practitioners and museum leaders.