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Evoluon 2 (crop 1)

Evoluon, Eindhoven, 1968

Evoluon, Eindhoven, 1968

Science and technology exhibition, Evoluon, Eindhoven, 1968
UoB Design Archives

Evoluon 2 (crop 1)
Britain Can Make It 1 (crop 1)

Mural in the Furnished Room, Britain Can Make It, V&A, London, 1946
UoB Design Archives

Britain Can Make It 1 (crop 1)
Taiwan 1 (crop 1)

Sketch of exhibition layout,
National Museum of Natural Science, Taiwan, 1986-88
UoB Design Archives

Taiwan 1 (crop 1)
Britain Can Make It 2 (crop 1)

Tea Bar, Britain Can Make It, V&A, London, 1946
UoB Design Archives

Britain Can Make It 2 (crop 1)
Taiwan 2 (crop 1)

Interior view,
National Museum of Natural Science, Taiwan, 1986-88
UoB Design Archives

Taiwan 2 (crop 1)
Exhibition 1

Construction of exhibition space,
Britain Can Make It, V&A, London, 1946
UoB Design Archives

Exhibition 1
Taiwan 3 (crop 1)

Interior view,
National Museum of Natural Science, Taiwan, 1986-88
UoB Design Archives

Taiwan 3 (crop 1)
B&BwFord

President Ford, Robert Staples, and Barbara Fahs Charles
with model of the "Levitating White House," for the Ford Museum, 1980
Staples & Charles

B&BwFord
Francisco 2 059

Sketch of Australia section,
Commonwealth Institute, London, c. 1961
UoB Design Archives

Francisco 2 059
Festival of Britain 2 (crop 1)

Fashions Hall, Britain Can Make It, V&A, London, 1946
UoB Design Archives

Festival of Britain 2 (crop 1)
Evoluon 1 (crop 1)

Gallery view of The Senster,
Evoluon, Eindhoven, 1968
UoB Design Archives

Evoluon 1 (crop 1)
PhotographyandtheCityinstallSI19681

Installation view, Photography and the City,
Smithsonian Institution, Washington DC, 1968
Staples & Charles

PhotographyandtheCityinstallSI19681
Evoluon 3 (crop 1)

General view
Evoluon, Eindhoven, 1968
UoB Design Archives

Evoluon 3 (crop 1)
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Sources and Context

 

Samuel Aylett
 Samuel Aylett
Joined: 1 year ago
Posts: 10
Topic starter  

@Solmaz and @Yannick, I really enjoyed both of your presentations, and especially how you both contextualised the oriental courts  and Assyrian artefacts against changing tastes and art historical thinking in UK and France respectively. One of the joys of engaging with museum design histories has been the range of visual material and sources that are present, and I've learnt a great deal (as a historian who only with the PhD really engaged with material and visual histories) from the various ways in which you've analysed them in their specific historical contexts. 


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Yannick Le Pape
 Yannick Le Pape
Joined: 1 year ago
Posts: 7
 

Hi Samuel, it's really kind of you to send such a comment, I feel that topics of our three presentations are very close, as we can't deny that museums have to face imperialist issue for decades. As you brightly quoted, contents and museum design are definitely connected and it's amazing to see that Owen Jones as architects of the new Museum of London did have to find the best option concerning the image of Empire that museum wanted to display. I guess the problem was precisely the same when first Assyrian collections have to be exhibited in Europe - and I feel, as I'm in charge of research in a museum dedicated to the late 19th century,  that current museums have still to deal with a very similar challenge. By the way, I visited the Museum of London a couple of years ago, may I ask you what is your opinion concerning the most recent settings?   


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