Swot analysis of pei preserve

Fadhilah Mat Yamin Dr. Azhar Ahmad Cover Design; Dr.

Swot analysis of pei preserve

What Experience is More Real: That of a Virtual Museum or an Institutional Museum? Indeed an art gallery is one of the places which show man at his noblest. Moreover, Bolter and Grusin regard non-places physical and cybernetic as hypermediated spaces.

Converging these concepts, I propose that virtual users and active participants of the Google Art Project and the Guggenheim Bilbao are who, in their personal engagement with the piece of art in these highly remediated spaces, are responsible for creating the real.

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In the era of the hyperreal as defended by Baudrillard, by evoking an immediate and authentic emotional response as proposed by Bolter and Grusin, the visitor achieves a sense of reality. This is a gateway to establish an open dialogue with the work of art, participating in a distributed global agency and art network system.

For Benjamin, the uniqueness of the work of art is bounded to the fabric of tradition 4. However, as he states, there are two fundamental reasons that explain the decay of the aura. On the one hand, for the contemporary masses it is important to bring things closer spatially and humanly as provided by reproducibility, accepting the loss of its original aura.

In consequence, the adjustment of reality to the masses and the masses to reality is a process of constant readjustment and with unlimited scope as Benjamin foresaw 4. Malraux also postulated the role of the postmodern museum as a collector of diverse cultures and histories presenting them in unity and establishing an open dialogue with a specific collection or exhibition from its predecessors and its contemporaries.

So it has been clearly established that a work of art is in a constant negotiation with the world of art, the history of art, and its materiality as well as being a good that carries cultural, social, and symbolic value. For Malraux the museum was a medium to promote democratic and nationalist cultural identity, and it was instantiating the idea of an imaginary museum where the museum functions as the interface of the cultural encyclopedia 3.

As Martin Irvine asserts, the museum function does not work as a neutral or pre- or non-technological state, but as a network of functions and meditations implemented in a historical continuum of technical systems that also include the architectural design of the museum Irvine The Work of Art 2.

Introduction The Google Art project brings in the democratizing idea of opening a virtual museum that would allow the global audience to visit some of the most prestigious museums in the world while eradicating the elitism and nationalism that normally accompanies the institutional museum.

Therefore, is the experience of visiting an institutional museum more real than seeing it in Google Art Project? Does the advent, and now exploitation, of the reproducible image make our ability to apprehend art any more, or less, real?

What do we really gain or lose in this virtual reality? According to Jean Baudrillard in his book Simulacra and Simulationthe real is no longer referential and empirical but the result of miniaturized cells, matrices, and memory banks that can replicate it an unlimited amount of times: It no longer needs to be rational because it no longer measures itself against either an ideal or negative instance.

It is no longer anything but operational. In fact, it is no longer really the real, because no imaginary envelops it anymore. Therefore, for Baudrillard there is not one code of the real but a multiple production of the real. Reality is not based on a previous referential model to simulate.


In opposition to Baudrillard, Bolter and Grusin in their book Remediation argue in relationship to hypermedia and transparent media that these two are opposite manifestations of the same desire: The Guggenheim as a Cultural and Social Hypermediated Non-Place As Martin Irvine defends, the museum is an institution that is a social construction an abstract implementable function in a physical space that serves as a medium for cultural transmission.

Therefore, cultural institutions are always nodes in systems of mediations, validating and validated by media technologies and other institutions, social classes, and the political economy of culture Irvine 2.

As representative of a cultural institution with a wide global network and distributed agency, the Guggenheim Museum in Bilbao opened its doors inrapidly becoming an architectural symbol of a worldwide globalized design due to its innovative use of curves that captured the light of the Nervion River.

An Introduction to Supermodernity, there is an intrinsic relationship between globalization and its architectural manifestation: The arrival of the museum revitalized this northern city in the Basque Country which had a long tradition in steel manufacturing and shipbuilding and had suffered from decay in its local economy.

The Guggenheim provided the city of Bilbao with symbolic capital expanding its museum function as a cultural interface and its culturally remediated space [ii] function throughout the city. It also promoted an Urban Renaissance with the restoration of several renowned buildings in Bilbao.

The construction of a new walking boulevard next to the river opened the city to the Guggenheim and the museum to the urban space where people can gaze at the river, the city, and the Basque mountains.

Basque culture, gastronomy, and identity were internationally represented through the reflection of the Guggenheim.with analysis, design guidance and redevelopment ideas.

This project will provide studio teams with a great preserve and reinforce, ideal areas for solar gain etc.) 7. A map depicting strengths, weaknesses, opportunities and threats (SWOT analysis).

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Swot analysis of pei preserve

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Final Project | CCTP Media Theory and Cognitive Technologies