I see beauty and value in almost everything. Deborah: I have led research teams of advanced architecture students in developing a series of tools to evaluate historic house museums from the visitor’s perspective, and then formulate strategies for tactical interiorism to address the challenges we identified.ĭo you have a favourite house? Frank: Impossible to answer. I have also restored five houses, the last of which was demolished one month after it was sold to make way for a newer, bigger house. Tell us about your own relationship with significant houses Frank: I have managed historic sites since 1997, including a large group of historic house museums as Executive Director of the Historic House Trust of New York City. Frank and Deb will both speak at our conference. His co-author Deborah Ryan is a professor at the College of Arts and Architecture at the University of North Carolina at Charlotte. He is Principal of Twisted Preservation in New York City. Franklin Vagnone with a strong background in the creative arts, is a public historian who has over 25 years experience in transformational leadership in non-profit management. Anarchist's Guide to Historic House Museums offers a wry, but informed, rule-breaking perspective from authors with years of experience and gives numerous vivid examples of both good and not-so-good practices from house museums in the U.S.Franklin Vagnone and Deborah Ryan, Museum Anarchistsįrank Vagnone and Deborah Ryan are museum anarchists and co-authors of the Anarchist’s Guide to Historic House Museums. It draws inspiration from film, theater, public art, and urban design to transform historic house museums while providing a how-to guide for making historic house museums sustainable, through five primary themes: communicating with the surrounding community, engaging the community, re-imagining the visitor experience, celebrating the detritus of human habitation, and acknowledging the illusion of the shelter's authenticity.
This book is a groundbreaking manifesto that calls for the establishment of a more inclusive, visitor-centered paradigm based on the shared experience of human habitation. They need not only to engage the communities surrounding them, but also to collaborate with visitors on the type and quality of experience they provide. In these days of an aging traditional audience, shrinking attendance, tightened budgets, increased competition, and exponential growth in new types of communication methods, America's house museums need to take bold steps and expand their overall purpose beyond those of the traditional museum.
0 kommentar(er)
