IMAGING A Museum Made Digital
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Framing Layers
Mengyan Yu 
TABLE OF CONTENT
Foreword Site_Background Precedent Study
1-2 3-6
Capture Task 1
7-12
Capture Task 2
13-16
Capture Task 3
17-18
Iterations for Mid
19-22
Mid-term Review
23-30
Iteration 1 -5 for final
31-50
Final Project
51-62
Scanned by CamScanner
When we see the shoes in a showcase,we might image which kind of person might wear them, go where, the social status of that person. once we see someone wear that shoes, those imagination will project on that person. (the shoes have certain sign, which trained by the images on the mass media). People lives in the simulation world, while different people has different imaginations, the potential imagination has already in their mind, consciousness. The virtual, as a highly engagement with people's consciousness, I believes it's a great tool to create immerse experiences. The architecture is the experience, designing the experiences is to design the architecture. The challenge it's finding a balance between the images experiences (VR) and architecture (SPACE).
VR Headset, digital device as a Trigger / Symbol
VR headset, by author
Ritually : Putting on VR headset / Trigger the screen The boundary of reality and virtual is clearly defined by the device, the users is higly conscious about putting on the VR headset. Therefore, to design a exhibition in the context of museum, there are other exhibition in the museum, the VR headset can be a symbol, that connected those moments as sequences in such complex contexts. Thus visors can also see other gallery exhibitions, but when take on the VR headsets in diffrent locations, that's for one exhibitions: the museum made digital. The symbol prevents the lost in the museum but also expand the projec from small scales (single gallyer) to large scale (receptions, stairs, gallery). Therefore, I sever the moment of putting on the VR headset as one of the design principle. The frames, both in reality and virtual, the VR headset trigger the frame from reality to the virtual. That's the aura of the project, engaged with people movements, body, motions and finally to the eyes.
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Site_Background
Facade, by author
The Ian Potter Museum of Art was founded in 1972 and is the University of Melbournes art museum. Housed in an award-winning building opened in 1998, the Potter has staged over 515 exhibitions during the course of its 46-year history. The Potter manages the University of Melbourne Art Collection, which holds works ranging from antiquity to contemporary art, including international and Australian Indigenous material culture and works by major Australian artists of the 19th and 20th centuries. Extraordinary in its breadth and idiosyncratic in its depth, the collection; now numbering some 16,000 objects.
New gallery
Porject Location old gallery
Section, by unimelb archive
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Site is located in-between old and new building and also in-between old brick facade and void.
IMAGING - A MUSEUM MADE DIGITAL
Site_Background
Site Photo, by author
Collection, by author
In 1969 the collection was placed on display in the Department of Classical Studies, and the following 20 years saw considerable growth in the Greek vase collection. There are now nearly 200 Classical pieces in the collection, including a number of fine Athenian vases. The collection also includes Egyptian papyri and medieval European and Eastern manuscripts and early books. A number of Egyptian objects, said to come from the Flinders Petrie excavations of 1920, are also included in the collection. In 1990 the collection was augmented by over 500 objects from the Near Eastern Studies Collection, including carved ivories from Nimrud, Egyptian stelae, bronzes from Luristan and Roman glass. In addition, the collection contains an extensive and rare collection of 110 plaster casts and reproductions, some of which depict Assyrian palace reliefs and a range of texts and inscriptions, including a copy of the famous Mesha Stele. In 1987 the Department of Classical Studies purchased an important collection of Cypriot pottery from the Australian Institute of Archaeology. It comprises approximately 200 intact or reconstituted pottery vessels and an extensive range of sherds. The collection is also enhanced by gifts and long-term loans of outstanding pieces, as well as material collected from the archaeological field work of the School of Fine Arts, Classics and Archaeology. 
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Precedent Study Neues Museum, Belin by David Chipperfield Architects in Collaboration with Julian Harrap The Neues Museum on Berlin's Museum Island was originally designed by Friedrich August Stler and built between 1841 and 1859 and boomed in WW2. 1997. David Chipperfield Architect start to renew the building. The design focused on repairing and restoring the original volume, respecting the historical structure. Both the restoration and repair of the existing is driven by the idea that the original structure should be emphasized in its spatial context and original materiality the new reflects the lost without imitating it. - trace of restore can be observed from the wall, columns, facade they blend with each other but the differences can be recognized. - Largely damaged still follow the historical form but with a modern design vocabulary. Seen from three main interventions: 1.Greek courtyard 2.Stair Hall 3.Egyptian Hall both of them use neat, clean architecture language with new material, emphasize the comparison between past and present. So, the building itself is a part of the exhibition, it tells the visitors the history, the story, from the walls, the facade, the columns, the mural, and also from the collections, the design strategy doubles the concept of museum, provoking the thoughts of time.
Exhibition Design : architetto Michele de Lucchi S.r.L. Due to the building is re-new project, the space is mots fixed. The exhibition design project entailed the design of a complete system of showcases and plinths, also lending flexibility to the future organization of exhibits and their display. At the same time, the display system is stated as a continuity of the architecture, whilst remaining totally independent in terms of distribution and function. The arrangement of display cases and plinths is generally longitudinal to the rooms, with long and narrow units laid out as islands to benefit circulation and detachment from walls and windows. So the architecture internal wall with restored feature can be a background of collections, which emphasized "a sense of history".
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IMAGING - A MUSEUM MADE DIGITAL
Display Strategy: use individual plinths to form the
Individual Plinths
circulation, due to the building is re-new, gaallery spaces originally arebox, plinth served as good installations to enhance space experience.
Bust of Queen Nefertiti
Roman Room
Egypt Courtyard
Internal Space
Restore Wall 8/4/2019 David Chipperfield Architects – Neues Museum
8/4/2019
David Chipperfield Architects – Neues Museum
David Chipperfield Architects
David Chipperfield Architects
Neues Museum
Neues Museum
Stair Hall
The Neues Museum on Berlin’s Museum Island was designed by Friedrich August Stüler and built between 1841 and 1859. Extensive bombing during the Second World War left the building in ruins, with entire sections missing completely and others severely damaged. Few attempts at repair were made after the war, and the structure was left exposed to nature. In 1997, David Chipperfield Architects won the international competition https://davidchipperfield.com/project/neues_museum
Internal Space
The Neues Museum on Berlin’s Museum Island was designed by Friedrich August Stüler and built between 1841 and 1859. Extensive bombing during
8/4/2019
Restore Wall
David Chipperfield Architects – Neues Museum
the Second World War left the building in ruins, with entire sections David Chipperfield Architects
Neues Museum
missing completely and others severely damaged. Few attempts at repair were made after the war, and the structure was left exposed to nature. In 1997, David Chipperfield Architects won the international competition
https://davidchipperfield.com/project/neues_museum
1/2
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Greek Courtyard
Internal Space
Restore Wall
The Neues Museum on Berlin’s Museum Island was designed by Friedrich August Stüler and built between 1841 and 1859. Extensive bombing during the Second World War left the building in ruins, with entire sections missing completely and others severely damaged. Few attempts at repair were made after the war, and the structure was left exposed to nature. In 1997, David Chipperfield Architects won the international competition https://davidchipperfield.com/project/neues_museum
1/2
David Chipperfield Architects – Neues Museum
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Re-Build Structure Neues Museum Concept Diagram 019
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David
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cts Archite
m Museu Neues
inter junction on facade
was designed by Friedrich xtensive bombing during with entire sections . Few attempts at repair ft exposed to nature. ternational competition
bomed in WWII 1/2
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Axo , by author
MSD - SEMESTER 2 2019 Egypt Courtyard
Greek Courtyard
a interlayer in the void, which the mural illustrating a afterlife, the collection sits on the ground floor are the tomb stone,thus there is a correspond between the mural and collection visually.
the individual plinth can change according to the curator, also the circulation can be formed freely by changing the plinth in such fixed space in a restored museum.
Curator A
Analysis Diagram
Neues Museum G Plan
Layers, Frames, One Perspective view by author
Methodology: layers of space, a view though the layers,(each layer has a context) https://davidchipperfield.com/project/neues_museum a special moment is composed by all layers, in Neus Museum, the moment informs the significance of time and history, that beyond board and age. Similarly, the visual
Methodology: layers of materiality. Due to the overlay of layers, the entire sp aspect of layers of materiality, This is also the main inspiration for the digital ration wall of the building. Use new format of digital repreca wire-frame and
experience in virtual and reality also forms four different moments in the Ian potter museum, which use the same methodology, layers with a Curator frame to B let users have the experences that beyond board of virtual and reality.
aura of complexity of materiality, similar to the wall restoration of Neues Mus
layers of space layers of materiality
layers of spaces, layers of materiality are two methods constantly used through four moments. Four moments also forms a sequences of experiences, that start with entry of museum, to the stair, to the VR room, to archive and end
1.
Analysis Diagram
Lo
Egypt Courtyard
Greek Courtyard
terlayer in the void, which the mural illustrating a afterlife, collection sits on the ground floor are the tomb stone,thus e is a correspond between the mural and collection visually.
the individual plinth can change according to the curator, also the circulation can be formed freely by changing the plinth in such fixed space in a restored museum.
other gallery space Neues Museum G Plan
by author
Content-based lines of view show the interactions between cultures, while presentations juxtap ent collections illuminate themes that have moved human beings over the millennia. To feature perspective view and different mural on celling and wall forms a different theme. The most sig form this great moments from object view.
https://davidchipperfield.com/project/neues_museum
Methodology: layers of space, a view though the layers,(each layer has a context)a special moment is composed by all layers, in Neus Museum, the moment informs the significance of time and history, that beyond board and age. Similarly, the visual experience in virtual and reality also forms four different moments in the Ian potter museum, which use the same methodology, layers with a frame to let users have the experiences that beyond board of virtual and reality. 
IMAGING - A MUSEUM MADE DIGITAL
Curator B
Egypt Courtyard a interlayer in the void, which the mural illustrating a afterlife, the collection sits on the ground floor are the tomb stone,thus there is a correspond between the mural and collection visually.
othe
Greek Courtyard the individual plinth can change according to the curator, also the circulation can be formed freely by changing the plinth in such fixed space in a restored museum.
https://davidchipperfield.com/project/neues_museum
Content-based lines ent collections illumi perspective view and form this great mome
https://davidchipperfield.com/project/neues_museum
has a context) Methodology: layers of materiality. Due to the overlay of layers, the entire space also shows a complexity Layers of materiality. Due to the overlay of layers, the entire space also shows a moment informs aspect of layers of materiality, This is also the main inspiration for the digital repreca of archeology collect complexity of materiality. For another aspect of layers of materiality, This is also the milarly, the visual ration wall of the building. Use new format of digital repreca wire-frame and point cloud, combines with m main inspiration for the digital repreca of archeology collection is inspired by the resin the Ian potter aura of complexity of materiality, similar to the wall restoration of Neues Museum. toration wall of the building. Use new format of digital repreca wire-frame and point et users have the
cloud, combines with mesh materiality, to recall the aura of complexity of materiality, similar to the wall restoration of Neues Museum.
 eriality are two methods constantly used through four moments. quences of experiences, that start with entry of museum, to the stair, to the VR room, to archive and ending in the classic gallery.
MSD - SEMESTER 2 2019
Capture Task 1
Ian Potter Museum Facade Photocopy Version2 _ Mengyan
Images are made from the pixels, the small and tiny points units on the photos. The photocopy process is reassembling the pixels: regrouping, remaking, repeating and then relocating the pixels into an entirely new positions and finally a new image is generated. Therefore, scanning process is not only copy and paste, but it's also a design process. During the scanning process, I consider about how to move the photo to achieve certain effects: elongate west part of facade the to emphasize sculptural mural; or how to rotate photos to change the directions of plan etc. It can also be a tool to test the potentials of the design. Due to the working principle of the scanner, the light bar moves to scan, the time becomes a crucial element in the process, this produces a speeding facade or plan to records the movements or intentions behind the photocopy. So, scanner is a great media to document the instantaneous. Thus, the photocopy is not only the copy and paste, but it also can be a tool to design, testing and recoding the moments.
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IMAGING - A MUSEUM MADE DIGITAL
by author
Ian Potter Museum
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by author
Space understanding:
Proportion can be changed, stretching each floor heights from the elevation, the building become higher thus the void in museum can contain larger art installations. As mentioned before, emphasize sculptural mural by stretching west part of facade. By stitching photo, the building volume is double, it becomes four level building which can including more collection and people flow. Plan, the original museum is simply composed by rooms, while after stretching, elongating, rotating, overlapping, the gallery room is not only a simple square block, it become corridors thus the space become more dynamic and fluid, the spatial experience might be an art journey. 
IMAGING - A MUSEUM MADE DIGITAL
Ian Potte
by author
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Ian Potter Museum Ground Plan_ Photocopy Version 4 _Men
by author
Methods of displacement: By stretching effects, moving the original photo and following the light bar with the same speed, so the same positions on the photo will be scanned. Finally, this part will be stretching. By waving effects, it's like stretching, when the light bar is moving, waving the photo up and down stable. By overlapping effects, placing photos with a certain angle, then when the light bar move at the intersection point, changing the angle.
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IMAGING - A MUSEUM MADE DIGITAL
by author
Ian Potter Museum Ground Plan_ Photocopy Version 3 _Mengyan
by author Ian Potter Museum Ground Plan_ Photocopy Version 1 _Mengyan
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Capture Task 2
Photos of sculpture, by author
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Photogrammetry is the art, science and technology of obtaining reliable information about physical objects and the environment through the process of recording, measuring and interpreting photographic images and patterns of electromagnetic radiant imagery and other phenomena. Photogrammetry uses methods from many disciplines, including optics and projective geometry. Digital image capturing and photogrammetric processing includes several well defined stages, which allow the generation of 2D or 3D digital models of the object as an end product.
IMAGING - A MUSEUM MADE DIGITAL
Digital Model, by author
The 3D co-ordinates define the locations of object points in the 3D space. The image co-ordinates define the locations of the object points' images on the film or an electronic imaging device. The exterior orientation of a camera defines its location in space and its view direction. The inner orientation defines the geometric parameters of the imaging process. This is primarily the focal length of the lens, but can also include the description of lens distortions. Further additional observations play an important role: With scale bars, basically a known distance of two points in space, or known fix points, the connection to the basic measuring units is created. In this studio, phtogrammetry use to scan archaeology collection in Ian potter Muesem, to collect virtual data and transfer to virtual exhibition. 
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Point Cloud, by author
Mesh, by author
Wireframe, Points Clouds V.S. Mesh Point Cloud A point cloud is a set of data points in space. Point clouds are generally produced by 3D scanners, which measure many points on the external surfaces of objects around them. As the output of 3D scanning processes, point clouds are used for many purposes, including to create 3D CAD models for manufactured parts, for metrology and quality inspection, and for a multitude of visualization, animation, rendering and mass customization applications. Wireframe a skeletal three-dimensional model in which only lines and vertices are represent Mesh The Mesh creates a polygon mesh from a NURBS surface or polysurface.A mesh is a collection of vertices and polygons that define the shape of an polyhedral object. So it's more sloid with texture.
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IMAGING - A MUSEUM MADE DIGITAL
Entry
Render for VR, by author
Virtual Room View Render
"Look at the resulting bloom of false information, offset realities, distorted, surfaces and data voids, as a new form of space, only be constructed when scanned" "the images are the architecture", the experiences, the atmosphere, the aura
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Capture Task 3
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Image Trace
Image trace, by author
This is an introductory design exercise to initiate investigations into capture technologies for architectural production. The focus of this exercise will be the relationship between the medium of LiDAR Laser Scanning and the presentation of digital information. Students are asked to produce a fly-through animation of the scan data of the Potter museum exterior .
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IMAGING - A MUSEUM MADE DIGITAL
Point Cloud, by author
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Sketch Design Axo Version 3 0
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VR room: Simulation of Imagination From Field (max scale) shrinks to Sculptures engagement through imagination between visitors and filed, then back to sculpture, scale shrinks five seconds, also rotate with certain angles
3D Projector Plinth Review Process, deeper impressions the animations of fragments transits to sculptures will be projected three-dimensionally on plinth, forming an aftertaste of entire process.
Provoke Curiosity: interaction transparent touch wall, visitors can stretch, distort the digital reproduction fragment by themselves during waiting; also they can also see through the wall, they can see who is in the VR room, to pre imaginate or guess the experience in the VR room.
Sketch Design Version 5
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IMAGING - A MUSEUM MADE DIGITAL
C.Reality Black Cube The final space is a black cube which sculptures located. The origins of those beautiful digital repro are introduced. People has a chance to get in touch with the inspiration. Also, the fragment is highlight at the real sculpture with a spotlight, the light recalls the journey before. The ending of the journey also deepens the impression of simulation and reality, the answer is finally unveiled.
B.Simulation of Imagination In the virtual room, people still don’t know what the digital repro’s origins is. Visitors will enter a field of framework or point cloud with the headset. The sign of sculpture is abandoned, people imagine freely, based on their own knowledge. It might be a part of galaxy, might be architecture, might be an artwork… The field is not a guide, but more like a media. The field will shrink gradually, also restore the distortion, finally, highlight at the whole sculpture. The imagination of the filed will then projects to the whole sculptures, they are no longer sculptures, but becoming a simulation of imagination. At this moment, the sculptures are still enlarged, the real portrait of sculptures are still concealed in the shadows.
A.Provoke Curiosity - interactive projector Project the fragment of digital reproduction on the transparent wall, and visitors can interact and distort the fragments by touch the wall (motions captured by sensors). People in the waiting room can see people in the VR room and imagine the experience in the VR room. The distortion will be transferred into the VR room simultaneously. So the experience in the VR room is unique.
Sketch Design Version 6
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When I take the photos, input them into the software, generate the digital models of the sculptures, the bloom of errors, false, distortions occur, and this only happens at this moment. The process is the new history of them, which is unique existences, the aura of the fake, the reproductions. By understanding the images of zoom-in point cloud and wireframe, the beauty of distortion is found. That's the exhibition value of this aura, the new bridge between sculptures and public. Additionally, to make the digital reproduction engaged with visitors, the ideal of imagination projection is used which is inspired by Baudrillard, simulacra and simulation. When we see the shoes in showcase in the shopping mall, we might image which kind of person might wear them, go where, the social status of that person.once we see someone wear that shoes, those imagination will project on that person. (the shoes have certain sign, which trained by the images on the mass media). People lives in the simulation world, while different people has different imaginations, the protentional imagination has already in their mind, consciousness. For the virtual space, visitors enter to a field with headset, a space composed by two breps from two sculptures. They don't know the origins are the sculptures; they will start to image the abstract space based on their own knowledge. It might be a part of galaxy, might be a cave, might be architecture, might be some beautiful art installation those field will change constantly five seconds. At the end, when they turn back from the corridors, two sculptures will (scaled) show at the side of corridors, the fragments will be highlighted correspondingly. The imaginations of the field in visitors mind, then project or reflect on the sculptures, are no longer sculptures, they become a simulation of imagination. People interact with sculptures through the imaginations, the field is a transfer media to provoke the imagination. It provokes, engages, interacts with people's consciousness, , not only walk through the virtual reality'.
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IMAGING - A MUSEUM MADE DIGITAL
Render, by author
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Mid term Review
axo drawing, by author
IMAGING - A MUSEUM MADE DIGITAL
image, by author
image, by author
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1.VR Assistant 2.Vive Wireless Headset Pro 3.Preparation 4.Entry 5.Start Point 6.Direction-lead Controller 7.HTC Base Station
8.Firm Glass
Detail_Section_AA’
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image, by author
image, by author
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corriod, by author
corriod, by author
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Layers. Layers of scale, of imaginations Finding in capture task In those six weeks, three capture tasks have been done, which using the photocopy, photogrammetry and laser scan to digitalize the sculptures, Britannia and Australia. Those technologies can scan a set of data in space and then digitally represent the object in points cloud or wireframe. A new curator method is found through those three tasks. Curator, which means the care of the object, the purpose of digital repro should be stimulate the unique engagement between objects and people by two ways: aesthetics value and as an imagination inspiration. 1st Beauty of digital repro, shows detail clearly Details become beautiful in digital repro. For example, the details of distortion, like the restored classic collection in museum. As you can see the back of model is not wellscanned, so the zoom-in wireframe image shows a strong contrast composition, due to the property of point cloud and wireframe, differed with mesh, the hierarchy of surface become more visible, the images become more rich layered and enlightening. I would say this is the aesthetics value of digital representation. 2nd Engagement with scales Additionally, there are certain new understanding or anticipations of sculptures, especially through zoom-in images. According to the Baudrillard, in contemporary, sign and symbol are given to objects due to the mass media, while when I first look in the zoom-in images, the sign and symbol of sculpture is erased. Like for me, the enlarged wireframe image is like an architecture space, the sign is erased by enlarged scale, people start to Imaginate based on their own knowledge or experiences. Curator method: Combined of those two points, to highly stimulate engagement between people and objects by imagination, it’ s valuable to exhibit collections in point cloud or wire frame, through different scales to show the beauty of details.
IMAGING - A MUSEUM MADE DIGITAL
Before I start with details of design, the precedent of this design also needs clarified. The Neunes Museum is a re-built museum, the space is quite tradition which composed by different gallery blocks. I serve this museum as my design background, this linear, narrow room is a prototype, it can be located in between any gallery room and corridors in such traditional museum. There are two layers in this design, the same curator method is applied In each layer. Layer 1 is in the narrow, linear corridor, which is 1.5 m wide and 20 meters long. User is led by the controller of VR set, which is suspended by ceiling, and showing as a floating light in the air. User with VR headset firstly enters a field of sculpture with 10:1 scale. As mentioned before, the enlarged field erases the original symbol of sculpture, people will start to imaginate the abstract field freely by observing different scales and perspective of point cloud. Due to the blurry, It might be a part of galaxy, might be a part of architecture, might be an art installation. As user walks through layer and layer, the past sculptures are vanished, and finally a clear portrait of sculpture is shown. In this corridors, visitor's imagination reflects on the sculpture, sculpture is no longer sculpture, but is a simulation of imagination. Layer 2 is the same phenomena, while the limitation of VR headset is broken. To help people without headset to experience phenomena, the Layer 2 forms a hyperreal, that is the architecture (the partition) translates the same experience for people without headset. The sculpture fragments are rescaled and then projected on the frames on the partition, and users in Layer 1 corridors can also be observed. In Layer 1, sculpture is the reference of the architectural space, while in the Layer 2, user becomes the reference of the projection images, also as a part of images. The layers of users, projection images, frames, partitions, compose a virtual in the reality, can be seen without VR headset, the exhibition value becomes boarder. Thus, the prototype room using the changing scales of digital repro to show the details in both three dimensions and two dimensions, the engagement mainly through the imagination by observing layer-riched digital representation, and the simulation of imagination.
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Iteration 1
A
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IMAGING - A MUSEUM MADE DIGITAL
Layer A: hint
Layer C: in-between
At moment, the frame and layers concept is not consistent, the brick-wall is only as background and the frame is missing. So all layers should have consistent concept and use same strategy. 
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sectionAA’ 0
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Layers Context
Layer D: basic Classic Museum
Layer C: in-between Brickwall
Layer B: Purely Virtual None
Layer A: hint Partition
IMAGING - A MUSEUM MADE DIGITAL
Concept layers of contexts, a transfer from reality to virtual Context forms our understandings of the contents, objects. As the precedent, Neues Museum, different themes have different contexts, the drawing on the ceiling or wall, forming a background for the collections. Also, each theme is connected, a one perspective view from different layers can be observed. It’ s a good way to show the transformation from different layers of contexts, emphasizing the history of collections. Similarly, the concept of design is using different layers of contexts, to create the different relationships between contents and people, with a transferring from purely virtual, in-between and finally to the classic gallery. Each layer is also visually connected, a sequence of approaching, exploring in virtual and reality. Layer A, a hint before entering the room, at the stair. All the layers can be seen at this point, to arouse the curiosity and interesting. For passenger in the corridors can also see the projection images on the firmed glass. People inside becomes a scale reference. Layer B, the purely virtual. When people wear the headset and the context is none. The stereotype, the symbols of the object is erased, the contents show in the point cloud in a black space and changing from different scales (some artwork is too small, a good way). In this layer, the relationships between collections and people become open, light, not typically, by observing details, in this none-context environment. Layer C is the archive and located in-between virtual space and classic gallery. There are 30 fragments are printed for every single artwork and stored in a transparent drawer. When people open a drawer, pick up a fragment, the responded information, data will be projected on the translucency glass screen. At this moment, the blurry images of solid brick wall, contents in classic gallery, is the context, like the relationships is more knowledge based, become more solid, and real. Layer D is the basic relationships between the contents and people, in a traditional classic gallery space.
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Slow house, Driller +Renfro
Slow house uses the sections to design the different moments in one building, similar, to form different layers of spaces, different moment, the same representation but also design strategy can be used in the design. Like a sequenced section in one design, to show the body movement and experiences.
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IMAGING - A MUSEUM MADE DIGITAL
Iteration 2
Layer A
Layer B
the context is missed,the wall is top pale and there is a distance between precedent and drawings. so after considering the context, the history of ian potter muesum, the context and connected with the museum tightly.
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Iteration 3
Level G
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Level 1
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Layer A
Layer B
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Layer C
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Layer D
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moment 1
moment 3
moment 2
moment 4
In this iteration, the contexts start to related to the history of Ian Potter Museum, however, the images seems to like collages, the lighting, the spacial quality is quite weak. while the project starts to related to the concept of frames, the layers of spaces, materiality. For further improvement, the design should focus more one perspective view, like the analysis of precedent museums.
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Iteration 3
Layer A
Layer B
In this iteration, the layers' contexts should be more specific about functions, so the visitors can understand it immediately. 
IMAGING - A MUSEUM MADE DIGITAL
Layer D
To be more closed to the precedent, the archive is changed to frieze, similar to the stair hall in the Nuues Muesum, the 3D print can be picked up and then scanned, more information will be projected on screen.
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Iteration 4
Layer B
ieze reference
Layer A
The frames also need to be designed, the aura of the design is the when people put on the VR headset, they start to find out the frames, the rest of space become purely black, they can only see the context through the frames. 
IMAGING - A MUSEUM MADE DIGITAL
Iteration 5
Layer B, Reality
Layer B, Virtual
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Final Project
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Sequences in Ian Potter Museum
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Archive, Context, Data
Puerly Virtual, Context, None
Hint, Context ,all layers
Operation of Gallery
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Virtual and Real Relationships Concept of Layers
MSD - SEMESTER 2 2019
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1 Pick up VR Headset 2 Find Frame 3 Photogrammetry Studio 4 3D Print Studio
Section A: Layer a _Operation of Exhibition 0
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Layer A "posing a question",when they take on the headset, the exposure of structure tells people the location, there is a exhibition at the first floor above, they looks at the machines, the work flow (time elapse) , the staff,the cables, they might generation a series of questions about what the exhibition about, arousing the curiosity, leading them approaching the exhibition. 
IMAGING - A MUSEUM MADE DIGITAL
Layer A_ Operation of Gallery above Collection (phtogrametrying): Phoenician Cow
MSD - SEMESTER 2 2019
4 5 3
1 Pick up VR Headset 2 Find Frame 3 Layer of Purely Virtual 4 Conveyor Belt 5 Layer of Archive
Section B: Layer b _A Hint 0
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Layer B: at the platform of the stair : a hint to the exhibition, shows all people activities (per-recored, as a time elapse) in all layers, people in the exhibition are the reference of activity, people at stair can continue to guess, to speculate the exhibition in the room. At this moments, the room partitions are exposures to show the all layers instead of museums' structure, the sequence is approaching to the exhibition room, step by step.
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IMAGING - A MUSEUM MADE DIGITAL
Layer B_ A Hint Collection: Shabti ,Comic Actor
MSD - SEMESTER 2 2019
4
1 Pick up VR Headset 2 Enter Layer of Purely Virtual 3 Return Headset 4 Data Studio
Section C: Layer C _Purely Virtual 0
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Layer C: Use new format of digital repreca wire-frame and point cloud, combines complexity of materiality, similar to the ctive view with mesh materiality, to recall the aura ofLayers of Material wall restoration of Neues Museum. User is led by the controller of VR set, which is suspended by ceiling, and showing as a floating light in the air. ;L , The collection is changed from point cloud to texture mesh, from 5:1 to 1/4:1.
IMAGING - A MUSEUM MADE DIGITAL
Layer C_Purely Virtual Frame in Reality, entry of VR room
Layer C_ Purely Virtual Collection: Jug with Jug with bichrome decoration
MSD - SEMESTER 2 2019
IMAGING - A MUSEUM MADE DIGITAL
MSD - SEMESTER 2 2019
IMAGING - A MUSEUM MADE DIGITAL
MSD - SEMESTER 2 2019
IMAGING - A MUSEUM MADE DIGITAL
MSD - SEMESTER 2 2019
2 1
1 Pick up 3D Print 2 Scan 3D Print 3 Digital Screen in Frame
Section D: Layer d _Archive 0
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Layer D. The frieze of 3D printing, the archive space. At this layer, the relationships between reality and virtual become more solid, more information based. People can pick up a 3D print and then scanned the fragment, the information can be projected on digital screen.
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IMAGING - A MUSEUM MADE DIGITAL
Layer Archive Frieze for 3D print
Layer D_Archive Screen for Scan Data
MSD - SEMESTER 2 2019
IMAGING - A MUSEUM MADE DIGITAL
MSD - SEMESTER 2 2019