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This book explores ephemeral exhibition spaces between 1750 and 1918. The chapters focus on two related spaces: the domestic interior and its imagery, and exhibitions and museums that display both national/imperial identity and the otherness that lurks beyond a country's borders. What is revealed is that the same tension operates in these private and public realms; namely, that between identification and self-projection, on the one hand, and alienation, otherness and objectification on the other. In uncovering this, the authors show that the self, the citizen/society and the other are realities that are constantly being asserted, defined and objectified. This takes place, they demonstrate, in a ceaseless dynamic of projection versus alienation, and intimacy versus distancing.

This book examines ephemeral exhibitions from 1750 to 1918. In an era of acceleration and elusiveness, these transient spaces functioned as microcosms in which reality was shown, simulated, staged, imagined, experienced and known. They therefore had a dimension of spectacle to them, as the volume demonstrates. Against this backdrop, the different chapters deal with a plethora of spaces and spatial installations: the wunderkammer, the spectacle garden, cosmoramas and panoramas, the literary space, the temporary museum, and the alternative exhibition space.

This study aims to explore the application of artificial intelligence (AI) technology in the preservation and exhibition of artworks, with the “Exhibition Environment Status Detection Device and System” and the “Automatic Exhibition Guide System”, developed by Cheng Shiu University, as case studies. In recent years, AI technology has made significant advancements in image recognition, machine learning, and data analysis, which provide new opportunities for art management. However, due to high costs and implementation challenges, as well as a lack of qualified personnel to use these tools and systems, small art galleries and museums have not yet had the opportunity to acquire such systems. Therefore, this study observes the practical application of the “Exhibition Environment Status Detection Device and System” and the “Automatic Exhibition Guide System” in the fields of art preservation and exhibition. The study employs case study and observation methods, with participatory observation as the primary data collection approach. The results indicate that AI technology significantly enhances the preservation conditions of artworks and the interactivity of exhibitions. The paper suggests that future efforts should focus on long-term planning relating to technology costs and professional talent development to fully realize the potential of AI in art management and exhibition. Additionally, the application of these technologies can be extended to other fields.

Skylights are an efficient means of daylighting in exhibition spaces, but their design presents significant challenges. Considering that daylight utilization profoundly impacts both the visual and thermal environments while affecting energy consumption, the early application of multi-objective optimization strategies becomes imperative. However, many optimization studies provide numerical references only, without delving into the characteristics of opening distribution. This study introduces an optimized exploration approach for openings based on grid subdivision and material parameter selection, targeting Useful Daylight Illuminance (UDI), Energy Use Intensity (EUI), and Predicted Percentage of Dissatisfied (PPD). Simulations and optimizations were performed using Honeybee and Octopus, focusing on the optimal configurations of four typical skylights in Fukuoka, Japan’s climate. The results demonstrate that this novel optimization approach improves metrics for each case and challenges traditional perceptions of daylight systems. Flexible and diverse opening configurations, formed through irregular layouts and material combinations, help achieve more ideal holistic environmental effects under different climatic conditions. Thus, we should provide these research findings as design guidelines for similar scenarios.

Art exhibition spaces increasingly emphasize visitor experience, yet the relationships among spatial structure, visitor behavior, and emotional response remain unclear. Traditional space syntax analyses typically focus on physical spatial structures, insufficiently capturing visitors’ emotional and cognitive experiences. To address these gaps, this study presents an integrative evaluation framework that combines space syntax theory with multimodal physiological measurements to systematically assess spatial design performance in art exhibition environments. Eye-tracking and heart rate variability (HRV) experiments were conducted to investigate how spatial configuration affects visual attention and emotional responses. Visibility graph analysis, spatial integration metrics, and regression modeling were applied using the third-floor temporary exhibition hall of the Pudong Art Museum in Shanghai as a case study. The results revealed that HRV levels (β = −7.92) were significantly predicted via spatial integration, and the relationship between spatial integration and the number of fixations was partially mediated by HRV (indirect effect: β = −0.36; direct effect: β = 8.23). Additionally, zones with higher occlusivity were associated with more complex scanpaths (mean complexity: 0.14), whereas highly integrated regions triggered more fixations (mean = 10.54) and longer total fixation durations (mean = 2946.98 ms). Therefore, spatial syntax, when coupled with physiological indicators, provides a robust and actionable method for evaluating and optimizing exhibition space design.

This paper investigates the integration of biomimetic design and virtual reality technology in the creation of commercial exhibition spaces, emphasizing the role of biotechnology in enhancing design innovation. Initially, the study explores a cell-like biomimetic design method for commercial exhibition spaces, analyzing the parallels between cellular structures and the operational dynamics of exhibition environments. The research then delves into the application of emotional biomimetic design, utilizing imitation and borrowing from natural biological forms to craft exhibition spaces that evoke emotional responses and are engaging and intuitive. The study proposes an intelligent, immersive experience for commercial display spaces by combining these biomimetic principles with virtual reality technology. The bionic virtual space design's effectiveness is assessed based on ease of use, comfort, and enjoyment. Results indicate that the environmental adaptability of the bionic virtual design scores an average of 1.63, the environmental authenticity scores an average of 0.75, and 85.5% of participants provide positive evaluations of the overall environment. These findings demonstrate the effectiveness of integrating biomimetic design with virtual reality technology in creating dynamic and engaging commercial exhibition spaces.

An exhibition is a complex organic system. The spatial design of an exhibition aims to visualize the ideology of this complex system in space, a process known as visual spatialization. How to integrate landmark buildings in a city into the visual design of large exhibition spaces is an academic and practical issue worth exploring. This study examined the exhibition space design of the Wuhan Design Biennale as a typical case. We conducted a limited survey on Wuhan’s image using the theory of urban image cognition, employing methods such as drawing cognitive maps, interviews, and network search image analysis to extract elements that could represent the image of Wuhan city and reflect Wuhan design in the minds of the public. The study found that: (1) whether it is an image map or a questionnaire, the mention rate of many bridges in Wuhan was very high, becoming an important element of the image of the river city today; (2) in the survey on internet images, the key elements of the “river city image” were more prominent; and (3) the urban image survey helped designers understand the characteristics of the public’s cognition of urban space more comprehensively and meticulously, thereby providing a focus for creative design. This innovative design method has been applied to the exhibition space design of the Wuhan Design Biennale, garnering significant praise for its implementation. This study summarizes the mechanism of integrating landmark buildings in cities into the visual design of large exhibition spaces, hoping to provide a reference for the design of future large exhibition spaces.

Along with the socio-economic changes in Poland after 1989 and the beginning of the industrial restructuring process, many industrial architecture objects lost their original purpose. At present, sustainable processes of reusing the building stock left over from the industrial period are proceeding. One of the possibilities includes adaptation to culture-related goals, where such activities have an established tradition in the world. The aim of the article is to analyze the adaptive reuse of post-industrial facilities in Poland for the functions of art exhibitions, such as museums, galleries, and art centers. The study was based on descriptive qualitative and quantitative research, in the following stages: identification and analysis of adapted objects; developing a typology of adaptive reuse strategies; questionnaire research aimed at institutions located in adapted facilities. The analyses show that the leading group of adapted facilities constitute former power plants, which ensure favorable exhibition conditions. The main result is the recognition of five types of adaptive reuse strategies implemented in Poland, resulting from a diversified approach to the historic substance, such as: the method of extension of an object; placing an exhibition; the character of the exhibition space, along with the type of intervention in the interior of a historic building.

The integration of virtual reality, digital twins, and spatial behavior-tracking technologies is reshaping cultural exhibition architecture, shifting the design focus from functional efficiency to immersive, user-centered experiences. However, the behavioral dynamics within these interactive environments remain insufficiently addressed. This study proposes a behavior-oriented spatial typology grounded in Bitgood’s attention–value model, which maps the psychological stages—Attraction, Hold, Engagement, and Exit—onto four spatial categories: Threshold Space, Transitional Space, Narrative Focus Space, and Closure Space. Each represents a distinct phase of perceptual and behavioral response along the exhibition sequence. A mixed-method approach was employed, combining eye-tracking experiments with structured questionnaires to capture both physiological reactions and subjective evaluations. Key spatial variables—enclosure (X1), visual corridors (X2), spatial scale (X3), and light–shadow articulation (X4)—were analyzed using multiple regression to assess their impact on interest and dwell time. The results show that enclosure (α = −0.094; β = −0.319) and light–shadow articulation (α = −0.057; β = 0.156), respectively, decreased interest and increased dwell time, while spatial scale (α = 0.042; β = 0.186) positively affected both. Visual corridors had minimal influence (α = −0.007; β = 0.022). These spatial effects align with the proposed typology: Threshold Spaces support rapid orientation and exploratory behavior, while Transitional Spaces aid navigation but reduce sustained attention. Narrative Focus Spaces enhance cognitive engagement and decision making, and Closure Spaces foster emotional resolution and extended presence. These findings validate the proposed typology and establish a quantifiable link between spatial attributes and visitor behavior, offering a practical framework for optimizing immersive exhibition sequences.

Partiendo de algunas perspectivas teóricas sobre la construcción social del espacio y teniendo presentes los estudios que vinculan el arte actual y ese nuevo concepto espacial, este artículo investiga las posibles articulaciones entre espacio social, arte y forma de exposición de ese arte. Con la ayuda de dos propuestas artísticas de la última edición de documenta, se reflexiona acerca de la construcción social del espacio expositivo. Documenta 14 se entiende como el resultado de unos cambios políticos y sociales más generalizados. Su propuesta expositiva sigue una tendencia que viene consolidándose los últimos años. En el presente artículo sirve como ejemplo de creación de un nuevo espacio relacional, ampliado hacia lo temporal y lo social, como medio de representación de una sociedad inclusiva en un entorno social adverso.AbstractBased on some theoretical perspectives on the social construction of space and bearing in mind the studies that link current art and this new spatial concept, this article investigates the possible articulations between social space, art and ways of exhibition of that art. With the help of two artistic proposals from the latest edition of documenta, we reflect on the social construction of the exhibition space. Documenta 14 is understood as the result of more generalized political and social changes. Its expository proposal follows a trend that has been consolidated in recent years. In this article serves as an example of creating a new relational space extended to temporal and social dimensions, as a way of representing an inclusive society in an adverse social environment.