# Diagramma_2

Domanda: come tracciare l’ontologia della disciplina dell’exhibition design?

Question: How to trace the ontology of the discipline of exhibition design?

In questo nuovo post, che fa riferimento al post DIAGRAMMA pubblicato il 06-06-2015, proponiamo un’altra ipotesi di diagramma che rappresenti l’ontologia dell’exhibition design.

La funzione dell’exhibition design è quella di stabilire e  intrattenere una  relazione, tra il visitatore e lo spazio, che porta il visitatore a cogliere le interrelazioni tra gli elementi e lo spazio. Si tratta, quindi, di considerare un insieme di elementi disposti che interagiscono tra di loro. Date queste premesse, noi proveremo a comprendere l’ontologia [1] della disciplina – exhibition design – attraverso un modello di rappresentazione concettuale Entità/Relazione (ERD, entity-relationship diagram)[2]. Infatti, la rappresentazione a diagramma ci permette di rendere riconoscibili le relazioni tra i concetti, che possono essere osservati e manipolati, con l’obiettivo di studiare le nozioni costitutive della disciplina a differenti livelli di astrazione. Considerando, in particolare, i due concetti di base « progetto » e « spazio allestito » e il loro rapporto. La modellizzazione, in quanto processo d’analisi, è sviluppata a partire da uno studio sistemico dello stato dell’arte dell’exhibition design.

The Figure shows a conceptual model for exhibition design, representing the key concepts and relationships for the discipline, suitable to support an understanding of its ontology[1]. Indeed, the representation in the entity-relationship diagram allows to make recognizable the constitutive constructs of exhibition designs at different levels of abstraction. In particular, the two basic concepts of “project” and “exhibition space” and their relationship are worth considering. The conceptual model is developed from a systemic study of the state of the art of exhibition design. Thus, we argue that entity-relationship diagrams (ERD)[2], as the one shown in the Figure, can be used to support decision-making in designer activity.

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[1] Searle, J. (1995). The Construction of Social Reality. New York : The Free Press.
[2] See Batini, C., Ceri, S., & Navathe, S. B. (1991). Conceptual database design: an Entity-relationship approach. Benjamin-Cummings Publishing Co., Inc. Redwood City, CA, USA. Wand, Y. (1996). Ontology as a foundation for meta-modelling and method engineering. Information and Software Technology, 38 (4), 281-287.

 

HAIM STEINBACH // Collections

“What difference is there between the domestic environment and the artistic context? Don’t both involve displaying something? And
aren’t the objects that are presented laden with meaning in both cases? […] We are all collectors. It is a part of our nature.”
Haim Steinbach

In his solo show at the Lia Rumma Gallery (Milan) Haim Steinbach employs standard architectural building materials – metal studs,
drywall, prefabricated shelving units, paint and wallpaper – evoking both domestic and institutional spaces as places ready for
presentation. The artist exhibits over 50 objects selected from seven collections. The objects are arranged and placed on shelves,
and are displayed on both the permanent gallery walls and Steinbach’s temporary walls.

BIO HAIMSTEINBACH

LIA RUMMA GALLERY

LOOK AT THIS BOOK!

Jean Baudillard, Le Système des objets, Gallimard, Paris, 1968.

« Peut-on espérer classer un monde d’objets qui change à vue et parvenir à un système descriptif ? » La démarche de Jean Baudrillard dans Le Système des objets était de chercher à comprendre comment l’objet avait progressivement conquis son autonomie, comment l’homme était devenu « spectateur » de ses propres objets.