Adventure museum

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The Fugger and Welser Adventure Museum in Augsburg was opened in September 2014.
The Springbok Experience Rugby Museum in Cape Town is an experience museum to a brand. Such museums are also called Brand Experience Centers in English .

An experience museum (in English: Experience Museum ) is a museum concept in which the communication of content is the focus. Museums of this type are sometimes referred to as hands -on or interactive museums . In contrast to the classic museum, learning should no longer take place primarily through text acquisition ( cognitive ), but rather as a holistic experience. Even if the purpose of the museum work (collecting artistic, historically valuable objects, preserving, researching and communicating) is common to both types of museum, the mediation - accommodating the interests of the visitors - becomes more service-oriented. This visitor orientation is the result of an increasingly economic view of museum operations. With the new exhibition language, a lot of emphasis is placed on touching and trying things out, on combining knowledge transfer with interactivity and multimedia .

The stronger reflection between museums and visitors no longer defines the visitor as a recipient, but rather as a customer with his or her wishes and interests. With the use of sensual and museum-appropriate media, museum design possibilities are exhausted that go beyond the possibilities of the medium of writing. The Bremerhaven Museum of the German Emigration Center is considered the largest adventure museum in Europe. The European Hanseatic Museum in Lübeck, designed by the same architect, provides an impression of the Hanseatic League with atmospheric rooms and interactive offers .

So-called science centers hardly differ from adventure museums in terms of their structure and the techniques used to convey the content. However, they do not exhibit exhibits that are artistically or historically valuable, but rather pursue the purpose of conveying scientific knowledge.

See also

Individual evidence

  1. ↑ Michael Pries, Learning in the world of tomorrow: informal, self-determined, for a lifetime , in: Ulrich Reinhard (ed.), Markus Pausch and Reinhold Popp, Zukunft. Education. Quality of Life, Volume 3 of the series Future: Quality of Life , ISBN 978-3-643-50274-2 , LIT Verlag Münster, 2011, p. 218
  2. ↑ Martin Schlutow, Objects and Their Texts: Thoughts on the Linguistic Structuring of Historical Learning in the Museum , in: Saskia Handro, Geschichte und Sprache , Volume 21, Contemporary History, Understanding of Time , ISBN 3-643-10662-9 , LIT Verlag, Münster 2010, p 189
  3. ↑ a b c Frederic Goronzy, Die Stzenierung des Paradieses: A qualitative content analysis of artificial worlds of experience , diploma thesis, ISBN 3-832-46883-8 , diplom.de, 2003, p. 32f.
  4. ↑ a b Annette Noschka-Roos and Jürgen Teichmann , Popular Science in Museums and Science Centers , in: Peter Faulstich, Public Science: New Perspectives on Mediation in Scientific Further Education , Volume 4 of Theory Form , German Society for Scientific Further Education and Distance Learning ( Ed.), ISBN 3-899-42455-7 , Transcript Verlag, 2006, p. 92
  5. ↑ Esther-Maria Guggenmos and Annette Wilke (eds.), In the network of the Indra: the Museum of World Religions, his Buddhist dialogue concept and the new discipline of religious aesthetics , Volume 7 of the publications of the Center for Religious Studies Münster , ISBN 3-825-89484 -3 , LIT Verlag Münster, 2008, p. 80
  6. ↑ Margaret Walton-Roberts and Jenna Hennebry, Territoriality and Migration in the EU Neighborhood: Spilling over the Wall , Volume 5 of the International Perspectives on Migration , ISBN 978-94-007-6745-4 , Springer Science & Business Media, 2013 pp. 154
  7. ↑ The planning of the 'historical world of experience' European Hansemuseum : https://bekanntmachungen.luebeck.de/dokumente/d/744/inline