Play our new virtual game: You see All

[[{"fid":"16822","view_mode":"large","fields":{"format":"large","field_file_image_alt_text[und][0][value]":"A group of young people stand or sit around a large white netting sculpture, positioned in a museum gallery","field_file_image_title_text[und][0][value]":"Otherlands: Museum for a Museum","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"Image © Reliant Imaging","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"large","field_file_image_alt_text[und][0][value]":"A group of young people stand or sit around a large white netting sculpture, positioned in a museum gallery","field_file_image_title_text[und][0][value]":"Otherlands: Museum for a Museum","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"Image © Reliant Imaging","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"533","width":"800","class":"media-element file-large"}}]]Otherlands: Museum for a Museum, crafted through seamless collaboration between first-year BSc Architecture students and the UCL Petrie Museum of Egyptian and Sudanese Archaeology, presents a captivating fusion of creativity and history. Unveiling six distinctive installations, the two-day public showcase draws profound inspiration from a pantheon of 12 ancient Egyptian deities:Amun (God of the air)Horus (God of the sky)Nephthys (Goddess of mourning, friend and protector of the dead)Anubis (God of funerary rites, embalming and dead)Ra (God of the sun)Set (God of desert and chaos)Isis (Wife of Osiris, Goddess of protection, good fortune, protector of the dead)Osiris (God of the underworld, judge of the dead)Ptah (the creator, God of craftsmen, mastermind of the universe)Thoth (God of knowledge)Khnum (God of the source of the Nile)Tefnut (Goddess of moisture, dew and rain)In October 2023, 90 architecture students came together in six groups to respond to the Museum’s collection of Egyptian archaeology. This innovative endeavour navigated the realms of time and space and explored themes of micro-environments, the afterlife, use, immateriality and display. Utilising the thematic essence of these deities, they constructed installations that transcend conventional boundaries, essentially creating a museum within a museum.The exhibition emerges as a testament to the symbiotic relationship between the ancient and the contemporary, and defies temporal constraints and spatial confines, inviting spectators to enjoy the interplay of time and physical space.The installations form a harmonious tapestry, weaving together these deities and contemporary architectural innovation. The Tapestry of Being intricately intertwines Nephthys and Anubis, creating a narrative that transcends life, death, and the afterlife.The Seen and Unseen symbolises the connection between Horus and Amun, inviting participants on a sensory journey blurring the lines between visible and invisible realms.Ra/Set adds a poignant layer, emphasising the dichotomy of Ra symbolising stability and routine and Set embodying chaos, unpredictability and the need for adaptation.Rain, River, Flood explores the constraint of museum spaces, embodying Tefnut and Khnum's manifestations through a mesmerising water cycle initiated by human intervention.Emeritus Gods pays homage to retired deities, with a crescent moon symbolising Thoth and introducing the theme of enlightenment through crocheted weaves. Lastly, Osiris and Isis: Sanctuary involves a curated performance and cocoon structure, symbolising the eternal cycle of life in the reconstruction of the body.The brilliance of the Otherlands is not confined to the realm of architecture; it is an inclusive showcase open to all, transcending the boundaries of expertise to resonate with audiences beyond architecture students. What sets this apart is the delicate and meticulous weaving together of diverse ideas and specific details, a testament to the remarkable effort and attention to detail invested by the students.The exhibition unfolds as a tapestry of contrasts, exemplified by Rain, River, Flood where the conscious industrial aesthetic, reminiscent of manmade structures, encounters the celestial energies harnessed through human interaction. The exhibition plays with colours, using materials in congruence with hues associated with deities and integrating them with the existing collections in the display cabinets. The Seen and Unseen incorporates wooden stands resembling the feet of a falcon and pays homage to Horus, adding an extra layer of symbolism.This careful consideration of materials, colours, and symbolic details not only showcases the students' artistic prowess but also ensures a harmonious integration of their creations into the broader museum context, creating an immersive experience that captures the essence of ancient Egyptian mythology.The thoughtful incorporation of interactive elements, designed to engage the audience physically, adds an extra layer of immersion to the overall experience. The exhibition becomes a dynamic space where spectators can actively participate, breaking the traditional barrier between observer and art. This deliberate choice to play with space not only underscores the innovative spirit of the showcased installations but also caters to the unique setting of the Museum. The carefully crafted pieces invite the audience to physically interact, offering a hands-on engagement that transforms the viewing experience into a participatory journey.Otherlands: Museum for a Museum left an indelible impression, with its delicate interplay of interactive elements, attention to symbolic details, and inclusive design. I left thoroughly impressed by the meticulous craftsmanship and thoughtful integration, making Otherlands a remarkable testament to the enduring resonance of ancient mythology within modern artistic expression.

[[{"fid":"15261","view_mode":"large","fields":{"format":"large","field_file_image_alt_text[und][0][value]":"Virtual Reality in museums project image","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"large","field_file_image_alt_text[und][0][value]":"Virtual Reality in museums project image","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1080","width":"1920","class":"media-element file-large"}}]]New Knowledge Exchange project between the Bartlett, UCL Culture and tech start-up Kagenova explores Virtual Reality (VR) in Museums.We are excited to announce a newly funded knowledge exchange project exploring VR in museums led by UCL Culture with The Bartlett Centre for Advanced Spatial Analysis (CASA) and AI technology start-up Kagenova, founded by UCL scientists.  [to learn more about how this project has developed since the launch read more here]  The project enables these highly specialised teams to come together to share ideas, experiences and skills to support innovation in VR in the museum sector.    Kagenova has developed new technology out of the exploration of the unknown horizons of the night sky by UCL scientists in astrophysics. They're developing technology to provide photo-realism and interactivity in VR, at the same time and at scale. These new immersive technologies are powered by Kagenova’s geometric AI techniques, which are tailored specifically to VR. "We're excited by this knowledge exchange partnership to help explore how technology could be used to support cultural exhibitions and make them more accessible", said Jason McEwen, Founder and CEO of Kagenova, who is also a Professor of Astrophysics at UCL.   The collaboration explores the ways in which virtual exhibitions captured in this way can enhance the student learning experience (blended and online). This is for the benefit of both UCL and the wider Higher Education community, as well enabling the general public to engage with collections in new ways, wherever they are in the world. The findings from this project will be particularly beneficial for smaller museums, who often don’t have the budget or infrastructure to compete with national museums when developing new digital products and services.   The collaboration with Kagenova enables UCL Culture to experiment with next generation 360VR technology. UCL’s museums have been pioneering collections and exhibitions-led interdisciplinary research and inquiry for over a decade. “Our exhibitions are integrated into the learning experience in different ways and we want to bring this pedagogical know-how into conversation with technology in a way that can bridge students’ onsite and remote learning experiences as well as connect with our remote audiences”, says Dr Nina Pearlman, Head of UCL Art Collections, who has been the strategic lead for this project. “Collaboration supported by knowledge exchange funding is key to being able to identify novel ideas that can help us design better solutions, services and experiences to meet our current challenges.”   Researchers in UCL CASA have been exploring virtual environments for many years with a focus on technological innovation and accessibility, nurturing the next generation of developers and technology innovators. Professor of Digital Urban Systems, Andy Hudson-Smith, stated that: “The collaboration brings the ability to explore the edges of the technology, from multisite portals through to 3D objects embedded in the panoramic scenes and integration into emerging metaverses. All with a direct loop back into teaching and research at UCL”.   Building on UCL’s strength in innovation, the learnings from this project will be disseminated and shared across cultural and technology networks, social media and press. Without this project, these learnings would be either logistically impossible or prohibitively expensive to achieve individually.  This knowledge exchange project is supported by UCL’s Higher Innovation Fund (HEIF), managed by UCL Innovation & Enterprise. The partnership between UCL Culture, UCL CASA and start-up Kagenova has been facilitated by the Business and Innovation Partnerships team within UCL Innovation & Enterprise.