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1 Master IDEA in Exhibition Design Architettura dell’Esporre VII Edizione a.a. 2013-2014 Final thesis Project Children's Museum in Mumbai Monica Niloy Debnath Prof. Luca Basso Peressut

Mumbai Children's Museum

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Master IDEA in Exhibition Design Architettura dell’EsporreVII Edizione – a.a. 2013-2014

Final thesis Project

Children's Museum in Mumbai

Monica Niloy Debnath

Prof. Luca Basso Peressut

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What’s the difference with kids playing and learning and having fun together & kids completely engrossed in gadgets?

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Todays younger generation of kids

Children now rely on technology for the majority of their play,grossly limiting challenges to their creativity and imaginations,as well as limiting necessary challenges to their bodies toachieve optimal sensory and motor development. Sedentarybodies bombarded with chaotic sensory stimulation areresulting in delays in attaining child developmentalmilestones, with subsequent negative impact on basicfoundation skills for achieving literacy. Hard-wired for highspeed, today's young are entering school struggling with selfregulation and attention skills necessary for learning,eventually becoming significant behaviour managementproblems for teachers in the classroom.

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So what is the impact of technology on thedeveloping child? Children's developing sensory,motor, and attachment systems have biologically notevolved to accommodate this sedentary, yet frenziedand chaotic nature of today's technology. The impactof rapidly advancing technology on the developingchild has seen an increase of physical, psychologicaland behaviour disorders that the health andeducation systems are just beginning to detect, muchless understand. Child obesity and diabetes are nownational epidemics in both Canada and the U.S.,causally related to technology overuse.

The Impact of Technology on the Developing ChildPosted: 29/05/2013 20:59 IST Updated: 29/07/2013 14:42 IST

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Creativity and innovation are critical success factors in today‘s knowledge economy.

Acknowledging this, nations around the globe are beginning to make changes to their educational system by incorporating these factors in their national curriculum.

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Factors of Creative Thinking in Torrance Tests of Creative Thinking

FactorDescription

FluencyThe ability to produce a large number of ideas

OriginalityThe ability to produce ideas that are unusual

Abstractness of TitleThe ability to give abstract title for things produced

ElaborationThe ability to develop or embellish an idea

(Torrance, Ball and Safter, 1992)

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Creative Strengths

Resistance to Premature ClosureThe ability to maintain openness to a variety of options or ideas

Emotional expressivenessThe ability to communicate feelings and emotions verbally or nonverbally through the drawings, titles, and speech of the figures in the drawings

Storytelling articulatenessThe ability to clearly and powerfully communicate an idea or tell a story

Movement or actionThe ability to fantasize and use imagination freely

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Extending or breaking boundariesThe ability to remain open long enough to permit the mind to make mental leaps to get away from the obvious and commonplace

HumourThe ability to produce unusual combination and surprise drawings

Richness of imageryThe ability to create strong, sharp, distinctpictures in the mind of the beholder

Colourfulness of imageryThe ability to excite and appeal to the senses

FantasyThe ability to use fantasy imageryin responding to the test tasks

(Torrance, Ball and Safter, 1992)

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Creative Strengths

Expressiveness of titlesThe ability to produce titles that go beyond simple description and communicate something about the picture that the graphic cues themselves do not express without the title.

Synthesis of incomplete figuresThe ability to combine two or more figures Synthesis of lines or circles The ability to combine two or more lines

Unusual visualizationThe ability to see things in new ways and return repeatedly to a commonplace object or situation and perceive it in different ways

Internal visualizationThe ability to pay attention to the internal dynamics workings of things

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Popular Children's museums

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COORDINATION ASIA created the Kids Museum of Glass, a 2,000 sqm space that teaches children about glass through different mediums. China’s first children’s design museum, it aims to provide an exciting and multifunctional experience for families

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Kids Museum in Delhi, Mumbai, Bengluru, Gurgaon

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CHILDREN’S MUSEUM SELF-STUDY QUESTIONNAIRELEADERSHIP CONSIDERATIONS FOR MISSION PLANNING STANDARDS

Mission/Planning1. Does your mission statement identify children as your primary audience and recognize other audiences involved with children?

Children’s Museums Standards Document© •Association of Children’s Museums•www.ChildrensMuseums.org•

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The museum aims at allowingchildren to imagine, explore andrediscover themselves.

The take away is the experience andthe thought process.

A promise to give them a newexperience every time they visit.

Mission of Mumbai Children’s Museum

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Creative thinking, What is that?

There are two ways of thinking creatively to solve problems, one is Convergent Thinking the other one is the opposite of it, Divergent Thinking.

Convergent is a way to think which takes all the information and knowledge and turn it into an answers or a solution to a problem.

Opposite of it, divergent thinking normally involves brainstorming and looking for alternative ways to solve problems.

People may only think Convergent-ly, others may think Divergent-ly, but face it or not, both ways are need in our life to solve different problems.

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Elements of creativity

According to Teresa Amabile, the elements of creativity are interconnected: each is caused by and causes the others To some extent, creativity is a function of the will. As Karlyn Adams explains in Sources of Innovation and Creativity: A Summary of the Research, “an explicit decision to be creative, along with a meta-cognitive awareness of the creative process” can do much to enhance “long-term creative results”.

Figure 1. Adapted from Growing Up Creative, Teresa Amabile (Crown, 1989).

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• Synthesis of incomplete figures

• Unusual visualization

• Extending or breaking boundaries

• Humour• Colourfulness of imagery

• Fantasy

• Emotional expressiveness

• Storytelling articulateness

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Museum Plan:

1. Ticketing area2. Inside waiting area 3. The climbing structure4. Activity Area for kids between age group 3-10 yrs.5. Activity Area for kids above 10 yrs.6. The cardboard play room7. The colour room8. Exhibit space9. Cafeteria10. Auditorium- Interactive Digital puppetry11. Museum shop

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Activities

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Site:

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Site: R-city mall , Mumbai

Proposed space forMumbai Children’s museum

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Digital interactive puppetry

Proposed space forMumbai Children’s museum

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1. Ticketing area

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1. Ticketing area

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2. Inside waiting area

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3. The climbing structure

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4. Activity Area for kids between age group 3-10 yrs

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5. Activity Area for kids above 10 yrs.

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6. The cardboard play room

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7. The colour room

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8. Exhibit space

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8. Exhibit space

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9. Cafeteria

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11. Museum shop

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Digital puppetry is the manipulation and performance of digitally animated 2D or 3D figures and objects in a virtual environment that are rendered in real time by computers. It is most commonly used in filmmaking and television production, but has also been utilized in interactive theme park attractions and live theatre.

The exact definition of what is and is not digital puppetry is subject to debate among puppeteers and computer graphics designers, but it is generally agreed that digital puppetry differs from conventional computer animation in that it involves performing characters in real time, rather than animating them frame by frame.

Digital puppetry is closely associated with motion capture technologies and 3D animation, as well as skeletal animation. Digital puppetry is also known as virtual puppetry, performance animation, living animation, live animation and real-time animation (although the latter also refers to animation generated by computer game engines). Machinima is another form of digital puppetry, and Machinima performers are increasingly being identified as puppeteers

Digital puppetry

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The exhibit - History of shadow puppets in India

India has a varied tradition on shadow puppets. Although written records are scare, itis clear that by the time of the composition of the Ramayana and the Mahabharata,there was a form of theatrical performance, known as the "Chhaya Nataka".

The traditional shadow puppet theatre is chiefly concentrated in the States of Karnataka, Andhra Pradesh, Kerala and Orissa. Further there is a very interesting form prevelent in Goa is called the "Chitrakathi". The typical form from Karnataka is Togalugombeatta. It is associated with the Killekyata community.The Andhra shadow puppet theatre is Tolubommalattam. The highly sophisticated form of the shadow puppet theatre from Kerala is Tolpavakoothu. It is performed annually at the Bhagavati or Bhadrakali temples of Palghat. The themes of the plays in Tolpavakoothuare based on the Kamban Ramayana. Ravanchhaya is the theatre of Orissa.

The origin of shadow puppets is debatable though many scholars are of opinion thatit originated in India and spread to South East Asia through Indonesia on one handand also towards west India.

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It was claimed by Sunul Chakraborty that the ancient Indian art of storytelling with the help of pictures began with the Harappans civilization. Several Harappan seals show ancient Indian traditional folk tale in a progression of scenes. This archaeological finds prove that pat, the folk painting of Bengal, exist before the arrival of the Aryans in India. Modern Indian names for these forms are: Killekyata, Killikets (these two also present shadow plays), citrakathi, c[h]itrakar, patua, patidar, pat, par, para, etc. Their ancient names were: yamapattaka, mankha, maskari, and saubhika. There is however, a lack of agreement on the meaning of the word saubhika which is mentioned in the ancient texts, although the majority of scholars consider the meaning to be either "picture showman" or "shadow player".[6]

Shadow puppets remained popular until recently in modern India,[7] including the Tholu Bommalata of Andhra Pradesh, the Togalu Gombeyaata, leather puppets in Karnataka,[8] and the Ravana Chhaya of Odisha.

The exhibit - History of shadow puppets in India

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Hanuman and Ravana in Tholu Bommalata, the shadow puppet tradition of Andhra Pradesh, India, at Dilli Haat

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In shadows cast on a cloth screen, gods battle against agents of evil. Awe and divineinspiration unfold night after night through the Hindu epic of Ramayana.It was believed that shadows inhabited a different world. Puppets, as part of thisshadow world, came to life at full moon. The 'divine' voice of the puppet could beheard on a bamboo instrument and is translated for the audience.This act of religious devotion, often performed in front of a temple, also providedpopular entertainment and moral instruction. Today's shadow shows incorporatecontemporary music, multi-media and fantastic light effects.

Asian Puppets, Wall of the World, (exhibition catalogue for UCLA Museum of Cultural History), 1976J.R. Goldberg Belle, The Performance Poetics of Tolubommalata, University Microfilms International, Ann Arbor, Michigan

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Bibliography:

1.Standards of Excellence in Early Learning: A Model for the New Chicago Children's Museum2. Design as art - Buno Munari3. How to be an explorer of the world- Portable Life Museum- Keri Smith4. Standards for Professional Practice in Children’s Museums

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