TEAM: Hyoungsup Lim, Erin Jankowski – South Korea, United States – Pratt Institute, Bucknell University

Providing three dimensional insight into the perspective, aesthetic and depth

In an age of panorama photos, VR headsets and 360 degree views, it’s empirical to begin considering the ways in which social media will take shape and advance in technological landscapes to come. With photo-sharing apps like Instagram, Facebook and VSCO  it’s more than evident to see the value found in the archiving of one’s own personal content along with content we happen upon in our personal journeys in life. To be given a space where one can share a much more immersive perspective, insight and access to a shared experience is invaluable and far more than words can at times articulate.

From a sculpture at MoMA to an exquisitely threadbare antique, Fullsight’s curating sensibilities allow it’s shapers and scrollers the opportunity to enjoy and share the art that surrounds us, motivates us, and satiates us as individuals and, quite often, as a collective.

World of ArtCraft

TEAM: Aris Kafantaris, Greek, The University of Tokyo

Volume 1: Cedric’s Revenge
In 1964, architect Cedric Price almost succeeded in creating the now fabled Fun Palace: a flexible urban scaffold, where users would grow and learn through media, performance and interaction. Fast-forward a few decades and the platform that Price imagined already exists – our mobile devices piling layers upon layers of content on urban space, injecting it with new narratives.

World of ArtCraft is “Pokemon Go for Museums”. It overlays (through Augmented-Reality) a Massively Multiplayer Online RPG game on real city maps, including all the usual features, like quests, monster hunting, and treasure looting. There is a twist, however: all equipment must be obtained through interaction with an actual artifact, in the museum where it is housed.

Do you need that enchanted +3 sword of fire? Well, it is represented by a Mycenaean bronze dagger from 1400BC and you’ll have to pay a visit to the Archaeological museum of Corinth; now slay a Sphinx or two and solve a quiz about Agamemnon.

WoA links the museums of the world into a continuous narrative platform of mix and match adventuring. Players, notoriously knowledgeable in the most obscure game-mechanics and lore, will funnel their creative mania into engaging with real art and history.

Sputnick Hack Reboot

TEAM: Tasos Antonopoulos, Stelios Polyviou, Cypriot, The University of Edinburgh

Hacking museum archives and digital advertising displays

Short description: ‘Sputnick HR’ has been launched in space to orbit earth programmed to access museum archives and retrieve data which is then abstractly distributed to advertising devices in various random geographical locations. Due to multiple legal implications, the satellite is crowdfunded in the period of 3 years making it harder for anyone to be prosecuted. Its irregular trajectory and speed, layers of encryption software, its state of the art technology and a numerous of other geeky specifications give us a calculated prediction of a minimum of 7 months of uninterrupted operation. ‘Sputnick HR’ generates peculiar state of affairs.

Crude Idea

TEAM: Riccardo Modolo (Italian, TU Delft), Alessio Rapposelli (Italian, IUAV), Alberto Bovo (Italian, IUAV)

“Crude Idea” is an experience inside process of creation. It wants to be a critic to actual expositions and a suggestion for the upcoming society. Nowadays Art and Museums are misunderstood, people are mostly interested on the final forms of art, on its results, interpreting it only as a means of fun. We are losing the soul of Art, the process of creation.
“Crude Idea” is an opportunity where everyone can get in touch with creative process and interact with the exhibits, creating his own walk. Thanks to it we can create a new way of conceiving creative processes and we can have more cultural awareness. It can become a boost to our artistic environment.

The structure is composed by an automatic flying path and many rooms. You can choose by doing
your trip in a passive way or by getting off the course and taking part of the process. Every room
has different objects, each of them gives the opportunity to users to understand their role inside the process.
Start your trip.

Museum on the go

TEAM: Niko (Seong) Hur, South Korean

Whenever, Wherever, Whichever
“Museum on the go” imagines a future where the two integral functions of a museum – preserving historically significant objects, and exhibiting such relics for social engagement – become completely independent from each other. The physcial structures and monuments of existing museums, which hold significant importance on their own, will serve as archives to preserve, maintain, and protect the genuine condition and state of arts and artifacts they house for the generations to come. To access and engage, both visually and socially, the general public will have options to either physically visit these archives, just like the conventional way of visiting a museum, or utilize an augmented reality tool to virtually tour and see with much greater ease and freedom.
“Museum on the go” Application, aided by a smartphone and VR gear, will allow one to choose a specific museum, anywhere in the world, and do the following:

Virtually visit the museum, walk around as if one were to actually be in the space, sense the atmosphere, engage real-time with other virtual visitors visiting the same museum of one’s choosing.
Select specific collection/events/tours/exhibition of interest and project them on any surface. Application and VR gear will 360° scan the space one is wishing to turn into one’s personal museum and optimize a unique layout of arts and artifacts.

Souvenir Show

TEAM: Wan Chien Lin, Shih Hsueh Wang, Taiwan

Representing artifacts by inducing individual experience

Description :

A museum should enable people to have individual sensory experience, not just educate or entertain the visitors.

Most museums of artifacts are used to displaying the objects by telling visitors the “facts”, which had been investigated by the so-called experts. The core idea of showing artifacts is supposed to induce visitors’ interest and to connect the relation among the museum, the object, and the visitor, and eventually to create the experience of interaction.

In order to approach that, we see souvenir as a medium that not only representing the original artifact but offering the visitor who brings it back a continued experience.

The souvenirs that are able to approach the effect may be designed by rearranging the scale, proportion, or material of the original artifacts while the appearance must be kept almost the same.

Besides, the variety of functions of souvenirs are defined based on the artifacts.

By setting a narrow and long table placed a lot of souvenirs in the museum, we hope people can have a new and individual experience among the artifacts and the museum.


TEAM: Jose Andres Coba, Paulina Ortiz Rivadeneira, Ecuador, Civil Architecture Office

Subtitle: PinArt Museum, art within reach
Have you ever pondered how you felt when you entered a museum and sat to watch Starry Night or Las Meninas?  An indescribable sensation of being transported to a different world, which I thought I would never be able to experience.
From the moment I entered the Mauritshuis museum and followed the path that led me to The Girl with the Pearl Earring, I knew I would finally be able to appreciate its beauty.  I sat on a chair in front of it, laid my cane on my lap and took off my dark glasses; I could hear people around me mumbling and asking what a blind man could be doing in front of a painting.
I took the device given to me as I entered the museum and waited for it to “read” the painting.  I could feel how the cylindrical rods moved one by one, just like my childhood game PinArt. I gradually began to feel how forms were being created in my hands; I could feel the girl’s veil and her face… I was finally able to grasp her features and appreciate the beauty I had heard of but had been forced to only imagine.


The Whole Earth Museum

TEAM: Enrico Bosia, Matteo Gianotti, Kejdi Lulja, Caterina Quaglio – Italian – Onde.Line

The Infinite Finite Catalog

What’s the most treasured possession we have? We say our fragile, precious and charming planet. This is why it will be the honorable object of our tomorrow’s museum. Visiting The Whole Earth Museum you will enjoy the sight and the experience of the rarest and most remarkable pieces in the world.
Be careful, if the pieces are damaged or destroyed, they will be lost forever!
Showcases will protect unique samples of the ephemeral passage of mankind on Earth. This is why we kindly ask you, dear visitor, to take part in the exposition as a curator of y/our museum. You are personally asked to select and frame what will be part of this holistic exhibition.
The Whole Earth Museum will challenge the rules of the game, offering the most scalable, transferable and accessible collection of data, stories, and habitats ever seen.

The museum is open 24 hours a day, 7 days a week, 365 days a year. Kindly note that due to different life spans of the subjects/objects involved is not possible to determine the duration and evolution of the exhibition.

Morphing Museum

TEAM: Claudio Araya, Felipe Acuña, Jaime Fuenzalida, Felipe Rivera – Chile

The city is in constant and fast growth. The public space is and should always be the democratic urban support of all citizen activity. Society evolves and the city must respond.
History is a reflection of the urban manifesto, however, explosive growth and lack of planning lead to the degradation of the public space, the loss of identity and the low sense of appropriation with the city.
This phenomenon is evident in Santiago de Chile. Social expressions and manifestations occur, as in most cities, in their public spaces. The focal point of the mayor congregations in Chile is Plaza Baquedano, which, paradoxically, is a high traffic flow roundabout.
The community – unconsciously – manifests a need to understand and conceive these spaces as places of social congregation and these must be adapted to the evolution process of the city.
Morphing Museum recognizes these elements and the acts in the city as an exhibition space, a memory, vocation of social identity and interactivity between the community and urban ground.

A meeting, congregation and playful collective spaces able to adapt immediately to the needs of citizens. A transformable hybrid between street, park and museum.

Come on baby light my fire

TEAM: Anna Barbieri, Anna Hagen – Austria

Museums for 25 seconds.
A matchbox. 38 matches; 38 museums, which are accessible for the time span of a burning match. Not virtually, but in reality.
Deriving from Ed Ruscha’s institutional critique in “Los Angeles County Museum of Art on Fire”, we intend to turn the negative connotation of the fire into a positive device that provides sensory glimpses of a large variety of museums. Art and museums are something unique. We intend to strengthen the importance of the actual sensory experience and oppose growing tendencies of have-it-all on the Internet.
The matchbox is counter-digital. It questions museums’ continuous expansion of online catalogues and virtual online tours and visits. If the normality of the Internet can replace the museum experience, then an ordinary matchbox can become a tool to experience the unique feeling of art even if physically inaccessible.
38 matches trigger 38 museum atmospheres. You light a match. It provides the sensory experience of enlightening. Its light exposes us to particular smells, sounds and views relating to particular museum atmospheres. You sense the museum’s sound and smell. You touch the architecture and visit for the brief moment of the burning match. As soon as the smoke vanishes, the atmosphere of the museum disappears.

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