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    Architectural Porosity: Reading the Change of Inhabitation in Urban Heritage Area
    (Selçuk Üniversitesi, 06.05.2024) Saginatari, Diandra; Hale, Jonathan; Collett, Tim
    This paper explores the idea of architectural porosity, which intends to see the material and sociospatial porosity of the built material as a conceptual framework of architectural inquiry that can be utilised to unfold architectural phenomena in different contexts. Therefore, this paper is exploratory, and the exploration intends to unfold architectural phenomena in the context of a revitalised urban heritage area. Urban heritage areas are prone to changes through regeneration or revitalisation projects. The changes result not only in physical change but within the social, economic, and cultural aspects. By addressing the dynamic, complex, and interrelated changes in the urban heritage context, the exploration in this paper is guided by an overarching question: What will architectural porosity unfold in terms of the change of inhabitation in a revitalised urban heritage area? This question will be explored by utilising the idea of assemblage thinking as a qualitative methodological approach to read an empirical case of Semarang Old Town, Indonesia, as a revitalised urban heritage area. The exploration shows that architectural porosity unfolds the relation and entanglement between material and socio-spatial porosities in the change of inhabitation in Semarang Old Town. Furthermore, architectural porosity, as architectural inquiry, could be one of the ways of approaching urban heritage context that unfolds the possibility of incorporating natural ecological cycles of plants, decay, and informal inhabitation, which are usually denied by the conventional revitalisation practice, as alternative voices in the discussion of urban heritage revitalisation.
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    Museum as object: From postcard to post
    (Selcuk University, 05.11.2024) Simpson, Charlotte; Hale, Jonathan; Hanks, Laura
    Whether it’s through sharing picture postcards or visitor-produced photographs of museums on social media, these processes of image sharing, often dismissed as trivial, are acts which create and sustain relationships between the visitor, museum, and a wider audience. This paper positions picture souvenirs as significant, performative media, and understands postcards and Instagram posts as comparable social, objective and subjective mediums which reflect museum values and visitor decision-making. Using the British Museum as a case study, this paper analyses postcards and Instagram posts within their networks of production, use, and distribution. Visitor messages are analysed alongside imagery, and grounded theory is used to offer an interpretive understanding of decision making and inherent meaning potential. This approach responds to Haldrup and Larsen’s (2010) call for greater emphasis on ‘photographing’ in studies of tourist media and contributes to a deeper understanding of the role of photography in museum visitor experiences. Photography of the museum transforms 3D spaces into 2D objects, miniaturising the institution, making it mobile, and readying the museum for ‘new’ social uses, and research indicates that DEPARCH 139 whilst the aims of photography differs between museum, commercial publisher, and visitor, the decisions which underpin production are consistent. Through use, a connection is fostered between museum and person, and institutional and personal messages are read congruently. This connection is heightened online with photographs shared in ‘real-time’ alongside narratives which more closely reflect lived experiences. These photo-sharing practices enrich the visitor experience, allow visitors to ‘own’ the museum, and facilitate and support social interaction.