Abstract
In traditional exhibition practice, displays are predominantly object-centered, and information flows remain largely unidirectional, positioning visitors as passive recipients. Under this conventional curatorial paradigm, cultural translation and meaning-making processes are comparatively static and singular. This paper, therefore, seeks to articulate the interrelationships among humans, artifacts, space, and technology, thereby constructing a dynamically participatory and complex system for the expression of cultural, historical, and artistic narratives. Drawing on the proposed “meaning network” model, the author designed the Mianyang Intangible Cultural Heritage Museum, rendering meaning generation more dynamic and information exchange more pluralistic. This approach enhances visitors’ experience and cultural empathy while providing fresh insights and directions for exhibition design in other cultural institutions.
Keywords
Exhibition design of intangible cultural heritage; Meaning network; Cultural empathy
DOI
https://doi.org/10.21606/iasdr.2025.280
Citation
Chen, Z., Zhong, M., Ji, T.,and Chen, Y.(2025) Exploring the Meaning Network in Exhibition Design of Intangible Cultural Heritage, in Chang, C.-Y., and Hsu, Y. (eds.), IASDR 2025: Design Next, 02-05 December, Taiwan. https://doi.org/10.21606/iasdr.2025.280
Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Conference Track
Track 10 - Design Practices & Impacts
Exploring the Meaning Network in Exhibition Design of Intangible Cultural Heritage
In traditional exhibition practice, displays are predominantly object-centered, and information flows remain largely unidirectional, positioning visitors as passive recipients. Under this conventional curatorial paradigm, cultural translation and meaning-making processes are comparatively static and singular. This paper, therefore, seeks to articulate the interrelationships among humans, artifacts, space, and technology, thereby constructing a dynamically participatory and complex system for the expression of cultural, historical, and artistic narratives. Drawing on the proposed “meaning network” model, the author designed the Mianyang Intangible Cultural Heritage Museum, rendering meaning generation more dynamic and information exchange more pluralistic. This approach enhances visitors’ experience and cultural empathy while providing fresh insights and directions for exhibition design in other cultural institutions.