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Uenuku "The Rainbow", artist unknown, 1200-1500, medium: New Zealand totara (wood)

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This Maori taonga is a traditional carving from the Maori people of New Zealand. It was created to contain the spirit of one of their gods, Uenuku, god of the rainbow. His spirit was thought to have been brought here in a stone which was legend says sat inside the circular portion of this carving.

In this artwork exhibition, the three mechanisms used are maps, explanatory text, and color. This artwork uses maps to plot out where this piece is located in the world. Allowing the audience to see the location of the piece will further their understanding of the art's history and relation to other artworks in the world. The second mechanism, explanatory text, provides the audience background information when viewing these sculptures. The culture of the Maori people is not as well known, so the explanation will be crucial in procuring meaning when the guests are viewing this carving. The last mechanism is color, which is used to decorate the module in order to show something about the piece. In this case, the blue represents the ocean, which was a crucial part in the Maori people's lifestyle. This connection will broaden the guests' understanding of the piece, while connecting in their heads the location of the piece's origin.

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Qorikancha, the temple of the sun, in Cusco, Peru - Pachacuti Inca Yupanqui, 1200's, medium: stone (no mortar)

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The Temple of the Sun in Cusco, Peru was built to honor the Incan Sun God. The whole building was once covered completely in gold, symbolizing the importance of such a spiritual figure in Incan religion. When the Spanish came into the Americas, they built a church over the original temple, which is why it now appears to have some European influence.

In this artwork exhibition, the three mechanisms used are maps, explanatory text, and special media. This artwork uses maps to plot out where this piece is located in the world. Allowing the audience to see the location of the piece will further their understanding of the art's history and relation to other artworks in the world. The second mechanism, explanatory text, provides the audience with the needed knowledge to fully appreciate the artwork. Just seeing the artwork can only be so meaningful, but actually knowing about the artwork can be very powerful. The third mechanism is special media, in this case, a video walkthrough. This provides a more interactive approach to a building that can't be placed in a museum, providing guests with the feel of actually visiting the site. To improve multimedia function, we could add surround sound from the video, which gives an immersive effect to the exhibit. I also included the color orange to the module to represent the sun from the Sun Temple, which will help the audience associate the color with the topic of this exhibition.

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Visit Qorikancha, the temple of the sun, in Cusco, Peru

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Artist unknown, Ancient Chinese, created in 210 BC, medium: terra cotta.

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The Terra Cotta Warriors were created as a way to protect Emperor Qin Shi Huang Di (China's first Emperor) and to watch over him in the afterlife. They were placed in his tomb with him, and are completely life sized. There are over 7000 warriors, and there are also several hundred horses and a 100 chariots.

In this artwork exhibition, the three mechanisms used are maps, explanatory text, and color. This artwork uses maps to plot out where this piece is located in the world. Allowing the audience to see the location of the piece will further their understanding of the art's history and relation to other artworks in the world. The second mechanism, explanatory text, provides the audience background information when viewing these sculptures. The last mechanism is color, which is used to decorate the module in order to show something about the piece. In this case, the red represents the red in the Chinese flag, and will help the audience associate this artwork with the Chinese culture.

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The Parthenon: Ordered to be built by Pericles, sculpted by Phidias, Ancient Greek Empire, 447 - 432 BC, medium: limestone.

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Made out of limestone and featuring doric columns, the Parthenon was the largest doric temple of its kind during this time period. If you look closely, you can see that the outer columns are slightly larger in diameter than the inner columns, giving the temple a symmetrical appearance. More impressively, the Parthenon features no right angles, which is an amazing architectural feat, especially for its time. The Parthenon was a temple for religious practices, and contained a large sculpture of Athena (the Ancient Greek goddess of wisdom) within its walls.

In this artwork exhibition, the three mechanisms used are maps, explanatory text, and color. This artwork uses maps to plot out where this piece is located in the world. Allowing the audience to see the location of the piece will further the guests' understanding of the art's history and its relation to other artworks in the world. The second mechanism is explanatory text, and it provides the audience with a background of what makes the Parthenon a true work of art. The third mechanism is color. This module is colored white, which represents a main color in the Italian flag, therefore helping the audience tie their knowledge about Italys location with the Parthenon's location.