Sonia Li's Blog of Fantasia

Reading Exhibition Design – Chapter 10, 11 & 13

28 April 2013 by GlowLikeUnicorn

Chapter 10 – Materials

Choosing Materials:

-Fire rating of material is crucial.
-Must check durability, order times, price, sheet sizes, ease of maintenance and assembly time, and the skills of contractors.
-Develop a palette to use.
-Natural materials need to have extra consideration of their behaviors in particular environments.
-Use environmental friendly materials if possible.

Deciding on Suitable Materials:

-Make sample board to use and show clients.
-Important to choose materials that are consistent with brand identity.
-Test materials in advance for conservation purposes.
-Obtain samples of paint.
-Be clear about the methods of applying paint.
-Be specific about a material.

Chapter 11 – Portable Exhibitions

Flexible Designs:

-Efficient design for transportation and traveling.
-Use graphics and surface finishes to make individualistic aesthetics.
-Incorporate systems suitable for trade fairs to provide options for mounting computer screens, brochure display and graphic panels.
-Design with longevity in mind, need to survive transportation.

Chapter 13 – Construction and Delivery

Construction:

-Speed, careful planning are vital
-Consider transportation, assembling/disassembling and weights of elements in exhibition
-Cost of construction is affected by mostly transport, materials and labor.
-Do thorough research before choosing a contractor
-Reputable shipping companies have representatives in almost every country.
-Choose materials that are low in embodied energy and process cost/time. Try to use local materials that are not toxic to humans and the environment.
-In trade fair designs, the designer is often responsible for both design and construction. The “turn key” service is more costly for the client, but the outcome is more controllable being handled by one source.
-Designers are responsible for structurally sound and safe constructions.
-In exhibitions for children, the industrial components are heavy for wear and tear.
-The project manager will be delegating the quality of the constructions and cater to the client’s day to day affairs.
-Consider door frame widths/heights.
-Make clear decisions of contractors’ responsibilities.

Leave a comment | Categories: Interpretive Exhibition Design

Reading Exhibition Design – Chapter 6, 7 & 12

18 April 2013 by GlowLikeUnicorn

Chapter 6 – 2-D Design Skills

The Role of Graphics in an Exhibition:

-Graphics are integral part of any exhibition and show the storyline to visitors.
-Low budget shows or existing spaces tend to use graphics to support exhibition.
-Directional signs to draw visitors in are called wayfinding graphics.
-Graphic designers develop a hierarchy of signs of differing scales in a consistent style.
-The hierarchy includes large external signage, medium-sized area headings, subheadings and diminishes to object labels.
-Graphics should be clear, effective, imaginative, creative, consistent to maximize publicity.
-Keep scale in mind when designing for exhibition graphics. It works differently from print.

Approaches to Exhibition Graphics:

-When there is an imposed style of graphics (i.e. brand identity), the challenge is to create stimulating graphic work that enhance.
-Graphic designers have to make many fine detailed decisions regarding contextual graphics when there are no imposing styles.

Designing for Legibility:

-Relates to not only the size of typography, but also the environment in which the text is situated.
-Take into account location of text, lighting conditions, etc.
-Legibility of text is influenced by contrast between the text color and background.
-Check text legibility by printing out samples.

Designing for Readability:

-Some suggest the reading guidelines be readable by an average twelve year old person.
-Use The Ekarv guideline method for writing readable labels. The system addresses legibility and readability issues.
-Clear defined passages are easier to read than longer and denser ones.
-Visitors often skim the text and pick out shapes of individual words, so the sentence is often more readable in smaller quantity.
-Include facts that will resonate with viewers when possible:
1. Use simple language to express complexity.
2. Use normal spoken word order.
3. One main idea per line. Short and to the point.
4. Lines about 45 letters and text broken into short paragraphs of four to five lines.
5. Use active form of verbs and state subjects early in sentence.
6. Avoid complicated structure, hyphenating words, unnecessary wording.
7. Read text aloud and note natural pauses.
8. Adjust wording and punctuation to reflect rhythm of speech.
9. Discuss texts amongst each other.
10. Pin draft texts in final positions to assess effect.
11. Revise and refine.
12. Concentrate the meaning.

-Avoid long lines of text, especially at low level.

Reproducing Graphics Methods:

-Vinyl Text
-Rubdown / dry transfer
-Cut-out lettering
-Inkjet printing
-Digital photographic printing
-Direct-to-media
-Dye sublimation
-Silk screening
-Mounting techniques

Outdoor Applications:

-Graphics must be printed with inks resistant to weather and ultraviolet rays. Weather proof materials like PVC, aluminum, glass and stainless steel are good choices.
-Must be stable.

Pop-up Displays:

-Common at trade shows.

Chapter 7 – Lighting

How Lighting is Used in Exhibitions:

-Colored light, dramatic sequences with video projections, objects can be modelled with angled lights.
-Can create hierarchies and concentration.

The Human Eye:

-Lighting should be gradual, not sudden. The human eye takes time to adjust to lighting changes.

Surveying the Site:

-Daylight is very powerful compared with most artificial lighting.
-Strong sunlight may cast shadows and affect displays.
-Perform site surveys to ensure the best presentation.
-Daylight is normally excluded since the sun emits ultraviolet rays.
-Check for lighting infrastructure, lighting track or suitable downlights.
-Enquire about power supply and routing of cables.

The Lighting Plan:

-Plan may be demonstrated with a three-dimensional visual rendering generated by computer or sketch.

Exhibit-focused Lighting:

-Create tightly focused pool of light on the exhibit.
-The Wall-wash, widest beam spotlight available, enables designe to light a whole wall evenly.
-Can also use a single focused area of light to highlight a single display.
-Ambient light: light thrown onto walls creating an overall brightness
Accent lighting: object illuminated while surrounding is relatively dark.
Sparkle lighting: special colored or accented light intended to create a spectacle.
-Types of exhibit-focused light: spotlights, wall-wash and contoured spotlight.

Environmental Lighting:

-Ambient light is more comfortable than accent lighting.
-Some spaces require ambient lighting, such as areas for activities, interacting with mechanical devices, etc.

Feature Lighting:

-Emphasizes the shape of a three-dimensional structure or area. Often used in nightclubs and bars.

Colored Lighting:

-color temperature can create warm or cool effects.
-color rendering: describes how well lighting shows color on a material. 100 is excellent, 0 is bad.
-color filters and gels: can be added to spotlights to create effects.

Modeling a three-dimensional object:

-Use three point lighting to prevent flatness.

Lighting for Comfort:

-Be mindful of visitors’ age and physical conditions.

Conservation:

-Temperature, humidity, brightness can affect display objects.

Lighting Specifications:

-Projector lights
-the gobo
-Fibre optics
-Moving lights
-Backlighting
-Edgelighting
-Parcan

Chapter 12 – Technical Drawings

The Purpose of Technical Drawings:

-Detailed drawings will unify and clarify different perceptions and understanding.
-Plan for safety and security requirements.
-Need to communicate clearly to contractors and suppliers.
-Convey complex structure in a clear manner.

Labels, Details and Notes:

-Plans are needed to show the positioning of the exhibits and how they relate to each other. This will minimize confusion and misunderstanding.
-Construction of an exhibit always reflects the quality and accuracy of the technical drawings.
-Always have explanatory notes and include specification for materials.
-Specific technical drawings are produced for specialists.

Official Approvals:

-Fire precautions, health and safety issues, structural issues have to be worked out and approved.

Tenders:

-Contractors quote on basis of a package of drawings and documentation. Drawings must show:
-Relationship of exhibition space to overall site
-Plan of exhibit space with all the exhibit areas
-Elevation and sections demonstrate vertical height
-detailed drawings of materials and surfaces
-material references and details of finishes
-electrical information
-ask suppliers to produce prototypes and create samples to ensure quality
-build library of samples to refer to

Amending Drawings:

-Amendments must be marked and dated. Important to keep contractor noted.

-Record discussions and ideas on scale drawings.
-Don’t leave anything to chance. Always plan.
-Be extremely detailed and specific.

Leave a comment | Categories: Interpretive Exhibition Design

Reading Exhibition Design – Chapter 8 & 9

18 April 2013 by GlowLikeUnicorn

Chapter 8 – Interaction

The Visitor Experience:

-Strike a nice balance between computer oriented and physical interaction in exhibition.
-Visitors need to understand and interact with designs that are approachable and easy to understand. Make designs obvious.
-Effects of interactions have to be immediate to keep attention of visitor.

Controls And Interactives:

-Keep interface consistent to avoid confusion and disruption.
-Good computer interactives should keep to a simple learning experience to get the best visiting experience.
-Keep budget in mind.
-Collaborate with people of different professions to enrich designs.

Chapter 9 – Sound & Film

The Benefits of Sound And Film:

-All contents and delivery should be integrated spatially and conceptually within the storyline.
-Film and sound are sometimes the best learning experience for some visitors.
-Use Audiovisual specialists to maximize experience.
-Consider the best quality possible to prevent equipment break down.

The Immersive Environment:

-Powerful images and ambient sound effectively isolate visitors and draw their attention to a particular theme or idea.
-Hire artists to design aspects of the exhibition.
-Can add depth to exhibition.

Scripted Films:

-Films are effective for conveying themes in exhibits.
-Films give life to subject and portray the image of a company, if applicable.

Archive Footage:

-Adds to the gravitas of an exhibition or institution.

Technological Devices:

-Useful additions and important to enable visitors to choose their favorite learning styles.
-Consider smaller devices to allow use without disturbing other visitors.
-Hire experienced contractors.

The Audiovisual Brief:

-Do a lot of research on equipments and displays before talking to specialists.
-Write briefs to suggest particular technologies, as well as the experience and ambience.
-Be clear on the limiting factors in the brief.
-Equipments may be sensitive to certain lights, temperature, dust, dirt, etc.
-Always have back up devices to prevent sudden power shut downs.
-Include scale layouts and elevations to show the height of spaces with power supplies on the plans.
-Install acoustic barriers between sound areas to minimize sound interference.

The Equipment:

-For short term exhibitions, possible to use cheaper equipment.
-Be sure to hide cables. Never show cabling.

Leave a comment | Categories: Interpretive Exhibition Design

Reading Exhibition Design – Chapter 3 & 5

31 March 2013 by GlowLikeUnicorn

Chapter 3 – The Site

The permanent exhibition site:
-Consider routes, topography, sightlines and other relevant factors such as wind/sun.
-Depending on subject matter, do thorough research on geography background and factors that will affect the exhibition and practical efficiency of building.

Signposting the exhibition site:
-Ensure consistent visual design throughout the entire exhibition, campaign, etc.
-Make signage easy to follow. Mention landmarks.
-Ensure visibility at all hours.

Signposting trade fairs:
-The most important, wealthiest exhibitors tend to get larger spaces.
-Important to note the relations between the entrance and stand space.
-Be aware of building regulations.
-Work closely with organizers to ensure exact details of the space.

“Open” exhibition spaces:
-Take into account the exhibition space in relation to the environment to maximize display.
-Be mindful of objects that are sensitive to ultraviolet rays and sunlight.

“Closed” exhibition spaces:
-Better control of display. No external distraction.
-Plan for brighter lighting between low lighting areas for visitors to ‘rest’ in.
-Try to incorporate mixture of closed and open spaces.

Internal organization: architecture:
-Older buildings tend to be inflexible exhibition spaces compared to modern spaces, due to the structural design of the architecture.

Internal organization: content:
-Unite fragmented exhibition spaces and link them to continue storyline. To do so, designers can come up with a ‘theme’ to give visual continuation.
-Be aware of existing architectural constraints.
-A structural engineer must be consulted before making changes to the existing structure.
-Consider visitor circulation routes and length of exhibition. The longer the exhibit, the more consideration in refreshment facilities and rest stops.
-Assess light, heat, humidity, and temperature levels in environment.

How to survey a site:
To record the size, structure, details and visual appearance of a site to prepare for accurate drawings to scale.

Equipment:
-Cameras with wide angle lens, pens, pencils, graph/tracing paper, clipboards, scale rulers, roller tapes, 100m tapes and 2m folding measuring rod.

The survey:
-Photograph whole site and collage together. Photo in sequential order to prevent confusion.
-Photograph main boxes, air conditioners and floor sockets.
-Draw and measure the space, unless there is detailed drawing provided.

In the studio:
-Draw a plan of entire space.
-Document all walls and elevations one by one, mark doors, fire equipment, air conditioner and wall mounted sockets.
-Draw section lines. Document wall elevations corresponding to the section lines on separate pieces of paper.
-Measure elements that make up the entire wall length. Check accuracy in measurement.
-Take measurements diagonally across corners to ensure the accuracy of a square room. If not square, need to do extra intricate measurements.
-After measurements, work out details. Record additional details at a large scale on separate sheets of paper, then make references to it on the main plan.
-Mark all the wall and floor sockets on all plans and elevations. If building free-standing units, work out how to align power cords and relations to sockets.
-Make a long sequential collage of all data, then transfer to digital.
-Thoroughly investigate spaces.
-Measure loading bays and delivery doors.
-Determine movable parts of the architecture.
-Examine route from building entrance to exhibition space.
-Be aware of wheelchair users.

Chapter 5 – 3-D design skills:

Generating guiding ideas:
-Develop guiding storyline responding to the brief.
-Ideas will link storyline, audience and site context, act as basis.
-Best exhibitions are packed with interesting ideas about learning, interaction, lighting, materials and design.
-Research previous examples of similar subject.
-Analysis and understanding of client brand. Create mood board.
-Mindmapping sessions with the designers to obtain perspectives on the brief. Word association helps.
-Ideas are developed through observation and experience.

Evolving a design:
-Like art, design has tools to enrich an experience, such as film, texture, sound and smell.
-In a lot of cases, interaction is far more engaging to visitors than static displays.

Developing the design using sketches, models and plans:
-Draw all designs to plan scale. Be aware of obstructions and height restrictions, as well as any other architectural restrictions.
-Make rough conceptual mock up first.
-Spatial ideas are continually developed through rough sketches and models.
-During the early stages it is important to communicate and show ideas quickly to clients and collaborators to avoid further mistakes. Models are best, along with drawings.
-The plan is very important in spatial design and shows all elements involved in the exhibition. The layout is crucial to successful scheme and governs factors including visitor navigation, relations, ease and comfort of visitor circulation, duration of exhibit and emergency exits.

Planning the circulation:
-Determines the visitors’ experiences and the sequence of exhibition.
-Priorities:
Make sure large parties don’t go through a display at once.
Allow sufficient room for entrances and cloakrooms.
Create separate routes for guided groups.
Avoid pinchpoints and blockages.
Test the comfort of moving through exhibition with a crowd.
Work out number of visitors viewing a display.
-Important to note how the exhibition will face each other on the path. Visitors will stand back and block path.
-Width of circulation route should conform to local building regulations. Most museums and galleries prefer at least six feet. To accommodate wheelchairs, minimum clearance of four feet between obstructions is recommended.

Trade fairs:
-Displays should be open to invite visitors without feeling crowded or claustrophobic.
-Aim for ten feet between displays if possible.
-Island installation display is good and can be approached from all angles.

Developing elevations:
-Design elevations with handicapped and children in mind.
-Visitors’ experience can improve with the play of elevation.
-Draw visitors from one area to next.
-Creates orderliness and clarity with heights.
-Displays must accommodate audience heights.

The direction of flow:
-Western visitors usually follow the right hand wall of space, while other cultures have different habits.

Summary:
-Generate guiding ideas through research, mindmapping and observations.
-Research and analyze other similar exhibitions and subjects.
-Refer to exhibition strategy when developing plan.
-Use models, sketches and computer visuals.
-Consider circulation and avoid pinchpoints.
-All schemes should be considered in 3-D to ensure successful elevations.
-Be mindful of emergency exits.
-Always design for a wide audience, including people with disabilities.

Leave a comment | Categories: Interpretive Exhibition Design

Reading Exhibition Design – Intro, Chapter 1, 2 & 4

25 March 2013 by GlowLikeUnicorn

According to the Introduction chapter in Exhibition Design by Philip Hughes, the evolution of exhibition design draws a lot of similarity to the evolution of visual art. From the beginning, it was rich patrons commissioning artists for private collections/homes, and designing artwork that would ‘fit’ in a certain environment such as churches. As art had expanded from the functionality aspect, so had the exhibition display. In that sense, it is also a commentary on the progression of humanity. To come up with new ways of seeing, learning, interacting.

Chapter 1: Design Brief
Engaging visually and mentally, precise and detailed but still allow room for creative interpretation, carefully written to comprise the clients’ needs and the designers’ visions, ask the client detailed questions (no questions are too stupid)

Clients: provide all logistic information and contents necessary.
Designers: sort and problem solve visual representation of the data given.

Keep in mind:
-realistic renderings within clients’ budget.
-The storyline should be a key basis for the inspirations. If storyline is not provided by
the client, hire writers to help construct one and develop meaningful environments.
-What is the audience? Do research and design around the visitors.
-How will the visitors arrive to the exhibition?
-How will the space be arranged to accommodate an influx of people?
-What kinds of activities should be present for the exhibition? How should the information given by the clients be presented visually?
-The content document should always be supervised, updated, rigorously questioned and examined.
-What does the client want for the visitors’ understanding post exhibition experience? Limit the number of key messages to the viewers for less confusion.
-Object based or experienced based? This also depends on the content and information the client provides.
-What is the tone of the exhibition? How do the clients connect to the visitors?
-exchange organograms between client and designer to provide a flow of communication and minimize misunderstandings.
-Follow the clients’ visual identity and brand manual to ensure the correct usage and representation of the clients’ image.
-Record workshop sessions.
-Do not accept a pure verbal brief.
-Thorough research on subjects.
-Always define the roles and responsibilities of the clients, design teams and workers.

Chapter 2: The Visitor
How to engage the visitor? What kind of experience would the targeted audience enjoy? How to give the visitor a profound experience that changes and deepens understanding?

-Research targeted audience’ interests and motivations classified by sex, age and economic group.
-Consider the physical and intellectual barriers.
-Find balance between letting the visitors take control vs. controlling the visitors.
-Do extremely thorough research and create mood boards of target audience. Mood boards have dual purposes: they help stimulate designers’ work and provide visual representation of their thinking process for the clients. They also refine the language and tone of the exhibition.
-Focus the advertising toward the targeted audience. Subconsciously draw them to the exhibition with the design.
-Layering for diverse audiences: provide differing levels of knowledge to cater to a wide range of visitors.
-Provide different learning styles: visual, auditory and kinaesthetic.
-Understand the current perception and market of the clients’ brands. Depending on the brief, either the designer or the client will do thorough research in the target market. Find out what the client wants to achieve. To achieve best results, hire marketing and brand consultants.
-Branding environment approach: to heighten professionals and public visitors’ perception of the client’s company.
-Make exhibition fun for children. Play with scale of imagery to give fresh perspective on everyday objects. Children also enjoy social interactions at exhibitions, sometimes following the guidance of another child demonstrating the ‘play’.
-Consider how the visuals, audios and interactions make play and learning go hand in hand. Stimulate children by asking questions.
-provide accessibility for the disabled.
-Never assume responses of the audience. Always research.
-Do not put unnecessary barriers between the exhibits and the visitors.
-Make clear the reasons for the design of the exhibitions.

Chapter 4: Exhibition Strategy
Why is it important to create an experience as opposed to a traditional display?

-Every exhibition starts with a premise. It should be explained, such as a storyline, to form the basis of an exhibition strategy. The strategy should be formulated jointly by client and designer.
-Decide on ways to classify the exhibit, depending on subject matter.
-Devising an exhibition path:
The single path: build knowledge in the visitors’ minds.
The multiple path: less traffic management problems. Provides greater freedom in exploration.
The radial path: specific design path best used for evolution of subject matter.
The “Stars” exhibits: enliven areas that may otherwise be dull, create sense of expectation.
Areas of affinity: allows for immediate visual comparison, closer to similar artefacts.
The fan pattern: allows visitors to spend least time and take in information immediately.
Map orientation: like a key, creates a central hub for visitors to keep going back to while perusing the information displayed elsewhere.

-Investigate premise for exhibition.
-Create storyline that can be divided into chapters to suit space.
-Start the design while looking for premise.
-Allow design strategies to be easy to understand by visitors.

Leave a comment | Categories: Interpretive Exhibition Design

Spring Break Visit to Chelsea Galleries

25 March 2013 by GlowLikeUnicorn

Commercial galleries have many agendas; form/follow trends, promote/hype, earn money, branding, create social circles/subcultures/followings, etc.

I feel compelled to write about the galleries as a whole, simply because they mostly have the same functionalities: to accommodate whatever objects or installations they present to the public. The spaces are usually somewhat of a square or rectangle, the most functional shape to manipulate (adding walls, dividing spaces, etc). White walls with high ceilings that have skylights. The fancier galleries have exposed buttresses that pre-existed in the space. Everything can be altered and accommodated to their shows. Galleries are essentially minimal white boxes without personalities to accommodate different artworks.

There were numerous galleries I visited while in Chelsea. I tend to go from 19th St. all the way up to 26th St. The new Hauser & Wirth space on 18th St., once was The Roxy, a roller skating venue, is now a giant warehouse-esque space, impressive to most visitors. It might even be somewhat of a mini museum size. David Zwirner also has claimed quite a few impressive territories on the next block. The doors are almost too enormous in weight and size to open.

At the Gagosian, one of the most monumental spaces on 24th St and in the vicinity, one can always very clearly see what big money and name can do to artworks and environments. Every time I see an exhibition there, the giant rectangle box is always sectioned differently; walls being built and taken away in various formats, catering to the artworks. The ceiling is probably three stories high, with plenty of natural skylight. Even the lousiest work look like gold in that space. The flow of the shows? Depend on the artworks, of course. Galleries are spaces that can be dictated by the work itself. The commercial element of galleries will always strive to exhibit the works in the best and most sellable point of view.

On view at Luhring Augustine is the Icelandic artist, Ragnar Kjartansson’s The Visitor, a nine channel video installation of himself and friends performing at a farm upstate. The usual white box space is completely transformed into a dark and soothing ambiance, created by the installation itself. One does not care about the actual space, but rather, the installation IS the space.

Usually in galleries the front desk is always next to the main entrance, providing information of the gallery and the exhibition on view, as well as some catalogs to be purchased. Lists of the artworks up for sale are usually shown with an icon, and visitors can walk around while comparing each piece. Most galleries have stopped putting prices on the work lists as a marketing strategy. Why list the number when they can have someone who will chat up the potential buyer, charm and impress them to make a sale.

Commercial galleries have contrary agendas to museums. There are points that merge between the two spectrums, but not enough to call them siblings.

Leave a comment | Categories: Interpretive Exhibition Design

Week 2- Response to: The Experience Economy

26 February 2013 by GlowLikeUnicorn

This week, I had the pleasure of visiting some other parts of the AMNH since it was the assignment. Journey to the Stars, Flight of the Butterflies and the Butterly Conservatory were on my must see list. Thank you, David, for being so generous and letting us see the special exhibitions, and making my day at the AMNH so lovely.

Reading through the article , the Butterfly Conservatory experience kept coming to my mind. The exhibition felt like the perfect combination of the experience realms – entertainment, esthetic, educational and escapist. I was greeted by the facade of lovely foliage and beautiful butterflies as I walked into the corridor of the conservatory. Even before I passed through the door into the interior of the conservatory, I lingered in the corridor for quite a while, observing, mesmerized and in awe of the combination of plants and lovely butterflies. I was greeted by agreeable volunteers, eager to converse and educate. They gave me a thorough tour of the space, explained about the biology of butterflies, the different chrysalises, the kinds of foliage chosen for the exhibition, and the origins of the butterflies. The combination of the warm, moist environment, beautiful plants and the beauty of the living butterflies was very soothing and peaceful. It felt otherworldly, like the swarms of Monarch butterflies in the film at IMAX. While this is a very personal response, for some time there I did feel the shackles of our mundane anxieties of everyday life lifted from my spirit.

Journey to the Stars was a feast for the eyes; the architecture itself really serves its purpose when seeing such an elaborate production of digitally fabricated planets and stars. To be in a domed environment with stars that seemingly move towards you is quite extraordinary. It made me wonder about physically experiencing outer space as an astronaut.

In a more fine arts setting, I will always remember experiencing Yayoi Kusama’s Fireflies on the Water installation at the Reina Sofia in Madrid. It was an entirely floor to ceiling mirror room with millions of lights and water filled floor. In the same way that the Butterfly Conservatory and Journey to the Stars had affected my whole being, I felt time had seized to exist and I was at one with the universe (albeit a made up one).

Leave a comment | Categories: Interpretive Exhibition Design

Week 1- Response to: What Is Exhibition Design?

26 February 2013 by GlowLikeUnicorn

Growing up, my parents have always encouraged my artistic inclination, whether it was visual arts, performing arts, music, film, etc. They’ve always taken me to museums as a child, and I have been fortunate enough to have visited many different venues in different countries.

As an adult, I habitually visit museums and galleries, from both an artist’s point of view and an inclination to feed my curious mind. I’ve seen many exhibitions in various categories. The ones that have always stuck with me are what the article called “experience design” and “themed environments”, perhaps out of my own sensibility; I process information in a spatial and multi-dimensional way and a strong believer in immersing in an environment.

Exhibitions, in a sense, are like installation art. There are much more practical considerations, of course, but it involves a strong visual and conceptual analysis that are not so different from painting or sculpting. How to represent the artifacts in their essences, to convey an idea in the simplest and most direct manner that is easily understandable, to provoke thoughts, and convey an ambience?

I had the fortunes of seeing the Post Modernism exhibition at the V&A Museum in London. There were extremely strong visuals, themes and pop cultures, reflecting the idea and designs of post modernism. Clear visual and category distinctions were made room after room, and the interiors were designed to support the works. Or rather, the works were a part of the design. It was not only about the works, but also the environment. Almost like a tour of Disneyland for the visually inclined. The entire exhibition was post modernism.

The MoMA is one of the museums I frequently go to. As always, installations of artworks and exhibitions are always debatable. The line blurs between the “design” of the exhibition and the “art” of the exhibition. What is “art” can also be the artists’ interpretation of the “exhibition”, and vice versa. For example, Wolfgang Laib’s Pollen From Hazelnut installation is both an exhibition and an installation. It is wonderfully minimal, conceptual and peaceful. It sits quietly in the Atrium, a large, open and airy space with ceiling as high as the building. For this installation, he doesn’t need anything on the walls with the exception of a small paragraph explaining concepts.

However, at the MoMA there are the kinds of exhibitions that I personally cannot tolerate, that I call “commercial mass exhibitions for the public”. The Quay Brothers’ exhibition was one of them. It was crowded, both physically and conceptually, littered with way too many unnecessary sketches and artifacts, and did not convey the essence of the otherwise wonderfully made animations. The design of the exhibition just looked like they tried too hard to put everything in. The layout wanted painfully to reflect the small, dark and narrow-ness of the animations. I felt very frustrated walking into the exhibition and did not take me long to get out of it. The space did not encourage me to want to delve in and know more about the Quay Brothers’ works.

To move on to a different category, I am a big fan of the mineral section at the Museum of Natural History. Yes, the dioramas are gorgeous, amazing and I really love them as installations, but there is something about the mineral room that I appreciate. The layout of the room may not be the most productive, but the two rounded “holes” are wonderfully playful. Perhaps it’s because I can play hide and seek. The somewhat interactive informational recording guides the viewer through the stories and properties of the minerals in the holes. I also appreciate that there are giant minerals that I can touch and sit on, and feel a connection with the earth. However, I do wish that the minerals in the glass cases can be displayed in a way that I can view better.

Leave a comment | Categories: Interpretive Exhibition Design