Lara Muzicant
The Inner Fabric of New York City
Object-driven exhibit design An attempt to push boundaries, providing an object as personal guide, which leads through and becomes a part of an exhibit.
http://www.laramu.com/thesis
The Inner Fabric of New York City is a proposal for an object-driven exhibit, discussing the role and impact of the garment industry on New York City.
Over the last two decades, many museums have put their energies into object driven exhibit design. The presented thesis project attempts to push boundaries, providing an object as personal guide, which leads through and becomes a part of an exhibit.
As pieces of clothing, until recently, were often passed on between sibling, from father to son, between cousins, neighbors or strangers, these passed along articles have become witnesses to times, events and people. It is these pieces of clothing that will guide the visitor through the exhibit, giving him or her a personalized experience as they venture through time.
A 3D flythrough shows the full floor plan of the proposed exhibit, while three build out elements, give examples of the proposed interaction.
As I found many exhibits I have seen to be emotionally and physically removed from its visitors, I wanted to focus my energy on discussing this problem and finding an example of a solution. While the list of books discussing this problem and the ideal learning in museums is very long (to list a few: Making Museums Matter, Stephen Weil; Learning from Museums, Falk and Dierkling; Learning in the Museum, Geroge Hein; The Educational Role of the Museum, Hooper-Greenhill), there was an exhibit several years back in Austria that truly shaped my understanding. The exhibit discussed the Austrian publics actions during the Nazi regime and used and incredibly effective tool. While the exhibit itself was rather conservative, leading through five rooms, mostly filled with cases showing actions and reactions, the exhibit started with an open case. The case was filled with little vases and figurines and above it was a sign reading: “These items once belonged to Jewish families, please take at your disposal.” As many of the objects were quiet charming, many visitors took one and carried it around with them through the exhibit. By the end of the tour, many visitors realized that they had just acted the same way many Austrians have during the war. They simply took, because they were allowed to and many visitors retuned their objects to the case. The simple act of holding the object, walking through the exhibit with it and realizing ones actions, allowed for a far deeper impact on the visitor. It was not merely learning facts, but the visitors were truly led back into a certain time and set of rules. I believe that the strong focus on emotional and physical connection allowed the visitor to truly dive into the experience and it is this experience I am interested in exploring.
The exhibit is designed for people of all ages and backgrounds. While a child will most likely gather different information from a visit than an adult, there is still something to be learned and enjoyed by everyone.
Visitors are asked to pick up a piece of clothing to guide them through the garment industry, from past to present. As space is limited at the show, two elements of the proposed exhibit are realized. First, the visitor takes his or her garment to the portraits of immigrant workers. By holding the piece of clothing against the portrait, the hat, shawl or coat starts recounting the people’s stories whose faces are hanging on the wall. Second, the visitor moves on to the interactive mirror, representing the “palaces”, the department stores of the early 20th century. As a sales person greets them and their garment, the visitor is prompted to hold different pieces of clothing next to the mirror, to explore the novelty of ready-to-wear clothing and shops.
The two elements are put into context by a 3D flythrough explaining the space and where the portraits and mirror would be hanging in the exhibit.
As I cannot build a full-scale exhibit, I created a 3D flythrough of the space. Additionally I build out two prototypes of a “garment-guide” and three interactive elements of the exhibit.
1. Portraits of people whose stories can be heard through the pieces of clothing.
2. An interactive mirror, where the visitor converses with a department store sales lady of the early 20th century, learning about the ready-to-wear industry and some garments.
3. Videos (projections) of the Triangle Shirtwaist Factory Fire triggered through different objects, according to the timeframe of the objects existence. (This element will not be shown at the show, as for space and equipment limitations)
Through the process I gained a better understanding of the challenges exhibit design faces. It is rather easy to find faults within an exhibit, but to create a truly powerful and successful one is very difficult. I therefore hope to have succeeded.
Over the last two decades, many museums have put their energies into object driven exhibit design. The presented thesis project attempts to push boundaries, providing an object as personal guide, which leads through and becomes a part of an exhibit.
As pieces of clothing, until recently, were often passed on between sibling, from father to son, between cousins, neighbors or strangers, these passed along articles have become witnesses to times, events and people. It is these pieces of clothing that will guide the visitor through the exhibit, giving him or her a personalized experience as they venture through time.
A 3D flythrough shows the full floor plan of the proposed exhibit, while three build out elements, give examples of the proposed interaction.
As I found many exhibits I have seen to be emotionally and physically removed from its visitors, I wanted to focus my energy on discussing this problem and finding an example of a solution. While the list of books discussing this problem and the ideal learning in museums is very long (to list a few: Making Museums Matter, Stephen Weil; Learning from Museums, Falk and Dierkling; Learning in the Museum, Geroge Hein; The Educational Role of the Museum, Hooper-Greenhill), there was an exhibit several years back in Austria that truly shaped my understanding. The exhibit discussed the Austrian publics actions during the Nazi regime and used and incredibly effective tool. While the exhibit itself was rather conservative, leading through five rooms, mostly filled with cases showing actions and reactions, the exhibit started with an open case. The case was filled with little vases and figurines and above it was a sign reading: “These items once belonged to Jewish families, please take at your disposal.” As many of the objects were quiet charming, many visitors took one and carried it around with them through the exhibit. By the end of the tour, many visitors realized that they had just acted the same way many Austrians have during the war. They simply took, because they were allowed to and many visitors retuned their objects to the case. The simple act of holding the object, walking through the exhibit with it and realizing ones actions, allowed for a far deeper impact on the visitor. It was not merely learning facts, but the visitors were truly led back into a certain time and set of rules. I believe that the strong focus on emotional and physical connection allowed the visitor to truly dive into the experience and it is this experience I am interested in exploring.
The exhibit is designed for people of all ages and backgrounds. While a child will most likely gather different information from a visit than an adult, there is still something to be learned and enjoyed by everyone.
Visitors are asked to pick up a piece of clothing to guide them through the garment industry, from past to present. As space is limited at the show, two elements of the proposed exhibit are realized. First, the visitor takes his or her garment to the portraits of immigrant workers. By holding the piece of clothing against the portrait, the hat, shawl or coat starts recounting the people’s stories whose faces are hanging on the wall. Second, the visitor moves on to the interactive mirror, representing the “palaces”, the department stores of the early 20th century. As a sales person greets them and their garment, the visitor is prompted to hold different pieces of clothing next to the mirror, to explore the novelty of ready-to-wear clothing and shops.
The two elements are put into context by a 3D flythrough explaining the space and where the portraits and mirror would be hanging in the exhibit.
As I cannot build a full-scale exhibit, I created a 3D flythrough of the space. Additionally I build out two prototypes of a “garment-guide” and three interactive elements of the exhibit.
1. Portraits of people whose stories can be heard through the pieces of clothing.
2. An interactive mirror, where the visitor converses with a department store sales lady of the early 20th century, learning about the ready-to-wear industry and some garments.
3. Videos (projections) of the Triangle Shirtwaist Factory Fire triggered through different objects, according to the timeframe of the objects existence. (This element will not be shown at the show, as for space and equipment limitations)
Through the process I gained a better understanding of the challenges exhibit design faces. It is rather easy to find faults within an exhibit, but to create a truly powerful and successful one is very difficult. I therefore hope to have succeeded.