Interpretive Planning, Exhibition Design

Hinweis der Redaktion

1. To create an exhibition is to tell a structured story in 3—D and to do this well requires extensive planning.
2. Interpretive planning is an initial step in the planning and design process for informal learning—based institutions such as museums, zoos, science centres, heritage sites, parks and other cultural facilities where interpretation is used to communicate messages, stories, information and experiences.
3. Melbourne Museum, Australia.
4. Fluid Panels, The Steinhart Aquarium, San Francisco, California.
5. The VanDusen Botanical Garden Visitor Centre creates a harmonious balance between architecture and landscape—from a visual and ecological perspective. Inspired by the organic forms and natural systems of a native orchid, the1,765-square-metre building is organized into undulating green roof ‘petals’ that float above rammed earth and concrete walls. Designed to exceed LEED Platinum status, the Visitor Centre is pursuing the Living Building Challenge—the most stringent measurement of sustainability in the built environment. The facility uses on-site, renewable sources to achieve net-zero energy on an annual basis; sequesters enough carbon to achieve carbon neutrality; uses filtered rainwater for the building’s greywater requirements; and treats 100% of blackwater in an on-site bioreactor.
6. It is a decision—making process that blends management needs and resource considerations with visitor needs to determine the most effective way to communicate a message to an audience. Interpretive plans are based on a thematic approach and place focus on the themes which “speak” most meaningfully to visitors, draw on their own experience and provoke emotion or further inquiry into a subject. Different from general “informational” exhibitions, an interpretive exhibit makes its topic “come to life” through revealing the main concept from a unique and creative viewpoint.
7. Baitlayers and Babbling Brooks, Shear Outback Museum museum exhibition / interpretive Trigger was commissioned to design a travelling exhibition investigating Shearer’s Cooks – the folklore of the shearers cook profession; its history; conditions in the cookhouse, now and in the past; the Cook’s role in looking after the physical and emotional well being of the shearers; the cooks working today; and the type of food prepared. To help evoke the atmosphere of shearers’ cooks working conditions in the exhibition design materials in their natural state were used and the geometry seen in many shearing sheds was referenced. A table laden with photographic food images displays the typical amount of food one shearer would consume in a day and simulates a typical table setting. Overcoming budget restraints required design ingenuity in the design. Inspiration and direction was derived from the philosophies and practices of shearers’ cooks – using available and cost effective materials and tools in inventive ways. Triangular shapes cut out of the structural plywood panels removed more than 50% of the exhibition’s weight, whilst maintaining rigidity, making the exhibition lighter and less expensive to transport. The innovative concertina design of the exhibition allowed much of the structures to be folded up and stored flat for transport. Typography was developed from a study of stencilling on wool bales and was hand stencilled to the image panels.
8. As audiences evolve, museums and galleries need to stay relevant in order to effectively engage visitors, therefore an effective interpretive plan is critical and built through addressing two basic questions:
9. 1. Why would a visitor want to know this (information or topic that the exhibition is presenting)? If this question can't be answered easily then ask how can you “provoke” visitors into wanting to visit the exhibition? How do you want the visitor to use the information the exhibition is presenting? If you don’t want the visitor to use any of the information in the exhibit (or the visitor can’t use any of the information or concepts presented in the exhibit), then why are you giving the information to them?
10. What are you interpreting? What is it that you aim to interpret? Thought should be placed on what is special or unique about your collection. What meanings can you reveal through various combinations of artefacts? What stories can you tell? What do you have that will interest your visitors?
11. Who are you interpreting for? Who are your visitors? Whether you are aiming at a known/existing audience, or trying to attract a new audience, your interpretation should aim to reflect who they are and what it is they want. To understand your visitor profile consider:
12. During the past 30 years, cultural institutions and organisations, of all kinds, have transformed themselves from being collection—focused to visitor—focused.
13. To be vistor—focused means taking into account the personal context of the visitor and the holistic nature of the gallery,museum or exhibition space; and a well designed exhibition can satisfy visitor needs, increase visitors’ understanding of artefacts on display, increase numbers, encourage visits from a new or specific audience and increase the length, and number of times visitors spend at the museum/exhibition.
14. Implementation Address the whole— illustrate the main interpretive theme and control message unity by creating (design) elements that support the theme.
15. Trigger, in association with Toland Architects designed ‘The 80s Are Back’, a major exhibition at the Powerhouse Museum that inspired thought and reflection on the culture of the 80s. The unconventional and adventurous exhibition design has won accolades for the Powerhouse. For visitors, the journey began through a ‘time-warp’ tunnel flooded with projections, lighting and sounds to stimulate and disorientate. The exhibition was an immersive experience of interactive displays and static objects, including retro computer gaming and an interactive ‘music’ cube installation of 80’s music for dancing. Over one thousand Magic Cubes were used for the feature title wall, around which a special event was created to engage Museum volunteers and staff. Trigger Toland’s responsibilities began with naming and branding the exhibition, through to the overall 3D concept, design of both interactive and audio-visual displays and graphics. The Trigger Toland team also worked with the Powerhouse team on the design of the overall marketing campaign, exterior environmental design, print and web design, live action video art direction, photographic art direction, graphics for web, merchandise design, Museum staff uniform design and design of iphone applications. The task was complex and the time frame was tight – just 12 weeks from initial sketch designs through to documentation, construction and fabrication, installation and public launch. It was featured on overseas news providers such as the BBC. It has created an invigorating buzz for the Museum and has been instrumental in attracting new visitor demographics. The exhibition was extended 3 times due to popular demand.
16. Also think about exhibit load which is the amount of time and energy (both physical and mental) that each exhibit requires the visitor to use up when interacting with “features”. Usually the exhibits with the highest “load” are the interactiveones that require mental and physical co—ordination. Low load exhibits are more passive such as flat graphics, collections behind glass or paintings, etc.
17. Water, Wind, And Weather: Miami In A Changing Climate Exhibit, Patricia and Phillip Frost Museum of Science, Miami, Florida. This state-of-the-art digital exhibit puts you in control of a 4-foot globe to see Earth like never before. Stunning animations of hurricanes, Earth at night, global air traffic, and many others show how Earth’s climate works, how humans are impacting it, and what the consequences might be. What’s more, you'll be able to work with your family and friends to explore how these global scenarios are playing out right here in Miami!
18. Exhibition content plays a key role in the intrinsic interest that visitors have towards exhibits. Visitors tend to have more intrinsic interest in the “real thing” than replicas, text or graphics.
19. Exhibition Burn—Out When visitors arrive at venues theyare enthusiastic and interested,however as they move through the exhibits they use up emotional energy and interest in the exhibits begin to drop— they start to get psychologically tired and overloaded with information and stimuli. And, usually within about 45 minutes, the visitor has had enough and heads for the gift store or coffee shop.
20. Mix and Match is a strategy used to deter “exhibition burn out”; for example many science museums include displays which expect visitors to be active both mentally and physically. Art Museums pose the opposite problem— unless you know what you are looking at, they can be boring for some visitors as these kinds tend not to be highly “interpretation” based.
21. Exhibitions— Drawing Power Because visitors will be drawn to exhibits that have information or artefacts of intrinsic interest to them when planning an interpretive exhibition exhibit contact steps are important to communicate themessage effectively, and these steps include—
22. 1. Attraction Power When a visitor walks into a “space” they scan the exhibits, therefore there has to be something that will draw or attract their attention such as a provocative title, powerful graphics, interesting artefacts, etc.
23. Marc Riboud Exhibition
24. 2. Holding Power If the exhibition has enough material such as text, artefacts, content, etc.once the visitor sees the exhibit up close, they should be curious about it enough to stay and spend more time with it.
25. British Design 1948-2012: Innovation in the Modern Age, V&A, London
26. British Design 1948-2012: Innovation in the Modern Age, V&A, London
27. 3. Engagement Power If enough curiosity is raised then the visitor will be willing to follow through and read label copy, do the hands—on activity, watch the video, etc.
28. Bezos Center for Innovation, Museum of History & Industry / Olson Kundig Architects The Bezos Center for Innovation is a groundbreaking exhibition dedicated to the theme of innovation, featuring multimedia, interactive and hands-on experiences as well as artifacts, images and oral histories that explore Seattle’s culture of innovation.
29. Bezos Center for Innovation, Museum of History & Industry / Olson Kundig Architects The Bezos Center for Innovation is a groundbreaking exhibition dedicated to the theme of innovation, featuring multimedia, interactive and hands-on experiences as well as artifacts, images and oral histories that explore Seattle’s culture of innovation.
30. Accessibility Equal access of exhibitions is to let all visitors with or without disabilities freely visit the space and acquire an “equal” service. In order to achieve this goal, there should be ramps and lifts and multiple communication methods such as audio, subtitles and braille to allow all visitors to access information easily.
31. Financial And Time Planning Practical and financial issues play a major role in design decision— making with how much will the design cost? and can external funds be provided? being top of the list. Also, what can be given for free or donated? should be considered.
32. The average design time for most interpretive projects is between 9—12 months and another 9—12 months for the “build”. Financial evaluation of each exhibit is based on cost per contact and cost effectiveness.
33. Cost Per Contact How much it costs each time a visitor uses the exhibition over the projected life (usually 5 years or less).
34. Cost Effectiveness What you receive in return for your cost per contact investment. For example, if the cost per contact investment was NTD 1, did you yield NTD 1 benefits from that exhibition?