Exhibit design

Exhibit design (or exhibition design^[1]) is the process of developing an exhibit—from a concept through to a physical, three-dimensional exhibition. It is a continually evolving field, drawing on innovative, creative, and practical solutions to the challenge of developing communicative environments that 'tell a story' in a three-dimensional space.^[2]

Tyrannosaurus fossil exhibit

There are many people who collaborate to design exhibits such as directors, Curators, exhibition designers, and technicians. These positions have great importance because how they design will affects how people learn.^[3] Learning is a byproduct of attention, so first the designers must capture the visitors attention.^[4]

A good exhibition designer will consider the whole environment in which a story is being interpreted rather than just concentrating on individual exhibits. Some other things designers must consider are the space allotted for the display, precautions to protect what is being displayed, and what they are displaying. For example a painting, a mask, and a diamond will not be displayed the same way. Taking into account with artifacts culture and history is also important because every time the artifact is displayed in a new context it reinterprets them ^[5]

Description

'Cabinet of Curiosities' style of display in 1888

Interactive Exhibition

Exhibit design is a collaborative process, integrating the disciplines of architecture, landscape architecture, graphic design, audiovisual engineering, digital media, lighting, interior design, and content development to develop an audience experience that interprets information, involves and engages a user and influences their understanding of a subject.^[6] There are many different types of exhibit, ranging from museum exhibitions, to retail and trades show spaces, to themed attractions, zoos, and visitor centers. All types of exhibits aim to communicate a message through engaging their audiences in meaningful and compelling interactions.

Exhibit designers (or exhibition designers) use a wide range of technologies and techniques to develop experiences that will resonate with diverse audiences–enabling these targeted audiences to access the messages, stories and objects of an exhibit.

The exhibit design process builds on a conceptual or interpretive plan for an exhibit, determining the most effective, engaging and appropriate methods of communicating a message or telling a story. The process will often mirror the architectural process or schedule, moving from conceptual plan, through schematic design, design development, contract document, fabrication, and installation. The first phases establish a thematic direction and develop creative and appropriate design solutions to achieve the interpretive and communication goals of the exhibit. The latter phases employ technical expertise in translating the visual language of the designs into detailed documents that provide all the specifications required to fabricate and install an exhibit.^[7]

Exhibition design in different parts of the world are influenced by the local culture as well as the availability of materials. Exhibition design in Europe is considered as a meeting place for relationship building while in North America energy is spent on creating a sense of place and building community.

One of the major shifts in museum and exhibit design in the last decade has been a focus on visitor experience. By identifying the five types of museum visitors and their needs and expectations, museums can design their exhibits to give a positive visitor experience.^[8] Participatory activities are also becoming more popular, Nina Simon has done research describing and identifying themes and trends in museums that will attract visitors and educate them in fun and engaging ways.^[9]

How an exhibit is designed can greatly persuade the visitors comprehension of artifacts. By using colors, lighting, graphics, guidance systems or materials can dramatize the display or help create a central theme which helps the narrative being presented.^[5] The use of new interactive technology can increase the comprehension of facts. New full-body or multi-user interactive technology can help engage visitors in fun activities that support exploratory learning.^[10] Utilizing this technology can make museums more fun and less intimating. It also encourages learning new ideas while working with others in a social setting. The use of technology in a museum setting goes further than the four wall of the museum itself. By adding the exhibits to a digital platform it allows others who can not visit the museum in person to still learn from the display.^[11] We saw proof of this working particularly during the Covid-19 lockdown when no one could go to museums. Another way this practice could be used is creating digital display for the artifacts sitting in storage do to lack of physical space in the display area.^[11]

Designers

There are many steps leading up to getting a museum job. First you must decide what your strengths are and what kind of job you want.^[12] Being a designer will require the same strengths as being a researcher. This would also be the time to being doing to research on what the requirements is for the job. The next step would be to network amongst friends and acquaintances and if possible set up some exploratory interviews.^[12] This is a good step to start familiarizing yourself with other you may work with and hear about some first have experience. The final step would be to take stock. This means volunteer, go back to school for a higher degree or a new certificate, or take a smaller step in your career towards the job you want.^[12] Doing all of these things are just preparing you to apply for the job. Once these are complete interviewers will still be looking for other things too.

Exhibition "Rossini. Neapolitan fury: 1868-2018"

There are many requirements to becoming an exhibit designer. Some positions require a certain level of education such as a postgraduate qualification/museum diploma.^[3] Also, getting the degree does not guarantee the job. Some positions also require certain skills such as collections management, administration, or research and publication experience.^[3] Once all of these are met and the position is acquired the designers still may not get to always design whatever they want. Designers are also constricted at times with what they can and cannot do. This is because museums are conservative at nature and therefore the professional's who aid with designing exhibits are limited by the core mission as well as audience's expectations.^[13]

As briefly discussed earlier there are many people who help aid the exhibit designers or oversee the process within the museum. Throughout the planning and design process, exhibit designers work closely with graphic designers, content specialists, architects, fabricators, technical specialists,^[14] audiovisual experts, and, in the case of museums and other mission-based institutions, stakeholders like community members, government agencies, and other partner organizations.

Display enclosed in glass to protect the contents held within

There are certain elements designers must also take into account such as safety for the artifact. This can come in many different forms such as using makers on the floor to have visitors keep a certain distance, using glass cases to enclose artifacts, and relying on museum workers walking around and watching the artifacts. Taking these into account is when collaborating with other department is very important.

The job of exhibit designers was a declining one between the years of 1990 to 2005 based on a study that shows a drop of six percent of jobs.^[3] The questions that surround the decline include; are the jobs still declining, are the jobs being out sourced, are other jobs taking over the design responsibility, and is the job still dramatically declining? These questions have yet to be fully answered.

References

1. Dernie, David (2006). Exhibition Design. W. W. Norton & Company. ISBN 978-0-393-73211-5.
2. MA Design for Exhibition and Museum Archived 2018-04-12 at the Wayback Machine, University of Lincoln, UK.
3. Edwards, Elise Coralie (2007). "The Future for Curators". Papers from the Institute of Archaeology. 18 (1): 98–114. doi:10.5334/296 – via DOAJ Directory of Open Access Journals.
4. Bitgood, Stephen (2013). Attention and Value: Keys to understanding Museum Visitors. Taylor & Francis Group.
5. Schittich, Christian (2009). Exhibition and Displays: Museum Design Concepts, Brand Presentation, Trade Show Design. Basel: Birkhauser.
6. Lee Skolnick, Jan Lorenc, and Craig Berger, What is Exhibition Design? 2007.
7. Walhimer, Mark (2015). Museums 101. Rowman & Littlefield. ISBN 9781442230187.
8. Falk, John H.; Dierking, Lynn D. (2012). The museum visitor experience revisited. Routledge. ISBN 978-1611320459.
9. Simon, Nina (2010). The participatory museum. Santa Cruz, California: MUSEUM. ISBN 978-0-615-34650-2.
10. Roberts, Jessica; Lyons, Leilah. "The Value of Learning Talk: Applying a Novel Dialogue Scoring Method to Inform Interaction Design in an Open-Ended, Embodied Museum Exhibit". International Journal of Computer-supported Collaborative Learning.
11. Benford, Steve, Dimitri Darzentas, Edgar Bodiaj, Paul Tennent, Sarah Martindale, Harriet Cameron, and Velvet Spors. “Data-Driven Visiting Experiences.” In Hybrid Museum Experiences: Theory and Design, edited by Annika Waern and Anders Sundnes Løvlie, 157–76. Amsterdam University Press, 2022. doi:10.2307/j.ctv2cxx8x6.12. [edited volume]
12.   Burdick, Jan E. Creative Careers in Museums. New York: Constable & Robinson, 2012.
13. Waern, Annika, and Anders Sundnes Løvlie. “Remediating, Reframing and Restaging the Museum.” In Hybrid Museum Experiences: Theory and Design, edited by Annika Waern and Anders Sundnes Løvlie, 197–212. Amsterdam University Press, 2022. doi:10.2307/j.ctv2cxx8x6.14. [edited volume]
14. Barbieri, Loris; Fuoco, Fabrizio; Bruno, Fabio; Muzzupappa, Maurizio (2022). "Exhibit supports for sandstone artifacts designed through topology optimization and additive manufacturing techniques". Journal of Cultural Heritage. 55: 329–338. doi:10.1016/j.culher.2022.04.008.