What is exhibition design?

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1 What is exhibition design? good exhibit design creates rich experiences in real time utilizing space, movement and memory to facilitate multi-layered communication. visual and spatial forms should make new meaning. a path itself should have meaning. unqiue and representational use of materials + lighting

2 Exhibit Guidelines Motivate Visitors Target an audience the general public and/or specific communities Focus Content Filter content so visitors are not bombarded with information overload Immersion Engage visitors within a story Modularity Present smaller themes instead of one larger complex topic Skimmability Information should be easy to take in because visitors are often standing and/or have different levels of education Patterns Incorporate traffic/circulation patterns, exhibit sequence patterns and pre-existing framework patterns (architectural elements) Capture Curiosity Use storytelling techniques to engage visitors Interaction Give visitors a fun experience by tapping into their emotion Integrate Technology Technology should enhance visitor s experience, not detract from it Layer Content Present information in a hierarchical manner 1. Carliner, Saul. Modeling Information for Three-Dimensional Space: Lessons Learned from Museum Exhibit Design. Models, Processes, and Techniques of Information Design

3 Telling the Story All exhibitions have one thing in common. They all tell a story. It is the central craft of the exhibition designer. The four elements for telling the story are a narrative, a narrator, a path, a context.

4 Narrative When planning an exhibition, most institutions begin by determining the message they want to convey to their audience. It only becomes a story when it is given a narrative thread with a clear beginning, a middle, and an end.

5 Narrator A narrator is needed to drive the story forward. The narrator can be created using any number of mediums, such as text, graphics, or technology. Most exhibitions employ multiple narrative mediums.

6 Path The path gives the story its structure. The space must be organized into a sequence that relates to the story and the visitor experience. The sequence of experiences may be arranged around a timeline, theme, hierarchy, or any other logical system. The exhibition should be a sequence of experiences that build the whole story but never allowing the visitor to see the entire structure at once. The series of revelations are key to keeping the visitor engaged.

7 Context An exhibition does not stand in a void, it is integrated into a building or landscape. How the visitor approaches and engages with the exhibition is crucial to preparing the visitor for the experience. When the venue is dictated to us, we strive to squeeze out all of the narrative juice the place has to offer. Consider location; procession; entry; circulation; form, weight, width, height, and depth of space; qualities of light, both natural and artificial; materials; details; structure; climate control and security.

8 Text and labels provide levels of interpretation, tying together numerous facts, objects, and ideas into a thematic exhibition. Exhibition Structure + Hierarchy The visual structure of an exhibition narrative is reflective on the exhibit purpose, the story being told and who the audience is. Once the story (content) is established, the hierarchical relationships are revealed. Establishing an effective hierarchy, rhythm and underlying grid structure ensures that the audience are able to navigate the exhibition through the ordering of elements (heads, subheads, imagery, artifacts etc).

9 Hierarchy relationships between content form is tied to the visual dynamics of similarity and contrast: parts sharing similar characteristics are more equal within the visual hierarchy; those contrasting are either dominant or subordinate. Contrast is achieved among typographical elements by means of size, weight, color as well as the spatial language of repetition.

10 Typographic grids are used to help bring spatial order using the features including margins, edges/frames, vertical columns with intervals, modules, flow lines across the wall(s) or from one panel to the next and spatial zones that are reserved for the placement of specific content.

11 Rhythm: Elements in design can be in correspondence (repeated) or opposition (contrast). In the organization of complex information, use of repetition and contrast in a carefully planned order can enhance the reading experience

12 Labels + Type Size The size of labels depends on three things: the size of the type, the number of words,and design considerations. Type size should be large enough so that even people with poor vision can read a label. The number of words may become a balance between the size of the type and the overall dimensions of the label. Thus, labels need to be succinct and straightforward. The recommended word count for secondary labels is usually no more than 150 words. Some sources recommend no more than 75 words, but you will be surprised at how difficult this limit can sometimes be. Titles or headlines 48 to 72 points. Secondary text or introductory labels 24 points for body text Recommended word count of no more than words. Object Labels 18 point typeface or larger

13 Types of Exhibit Labels Title or headline labels These are large-letter (4 or more) signs that simply give the title of an exhibit. They are used at the entrance to an exhibit or a gallery, often high up on a wall.

14 Primary or introductory labels These provide an overview or introduction to the exhibit. They are the largest in size and in typeface. There may be one label introducing an exhibit, or there may be several such labels for a large exhibit. These may be pts in size.

15 Secondary or text labels These provide an intermediate level of information between an introductory label and the more specific object labels. These can provide historical background, for example, or text related to groups of objects. They often serve to organize the exhibit. The size may be at least 24 pts.

16 Object labels These provide information, such as description or title, date or age, artist or user, material composition, and sometimes a brief text on a particular object. Also included here is the museum s catalog number or loan source, which provides a quick link to additional information if anyone should inquire. Different levels of information are usually placed on different lines. The size should be at least 18 pts.

17 Type and legibility Typographic legibility requires that you consider: size the anatomy of the typeface the proportion : ADA requires that type on signs should have a width to height ratio of between 3:5 and 1:1, and a stroke width to height ratio between 1:5 and 1:10. form and counterform spacing line length scale color back-lit typography projected and time in motion typography 3-D typography

18 Label placement Labels should be arranged at a height close to eye level or a little lower. Average eye height is about 58 to 60 inches. In a grouping of pictures on a wall you may want to have all the labels to the right of the artwork, below center and at a consistent height above the ground, so that all the labels are the same height even when the paintings are different sizes. Labels for a children s exhibit and for visitors in wheelchairs should be low enough to read.

19 Emotionally charged events persist much longer in our memories and are recalled with greater accuracy than neutral memories. John Medina from Designing for Emotion by Aaron Walter