Project 1 : Narratives and Grids in Mobile Exhibitions

Transcription

1 Project 1 : Narratives and Grids in Mobile Exhibitions Designing an exhibition is a vast undertaking. It begins with a story one wishes to tell, a lesson one hopes to demonstrate, a collection of objects or artifacts one must display. Exhibition design involves the process of finding appropriate form and authentic expression for any content. It requires the conscious arrangement of many parts, both stationary and moving, necessary in creating meaningful experiences for visitors in physical spaces. Ultimately, an exhibition is a living, three-dimensional composition to be experienced and absorbed....typography as the transmitter must respect the meaning of the texts. Its fundamental responsibility is to convey content. Typography also adds hierarchical clarity to the texts, signaling importance, voice, relationships, and meaning. It should entice and encourage, drawing the reader in, making museum visitors want to spend the time and energy to understand what is being presented.... All exhibitions, regardless of topic, share the inherent dialectic between the intentions of the presenter and the experiences of the viewer. Who is displaying what and for whom? Exhibitions provide the bones for learning, exploring, and interacting. They take visitors on journeys near and far making the inaccessible, accessible and the commonplace, extraordinary. Exhibits encompass broad categories of history, natural history, science, technology, and zoology. Exhibition Design: An Introduction 2nd Edition Philip Hughes Working with Type: Exhibitions Carter, DeMao and Wheeler Project Objectives 1. To continue to look at grid structure as devices for organizing information 2. To look at basic exhibit and 3-D design strategies 3. To consider narrative and storytelling in 3-D space. Creating a good exhibition is about telling a multidimensional and interactive story with a balanced and broad array of media that is the task of the exhibition designer. The challenge is to translate often complex and scientific information into a narrative environment that appeals to a wide audience. When executed effectively, spaces can educate, excite and entertain, providing the visitors with an experience to remember. Project Description Design a mobile exhibition (trailer) that brings a museum learning experience to the schools and rural or suburban museum deserts. Process In teams, choose a topic that you consider unique, timely and purposeful for a mobile exhibition. Examples of exhibition content could include science, cultural, historical or social topics. Be thoughtful to the need. Choose an audience and context: local, regional or national. As a team, gather research for the topic. Synthesize the content to help to develop a working narrative for an independent interpretive exhibition. Present the primary and secondary narratives. Then individually curate an interpretive exhibition that would function well in a mobile context that effectively uses a grid structure to display the narrative, and interaction related to your research. Consider headings, subheads, texts and supporting imagery, digital technology, video, physical interactives and related artifacts. Consider the flow and overall spatial relations considering a beginning, middle and conclusion. The exhibit space should immediately identify with the overall topic/story through form, color, typography and may include representational 3-D forms, surfaces, texts, graphics, images, representations of possible artifacts. Consider context : mobility, spatial circulation, qualities of light, materials, and structure. The formal considerations of grids used in print and on the screen apply to environmental graphics, except that scale, space and context become a factor. Consider the underlying grid structure, visual hierarchy, contrast, and compositional balance. Your exhibit elements should include: exhibition title and subtitle (interior and exterior) exhibition walls (interior and exterior) heads, subheads narrative texts supporting imagery supporting texts supporting interactives and digital experiences artifacts or objects (2 and 3 dimensional) Methodology 1 In teams. choose a significant historical, educational, scientific or cultural narrative that is worthy of developing into a mobile exhibition. 2. Develop a rough outline, map or wireframe that considers all of the stories to be told about this event. Establish a general theme/story, or narrative for the exhibit. 3 As a team, choose an exhibit title and select the target audience. 4 Individually choose flush out the rough outline and map the narrative relative to the trailer space assigned (48 L x 100 W x 110 H). Be selective and make sure there is enough content to work with that includes heads, subheads and multiple texts to engage with hierarchically and expressively as well as interactivity. 5 Select/edit/rewrite texts/labels (see Ekarv) 6 Select/compile supporting imagery 7 Consider the flow. You may consider the door entry from the back to the side. Define this in the elevation drawing. Consider the various elevations, planes and surfaces. Include pedestals, cabinets, and any other surface changes that accommodate artifacts and interactives. Be mindful of flow in this context. Include at least one digital interactive and a video component. The exhibit space is 48' l x 110' h x 100 w. You may work further into the space if you want. Your final presentation will be at 1-1 scale : 48" length x 9" high x 8.5" w. Design the final as a 3-D elevation/model (box split into 2 sides). Consider a floor context and include a presentation with a figure for scale. +++ Final Formats length x 9 high x 8.5 w and a floor reference of 6 (May be primarily digital but include some represented 3-D and ipad interactives ). Present with scale reference (person). 2. Exterior with exhibit brand 3. Select one detail to enlarge to scale 11 x 11. Flush mount. 3. Present 1 typographic logo for main exhibit, plus and interior and exterior rendering 4. Organize and present sketch process into booklet.

2 Project 2 : Grids in Exhibition Spaces Schedule Tues. January 17 Introduction Assign Project 1 Team Building Project Thurs. January 19 9 am : Field Trip (Holocaust or HMNS) At the museum present your topic/concept Identify theme outline, narrative excerpt, main exhibit title ideas, texts and imagery. Tues. January 24 Teams present in pdf presentation: Project Objectives/Concept Statement Need/Goals, Audience Narrative Outline of major components Titles and Subtitles 1-2 paragraphs per section to describe major sections Mobile Exhibition Title Concept Individuals Present Mood Board Ideas : typefaces, images, forms, colors, surfaces and images of relevant objects or artifacts. 2 Wireframe/Flow Sketches 2-16 x 3 - Exhibition Title Concept word marks 3-11 x 11" Thurs. January 26 Due final experience narrative and outline Due 2 refined main exhibit title word marks Due : 2 refined grid sketches 2-16 x 3 x3 exhibit walls: Consider traffic flow, content relationship, experience narrative. Further develop exhibit typography and exhibit identity. Indicate 1 or 2 typeface selections and hierarchy of these typefaces for use on all the exhibit graphics. texts, images, forms, colors, surfaces and images of relevant objects Introduce Exterior Branding concepts Tues. January 31 Due 1 refined overall exhibit identity Refined 2-48 x 9 x 8.5 exhibit walls Consider material, media, colors Thurs. February 2 Due 1 refined overall exhibit identity Refined 2-48 x 9 x 8.5 exhibit walls Discuss materials/building Tues. Feb 7 Due Interior and Exterior Draft Refined 4-48 x 9 x 8.5 exhibit walls Consider material, media, colors Assign Interactive Project 3 Thurs. Feb 9 Field Trip to GraphTec Tues. Feb 14 Due Interior and Exterior Mobile Exhibition Final Draft Refined 4-48 x 9 x 8.5 exhibit walls Assign production/building Thurs. Feb 16 In Class work on Interior and Exterior Mobile Exhibition Final Draft. Refined 4-48 x 9 x 8.5 exhibit walls Small Group: Interactive App Concept Review Tues. Feb 21 In Class work on Interior and Exterior Mobile Exhibition Final Draft. Refined 4-48 x 9 x 8.5 exhibit walls Small Group: Interactive App Concept Review Thurs. Feb 23 Review Models + Exhibition Collateral Tues. Feb 28 In Class work on Interior and Exterior Mobile Exhibition Final Draft. Refined 4-48 x 9 x 8.5 exhibit walls Small Group: Interactive App Concept Review Thurs. March 2 In Class work on Interior and Exterior Mobile Exhibition Final Draft. Refined 4-48 x 9 x 8.5 exhibit walls Small Group: Interactive App Concept Review Tuesday, March 7 Due Project 1 Assign Project 3: EEDC Branding Thursday, March 9 Proposed initial meeting between students, business owners/constituents + EEDC March 14/16 Spring Break Tuesday, March 21 Branding Concept Discussion and Review (Groups) Thursday, March 23 Due App

3 Project 2 : Exhibition Design Process from: Museum An organization in the service of society and its development, open to the public, which researches, communicates and exhibits things and ideas, for the purposes of education, study and enjoyment. Many museums are non collecting, so a museum is not about displaying a collection. Some museums are for profit, so a museum can t be defined by tax status. Some museums don t have a building or a home, so it is not about a location. Exhibition: An event at which displays are put out in a public space for people to view and interact Design The making of a plan for the construction of an object or a system Now, can I create a definition of Museum Exhibition Design that can apply to all the different types of museums? Science Center Natural History Museum Airport Museum Natural History Museum Traveling Exhibition Art Museum History Museum Aquarium Mobile Museum On line Museum / Virtual Museum Zoological Park Botanic Garden Definition: Museum Exhibition Design: The making of a plan for the construction of public displays for the purposes of education, study and enjoyment, in the service of society and its development. Exhibition Design Process Phases The museum exhibition design process can be divided into five distinct phases: Concept Development Schematic Design Design Development Final Design Construction Documents The output of the design process: Fabrication Installation Exhibition Design Process Concept Development Concept Development provides the road map for the project, where is the project going?, how will it get there? and a definition of the resources available to complete the project. Concept Development is culminated with the signing of a Project Charter outlining all of the components of the project. Project Objectives Project Filters Project Charter Initial Budget Initial Schedule Project Narrative, included in the Project Charter Front End Evaluation Umbrella Concept Look and Feel Typical Deliverables for Schematic Phase Content: description of project goals and messages Content: visitor experience narrative Content: outline of major components Design: Rough plan view w/content Design: Diagrams of content relationships Design: Traffic-flow diagrams Design: Sketches of key points in exhibition Design: Color perspective sketches (for fundraising and exhibit naming opportunities) Graphic Design: Collage of look & feel for exhibits and graphics Schedule: Fabrication and Installation schedule Schedule: budget development Schematic Design Phase deliverables: bound II x 17 booklets + electronic master copy Typical Deliverables for Design Development Phase Content: Final outline Content: Draft text Content: Initial image and object list Content: Interactives and audio/visual outlines Design: Plan w/content (CAD drawings) Design: Elevations and Sections (CAD drawings) Design: Preliminary Electrical plan (CAD draft) Design: Preliminary Mechanical plan (CAD draft) Design: Preliminary Lighting plan (CAD draft) Design: Exhibit Component Database Visuals: Interactive sketches Graphic Design: Exhibit graphic design Graphic Design: Inventory/matrix Graphic Design: Layout & design of typical panels Graphic Design: Directional Signing (way-finding) locations plan and elevations with specifications for interior spaces Schedule: Revised fabrication and installation schedule Schedule: Revised fabrication budget Database of graphics Prototyping of interactive exhibits Typical Deliverables for Final Design Phase Three in-person meetings (and distribution of meeting notes) Content: Final text Content: Draft scripts: interactives & A/V Design : Plan w/content (measured CAD drawing) Design : Elevations w/graphics & dioramas/murals (measured CAD) Design : Sections/details (measured CAD) Design : Electrical plan/schedule (measured CAD) Design : Mechanical plan/schedule (measured CAD) Design : Lighting plan (measured CAD) Design : A/V Signal plan (measured CAD) Design : Finish schedule Design : Interactive operation diagrams Design : Audiovisual concept sketches Architectural Permit documents (as required) Graphic Design: Exhibit graphic design (measured drawings) Graphic Design: Image management & acquisition Exhibit component database with product and material specifications Schedule: Final fabrication and installation schedule Schedule: Final fabrication budget Design Process Construction Documents By the conclusion of the Final Design phase, a complete package that illustrates the full exhibit design how it will be built, where every component is located and how each works within the larger space. This package includes exhibition identification, exhibition descriptions, a database of exhibit components, measured CAD plans with content, floor plans, elevations, artifact lists, measured graphic design elements and samples, draft scripts with details for audio visual components, interactive exhibits, final text, sound and lighting systems specifications, production schedules and a fabrication cost estimate. Once this phase is completed and has been approved by the team, the team can transition into fabrication. Typical Deliverables for Final Design Phase Content: Final text Content: Draft scripts: interactives & A/V Design: Plan w/content (measured CAD drawing) Design: Elevations w/graphics & dioramas/murals (measured CAD) Design: Sections/details (measured CAD) Design: Electrical plan/schedule (measured CAD) Design: Mechanical plan/schedule (CAD) (if required) Design: Lighting plan (measured CAD) Design: A/V Signal plan (measured CAD) Design: Finish schedule Design: Interactive operation diagrams Design: Audio visual concept sketches Architectural Permit documents (as required) Graphic Design: Exhibit graphic design (measured drawings) Graphic Design: Image management & acquisition (as defined in budget) Exhibit component database with product + material specifications Schedule: Final fabrication and installation schedule Schedule: Final fabrication budget

4 Project 2 : Grids in Exhibition Spaces Top 10 Successful Exhibit Requirements 1. Motivate Visitors Target an audience the general public and/or specific communities 2. Focus Content: Filter content so visitors are not bombarded with information overload 3. Immersion: Engage visitors within a story 4. Modularity: Present smaller themes instead of one larger complex topic 5. Skimmability: Information should be easy to take in because visitors are often standing and/or have different levels of education 6. Patterns: Incorporate traffic/circulation patterns, exhibit sequence patterns and pre-existing framework patterns (architectural elements) 7. Capture Curiosity: Use storytelling techniques to engage visitors 8. Interaction: Give visitors a fun experience by tapping into their emotion 9. Integrate Technology: Technology should enhance visitor s experience, not detract from it 10. Layer Content: Present information in a hierarchical manner Carliner, Saul. Modeling Information for Three-Dimensional Space: Lessons Learned from Museum Exhibit Design. Models, Processes, and Techniques of Information Design Typography as Transmitter // Barbara Fahs Charles The basic building blocks of an exhibition are artifacts, words (concepts and interpretation), physical design, graphic design, and lighting. Many exhibitions, of course, have additional, often very significant components audio, video, mechanical and computer interactives, live actors, etc. but these primary five form the core palate of every exhibition. Of these, graphic design often primarily typography is the connecting tissue, the carrier, the transmitter. Through typography the words have a physical presence and through the words the concepts of the exhibition and the interpretation of the artifacts are expressed most basically. Text and typography are Siamese twins the existence of each dependent on the other. At their zenith they are intertwined creative expressions that capture the imagination. At their nadir, they are unintelligible, illegible wasted efforts that quickly destroy all visitor interest. Words are too often the silent partners in an exhibition. As designers, we typically discuss the objects, the setting, the mood and the special elements of the exhibition. The quality of the texts our basic way of understanding the goals of the exhibition are paramount, but rarely offered the high regard they rightfully deserve. Visitors come to an exhibition, often like foreigners in a new land, not knowing what to expect. They have to learn the signs and symbols of the natives (i.e. the museum personnel, a worthy anthropological study in itself). Words, conveyed through typography, are their tools and maps for understanding. The typography and the texts must be welcoming and illuminating, at the beginning and throughout the exhibition. Typography as the transmitter must respect the meaning of the texts. Its fundamental responsibility is to convey content. Typography also adds hierarchical clarity to the texts, signaling importance, voice, relationships, and meaning. It should entice and encourage, drawing the reader in, making museum visitors want to spend the time and energy to understand what is being presented. At the same time, typography has other roles, both intellectual and aesthetic. Typography signals a time, a place, a culture, a style, enhancing the theme of the exhibition with subtlety or hit-them-on-the-head directness. It can provide unity to disparate elements or express a diversity of viewpoints. Typography at its best is a leitmotif for an exhibition, setting a tone, adding visual meaning with wit, humor, solemnity, and elegance. Typography can also add texture and significant color. Before the computer revolution, type, in its original form as an inked element most often metal, sometimes wood pressed into paper, had an expressiveness that could be exploited for exhibitions. The quality and textures of the paper and the pure color of the ink added a richness no longer easily available. Now, as digitized output is increasingly being used in exhibitions, we are both gaining and losing. The sophisticated integration of typography and imagery that computers make possible is positive; the uniformity of the final product disheartening. On the other hand, sophisticated computer-driven cutters have brought dimensional type raised, etched, or cut from almost any material within the range of often limited museum budgets. A theatrical comparison is not inappropriate. No matter how wonderful the script, if the actors are inaudible, it they fail to capture our attention and draw us in, we will never comprehend the full message. In the theatre of exhibition, typography, of course, doesn t act alone. The objects have the starring and primary supporting roles. Typography might be best compared to the chorus. In a Greek tragedy or the ballet, the best choruses perform with clarity and synchronized precision. Good typography requires the same attention to connection and separation, to emphasis and underscoring, to line and alignment, to rhythm and form.

5 Project 2 : Grids in Exhibition Spaces : Writing Text for Exhibitions Text writing and Editing Interesting, concise writing and editing is key Use a 3 level hierarchical approach KIDS, GENERAL, SPECIALIZED (divers, swimmers and waders ) Keep text panels short enough that they can be read without the well-known feeling of impatience for moving ones focus to the object on exhibit Keep paragraphs to under a hundred words. Group paragraphs into twos oactaullr threes with subheads. A good guide line to follow is a 65 word maximum length paragraph Ekarv Text Guidelines One idea expressed per line Line breaks placed at natural pauses in a sentence No more than 3 lines per sentence Simple sentence structures, no complex clauses Use active forms of the verb where possible Conversational rhythms, easily spoken out loud Maximum 52 characters per line (including spaces) Maximum 8 lines per paragraph Maximum 15 lines for labels, 22 lines for panels (including spaces)

6 Project 2 : Grids in Exhibition Spaces University of Houston Graphic Communication Program Art 3336 Spring 2015

7 Project 2 : Grids in Exhibition Spaces Trailer Example Sketching Methods Schematic Collage Concept Traffic Flow/Wireframe Schematic Traffic Flow

8 Project 2 : Grids in Exhibition Spaces University of Houston Graphic Communication Program Art 3336 Spring 2015

9 Project 2 : Grids in Exhibition Spaces University of Houston Graphic Communication Program Art 3336 Spring 2015