Philip Hughes Quotes
• Examine the durability, fixing methods, cost, sheet size and ease of use of materials.
• Check the fire rating of materials to ensure that they conform to local fire regulations.
• Specify combinations of materials and types of construction accurately, in conformity with local building regulations. Where possible, be specific about the supplier of a material, its surface texture, colours (including the appropriate paint or the surface treatment) and the required fire resistance.
• Ask suppliers for produce prototypes wherever possible.
• Build a library of samples that you can refer to quickly and easily.”
“[...] exhibition designers must be able to manage and work creatively with the digital information that surrounds and exhibition. Increasingly, the assets of a museum will include an electronic database that can be accessed through websites, apps and creative interactive devices within the environs of a gallery interior, in addition to traditional object displays.”
“[Historically] display cases with thick wooden frames were the staple of most museum collections, providing security and protection from theft and damage. In conjunction with poor lighting, the glass of these cases meant that many exhibits were difficult to see and also created an important psychological distance between the viewer and the object.”
“This "take home" aspect of modern exhibitions has parallels with the traditional "giveaways" handed out to visitors and the themed trinkets from the museum shop. The important difference is that data capture at exhibitions allows institutions to draw the Internet traffic of their target audiences into their digital space, delivering the kind of marketing benefits that mere branded trinkets can no longer provide.Interestingly, the live, physical experience of holding an event has not been replaced by virtual exhibitions, as was predicted when the Internet was born. The digital experience often leads to a physical visit that seems to encourage rather than discourage visitors.”
“Exhibition designers often specialize in one or two areas: museum displays for publicly funded institutions or commercials displays for corporate clients.
[...]Typically, exhibition design encompasses areas such as "customer experiences", "brand environments", trade fair stands, launch events, consumer pavilions (including World Expos), museums, art galleries, and science and "discovery" centres.”
“Commercial exhibitors will often have strategic goals that explain the competitive strengths and unique advantages of their current offer. Related but slightly different are visitor outcomes. These describe the ideas of impressions the client wants the audience to take away from their visitor experience.
[...] It can be really helpful to state intended "visitor outcomes" as well as "visitor messages", as there is a critical difference between delivering messages (saying that "science is fun") and designing an experience that creates an understanding in the mind of the visitor (having visitors say "science is fun" after their visit).”
“Very often exhibition designers are asked to create "interpretive masterplans". These address the need to plan links between disparate content/gallery areas, and often encompass an entire site, or a large section of a site. A completed interpretive master plan shows potential visitor routes between galleries, illustrates logical content sequences (such as chronological or thematic approach) and might illustrate a range of costed options to help the client decide how to best use their buildings and galleries within a given budget.”
“The first rule is that all corporate signage but be scrupulously reproduced; normally no company or institution allows their corporate logo to be altered. However, beyond the obvious strictures of corporate graphics, the further interpretation of the brand is in the creative domain of the designer. As long as he or she can argue convincingly that their ideas coincide with the client's brand values, there is often scope.”
“2. The visitor
• Ask your client to pass on information about their current audience and any new audiences they would like to attract.
• Research the audience carefully and try to find out what might attract it.
• Build up a visual archive of "moodboard" images from your research.
• Respond to visitors' diverse learning styles by providing a variety of ways for them to engage with exhibits.”
1. "Ambient light" describes light thrown onto walls creating an overall brightness.
2. "Accent lighting" describes an object illuminated while the surrounding room is in relative darkness.
3. "Sparkle" describes special coloured or accented light features intended to create a spectacle.”
• Carry out a site survey whenever possible to assess the conditions in which an exhibition will take place, and familiarize yourself with any existing lighting infrastructure and daylight parameters.
• Examine existing electrical installations and determine whether they are adequate to support new lighting. Considering the routing of cables carefully.
• Plan the lighting early on. It is easier to add it at the beginning of the the design process than at the end.
• Create a lighting scheme that supports the exhibition structure and helps the convey the show's concept.
• Ensure that all graphical information that is intended to be read and adequately illuminated, and check the readability of the information.
• Consider the amount of heat the lighting will generate. Hot lamps may harm the exhibits and if the heat build-up is too great, additional air-conditioning may be needed.
• Make your collaborators aware of the lighting solutions you intend to provide by circulating your lighting plans to all relevant parties.”
“Interactive designers may [...] recommend technologies that do not date as easily as others, such as touch tables rather than apps. One strategy is to use technologies that have been in existence for a while, as component and style have been proved to last, at least for a number of years. The most effective interactive often do not seek to use the latest technology, but rather work with existing technological "gestures", such as using fingertips to zoom in, and exploit these
Given that the only certainty for technology is further change, the success of any interactive is always measured by its usefulness, and its relevance to the exhibition content. The only way to mitigate against obsolescence is the richness of the interpretation—if the story is strong enough, an older technological interface can sometimes cease to matter.”
“"Find out more" interactives
"Find out more" interactives appeal to visitors of all levels of interest—from those who just want to grasp the big picture to those who wish to dig deeper.
Gaming interactives appeal to those who learn by doing rather than being shown or told (sometimes referred to ask kinaesthetic learners). These do not need to be digital—many of the best game-based interactives are mechanical and kinetic.
They are often a great way of helping visitors to see how dry content can be applied to more exciting scenarios.
Environmental interactives are immersive interactive experiences, often on a large scale, intended to connect with users in an emotional and awe-inspiring way by carrying a powerful, overarching message. Often, these pieces feel closer to art installations than interactives
The main outcome of the interactive is often a sensory impression, rather than an intense learning experience.”
“Writing an interactive brief
1. The contest of the interactive(s) within the story of the exhibition.
2. The key content messages.
3. Key learning outcomes—what should the visitor take away from the experience?
4. Details of the assets available—this could be a list of objects, set of reference images, data information or moving film footage.
5. Audience profile—who is the intended audience?
6. Initial specifications of the audiovisual hardware likely to be used.