theory
In this final chapter, we would like to leave a practical methodology with a brief description of each stage of designing an exhibition based on academic research. We will present all stages as sequential, following one after another, and describe how the transition between them is realized. However, in practice, design does not happen so linearly, but rather in a spiral. At each turn of the spiral, one can refer to future or already completed stages, as their content influences each other.
Tasks of this stage:
Ask the key question
Put the entire range of your research questions on paper. Try to divide them into three levels: one key question, 2–4 secondary questions, and 2–4 background questions. The key question sets the general line and the main route of the exhibition—its spine. The other questions help to understand the significance of the key one.
Put the entire range of your research questions on paper. Try to divide them into three levels: one key question, 2–4 secondary questions, and 2–4 background questions. The key question sets the general line and the main route of the exhibition—its spine. The other questions help to understand the significance of the key one.
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Define the audience
Write down and divide into groups all possible categories of viewers you might expect at the exhibition. You can even close your eyes and imagine specific people—and form typologies from them. Describe what each category will get from the exhibition. How does the user experience of different groups differ? What tasks does the exhibition help them solve?
Write down and divide into groups all possible categories of viewers you might expect at the exhibition. You can even close your eyes and imagine specific people—and form typologies from them. Describe what each category will get from the exhibition. How does the user experience of different groups differ? What tasks does the exhibition help them solve?
Formulate the theme
You will need to answer the question: what is this exhibition about? What story does it tell? What new area of knowledge will it open up to future viewers?
You will need to answer the question: what is this exhibition about? What story does it tell? What new area of knowledge will it open up to future viewers?
Describe the expected effects
What will remain in the viewers' memory after visiting the exhibition? What actions or events will occur as a result of contact with the exhibition?
What will remain in the viewers' memory after visiting the exhibition? What actions or events will occur as a result of contact with the exhibition?
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Formulate key value messages
Write down all the messages you are addressing to the future audience. All subsequent decisions at the stages of content and representation creation will be aimed at revealing these messages.
Write down all the messages you are addressing to the future audience. All subsequent decisions at the stages of content and representation creation will be aimed at revealing these messages.
Study existing projects on the topic
It is important to study projects of all genres and formats on your topic: TV series, essays, plays, books, social media campaigns, public events, educational programs. This will give you an idea of the approaches already implemented and the response the topic generates in the public space.
It is important to study projects of all genres and formats on your topic: TV series, essays, plays, books, social media campaigns, public events, educational programs. This will give you an idea of the approaches already implemented and the response the topic generates in the public space.
9.1.1
9.1.2
Result of the stage:
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Answer the three "whys"
Why do you need this? Why does the world need this? Why does your audience need this? These questions are explored in more detail in the second chapter.
Why do you need this? Why does the world need this? Why does your audience need this? These questions are explored in more detail in the second chapter.
9.1
Pre-project Research
At this stage, it is important to determine which specific question of your academic research will form the basis of the exhibition. Designing an exhibition product will require you to narrow and simplify the scope of the research—but it is important to preserve its depth and problematics.
a text document that describes the main reference points for all subsequent stages.
Tasks of this stage:
Define the imaginative key to the theme
It is necessary to set the levels of interpretation for the theme. You can use associative chains or draw a mind map, going through all possible answers to the question: in what is the chosen theme expressed? What phenomena does it consist of? What metaphor can describe it?
It is necessary to set the levels of interpretation for the theme. You can use associative chains or draw a mind map, going through all possible answers to the question: in what is the chosen theme expressed? What phenomena does it consist of? What metaphor can describe it?
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Create a system of thematic layers
Into what semantic levels can the theme be divided? A set of thematic layers allows for the construction of a voluminous narrative and the revealing of the research from different perspectives.
Into what semantic levels can the theme be divided? A set of thematic layers allows for the construction of a voluminous narrative and the revealing of the research from different perspectives.
Formulate the mood
It is most effective to solve this task at a visual level: look for images, palettes, textures, figures, objects that resonate with your idea of the theme.
It is most effective to solve this task at a visual level: look for images, palettes, textures, figures, objects that resonate with your idea of the theme.
Form the structure of the future narrative
What sections will the exhibition consist of? What themes are revealed in each section? Through what materials is each theme revealed?
What sections will the exhibition consist of? What themes are revealed in each section? Through what materials is each theme revealed?
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Identify the sources
Which of the specified thematic layers are already present in your research? What images and data are missing to reveal the theme on several levels? What audiovisual materials or objects can express the key value messages?
Which of the specified thematic layers are already present in your research? What images and data are missing to reveal the theme on several levels? What audiovisual materials or objects can express the key value messages?
9.2.1
9.2.2
Result of the stage:
5
9.2
Concept Creation
a text document with a selection of images that outline the future style and atmosphere of the exhibition.
Tasks of this stage:
Structure the materials of the existing research
Determine which of them fit into the content of the set structure. At this stage, you look at the research materials again within the framework of the new structure, select content fragments from the general mass, and arrange them by thematic sections.
Determine which of them fit into the content of the set structure. At this stage, you look at the research materials again within the framework of the new structure, select content fragments from the general mass, and arrange them by thematic sections.
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Formulate a request for the development of new content
Sometimes, for greater expressiveness, it may be necessary to include fundamentally new materials: results of additional research, works by contemporary artists, sound accompaniment, etc. In this case, it is necessary to formulate a technical brief and choose performers within the team or attract external participants to create the corresponding content.
Sometimes, for greater expressiveness, it may be necessary to include fundamentally new materials: results of additional research, works by contemporary artists, sound accompaniment, etc. In this case, it is necessary to formulate a technical brief and choose performers within the team or attract external participants to create the corresponding content.
Work through additional sources
You form a content base of objects, textual and audiovisual materials that will fill the sections of the structure.
You form a content base of objects, textual and audiovisual materials that will fill the sections of the structure.
9.3.1
9.3.2
Result of the stage:
9.3
Thematic Research
At this stage, all the sources planned in the previous stage are worked through according to the set structure of the exhibition.
a content table. It repeats the structure of the exhibition, and within each section, all types of materials planned for use are listed.
Tasks of this stage:
Set the plan for storylines
Here we turn to the sixth chapter, dedicated to storytelling, and rework the structure of the narratives. What story with its key components will become the main axis of the narrative and guide the viewer from entrance to exit? What second-level narratives will we use? What plots serve an auxiliary function and will be presented on a small scale or on secondary media?
Here we turn to the sixth chapter, dedicated to storytelling, and rework the structure of the narratives. What story with its key components will become the main axis of the narrative and guide the viewer from entrance to exit? What second-level narratives will we use? What plots serve an auxiliary function and will be presented on a small scale or on secondary media?
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Create the scenography concept and a technical brief for the architecture
From the private level of representations, we move to the environmental level and determine how the space will be arranged. What is the geometry and arrangement of the exhibition equipment? How are the zoning and navigation organized? How does the exhibition’s architecture continue the concept of the exhibition’s structure? What solutions in lighting and choice of materials will help to convey the intended mood?
From the private level of representations, we move to the environmental level and determine how the space will be arranged. What is the geometry and arrangement of the exhibition equipment? How are the zoning and navigation organized? How does the exhibition’s architecture continue the concept of the exhibition’s structure? What solutions in lighting and choice of materials will help to convey the intended mood?
Develop the technical brief for exhibition design
In the section on the "air" of the exhibition in the eighth chapter, we said that all accompanying and service parts of the exhibition are also part of the overall system. It is necessary to think about how all the graphic materials will look. On what media will the descriptive texts, hints for viewers, and navigation elements be presented? The level of communication design can take the most experimental forms and should not be considered a purely technical task.
In the section on the "air" of the exhibition in the eighth chapter, we said that all accompanying and service parts of the exhibition are also part of the overall system. It is necessary to think about how all the graphic materials will look. On what media will the descriptive texts, hints for viewers, and navigation elements be presented? The level of communication design can take the most experimental forms and should not be considered a purely technical task.
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Determine the type of presentation for each material
We choose the medium and genre for the representation of each unit of content. Which objects will become part of spatial compositions and be placed in display cases? Which texts will turn into audio monologues and be presented in headphones? Which archival documents will be scanned and reproduced in a video projection?
We choose the medium and genre for the representation of each unit of content. Which objects will become part of spatial compositions and be placed in display cases? Which texts will turn into audio monologues and be presented in headphones? Which archival documents will be scanned and reproduced in a video projection?
9.4.1
9.4.2
Result of the stage:
9.4
System of Representation Forms
At this stage, it is necessary to devise the most expressive form in which each unit of content will be shown. It is important to remember that each material does not necessarily have to be presented in its original medium. This means that a text can become a sound, a photograph—a performance, a letter—an audio play. The choice of representation form should be determined by expressiveness and correspond to the overall scenography of the space (we talked more about this in the eighth chapter).
a base of working documentation, including drawings and diagrams for electrical installation, production of exhibition equipment, preparation, and construction of the site.
Tasks of this stage:
Create textual materials
It is important to consider that the academic text of the research will require significant editorial and artistic revision. The style of the text throughout the exhibition must be brought to a unified approach. The intonation of the communication must correspond to the chosen audience types and the mood of the scenography. The structure and division of all texts must be thought out in conjunction with the representation plan and presented in accordance with their meaning in the overall narrative.
It is important to consider that the academic text of the research will require significant editorial and artistic revision. The style of the text throughout the exhibition must be brought to a unified approach. The intonation of the communication must correspond to the chosen audience types and the mood of the scenography. The structure and division of all texts must be thought out in conjunction with the representation plan and presented in accordance with their meaning in the overall narrative.
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Create additional materials
Depending on the specifics of the additional materials (animated data, works by contemporary artists, archives from private collections, etc.), it is necessary to correlate the place, location, scale, and technical requirements with the overall plan of scenography and equipment.
Depending on the specifics of the additional materials (animated data, works by contemporary artists, archives from private collections, etc.), it is necessary to correlate the place, location, scale, and technical requirements with the overall plan of scenography and equipment.
Prepare objects
Museum restrictions on the storage and display of collection items can complicate the task of preparing the exhibition. For example, objects may only arrive at the site in the last days of installation. We recommend creating to-scale diagrams of all compositions and display cases in digital form in advance, observing all proportions and dimensions. This will help to plan the exact list of items requested from the collections and simplify the installation process.
Museum restrictions on the storage and display of collection items can complicate the task of preparing the exhibition. For example, objects may only arrive at the site in the last days of installation. We recommend creating to-scale diagrams of all compositions and display cases in digital form in advance, observing all proportions and dimensions. This will help to plan the exact list of items requested from the collections and simplify the installation process.
Develop multimedia materials
When preparing video and audio formats, make sure in advance that the optimal format and location have been chosen, and that all technical requirements have been taken into account. Correlate the technical resources with the representation plan and check that equipment and an understanding of its characteristics are provided for each multimedia part. It is advisable to test, even in a draft form, the solutions you would like to see in the final version at this stage.
When preparing video and audio formats, make sure in advance that the optimal format and location have been chosen, and that all technical requirements have been taken into account. Correlate the technical resources with the representation plan and check that equipment and an understanding of its characteristics are provided for each multimedia part. It is advisable to test, even in a draft form, the solutions you would like to see in the final version at this stage.
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Prepare the technical brief for multimedia placement
Describe in diagrams the entire system of proportions, media, and location of the multimedia elements. Consult with the engineering team in advance to take into account possible restrictions on electricals, safety, fastenings, lighting, audibility, and readability of the multimedia.
Describe in diagrams the entire system of proportions, media, and location of the multimedia elements. Consult with the engineering team in advance to take into account possible restrictions on electricals, safety, fastenings, lighting, audibility, and readability of the multimedia.
9.5.1
9.5.2
Result of the stage:
5
9.5
Content Development
a cloud structure with files in technically ready formats and objects prepared for installation.
Tasks of this stage:
Create working documentation
As a rule, there are several main groups of working documentation: electrical and lighting plan, architectural plan, drawings of exhibition equipment, a layout scheme for accompanying materials, and a plan for multimedia placement.
As a rule, there are several main groups of working documentation: electrical and lighting plan, architectural plan, drawings of exhibition equipment, a layout scheme for accompanying materials, and a plan for multimedia placement.
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Create and produce mock-ups of the exhibition design
Choose the materials and production method for all graphic media in advance. Make sure that all materials and technologies are available and do not require a long wait. The choice of technologies and materials forms a cohesive system with the overall concept of representation.
Choose the materials and production method for all graphic media in advance. Make sure that all materials and technologies are available and do not require a long wait. The choice of technologies and materials forms a cohesive system with the overall concept of representation.
Produce equipment
Try, if possible, to test all elements of interactivity and operation of the future equipment at the earliest stage of production. This concerns the opening of drawers, the switching on of lighting, the durability of surface paint, and other potential risks.
Try, if possible, to test all elements of interactivity and operation of the future equipment at the earliest stage of production. This concerns the opening of drawers, the switching on of lighting, the durability of surface paint, and other potential risks.
9.6.1
9.6.2
Result of the stage:
9.6
Form Development
printed mock-ups and exhibition equipment delivered to the site on time, ready for assembly.
Tasks of this stage:
Develop a schedule for work groups
Determine in advance the optimal order of work for each group and the intersection of their tasks during installation. Which work stages of each group depend on other work groups? At a high level, the entire plan for synchronizing all people working on the site should be coordinated by one person.
Determine in advance the optimal order of work for each group and the intersection of their tasks during installation. Which work stages of each group depend on other work groups? At a high level, the entire plan for synchronizing all people working on the site should be coordinated by one person.
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Conduct testing
It is desirable that all media planned for placement, without exception, can be executed in a draft form and placed in the appropriate scale and locations. Such prototyping will help to avoid errors in planning navigation, dimensions, and the logic of the narrative in the exhibition.
It is desirable that all media planned for placement, without exception, can be executed in a draft form and placed in the appropriate scale and locations. Such prototyping will help to avoid errors in planning navigation, dimensions, and the logic of the narrative in the exhibition.
Carry out curatorial supervision
Throughout the installation, the curator or curatorial group determines control points for checking the correspondence between the representation plan, the working documentation, and the work being performed.
Throughout the installation, the curator or curatorial group determines control points for checking the correspondence between the representation plan, the working documentation, and the work being performed.
Prepare for launch
As a rule, the lighting, multimedia, architecture, and content are worked on in parallel during installation, each area by its own work group. At the same time, the completion of one block may depend on the work of another team. Try to schedule one or more synchronization points for all work groups in advance to check how all the parts come together. It is advisable to involve several people who can go through the entire viewer journey from beginning to end. It is necessary to record all their comments and, if possible, manage to take them into account before the opening.
As a rule, the lighting, multimedia, architecture, and content are worked on in parallel during installation, each area by its own work group. At the same time, the completion of one block may depend on the work of another team. Try to schedule one or more synchronization points for all work groups in advance to check how all the parts come together. It is advisable to involve several people who can go through the entire viewer journey from beginning to end. It is necessary to record all their comments and, if possible, manage to take them into account before the opening.
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9.7.1
9.7.2
Result of the stage:
9.7
Construction, Installation, and Launch
a fully installed exhibition that has been tested and is ready to receive visitors.