Pre-visualization for a pitch document:
With an extremely loose creative brief, and very tight deadline, this was an exercise in making something that looked like it could be a considered museum exhibit, without considering it very much at all… Heavy lighting effects and unsubtle images evoke an mood of the exhibit without getting bogged down in details.
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Archive For: Museum Design
Pre-visualization for a pitch document:
Pre-visualization for a pitch document:
With a very loose creative brief, and tight deadline, this was an exercise in what might be.
The images are perspective matched renders overlaid on photographs. A sketch linework photoshop plugin was used to loosen the result.
People of the sea gallery, 2017.
Calendar touchscreen interactive housing:
The shape is based on Muttonbird island, Coffs Harbour, NSW. Muttonbird island holds a special significance for some of the Aboriginal collaborators on the project. The three planes are derived from contours of the island. The island was 3D modelled, sliced, then detailed for CNC routing. A grid of battens hold the planes in space. The touchscreen is mounted to the middle plane.
Concept development, 3D modelling, Construction drawings, CNC toolpath linework.
People of the sea graphic:
This was a redesign of an existing gallery element that was displaced by the new interactive. The original element was made physically from multiple cnc routed parts and stuck on the wall. Mostly for budgetary reasons, the new element is 2D. In order to preserve the original elements look as much as possible. The parts were 3D modelled and rendered to achieve a 2.5D result. Further, the piece is all about people’s connection to the sea, so a watery water-mark image has been used to evoke that context for the original ‘DNA’ graphic. It’s direct printed onto hoop pine. The hoop pine plywood helps to tie it into the rest of the gallery.
Bipotaim: Stories from the Torres Strait is an exhibition of striking photographs, stories and objects about the lives, culture and identity of Torres Strait Islanders.
Bipotaim means ‘before time’ in Torres Strait Creole and refers in a general way to ‘olden times’.
People from islands across Australia’s northern frontier are depicted in David Callow’s portraits. They compare current and traditional ways and practises and reflect on changes that have occurred in the Torres Strait during their lives.
The photographs in Bipotaim are complemented by objects from the National Museum’s Torres Strait Islander collections.
I did the whole process in 3D so all stake holders could easily visualize the proposals. Because all the display objects were modeled in 3D to scale, and placed in the accurate 3D virtual exhibit space we could be very confident that the final result would have no surprises. One of the very useful moments in this process came when early renders demonstrated strong reflections from a window on the display cases. I was able to include a window treatment in the final design to cut down the light entering, and to enhance the context of the display objects. The result was exactly as per the renders. It was easy to justify the cost of the window treatment to the museum by showing renders with and without the window treatment.
In it’s flagship location Le Rendez-Vous Toyota on the Champs-Élysées, Paris, Toyota wanted to create an exhibition that ‘brings the Toyota quality story to life’.
The exhibition space is upstairs so there is a prominent graphic on the stairs to lead the audience up there. The stair graphic reflects both the Toyota corporate style and the exhibition aim.
Stair graphic: Beyond leading the audience upstairs, the graphic aims to showcase the Toyota quality story by displaying photographs of very large ‘hyper-real’ car parts and the people who make them. Appropriate car parts were obtained from Toyota for very high-res studio photography to take place. Toyota empowers it employees to take pride in their work and output. One of the ways it does this is by use of an ‘andon cord’ strung throughout their production line. The andon cord can be pulled by any assembly technician any time they find a fault. Pulling the cord causes the whole assembly line to stop while the problem is analysed and rectified. The idea is if you can solve a problem at its source, that lifts the overall quality of the lines’ output. The andon cord is used repeatedly throughout the exhibit. It is one of Toyota’s unique-selling-points. The swoosh is an appropriate element here because it’s overall shape fits the stairs, but its graphic dynamism is important for drawing the audience onward and upward.
Window Graphic: The window graphic went through various iterations. The final was much more understated than earlier versions. It evokes the toyota assembly line, shows skilled people at work, and references the Toyota factory andon cord. (see ‘stair graphic’ for an explanation of the andon cord) It also remains transparent so that the lightness of the glazed mezzanine is preserved.
Interactives: graphics for the various inter actives were done. Due to the location of Le Rendez-Vous Toyota on the Champs-Élysées, all text is displayed in French and English
Directional Signage: Although it is not really required, the exhibit does have a narrative or a direction based on the flow of the production line. To make the flow more obvious for visitors, floor graphics were conceived.
Product design and visualization for an iPad stand that would make the iPad useful for event organisers and gallery situations. In these public situations iPads are just too easy to steal. They need to be protected. Also charging and managing software updates are a problem. This stand was designed just before the first generation iPad was released. It secures it, and allows for battery augmentation, while retaining something of the iPad aesthetic. The design allows the iPad to rotate to accommodate both landscape & portrait apps. The rotation can also be locked in place if so desired.
The Art of Citroën, was a special exhibition at the National Motor Museum, Beaulieu, in collaboration with the Citroën Conservatoire in Paris showcasing the history of Citroën, to the present day. The display was carefully crafted to realise the potential of the brief while keeping in mind the technical and budgetary requirements.
Museum referee: Steve Lanham, Exhibitions Officer, National Motor Museum, Beaulieu
The National Motor Museum attracts Motoring enthusiasts and their families from all from all over the world. They also attract a large number of students from the UK and europe. Commercially the Museum is also used for functions.
The entrance lobby is the primary space for changing exhibitions at the National Motor Museum. Because it’s the entrance to the museum, there is a lot of natural light, due to large windows, and a long row of glass doors. It’s a high visibility area, and creates a first impression for the Museum visitor.
Like exhibitions at most museums, The Art of Citroën had a very tight budget. Although the budget was a real constraint on the creative side of the project, we delivered a display that enhanced the museum visitor experience, and told engaging, multi-faceted stories about the marque.
The £138,000 project was funded partly by the National Motor Museum, and partly by the Citroën Conservatoire in Paris.
lots of natural light due to the glass entrance doors and windows. The space graduates to low levels of natural light towards the back. The objects on display – cars primarily, need a certain amount of theatrical lighting to make them really pop. Hanging points for truss lighting, and lighting circuits were available.
We sourced images and video to support the overall ambiance of the visitor experience.
Careful consideration of people flow was required due to the siting of the exhibition primarily within the entrance lobby to the museum. Very clear delineation between exhibit space and public space. While providing clear flow for visitors heading further into the museum is important, it is also important that interstitial spaces be provided for visitors to dwell and examine the exhibition.
It was a requirement of the project to allow large groups of French school children to view the exhibition.
heat generated by lighting, visitor numbers and AV equipment were taken into account with the building services.
Assessment of response / other considerations
Client review presentation
The intention here is to fully represent the exhibition so that all players can appreciate exactly what it will look like once complete i.e. there are no surprises.
Education material (brochure, exhibition texts, video, archival advertising material)
We researched, wrote, created artwork for and arranged printing for all the exhibition texts
The educative material included wall texts, the archival material reproduced on the backdrops, a loop video of advertising and technical explanation material, and a print brochure.
Delivery (project management)
Preliminary concept drawings
A phase of discussion around the brief and surrounding material, and concept sketches to make real the creative ideas is our usual method of proceeding with a project.
Promising ideas recorded by sketches are taken to the next phase
Design development (rendering, card models, presentation panels)
To-scale cad plans are drawn. These are worked up into 3D renderings. The renderings and cad drawings are used to refine the concepts in an iterative process to arrive at reasonably accurate representations of the exhibition concepts.
As is often the case, we came up with the name of the show.
Our tender package for most projects includes concept renderings, cad plans, and written analysis including budget in an A3 booklet, and a stand up presentation. For this show, we also made a physical scale model because it is such a good vehicle for conveying design intent to a group of people. Sketches, cad drawings and renderings can all be misinterpreted. It’s quite difficult to misinterpret a physical 3D model.
Once the tender has been won, we move swiftly on to client consultation and the more technical aspects of the job.
With client consultation, a phase of refining the concepts into fully detailed studies of the exhibition takes place.
Because we are already working to scale in 3D during the concept phase, the transition to fully detailed workshop drawings is an easy one. With these, contractors can very accurately quantify materials and costs.
Client review points
Built into all our projects is a process of client review. It’s very important for everybody that there be no surprises in a project. Regular client review at project milestones ensures that good communication happens.
Program of Build
In the technical delivery phase of a project it is very important to have a clear idea of the critical path. Being aware of project element dependencies is vital for a high quality exhibit to be opened on time and on budget. For example In the case of The Art of Citroën, it was necessary to give the large format digital printing used for the backdrop to the show, sufficient time to dry before transporting to site. This meant the artwork for the printing had to be complete weeks before the show opened. The backdrops were installed on a timber framework as the first part of the build. Another level of complication to the on-site build was the museum remained open throughout. temporary structures were erected to allow the public access to the Museum safely compartmentalized from the work.
In the interests of excellent results, it is very important to communicate with contractors on site. Especially if a snag is encountered. The Art of Citroën build on site went very smoothly mostly due to our accurate 3D appreciation of the space.
Most of the objects on display in The Art of Citroën were reasonably hardy form a conservation perspective. That is not to say visitors were encouraged to touch most of them. Barriers, tensor ropes, and a glass case were used to protect sensitive objects from the public. The two exceptions to this were the centerpiece c6 and one of the ds’ which visitors could sit in.
The artwork created for the backdrop panels is originated primarily from archival marketing material from the Citroën Conservatoire in Paris. The scale of the walls meant that some of the original posters had to be re-worked to allow them to be reproduced with sufficient quality. The backdrops were there to cover the visually disruptive walls, but also to showcase some of the very innovative marketing carried out by Citroën, especially in it’s early years.