Dear Ken (long post and some reminiscing)
At NID we have been teaching Exhibition and Museum design for as far
back as I can remember, even before I joined in 1969 as a student. NID
has also been an active player in the creation of Museums and
Exhibitions for a variety of clients. Your note is very crisp and the
call for resources will be of great use to us as well and I am
therefore forwarding your note to my faculty colleagues off list to see
if they can contribute to your effort directly. I will get back to the
list and to you if some substantial resources are recommended by them.
Besides those on our faculty at present I can think of some former
colleagues (who have retired or moved on to consulting) who are
considered experts in the subject and I particularly refer to the
husband and wife team of Vikas and Suranjana Satwalekar, now design
consultants in the field, who have been responsible for the shaping of
the NID's exhibition design and museum design activities over the past
twenty years or more. They will respond to you directly.
NID's major Exhibit design experience started with the great "Nehru
Exhibition" that was designed at NID Ahmedabad for the Government of
India by Charles and Ray Eames from September to December 1964 and it
was first exhibited at the 10,000 square feet space in the Union
Carbide Building, on Park Avenue on 49th Street in New York. It then
travelled to Washington, Los Angeles, London and Paris. Thereafter
another copy was prepared and fabricated for Japan and Australia. It
was this copy that came to Chile in 1973 and the NID team headed by
Prof Dashrath Patel, which included me as a young designer and faculty
colleague, to help set up and hand over the exhibit to the Ambassador
of India in Chile in January 1973. It was here that I met the President
of Chile, Salvadore Allende, on the 26th of January 1973, and later
connected with the great work done by him as reported in the book by
Stafford Beer, "Platform for Change", and it changed my perception of
design for ever.
After this "Magnum Opus" the NID faculty were involved in no less than
100 (or more) major exhibition projects, temporary and permanant, and
in recent years in some very high tech offerings are still in the
making. Recently inaugurated Museum for Numismatics, by the Reserve
Bank of India in Mumbai had security features and display standards
that are globally acknowledged. Two ongoing projects include the
re-design of the Victoria Memorial Museum in Kolkatta and the enormous
"Khalsa Heritage Museum, in Punjab for the Government of Punjab to be
located in a major architectural complex that has been designed by the
Isreali architect Moshe Safdie. I am reflecting on this enormous body
of work and sharing this note with my faculty colleagues since very
little of this vast experience is still available in print and the
experience resides in the many individuals who have worked on these
several hundred projects of very high quality. I hope that this will
excite some design researchers to take NID as a topic of study and
collate all the documentations into a format that can reveal the
lessons from these experiences.
I wrote a paper on exhibition and museum design as a reflection on the
lessons from the NID experience for a Conference on Crafts Museums in
1986 and we have come a long way since then. Recently (last year) NID
teams designed and executed "The Great Arc Exhibition" for the Surveyor
General of India, an office that was celebrating the two hundredth year
of the mapping of India and the Great Arc Survey, the first in the
world, and the exhibit opened in the UK and is now back and ready to
travel across India. I hope that my call to my faculty colleagues will
give us more insights from real experience of design and execution of
all the projects that we have collectively experienced in the unique
NID pattern of the co-existance of education and design practice across
many disciplines under one roof. The story is yet to be told. Any
takers?
I am quoting below my paper on exhibit and museum design from 1986 and
those not interested can skip the last bit.
With warm regards
M P Ranjan
from my office at NID
17 September 2005 at 1.25 pm IST
Prof M P Ranjan
Faculty of Design
Head, NID Centre for Bamboo Applications
Faculty Member on Governing Council (2003 - 2005)
National Institute of Design
Paldi
Ahmedabad 380 007 India
Tel: (off) 91 79 26639692 ext 1090
Tel: (res) 91 79 26610054
Fax: 91 79 26605242
email: [log in to unmask]
web site: http://homepage.mac.com/ranjanmp/
On 17-Sep-05, at 12:18 PM, Ken Friedman wrote:
> Dear Colleagues,
>
> Can anyone recommend an up-to-date, English-language textbook
> for a course designed to introduce students to the realities of the
> museum and gallery world and professional practice in the museum
> and gallery field? Specific articles for compendium collection are also
> welcome. Should include but not be limited to design museums.
>
> This text should be useful in a course with this description:
>
> This course will give students an insight into the characteristics of
> the art gallery and the museum as an institution and as a setting for
> work and cultural production. To explore course themes, students will
> consider the history of museums and galleries, cultural policy, and
> organizational forms. Students will also examine the economic
> challenges and market issues that face art galleries and museums
> today.
>
> This course will give students overview of the organizational and
> economic dimensions of art galleries and museums in Norway and around
> the world. Course participants will develop the ability to understand
> and analyze art galleries in terms of its internal characteristics and
> the critical factors in the larger environment that shape them.
>
> The range of topics in the course is broad. The book can approach
> the theme from any of several perspectives. It is not necessary to
> cover
> everything in a single book provided that there is an overview.
>
> Art gallery as social institution
> The history of galleries
> The work of the gallery
> The gallery and cultural production
> Art markets and the sociology of art
> Museums
> The museum as social institution
> The history of the museum
> The museum and cultural production
> The museum as conceptual marketplace
> Museums and the sociology of art
> The economics of art
> Sponsorship and integrated sponsorship
> Cultural collaboration
> Organizational and economic challenges of the art gallery
> Organizational and economic challenges of museums
> Experience and practice
> Galleries, museums, art worlds
>
> I'd also welcome suggestions on recent articles covering these
> themes.
>
> Please send your suggestions directly to me at
>
> [log in to unmask]
>
> I will compile all suggestions and post the compilation to the list.
>
> Thank you,
>
> Ken
>
> --
>
> Ken Friedman
> Professor of Leadership and Strategic Design
> Department of Communication, Culture, and Language
> Norwegian School of Management
>
> Design Research Center
> Denmark's Design School
>
> email: [log in to unmask]
>
>
Quoted text is a paper by M P Ranjan on Exhibit design at NID (the NID
Way in 1986)
Cost Effective Displays – The NID Experience
M P Ranjan
Faculty of Industrial Design
National Institute of Design
Ahmedabad, India
Paper prepared and presented at Crafts India ’86, a workshop on Crafts
Museums, New Delhi, October 1986 and subsequently published in “Crafts
India ’86: Papers Presented at the Workshop on Crafts Museums”, Crafts
Council of India, New Delhi, 1986 - pp 125 - 129
My presentation on design and display techniques for museums is based
entirely on the considerable body of knowledge built up at the National
Institute of Design (NID) in the area of exhibition design. Over the
past 25 years, designers at NID have had the opportunity to work on a
large number of exhibition projects, both as professional consultancy
assignments as well as student-level projects. These exhibitions
include temporary and permanent ones covering thematic, scientific, and
cultural and trade topics. I am convinced that much of this experience
would be applicable to the design of craft and other museums,
especially in the context of the changing role of museums in our times.
NID is a design school composed of two major faculties: the Faculty of
Industrial Design and the Faculty of Visual Communication. In many
design schools these disciplines are kept apart. However, we found that
exhibition projects offered the possibility of building
cross-disciplinary bridges, as the design of any exhibition is
essentially a multi-disciplinary task. Putting together an exhibition
requires teamwork involving many disciplines, many of which are drawn
from outside the Institute as circumstances warrant. This premise that
design of exhibitions and the design of museums is a multi-disciplinary
task is an important one for curators and museum administrators to keep
in mind when planning new exhibits or museums. Sometimes experts in
subjects attempt to put together exhibitions themselves, some may be
able to do so effectively. I am of the view that the involvement of
professional designers working in close collaboration with the subject
experts is far more desirable although it may seem expensive initially.
Demands made on museums and the public's perception of its role have
undergone dramatic changes. Traditionally, museums were seen as a
repository of rare and exquisite cultural, natural and historical
artifacts primarily concerned with conservation, classification and
research tasks. However most people would agree that today's museums
should go beyond that role in becoming a vehicle for communication and
dissemination of information in an interactive manner. Hence the added
responsibility that the contemporary view holds for a museum includes
education, entertainment and community service. Entertainment is
important because it means involving the viewers and educating them
through a mode of interaction. Without this element of interest it is
impossible to communicate with viewers. Education too implies something
more than transmission of knowledge. It means raising questions in the
minds of viewers rather than providing all the answers in an absolute
manner.
Having established the premises on which we design exhibitions let me
go on to individual principles, devices and techniques used to make an
exhibition participatory and interesting to the viewer. These would of
course have to be used in an imaginative and creative manner,
appropriate to the task at hand, to be effective. Here I have attempted
to abstract the principles from the variety of exhibits and displays
incorporated in a number of NID exhibitions so that these could be used
consciously to enhance the viewers experience.
Interactive exhibits:Each key exhibit could be designed to induce the
visitor to participate in some way other than just looking at or
reading about the object or display. The visitors may be required to do
something with their hands or even feet in order to activate another
dimension of the display. A map of India displayed at the India
Exhibitin the Commonwealth Institute, London, required the visitors to
press a set of electronic switches in order to compare distances
between Indian cities to cities in Europe. This helped the British
audience to appreciate the vast distances in the Indian sub-continent
when compared with familiar distances between capitals of European
nations. Another such ,device is a display of rare and exotic musical
instruments the sounds of which can be heard by activating a tape
recorder. It is not necessary that technologically sophisticated
displays be used, as simple devices could be equally effective while
being easier to maintain.
Spaces for interaction:Spaces around displays need to be planned in
such a way as to permit the museum and its displays to be used in a
variety of ways. It is particularly important to consider the
activities that take place when groups of visitors come in to use the
museum as a teaching resource. Both the Energy Exhibitiona science
museum at the Pragati Maidan in New Delhi and the India Exhibitin
London are used as classrooms by teachers who want to use its
resources. Hence fairly large spaces need to be provided around
exhibits along with strategically placed benches which encourage the
use of these spaces.
Display structures:Hardware used to display objects and information
such as photographs and text must be designed to suit specific needs.
In many cases it might be possible to use readily available hardware
systems that are versatile and inconspicuous. In other cases it may be
necessary to design hardware that would show up the object in the most
favorable manner. Sringar, which was a traveling exhibition of Indian
costumes required display cases and props that could be quickly
dismantled and packaged in minimum volume of transportation. Similarly
strong, light-weight and flexible panel structures were required to
permit the exhibition to be set up in a variety of existing buildings,
while still retaining its identity and quality.
Graphic layouts:Some exhibits require the presentation of a
considerable amount of supplementary and explanatory information
especially if these are to be used as an educational aid. Here the
graphic treatment of panels and surfaces presenting the information
demands both visual coherence of all its components and the stimulation
of the viewer to absorb the essentials in the limited time available.
This has to be achieved with an effective and economic use of words and
images. Invariably the same space has to serve both the casual visitor
as well as the serious learner. This necessitates the presentation to
be "readable" at several levels simultaneously. The first level is a
predominantly visual one that can be appreciated instantly at a
distance while subsequent levels elaborate appropriate details. Hence
the components need to be structured in a hierarchical manner both in
terms of their information content and their size in the layout. The
components of such informative displays would include lead-visuals in
the form of photographs, illustrations, charts or diagrams as well as
supporting visuals in an appropriate media. Text matter that
compliments the visuals needs to be carefully structured into evocative
headings or titles, lead-text, sub-text and captions which an
experienced copy-writer can make concise and interesting. Typography
used in a sensitive and creative manner can be visually stimulating.
A versatile grid is an effective tool in generating interesting layouts
while maintaining visual continuity between a series of panels
throughout the exhibition. It would permit the use of a large variety
of sizes and proportions of visuals and text helping these to hang
together. While a grid aids in the exploration of layouts the final
layout would need to transcend a mechanical interpretation to avoid a
sterile presentation.
History walls:When a progression of events or developments through time
are to be depicted history walls are the most effective means of
modeling such patterns in time. Since this technique was first employed
and refined by Charles Eames, the great American designer, numerous
variations have been developed for a variety of themes. In principle a
history wall, as the name suggests, is an expanse of wall that is
graphically treated to depict the flow of time in the horizontal axis.
The vertical axis is divided into bands, each of which traces one
subject through time. For example, in the Nehru Exhibition, while one
band deals with Nehru's life the other bands cover national and
international political events, developments in science and technology,
developments in fine and applied arts etc. Hence while the horizontal
bands represent transition the vertical columns represent simultaneous
events. While typography is used to highlight decades or centuries
depending on the span of time depicted the treatment is predominantly
visual. A great deal of visual research is a necessary prerequisite for
the preparation of an effective history wall.
Illustrations and Charts:Information translated into illustrations,
diagrams and charts has far greater effectiveness than a great deal of
text. There are a variety of styles and techniques to choose from, each
with its potentials and limitations. Statistical data could be
presented in the form of graphs, bar charts or pie charts to make it
visually interesting and easily appreciated. Complex relationships
could be modeled with flow-charts, diagrams or even electronically
operated charts. Drawings and illustrations can be used effectively to
highlight aspects that would be impossible to depict photographically
such as the working principle of a tool or machine or the cross-section
of an anthill. Choice of technique is determined by the resources, time
and information available. Some elaborate techniques can be both
expensive and time- consuming while others could be effective, yet
inexpensive and simple to execute.
Scale modes and principle models:Both children and adults enjoy
examining detailed three-dimensional models and replicas. Specially
constructed models have the advantage of being able to highlight
specific features through the selective treatment of such features.
Communication of a working principle or structural feature is
effectively conveyed through appropriate types of models. A variety of
model types could be employed depending on the theme or subject to be
communicated. These could include block-models, cut-away models,
see-through models, and realistic scale-models, working principle
models, replicas and casts. These models could be executed in a variety
of materials depending on the resources, skills and information
available. Just as a carefully detailed and executed model can be
breathtaking, shoddy one can have disastrous consequences. Hence if
models are to be used they must be carefully designed and ski11fully
executed.
Treatment of surfaces and spaces:The mood of an exhibit is considerably
enhanced by the manner in which the ambient surfaces and spaces are
treated. One fairly inexpensive way to enliven surfaces and spaces is
through the use of textiles. Plain or patterned fabrics stretched over
panels or suspended from high ceilings add colour and vitality to the
exhibition space and help set-off the exhibits. Careful choice of
colour and texture helps in creating the desired effect. Both the Nehru
Exhibitionand the Manipur Pavilionused this technique extensively each
in its own way.
Another type of surface treatment explored was the simulation of mud
walls seen in village houses. The Agri-Expo theme pavilion used this
technique extensively to re-create village spaces in full scale so that
the audience could experience these-spaces, which were intended to
heighten their perception of rural artifacts and motifs. Photographic
blow-ups are yet another means of creating an illusion of space and
detail. A series of related blow-ups is a powerful means of simulating
spaces while providing a great deal of detail. These help to establish
the context of scale within the space available inside exhibition
halls.
Dioramas:These form a special class of three-dimensional models.
Dioramas are an effective means of creating an illusion or reality
especially in depicting spaces with the use of very limited exhibition
space. This is achieved by the exaggerated use of perspective
distortion, which deceives the eye. Combined with photographic
backdrops and controlled lighting the effect is a stunning recreation
of reality. The interior of a village hut or an underground coalmine
can be a realistic experience for an audience. Sound effects emanating
from strategically placed speakers help enhance this effect. Dioramas
are of two basic types: open-dioramas and peephole type dioramas.
Open-dioramas created with the aid of foreground props and a
photographic backdrop were used as settings for live craft
demonstrations in the Manipur Pavilion at the trade fair in New Delhi.
Illumination and mood lighting:The use of light in exhibition spaces is
both functional and aesthetic. The functional aspects relate to ease of
visibility by establishing suitable levels of illumination, avoiding
distracting reflections and glare. Circulation spaces and information
surfaces generally require a functional treatment. An altogether
different dimension in the use of light is the creation of a certain
mood or effect that is possible through sensitive and controlled use.
Here professionals from theatre and cinema are by far the most
competent. Such specialized lighting when used inside dioramas
increases the illusion of reality manifold.
Audio and Audio-visual:Sound effects and specially prepared sound
tracks can be effective means of enhancing one's experience of specific
exhibits. Sound is difficult to control unless confined to soundproof
spaces or delivered through proximity speakers. Specially designed
handsets or earphones located near key exhibits could be used to
provide a sound track, a running commentary or discourse on that
subject. The interest of an audience is generally aroused when such
devices are made available result1ng in a heightening of awareness and
a corresponding openness to receiving information. Audio-visual media
which include changing still pictures, motion pictures and video images
are powerful communication devices. A multi-screen audio-visual
programme can transmit an enormous amount of information in a short
duration. Such programmes are technically complex and expensive to
execute and maintain. However no other media can replicate their
effectiveness with reference to viewing time.
Feedback from visitors:In a permanent exhibition or museum any attempt
to obtain the views of visitors on what interested them and which
exhibits held their attention will certainly provide indicators for
improvement of exhibits. Over a period of time a great deal of
improvement can be made in the quality and effectiveness of exhibits as
well as in the selection of display techniques to be used. Viewer
feedback could be obtained both through questionnaires as well as
through discrete observation of viewers as they move from exhibit to
exhibit.
The Design Process:The design and development of a new exhibition can
be handled as a fairly systematic task. As I have stated earlier, this
is essentially a multi-disciplinary exercise. The process begins with
research and information collection on the subject matter of the
exhibition. Once a fair degree of clarity emerges, the theme of the
exhibition is articulated in the form of a preliminary concept for the
whole exhibition. This is usually visually represented in a skeleton
concept model, which would be arrived at through an exploration of
alternative treatments. Such explorations are carried out for various
levels of detail such as overall layout, detailing of sections,
individual displays and panels. Final concept is frozen at this stage
while individual exhibits are worked out to very fine levels of detail.
Expensive or complex exhibits are tested through specially built
mock-ups before major investments are made in their execution. Detailed
plans, layouts and technical specifications are drawn up for each
exhibit so that they could either is executed in-house or through
contractors. These numerous iterations from experiment to specification
are the central features of the design process. It is this systematic
procedure that proves to be cost-effective in the long run.
Note: Mr. Ranjan used slides to illustrate his talk.
~
UnQuote
M P Ranjan
17 September 2005 at 1.20 pm IST
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