From multiple perspectives

Emma Powell

The Process of designing an exhibition:

Photography - Front cover - Emma Powell, Pages 2-3 - Emma Powell, Page 6 - http://www.blsart.com/angel/crystal/exte-rior2.jpg, Page 8 - Emma Powell, Page 9 - http://www.culture24.org.uk/asset_arena/1/90/26091/v0_master.jpg, http://www.tate.org.uk/modern/exhibitions/latifaechakhch/images/fade/04.jpg, http://www.tate.org.uk/modern/exhibitions/latifaechakhch/images/fade/blueroom09.jpg, Page 10 - http://farm4.static.flickr.com/3212/2604807835_c0d7d43b33.jpg , Page 11 - Emma Powell, Page 11,13,15,16,17,20,21,23 - Emma Powell

ContentsIntroduction 5

History 7

Roles 10

Process 18

Conclusion 24

Bibliography 26

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This report will explore and compare the processes that both large and small galleries use in creating an experience as well as showcasing the artists work. Three types of people who are involved in the exhibition process will be interviewed (curators, designers and audience) and information will be gathered to gain a better understanding of the importance and differences of exhibition design.

Examining current contemporary design companies that have worked with exhibition design and are at the centre of the action, help to provide good research. Interviewing them and creating a database of information and design processes, has been the aim. Getting first hand accounts has been a great way of gaining a better understanding of the process. In addition, visiting a range of galleries and museums and collecting information about the exhibitions that have been created, has also been one of the key interests within this report. Observing the public’s interaction with an exhibition and recording their reaction with the space, has provided an interesting insight into the minds of the designers and how they have designed the exhibition. By visiting exhibitions and observing the public, information has been gathered which has been valuable in compiling this report.

It is helpful to have an understanding of what is defined as an exhibition when reflecting on the research findings of this report. One such definition is:

‘an exhibiting, showing, or presenting to view’, or ‘a public display, as of the work of artists or artisans, the products of farms or factories, the skills of performers, or objects of general interest’ (Collins Dictionary, (2000), p192).

Introduction

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The first ever large scale exhibition was in 1851 in London and called the “Great Exhibition”. It was held in Hyde Park in the purposely-constructed Crystal Palace. This exhibition housed many iconic pieces mainly expressing the areas of culture and industry of that time. The Great Exhibition was a celebration of modern design and industrial technology, not only were the pieces inside examples of modern technology, but also the building itself. In today’s society exhibitions are everyday norms, whereas in 1851 it was a brave and innovative endeavor. There were many different types of exhibitions displaying content from the creative arts, to the technical sciences and educational history, all of which had been presented to create an experience for the visitor. During the research stage of this report, it was interesting to notice that the same concepts are used today. What is interesting is whether people understand the impact that the Great Exhibition had on the future of exhibitions. It provided every person a way to exhibit their skills, which is still done today somewhat surprisingly, there are similarities between exhibition design from 1851, the 1990’s and now.

History & Current Day

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At any one time there are thousands of exhibitions taking place around the world, each one of them different from the last. Many of these exhibitions take place in museums and galleries, however, more and more exhibitions are happening in intimate settings. Houses and small gallery spaces all around the world, and especially in London, are starting to reveal themselves, spaces full of hidden experiences and expressions of art and culture. Large Galleries such as the Tate, the National, Saatchi, Hayward and the Royal Academy have prestigious reputations around the world. Huge numbers of visitors come from all countries to visit the exhibitions and experience the artists’ work. These galleries have some of the most well known, hugely respected and inspiring works of art housed and showcased within their walls. The purpose of these amazing creative spaces is to educate, inspire and indulge the public. Bertron Schwarz Frey makes a great point in his book, Designing exhibitions,

‘In the information society we are in danger of losing sight of contexts. Museums and exhibitions can offer a place where contexts of meaning can be experienced and opened up to discussion, where the roots of the present are revealed in the past and knowledge is conveyed in a way that restores our capacity for astonishment and inquiry.’ (Schwarz Frey, B. (2006), p18)

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Smaller galleries and public spaces are starting to create experiences that could have been in the Tate or Saatchi. A great example of this would be Roger Hiorns’ Seizure exhibition within South London. This piece has taken art exhibitions to a new level within a small space. It can be compared to Latifa Echakhchs’ Speakers Corner 2008, within the Tate Modern, which was exhibited at the same time. Smaller organizations are looking at art in a new way and are making it more about the experience, than just the art on the walls. Both of these exhibitions have taken the space provided and turned it into the art itself. Intimate settings are allowing visitors to experience more than just a painting on a plain wall with an A5 page of text on the left hand side. Roger Hiorns’ Seizure, has taken an everyday situation, a council flat, and filled it with copper sulphate, which turns into crystals that have grown around the frame of the flat. As the audience walks in and around the flat you are surrounded with the art, which creates an experience in which the audience becomes part of. Latifa Echakhchs’ Speakers Corner, 2008, also takes everyday situations and creates an experience that although it may not be understandable at first, is very symbolic and takes the audience out of their comfort zone to make them think about the art. She has used carbon paper and burnt tyres within one room and bare flagpoles within another. These are all mundane objects with everyday uses but once placed with a meaning, people are introduced to other possibilities.

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This next chapter will look at the roles that are involved in exhibition design. Vital to the whole process are the people that create the gallery exhibitions. Visiting designers, curators and even listening to the audiences produced some interesting points about the way that exhibitions are designed today. The next chapter of this report studies these perspectives within the different areas of exhibition design to gain a better understanding of the work that they each do and whether they interact with each other.

There are many roles within exhibition design; the key roles are the curators, designers and audience.

‘The curator or expert in the exhibitions subject does research, provides scholarly information, and selects and curates the appropriate collection objects. To guide interpretive planning and presentation, a team member with an educational background and training is needed… Another member is needed to translate the subject, objects, and ideas into visual form: the designer. The designer takes the information provided by other team members and creates a plan for presenting it to the public’ (Dean, D. (1994) p14).

Roles

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These roles can be broken down even more but for this report information has been gathered from the three key individuals to gain an insight into their opinions of what makes a great exhibition. Exhibiting is all about presenting something in a certain way to an audience that want to experience something new and learn from it. Being able to hold the audience’s attention long enough that the purpose behind the exhibition is achieved and understood. For any exhibition there needs to be a need, an idea, a starting point. These ideas come from the galleries and museums themselves and also the curators and directors of the galleries. They have to think about the benefits of spending time and money on creating an exhibition that thousands will want to travel to see.

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The Audiences perspective

Hannah Clarke, a member of the public, spoken to within the Tate Modern was asked why she visited exhibitions and did she gain anything from the exhibition. She answered,

‘I love visiting galleries especially if they have an artist that I enjoy, it isn’t just about the art when I visit, it’s also the experience of being in a gallery or space that other art lovers are in and taking in the experience of how the art has been arranged’ (Clarke. H. (2009) interview with art fan, Tate Modern, 20 December).

Toby Branch, another member of public, who was an art student studying in London, also gave his opinion about the exhibitions within the Tate Modern. He stated that,

‘I’m here to look at a number of artists for a project I’m doing.’

‘ When I need some inspiration I get on a train and go to a gallery. Studying within London makes that some much easier, it would be a shame to waste.’ (Branch, T. (2009) interview with art student, Tate Modern, 20 December).

Toby was asked more questions about what he thought about the experience and how the museum and curator laid out the artwork. He answered,

‘The experience for me is more about the atmosphere that the room has, the people, the art and the interesting conversations that happen under whispering breaths… Sitting still and observing the people helps me to be inspired.’(Branch, T. (2009) interview with art student, Tate Modern, 20 December).

Sam Drew, the last member of the public interviewed at the Tate Modern, a father that has taken his children out to visit the Tate Modern. He mentioned ‘

‘I am here to show my children what an art exhibition is and show them different artists… The Tate Modern provides a great child friendly atmosphere and tasks that the children can get involved in… My children love drawing and using different colours, the Tate has an area that has paper and crayons and pencils for the children to interact with, which is great, one of the reasons that I bring my children here’ (Drew, S. (2009) interview with a man who has brought his children to the museum, Tate Modern, 20 December).

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The Museums Association states that,

‘There are about 80 million visits to museums in the UK every year, and new research carried out for DCMS suggests that 43% of people living in England have made at least one museum visit in the previous year.

The top five most visited museums in the UK in 2006 were*: 1. Tate Modern, London - 4,915,000 2. British Museum, London - 4,837,878 3. National Gallery, London - 4,562,471 4. Natural History Museum, London - 3,754,496 5. Science Museum, London - 2,421,440*Source: Association of Leading Visitor Attractions (www.alva.org.uk) (www.museumsassociation.org)

That is a lot of visitors to galleries. These statistics show that there is a need for the exhibitions to continue and even to be more adventurous to increase the amount of visitors. The experience is one of the elements that bring the audiences into the galleries so the curators have to work with the designers to create a new experience each time.

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Curators at the main galleries and museums organise the content for the exhibition and have a vision for the outcome of the exhibition. To the curator the audiences are the clients, they need to meet their needs and by doing this they produce followers of the arts and industry. Exhibition designing and producing is always a challenge. Getting people to come and visit their exhibitions, enjoy and learn from them is their main aim. The curator also has a ‘client’ within the gallery field, the Project Director. In such cases as the Victoria and Albert museum, their view on this is,

‘The Project Director acts as client for the V&A. S/he has overall responsibility for the delivery of the project.’ (Victoria and Albert Museum: FuturePlan Project Teams and Roles, October (2007)).

This varies from gallery to museum but there is always someone at the top providing the funding, location and say on what the future entails and how the museum or gallery is run. For example The National Gallery in London has the ‘Board of trustees’ at the top and then works down to director, executive committee, head of sections and directors of areas. All these roles have to work together to provide the best for the public.

Once the curators have gained a better understanding of what the clients want, the curator asks a number of design companies to come up with the best answer to the problem.

The Curator’s perspective

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Designing Exhibitions by Giles Velarde, (1988) has a whole chapter that talks about the designer and the qualities, that in 1988, he thought you needed to have, such as, a good understanding of three-dimensional space. Without the ability to take a flat plan and visualize it in a three-dimensional way, the space would not be used for the best. Designers from interior, architectural and sculptural backgrounds would be best suited for this role, this is still true today.

A number of graphic design companies that focus on interior or space design are used with exhibition design, such as Casson Mann. Gary Shelley spoke about what their company does and how they came to create exhibitions.

‘Casson Mann are interior designers and for a number of years now we have been specialising in exhibition design. A large part of our portfolio has been museum and exhibition design. That came about from a couple of temporary exhibitions many years ago that Roger and Diana did. They then won a very large gallery, Victoria and Albert Museum; British Galleries, that was a 5 year project and from interior designers they became known as exhibition designers.’ (Shelley, G, 2009).

The Designer’s perspective

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The best experience is produced by the best in their fields. Galleries make designers fight for the chance to create the exhibition by giving the design companies the opportunity to pitch an idea. Gary Shelley explained his pitching experience,

‘you have to compete to get the work, so you might be short listed by the museums down to four design companies and you have to pitch so it’s a pitch based on what theme you put in, also your creative ideas for the project’ (Shelley, G. (2009)).

He then mentioned the difference between the use of purely a graphic designer and their architectural vision, by saying,

‘I think you can see often the work we do than work that purely graphic designers do… We are used to working with space, architectural space so we kind of translate the architecture in lots of ways. But in order to do that you’ve got to understand the architecture’ (Shelley, G. (2009)).

Gary Shelley from Casson Mann was asked how his company created an experience and what made his company the right choice by the curators to create the galleries experience. He responded

‘Experience is often the case, our own experience… It’s an understanding, a spatial three dimensional understanding’ (Shelley, G. (2009)).

Within design, it’s all about meeting the brief and providing the outcome, as well as showing an educated, resourceful research method. There are many design companies just within London, let alone the world, and to stand out within a pitch or a meeting, ‘exceeding their expectations’ (Shelley. G (2009)) is important. Once the curator has found the right company to do the job the curator then works alongside the designers to share their visions to create a great exhibition.

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From a designer’s point of view the client has two meanings; the gallery or museum that they are working for and the audience that

they will be designing for. Creating the right experience with the audience in mind as well as meeting the expectations of the gallery

or museum is hard, they don’t always see eye to eye. Speaking to Gary Shelley from Casson Mann about working with the client was

interesting and he made some useful points about this relationship. A question asked was about how often his designers work with the

client, he said,

‘It’s difficult, you obviously can’t dictate to the client because it’s their money and their project but also you can’t work in a committee format.

Everybody can’t have a say, so you have to lead creatively and our job is to exceed their expectations.’

(Shelley. G (2009) Interview with one of the directors of Casson Mann, 23 October)

On the other hand it is not being suggested to ignore the curators and members at the gallery and museums because they are experts in the

fields that they work in. The Architects’ Journal wrote in an article,

‘Museum curators and conservators are deeply knowledgeable about their work, so not listening to what a client has to say is a missed opportunity’

(Cassar. M (1998)).

Working with such a wide range of talented individuals is important and to have missed an opportunity would be a waste of the network that goes with creating an experience. As Gary Shelley stated in the

interview,

‘it’s exciting, you learn something new everyday and it’s fun’ (Shelley, G. (2009)).

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All it takes is one spark, one idea to create a great exhibition but it needs a well-organised team and a well written brief to continue. A brief is one of the important elements to the whole process of exhibition design. It is there at the beginning and still there at the end. It is a guide that is followed throughout the process and helps to keep people on the right track.

Breaking down the exhibition process allows us to see if there are common factors to the creation of exhibition design, elements that can be repeated over and over again but also produce a completely different experience at the end of it. Giles Velarde’s book, Designing Exhibitions; 1988, breaks the whole experience into different areas, these areas are; the Designer, the Brief, the Words, the Design, the Management, the Production, the Completion, the Maintenance and finally the Result. Do current designers still follow this breakdown, even 20 years on?

According to Giles Velarde’s book, Designing Exhibitions, (1988) p49, there are six things that must first be established:

-The aims and exact goals of the exhibition -The venue and exact site -The information in general terms -The objects to be displayed -The opening date -The budget

To gather this information visiting current exhibition designers was the next step. After a number of interviews with companies which specialise in different areas of design such as interior and graphics, Casson Mann, or ico, who create the whole experience from both areas, the graphics and technical elements may not follow it in that order but they use certain stages when needed. This was a common result to the research, smaller galleries also follow these key elements, also not in the same order but they use them as a guideline to keeping the exhibition organized.

Brief

Process

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‘Planning an exhibition requires that an appropriate working strategy be developed. In some ways it resembles the process of planning a journey’ (Schwarz Frey, B, (2006)).

Schwarz Frey has a point, to begin a journey you mostly need to know where you are going, however that doesn’t always happen. It’s the start that you know for definite, where you start can change the whole process. Take the path of travel that you pick, it can create a completely different experience if you fly, go by boat or drive, each one of those modes of transport interacts with different people. Hopefully, in the end you arrive at the right place but the experience and process can be different. An exhibition is a lot like that, depending on what the exhibition is about and where, depends on the experts and educated people you would meet. The aim of a brief is to narrow that choice down. The curators will start off with one idea or theme or collection and the designers will come up with their individual idea.

When creating the design, design companies brainstorm and research many areas that are linked to the collection or art piece to gain a better understanding of what the artist or creator was thinking when producing the piece. When talking to Steve Lloyd from ico Design Company you can see that they have a very specific way of gathering information,

‘then we interviewed the target audience, this is a really important thing that we try to do, that is to know who you are talking to. Know your target audience’ (Lloyd. S (2009).

The next step would be to think about how the audience can be presented with the information in an interesting way, as well as creating a learning experience. An experience is the memorable part of an exhibition.

‘Exhibition development is a process aimed at realizing an idea – giving it flesh and bones’ (Dean, D. (1994)).

Planning/Research

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Giles Velarde makes a point about solving problems and having an interest in the design. He stated,

‘there are two classic areas where it is most difficult to design effectively and objectively’ (Velarde, G. (1988)).

When designing an exhibition these two points are very relevant, as a designer you should create an idea with effectiveness in mind, without the point getting across there is no point. The exhibition has to be informative as well as giving both sides to the argument; for example, ico design has just recently finished an exhibition for the Science Museum on climate change and how we can affect and influence the future. They didn’t just pick the negative view of ‘we must’ change things, they looked at every possible outcome, which allowed them to stay objective.

‘Once the narrative is completed, then the educator, designer, and curator can begin sifting the information for topical divisions and methods of communication.’(Dean, D, (1994)).

Communication is where a designer really comes into a world of their own. They are picked on their ability to take a written or spoken idea and make it visual. Designers have to come up with multiple ideas that could all be as effective as the last and create an experience that is linked to the idea that the curator had in mind.

‘At the heart of any exhibition is the notion of communication, and the focus of the designer is to articulate the intended message’ (Dernie, D. (2006)).

‘All successful exhibiting is a collective effort, and the good jobs come of a complete collaboration, however hard it may sometimes be to achieve’ (Rattnebury, A, (1971)).

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During the interview with Gary Shelley from Casson Mann, Gary mentioned the RIBA standards when talking about the design process. RIBA (Royal Institute of British Architects) set certain standards and stages that architectural companies have to use and think about when designing. Casson Mann, being an architectural design company, have to follow the RIBA standards. These contain stages from A-L, which is a list of stages, such as . Stage C for Casson Mann is one of the important, concept design stages,

‘you will be meeting the client once or twice a week… our job is a kind of translation between the object and the audience…so you’ve got to understand the visitor’ (Shelley, G. (2009)).

Gary Shelley from Casson Mann later went on to say

‘I think often curators don’t understand the visitor because they’re obsessed with their curating. It’s our job really to understand the visitor as well as the museum’ (Shelley, G. (2009)).

Talking to the audience is a useful skill, whilst talking to Hannah Clarke, interviewed within the Tate Modern, information was gathered about what worked well and what she would expect from an exhibition. Hannah stated,

‘As long as the art is presented within a clear and understandable manner then I’m happy… I don’t visit too many exhibitions that are exhibiting modern art but the ones I have visited, I have enjoyed the interesting way that it has been created… The experience is more why I go to galleries, it’s interesting how every time the gallery finds a new way to display the works’ of art’ (Clarke, H. (2009)).

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The layout of a room and the artwork inside it is carefully thought about and so is the position of the text. The curator normally have the final say where the pieces are laid out but this a good example of where the designer and curator have to collaborate. They have to work together to create the right experience, which shows off the art or objects in the best light.

Within the exhibition field typography isn’t something that is always thought about, although is an important narrative system.

‘In order for words to be effective in the ‘walk-about’ context of exhibition, it goes without saying that they should be well displayed’ (Velarde, G. (1988)).

The way that information is displayed effects the whole feel to the exhibition, people don’t realize but without the words they don’t understand what’s behind the piece. An observation that was made during visits to some exhibitions was that people looked and engrossed themselves with the piece and then read what it is about.

An effective way used within art galleries is to keep the text simple and to the point as well as informing the audience. Whilst talking to a member of the public within the Tate Modern, the layout of the text was brought up. Hannah Clarke, the member of the public spoken to said,

‘I feel that the text helps to understand what the room is focusing on and gives a little well selected background to the artists and the piece itself… I don’t always read the text first, I tend to focus on the picture and get my opinion and then read about the piece’ (Clarke, H. (2009)).

A question was asked about the need of text within exhibitions and whether it would be missed. Hannah Clarke went on to say,

‘I would feel there was something missing and maybe that I hadn’t been told everything that I would have wanted to know. The pieces are the focus but as a viewer I would want more’ (Clarke, H. (2009)).

This was an interesting point, text is a necessary need but not the focus, it would be missed if it wasn’t there but is not always noticed

Layout/Typography

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For the designer it is all about whether the right navigation method has been used and if the audience has been provided with the right information and understood and enjoyed the experience. Last but not least, for the curator, it is about all the parts put together. Has it run smoothly? Has the audience enjoyed it? Does the final result meet their initial ideas or exceed their expectations? These are all points that have come up whilst interviewing individuals, researching from books and visiting existing exhibitions.

Whilst researching this report, many elements have been gathered and new experiences have been gained. A better understanding of the process was the aim and this report has covered different areas from the history, the curators, the designers, the audience and design. All these areas are different in so many ways but they all come together to create an experience not only for the audience but also for themselves. Artists spend hours, years creating pieces not just for themselves but also to create an experience for the audience, to wake the audience up to a new thought or idea. The galleries and museums have a job to make sure that they enroll the right people to create the right outcome for the art. The final outcome is the last part of the whole journey and it is a long journey, employing many people with different talents and interests. Everyone involved comes together to produce something fun and interesting that the audience will gain a new appreciation for. However, the audience doesn’t really understand the work that goes on behind the scene to produce their experience. This report has looked at the process from many points of view, and from all points, it’s hard work. Design companies still use guidelines within today’s modern design that are outlined within books that were written in 1988. They may all follow the same breakdown but each time they have to make more of an impact than the last exhibition they created.

Conclusion

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‘An exhibition, Birnbaum says, is not just flat pictures on a screen so you can’t look at it on the Internet. It’s a medium in itself. It’s a bodily experience’

(Birnbaum, D. (2009)).

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Alles, A. (1973) Exhibitions: Universal Marketing Tools, London: Associated Business Programmers Ltd

Auerbach, J. A. (1999) The Great Exhibitions of 1851: A Nation on Display, Hong Kong: World Print Ltd.

(Cassar. M (1998) The Architects’ journal, the home of British architecture. Museums, the client’s way), 19 February).

Dean, D. (2007) Museum Exhibition: Theory and Practice, London: Taylor & Francis.

Dernie, D. (2007) Exhibition Design, London: Laurence King Publishing Ltd.

Gibson, D. (2009) The Wayfinding Handbook: Information design for Public Places, New York: Princeton Architectural Press.

Harding, A. (1997) Curating: The contemporary art museums and beyond (Art & Design Profile) Vol 12 , No ½ January – February. Mostaedi, A. (2006) Exhibition Design, Spain: Carles Broto.

Pegler, M.M. (2007) Visual Merchandising and display, Fairchild Publications, Inc. Rattenbury, A. (1971) Exhibition Design: Theory and Practice, London: Studio Vista Limited.

Books

Read, B. Lingwood, J. & Nordgren, S. Phillpot, C. & Higgs, M. (2001) The producers: Contemporary Curators in Conversation (3), Baltic

Richardson, A. (2009) Guiding touch, Design Week, Vol 24, No. 25, 25th June, p19.

Schwarz Frey, B. (2006) Designing Exhibitions, Switzerland: Birkhauser Publishers for Architecture.

Serota, N. (2000) Experience or interpretation: The Dilemma of Museums of Modern Art, London: Thames & Hudson Ltd.

Staniszewski, M,A. (2001) The power of Display: A history of exhibition installations at the Museum of Modern art, Canada: The MIT Press.

Tucker, J. (2003) Retail Desire, Design, Display and Visual Merchandise, Switzerland: RotoVision SA.

Velarde, G. (1988) Designing Exhibitions, London: The Design Council.

Wade, G. (2001) Curating in the 21st Century, Walsall: New Art Gallery.

Bibliography

Interviews Web Interview

Shelley, G. (2009) Casson Mann, London, 23rd October. Interview by Emma Powell

Lloyd, S. (2009) ico Design, London, 28th October. Interview by Emma Powell

Clarke, H. (2009) Member of the public, London, 20th December Interview by Emma Powell

Brown, J. (2009) interview with art student, Tate Modern, 20 December. Interviewed by Emma Powell

Drew, S. (2009) interview with a man who has brought his children to the museum, Tate Modern, 20 December Interviewed by Emma Powell

Birnbaum, D. (2009) at TEDGlobal 2009: Running notes from Session 12. http://blog.ted.com/cgi-bin/mte/mt search.cgi?tag=Daniel%20Birnbaum&blog_id=1&IncludeBlogs=1[Accessed 9th Novmeber 2009]

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