New Directions in Exhibition and Environment Design

Transcription

Society for Environmental Graphic Design
Sixth Annual Symposium on Exhibition Design
Cranbrook Academy of Art
Bloomfield Hills, Michigan
August 13–15, 2009
Karen Abney, Solid Light, Inc.
New Directions in Exhibition and
Environment Design:
Interactivity
S y mposi u m C hair
David Harvey
American Museum of Natural History
S y mposi u m L E A D E R S
Tom Bowman, Bowman Design Group
Ellie Byrom-Haley, Gecko Group
Craig Johnson, Interpret Green
Paul Orselli, Paul Orselli Workshop (POW!)
PARTICIPANTS
2009 Symposium attendees
f o u nding S P O N S O R S
SPONSOR PARTICIPANTS
1220 Exhibits
Edwards Technologies Inc.
Craig Dunn
1220 Exhibits
SPONSORS
Keith Robertson
Color-Ad
Color-Ad
Coloredge Visual
Interpret Green
iZone
Maltbie
N.A.M.E.
Greenfield Village Dinner and Tour
Système Huntingdon/Folia
Scholarship
Scharff Weisberg
”Right Tech” Seminar
N.A.M.E.
Leslie Phillips
Coloredge Visual
Brian Edwards
Edwards Technologies
Craig Johnson
Interpret Green
Mike MacEachern
iZone
Charles Maltbie Jr.
Maltbie
Michael Platt
Scharff Weisberg
Stephan Roy
Système Huntingdon/Folia
Save the Date!
August 12-14, 2010
Seventh Annual Symposium on Exhibition Design:
Innovation
Cranbrook Academy of Art, Bloomfield Hills, Michigan
Sixth Annual Symposium
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Karen Abney, Solid Light, Inc.
Hélène Alonso, American Museum of Natural History
Craig Berger, SEGD
Tom Bowman, Bowman Design Group
Scott Briggs, Lee H. Skolnick Architecture
+ Design Partnership
Curt Cederquist, Maltbie, Inc.
Danae Colomer
Brenda Cowan, SUNY/Fashion Institution
of Technology
Jim Cummings, Showman Fabricators
Jonathan Dalin, SUNY/Fashion Institute
of Technology
John deWolf, The Corcoran
Erica Dillon
Leslie Gallery Dilworth, SEGD
Ken Ethridge, Système Huntingdon/Folia
Richard Gronefeld, 1220 Exhibits
David Harvey, American Museum of Natural History
Mark Hayward, BRC Imagination Arts
Tonian Irving, Liberty Science Center
Ben Jett, Solid Light, Inc.
Jennette Keiser, SEGD
Pat Matson Knapp, SEGD
Tali Krakowsky, WET
Tony Kuehn, 1220 Exhibits
Eli Kuslansky, Unified Field
Molly Lenore, Moey Inc.
Gabriela Lindberg
Bill Lockett, Cima Network
Jan Lorenc, Lorenc + Yoo Design
Mike MacEachern, iZone
Paul Orselli, Paul Orselli Workshop (POW!)
Roe Peterhans, H.B. Stubbs Companies
Michael Roper, Experience Design
Jessica Rubenstein, Experience Design
Jared Schiffman, Potion
David Small, Small Design Firm
Christopher Smith, Color-Ad, inc.
Joey Stein, Moey Inc.
Cynthia Torp, Solid Light, Inc.
Steve Wiersema, West Office Exhibition Design
How Do We Interact
with Our Museums?
David Harvey
American Museum
of Natural History
Symposium Chair
What is interactivity? Is it always intentional? Is it always observable? Does it
always involve technology?
The American Museum of Natural History has a long history of introducing
novel media and new technology in exhibitions. One of the earliest examples
was in 1904, when Dr. Frisch became the first curator to use phonograph
records in an exhibition. In 1908-09, we held the museum’s most popular
exhibition ever, the International Tuberculosis Exhibit. People waited in
lines that wound around the block. In that exhibition, gramophones provided
audio commentary. During the 1920s and 1930s, projectors began to appear
in exhibitions. In 1969, the museum mounted a groundbreaking exhibition
called Can Man Survive? that featured multimedia including slides, films,
soundtracks, 3D displays, artifacts, and special lighting treatments.
While technology has changed dramatically over the decades, so has visitorship. Today, between two and three out of five people visit a museum each
year. We compete for potential visitors with other media, like television, the Internet, video games, and movies, as well as other attractions. But
museums continue to be relevant and important to visit because they help
frame our understanding of the world around us through the exhibition
experience.
©AMNH/Denis Finnin
AMNH’s Hall of Human Origins was
designed to help visitors understand millions of years of hominid evolution. Australopithecines “Lucy” and “Desi” (left)
were moved out of their old diorama and
placed in floor-level standing vitrines.
Their fossilized footprints trail behind
them under a glass floor, inspiring a surprising amount of physical interaction.
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In 2001, the Genomic Revolution exhibition, timed to
coincide with the announcement of the decoding of the
human genome, demanded new technological solutions to visualize data and interactively understand the
science. We created three large DNA molecules surrounded with touchscreen interfaces that allowed visitors to respond to a national AMNH/Harris Poll about
genomic science and the attendant ethical and societal
issues. Visitors’ answers were instantly compared to
those of both other exhibition visitors and the national
polling results.
At the “Mutation Station Interactive,” visitors could manipulate genetic material using a physical DNA model
and instantly see the morphological mutation of a fruit
fly on screen. Capping off the exhibition experience
was a commissioned video installation piece by artist
Camille Utterback that depicted visitors as real-time,
streaming DNA sequences—literally portraying them
as genetic information while within the exhibition.
Effective, simple interactives also encourage visitors
to create their own stories and memories. In our 2007
Mythic Creatures exhibit, visitors could reconfigure
bones to understand historical misinterpretations. Or
they could use a “mythoscope” to see how a manatee
might slowly morph into a shape that could be mistaken for a mermaid. The most popular interactive in
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New Directions in Exhibition and Environment Design: Interactivity
©AMNH/Denis Finnin
In AMNH’s The Horse exhibit, visitors learn about equine
anatomy by interacting with animations and high-definition
video at life size.
©AMNH/Rod Mickens
For some examples of interactivity, we can look back
to AMNH’s 1999 Shackleton exhibition. Its dramatic
focus was a central, circular room designed to place
visitors inside a 270-degree roiling seascape like that
which Shackleton would have seen from the James
Caird—the small vessel he used to reach help at Elephant Island. We also recreated his sextant, coupled
with a computer interface, to enlist visitors to obtain a
critical directional sighting in the midst of that virtual
stormy sea.
To engage visitors in a tactile way, the entrance to AMNH’s
H2O=Life exhibit is through a FogScreen™ of ultrasonic water
mist with gobo projections.
the exhibition was assembling your own virtual chimeras, or mythic creatures, which could be released into a
virtual animated world.
These examples illustrate how both hands-on and media interactives can be compelling and facilitate learning. Whether we are inviting them to work on a computer screen, interact with an object, or manipulate
their environment, we strive to engage visitors’ senses
and fire their imaginations.
Science-based institutions rely on technology in
research, and are in a favorable position to utilize
technology for interactivity in exhibitions. Undoubtedly
we all want to be instrumental in developing future
collaborative models for both hands-on and mediabased interactive elements that deepen the visitors’
exhibition experience. n
www.segd.org
Communication, Interaction,
and Risk: Telling the Climate
Change Story
Tom Bowman
Bowman Design
Group
A new set of problems and goals are emerging in our world, and they affect
the work we do as communicators. Globalization and population growth
have resulted in public health, economic, and environmental challenges,
and these challenges must be communicated to the public.
There are many barriers to communicating clearly about environmental issues, particularly climate change. For starters, science tends to be confusing and complex, so it’s difficult to synthesize. Psychologically, the ideal of
pristine nature doesn’t exist anymore, and this change makes many people
uncomfortable. The issue is also very big, causing some to ask, Why bother?
Business as usual still feels okay to many people. And we all have the socalled single-action bias: we do one thing and we’re ready to move on to another issue. Change is uncomfortable. And sometimes, museums are afraid
to present these issues for fear they’ll turn the public—or their patrons—off.
A study by Porter Novelli and George Mason University surveyed Republicans and Democrats about sustainability behavior and beliefs. The responses were predictable, with Republicans and Democrats sharply disagreeing
about the urgency of global warming. But when it comes to actual behaviors, they found that both groups do exactly the same things.
Padgett and Company
Feeling the Heat: The Climate Challenge
was a collaboration among world-renowned
climate researchers at Scripps Institution of Oceanography, interpreter Debbie
Zmarzly of the Birch Aquarium at Scripps,
and Bowman Design Group with art director Ed Hackley. It opens with a photo gallery
showing rapid changes in mountain glaciers, polar ice, and other climate impacts.
(Fabrication: K2 Fabrication)
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Padgett and Company
The conclusion? Behavior is not
driven so much by what we think,
but by social norms. We respond
in ways that define our places in
society, and many of those norms
drive us toward more and more
consumption, bigger homes, and
more powerful cars.
Of course, social norms take
shape in dialogue among groups
of people, not by individuals alone. Therefore, social
interaction is a critical mechanism for successful communication programs about sustainability. So how do we harness the power of social interaction
in communication campaigns? How do we facilitate the
conversations that will lead to changing social norms
in museums and elsewhere? How do we use interactive technologies to encourage these conversations?
In the case of climate change, people have been hearing dire warnings for at least a decade. They are turned
off by the horrendous complexity of the issue. But they
haven’t had the opportunity to evaluate the evidence,
assess the risks, and reach their own conclusions.
As global population, economic growth, and rising
greenhouse gas emissions continue, do people understand the risks and the opportunities? Are they
confident in their views and do they know how to affect
change? Do they understand what it will take to achieve
the G8’s goal of a 2-degree global warming cap?
To really reach our audiences, we must learn how to
tell complex stories in compelling ways. That means
quickly communicating some key information: The Timeline wall in the 2,600-sq.-ft. exhibit presents a
650,000-year record from ice cores of carbon dioxide in the
atmosphere and a close-up view since the Industrial Revolution began. An interactive asks visitors to estimate how high
they think CO2 levels might go.
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What is the crux of the issue?
Is there an important policy issue?
What do informed peopled need to know?
What makes the issue feel accessible and close to home?
Since there are no facilitators in most museums today,
exhibits have to deliver key messages on their own.
This makes the challenge even greater.
There is broad agreement among experts that in order
to tackle today’s enormous sustainability challenges,
we need total social commitment, new economic and
social relationships, new social norms, and universal
public engagement. Think of our efforts during World
War II, when people willingly and dramatically changed
their ways of living for the common good. This is the
kind of revolution that we need to start today.
As creative professionals, what is our role in this
challenge? n
www.segd.org
Innovative Interactivity:
A Vision of the Future,
a Flirt with the Past
Hélène Alonso
American Museum
of Natural History
In the future, museums will be a seamless mix of objects and interactive
media. We can see how today’s audiences are getting used to personallyactivated content as a natural way to engage with information. How do we
keep up with this growing need for touch, for personalization, for a payoff?
Our in-house department produces sophisticated videos, animations, and
computer-based interactives that employ a great array of innovative technologies. The use of multi-touch tables, infrared sensors, mobile devices
or three-dimensional augmented reality could be the core of future exhibitions. These might be the next format of experience enhancement and
object contextualization, a form of innovation we are developing in our
Prototype Lab. However, integrating this level of interactivity can be very
expensive. How can we afford to innovate, with these budgets, in these
times? Here is where looking at the past might help.
The interactive map in the AMNH’s Silk
Road exhibition uses 22 sensors that
activate 22 layers of information. Even
distribution of the buttons and information create the illusion of continuity in the
interaction so that information seems to
follow the user along the map.
It is easy to forget that the youngest side of our audience has had few interactive experiences outside the computer screen. Also, good old-fashioned
interactivity is new for most of our audiences, and by re-purposing it, we
bring new experiences to them. Old 3D imagery, stop-motion pictures,
scanimations, simple buttons; these are all tools that add interactivity affordably and that, used properly, can look very “high-tech.” Some of these
techniques are more than 100 years old and, like the old magicians, offer
interactivity that reacts in unexpected ways. We interpret the world through
these beautiful devices while increasing visitors’ chances to see something
uniquely innovative, something they will be the first to experience.
© AMNH/Denis Finnin
A good example is our interactive map
for the Silk Road exhibition. We wanted
to provide a large, multi-user map that
allowed everybody to share screens and
personalize information at the same time.
But the existing technology had several
limitations, in size and in price. We came
up with a system that served the functions
of multi-touch and looked like it, but used
an inexpensive old technique—buttons—to
accomplish it. The innovation is not in new
technology but in the innovative use of an
old-fashioned one. n
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Mediating Reality:
New Models for
Interactive Media
Eli Kuslansky
Unified Field
The You the Experience exhibit at the
Museum of Science and Industry Chicago includes 15 interactive exhibits to
explore the body, mind, and spirit. Here,
visitors build a virtual plate of food they
consumed and join that with previous
visitors. Visualizations of real-time and
historical data reveal food consumption patterns, and data can be saved for
retrieval online.
Thinc Design
(Exhibition design: Thinc Design. Concept and graphic design,
programming, custom hardware, installation: Unified Field)
Museums are struggling with visitorship and facing a
host of new challenges. They fear losing their audiences to video games and Disney, losing funding, and
becoming irrelevant in the face of new technology.
But museums have a set of assets that can’t be
matched on a video screen. They are accredited experts, repositories of culture, and legitimate sources
of information (unlike some online sources). In addition, in the form of their artifacts and collections, they
hold “the power of the real,” an aura that, as Walter
Benjamin said in his 1936 treatise The Work of Art
in the Age of Mechanical Reproduction, is not transportable. Today, and for that very reason, museums
remain as relevant as ever. (The AAM estimated 850
million visitors per year at U.S. museums between
2006 and 2008.)
New and emerging technologies such as wireless
sensor networks, augmented reality, inexpensive
multicore processor clusters, social networks, ultra
thin large-scale displays, and real time 4D visualization provide museums the tools to tell stories in new
and compelling ways. By combining their bricks-and-
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mortar presence with the flexibility and capacity of the
Internet, museums can create the best of both worlds.
Technology is the infrastructure that makes it possible.
One of the ways that technology works best in museums and other public settings is when it mediates reality. The Sony Wonder Technology Lab is a media and
technology museum now in its second generation. We
actually created a virtual museum inside the museum, inhabiting the space with the high-tech communications created by museum visitors. Visitors log
in and create digital profiles that follow them around
the space, broadcasting the information they wish
to share on walls, ceilings, floors, and screens. They
can perform virtual open heart surgery using haptic
(touch) technology, create real-time 3D visualizations,
program wireless robots, and work in a state-of-theart high-definition TV studio. All of these activities are
done at the touchscreen level.
Future-focused museums will become centers for
new ways of storytelling, using technology to help
visitors analyze and make sense of a fast-changing
world. n
www.segd.org
Design Charette:
The Framework
Design teams of 6 to 8 workshop participants (each including designers,
fabricators, and media developers) were given 30 minutes to design a
solution, then 5 minutes to present it to the overall group.
Craig Johnson, Interpret Green
“Any sufficiently
advanced technology
is indistinguishable
from magic. (Clarke’s
Third Law)”
–Arthur C. Clarke, 2001 A Space Odyssey
The Assignment
Prepare a conceptual design for one interactive component of the traveling exhibit The Life Cycle of Toilet Paper: Where Does it Come From and
Where Does it Go? The total exhibit takes up 3,000 sq. ft., but this specific
component is allocated 900 sq. ft. Ceilings can be up to 20 ft. high, with all
electricity and Internet connectivity provided.
Core Exhibit Components
Create an immersive, interactive environment to tell the story of toilet
paper from planting trees all the way to sewage treatment plants. Core
interactive features should include:
1. Dynamic media landscape. Illustrate/explain how the exhibit will integrate dynamic media to present the sequence, scale, and complexity
of the life cycle of toilet paper. The displays could be responsive to user
input via physical proximity, touch, speech, collective movement, etc.
2. Social interaction. Illustrate/explain how the exhibit will facilitate group
interactions, using such devices as multi-touch tables, multi-station
touchscreens, or group mechanical interactives that engage visitors.
3. Participatory media. Illustrate/explain how the exhibit will utilize and
integrate visitor-contributed content, knowledge, stories, options, questions, raves, rants, comments, etc.
4. Extending the visitor experience. Illustrate/explain how the exhibit will
extend the learning environment beyond the direct interpretive experience via the Internet, blogs, social networking, cell phones, Tweets,
online games, online expanded content, etc.
Groups earned extra credit if their exhibit provided visitors a sense of the
scale of the “TP industry.”
Background
The groups were provided research/background information on the life
cycle/historical use of toilet paper. n
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Putting Social Interactive and
Participatory Media into Action
Symposium teams came up with a wide array of creative solutions for The Life Cycle of
Toilet Paper exhibit, ranging from audio/visual effects triggered by pulling paper from
the roll to a game that allows visitors to digitally “roll” someone’s house using Google
Maps. Another team conceived a Facebook application, while another focused on a
time-lapse digital reading that displayed the number of rolls of toilet paper consumed
during an exhibition visit.
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www.segd.org
iPhones and the
Interactive Landscape
Craig Johnson
Interpret Green
Interactive technologies—and the new ways they enable communication—are reshaping the museum and visitor center experience. Dynamic
media are responsive to user input via touch, speech, or physical proximity. Social interaction allows shared experiences in a collaborative environment. Participatory media creates user-generated content (shared
text, pictures, audio, video). And the Internet (websites, blogs, and social
network media) extend the visitor experience beyond the building.
The iPhone (and similar products such as the Google Android) represents
a new paradigm of interface for accessing content and facilitating social
interaction. iPhone technology will inspire more fluid applications in museums, away from the “Here is an interface and here is the content” dichotomy. It’s a perfect model for museum interactives in that it provides:
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Easy, intuitive, fluid interface
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Dynamic content via multiple apps
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User-created and socially shared text, pictures, video
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Mobility
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Rapidly expanding user base
The DuPont Environmental Education Center is a 13,500-sq. ft. facility on
the edge of the 212-acre Russell W. Peterson Urban Wildlife Refuge in
Delaware. The site used to be a brownfield and dump. It took 15 years to
restore it to health.
The center was designed to provide orientation, but primarily to get people out to explore. The real measure of success is the experience people
have outside the building. Interactive media are used to connect visitors
with the content but also to connect them with themselves and acknowledge the loss of nature.
The center’s Nature Now station was designed to help people understand
what’s happening right now in the wetland marsh outside. All the content,
whether static or dynamic, is designed to let you know the real exhibit is
outside the building. It harnesses the power of user-generated content
and shared experience. The center is working with a binocular company,
which provided binoculars with built-in, 3-megapixel cameras. Visitors use
them to observe and take pictures, then share their images at the Nature
Now station for everyone to enjoy. People can also take pictures with their
cellphones and dial a number that uploads the images to the station. n
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Graduate Exhibition Design:
13-Month Foray into Madness
Brenda Cowan
We come out of a profession that
SUNY/Fashion
has historically been an apprenInstitute of
tice model. So as chairperson of
Technology
the graduate Exhibition Design
program at FIT, I have to consider
what students can get from a
graduate program that employs
the fundamental values of an
apprentice-style model, while
FIT Graduate Exhibition Design students
The program begins in the sumproviding experiences that can’t
Jonathan Dalin and Danae Colomer
mer with two intensive courses
be garnered from direct engageand the completion of an entire
ment in a museum or design firm.
exhibition including content
Our students already have careers
research, narrative and story
in design and are making major
development, audience study,
professional changes to be in this
structural design, branding, enviprogram. They want to become
ronmental graphics, and lighting.
multi-faceted designers who work
in many different disciplines to
In the fall, we cover audience,
create an experience unique to
narrative, planning, environmenexhibitions. As part of this multal experience, graphics, lighting,
FIT students at work
tidisciplinary education, we also
and exhibition types.
instill a sense of stewardship: if
For fall semester projects, we have actual clients.
you’re going into exhibition design, you need to know
Sponsored projects have included signage and
that you’ll be responding to the visitor’s needs first
wayfinding for the National Museum of the American
and last. You’ll exit the program understanding that
Indian and the New York Botanical Garden, showyou’re part of a profession that is constantly evolving,
rooms for Procedes Chenel, trade shows for Moen
but that at its core is about culture and communicatand Earthbound Farm, and permanent exhibitions
ing with the public. Exhibition design is not about
making a lot of pretty shiny stuff! for the National Museum of American History.
Our students learn to achieve certain objectives:
The program ends with a six-week internship. Stun
Embrace chaos; let go!
dents also complete a thesis project/capstone, with
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Think with your hands, eyes, and ears
the final thesis adjudication done as a seminar. Their
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Work with others and like it
work is on exhibition and they defend it before more
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Don’t run away from your background, run than 30 professional judges. n
toward your future
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Explode (EXPLODE!) what you already know
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Be humbled and see where you humble others
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www.segd.org
Low Tech? High Tech? Right
Tech! Social Engagement
vs. Technology
Paul Orselli
Paul Orselli
Workshop (POW!)
With the dizzying array of technological tools available to designers, how
do we find the “right tech” for our exhibition projects? To me, it’s about
the Three S’s (stories, stuff, and social engagement) versus Mr. T (marketing and technology).
I’m a big fan of technology that just sort of disappears. The best and most
memorable experiences, whether in nature or in museums, are when all
artifice falls away and we share something with other people.
The need for a good story has never gone away, but increasingly sophisticated audiences have given audio-visual technology a much greater role
in the museum world. Architecture has had an uneasy role in this trend.
The great desire today is for the flexible black box that can be turned into
anything. Even Frank Gehry has gotten into the act, designing art museum spaces focused on flexibility and advanced A/V technologies.
But technology has not changed things that much. The technologies we
use on projects today are just more advanced versions of the same communication devices. Of course we all want to use the Internet and podcasts, but they are still not the main approach.
The most important thing we can do is to use technology to facilitate
connection among museum visitors. Fun and technology are a winning
combination every time. n
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Design Exercise: In This Together
In Paul Orselli’s “Right Tech” seminar,
attendees were divided into teams, given
a box of paper clips, and asked to create
an interactive art exhibit. Teams made
multimedia sculptures created when
members added elements sequentially,
a performance piece using the paper
clips as musical and visual instruments,
a provocative text-based piece, and
another additive piece using cellphone
cameras. All the exhibits demonstrated
the importance of social engagement and
the “magic” that happens when people
work together.
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www.segd.org
Interactive Media,
Placemaking, and
Transformative Experiences
Jessica Rubenstein and Michael Roper
Experience Design
Our greatest interest is in creating exhibits that use interactive media to
highlight social issues. Developing a strong sense of place is the first step,
so we have to make clear decisions about creating the overall space. Then
we overlay the dynamic elements in a way that’s compelling and engaging
to visitors.
For the New Jersey Historical Society, we developed an exhibit to commemorate the historic Newark race riots. We began with a multimedia
timeline that sets the context for the overall exhibit. The combination of
images, sounds, and movement are a great way to hook visitors and set the
right tone for the exhibit. We created a full-scale version of the timeline six
months before it opened so the museum could use it to generate funds.
Following the timeline, we told the story of the Great Migration through
projected media and a dynamic map on the floor.
The museum has a deep archive of oral histories. We treated them similar
to artifacts, setting up a series of listening stations. These have not only
created wonderful personal experiences, but have also fostered conversations among people listening at different stations. We let visitors add their
own voices so they can become part of the exhibition.
Experience Design
At the New Jersey Historical Society
Museum, Experience Design wanted to
reflect the chaotic, cacophonous nature
of the infamous Newark riots. A dynamic, multimedia triptych “explodes”
the series of events in the form of a
bulls-eye, reinforcing the non-linear
nature of the events.
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Experience Design
The new Holocaust Resource Center at Queensborough Community College in Queens includes video stations where students share
the insights they gained from interviewing Holocaust survivors.
An important part of what we do, whether we use
technology or not, is making places where people can
interact with one another, places people can use to
transform their understanding of themselves.
Our Slavery in New York exhibit at the New York Historical Society told the stories of the 400-year history
of the Atlantic slave trade. We designed the interactive
media to inspire people to re-imagine the past.
Central to the exhibit is a well that visitors look down
into. Rather than seeing their own reflections, they
see the faces of slaves going to the well to get water
for their masters. We also developed some interactive
document translators that magnify key passages that
illuminate the slave trade. And we designed a game
that helps visitors learn about the laws that were used
to help free slaves. We put listener response centers
in three locations in the exhibition so visitors could
share what they’d learned in the exhibit to talk about
contemporary issues. After the exhibit was installed,
the museum had the highest attendance in its 200year history.
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A transformative space also needs to incorporate the
lived experiences and realizations of its audience/participants.
We recently completed exhibits for the new Holocaust
Resource Center at Queensborough Community
College in Queens. A key aspect of the exhibition was
integrating the architecture, 3D design, and media exhibits. They all work together to provide multiple entry
points into the story of the Holocaust and its continuing relevance to the genocide and ethnic hatred still
happening today.
Our goal with this project, as always, was to help people discover history, but also to learn something new
about themselves. For example, in Students Speak,
students who have interviewed Holocaust survivors
talk about their experiences meeting someone who
lived through the Holocaust and how this has shaped
their understanding of the past and present.
If all goes as planned, visitors take over these spaces
and get a chance to re-imagine the past, learning
something new about themselves in the process. n
www.segd.org
Designing for the
Human Experience
Jared Schiffman
Potion
Which is more complex, a galaxy or the human brain? A forest or the human brain? A banana or the human brain?
You get the idea. The reality is that reality is infinitely complex. And our
experience of reality is always tangential to it. At the very most, we’re
shaving little bits off the tip of the iceberg. Grasping at leaves as the wind
blows them by.
Remember This
1. Assume that at least 95% of the
information will be forgotten.
2. Modulate information with distance.
Provide more detail on approach so
visitors receive more information
only by choice and through deliberate
action.
3. Associate information with the
senses. The more senses we engage
at the same time, the “stronger” the
experience in the brain will be.
4. Connect information to emotion.
More so than any external input,
emotion has the greatest influence on
memory.
5. Abandon information to space.
Do not assume things need to be “in
order” because humans perceive
things that way. As designers we want
to be organized. But nature is not
organized. So load the space; turn it
into a forest.
So, what does this imply for our understanding of experience? What is the
brain really doing while we’re experiencing the world around us?
Here’s one way of looking at this process. The brain is constantly deconstructing and reconstructing reality through the conduit of memory. When
we experience the present, our brain is taking in just the essential bits
and storing those in a compressed format in memory for later on. When
we recall those memories, they come back somewhat blurry and with
large chunks missing. We don’t know why our memory is incomplete or
what makes certain memories last while others fade away. The truth is,
we perceive just a small number of the vast set of data points out there,
and we recall much less than that.
In the production of media, there are always too many details to include.
So how do you decide what to put in and what to leave out, and how do
you organize it? What parts of the media experience will people absorb
and what parts will stay with them for years to come?
Given this understanding of the brain, memory, and our experience of
the world (and media in particular), how do we design for it? I offer a few
suggestions (see sidebar). Take these suggestions with a grain of salt and
reflect on how they relate to your practice. Or take them with a tablespoon of salt, and then you’ll surely never forget them. n
6. Defy expectations. A label placed
next to a piece of art is expected,
not memorable. Find another way to
convey the information. If the media
is novel, the brain will take note, and
memories will last much longer.
18
In High Spirits: Maker’s
Mark Distillery Tour
Kentucky is known for two things: horses and bourbon. Our project for
the Maker’s Mark Distillery Tour in Loretto, Ky., is all about the bourbon.
Cynthia Torp
Solid Light
Two unusual factors made this project especially fun. First, we were
working directly for the decision-maker, and he’s a risk-taker. Second,
Maker’s Mark has a very clear view of its brand and could communicate
that to us. They had three goals for a new distillery experience: they
wanted it to be THE standout distillery experience in
the U.S., they wanted to double visitorship, and they
wanted the tour to stay under one hour, including a
15-minute tasting experience.
To accommodate the increased attendance, we
turned the existing 1,500-sq.-ft. Visitors Center (the
original distiller’s home) into a boarding/welcoming
center and added a new space for the tasting experience and gift shop.
Realizing that much of the tour time was taken up by
guides explaining the brand history, we decided to
incorporate some of this information into a self-guided experience. We transformed the center into a 1950s-era house and
used the rooms to tell the brand story, from how Bill Samuels concocted
the recipe in the family kitchen to how his wife came up with the famous
Maker’s Mark brand packaging (complete with a chicken fryer for handdipping the red seal wax) in the library.
Weekend visitors can’t see the bourbon
actually being bottled because the line is
closed on the weekend. Solid Light recreated the experience with a multi-screen
theatrical show that actually provides
them closer views of the process.
The brand personality is all about humor and surprise, so we added a
few surprises of our own. One of the most popular is the Portrait Gallery,
which includes photos of family members that actually “talk.” Visitors are
surprised, then amused when they hear the funny sound bites from family members. The photos are actually display screens activated by motion
sensors when people enter the room.
We did a lot of prototyping, using actors reading scripts, to make sure this
would work the way we planned. We found that the short audio pieces
actually grab people’s attention and cue them to listen and learn. A bonus
is the social interaction that results. n
19
www.segd.org
World of Wonder:
Sony Wonder
Technology Lab
Scott Briggs
Lee H. Skolnick
Architecture +
Design Partnership
The Sony Wonder Technology Lab is an interactive learning museum
funded by the Sony Corporation of America. It’s located at Sony’s Manhattan offices and is free and open to the public. It first opened in 1994.
In 2001, Sony asked us to change the concluding experience of the tour,
which is located on the lowest level of the space. In 2004, they asked us
back to work on a total renovation of the four-story, 14,000-sq.-ft. space.
At the Sony Wonder Technology Lab,
visitors create personal digital profiles
that follow them through the space.
Signal Stations recognize the guest’s
profile, greet the guest personally,
and guide him or her through various
activities to manipulate profile data,
then broadcast it to other stations or to
huge transparent projection screens for
all to see.
Sony wanted the space to reflect how technology enables creativity, connection, and communication. Our concept was a self-contained, completely immersive environment formed by the communications that visitors
create within the space. It’s a glossy white envelope whose surfaces are
embedded with media, from floors and ceilings to walls and display cases.
Visitors enter the museum on the ground floor, then take glass elevators
to the fourth floor, where they log in and create personal profiles, which
are recorded on RFID cards they use throughout the space. They work
their way through the museum down a series of ramps. As they collect
experiences during their visit, bits and pieces of their profile data are
manipulated, shared, tweaked, and broadcast in the space itself.
Sony Wonder Technology Lab/Lee H. Skolnick Architecture + Design Partnership
Because the project was so technology and
interface-intensive, our project team included
media experts, technology integrators, and
programmers that we consulted very early on
in the process. Having this kind of expertise is
essential on a project like this one.
The museum employs several technologies
that have never existed outside the R&D
laboratory. Visitors use haptic (touch) technology to perform virtual open heart surgery,
generate digital profiles with integrated–circuit smart cards using RFID technology, create computer animations using real-time 3D
visualization, program robots, and work in a
state-of-the-art high-definition TV studio. n
20
2010
SEGD
2010
EDUCATIONAL OPPORTUNITIES
C A L E N D A R
TELE-CONFERENCES
WORKSHOPS
DATE
PROGRAM TITLE
THEME
DATE
PROGRAM TITLE
THEME
Jan 21
Wayfinding Month—Beyond
Signs: Print and EGD
Signs: Web and EGD
Signs: Dynamic Wayfinding
Ethics and RFPs
(Free Course!)
Documentation and the
Bid Process: Getting the
Low Bid
Bid Process: Getting the
Qualified Bid
Value Engineering for
Complex Projects
EGD and Historic
Preservation: Theory
and Practice
The Fabricator/Designer
Relationship
(Free Course!)
Exhibition Strategy in
Visitors Centers
Branded Environments:
Dynamic Branding
ADA State Update 2010
LEED and Your EGD Strategy
Developing More Profitable
Proposals
Business Strategy in a
Changing Economy
(Free Course!)
Building Modeling
Wayfinding
Feb 12
Sign Codes
Wayfinding
Feb 26
ADA Certificate Program
(South Florida)
Identity, Brand, and
Experience Design: Dynamic
Identity (Chicago)
Third Annual Transportation
and Airport Workshop
(Atlanta)
Canadian ADA Summit
(Toronto)
Design Process
(Philadelphia)
Education Summit
Kent State Summer Workshop
(Kent and Cleveland, Ohio)
Jan 26
Jan 28
Feb 2
Feb 23
Mar 2
Mar 25
Apr 27
May 4
Jun 22
Jul 20
Sep 1
Sep 21
Sep 30
Oct 7
Oct 18
Nov 18
Dec 2
Dec 16
Experience Research for
Healthcare, Retail, Urban
Design, and Transportation
Dynamic Wayfinding and
Information Systems
New Opportunities and
Innovations
(Free Course!)
Wayfinding
Mar 25-26
Business Practice
Documentation
and the Design
Process
Documentation
and the Design
Process
Materials and
Fabrication
Brand and
Identity, EGD
Benchmarks
Documentation
and the Design
Process
Exhibition and
Experience Design
Exhibition and
Experience Design
Sign Codes
Sign Codes
Business Practice
Apr 16
Apr 30
Jun 2
Jun 14-25
Jun 24
Jul 15
Jul 29
Aug 12-14
FOR MORE
INFORMATION
Documentation
and the Design
Process
Materials and
Fabrication
Exhibition and
Experience Design
Sign Codes
ADA Certificate Workshop
(Atlanta)
Oct 14-15
Healthcare Wayfinding
Business Models
(Los Angeles)
Wayfinding,
Legibility and
Human Factors
Nov 11-12
Dynamic Environments
(Las Vegas)
Dec 9
Design Process (Chicago)
Exhibition and
Experience Design,
Brand and Identity
Documentation
and the Design
Process
Business Practice
Wayfinding,
Brand and
Identity
Materials, Process, and
Green Design (New York)
Cranbrook Symposium
Wayfinding,
Legibility and
Human Factors
Sign Codes,
EGD Benchmarks
Documentation
and the Design
Process
EGD Benchmarks
Wayfinding,
Exhibition and
Experience Design
Sign Codes
Sep 24
Business Practice
Documentation
and the Design
Process
Legibility and
Human Factors
ADA Certificate Program
(Minneapolis)
Design Process (Denver)
Wayfinding, Brand
and Identity
ANNUAL CONFERENCE
Jun 2-5
Annual Conference + Expo
(Washington, DC)
visit www.segd.org
call 202.638.5555
Dinner and Tour of Henry
Ford’s Greenfield Village
Symposium attendees were treated to dinner and a chartered tour of
Greenfield Village, the setting for Henry Ford’s vision of the world as it
was in the mid 19th century. Stepping into horse-drawn carriages, attendees saw Ford’s recreations of the home where Noah Webster wrote
the first American dictionary, Thomas Edison’s Menlo Park laboratory,
and the courthouse where Abraham Lincoln practiced law. The Village
embodies Ford’s appreciation of the people “whose unbridled optimism
came to define modern-day America.”
At the Village’s authentic tavern-style restaurant, attendees relaxed, socialized, and shared their experiences from the day of presentations and
workshops. n
Symposium attendees enjoyed a night out
at Greenfield Village and dinner at the
tavern-style restaurant on the grounds.
22
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New Directions in Exhibition and Environment Design

Transcription

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