Posts Tagged ‘exhibition design’
August 20th, 2013 – Set in the oldest settlement in the Louisiana Purchase on the banks of the Cane River Lake, the design of the new Louisiana State Museum and Sports Hall of Fame mediates the dialogue between sports and history, past and future, container and contained. Visionary and architect Victor “Trey” Trahan, founder of Trahan Architects, merged two contrasting collections that were formerly housed in a university coliseum and a nineteenth century courthouse into one new space, elevating the visitor experience for both exhibitions.
The museum is configured to interpret athletics as a component of cultural history. While sports and regional history may appeal to different audiences, the exhibits and configuration explore interconnections between the two.
The spaces flow visually and physically together, arranged to accommodate state-of-the-art exhibits, education, and assembly and support functions. The internal organization is an extension of the existing meandering urban circulation. The pathway branches throughout the first level galleries and classrooms, and winds its way upward, concluding at a veranda overlooking and reconnecting to the historic town square.
Historical pastiche is set aside in favor of a design language inspired by the riverfront setting and the 17th century bousillage found in the region. The exterior cladding of pleated copper panels alludes to the nearby plantations, controlling light, views and ventilation, and employing surface articulation rather than architectural ornamentation.
The “simple” urban container contrasts with the sinuous entry and foyer within, highlighting the dialogue between the city and the natural environment.
The flowing interior emerges at the entry, contrasting with the patinated exterior shell, inviting the visitor within. The dynamic foyer reflects the carving of the ancient river’s fluvial geomorphology. Sculpted out of 1,100 digitally milled cast stone panels, the shaped surfaces seamlessly integrate all building systems. Washed during the day by natural light from above, they also serve as screens for films and exhibits, further merging content and context.
June 6th, 2013 – In it’s current state, modern Shanghai is booming with architecture, fashion, finance, and technology. As the largest populated city in the world, travelers flock to the metropolis to experience a city filled with lights, adventure, and a unique interpretation of western pop culture. Although there is much to celebrate about the city’s modern movement, it is undeniable that Shanghai in the 1920s and 30s, dubbed by the Chinese as the “Old Shanghai,” epitomized the most glamorous and most stylish of China in the last century.
The National Museum of Singapore recently exhibited the glamor of “Old Shanghai” in a exhibit titled ‘In The Mood For Cheongsam‘. Alluding to the title of the show, the design plays up the mysteries and subtleties of the Cheongsam, the traditional body-hugging one-piece Chinese dress for women. Evoked by the sensual quality of the Cheongsam, the exhibition, which was designed by Singapore based design studio FARM, takes the form of curvaceous walls like a large dress, sculpting pockets of spaces where each display conceals and reveals, teases and surprises.
The exhibition is one singular continuous space with curvaceous walls that entices visitors to move through the space. The creatives at FARM designed soft pockets of spaces throughout the exhibition, Sometimes convex, other times concave in nature; sometimes expansive, at times intimate. The exhibition is a spatial experience that continues to surprise at various sections within the singular idea.
Providing a context to the various sections is key to provide differentiation and a narrative to the exhibition. Circular plinths, employed throughout, alter in form to suggest these changes in narrative and context. Objects or simple furniture relevant to the era or theme of the section are also integrated together with the Cheongsam on display to create a mise-en-scene within the section.
The design of the Cheongsam still is influential in today’s fashions, as it has become the inspiration for recent collections such as Jason Wu’s Fall/Winter 2012 collection, Gucci’s Fall/Winter 2012 collection, and Emilio Pucci’s Spring/Summer 2013 collection, making the title of the exhibition ‘In The Mood For Cheongsam’ extremely relevant.
January 24th, 2013 – Chanel has commissioned Jean-Louis Froment, the art director of Prince Pierre Foundation of Monaco, to curate their latest exhibition at Zaha Hadid’s famed Guangzhou Opera House in China. The creative team at chanel teamed up with Froment to deliver a deep rooted history of founder Coco Chanel, and shed light on her tight knit group of groundbreaking artist friends which included people like Amedeo Modigliani, , Jean Cocteau and Pablo Picasso, all of whom had a massive impact on 20th century art. Titled Culture Chanel, the exhibit is centered around Picasso’s biggest paint job: le train bleu. The expansive stage backdrop was painted in 1924 by Picasso for his close friend Sergei Diaghilev, artistic director of Ballets Russes, who used it for an eponymous choreography. On display are over 400 works, including drawings, photographs, paintings, manuscripts, books and films. To top it off, Chanel’s fashion creations by both the legendary Coco and Chanel’s current designer Karl Lagerfeld, are blended into the art filled exhibition.
(photography By Jonathan Leijonhufvud)
Over in Switzerland, Zurich just became the home of the new Defense Exhibition at the Vögele Cultural Center. Nau Studios is responsible for the creating of the new exhibit which mixes a high-tech style with kryptonite green design elements. The design has manifested from the idea that “at times a thin veil provides better defense than the thickest of armor.” The dynamic exhibition space is divided by semitransparent fabric planes and carpeted islands into seven themed areas, each circumscribing a defense mechanism, ranging from bunkers to camouflage and cooperation.
Nau explains that “defense strategies are diverse, often intuitive, and sometimes surprising – the exhibited objects emphasize the parallel use of defense mechanisms in distinctive fields.” Where do these strategies happen? The Future Room. The Future Room anchors the center of the room and is a gleaming white disc acting as an open forum where visitors can participate and record their thoughts. The exhibition is conceived as a cultural, sensory experience, where the visitor is submerged in a poison green world where sight, sound and senses of smell are activated!
(Photography: Jan Bitter)
Fabio Novembre says “drawing a rainbow to connect Heaven and Earth in that constant state of human balance we maintain with our feet in the mud and head up in the stars.” Novembre’s quote is the defining concept for his new exhibition at Milan’s Triennale Design Museum. The “rainbow” is an artistic metaphor for an “intangible pathway ” from Heaven to Earth, which is represented in the colorful exhibition. Novembre explained that creating the exhibition “involved exhibiting something absolutely new compared to previous editions, a selection of carefully chosen items confirming the theory that there is only one Italian school of graphics,” continuing on to explain “even though it has no proper structure, hardly surprising since the same could be said about everything connected with our dear old unpredictable country.”
Novembre was asked to add a third dimension to graphics – which are almost always two dimensional. The third dimension came in the form of a built space: full of color and divided into nine sections consisting of books, letters, magazines, culture and politics, packaging, advertising, visual identity, video and signposting. The clever designer imagined the space as a blank book, then decided to introduce the color spectrum to the empty white pages. “using color as an authentic graphic hypertext to support material, which, nevertheless, require more complex codes in order to be fully interpreted.” There’s some food for thought for ya!
(Photography: Fabio Novembre)
The Institute for Computer-Based Design and the Institute for Structural Engineering and Structural Design, University of Stuttgart, have come together again to create a structure which embodies the idea of bionics. The structure is intended to be an “advance of the search for a natural structure,which has an especially efficient and adaptable character: light weight, while capacity and flexibility.” The two teams searched for a reflection of this concept in nature and after some digging, found it at the marina: the Sand Dollar. “Belonging to the family of sea urchins, it returns the prototype, at the skeletal structure of the resulting experimental pavilion ajar.”
The idea behind building the pavilion was an essential and integral architectural lesson to the students, in that the architecture students work closely with the scientists to understand biological pattern formations and how to incorporate that into architecture. The result is a multi-dimensional material system made of connecting facets of birch plywood – a 72-square-foot structural and artistic pavilion with seating for park visitors to stop and enjoy!
The Federal Republic Of Germany’s House Of History is shining a spotlight on what it’s like to be a young German through their latest exhibition by Atelier Markgraph. The exhibition titled “17: Being Young In Germany”, examines how it feels to be young, and to find and shape your personality. The designer used roughly 800 exhibits, interactive media instillation, and music, to present growth from the 1950′s to the present. Whether it is sexual rebellion, religion, or education, each section of the instillation is designed with it’s own mood or feel reflecting the topic.
(Photographs Provided By Atelier Markgraph)