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Exhibit design (or exhibition design [1]) is the process of developing an exhibit—from a concept through to a physical, three-dimensional exhibition. It is a continually evolving field, drawing on innovative, creative, and practical solutions to the challenge of developing communicative environments that 'tell a story' in a three-dimensional ...
Exhibition designers may come from many different backgrounds such as industrial design/product design, architecture, interior design or graphic design. Exhibition Designers are responsible for an exhibit from conception to completion and will incorporate many of the following knowledge and skills: Conceptual design
Interpretive exhibitions are exhibitions that require more context to explain the items being displayed. This is generally true of exhibitions devoted to scientific and historical themes, where text, dioramas, charts, maps and interactive displays may provide necessary explanation of background and concepts. Interpretive exhibitions generally ...
The Great Exhibition of the Works of Industry of All Nations was organised by Prince Albert, Henry Cole, Francis Henry, George Wallis, Wentworth Dilke, and other members of the Royal Society for the Encouragement of Arts, Manufactures and Commerce as a celebration of modern industrial technology and design.
This was the 1946 Britain Can Make It exhibition, organized largely at the instigation of the Council's director, S.C. Leslie. The design of the exhibition itself was co-ordinated by Chief Display Designer, James Gardner. [2] The exhibition was held from September to November at the Victoria and Albert Museum, London.
Ralph Appelbaum Associates (RAA) is one of the world's longest-established and largest museum exhibition design firms with offices in New York City, London, Beijing, Berlin, Moscow, and Dubai. [1] [2]
The design office of Charles and Ray Eames functioned for more than four decades (1943–1988) in the former Bay Cities Garage [3] at 901 Abbot Kinney Boulevard in Venice, Los Angeles, California. The Eameses worked approximately 13-hour days, six or seven days a week, and directed the work of a team of collaborators. [ 4 ]
This set-up would create a "strange distance, this shock, that made people realize how gorgeous formally, and also important functionally, design pieces were," which, according to the exhibit's curator Paola Antonelli, is the desired effect of the exhibition. [5]
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