Leading artists and designers of museum exhibitions. Museum architecture and equipment in exhibition activities
Exposition museum exhibition is studied as a certain system that is especially significant and specific form communications. In dictionaries of museum terms, an exhibition is interpreted as either “part of museum collection"on display" or "display of museum objects in accordance with the scientific concept and theme."
"The purpose of each exposition is information, and the information can be didactic, commercial or representative in nature. Aimed at a person as a consumer of goods and ideas, the exposition is used to instruct, win over, present something, influence a person, persuade him to certain actions. Main criterion of any exposition is its effectiveness,” - this is how it forms a purely pragmatic Western author"super task" of the exhibition Frank K. Exibitions: The international disighn service. - New York, 1961. - P. 7. The functions of the exhibition act as derivatives of the general museum ones, which the exhibition embodies in a concentrated form; being addressed directly to the museum visitor, it plays a primary role in cultural communication.
As a rule, an exhibition exposition displays, depicts, represents certain events or phenomena, forming from the inside, based on the subject material, general information, logical and figurative system, which has and develops its own criteria of ideological and semantic fullness and formation. But all phenomena, events and processes interpreted in the process of museum communication are presented in a very specific, “material” form, which is often taken as reality itself, as part of historically preserved reality (especially in memorial museums).
The development of theoretical and practical problems of museology requires a deep understanding of one of the most important processes of creating an exhibition, namely visualization and materialization ideological plan- solving the problem of unity of content and form, form in the meaning of content. It's about about the role of exhibition design. Exhibition design is understood as the art of environmental design, using a complex of aesthetic, constructive, technological and other means to create an artistic and figurative structure of exhibitions. The main objectives of exhibition design should be considered:
1) Ensuring the unity of the form and content of the exhibition exposition, figurative expression conceptual design;
2) Creation of conditions conducive to the preservation of exhibits and ease of use of the exposition, i.e. ensuring its high utilitarian qualities, denoted by the term “technology” of the exhibition;
3) Formation of a high level of communication - “exhibition - viewer”.
The virtuosity of the execution of the exhibition makes it a work of art, where the form that was sought “to express the content, having been found, itself becomes the content that develops and complements the information of the scientific construction of the topic” Rozhdestvensky K.I. Some problems of art museum exhibition. - M., 1978. - P. 69.
For the optimal arrangement of exhibition materials in complexes, rows, and still lifes, the researcher together with the artist choose certain exhibition techniques, that is, methods of grouping exhibition materials. Among the well-known proven techniques it is necessary to mention:
Ш identification of exhibition centers and leading exhibits that carry the maximum semantic and figurative load;
Ш identification of connections between objects, the technique of “mutual documentation”, which makes it possible to identify connections, including those that are not amenable to external observations (in particular, the technique of “reification” is based on mutual documentation written sources, as a rule, difficult as subjects of museum communication due to weak attractiveness);
Ш comparison, including contrast (technique of contrasting display);
Ш "massive" display of similar materials concentrated in a small area. Such a display is used, for example, in the exposition of archeology of the Tver United Historical-Architectural and literary museum(1996), where deliberately a large number of stone objects of the same type from archaeological finds creates an expressive image of the “Stone Age”;
Ш detente by creating empty space around the most important exhibits in order to focus attention on them;
Ш the location of exhibits that require close-up viewing, within the most convenient for viewing exhibition belt - the area of the vertical surface of the exhibition room at a level of 70-80 cm - the lower limit, up to 200-220 cm - the upper limit from the floor;
Ш organization of an “exhibition in the window”, allowing one to look through the window opening into another space and time;
Ш highlighting the first and second plans, as well as creating a hidden plan of the exhibition in turnstiles, cassette stands, etc.
Examples of use can be given different techniques when showing the same complex. Exhibition of many archaeological museums are women's jewelry from ancient burials, forming a single ensemble. In many museums, the burial is shown in the form in which it appeared to archaeologists during the excavation process: in a horizontal display case at floor level, along with a skeleton, imitation soil, etc. The main thing with this method of exhibition is to identify the authenticity archaeological find, introducing the visitor to the fact scientific discovery. Some exhibitors group spectacular archaeological objects in a display case, revealing their aesthetic merits through sparse placement, background, and lighting. Exhibitors of Rostov local history museum, having placed a set of decorations in a vertical display case in accordance with the place of each item, a mirror was placed in the center where the face should be, inviting visitors to “try on” ancient objects, to imagine themselves in the guise of their great-great-great-grandmother.
The use of a mirror when demonstrating exhibits that require inspection from reverse side- a frequently encountered technique (for example, this is exactly how experts suggest displaying weapons). In Saratov regional museum In the hall with a mirrored ceiling, the local history room displays the plane on which Yu.A. learned to fly. Gagarin. A second plane appears above the hall, making a “dead loop.” This technique not only makes it possible to view the open cockpit, but visually expands the limited space of the low hall to “cosmic” limits.
Creative teams of exhibitors find and develop their own original techniques creation of exhibition complexes.
“Exhibit in focus” is also a frequently used exhibition technique today. The exhibitor’s attention is focused not on the totality of museum materials, but on one item (valuable, unique, rare) in its intrinsic value.
Architectural and artistic solution is included in the concept of “museum exhibition” as a mandatory and organic component that embodies modern artistic and aesthetic principles. This definition expresses modern approach to an understanding of the museum exhibition as a unity of scientific and artistic principles, ensuring the effectiveness of the main form of museum communication.
Contemporary museum practice places emphasis on great attention creating an exhibition image that is formed in to a greater extent thanks to the architectural and artistic design of the exhibition. This means artistic design and implementation in volumetric-spatial and artistic environment exhibition ensemble based on an artistic concept in order to optimally master the content of the exhibition by museum visitors. The main task of artistic design is to use various types art to help reveal the conceptual solution of the exhibition, enhance the emotional impact and ensure effective contact between the visitor and authentic museum objects. The art of architectural and artistic solutions refers to both fine and expressive views, relies on the entire arsenal of artistic and technical means.
Thus, decoration expositions and exhibitions in modern museums is understood as a synthesis of space-time arts and achievements of science and technology (architecture, painting, sculpture, decorative and applied arts, cinema, music, speech, theater, computer, etc.). Modern exhibition space is an organic artistic unity of all elements of the ensemble: emotional, conceptual and plastic.
The role of the artist in creating the exhibition.
Artistic design is largely determined by the creative imagination of the artist, widely uses data from psychology and pedagogy, and takes into account the combination of a number of factors influencing the process artistic perception and on a person’s ability to assimilate a certain amount of information.
These include such important data as optimal height the exhibition belt, the angle of inclination of the display cases, the most convenient for viewing the exhibits displayed in it, the amount of materials that fall into the field of view of a person at a time and from one position, the amount of information that a person can absorb in one and a half to two hours of stay in the exhibition halls. The artist must strive to different ways to concentrate the viewer’s attention and maintain his interest throughout the inspection of the exhibition, to be able to relieve “museum” fatigue and emotional overload in a timely manner.
Creative imagination the artist is based on a deep, comprehensive knowledge of the object, i.e. real sociocultural process and features of its reflection museum funds. When working on an exhibition, the artist must rely on knowledge of the museum audience of a particular museum and the socio-demographic composition of its visitors.
It is especially important to draw attention to the leading exhibition complexes or individual objects in terms of content, to keep it on those exhibits that play main role in understanding the scientific concept of exposure. The museum exhibition is perceived visually, so the artist’s task is to create visual rows, zones of emotional impact and routes for visitors. However, specialist artists emphasize that artistic image in an exhibition cannot be perceived only as a chain of visual associations. This is a more complex concept, the formation of which involves knowledge, reflection, correct historical understanding events and its assessment.
Creative method contemporary artist, who organizes a museum exhibition, is close to the method of an architect and designer, since the palette of his materials includes museum objects, exhibits, visual, architectural-spatial and technical means of displaying them. As a result, together they are rethought, creating a unique figurative language. The contrast of forms, materials, textures, structures, which gives plastic richness and variety to the exhibition, must be mastered by a modern museum designer.
Color organization of exposure is necessary for activation visual perception exhibits. It enhances the overall emotional atmosphere. The emotional power of the impact of color makes it possible to develop a kind of color symphony in which color chords, for example, sounded in the first hall, should subsequently, like a melody in piece of music, build up and at the end sound like a solemn finale. Color should support and express the content of the exhibition.
The role of the museum artist as a “director” is also manifested in the fact that the museum exhibition has become a kind of performance in which specific means of the museum are used. artistic language. The museum exhibition organically combines the scientific accuracy of the content with the vivid entertainment of the display. The task of the museum artist is to translate scientific content exhibitions from verbal language to figurative language. The dialogue of things and documents allows you to expand and strengthen the interaction between the exhibition and the visitor, to become effective method their communication.
Exhibition design is a true synthesis of functional as well as aesthetic characteristics of a holistic spatial-objective exhibition environment. It can include both the spatial-architectural layout of exhibition materials and the structural construction, as well as the formation of an image and a lighting solution.
Exhibition design is an expressive and figurative exhibition part, providing it with communicativeness, as well as an increased level of functional and utilitarian characteristics in terms of presentation and preservation of exhibits.
Exhibition design (from the English design - plan, project, drawing), the totality of aesthetic and functional qualities of the integral subject-spatial environment of a museum exhibition. E.d. includes architectural and spatial organization of exhibition materials, structural design and equipment, color and lighting solutions, image creation, etc. based on artistic and compositional principles and techniques. Acts as a figurative and expressive component of the exhibition, ensures its communicativeness and high level utilitarian and functional qualities in terms of preservation and presentation of exhibits.
Principles of building a museum exhibition
The principle of science. The basis for creating a museum exhibition is a scientific concept. She formulates the goals of creating the exhibition, scientific significance, the interest of the exhibition for visitors, a description of the exhibition and the size of the required space, a description of museum objects from its own collection or possible borrowings from other museums, the necessary costs, potential sources of funding and support, the approximate time frame for creating the exhibition.
The principle of objectivity. A museum object (exhibit) is the basis for the uniqueness of each exhibition. The cognitive value of the exhibition, as well as its emotional orientation, depends on the selection of museum objects. Such an exhibition provides visitors with the opportunity to directly become acquainted with museum objects.
Principles of clarity and universality. When constructing an exhibition as a means of mass communication, adherence to these principles is mandatory. Significant assistance in this is provided by the versatility of the presentation of exhibition materials. The leading exhibits are brought to the fore, the rest are, as it were, “muffled”, relegated to the background and even to the “hidden” plan, placed in a horizontal showcase, turnstile, album, on a retractable shield, etc. It is also possible to combine “lightweight” public halls, designed for the “average” visitor, and special halls, which create conditions for in-depth independent work of visitors. To make the exhibition more accessible, a system of texts, sound recordings, as well as visual scientific and auxiliary materials is being developed. The creation of a unique aesthetic environment throughout the entire exhibition is of great importance.
Methods for constructing museum exhibitions
The method of constructing an exhibition is a scientifically based order of grouping and organization of exhibition materials based on the content of the exhibition. In domestic museology, the following main methods of exhibition are traditionally distinguished: collection, ensemble, illustrative, museum-like.
This section will describe the principles of visitor behavior in museum interior. We offer several starting points research:
- Exhibition structure;
- Characteristics of the object;
- Characteristics of architecture;
- Characteristics of visitors.
The list of these principles is not exhaustive. We only hope that it stimulates your thinking and encourages you to explore in practice. Which will certainly help you approach museum design from a more professional side.
“Interior design and object decoration increases interest in the exhibition”
We offer some empirical foundations, but more research is needed to validate these methods, to identify the specific dimensions of each variable, and to determine the relative influence of each factor on visitor behavior.
Museums of flora and fauna
For example, consider an exhibition with all kinds of animals and other fauna.
1.
Large objects or animals attract attention many times more than small ones.
Many Western researchers have found a strong relationship between the size of the animal and the time spent viewing zoo exhibits. Similar results were seen in reptile pavilions.
2. Moving objects or animals focus attention better than static ones. In science museums, more attention is paid to moving mechanisms. In the seasons active life The number of visitors to the zoo is also growing significantly.
3. Objects or animals that are unusual and exotic for a particular area attract more attention than ordinary ones. Visitors constantly flock to see rare species animals such as: white tigers, koalas, panthers, pandas, etc.
4. There are certain qualities of objects or animals that, by their nature, cause burning interest. For example, the Hope Diamond, a large diamond, one of the famous in the New World, causes big interest by myself. On the other hand, paintings of babies will be more interesting to visitors than antique furniture. Thus, it is important to consider the factors of psychological sympathy or increased interest in certain areas of life or topics.
5. Objects that combine, along with the visual, the possibility of sensory and tactile contact, always attract more visitors. The opportunity to touch an exhibit significantly increases the time a visitor spends at the exhibition. Voice-over of the exhibition object also increases attraction and holds attention. Thus, we can say that the combination of visual, audio and tactile components of the object being examined makes it much more attractive to visitors.
The Koryablya Vasa Museum in Stockholm, which we have already mentioned, fully implements these principles, offering its visitors interactive maps sea routes, “sound rooms” where you can hear with your own ears what life on board the ship sounded like, and reconstructions of passenger cabins and other areas of the ship. Does it mean to say that you can touch absolutely everything in this museum? Even if an ancient cannon shell raised from the seabed is standing under glass, nearby there will definitely be an exact plaster shell of it that can and should be touched, stroked, and even licked from all sides!
6. Interactive elements also significantly increase viewing time. For example, a button on a device that throws light into an otter's den received more views than similar exposures without light. It is worth noting that computers and buttons are less interesting for visitors than the ability to hand-feed animals.
7. The triangulation method makes it possible to make the exhibit a catalyst for social interaction between visitors. So street performers and unusual sculptures stimulate social contact between strangers on the street.
Architectural objects in museum design
1. The more opportunities you provide for a visitor to unhindered exploration of an object, the more attention that object (or subject) will receive. There are at least three variables here: lighting level, visual obstructions, and visual screens. Light levels become a factor when the level is so low that visitors cannot view the object for 15-20 minutes. On display with low level lighting, very few visitors.
Visual obstacles include solid barriers, rocks, trees, and other objects that block the line of sight between the visitor and the object or animal.
Visual screens refer to materials such as fences and glass display cases that create glare that makes it difficult to clearly see an object or animal. Eliminating these obstacles will give you an undoubted increase in visitors and an increase in the time spent viewing the facility.
2. The proximity factor plays a certain role. The shorter the distance between the visitor and the object, the more often visitors will stop near the exhibit, and the inspection time will also increase.
3. The position of the exhibited object or subject in relation to the visitor affects the time spent near the exhibit. IN at this moment The visitor's eye level and the point of view of the exhibition are taken into account. The viewing time will increase if the arrangement of objects is centrifugal. In addition, the top positions of rows of objects will receive more attention than lower positions.
4. A more “real” exhibit is perceived as more positive. There is an observation that animals were perceived better when they were shown in natural conditions than in cages - this was also reflected in the viewing time.
5. Sensory competition. The concept includes the presence of exhibits nearby that visually compete with each other. Or their auditory stimuli are in conflict. This will reduce the visitor’s perception of the exhibition if the display cases are placed on both sides of the entrance.
6. The depth of the location of the exhibition object can have an effect opposite to what was intended. Visitors can actually learn more about an exhibit that has not been recessed into the depths of the halls.
Museum design and public factors
1. Demographic characteristics: Age, gender, socioeconomic status, and educational level and even ethnic factors can influence the reactions of exhibition visitors.
2. Visitors' special interests attract and hold their attention. Research suggests that special interests (likes and dislikes) are important predictors of guest behavior.
3. Museum fatigue. Visitors are less and less interested in exhibitions where objects are mostly similar to each other.
4. Perception is fully influenced by instinctive feelings, for example, a sense of beauty or danger. People tend to look at repellent snakes with apprehension for a long time, even if they pose no threat at all.
5. Dominance. If the visitor looks at the captive animal from above, rather than looking at it from below, then a feeling of dominance towards the object is likely to be activated.
6. Social influence. Other people's behavior influences the behavior of others. People tend to imitate the behavior of others in order to match the behavior of others. For example, visitors adjust their walking speed in a crowd or a particular room. People are attracted to a crowd that is interested in something and crowds out others.
All of the above aspects and standards greatly influence the design of exhibition halls. We recommend not to exclude any of them when analyzing your exhibition and be sure to supplement the work with a professional museum design project.
