At the recent National Association for Interpretation conference in Denver, we designed and fabricated our expo hall booth nearly entirely from recycled cardboard. Using 1″ thick packing honeycomb pads we cut the large sheets into strips and stacked/hot glued the pieces together leaving room for photos and some LED strip lighting. Text was applied of lettering from our vinyl cutter. Plywood boxes were fabricated to serve as bases to add weight and stability for the five vertical sections.
The standing desk was constructed out of five sheets of material and all fit together with no glue or hardware. Two sheets were shaped for the top and we left a little space for hiding keyboards, papers and junk. The whole desk packed flat and went together in a few minutes. Total weight was about four pounds and easily held up to abuse with lots of nice water marks from coffee cups! We cut slots in the top to hold business cards and our handouts.
The entire booth received great attendee reviews…especially the desk. In fact, we had about five offers to buy the desk. In the end we donated it to NAI for their live auction after they approached us about it.
Recycled, recyclable exhibit booth designed and built by Studio Tectonic for the National Association for Interpretation conference in Denver
Wide ranging cultural institutions often wrestle with when and how to use multiple languages in their exhibitions. As well they should. Any institution, except for those in the most homogenous areas, need to be asking how their use of language embraces, pushes away or ignores visitor needs. This is also not a static analysis but rather important to understanding audience engagement with each new and aging exhibit.
An interpretive sign in Denmark includes three languages in dense copy and becomes a vast Baltic Sea of type.
In some regions, such as Montreal, choice isn’t an option but rather dictated by law (English and French). In other areas and institutions there aren’t governing rules, but rather exhibit language is a matter of common practice. However, most institutions are left somewhere in-between without a hard and fast policy or even obvious direction on the use of additional languages.
Through our work with institutions around the world, we’ve advised that issues around language be considered at the early conceptual phase of planning an new exhibit. Sometimes there’s a bit of pushback…that the subject really isn’t important until writing copy and designing panels and media components or that their just isn’t a need to examine that part of visitor communication. We find, though, that by including language discussions early on, the exploration of audience needs is brought upfront through these discussions. We all want our exhibits to be inclusive and Read more »
Seth Frankel’s paper Sierra Leone Peace Museum: A Remembrance of Violence, Peace and Rebuilding was recently published as a Best Conference Papers by the No Gun Ri International Peace Foundation in South Korea.
Studio Tectonic is pleased to have been able to participate and been recognized for its work about this important museum. Click HERE to view the paper with project images as a PDF.
The road to success is always under construction.
– Lily Tomlin
Wishing you a rewarding journey
and destination in the coming year.
Seth Frankel presented on the creation and opening of the Sierra Leone Peace Museum at the 8th INMP conference – this year in South Korea. The conference occurs every three years at a different international location. Approximately 200 participants gathered at the NoGunRi Memorial near Gimcheon, in south central Korea. NoGunRi is the location of a peace museum centered around the massacre site of nearly 300 civilian Koreans by American soldiers at the early days of the Korean War. The massacre was denied by both the US and Korean government and only acknowledged in 1999 thanks to the decades of pressure by one of the Korean survivors.
Studio Tectonic’s conference paper is available here and chronicles the efforts to create the Sierra Leone Peace Museum by the Special Court for Sierra Leone, the International Coalition of Sites of Conscience and Studio Tectonic (4mb, 10 pages).
Learn about the INMP at http://inmp.net
The Evergreen Mind Blog, at The Evergreen State College, recently featured Seth Frankel’s work in creating museums of peace. Here’s an excerpt and link…
“Few stories are harder than the stories Seth Frankel ’93 designs and develops into exhibitions for museums across the country. As principal of his Colorado-based exhibition design firm, Studio Tectonic, he’s developed wide ranging exhibits. He’s created exhibits on watersheds, paleontology and beer (the beer and paleo exhibits aren’t the same, by the way, but he claims eyewitness account that there’s plenty of beer in paleo field camps)…”
One current museum trend actually has nothing to do with a museum- or the walls of a museum at least. More and more frequently, designers, artists, pedestrians even- are committing guerilla museum exhibit design at impromptu to Pop-Up locations all around their cities. Pop –Up Museum is “a temporary exhibit created by the people who show up to participate” and usually only lasts for a few hours. Read more »
Studio Tectonic was interviewed by the International Judicial Monitor about the role of museums in court legacy building.
One Door Closes and Another One Opens: The Special Court for Sierra Leone and the Sierra Leone Peace Museum
“What is the legacy that courts leave behind? This is one of the questions that the Special Court for Sierra Leone asked itself as it was facing that it would be the first international court to complete and accomplish its mandate. There is the obvious fact that courts leave behind such as judgments, sentences, and jurisprudence, but what else can courts leave behind? Could that something else be a peace museum and public archive?”
If you haven’t heard, the Denver Art Museum and the Seattle Art Museum have wagered on the Superbowl. The winning team’s museum will be temporarily loaned a work depicting the vanquished mascot.
So, in the spirit of all things Superbowl and Denver, Studio Tectonic is making itself available, pro bono, to design the winning exhibition to celebrate our victory. We promise unabashed showmanship, a lack of humility and plenty of Seahawk shaming – of course in a tastefully DAM way.
Denver Art Museum, take us up on the offer! Broncos, put us to work.
Seattle Art Museum Object – Forehead Mask, Nuxalk, ca. 1880, alder, red cedar bark, copper, pins, paint, 4 1/8 by 11 3/8 by 5 1/8 inches. (Image from denverartmuseum.org press release, 1/27/14)
It’s unavoidable that we think in animations. We’ve watched them for decades. Video screens at home and in museums are the norm.
In a recent exhibition on earthquakes located at the Hatfield Marine Science Center, Studio Tectonic worked with Pacific Studio, the project fabricator, to develop an animation-like interactive without the electrical cord. Why?
The client’s concept was simple. The earth compresses at differing rates depending on location. This translates to differing GPS monitoring data and is critically useful in understanding and tracking the malleability of the earth’s plates. The development team, led by Shelley Olds, an UNAVCO science educator, believed that the concept was critical for visitor understanding. Digital media costs, durability for an exhibit that may travel, and user experience (i.e. screen overload in science centers) factored into a desire to create an analog expression beyond 2D graphics. We felt that a hands-on mechanical interactive would be far more likely to be engaged by the visitor at this location, and it became clear that a single-action mechanical interactive fit the desired user interface. This kind of interactivity engaged the visitor to directly control the rate of motion, the amount of motion and the rate of release. This level of interactivity is not possible with electronics. The physical feel of control can’t be mimicked on-screen.
Because of museum developer’s commonly-held leanings to use computer animations, we often slip into exploring vast array of content that can be delivered within computer interactives. With a single-action mechanical interactive, even the most Rube Goldberg contraption forces the designers to focus on the just relevant and conveyable content. This stripping down was beneficial in the planning process. It demanded us to eliminate. Ultimately, this is a benefit to the visitor. With no learning curve, within a mere seconds of time commitment the visitor gets the concept through the physical act of doing. The direct hand-to-mind connection allows more room for the mind to pay attention to just what matters.
Still, the design of an interactive that effectively shows an animated-style state-change with variable movements is a technically high hurdle.
Through various concept testings, materials explorations and prototypes, the team settled on a fabric solution that uses differing levels of resistance applied to the weave to allow a single section of the printed graphics to react differently to a single motion. The fabric aligns to a 2nd-surface glass printed series of crosshairs that show the “normal” position of the GPS units. Moving the spring-loaded arm show the simulated Earth moving at the differing rates desired.
The exhibit is newly opened. Hatfield Marine Science Center will use its summative evaluation team to test the exhibit and determine if the concept is well-delivered with this interactive. Results will follow as testing provides us with the details.
Project was created under the direction of UNAVCO, with funding from NSF and NASA.