Three-Dimensional Storytelling: Creating Engaging Exhibition Experiences
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This document provides information and guidelines for participants in a workshop on developing museum exhibitions. The workshop will guide participants through a process for creating exhibit prototypes focused on interpretive content, audience, and techniques. Participants will learn a process model combining theory and practice for developing engaging exhibits. They will work in teams to brainstorm topics, develop a central idea, and create content for a prototype exhibit, which their team will present. The document reviews objectives, outcomes, and the relationship of the workshop theme to creating powerful museum experiences through collaborative teamwork.
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Three-Dimensional Storytelling: Creating Engaging Exhibition Experiences
- 1. BRIANNA { Bree } CUTTS THE SIBBETT GROUP Copyright 2017 Brianna Cutts All rights reserved c SUSAN SPERO JOHN F. KENNEDY UNIVERSITY
- 2. TODAY This day will include a lively and interactive workshop focussed on creating museum exhibitions. Designed for museum professionals, this workshop provides techniques and tools for developing and synthesizing content into engaging three-dimensional stories. Participants will learn about a thoughtful process model that merges theory with practice, and develop interpretive content for a full-scale exhibit prototype.
- 3. TODAY PART 1: Process + Project 9:15-10:00 - Intro and Process 10:00 - 12:00 - Teams, Projects, Work PART 2: Lunch + Inspiration 12:00 - 2:00: Lunch, “Field Trips,” Museum Tours PART 3: Produce + Prep + Pitch 2:15-3:15: Project Work 3:15-3:45: Prep Pitch 3:45-4:15 - Team Pitches (±5min per team) 4:15-4:30 - Wrap-up + Reflection + Q&A 4:30 - Thank you!
- 4. OBJECTIVES • Provide museum professionals with more guidance for creating exhibitions, from D.I.Y. approaches to professionally designed experiences • Focus on the specific categories of Story (interpretive content), Audience (museum visitors), and Technique (exhibit design) to develop and design exhibitions • Offer an approach for understanding how theory can shape practice • Inspire creative risk taking with tangible tools and a flexible process model for creating engaging museum experiences • Create a deeper understanding of cognitive, behavioral and social / emotional exhibit outcomes that will assist in fundraising and marketing efforts
- 5. OUTCOMES • Lead workshop attendees through a process to create interpretive content, from topic brainstorming to the Big Idea • Facilitate a group activity to develop interpretive content and build a three-dimensional prototype exhibit • Reveal techniques within the process model for developing efficient Teams, effective Management, and distinctive Creativity • Encourage agility and adaptability for creative collaboration that leads to consensus building and achieving unified goals • Inspire workshop attendees to use the tools and techniques offered in the workshop to create a process that fits their unique institution
- 6. RELATIONSHIP TO THEME The exhibition development and design process requires that museum professionals work together efficiently and effectively in order to create powerful museum experiences. In order to create these experiences, we need creative teams that can explore out-of-the-box ideas and navigate uncertainties. The Story Orbit process model provides a roadmap for museum professionals to build confidence about crafting their interpretive content in order to tell their unique stories, stories about our world and what unites us.
- 7. INTRODUCTION
- 8. WE’RE GOING TO COVER OF INFORMATION A LOT
- 12. EXCITED CONFUSED
- 15. THERE ARE OF WAYS TO DESIGN AN EXHIBITION A LOT
- 18. THERE ARE THREE TO DEVELOPING AN EXHIBITION KEYS 1 2 3
- 19. BUT FIRST
- 20. RAISON D’ETRE { R E A S O N T O B E }
- 22. OBJECTS & STORIES { A U T H E N T I C }
- 23. P A S S I O N
- 24. P A S S I O N O B E S S I O N
- 25. THREE TO DEVELOPING AN EXHIBITION KEYS 1 2 3
- 26. 1
- 27. LEARN THE RULES SO THAT YOU KNOW HOW TO BEND THEM
- 28. LEARN THE RULES SO THAT YOU KNOW HOW TO BEND THEM • PARKS CANADA DESIGN GUIDELINES • AMERICANS WITH DISABILITIES ACT (ADA) • ARCHITECTURAL BARRIERS ACT (ABA) • ACCESSIBILITY FOR ONTARIANS WITH DISABILITIES • FUTURE: CENTRE OF EXPERTISE ON ACCESSIBILITY AND BARRIER REMOVAL • SMITHSONIAN GUIDELINES FOR ACCESSIBLE EXHIBITION DESIGN
- 29. 2
- 30. SELF ACTUALIZATION ESTEEM BELONGING SAFETY PHYSIOLOGICAL MASLOW’S HIERARCHY OF NEEDS APPLIED TO THE MUSEUM EXPERIENCE
- 31. SELF ACTUALIZATION ESTEEM BELONGING SAFETY PHYSIOLOGICAL MASLOW’S HIERARCHY OF NEEDS APPLIED TO THE MUSEUM EXPERIENCE “Where’s the restroom?”
- 32. SELF ACTUALIZATION ESTEEM BELONGING SAFETY PHYSIOLOGICAL MASLOW’S HIERARCHY OF NEEDS APPLIED TO THE MUSEUM EXPERIENCE “Where’s the restroom?” “Wow, this is fun!”
- 33. SELF ACTUALIZATION ESTEEM BELONGING SAFETY PHYSIOLOGICAL MASLOW’S HIERARCHY OF NEEDS APPLIED TO THE MUSEUM EXPERIENCE “Where’s the restroom?” “Wow, this is fun!” “I’m inspired ... to be an artist, scientist, inventor ...”
- 34. 3
- 35. EXHIBITION DEVELOPMENT CAN BE A MESSY PROCESS
- 36. LINEAR
- 40. STORY ORBIT
- 43. TEAM ROLES - Management: Project Manager - Content: Content and Image Researcher, Subject Matter Experts, Interpretive Developer, Interpretive Writer - Design: Exhibit Designer, Interactions Designer, Graphic Designer, Multimedia Designer, Lighting Designer EXHIBITION DEVELOPMENT
- 44. TEAM ROLES - Management: Project Manager - Fabrication: Cabinetry, Sculpture, Mount Making, Model Making, Interactives, Technology - Installation: Construction, Finishes, Lighting, etc. EXHIBITION FABRICATION
- 45. TEAM SIZE - Designate a core team of 2-5 people - Assign Team Leads for large teams (15+ people)
- 46. TEAM SUPPORT - Ensure team members have effective tools - If tools are not available, design work-arounds
- 48. SCHEDULES - Planning for three design phases - Estimating work products and flow - Building in “buffers” for deadline flux LINEAR 1 2 3
- 49. COLLABORATION - Structuring a collaborative process - Selecting and maintaining on-line tools - Setting realistic milestones
- 50. LEADERSHIP - Understanding your leadership style - Identifying your team’s strengths, and weaknesses - Modeling adaptability and agility
- 52. SPACE - Place to capture and process content - Place to display project inspiration - Place to work independently and collaboratively
- 53. INSPIRATION - Get geeky: dive into your topic - Take field trips - Seek out analogous experiences
- 55. PROCESS - Design Thinking (user-centered design) ROLLER COASTER RIDE
- 58. PASSION INSTITUTION’S MISSION EXHIBITION GOAL & OBJECTIVES TOPIC BRAINSTORMING SUB-TOPICS & MESSAGES THE BIG IDEA CONTENT RESEARCH YOUR “PITCH” * * *
- 60. TOPIC BRAINSTORMING BLUE SKY THINKING: IDEA DUMP
- 61. TOPIC BRAINSTORMING PATTERN IDENTIFICATION: CLUSTERING IDEAS INTO TOPICS AND SUB-TOPICS
- 63. TOPIC BRAINSTORMING CONNECT THE DOTS: IDENTIFY ONE BIG IDEA
- 64. THE BIG IDEA THE EXHIBITION POTENTIAL CONTENT VISITOR QUESTIONS
- 65. THE BIG IDEA THE EXHIBITION POTENTIAL CONTENT VISITOR QUESTIONS FILTERS: GOAL & OBJECTIVES EXPERIENCE: STORY AND ENGAGEMENT
- 67. YOUR “PITCH” THE WHY - Why it matters - Why the exhibition is needed - Why we’re meeting the need THE WHO - Primary audience THE HOW - Unique offerings - Unique qualities THE WHAT - INFORM (Cognitive) - - What visitors will learn MOTIVATE (Behavioral) - - What visitors will do INSPIRE (Social / Emotional) - - What visitors will feel
- 69. AUDIENCE PROTOTYPING FEEDBACK VISITOR EXPERIENCE JOURNEY LEARNING FRAMEWORK HOW ... WHAT ... WHO ... * * *
- 71. WHO ... FRONT END EVALUATION: UNDERSTANDING YOUR VISITOR
- 72. SELF ACTUALIZATION ESTEEM BELONGING SAFETY PHYSIOLOGICAL MASLOW’S HIERARCHY OF NEEDS APPLIED TO THE MUSEUM EXPERIENCE “Where’s the restroom?” “Wow, this is fun!” “I’m inspired ... to be an artist, scientist, inventor.”
- 74. VISITOR EXPERIENCE JOURNEY HOW DO PEOPLE FIND OUT ABOUT THE EXHIBITION? WHAT DO PEOPLE DO AT THE EXHIBITION? WHAT DO PEOPLE SAY ABOUT THE EXHIBITION?
- 76. PROTOTYPING FORMATIVE EVALUATION: ENSURING YOUR VISITOR UNDERSTAND TEST IDEAS
- 77. PROTOTYPING FORMATIVE EVALUATION: ENSURING YOUR VISITOR UNDERSTAND GET MESSY TINKER TEST IDEAS
- 79. TECHNIQUE DESIGN ELEMENTS DESIGN AND FAB COSTS TECHNOLOGY INTERACTION INTERPRETIVE ELEMENTS DESIGN DELIVERABLES CONTENT CREATION * * *
- 80. TECHNIQUE DESIGN AND FAB COSTS *
- 82. FABRICATION COSTS $187,500 - 375,000 LOW TECH 1,500 SF 1,500 SF 1,500 SF MEDIUM TECH $412,500 - 825,000 HIGH TECH $862,500 - 1,500,000
- 83. DESIGN COSTS $187,500 - 375,000 LOW TECH 1,500 SF 1,500 SF 1,500 SF MEDIUM TECH $412,500 - 825,000 HIGH TECH $862,500 - 1,500,000 + 25-35% of fabrication budget
- 85. CONTENT CREATION RESEARCH CONTENT INTERPRETIVE OUTLINE
- 87. INTERACTION COGNITIVE BEHAVIORAL SOCIAL / EMOTIONAL
- 88. AND NOW ...
- 93. OUR EXHIBIT PROCESS TODAY: 2 DEVELOP & DESIGN 1 REVIEW & PLAN 3 PREP & PITCH
- 95. 1. REVIEW & PLAN LEARNING FRAMEWORK 1 REVIEW & PLAN LEARNING FRAMEWORK Choose One Genre for Exhibit Prototype For this exhibit workshop, we’ll use book genres as a whimsical approach to designing an exhibit within a learning framework. Please keep in mind that while museums are informal learning environments, funding pressures typically require achieving measurable learning outcomes. For future reference, learning frameworks typically consist of the following, as applied to the concept of book genres: 1. INSTITUTION’S RAISON D’ETRE - Devoted to modern art - Connecting children to nature - Celebrating the rich world of pizza 2. TOPICS: - Arts - Sciences - Humanities 3. PEDAGOGY: - Constructivism - - building on prior knowledge - Multiple Intelligences 4. EXPERIENCE APPROACH: - Participatory experience - Curated narrative - Authentic content 5. DIFFERENTIATOR (Why this institution matters; typically captured in tagline) - Nurtures creativity - Cultivates empathy 1. BOOK’S ULTIMATE PURPOSE - Provide inspiration - Entertain readers - Sell books 2. TOPICS: - Romance - Mystery - Memoir 3. PEDAGOGY: Narrative structure - Hero’s Journey - Five Acts - Beginning, Middle, End 4. EXPERIENCE APPROACH: - Pacing Approach - Narrator Type - Fiction, non-fiction 5. DIFFERENTIATOR (Why this book matters; typically captured in title and sub-title) - Addresses fundamental human issues - Addresses issues in memorable way GENRE: ROMANCE GENRE: MYSTERY GENRE: MEMOIR For Reference DRAMA THAT SPARKS EMOTION 1. A meets Z. 2. Z has a secret. 3. Z keeps secret from A as they fall in love. 4. A finds out and they part in anger. 5. Z loses all. 6. A returns, repentant, to declare what they both knew all along: A loves Z. 7. Z is now strong enough to turn A down or take A back (as an equal partner). THE HERO’S JOURNEY 1. Call to Adventure 2. Acceptance of Call 3. Rising to Action: The Ordeal 4. Facing Defeat: Striving for Treasure 5. Mission of Danger: Completing Adventure 6. Journey Home: One More Sacrifice 7. Transformation: The Journey Continues CREATE AN ARC TO INSPIRE PERSONAL GROWTH 1. The Desire Line I wanted ______________ (the desire line). 2. Actions and Obstacles To get it, I then ______________(action). 3. Emotional Moments To get it, I ______________ (action). 4. Initiating Incident But ______________ (obstacle) got in my way. 5. Ending Incident So, I ______________(action).
- 96. 1. REVIEW & PLAN DESIGN GUIDELINES 1 REVIEW & PLAN EXHIBIT ELEMENTS ACCESSIBILITY & DESIGN Use these tools and guidelines to develop and design your exhibit. Cabinetry — A free-standing cabinet displays interpretive content. Artifact Case — A cabinet-mounted case displays artifacts. Photo Mural — A wall-mounted mural. Primary Interpretive Graphic — A large-sized free-standing or wall-mounted interpretive graphic panel. The interpretive graphic panel includes text and photography. Secondary Interpretive Graphic — A medium-sized free- standing or wall-mounted interpretive graphic panel. The interpretive graphic panel includes text and photography. Label — A small-sized free-standing or wall-mounted interpretive graphic panel. The interpretive graphic panel includes text. Tactile Element — A tactile object that highlights the _____ story. Scale Model — A scale model of a/the ____________ . Artifacts — A collection of ____________ artifacts. Audiovisual Program — An audiovisual program about ____________. Audiovisual Equipment — Within the Cabinetry is concealed audiovisual equipment that plays audiovisual programs. Interactive Media — An approximately ____________ minute touch screen multimedia program. Seating — Seating will be offered to visitors as places to rest or linger. Seating will include stools and benches. Lighting — Lighting fixtures in the existing system are aimed to illuminate the exhibit area. SPACE PLANNING GRAPHIC DESIGNOBJECT DISPLAY SOURCE: Smithsonian Guidelines for Accessible Exhibition Design OVERVIEW: This list includes typical elements used in museum exhibits. TYPICAL EXHIBIT DESIGN ELEMENTS
- 97. 1. REVIEW & PLAN BRAINSTORM EXHIBIT STORY HOW MIGHT YOU ENGAGE YOUR AUDIENCE ABOUT YOUR EXHIBIT TOPIC? HOW MIGHT YOU TELL YOUR EXHIBIT STORY IN AN UNEXPECTED WAY? 1 REVIEW & PLAN HOW MIGHT YOU INSPIRE CURIOSITY ABOUT YOUR EXHIBIT TOPIC?
- 98. OUR EXHIBIT PROCESS TODAY: OUR EXHIBIT PROCESS 2 DEVELOP & DESIGN
- 99. 2. DEVELOP & DESIGN VISITOR EXPERIENCE JOURNEY ONCE VISITORS ARRIVE, THEY NOTICE ... AT THE EXHIBIT, VISITORS ARE ENCOURAGED TO ... AFTER THE EXHIBIT EXPERIENCE, VISITORS SAY ... AT THE EXHIBIT VISITORS CAN ... VISITORS FIND OUT ABOUT THE EXHIBIT FROM ... 2 DEVELOP & DESIGN Copyright c 2017, Brianna Cutts, The Sibbett Group
- 100. 2. DEVELOP & DESIGN TITLE MESSAGE OUTCOMES ELEMENTS LEARN (COGNITIVE) Understand ... Discover ... Connect ... DO (BEHAVIORAL) Touch ... Hear ... Smell ... FEEL (SOCIAL / EMOTIONAL) Appreciate ... Value ... TITLE (1-3 WORDS): SUB-TITLE (4-8 WORDS): THE BIG IDEA (A simple sentence that may become your title and / or sub-title) FURNISHINGS: GRAPHICS: INTERACTIVES: OTHER / TWIST: “Aha, I had no idea!” “Hmm, that makes sense.” “Wow, really?” TOPIC: DINING ROOM TABLE INTERPRETIVE EXHIBIT OUTLINE 2 DEVELOP & DESIGN Copyright c 2017, Brianna Cutts, The Sibbett Group
- 101. OUR EXHIBIT PROCESS TODAY: 3 PREP & PITCH 3 PREP & PITCH
- 102. 3. PREP & PITCH PITCH EXHIBIT STORY THE WHY THE HOW THE WHAT The Pitch articulates your vision in a written description that is punchy, playful and personal. RELEVANCE Why this exhibit matters: MARKETING How visitors find out about the exhibit: DIFFERENTIATOR An unexpected twist in the exhibit: INFORM What visitors will LEARN: MOTIVATE What visitors will DO: INSPIRE What visitors will FEEL: 3 PREP & PITCH Copyright c 2017, Brianna Cutts, The Sibbett Group
- 103. LEARNING FRAMEWORK : YOUR BOOK GENRES
- 104. NARRATIVE & PLOT Create a Drama to Spark Emotion and Inspire Dreams 1. A meets Z. 2. Z has a secret. 3. Z keeps secret from A as they fall in love. 4. A finds out and they part in anger. 5. Z loses all. 6. A returns, repentant, to declare what they both knew all along. A loves Z. 7. Z is now strong enough to turn A down or take A back (as an equal partner). ROMANCE NOVEL
- 105. NARRATIVE & PLOT The Hero’s Journey 1. Call to Adventure 2. Acceptance of Call 3. Rising to Action: The Ordeal 4. Facing Defeat: Striving for Treasure 5. Mission of Danger: Completing Adventure 6. Journey Home: One More Sacrifice 7. Transformation: The Journey Continues MYSTERY NOVEL
- 106. NARRATIVE & PLOT Create an Arc to Inspire Personal Growth 1. The Desire Line 2. Actions and Obstacles 3. Emotional Moments 4. Initiating Incident 5. Ending Incident MEMOIR I wanted ______________ (the desire line). To get it, I ______________ (action). To get it, I then ______________(action). But ______________(obstacle) got in my way. So, I ______________(action).
- 107. OUR EXHIBIT TOPIC Dining Room Tables TODAY:
- 109. A FEW TIPS:
- 111. LIKE A “WICKED PROBLEM” A wicked problem is a problem that is difficult or impossible to solve because of incomplete, contradictory, and changing requirements that are often difficult to recognize. The use of the term “wicked” here has come to denote resistance to resolution, rather than evil. Moreover, because of complex interdependencies, the effort to solve one aspect of a wicked problem may reveal or create other problems. CREATING EXHIBITS:
- 112. “FRICTION” “Passionate, provocative dissention and disagreements are not only tolerated but cultivated, to spur the best ideas and, as importantly, to eliminate bad ones quickly. While a consensus seeking approach may lead to a few incremental innovations, he says, a bit of tension, even friction during creative ideation, is likely to lead to innovation breakthrough.” The Secret That Inspires Cirque du Soleil’s Culture Of Innovation: Creative Friction, Forbes CREATIVE PROCESS
- 114. 1) Pick team out of bag 2) Gather in team area 3) Begin! PART 2: Lunch + Inspiration 12:00 - 2:00: Lunch, “Field Trips,” Museum Tours - Tour 1: Rory McDougall Loyal Edmonton Regimental Military Museum - Tour 2: Hannah Chipman Telephone Historical Centre GROUP ACTIVITY
- 115. PART 3: Produce + Prep + Pitch 2:15-3:15: Project Work 3:15-3:45: Prep Pitch 3:45-4:15 - Team Pitches (±5min per team) 4:15-4:30 - Wrap-up + Reflection + Q&A 4:30 - Thank you! GROUP ACTIVITY
- 116. TEAM PITCHES!
- 117. WRAP UP ...
- 118. OF INFORMATION A LOT
- 119. OVERLOAD
- 121. RESOURCES National Association for Museum Exhibition (NAME) ExhibitFiles.org AAM Bookstore
- 122. Q & A