Museum Exhibitions change lives, maybe more than any other media. Sculpture, painting, film, dance, theater and music, all combined with the visitor into one experience.  I believe that museum exhibitions have the opportunity to change lives.

Friday, I visited the United States Holocaust Memorial Museum .   The building is non nondescript, I was struck by the brutality of the steel and concrete, the architecture is very abrupt and bunker like.  Visitors enter through metal detectors.   At the entrance is a picture of Stephen Tyrone Johns, I noticed the picture, but didn’t think much about it until I was leaving the museum (Officer Stephen Tyrone Johns, was killed at the Museum by an antisemite).

I started my visit on the lower level at “State of Deception: The Power of Nazi Propaganda”.  I was struck by the similarities between exhibition design and propaganda, both using, simple messages, theatrical tools, strong visuals, communicating the same message in different methods, repetition of messages and using crowds to build energy.  I am not suggesting the exhibitions are propaganda, but exhibition design does incorporate some of the tools of propaganda.

Next I visited “Daniel’s Story”, to me the exhibition looked dated.

Then I went upstairs to the second floor and visited “From Memory to Action: Meeting the Challenge of Genocide” a nice enough exhibition, although I was the most impressed by the call to action and the use of the Pen Scribe to record their pledges.

I was feeling as if I was missing part of the museum.  I had heard about the museum for years and I knew there was more to the museum.  I went to the information desk and “asked where is the main gallery?”  The docent gave me a map and directed me to the elevator to the left of the entrance.  The wall of the entrance to the elevator is clad is cor ten steel and very imposing. A floor staff memeber gave us an over view of what were we going to see on the three upper floors. The permananet exhibition “The Holocaust” is divided into three floors; “Nazi Assault,” “Final Solution,” and “Last Chapter.”

Starting on the forth floor,  the experience starts with, the “Nazi Assault”, then the third floor with “Final Solution,” then on the second floor with the “Last Chapter”. On the forth floor I was thinking, “okay this is a typical theatrical exhibition”. Then I smelled the odor of the interior of the rail car similar to those used to transport thousands of victims , smelled the leather of thousands of shoes of victims and I felt as if I was being manipulated, by the “Last Chapter”, I was changed.

Yes, I had been manipulated by the exhibition, but I learned to trust the authority of the museum and allowed myself to be changed.  I am a strong believer in the democratization of content, working in a transparent “open source” method and involving the visitor. But, there is no way this story can be told by anyone other than those that lived it. I do not want to hear the thoughts of others, I want exactly what the Museum provided, a clear, concise, well edited, factual, theatrical and life changing experience.  The museum and the Holocaust survivors are the authirity on the content, and we as visitors need to repect the history and the survivors.

I have never thought of walking as an interactive activity, but the museum uses the visitors journey through the museum  from the forth floor, third floor then to the second floor, as a tool to emotionally attach the visitor to the content.  When I was working at Liberty Science Center, we had a simple table top activity, visitors could move a tape head across recorded magnetic tape and hear the recorded sound.  By changing the perspective from moving the tape head, instead of  moving the tape, visitors understood the tape head “reads” information of the magnetic tape.  The Holocaust Museum uses a similar approach, instead of presenting us a theatrical show, we walk across the theater stage and become actors in the show. I loved the white spaces in between each floor, that allowed me to take a breath and go on to the next act in the “show”.  I enjoyed the use of art, included in the museum at each “pause” between the galleries.

“Gravity” by Richard Serra
“Consequence”  by Sol LeWitt
“Memorial” by Ellsworth Kelly

In “The Holocaust” galleries, there were children some as young as seven or eight.  Then I understood the need for “Daniel’s Story”, this content is not appropriate for children, but it is important to tell the Holocaust history and “Daniel’s Story” presents the content in a way kids can digest.

When leaving the museum, the brutal bunker architecture made sense , this is a Museum built to survive attacks.

When I reached the second floor of  ”The Holocasut” I was changed, I had become emotionally attached to the content.  To be honest I was overwhelmed and wanted to leave the museum. Before I left, I paused at the theater and listened to a Holocaust survivor describing seeing soldiers and taking off his wooden shoe to hit the soldier in the head, the soldier an American said , “I am here to save you, not kill you”.  I stood at the back of the theater and cried.

At the exit to “The Holocaust” gallery:

“First they came for the communists,
and I didn’t speak out because I wasn’t a communist.

Then they came for the trade unionists,
and I didn’t speak out because I wasn’t a trade unionist.

Then they came for the Jews,
and I didn’t speak out because I wasn’t a Jew.

Then they came for the Catholics,
and I didn’t speak out because I was Protestant.

Then they came for me
and there was no one left to speak out for me.”

2011 Solar Decathlon

Last October I was invited to be a juror for the 2011 Solar Decathlon.  The Solar Decathlon is a semi-annual event (next Decathlon 2013) sponsored by the U.S. Department of Energy’s – National Renewable Energy Laboratory (NREL) .  I was selected as one of three jurors of the Communication Jury.  We were given the task of ranking the work of 20 international teams.  Each team was given very specific requirements to create a solar home.   The Communication jury was tasked with ranking, how the teams “communicate” their project to the public.

Being a juror gave me an opportunity to clarify my criteria for reviewing an exhibition.  The items I “looked for” from each team:

1.   Was there a communication objective?

• Did the project establish a brand?
• Was there a “Voice of communication”, did the team communicate in specific and fitting “voice”?
• Did the team create measurable objectives?

2.   Is there a visible strategy to achieve the objectives?

3.   Did the team use the tools of Museum 1.0 ?, 2.0?, 3.0?, 4.0 ?

It was very interesting sitting with the two other jurors and discussing how we ranked the teams.  The other two jurors were a Director of Marketing of a Prefab home company and a communications consultant.  One of the interesting items that came out of our deliberations was that the content of the projects was of less importance than “how” the team communicated their project.

As a jury we came up with a standard to judge the teams, “did the teams communicate in order to create a change in behavior”?  We were given a matrix to judge each team on several areas, most areas were very broad.  As I went through the houses, I took photos and looked for the typical tools of an exhibition, for each team I broke the visit into; Pre Visit, Visit and Post Visit.

Pre Visit

1. Did the website communicate; a project objective? a “voice” of communication?, was there “brand” established?,
2. Did the Video of project communicate the objectives?
3. Did the website and video show market research?
4. Was there an established Visitor Demographic?
5. Is there a stated “Communication Plan”?
6. Were there interviews with a sample of the demographic?
7. Were there clear “project filters” (link)
8. Was there a Press Release?
9. Did the website customize content to the viewer?

Visit

1. Did the guide provide “Talking Points” of the project?
2. Was it apparent that the staff was trained?
3. Was there a “Demonstrator of the technology”?
4. Were we oriented to the project?
5. Was there a Threshold (Link)
6. Is there a clear “Big Message”
7. Is there a hierarchy of Content?
8. Is there a “Call to action”?
9. What type of layout, linear? Chronological?, Exploratory? aware of different learning styles? Vista? Surprises? An overview of the entire project?
10. Was the “voice” of the communication? Was the “voice” consistent?
11. Did the communication “speak” to the demographic?
12. Did the project show feedback from the demographic?
13. Did the interpretation customize the interruption to different learning styles?
14. Did the team attire and attitude support the communication plan?
15. Demonstrations?
16. Did the team use physical interactives?
17. Were there team photos? Was it apparent that the project was built by a team ?
18. Did the project use Technology to communicate? Video, ipad, iphone, QR codes?
19. Was the communication innovative?
20. Did the project set a context for the content?
21. Was there a consistent use of font, color,
22. Are the exhibits ADA compliant?
23. Were there samples of the materials and technology used? Were there Manipulatives (wall sections, etc.) ?
24. Map, “where am I”?
25. Did the team collect visitor information?
26. Was there a physical model of how the technology works?
27. Photos of users, “oh I look like them” matching to demographic
28. Did the team incorporate quotes?
29. Was there interpretation of the content?
30. Was there a clear visitor flow?
31. As jurors we were not allowed to review electronic communication, but the teams were allowed to describe their use of electronic media

Post Visit

1. Did the project achieve the stated objective?
2. Did the website “continue” the visit and give links to additional content?
3. Was there a follow up “Call to action”?
4. Was there an opportunity to “Join the community”?
5. Was there an opportunity to Donate?
6. Was there a link to “Press Materials”?
7. Was there a communication plan available?

2011 Solar Decathlon Flickr Photos

Yes, working in museums is a career.  Below is a comprehensive listing of schools for museum design, exhibition design and museum studies.

One of the most frequently asked questions about the museum field is “how do I get started”?   Many people in the museum field either studied, Museum Studies, Art History, Fine Art or Design.  Those who progress to working as senior staff often go back to school for a Master of Business Administration.

Areas of study for museum positions:
Curator – Museum Studies / Art History / Fine Art
Exhibition Designer / Director of Exhibitions – Industrial Design / Set Design / Fine Art
Educator / Director of Education – Psychology / Early Childhood Education / Museum Studies
Director – Art History / Business / Museum Studies
Registrar – Museum Studies / Art History / Fine Art
Volunteer Manager / Docent Manager – Art History / Marketing / Education
Historian – Advanced degree in their area of expertise
Marketing / Director of Marketing – Marketing / Graphic Design
Botanist, Scientist, Physicist, Paleontologist – Advanced degree in their area of expertise
Development Director- Philanthropy / Museum Studies / Marketing / Public Relations
Marketing Director – Marketing / Communications
Operations Manager – Technical School / Contractors License
Book Keeper / Chief Financial Officer – Business / Accounting

There are people woking at museums who did not study in the areas outlined above. To work at a museum you don’t “have to” follow the career path above, but it helps.

I often find my self in meetings with people from outside the museum field who make comments such as; “museums are no different than any other business” or “museums need to be more like a businesses”.  Then I find myself in the uncomfortable position of saying “yes, museums are  “in business” and yes, museums could learn from typical business practices.  But, museums are not a “business” and museums are different than a business”.  The objective of a business is to be profitable, the objective of a museum is to communicate (link to museum definition).  Museums need to stay “in business” but profit is not their objective.  I would recommend anyone interested in working in museums to seek out a good program in the their area of interest.  I find It very helpful to be immersed in the culture of museums prior to working at a museum. The best museum programs, have professors who work for or at a museum and can introduce students to the museum culture.

I have put together a list of the Museum Studies, Museum Education and Museum Exhibition Design programs.  Thank you all to those that help with completing the list!  Please contact me if I have omitted any programs.

Museum Studies/Museology

Arizona State University
B.A. in Museum Studies
http://art.asu.edu/museumstudies/

Baylor University
Degree: B.A., B.S., and M.A. in Museum Studies
http://www.baylor.edu/Museum_Studies/

Brown University
Degree: M.A. in Public Humanities
http://www.brown.edu/Research/JNBC/maprogram.php

Chadron State College
Degree: B.A. in Applied History with a Museum Studies Major
http://www.csc.edu/socialsci/museum/degrees.csc

Cooperstown Graduate Program
Degree: M. A in History Museum Studies
http://www.oneonta.edu/academics/cgp/curriculum/curriculum.html

Florida International University
Degree: Graduate Certificate in Museum Studies
http://thefrost.fiu.edu/edu_studies.htm

George Washington University
Degree: M.A. in Museum Studies
http://programs.columbian.gwu.edu/museumstudies/

Harvard University Extension School
Degree: M.L.A. in Museum Studies
http://www.extension.harvard.edu/degrees-certificates/museum-studies

Indiana University – Purdue
Degree: M.A. degree in Museum Studies
http://liberalarts.iupui.edu/mstd/

Institute of American Indian Arts
Degree: Associate of Fine Arts, B.A. in Museum Studies
http://www.iaia.edu/academics/degree-programs/museum-studies/

Johns Hopkins University
Degree: MA in Museum Studies
http://advanced.jhu.edu/academic/museum/

John F. Kennedy University
Degree: M.A. in Museum Studies
http://www.jfku.edu/Programs-and-Courses/College-of-Graduate-Professional-Studies/Museum-Studies.html

New York University
Degree: M.A. in Museum Studies
http://www.nyu.edu/gsas/dept/fineart/academics/curatorial.htm

San Francisco State University
Degree: M.A. in Museum Studies
http://www.sfsu.edu/~museumst/

Seton Hall University
Degree: M.A. in Museum Professions
http://www.shu.edu/academics/artsci/ma-museum-professions/

Southern Illinois University at Carbondale
Degree: Undergraduate Special Bachelor Degree
http://www.museum.siu.edu/studies.html

Southern University at New Orleans
Degree: M.A. in Museum Studies and Cultural Preservation
http://www.suno.edu/Colleges/Museum/

Syracuse University
Degree: M.A. in Museum Studies
http://vpa.syr.edu/art-design/design/graduate/museum-studies

Texas Tech University
Degree: M.A. in Museum Science
http://www.depts.ttu.edu/museumttu/program.html

Tusculum College
Degree: B.A. in Museum Studies
http://www2.tusculum.edu/museumstudiesprogram/

University of Central Oklahoma
Degree: B.A. / M.A. in History and Museum Studies
http://www.libarts.uco.edu/history/Undergraduates.htm#History_-_Museum_Studies

University of Colorado, Boulder
Degree: M.S. in Museology
http://www.colorado.edu/catalog/catalog10-11/courses/museumandfieldstudies.html

University of Denver
Degree: M.A. in Art History with Museum Studies Concentration
http://www.du.edu/art/programs/MAahMuseum.html

University of Florida
Degree: M.A. in Museum Studies
http://www.arts.ufl.edu/programs/museumstudies.aspx

University of Illinois at Chicago
Degree: Professional Certification Museum Studies (graduate and undergraduate)
http://www.uic.edu/depts/arch/ah/museumstudies.shtml

University of Kansas
Degree: M.A. in Museum Studies
http://www2.ku.edu/~distinction/cgi-bin/overview146

University of Leicester (UK)
MA/MSc and PhD programs in Museum Studies
http://www2.le.ac.uk/departments/museumstudies

University of North Carolina at Greensboro
Degree: B.A. in Art History and Museum Studies
http://www.uncg.edu/art/undergraduate/history

University of Oklahoma
Degree: M.A. in Liberal Studies, Museum Studies Option (100% Online)
http://www.ou.edu/content/cls/aud/prospective_students/graduate_programs/museum.html

University of Oregon
Degree: A Master of Arts Management
http://aad.uoregon.edu/programs/degrees

University of South Florida
Degree: Graduate Certificate in Museum Studies
http://www.gradcerts.usf.edu/certificates/xms.html

University of Washington
Degree: M.A. in Museology
http://depts.washington.edu/uwmuse/

Virginia Commonwealth University
Degree: M.A. in Museum Studies
http://www.pubapps.vcu.edu/bulletins/prog_search/?did=20153

Walsh University, North Canton, Ohio
Degree: BA Museum Studies
http://www.walsh.edu/museumstudies.htm

Museum Anthropology
Arizona State University
Degree: M.A. in Museum Anthropology
http://shesc.asu.edu/node/316

Columbia University
Degree: M.A. in Museum Anthropology
http://www.columbia.edu/cu/anthropology/graduate/main/index/museum_anthro.html

Museum Communication
University of the Arts
Degree: M.A. in Museum Communication
http://www.uarts.edu/academics/visual-arts/ma-museum-communication

Philanthropy
Indiana University at Purdue
Degree: Master of Arts in Philanthropic Studies
http://www.philanthropy.iupui.edu/education/grad.aspx

Museum Education
Bank Street College
Degree: M.S. in Leadership in Museum Education
http://www.bnkst.edu/graduate-school/academics/programs/museum-education-overview/

George Washington University
Degree: M.A. Teaching in Museum Education
http://gsehd.gwu.edu/programs/mep/masters

Tufts University
Degree: M.A. in Museum Education
http://ase.tufts.edu/museumstudies/masters.asp

University of the Arts
Degree: M.A. in Museum Education
http://www.uarts.edu/academics/visual-arts/ma-museum-education

Museum Exhibition and Design
Art Center
Degree: Master Industrial Design
http://www.artcenter.edu/accd/programs/graduate/industrial_design.jsp

CCA
Degree: Bachelor of Fine Art
http://www.cca.edu/academics/industrial-design

Cooper Union
Degree: Bachelor of Architecture
http://cooper.edu/architecture

The Corcoran College
Degree: MA Exhibit Design
http://www.corcoran.edu/degree-programs/graduate/ma-exhibition-design

Fashion Institute of Technology (S.U.N.Y.)
Degree: M.A. in Exhibition Design
http://www.fitnyc.edu/2868.asp

MIT
Degree: Master of Media Arts and Sciences
http://www.media.mit.edu/about

Pratt Institute
Degree: Master of Industrial Design
http://www.pratt.edu/academics/art_design/art_grad/industrial_design_grad/

Royal College of Art
Degree: Master of Arts, Design Interaction
http://www.rca.ac.uk/Default.aspx?ContentID=161712

NYU
Degree: Master of Professional Studies (M.P.S.) degree
http://itp.tisch.nyu.edu/object/itp_overview.html

San Francisco Art Institute
Degree: M.A. in Museum Exhibition and Museum Studies
http://www.sfsu.edu/~museumst/

Sci-Arch
Degree: Bachelor of Architecture
http://www.sciarc.edu/portal/programs/undergraduate/index.html

University of the Arts
Degree: M.A. in Museum Exhibition, Planning and Design
http://www.uarts.edu/academics/design

University of California, Davis
Exhibition Design, BA
http://design.ucdavis.edu/

Collections Management
Eastern Illinois University
Degree: M.A. in Historical Administration
http://catalog.eiu.edu/preview_program.php?catoid=11&poid=1275

Curatorial Studies/Curatorial Practice
Bard College
Degree: M.A. in Curatorial Studies
http://www.bard.edu/graduate/

California College of the Arts
Degree: M.A. in Curatorial Practice
http://www.cca.edu/academics/graduate/curatorial-practice

Curatorial Studies/Curatorial Practice
Brigham Young University
Degree: B.A. in Art History and Curatorial Studies
http://visualarts.byu.edu/programs/ma_art_history.php

California College of the Arts
Degree: M.A. in Curatorial Practice
http://www.cca.edu/academics/graduate/visual-critical-studies/curatorial-practice

Certificates
California State University at San Bernardino
Degree: Undergraduate Certificate in Museum Studies
http://www.csusb.edu/majorsdegrees/undergraduate/baAnthropology/CertificatePrograms.aspx

Indiana University at Purdue
Degree: Undergraduate Certificate in Museum Studies
http://liberalarts.iupui.edu/mstd/index.php/undergraduate

Northern Illinois University
Degree: Certificate in Museum Studies
http://www.niu.edu/mstudies/

Northwestern University
Degree: Certificate in Museum Studies
http://www.niu.edu/mstudies/

Smith College
Degree: Certificate in Museum Studies
http://www.smith.edu/siams/

University of Iowa
Degree: Certificate in Museum Studies
http://www.uiowa.edu/~mstudies/MuseumStudiesCertificate.htm

University of Oregon
Degree: Graduate Certificate in Museum Studies
http://aad.uoregon.edu/programs/certificates/museum-studies-certificate

University of South Carolina
Degree: Certificate in Museum Management
http://www.cas.sc.edu/mcks/museummgmt/

University of Tulsa
Degree: Certificate in Museum Studies
http://www.utulsa.edu/academics/colleges/Henry-Kendall-College-of-Arts-and-Sciences/Certificates/Museum%20Studies.aspx

Utah State University
Degree: Certificate in Museum Studies
http://www.usu.edu/degrees/index.cfm?id=209

Canadian Programs
Association of Manitoba Museums, Winnipeg
Degree: Professional Certificate in Museum Practice
http://www.museumsmanitoba.com/courses/index.html

Alberta Museums Association, Edmonton
Degree:Certificate in Museum Practice
http://www.museums.ab.ca/what-we-do/professional-development/certificate-in-museums-studies.aspx

Museums Association of Saskatchewan, Regina
Degree: Professional Certificate in Museum Studies
http://www.saskmuseums.org/professional_development

Ryerson University
Program: This is a joint program in Photographic Preservation & Collections Management
Degree: M.A. in Photographic Preservation; Collections Management
http://www.imagearts.ryerson.ca/photopreservation/program.html

Sir Sandford Fleming College, Peterborough
Degree: Certificate in Museum Studies
http://www.flemingc.ca/programs/museum-management-and-curatorship

University of Calgary
Degree: Minor in Museum and Heritage Studies
http://arts.ucalgary.ca/departments-programs/museum-and-heritage-studies

Université de Montréal
Degree: M.A. in Museology
http://www.etudes.umontreal.ca/index_fiche_prog/213110_desc.html

University of Toronto
Degree: Degree of Master of Museum Studies (MMSt)
http://www.ischool.utoronto.ca/degrees/mmst

University of Victoria
Degree: Graduate Professional Certificate (GPC)
http://www.uvcs.uvic.ca/cultural/graduate/

Resources:
Smithsonian listing of museum study programs:
http://museumstudies.si.edu/training.html

LinkedIn thread regarding the best schools for museum studies

*I studied Fine Art at Skidmore College (Bachelor Science, Fine Art) and Industrial Design at Pratt Institute (Master Industrial Design)

Photo: Robert Motherwell, “Elegy to the Spanish Republic, 108″ 1965-1967, Collection of MOMA, Photo by Mark Walhimer 2011

A year ago we started work on a 15,000 square foot start up Science Center.  Most Science Centers cost approximately $350-$500 per sq. ft. (see 2011 exhibition cost survey).  This Science Center had neither the time nor the budget to go through the typical museum design process; prototyping, value engineering, fabrication and installation process.  I suggested an “off the shelf” process.  We would create schematic designs of the areas of the science center, create a storyline for each area, suggest several iconic exhibits, create an a color palette, then go and look for new or used existing exhibits that would work within the developed frame work.  Using this methodology, we set a budget of $1.2 m for 15,000 square feet ($80 per square foot).  For the $1.2 m, we took the project through 50% design development, purchased the exhibits, managed the project, shipped the exhibits and exhibition installation.   We were able to design, purchase, deliver and install the exhibits in less than one year at a significantly lower cost.

In the process of working for the client we developed www.museum-exhibits.com as an internal website for tracking exhibits and vendors.  Along the way we realized that museum-exhibits had greater potential than just internal uses.  In the past I have written about the concept of the Hub Museum, museums that share resources.  We realized that museum-exhibits had become a curated “clearing house” for resources.  As museum-exhibits.com was developed for internal use it is a work in progress, but I now feel confident to share the site and ask for feedback.  I have now made www.museum-exhibits.com a public website.  As a follow up to this post I am interested in feedback on the website and will create an online survey.  I am also interested in suggestions for exhibits, sculptures and materials from vendors, and museum suppliers to be included.  Please use the vendor form to make suggestions.

museum-exhibits.com is an online resource for educational exhibits for museums, science centers, children’s museums, zoos and natural history museums.  The website content includes “off the shelf” exhibits, specialty effects and interactive kinetic sculpture for family learning environments.

“Off the Shelf” Exhibit Definition:

An already existing museum exhibit.   A proven museum / science center exhibit available for shipping within 6-12 weeks of contract signing.  Includes, one year warranty, maintenance manual, listing of replacement parts and electrical requirements.

What is the future of museum interactivity?

Reaching consensus on the stages of development of museums is difficult, but for the purpose of this conversation, I will use:

Museum 1.0
First Generation Museum, “Cabinet of Curiosity”
Collection cases, static displays, dioramas, object centric
•    Mutter Museum

Museum 2.0
Second Generation Museum / Science Center
Collection cases with push buttons and cranks
•    Museum of Science, Boston

Museum 3.0
Third Generation Museum / Science Center
Open ended, multi-layered and visitor centric and encourages conversations
•    Exploratorium

Museum 4.0
Fourth Generation Museum / Science Center
The Museum / Science Center is without walls, the museum experience starts prior to the visit to the “bricks and mortar” location and continues after the visit to the museum.  Museums of the fourth generation can / will use the techniques of museums 1.0, 2.0 and 3.0, plus the museum experience is customized to the visitor (similar to Web 3.0).  The visitor experience “meets” the visitor at their level of engagement, interest and knowledge.  The museum experience is customized to the visitor prior to the museum visit.   I do not know of any museum that I would refer to as Museum 4.0

Nomenclature becomes difficult, because web 1.0, web 2.0 and web 3.0 are often used in combination with Museum 1.0, Museum 2.0, Museum 3.0, Museum 4.0.  For more information about the development of the web Web 3.0 Explained

Many of the phases of the development of museums is based on the work of Piaget and Constructivist Learning Theory.  Piaget “suggested that through processes of accommodation and assimilation, individuals construct new knowledge from their experiences. When individuals assimilate, they incorporate the new experience into an already existing framework without changing that framework”.  In other words; when we don’t know why the sky is blue, we each come up with our own theory of why the sky is blue until other knowledge challenges our theory.  To change our “knowledge” of why the sky is blue, first we need to deconstruct our current theory, then replace the previous knowledge with new knowledge.

The Exploratorium is the forefather of today’s Science Center.  Many of the practices of the Exploratorium have now migrated to Art Museums, History Museums, Aquariums and Children’s Museums.  Science Museums prior to the Exploratorium (I will make a distinction between Science Museum and a Science Center, as Science Center incorporates the Constructivist Learning Theory), showed visitors information, the Exploratorium, encouraged visitors to deconstruct their previous knowledge.  Earlier Science Museums assumed that all visitors learned in the same way, assuming that by exhibiting a geode and a label, all visitors could assimilate the causes that created a geode.  It was the Museum of Science (Boston), that took content beyond the previous museum model of “Cabinet of Curiosities” by adding push buttons to diorama graphic panels, the museum created the first interactive exhibits and made the “knowledge that of the visitor”.

It was the Exploratorium that took museums to the next phase of their development, by having vistors perform science experiments instead of having “science shown”, as such the Exploratorium incorporated the theories of Piaget.  As an adjunct to Art Museums; Children’s Museums, grew from Art museums and the “teaching collection” of the Brooklyn Institute of Arts and Sciences (now the Brooklyn Museum).  Since Children’s Museums grew from the teaching collection of an Art Museums, Children’s Museums have always had a hands on approach.  During the same time as the opening of the Exploratorium, Kinetic Art was developing and the Exploratorium incorporated artists into the development of exhibits.

Previously, I believed that “theming” was the start of the next phase in the development of museums, but I no longer believe that to be the case.  Theming or ”the use of an overarching theme…to create a holistic and integrated spatial organization of a…venue” provides a context for the content of an exhibition.  Although we require a context for knowledge, I don’t believe the incorporation of theming to be a milestone in the development of museums.  I now see “theming” as a continuation of dioramas, as “walkthrough dioramas”.

Web 3.0 or the “Semantic Web”, is thought to be the next phase of the development of the world wide web.  Similarly, I believe the next phase in the development of museums, Museum 4.0 will closely follow the Web 3.0 or  a web of content “that can be processed directly and indirectly”.  One of the most difficult concepts to communicate is that of interconnections, the goal of Museums 4.0 will be that of interconnections.  As a continuation of my concept of the Hub Museum, the “museum” will no longer be a location but a web of locations and interconnections, starting before the “museum” visit and continuing after the visit to a physical location.

In the next blog post “Future of Interactivity, Part II”, I will explore types of interactivity, philosophies of interactivity and the future technologies of interactivity.

References:

History of Museums “Cabinet of Curiosities”, http://en.wikipedia.org/wiki/Cabinet_of_Curiosities

World’s Oldest Museum? http://uk.io9.com/5805358/the-story-behind-the-worlds-oldest-museum-built-by-a-babylonian-princess-2500-years-ago?skyline=true&s=i

Jean Piaget, http://en.wikipedia.org/wiki/Jean_Piaget

Constructivism (learning theory),  http://en.wikipedia.org/wiki/Constructivism_(learning_theory)

First Interactive Museum, http://en.wikipedia.org/wiki/Science_museum

Museum of Science (Boston), http://www.mos.org/exhibits_shows/current_exhibits&d=1223

Exploratorium History,  http://en.wikipedia.org/wiki/Exploratorium

Learning Styles, http://en.wikipedia.org/wiki/Learning_styles

Museum of Science (Boston), http://en.wikipedia.org/wiki/Museum_of_Science_(Boston)

History of Children’s Museums, http://en.wikipedia.org/wiki/Children’s_museum

Theming, http://en.wikipedia.org/wiki/Theming

Kinetic Art, http://en.wikipedia.org/wiki/Kinetic_art

Web 3.0, http://en.wikipedia.org/wiki/Semantic_Web

Note:

There are limited online resources for the history of museums and science centers, I will continue to update the above resources, mw

Kadoya Art House

As a follow up to the post “Museums are Hospitality”  I created a thread on the American Association of Museum’s Linkedin thread “What is the Business of Museums?“.   I suggested that “Museums are in the “hospitality” business, not the education business”.  The response has been great.  Although, Many people felt that I didn’t understand the business of museums or that it was “sacrilege” to say that museums are in the “Hospitality” business.  The longer the discussion continued, the more convinced I became that museums are in the “Hospitality” business, but now for different reasons.  The responses got me thinking about a “core” business of museums that is an intangible, that I will call “connecting with the muses“.

Museums grew out of Cabinets of Curiosities, a way for the wealthy to collect and organize the objects of their travels and education, you could think of Cabinets of Curiosities as a way for the rich to show off to guests.  There are many different types of hosts; humble hosts, conceited hosts, fun hosts, etc..  As museum professionals we are acting as the host of our museum and we dictate the type of experience for the visitor.

Last week I was in Union Square in San Francisco and walked into the St. Francis Hotel to use the bathroom. As soon as I walked in, I buttoned my jacket, looked in the mirror to check my hair, stood straighter. I wanted to become worthy of the “attitude” of the St. Francis, even if only to use the bathroom. My reasons, were because of the style, elegance and expense of the hotel.  Museums “ask” visitors to be better people, to reach their full potential. The reasons for me straightening my hair at the St. Francis are different then the reasons that I straighten my hair at the Museum of Modern Art, but the impact on me is the same, I want to be a better person. Creating an atmosphere of potential is a part of hospitality, “what can be”, “who can we become”, to nurture the spirit in each of us to be a better person. “Hospitality” is not pandering, it is elevating an experience.  Museums are “serving” their communities by asking them to be better people, not giving them what they “want”. We all want to be better people, but sometimes we need to be reminded to reach and that is the role of a museum, to remind us of our potential, what is possible and what has been accomplished.

I don’t believe any amount of market research or marketing would support, building the Cy Twombly Gallery.  But there it sits, one of the best museum experiences ever. The de Menil family had faith that building such a place would enrichen the lives of visitors. I felt as if, I was welcomed into the home of the de Menil’s and they shared with me their passion for the work of Cy Twombly. The de Menils are wonderful hosts.

This is a very personal list, some of my favorite places to “connect with the muses”

1. Cy Twonbly Gallery
2. Benesse Art Museums
3. Storm King
4. Museum of Jurasic Technology
5. City Museum
6. The Modern Museum of Art
7. Yale Art Gallery
8. Noguchi
9. Mass MOCA
10. DIA Beacon
11. The Earth Room

Do you have a question about Museum Master Planning or Exhibition Design that has not been answered on museumplanner.org?  Enter the question in the comment section below.

Defining and describing “Museum Exhibition Design” is not an easy task.  After 20+ years working in museum exhibition design, I have arrived at my own definition.  The first tough part is a definition of a “museum”.  I have kludged together a definition of “museum”:

Museum – “An organization in the service of society and its development, open to the public, which  researches, communicates and exhibits things and ideas, for the purposes of education, study and enjoyment.”

1. Many museums are non collecting, so a museum is not about displaying a collection
2. Some museums are “for profit”, so a museum can’t be defined by tax status
3. Some museums don’t have a building or a “home”, so it is not about a location

Second tough part “exhibition”, I kludged together:

Exhibition: “An event at which displays are put out in a public space for people to view and interact”

Third part “design”, I kludged together:

Design – “The making of a plan for the construction of an object or a system”

Now, can I create a definition of  ”Museum Exhibition Design” that can apply to all the different types of museums?

Science Center
Natural History Museum
Airport Museum
Natural History Museum
Traveling Exhibition
Art Museum
History Museum
Aquarium
Mobile Museum
On line Museum / Virtual Museum
Zoological Park
Botanic Garden

Definition:

Museum Exhibition Design:  ”The making of a plan for the construction of  public displays for the purposes of education, study and enjoyment,  in the service of society and its development.”

Exhibition Design Process — Phases

The museum exhibition design process can be divided into five distinct phases:

• Concept Development
• Schematic Design
• Design Development
• Final Design
• Construction Documents

The output of the design process:

• Fabrication
• Installation

Exhibition Design Process – Concept Development

Concept Development provides the “road map” for the project, where is the project going?, how will it get there? and a definition of the resources available to complete the project. Concept Development is culminated with the signing of a Project Charter outlining all of the components of the project.

• Project Objectives
• Project Filters
• Project Charter
• Initial Budget
• Initial Schedule
• Project Narrative, included in the Project Charter
• Front End Evaluation Umbrella Concept
• “Look and Feel”

Exhibition Narrative

Design Process – Schematic Design

The goal of Schematic Design, is to flesh out the scope and character 0f the project. This enables all parties involved to confirm themes, interpretation goals and to review spatial arrangements, appearance, artifact use, materials and cost.

By the and of the Schematic Design phase, the team will have visuals, narratives, look-and-feel boards and layouts to initially review the allocation of space, traffic flow, audi0—visual components, interactive displays, lighting and special effects. An overall graphic identity for the exhibit at this stage of design.

Typical Deliverables for Schematic Phase in—person meetings (and distribution of meeting notes)

• Content: description of project goals and messages
• Content: visitor experience narrative
• Content: outline 0f major components
• Design: Rough plan view w/content
• Design: Diagrams 0f content relationships
• Design: Traffic-flow diagrams
• Design: Sketches 0f key points in exhibition
• Design: Color perspective sketches (for fundraising and exhibit naming opportunities)
• Graphic Design: Collage of look & feel for exhibits and graphics
• Schedule: Fabrication and Installation schedule
• Schedule: budget development
• Schematic Design Phase deliverables: bound II” x 17″ booklets + electronic master copy

Bubble Diagram

Exhibition Rendering

Schematic Floor Plan

Design Process – Design Development

During Design Development, section and elevation drawings of exhibits in the space are created. Content research is compiled into draft text and descriptions of the exhibits and the interactives. Functions of Audio-visuals and computer programs that will be part chartered

The family of graphic elements is complied and a graphic schedule of all the graphics is created. Graphic directional and identification signage for interior and exterior spaces of the exhibit area become part of the program.

Typical Deliverables for Design Development Phase

In-person meetings (and distribution of meeting notes)

• Content: Final outline
• Content: Draft text
• Content: Initial image and object list
• Content: Interactives and audio/visual outlines
• Design: Plan w/content (CAD drawings)
• Design: Elevations and Sections (CAD drawings)
• Design: Preliminary Electrical plan (CAD draft)
• Design: Preliminary Mechanical plan (CAD draft)
• Design: Preliminary Lighting plan (CAD draft)
• Design: Exhibit Component Database
• Visuals: Interactive sketches
• Graphic Design: Exhibit graphic design
• Graphic Design: Inventory/matrix
• Graphic Design: Layout & design of typical panels
• Graphic Design: Directional Signing (way-finding) — locations plan and elevations with specifications for interior spaces
• Schedule: Revised fabrication and installation schedule
• Schedule: Revised fabrication budget
• Database of graphics
• Prototyping of interactive exhibits

DD Floor Plan

DD Exhibit Detail

Prototyping

Design Process – Final Design

By the conclusion of the Final Design phase, a complete package that illustrates the full exhibit design—h0w it will be built, where every component is located and how each works within the larger space. This package includes exhibition identification, exhibition descriptions, a database of exhibit components, measured CAD plans with content, floor plans, elevations, artifact lists, measured graphic design elements and samples, draft scripts with details for audio visual components, interactive exhibits, final text, sound and lighting systems specifications, production schedules and a fabrication cost estimate.

Once this phase is completed and has been approved by the team, the team can transition into fabrication.

Typical Deliverables for Final Design Phase

• Three in-person meetings (and distribution of meeting notes)
• Content: Final text
• C0ntent: Draft scripts: interactives & A/V
• Design : Plan w/content (measured CAD drawing)
• Design : Elevations w/graphics & dioramas/murals (measured CAD)
• Design : Sections/details (measured CAD)
• Design : Electrical plan/schedule (measured CAD)
• Design : Mechanical plan/schedule (measured CAD)
• Design : Lighting plan (measured CAD)
• Design : A/V Signal plan (measured CAD)
• Design : Finish schedule
• Design : Interactive operation diagrams
• Design : Audiovisual concept sketches
• Architectural Permit documents (as required)
• Graphic Design: Exhibit graphic design (measured drawings)
• Graphic Design: Image management & acquisition
• Exhibit component database with product and material specifications
• Schedule: Final fabrication and installation schedule
• Schedule: Final fabrication budget

FD Electrical Plan

A/V Plan

Design Process – Construction Documents (CD Also called Contract Documents)

By the conclusion of the Final Design phase, a complete package that illustrates the full exhibit design—how it will be built, where every component is located and how each works within the larger space. This package includes exhibition identification, exhibition descriptions, a database of exhibit components, measured CAD plans with content, floor plans, elevations, artifact lists, measured graphic design elements and samples, draft scripts with details for audio visual components, interactive exhibits, final text, sound and lighting systems specifications, production schedules and a fabrication cost estimate.

Once this phase is completed and has been approved by the team, the team can transition into fabrication.  Typical Deliverables for Final Design Phase

• Three in-person meetings (and distribution of meeting notes)
• Content: Final text
• Content: Draft scripts: interactives & A/V
• Design: Plan w/content (measured CAD drawing)
• Design: Elevations w/graphics & dioramas/murals (measured CAD)
• Design: Sections/details (measured CAD) Design: Electrical plan/schedule (measured CAD)
• Design: Mechanical plan/schedule (measured CAD) (if required)
• Design: Lighting plan (measured CAD)
• Design: A/V Signal plan (measured CAD)
• Design: Finish schedule
• Design: Interactive operation diagrams
• Design: Audio visual concept sketches
• Architectural Permit documents (as required)
• Graphic Design: Exhibit graphic design (measured drawings)
• Graphic Design: Image management & acquisition (as defined in budget)
• Exhibit component database with product and material specifications
• Schedule: Final fabrication and installation schedule
• Schedule: Final fabrication budget

CD Detail

The tough part, I call it “Museum Voice”, how does the museum communicate with the public?, as an “school teacher”, ” a surfing buddy”, “a driving instructor”, “a best friend”, all are valid.  A “voice” will come through if you design one or not, so be conscious of how you are communicating with the public.

Sources:

“How Museum Do Exhibits Cost” by Jay Rounds and Joyce Cheney, Exhibitionist Spring 2002, Vol 21, No.1

“Architecture and Exhibition Design: A Survey of Infrastructure” by Charles Howarth Jr. and Maeryta Medrano, ASTC, 1997 (Discovery Science Center, Santa Ana, CA, / Mark Walhimer was one of the case studies)

2010, 2009, 2008 ASTC Statistics Analysis Package

www.si.edu/opanda/reports/EXCost.pdf

http://www.aam-us.org/aboutmuseums/whatis.cfm

http://en.wikipedia.org/wiki/Museum

http://icom.museum/who-we-are/the-vision/museum-definition.html

http://en.wikipedia.org/wiki/Exhibition

http://en.wikipedia.org/wiki/Design

http://www.louvre.fr/llv/musee/histoire_louvre.jsp?bmLocale=en

http://en.wikipedia.org/wiki/Capitoline_Museums

The majority of the exhibition responses were History Museums (30.5%), Science Centers (27.1%), Children’s Museums (16.9%) and Traveling Exhibitions (11.9%).  The majority of the responses are for exhibition between 1000 square feet and 5000 square feet (67.9% total).  The per square foot costs were grouped in three ranges $25-$75 per square foot (25.5% total), $100-$150 per square foot (30.6% total), $250-$350 per square foot (25.5% total).  I was pleased to see the high percentage of Project Managers and Museum Directors that responded (39 respondents or 66.1%), both roles are the most familiar with exhibition costs.

The surprises of the survey.  I was surprised by the lack of responses from Art Museums, we only received two respondents regarding Art exhibitions, that may have to do with the audience of this blog. Exhibitions were designed “In house” (52.6%), I was not aware that so many museums still have staff exhibition designers, most of the news I have been receiving has been of layoffs, I was pleased to see this high percentage of “in house” exhibition design.  It is hard to beleive that only (15.3%) of museum exhibitions are still designed in house, when I started in museums in 1980s, close to 100% of exhibitions were fabricated by museum staff.  This appears to be a trend of keeping exhibition maintenance staff and augmenting the staff with contracted exhibition fabricators.  I was surprised by the (40%) of exhibition design costs in the 25%-30% range, that is higher then expected.  I was similarly surprised by the (37.5%) of “in house” design budget in the range of 30%.

Survey Result:

The average 6000 square foot History Museum, Science Center, Children’s Museum and Traveling exhibitions are $204 per square foot with 17% spent on research, design and exhibit development.

1. Type of Exhibition ?

Natural History Museum – 0 respondents
Aquarium – 2 respondents
Science Center – 16 respondents
Corporate Museum – 1 respondents
Natural History Museum – 3 respondents
Out Door Exhibition – 0 respondents
Traveling Exhibition – 7 respondents
Visitor Center  - 0 respondents
Children’s Museum  - 10 respondents
Art Museum Exhibition – 2 respondents
History Museum – 18 respondents

2. Exhibition Square Footage ? Square footage is length times width i.e. 100′ x 40′ = 4000 square feet

4000 square feet – 2 responses
25000 square feet – 4 responses
500 square feet – 5 responses
10000 square feet – 5 responses
20000 square feet – 5 responses
1500 square feet – 6 responses
2000 square feet – 6 responses
1000 square feet – 7 responses
5000 square feet – 9 responses
3000 square feet – 10 responses

3. Price per square foot ?
Price per square foot is total cost divided by square footage, i.e. $1,000,000 ÷ 4000 sq. ft. = $200 per square foot
Please round up

$25 per square foot – 5 respondents
$50 per square foot – 5 respondents
$75 per square foot – 5 respondents
$100 per square foot – 9 respondents
$150 per square foot – 9 respondents
$200 per square foot – 2 respondents
$250 per square foot – 6 respondents
$300 per square foot – 6 respondents
$350 per square foot – 3 respondents
$400 per square foot – 2 respondents
$450 per square foot – 4 respondents
$500 per square foot – 1 respondents
$550 per square foot – 0 respondents
$600 per square foot – 2 respondents
$650 per square foot – 0 respondents
$700 per square foot – 0 respondents

4. What was your role on the project ?

Project Manager – 27 responses
Museum Director  - 12 responses
Designer  - 8 responses
Exhibit Developer  - 8 responses
Curator – 4 responses

5. Was the exhibition designed “in house” using museum personnel ? or using freelance designer(s)

“In house” using Museum Staff – 30 responses
Using freelance Designer(s) – 27 responses

NOTE: (2) two respondents skipped the question

6. Was the exhibition fabricated “in house” using museum staff? or using contracted fabricators? or a mix of “in house” and contracted fabricators?

“In house” using museum staff fabricators – 9 responses
Contracted fabrication – 25 responses
A mix of “in house” and contracted fabricators – 25 responses

7. What percentage of the exhibition was spent on research, design and exhibit development?
“A $1,000,000 exhibition spent $100,000 on research, design and exhibit fabrication i.e. (100,000÷1,000,000) x 100=10%”
Round up

5% Design Costs – 10 respondents
10% Design Costs – 10 respondents
15% Design Costs – 7 respondents
20% Design Costs – 9 respondents
25% Design Costs – 10 respondents
30% Design Costs – 11 respondents

NOTE: (2) two respondents skipped the question

Science Center Costs Per Square Foot:

Science Center $100 per square foot – 1 respondent
Science Center $300 per square foot – 2 respondent
Science Center $350 per square foot – 1 respondent
Science Center $400 per square foot – 1 respondent
Science Center $600 per square foot – 1 respondent

Children’s Museum’s Costs Per Square Foot:

Children’s Museum $50 per square foot – 1 respondent
Children’s Museum $100 per square foot – 1 respondent
Children’s Museum $150 per square foot – 1 respondent
Children’s Museum $250 per square foot – 1 respondent

History Museum’s Costs Per Square Foot:

History Museum $50 per square foot – 1 respondent
History Museum $100 per square foot – 1 respondent
History Museum $150 per square foot – 1 respondent
History Museum $250 per square foot – 1 respondent
History Museum $350 per square foot – 1 respondent
History Museum $400 per square foot – 1 respondent

Was the exhibition designed “in house” using museum personnel ? or using freelance designer(s)? What percentage of the exhibition was spent on research, design and exhibit development? “A $1,000,000 exhibition spent $100,000 on research, design and exhibit fabrication i.e. (100,000÷1,000,000) x 100=10%” Percentage of Budget Spent on Design, Round up

(8) eight responses of  ”in house” museum personnel on research, design and exhibit development:

5% – 2 respondents
15% – 2 respondents
20% – 1 respondents
30% – 4 respondents

(10) ten responses of freelance designer(s)? on research, design and exhibit development:

10% – 4 respondents
20% – 2 respondents
25% – 2 respondents
30% – 2 respondents

Thank you for taking the time to complete the survey !

-Mark