Three-Dimensional Storytelling: Creating Engaging Exhibition Experiences

BRIANNA { Bree } CUTTS THE SIBBETT GROUP

Copyright 2017 Brianna Cutts All rights reserved

c

SUSAN SPERO JOHN F. KENNEDY UNIVERSITY

TODAYThis 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.

TODAYPART 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!

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

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

RELATIONSHIP TO THEMEThe 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.

INTRODUCTION

WE’RE GOING TO COVER

OF INFORMATION

A LOT

EXCITED

CONFUSED

EXCITED

CONFUSED

UNDERSTANDING

ANXIOUS

EXCITED

CONFUSED

UNDERSTANDING

ANXIOUS

INSPIRED

&

CURIOUS

THERE ARE

OF WAYS TO DESIGN AN EXHIBITION

A LOT

2

3

4

156

7

821

1019

1214

20

5

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13

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12

3

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156

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1019

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20

5

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1611

THERE ARE THREE

TO DEVELOPING AN EXHIBITION

KEYS

1 2 3

BUT

FIRST

RAISON D’ETRE { R E A S O N T O B E }

OBJECTS & STORIES

OBJECTS & STORIES

{ A U T H E N T I C }

P A S S I O N

P A S S I O N

OB

ESSI

ON

THREE

TO DEVELOPING AN EXHIBITION

KEYS

1 2 3

LEARN THE RULES SO THAT YOU KNOW HOW TO BEND THEM

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

SELF

ACTUALIZATION

ESTEEM

BELONGING

SAFETY

PHYSIOLOGICAL

MASLOW’S HIERARCHY OF NEEDS APPLIED TO THE MUSEUM EXPERIENCE

SELF

ACTUALIZATION

ESTEEM

BELONGING

SAFETY

PHYSIOLOGICAL


“Where’s the

restroom?”

SELF

ACTUALIZATION

ESTEEM

BELONGING

SAFETY

PHYSIOLOGICAL


“Where’s the

restroom?”

“Wow,

this is fun!”

SELF

ACTUALIZATION

ESTEEM

BELONGING

SAFETY

PHYSIOLOGICAL


“Where’s the

restroom?”

“Wow,

this is fun!”

“I’m inspired ... to be an

artist, scientist, inventor ...”

EXHIBITION DEVELOPMENT CAN BE A MESSY PROCESS

LINEAR

NON-LINEAR

LINEAR

NON-LINEAR

LINEAR“LOGICAL”

HOLISTIC /

“ CREATIVE”

1 EXHIBITION DEVELOPMENT PROCESS

STORY ORBIT

PASSION AUDIENCE

TECHNIQUE

TEAM

CREATIVITYMANAGEMENT

STORY

TEAM

ROLES SUPPORT

S IZE

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

TEAM ROLES

- Management: Project Manager

- Fabrication: Cabinetry, Sculpture, Mount Making,

Model Making, Interactives, Technology

- Installation: Construction, Finishes, Lighting, etc.

EXHIBITION FABRICATION

TEAM SIZE

- Designate a core team of 2-5 people

- Assign Team Leads for large teams (15+ people)

TEAM SUPPORT

- Ensure team members have effective tools

- If tools are not available, design work-arounds

MANAGEMENT

SCHEDULES

COLLABORAT ION

LEADERSH IP

SCHEDULES

- Planning for three design phases

- Estimating work products and flow

- Building in “buffers” for deadline flux

LINEAR

1 2 3

COLLABORATION

- Structuring a collaborative process

- Selecting and maintaining on-line tools

- Setting realistic milestones

LEADERSHIP

- Understanding your leadership style

- Identifying your team’s strengths, and weaknesses

- Modeling adaptability and agility

CREATIVITY

SPACE PROCESS

INSP IRAT ION

SPACE

- Place to capture and process content

- Place to display project inspiration

- Place to work independently and collaboratively

INSPIRATION

- Get geeky: dive into your topic

- Take field trips

- Seek out analogous experiences

PROCESS

ROLLER

COASTER

RIDE

PROCESS

- Design Thinking (user-centered design)

ROLLER

COASTER

RIDE

PASSION AUDIENCE

TECHNIQUE

TEAM

CREATIVITYMANAGEMENT

PASSION AUDIENCE

TECHNIQUE

PASSION

INSTITUTION’S MISSION

EXHIBITION GOAL & OBJECTIVES

TOPIC BRAINSTORMING

SUB-TOPICS & MESSAGES

THE BIG IDEA

CONTENT RESEARCH

YOUR “PITCH”

*

*

*

PASSION

TOPIC BRAINSTORMING*

TOPIC BRAINSTORMING

BLUE SKY THINKING:

IDEA DUMP

TOPIC BRAINSTORMING

PATTERN IDENTIFICATION:

CLUSTERING IDEAS INTO TOPICS AND SUB-TOPICS

PASSION

THE BIG IDEA*

TOPIC BRAINSTORMING

CONNECT THE DOTS:

IDENTIFY ONE BIG IDEA

THE BIG IDEA

THE EXHIBITION

POTENTIAL CONTENT

VISITOR QUESTIONS

THE BIG IDEA

THE EXHIBITION

POTENTIAL CONTENT

VISITOR QUESTIONS

FILTERS:

GOAL & OBJECTIVES

EXPERIENCE:

STORY AND ENGAGEMENT

PASSIONYOUR “PITCH”*

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

PASSION AUDIENCE

TECHNIQUE

AUDIENCE

PROTOTYPING

FEEDBACK

VISITOR EXPERIENCE

JOURNEY

LEARNING FRAMEWORK

HOW ...

WHAT ...

WHO ... *

*

*

AUDIENCE

WHO ... *

WHO ...

FRONT END EVALUATION:

UNDERSTANDING YOUR VISITOR

SELF

ACTUALIZATION

ESTEEM

BELONGING

SAFETY

PHYSIOLOGICAL


“Where’s the

restroom?”

“Wow,

this is fun!”

“I’m inspired ... to be an

artist, scientist, inventor.”

AUDIENCEVIS EXP JOURNEY *

VISITOR EXPERIENCE JOURNEYHOW DO PEOPLE

FIND OUT ABOUT

THE EXHIBITION?

WHAT DO PEOPLE

DO AT

THE EXHIBITION?

WHAT DO PEOPLE

SAY ABOUT

THE EXHIBITION?

AUDIENCE

PROTOTYPING*

PROTOTYPING

FORMATIVE EVALUATION:

ENSURING YOUR VISITOR UNDERSTAND

TEST IDEAS

PROTOTYPING

FORMATIVE EVALUATION:

ENSURING YOUR VISITOR UNDERSTAND

GET MESSY TINKER

TEST IDEAS

PASSION AUDIENCE

TECHNIQUE

TECHNIQUE

DESIGN ELEMENTS

DESIGN AND FAB COSTS

TECHNOLOGY

INTERACTION

INTERPRETIVE ELEMENTS

DESIGN DELIVERABLES CONTENT CREATION*

**

TECHNIQUE

DESIGN AND FAB COSTS*

FABRICATION COSTS

$125-250/SF

LOW

TECH

HIGH

TECH

MEDIUM

TECH

$575-1,000/SF

$275-550/SF

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

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

TECHNIQUE

CONTENT CREATION*

CONTENT CREATION

RESEARCH CONTENT INTERPRETIVE OUTLINE

TECHNIQUE

INTERACTION*

INTERACTION

COGNITIVE BEHAVIORAL SOCIAL /

EMOTIONAL

AND

NOW ...

PASSION AUDIENCE

TECHNIQUE

YOUR

STORY

**

*

*

**

*

* ***

OUR PROJECT

Exhibit Prototype

TODAY:

EXHIBIT VS. EXHIBITION

EXHIBITION

TODAY:

EXHIBIT VS. EXHIBITION

EXHIBITIONEXHIBIT

TODAY:

OUR EXHIBIT PROCESSTODAY:

2DEVELOP & DESIGN

1REVIEW & PLAN

3PREP

& PITCH


1REVIEW & PLAN

1. REVIEW & PLANLEARNING FRAMEWORK

1REVIEW & 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: ROMANCEGENRE: 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).

1. REVIEW & PLANDESIGN GUIDELINES

1REVIEW & PLAN

EXHIBIT ELEMENTSACCESSIBILITY & 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

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?

1REVIEW & PLAN

HOW MIGHT YOU INSPIRE

CURIOSITY ABOUT YOUR

EXHIBIT TOPIC?


OUR EXHIBIT PROCESS

2DEVELOP & DESIGN

2. DEVELOP & DESIGNVISITOR 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 ...

2DEVELOP & DESIGN

Copyright c 2017, Brianna Cutts, The Sibbett Group

2. DEVELOP & DESIGN

TITLE MESSAGE OUTCOMES ELEMENTSLEARN (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 OUTLINE2

DEVELOP & DESIGN



3PREP

& PITCH

3PREP

& PITCH

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:

3PREP

& PITCH


LEARNING FRAMEWORK :YOUR

BOOK GENRES

NARRATIVE & PLOTCreate 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

NARRATIVE & PLOTThe 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

NARRATIVE & PLOTCreate 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).

OUR EXHIBIT TOPIC

Dining Room Tables

TODAY:

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).

WORKSHOP ATTENDEESOUR AUDIENCE:

A FEW

TIPS:

PRESSURES

EXHIBIT TEAM

$

FUNDRAISING SOURCES

PROJECT SCHEDULE

MEASURABLE OUTCOMES

GREAT IDEAS

SCHOOL STANDARDS

TEAM DYNAMICS

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:

“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

OUR TEAMSTODAY:

ART MUSEUM

SCIENCE MUSEUM

CHILDREN’S MUSEUM

HISTORY MUSEUM

NATURAL HISTORY MUSEUM

TEAM SHAKE

TEAM WHIRL

TEAM

QUACK

TEAM FUZZ

TEAM “EEK”

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

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

TEAM

PITCHES!

WRAP UP ...

OF INFORMATION

A LOT

OVERLOAD

EXCITED

CONFUSED

UNDERSTANDING

ANXIOUS

INSPIRED

&

CURIOUS

RESOURCES

National Association for Museum Exhibition (NAME)

ExhibitFiles.org

AAM Bookstore

THANK YOU !

[email protected]

[email protected]

Three-Dimensional Storytelling: Creating Engaging Exhibition Experiences

Education

Transcript of Three-Dimensional Storytelling: Creating Engaging Exhibition Experiences