tag:blogger.com,1999:blog-5317052042177627905.post9066576084755914257..comments2023-06-10T10:09:21.134-04:00Comments on ExhibiTricks: A Museum/Exhibit/Design Blog: Dear New Museum DirectorPOW! (Paul Orselli Workshop, Inc.)http://www.blogger.com/profile/05111591384018210698noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-5317052042177627905.post-80842556283527957742010-03-22T18:30:02.259-04:002010-03-22T18:30:02.259-04:00I enjoyed your comments. I have just gone through...I enjoyed your comments. I have just gone through the experience of opening a new facility just a year ago. After not liking what we were getting from a design firm, the Director and I, with over 60 years of combined exhibit experience, convinced the Board of Trustees to let us do the design in-house. Seems to be a rarity these day. The glitz we put into the design was accomplished by a fabrication firm. Over all I feel that is was a win win situation for all involved. I'll just have to see how the second year turns out.Greg Shumannoreply@blogger.comtag:blogger.com,1999:blog-5317052042177627905.post-9353854896027743152010-03-22T11:34:04.261-04:002010-03-22T11:34:04.261-04:00Well said.
Those in charge of a new museum projec...Well said. <br />Those in charge of a new museum project get to choose which voices to listen to. Too often they are overwhelmed by the excitement of the slick presentation. But their funders are usually involved because the museum people showed them the slick presentation. The funders want the project to succeed. In my experience, when the museum experts are willing to tell them straight out how much the operational costs really are, or make a case that staff costs are a part of start-up, they will listen. <br /><br />Long-term success will never come if we give up on what is truely at the heart of our business -- PEOPLE.Joanna Fishernoreply@blogger.comtag:blogger.com,1999:blog-5317052042177627905.post-85228638686554679532010-03-22T09:28:38.419-04:002010-03-22T09:28:38.419-04:00Well said Paul, although I suspect that many times...Well said Paul, although I suspect that many times (not always) designers are simply responding to the unrealistic dreams of the museums they contract for.<br /><br />Dan BartlettDan Bartlettnoreply@blogger.comtag:blogger.com,1999:blog-5317052042177627905.post-41814090229201178972010-03-22T01:45:16.506-04:002010-03-22T01:45:16.506-04:00@Paul
OK I'll bite :-)
I have no specific ex...@Paul<br /><br />OK I'll bite :-)<br /><br />I have no specific experience of Imax or Planetaria projects, I'm talking purely about major exhibition projects.<br /><br />And I'll preface that most of my experience is from outside of North America. However in my experience (in the UK mostly) it is WAY easier to get money for capital projects than it is for operational funding. Many funding streams specifically exclude salaries, so the only option to get a project off the ground is to roll the whole kit and kaboodle into the scope of works of a third party contractor. <br /><br />Exhibition design is often shoehorned into construction-style procurement arrangements which dicourage creativity. And designers often have to commit to a fixed price long before they fully know the ins and outs of the project, its opportunities and challenges. <br /><br />Designers can also only respond to the scope of works they are given, and give their best guess as to how much it is going to cost. I've seen very little scope to 'take the money and run'. Conversely, designers can very easily end up with their fingers burnt over a job that turns out to be far more than they bargained for. <br /><br />The point I'm trying to make is that good designers are trying to achieve the same outcomes that their clients are. So why are design firms routinely painted as the Bad Guys?<br /><br />ReganAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-5317052042177627905.post-45870108060533182312010-03-21T19:42:35.991-04:002010-03-21T19:42:35.991-04:00@Regan
I'm going to push back on you here:
W...@Regan<br /><br />I'm going to push back on you here:<br /><br />What exactly are expensive design contracts a symptom of? Overpriced, bad design?<br /><br />So should designers just "take the money and run"?<br /><br />It's hard for me to buy the "funding stream" argument --- if you spec an IMAX or planetarium you assume staffing. If you want to create truly responsive interactive exhibit environments you should assume for staffing there as well.POW! (Paul Orselli Workshop, Inc.)https://www.blogger.com/profile/05111591384018210698noreply@blogger.comtag:blogger.com,1999:blog-5317052042177627905.post-90724624906759352372010-03-21T18:31:05.427-04:002010-03-21T18:31:05.427-04:00This scenario is too often true. But I wonder if y...This scenario is too often true. But I wonder if you're being a bit hard on the designers here? (Full disclosure - I've worked mostly on the design firm side of things but am passionate about visitor engagement). <br /><br />Expensive design contracts are a symptom, not a cause (private companies can only ever respond to market demand). Perhaps you should have a long hard look at funding streams, which often actively prevent investing in people over capital costs.<br /><br />Regan Forrest<br />AustraliaAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-5317052042177627905.post-81533730614962791502010-03-21T11:54:25.468-04:002010-03-21T11:54:25.468-04:00As a down-sized (former) staff member of a major m...As a down-sized (former) staff member of a major museum, I will add a loud AMEN!Jane Snell Copeshttp://www.scienceoutsidethebox.comnoreply@blogger.com