"Old School" Exhibit Inspiration

A friend recently shared this super cool article about the development of the "Zenith Space Command" television remote control (pictured at the top of this post.)

Unlike modern remote control units that use infrared light, the Space Command did not even need batteries to function! 

Instead, when you clicked a button on this "old school" remote, a little hammer struck a tuned aluminum rod that created a slight audible click, but that also sent out an ultrasound tone to the receiver unit inside the television that controlled functions like volume and changing channels!

(You can see the operation of a typical Zenith Space Command remote by watching this YouTube video.  Below is an image from that same video giving an end-on view of the metal rods inside the remote's case.)

Since we so often default to digital or electronic solutions to exhibit design challenges, the Space Command is a reminder that often ingenious mechanical or analog exhibit design solutions await.

Here's to "Old School" Exhibit Inspiration!

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Paul Orselli writes the posts on ExhibiTricks. Paul likes to combine interesting people, ideas, and materials to make exhibits (and entire museums!) with his company POW! (Paul Orselli Workshop, Inc.) Let's work on a project together!

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Museum Street Art?

I recently came across the work of an Amsterdam-based Street Artist called Frankey (whose work is shown throughout this post.)

I was at turns inspired and delighted by everything I saw on Frankey's website and Instagram page, but his work also got me thinking about how (and why) museums might like to install Street Art around their neighborhoods.

I'm not talking about bringing exhibits or other museum tropes to the streets (which are often boring) but rather engaging with artists to create Street Art that ties back conceptually to a museum in some way.

There are some things that often set Street Art apart from museum exhibits or commissioned public art pieces:

Street Art tends to be whimsical, not serious.

Street Art slows people down and rewards them for careful observation. 

And Street Art tends to provide wonderful unexpected moments.

How could you leverage a Street Art approach for your museum or next exhibition project?

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Paul Orselli writes the posts on ExhibiTricks. Paul likes to combine interesting people, ideas, and materials to make exhibits (and entire museums!) with his company POW! (Paul Orselli Workshop, Inc.) Let's work on a project together!

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The Most Important Exhibit Development Question

What's the most important question to ask when you are starting to develop an exhibit or exhibition?

I'd say the most important question is, "WHO CARES?"

You may think the topic or content related to your exhibition is interesting, but will your audience?

To find out, you need to drill down into the WHO part of different kinds of Who Cares? questions.  

WHO are the people that come to your museum already?

WHO would you like to come to this new exhibition?  (Not necessarily the same answer as the previous question ...)

WHO might feel excluded (or even offended) by this topic?

WHO would be so excited by your exhibition that they would want to bring their family or friends back to see it?

The thing about finding the answers to WHO CARES? questions is that you need to speak with potential visitors about their ideas and feelings before you set too many design wheels into motion.  

And perhaps the most important variation of the WHO CARES? questions start internally.  If you and your project team can't generate sincere enthusiasm for the ideas in the exhibition under development, why in the world do you think your visitors will be interested in what you create? 

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Paul Orselli writes the posts on ExhibiTricks. Paul likes to combine interesting people, ideas, and materials to make exhibits (and entire museums!) with his company POW! (Paul Orselli Workshop, Inc.) Let's work on a project together!

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Don't Let Them Off The Hook!

Here's a networking tip for you -- when you contact someone to ask about a job or to introduce yourself, don't just leave it at that.

Provide some additional value in the form of an article you've written, some information about a particularly interesting or innovative aspect of a recent project, or even a link to a Web article about the museum world that you found interesting.

Similarly, even if your primary purpose is inquiring about a potential job -- don't let them off the hook!  If you only ask about a job, and there's no job available, then that's the end of the conversation.  However, if you ask for some additional advice or ideas about your next steps, you might get some useful information that you otherwise might never have received.

For example, you might say or write, "Even if you don't have any current job openings, do you have any suggestions for colleagues I might speak with or recent books or articles I could read to expand my knowledge of the museum field?"  Most museum folks are generous and willing to provide a little advice -- and it sure takes the sting out of a rejection notice!  

In that vein, I'm always happy to hear from ExhibiTricks readers! Feel free to contact me directly to introduce yourself.  Who knows?  We might be able to cook up a project to work on together!

Don't miss out on any ExhibiTricks posts! It's easy to get updates via email or your favorite news reader. Just click the "Sign up for Free ExhibiTricks Blog Updates" link on the upper right side of the blog.

Paul Orselli writes the posts on ExhibiTricks. Paul likes to combine interesting people, ideas, and materials to make exhibits (and entire museums!) with his company POW! (Paul Orselli Workshop, Inc.) Let's work on a project together!

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Touching, not Touchable, Experiences

I was speaking with someone recently about my work and said I develop "interactive experiences and environments." To which they immediately responded, "Oh, so you make hands-on exhibits."

Well, yes and no.  Certainly many, if not most, of the things I help create involve tactile elements.

But there are some very compelling museum experiences that are never meant to be touched by visitors.

Optical illusions (like those shown throughout this post) are examples of "touching, not touchable" (TNT) experiences, that I would still characterize as "interactive."

"Touching" in the emotional reaction sense, and "Interactive" in the sense of "things influencing or having an effect on other things."

Other museum experiences I would place in the "touching, not touchable" category include dioramas, dollhouses, and similar miniature models and environments.  All these TNTs also tend to slow people down and reward them for careful observation. In the case of dioramas and dollhouses, visitors often mentally "step inside" those exhibits as they experience them.

I'd say any exhibit-driven museum experience (whether it's called "interactive" or not) that can get visitors to slow down, be rewarded for careful observation, and respond emotionally is just the type of thing I like to make for museums and like to experience inside museums myself.

What got me thinking about Optical Illusions, TNT, and Interactives in the first place is this super interesting (and interactive!) website called, "151 Visual Phenomena & Optical Illusions

with explanations"   Definitely worth checking out!

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Paul Orselli writes the posts on ExhibiTricks. Paul likes to combine interesting people, ideas, and materials to make exhibits (and entire museums!) with his company POW! (Paul Orselli Workshop, Inc.) Let's work on a project together!

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My Dad and My Museum Work

This upcoming Sunday, Father's Day is celebrated in a number of countries around the world. Father's Day is a meaningful day for me, not only because I have four great kids, but because it gives me time to think about my father, Orlando Orselli, who died in 2001.  My dad certainly helped set many of my ideas about work and parenthood, and I'm thankful for that.

My dad worked most of his adult life for The Ford Motor Company, first at the Rouge Plant, and then at the World Headquarters building (The "Glass House") in Dearborn, Michigan.  He was a Stationary Steam Engineer, which basically means he worked with BIG boiler systems.

Even though he didn't go to college, my dad instilled a love for books and learning, and the importance of education, upon myself and my two younger brothers while we were growing up in Detroit.

Because he worked the midnight shift, he made time to go on school (or scout or Boys Club) field trips during the day and then take a nap before he would drive to work later that night. He thought it was important that my brothers and I helped him fix things around the house and knew the names and uses of the tools in his basement "workshop".

When people ask me how I got into the museum business, I am sure memories of the day when my father took me when I was little (by myself, without my mom and brothers, for some reason) to Detroit's "Cultural Center" to visit the Historical Museum (the streets of "Old Detroit"!) and the Children's Museum (things I could touch!) and the Detroit Institute of Arts (Mummies!) all in one long afternoon may have something to do with it.  Many, many family trips involved museums, zoos, or nature centers.

Even though my career choice in museums might have puzzled my father a little bit, he always told me, and other people, how proud he was of the work I was doing.

Please never underestimate how important museums can be to people, especially kids and the adults they will become.

Thanks, Dad!

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Paul Orselli writes the posts on ExhibiTricks. Paul likes to combine interesting people, ideas, and materials to make exhibits (and entire museums!) with his company POW! (Paul Orselli Workshop, Inc.) Let's work on a project together!

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