London (Exhibits) Calling

A recent report of a mention of the Exhibit Cheapbooks by Ian Russell during the recent ECSITE Conference in Lisbon, Portugal got me thinking about the differences between museums and exhibit development, here in the US, and "across the pond" in the UK.

"Boffins" are greatly appreciated in the UK. Museum and exhibits people, like the chaps at Science Projects in London, really love to tinker and prototype, and it shows in their exhibitions. Here in the US, many museum folks talk about prototyping, but I'm not sure how much of it actually occurs.

Exhibit meetings, just for the sake of having a meeting, seem to be disdained in the UK. Unlike the US Exhibit Development process, which seems to thrive on meetings. In the UK, BIG, The British Interactive Group, runs regular Fabricators' Weeks where exhibit folks crash around with each other in workshops filled with materials to create as many working prototypes as they can before a big public showing on Friday. Sort of like a Science Fair for adults. (Except with pubs and pints thrown in.)

Many museums in the UK tend to approach things in a simpler, more playful way than US Museums. (except the Science Museum, with its bridges made of glass, looking like the NYC Apple Store. Although even there, the older exhibits like Tim Hunkin's exhibition called "The Secret Life of the Home" are excellent. I guess they have more twee designers in charge, and less boffins, there now.)

Perhaps museum visitors are more "polite" in the UK than their US counterparts. There seems to be a less obvious presence of guards and protective barriers in all types of museums in the UK, even surrounding "valuable" objects. It makes me wonder if environmental cues in museums don't help reinforce expectations of visitor behavior. (It is always comical to see how visitors delight in "foiling" the protective barriers around exhibits by shoving bits of trash, oft-times printed material provided by the museum, inside. It's almost as if each piece shoved inside is saying "HA! you tried to keep me out, but I got in anyway!" Unfortunately, the protective barriers are often such a pain to remove that the poor museum staff must leave the junk inside for long periods at a time, detracting from the exhibit objects.)

The UK Interactive Museum Community has had the advantage of learning from the triumphs (and failures!) of the older US Interactive Museum Community. Rather than trying to recreate models formed in the US, museum folks in the UK have put their own distinctive twist on things, gathering things to use from colleagues around the world, and creating their own distinctively UK museum and exhibit models. One example in the Science Center field is Techniquest , located in Cardiff. For a US visitor familiar with Science Centers, poking around TQ is a strange and wonderful experience, both like and unlike a US Science Center at the same time.

So I say "Cheers!" to our museum colleagues in the UK. You all have a reason to be "chuffed" about your work.

POP! goes the Exhibit Design

Museums, being the notoriously cheap places that they are, can often benefit from helping their exhibit makers discover interesting and inexpensive new materials to use for their own devices.

One interesting resource in this regard is the world of POP Design. (I'm just a kid from Detroit, so when I hear the word "pop" I always think of a cold carbonated beverage like Faygo Redpop.)

But in this case, POP stands for "Point of Purchase." Think about all those shiny (sometimes motorized or moving or lit) displays near the chips or cold tablets or ball point pens that you see in all the stores you go to. Now multiply that single display for Doritos by thousands (or millions!) of copies worldwide and you'll begin to get a small sense of the scale of the POP industry.

So, what does this have to do with developing museum exhibits? Just this: once any material has been manufactured in sufficient volume (to be used in POP Displays, for example) the unit price goes way down. Low enough for museums to become interested in using color-shifting plastic, inexpensive digital audio repeaters, or scented laminates(!) in new exhibit components.

What other unusual trade organizations or groups could we in the "Exhibits Biz" learn from?

The RFP Issue of NAME's Exhibitionist

I'm the Guest Editor of the most recent issue of The Exhibitionist
(The National Association for Museum Exhibition's twice-yearly professional journal.)

The theme of the issue is RFPs (Request For Proposals.) How did I end up guest editing an issue of The Exhibitionist about RFPs?!?! I can’t stand most of the paperwork associated with the exhibits process – a lot of it seems devised by lawyers and bean counters to thwart creativity and excellent end products, not encourage them.

However, one thing that motivates me even more than my distaste for paperwork is the need to finish a project once it gets started. From the very start of the four years I served on NAME’s board, I kept hearing about a mysterious, unfinished document called “The RFP Cookbook.” I came to understand that over nearly 10 years some of NAME’s, and the museum field’s, most thoughtful and creative practitioners had been writing, re-writing, and trying to assemble this definitive tome regarding RFPs.

Well, for various reasons, The RFP Cookbook never seemed to be able to get off the ground, and frankly, after hearing about it for four years, I wanted to help pull the project together or drive a stake through its heart. After my fellow board members took the sharpened stick out of my hands, I became a somewhat reluctant, at least initially, editor of this collection of practical articles about the many facets of the RFP process.

I found during the editing, and reading and re-reading of the articles, that the RFP process can help focus fuzzy ideas and create excellent collaborative teams. However, like many other steps along the exhibition path, the RFP process can be handled poorly or adroitly. Often having complete information and being able to benefit from the experiences of peers makes the difference. 

Even if you aren't already a member of NAME (hint, hint) check out the downloadable examples. You never know when YOU might be called upon to put together an RFP!

"Food" for thought: Cultural Exhibits

Many museums are interested in creating or hosting exhibitions on "cultural" topics. However, many such exhibitions often run the risk of reinforcing cultural stereotypes, or focusing on the strange habits, customs, clothes, of "other" people. (Adding plastic pineapples and plantains to your grocery store exhibit does not mean you now have a cultural exhibit!)

Two wonderful books that may well provide interesting starting points for creating more thoughtful (and thought-provoking!) cultural exhibitions are:
Hungry Planet: What the World Eats
and
Material World: A Global Family Portrait

Some new "spins" on a familiar exhibit

Last month during the ACM and AAM museum conferences in Chicago, I had a booth in the ACM Marketplace. The fellow in the booth next to me was Steve Divnick. While I had never met Steve personally before, I certainly knew his product, the Spiral Wishing Wells, since I had purchased several of them over the years for museums I have worked for.

During the course of the day in the Marketplace, I overheard a lot of people talking about how much money their Wells have raised and how much they appreciate Divnick’s service. I really got a great sense for Steve’s enthusiasm for the Spiral Wishing Wells, and his sincere desire to help museums raise money in a fun way with a device that also demonstrates science. Also, I got to see the first public showing of his new and improved models including the “Seven Footer” Wells with eight launch ramps molded right into the funnel. If you haven’t seen the new Wells, you will be surprised at the innovations. (Click image above for a larger picture.)

Paul Orselli and POW!

Paul Orselli’s interest in sharing ideas with people and creating interactive devices began when he was a child growing up in Detroit. While earning his B.S. in Anthropology and Zoology from the University of Michigan and his M.A. in Science Education from Wayne State University, Paul realized he could have a job making “cool stuff” by working in the museum business.

For more than 30 years, Paul has worked to create inventive science museums and playful children’s museums, including director-level positions at the Discovery Museums in Acton, Massachusetts, the Ann Arbor Hands-On Museum, and the Long Island Children’s Museum.

In 2002, Paul became President and Chief Instigator of POW! (Paul Orselli Workshop.) POW! was created to utilize Paul’s talents and collaborative resources to help museums and other cultural institutions develop innovative exhibit components, exhibitions, and educational programs.

Paul has consulted on museum projects throughout North America, Europe, and the Middle East. His clients include such notable organizations as the New York Hall of Science, the Exploratorium, the National Science Foundation, and Science Projects in London.

In addition to regular presentations at national and regional museum conferences, Paul has also been the editor and originator of the three best-selling Exhibit Cheapbooks, published by ASTC, and has served on the board of NAME (National Association for Museum Exhibition).

Paul lives on Long Island with his wife and “in-house exhibit testing crew” of four children.