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Evoluon 2 (crop 1)

Evoluon, Eindhoven, 1968

Evoluon, Eindhoven, 1968

Science and technology exhibition, Evoluon, Eindhoven, 1968
UoB Design Archives

Evoluon 2 (crop 1)
Britain Can Make It 1 (crop 1)

Mural in the Furnished Room, Britain Can Make It, V&A, London, 1946
UoB Design Archives

Britain Can Make It 1 (crop 1)
Taiwan 1 (crop 1)

Sketch of exhibition layout,
National Museum of Natural Science, Taiwan, 1986-88
UoB Design Archives

Taiwan 1 (crop 1)
Britain Can Make It 2 (crop 1)

Tea Bar, Britain Can Make It, V&A, London, 1946
UoB Design Archives

Britain Can Make It 2 (crop 1)
Taiwan 2 (crop 1)

Interior view,
National Museum of Natural Science, Taiwan, 1986-88
UoB Design Archives

Taiwan 2 (crop 1)
Exhibition 1

Construction of exhibition space,
Britain Can Make It, V&A, London, 1946
UoB Design Archives

Exhibition 1
Taiwan 3 (crop 1)

Interior view,
National Museum of Natural Science, Taiwan, 1986-88
UoB Design Archives

Taiwan 3 (crop 1)

President Ford, Robert Staples, and Barbara Fahs Charles
with model of the "Levitating White House," for the Ford Museum, 1980
Staples & Charles

Francisco 2 059

Sketch of Australia section,
Commonwealth Institute, London, c. 1961
UoB Design Archives

Francisco 2 059
Festival of Britain 2 (crop 1)

Fashions Hall, Britain Can Make It, V&A, London, 1946
UoB Design Archives

Festival of Britain 2 (crop 1)
Evoluon 1 (crop 1)

Gallery view of The Senster,
Evoluon, Eindhoven, 1968
UoB Design Archives

Evoluon 1 (crop 1)

Installation view, Photography and the City,
Smithsonian Institution, Washington DC, 1968
Staples & Charles

Evoluon 3 (crop 1)

General view
Evoluon, Eindhoven, 1968
UoB Design Archives

Evoluon 3 (crop 1)
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Full programme


Suzanne Macleod (University of Leicester, UK)
Museums and design for creative lives

Andrea Witcomb (Deakin University, Australia)
From representing the ‘other’ to representing collective selves and their engagement with ‘others’: exhibition design and the poetics of ‘voice’


Live Roundtable, Friday 11th September 4pm BST

Confirmed Speakers:

Ashoke Chatterjee (Centre for Heritage Management, Ahmedabad University, India)

Dinah Casson, CBE

Ian Elsner (Museum Archipelago/RLMG, US)

Tehmina Goskar (Curatorial Research Centre, UK)

Panel 1: Decolonising exhibition design 

Jona Piehl (HTW Berlin, Germany)
Visual reflexivity: exhibition graphic design as critical practice

Beatriz Martínez Sosa (University of Pau, France)
Designing to decolonise: strategies on the rhetorics of display

Francesca Liuni (Rhode Island School of Design, US)
The aesthetics of depoliticized exhibitions

Nina Oberg Humphries (University of Canterbury, New Zealand) Lisa McDonald (Glasgow School of Art, UK) and Hamish Anderson (Canterbury Museum, New Zealand)
‘ARE PASIFIKA’: the display of Pacific collections, old and new, in Aotearoa New Zealand

Panel 2: Methodologies in exhibition design history

Kelvin Chuah (Institute of Education, UCL, UK)
The crit as methodology: re-staging the 1973 ‘Instant Malaysia’ exhibition as intervention

Roberto Gigliotti and Nina Bassoli (Free University of Bozen-Bolzano, Italy)
Mapping the landscape of architecture exhibitions

Kate Bowell (University of Edinburgh, UK)
A history in labels: the science and technology label collection of National Museums Scotland

Liya Wizevich (University of Cambridge, UK)
Researching historical changes in exhibition design at the Soviet Union’s state-planned national exhibition

Martha Fleming (Independent, UK)
Floppies, trannies, a CAD and the blues: unearthing the traces of late 20th century exhibition practice

Panel 3: Immersion (I): sense and emotion

Timothy McNeil (University of California, Davis, US)
Smoke and mirrors: the art of deception and the exhibition designer’s box of tricks

Kate Hill (University of Lincoln, UK)
Chilly tombs’ or ‘communion with the past’? Staging objects as dead or alive in early twentieth century museums

Izabela Derda, Zoi Popoli and Tom Feustel (Erasmus School of History, Culture and Communication, The Netherlands)
From “just a collection of objects” to “only tech show off”: grasping a change and unpacking design approaches to multisensorial immersive exhibitions

Barbara Fahs Charles (Staples & Charles, US)
Total immersion: taking viewers on a journey

Viveka Kjellmer (University of Gothenburg, Sweden)
Smelling exhibitions: scented scenographics and olfactory communication in the museum

Panel 4: Collaboration in design

Sandra Kriebel (Technische Universität Berlin, Germany)
Gesamtwirkung’: Wilhelm von Bode’s design for the exhibition of Old Master paintings (1883) as a model for future museum practice

Sara Woodbury (College of William and Mary, US)
Exhibition work: Labor networks in the Federal Community Art Center Project

Kate Rhodes (RMIT Design Hub Gallery/Monash University, Australia)
Exhibition architecture as curatorial argument

Marina Khémis (Studio Adrien Gardère/ National School of Architecture of Versailles, France)
Exhibition design and architecture, inside co-creative processes: The Autun Museum in Burgundy and the Swedish Pavilion at EXPO 2020 Dubai

David Francis (University College London, UK), Luo Pan (Chinese National Museum of Ethnology, China) and Lisheng Zhang (University College London, UK, and PKU Beijing, China)
Craft and creativity: (re)making exhibition design in China’s museum boom

Panel 5: Race and exhibition design 

Emily Mazzola (University of Pittsburgh, US)
Exhibition design and the politics of identity in the First Ladies Hall of the United States National Museum

Patricio del Real (Harvard University, US)
Staging Brasilidade at MoMA

Jacklyn Lacey (American Museum of Natural History, US)
Putting Joseph Towles’ name in the credit line: institutional racism at the American Museum of Natural History

Panel 6:  War, crisis and exhibition design 

Laia Anguix (Northumbria University, UK)
‘A rather “fresh” smell of paint’: wartime exhibitions at the Laing Art Gallery, Newcastle

Claire Wintle (University of Brighton, UK)
Exhibition Making in Crisis: professional identity and radical design after the Second World War

Diana Jeha (Independent, Lebanon)
Nicolas Sursock Museum design

Áine McKenny (University of Brighton, UK)
Feeling through the Troubles: the emotions of displaying conflict

Kasia Tomasiewicz (University of Brighton/Imperial War Museum, UK)
All the fun of the fear’: using exhibition histories to understand the challenges of contemporary curation

Panel 7: Reconstructing exhibition histories: materiality and interpretation

Elena Montanari (Politecnico di Milano, Italy)
Museographic heritage: the Italian legacy

Anna Tulliach (University of Leicester, UK)
Exhibiting museum history within museum spaces: the case studies of the Archaeological Museum of Bologna and the Egyptian Museum in Turin

Louise Macul (University of Leicester, UK)
Political by design: the sneaky work of a colonial curator in Borneo

Laura Dudley (University of Leicester, UK)
Researching, writing and reconstructing exhibition histories as a resource for future practice: Palle Nielsen’s ‘The Model’, 1968/2013/2014

Panel 8: Immersion (II): environment and experience

Joanna Norman (V&A, UK)
Period rooms: between museum object and exhibition design

James Housefield (University of California, Davis, US)
Designed destinations: learning from the first museums of San Francisco

Gabriela Denk (Ruprecht-Karls-Universität, Germany)
Experience and atmosphere: three innovative exhibition designs by Hans Hollein

Raissa D’Uffizi (La Sapienza University of Rome, Italy)
From design product to art through exhibition: the case of Italy: the New Domestic Landscape (1972)

Daria Gradusova (Swinburne University of Technology, Australia)
Immersive ≠ virtual reality: a case study of three Hokusai exhibitions

Panel 9: Exhibition makers: shifting definitions of design and designer        

Stephen Greenberg (Metaphor/University of Reading, UK)
Sir John Soane: the first exhibition designer

Sandy Jones (National Art Library, V&A/University of Brighton, UK)
The curator-librarian at the museum: exhibiting graphic modernism at the V&A’s library, 1936-39

Kate Guy (University of Brighton/British Museum, UK)
“Miss Hall and her busy, energetic design group”: the emergence of professional in-house design at the British Museum

Sarah Longair (University of Lincoln, UK)
Designing the colonial museum display: pragmatism and collaboration

Roberta Marcaccio (Architectural Association, UK)
A load-bearing history: Ernesto Nathan Rogers and the urban agency of the interior in post-war Milan

Panel 10: Interviews with exhibition makers

Jon Ould (Designer, British Museum, UK), interviewed by Kate Guy (University of Brighton, UK)

Nima Poovya Smith (Alchemy Anew, UK), interviewed by Hajra Williams (University of Brighton, UK)

Alex McCuaig (MET Studio, UK), interviewed by Chris White (Winkle-Picker/University of Wollongong, Hong Kong)

Panel 11: Orientalism and empire

Solmaz Kive (University of Oregon, US)
Decorated otherness: the making of the Oriental Courts at the South Kensington Museum

Yannick Le Pape (Musée d’Orsay, France)
“Yet undecided”: features and failures of Assyrian exposure in the age of European imperialism

Samuel Aylett (Open University, UK)
Designing imperial London at the Museum of London, 1976

Panel 12: Designing for collections (I): image, text, knowledge

Elisa de Noronha Nascimento, CITCEM/University of Porto, Portugal)
Exhibition design for artists’ books: a short handbook

Peter Lester (Independent, UK)
The archivist as curator

Sophie Cras (University of Paris 1 Pantheon-Sorbonne, France) and Claire-Lise Debluë (University of St Andrews, UK/University of Paris 1 Pantheon-Sorbonne, France)
Exhibition design and the making of economic knowledge (19th-21st Centuries)

Panel 13: Designing for collections (II): fashion, photography, decorative arts

Marlene Van-de-Casteele (National School of Decorative Arts (ENSAD)/Atelier Chardon Savard, France)
Fashioning Beaton portraits:1928-1968 exhibition

Jihane Dyer (Royal Holloway, University of London/Museum of London, UK)
Re-fashioning the London Museum: the making of Mary Quant’s London, 1973

Lucie Lachenal (Independent, France)
Reconstructing the exhibitions of the Royal Manufactory of Sèvres through the archives (1814-1850)

Panel 14: Exhibition Afterlives: design histories and future practice

Lisa Newby (Sainsbury Centre for Visual Arts, UK)
The Living Area at the Sainsbury Centre: looking back to look forward         

Eric Langham (Barker Langham, UK) and Colin Sterling (University College London, UK)
Resonant exhibitions: when interpretation becomes artefact

Matt Isble (Crocker Art Museum, US)
Fostering institutional knowledge in exhibit design, fabrication, and installation