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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)
B&BwFord

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

B&BwFord
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)
PhotographyandtheCityinstallSI19681

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

PhotographyandtheCityinstallSI19681
Evoluon 3 (crop 1)

General view
Evoluon, Eindhoven, 1968
UoB Design Archives

Evoluon 3 (crop 1)
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Noticeboard

The field of museum exhibition design has evolved dramatically over the past century, shifting from static displays of objects behind glass to immersive, narrative-driven experiences. Early exhibitions often prioritised collection and classification, presenting artefacts in orderly rows that reflected taxonomic thinking. Today, designers consider how space, lighting, colour, and movement shape visitor engagement. This transformation mirrors broader changes in museology, where audience participation and emotional resonance are valued alongside scholarly accuracy. Understanding this history helps contemporary designers appreciate the conventions they inherit and the opportunities they have to reimagine the gallery experience for diverse publics.

Decolonising methodologies have become central to exhibition design discourse in recent years. Museums worldwide are re-examining how objects were acquired and how they are presented, particularly those from formerly colonised regions. Exhibition designers now collaborate with source communities to ensure respectful representation and to challenge inherited narratives. This involves rethinking label text, display hierarchies, and even the architecture of gallery spaces. The goal is not simply to add diverse voices but to fundamentally restructure who tells stories and how those stories are told within the museum context.

Collaboration between designers, curators, educators, and communities is essential to successful exhibition making. No single discipline holds all the answers; the most compelling displays emerge from dialogue across expertise. Designers bring spatial thinking and visual literacy, curators contribute deep object knowledge, and community partners offer lived experience and cultural authority. This collaborative process often begins with sketches and models, evolves through prototyping, and continues into installation. When teams communicate openly and respect each other's contributions, the resulting exhibitions feel cohesive, meaningful, and responsive to their audiences.

Technology continues to reshape exhibition design, offering new tools for storytelling and visitor interaction. Digital interactives, projection mapping, and augmented reality can deepen understanding of objects and themes. However, thoughtful designers recognise that technology should serve the exhibition's core ideas rather than dominate them. The most effective digital interventions are those that feel integrated and intentional, enhancing rather than distracting from the physical encounter with artefacts. As digital tools become more accessible and affordable, even smaller museums can experiment with innovative approaches to interpretation and engagement.

The future of museum exhibition design will likely be shaped by pressing global conversations around sustainability, accessibility, and social justice. Designers are exploring low-carbon materials, modular construction, and reusable display systems to reduce environmental impact. Accessibility is moving beyond compliance toward truly inclusive design that considers neurodiversity, mobility, and sensory experience. Meanwhile, exhibitions increasingly address urgent themes such as climate crisis, migration, and inequality. These challenges invite exhibition designers to be not just makers of spaces but contributors to public discourse, creating environments where visitors can reflect, question, and connect.

This page is the conference noticeboard, where Museum Exhibition Design participants can post messages of interest to the conference community. Please post notices, here, of future events, calls-for-papers, and announcements of new research projects, resources, and publications. Participants are also most welcome to open new general topics for discussion, and add to existing conversations.

To comment on a topic, or ask a question, click on its title in the list below. To open a new post, click on the Add topic button. You can also add links, and insert images and pdfs into your posts. Please note: only open-access (copyright-free) materials are permitted.

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