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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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Panel 3: Immersion (I)

Panel 3: Immersion (I): sense and emotion

This paper was available for the period of the conference only
(1-11 September 2020)

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

Like our minds, exhibitions play tricks on us. Following in the footsteps of entertainers, sideshow carneys, escape artists, magicians and stagecraft technicians, exhibit designers incorporate illusion and deception to wow audiences and reinforce messages using a dose of fantasy and wonder. more…

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

From around 1900, some museums, curators and collectors started to display their historical objects in very different ways, deliberately rejecting conventional exhibition design in order to create environments which more directly replicated ‘life’ in the past. more…

This paper was available for the period of the conference only
(1-11 September 2020)

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

In popular discourse, immersive exhibitions are often (and almost exclusively) associated with extensive use of new technologies and a high level of visuality. What is overlooked is the fact that immersive technologies are implemented to bring forth the narrative of the exhibition. more…

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

This paper, from the designer’s perspective, addresses several aspects of the conference, especially collaborative working, material culture, emotion and affect, and responsibilities. more…

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

How can something invisible, like a smell, be exhibited and understood as meaningful in a museum? In this presentation, I focus on the meaning of scent as art, as exhibited artefact, and as an experience-heightening scenographic agent to create a multisensory whole in the museum. more…

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Q&A, Panel 3

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