Skip to content
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)
previous arrow
next arrow

Panel 3: Immersion (I)

Immersion in museum exhibition design has become a defining concept for contemporary practice, yet its roots extend deep into the history of display. Long before digital screens and virtual environments, curators and designers sought to transport visitors into alternate worlds through atmospheric lighting, carefully arranged objects, and spatial narratives. Nineteenth-century dioramas and period rooms offered early forms of immersive experience, enveloping viewers in reconstructed settings that blurred the boundary between observer and observed. Understanding this lineage helps practitioners appreciate that immersion is not merely a technological novelty but a recurring ambition within exhibition-making. By examining historical precedents, designers today can build upon earlier strategies while developing new approaches suited to evolving audiences and institutional contexts.

The sensory dimensions of immersive exhibition design invite visitors to engage with content through multiple channels simultaneously. Rather than relying solely on text panels and static displays, immersive environments activate sight, sound, touch, and even smell to create holistic experiences. This multisensory approach can deepen understanding and emotional connection, particularly when addressing complex historical or scientific subjects. Designers working in this mode must consider how spatial layout, material choices, lighting levels, and acoustic treatments work together to shape visitor perception. The challenge lies in balancing sensory richness with clarity of message, ensuring that immersion enhances rather than overwhelms the interpretive goals of the exhibition. Thoughtful integration of sensory elements can transform passive viewing into active participation.

Digital technologies have expanded the toolkit available for creating immersive museum experiences, though their application requires careful consideration. Projection mapping, interactive touchscreens, augmented reality, and sound installations each offer distinct possibilities for layering information and atmosphere onto physical spaces. However, technology alone does not guarantee meaningful immersion. Successful digital interventions are those that serve the exhibition's narrative purpose and respond to the needs of diverse audiences. Designers must also consider issues of maintenance, accessibility, and longevity when incorporating digital elements. The most effective immersive environments often combine digital and analog components in ways that feel seamless and intentional, using technology to reveal stories that could not be told through traditional display methods alone.

Immersion carries significant implications for visitor agency and learning within museum spaces. When designed thoughtfully, immersive environments can empower visitors to explore at their own pace, following personal interests and making discoveries along the way. This shift from passive reception to active exploration aligns with contemporary educational theories that emphasize constructivist learning and visitor-centered design. Yet immersion also raises questions about authenticity, manipulation, and the ethics of crafting persuasive spatial experiences. Designers must remain mindful of the line between evoking wonder and distorting historical or scientific accuracy. Transparent design practices, clear interpretive framing, and opportunities for critical reflection can help ensure that immersion supports rather than undermines the educational mission of museums.

The future of immersive exhibition design will likely involve deeper collaboration across disciplines, bringing together curators, architects, interaction designers, sound artists, and community stakeholders. As museums increasingly embrace participatory and co-creative approaches, immersion may evolve to accommodate multiple perspectives and voices rather than presenting a single authored narrative. Climate considerations will also shape future practice, prompting designers to seek sustainable materials and energy-efficient technologies for immersive installations. Additionally, growing attention to accessibility and inclusion will challenge designers to create immersive experiences that accommodate visitors with diverse sensory, cognitive, and mobility needs. The ongoing dialogue between historical knowledge and future possibilities positions immersion as a rich area for continued experimentation and critical reflection within museum exhibition design.

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’? S taging 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…

To post questions or comments on the presentations, click on Add topic . You can also post to existing topics, by clicking on the topic title. Posts can be addressed to individual presenters, or to the panellists as a group.

Notifications
Clear all

Q&A, Panel 3

Topic Title
Views
Posts