Panel 8: Immersion (II):
environment and experience

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

Like many museums, particularly in Europe and America, the V&A contains a number of historic interiors, commonly known as ‘period rooms’. Collected and displayed by the V&A since the 1860s, period rooms blur the boundaries between museum object and exhibition design, between notions of authenticity and constructed experience. more…

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

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

This paper proposes an alternative model to complement the narrative of grand museums. By considering the first museums of San Francisco, California, this analysis proposes the concepts of experience design and, especially, “destination design” as useful lenses through which to achieve new understanding of the history of exhibitions. more…

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

The work of Hans Hollein (1934-2014) was a crossover between architecture, design and art. Although his oeuvre is varied, he is still known as the architect of post-modern buildings such as the Abteiberg Museum in Mönchengladbach. more…

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)

Exhibition design can be decisive in communicating the message of an exhibition, creating spatial solutions which suggest a particular interpretation. The power of design is evident in the setting up of Italy: The New Domestic Landscape, an international exhibition on Italian product design held at MoMA in New York in 1972. more…

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

The term ‘immersive’ today is associated with virtual reality (VR) and digital experiences. However, in exhibition design those types of design often comprise only part of a bigger exhibition experience. Considering immersion purely as digital may limit the creativity of approaches to exhibition design and skew the historical analysis of the current state of exhibition design practices. more…

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