As an exhibition interpretation specialist by training, I have always been impressed by exhibition designers’ ability to master different disciplines concurrently – designing typography, envisaging lighting schemes and collaborating with a range of specialists to realise in three dimensions what I can only imagine.
Philip Hughes’s book, now in its second edition, gives a fascinating insight into the world of such a polymath. Its author is well qualified to interpret this multi-disciplinary environment. Hughes first specialised in furniture design before moving to exhibition design; since then, as a project director for Ralph Appelbaum Associates, he has worked on high-profile projects such as the UAE pavilion at the World Expo in Shanghai and the Oculus visitor experience at St Paul’s Cathedral, London.
His book introduces the principles of exhibition design through 14 accessible chapters, each concentrating on a different subset of the discipline, from an exhibition’s audience to 3D design skills through to chapters on sound and film and construction and delivery.
Hughes claims to write for a broad audience – design students, exhibition professionals and “anyone with an interest in the topic”, though non-designers may find some parts, such as the chapter on technical drawing, hard to penetrate. On the whole, Hughes’s generalist approach works well. Most chapters recommend themselves to designers and non-designers. The opening chapter on design briefing, for example, gives designers useful advice on interpreting a client brief but also reminds project managers and content developers of the dangers of unclear briefs.
Hughes draws on his experience of working in trade exhibitions as well as museums and galleries. As a museum professional seeking inspiration from other disciplines I found this broad focus refreshing. Having recently worked on a pop-up travelling exhibition for the first time, I wish I had had the benefit of Hughes’s advice on portable exhibitions beforehand.
Although the book can be read cover to cover as an introduction to exhibitions work, it can also be used as a quick reference guide by those needing a quick refresher in a certain area. Each chapter ends with a handy checklist of dos and don’ts. A broad range of visual material accompanies case studies, making the book an ideal source of inspiration for both designers and content developers. Though all the projects featured have large budgets, the focus on general principles and practical advice means that those working on multinational projects and in small local museums would benefit from Hughes’s guidance.
This second edition touches on developments in interactive media since the first publication in 2010, but some sections would have benefited from further revision to keep pace with evolving technology and expectations. Many of the key projects that Hughes features, such as the Churchill Museum, London, were designed five or more years ago, before most visitors had smartphones – which has arguably transformed the way visitors interact with and flit between physical and digital space.
The chapter on interactive media makes only passing mention of smartphone technology and neglects recent projects, such as those led by the British Museum’s Samsung Centre, where augmented reality is beginning to be used to draw museum visitors into a deeper level of engagement.
Hughes’s final chapter looks to the future, rightly envisaging a world where designers and museum professionals collaborate more and more with audiences to produce exhibitions. In fact, Nina Simon’s vision of a participatory museum has already become a reality in many more co-curated exhibitions than Hughes acknowledges.
But overall this is a useful book for designers and museum professionals alike; one that will aid experienced practitioners and those making their first forays into exhibition work.
Jude Holland is the project manager for the Doncaster 1914-18 programme
Philip Hughes’s book, now in its second edition, gives a fascinating insight into the world of such a polymath. Its author is well qualified to interpret this multi-disciplinary environment. Hughes first specialised in furniture design before moving to exhibition design; since then, as a project director for Ralph Appelbaum Associates, he has worked on high-profile projects such as the UAE pavilion at the World Expo in Shanghai and the Oculus visitor experience at St Paul’s Cathedral, London.
His book introduces the principles of exhibition design through 14 accessible chapters, each concentrating on a different subset of the discipline, from an exhibition’s audience to 3D design skills through to chapters on sound and film and construction and delivery.
Hughes claims to write for a broad audience – design students, exhibition professionals and “anyone with an interest in the topic”, though non-designers may find some parts, such as the chapter on technical drawing, hard to penetrate. On the whole, Hughes’s generalist approach works well. Most chapters recommend themselves to designers and non-designers. The opening chapter on design briefing, for example, gives designers useful advice on interpreting a client brief but also reminds project managers and content developers of the dangers of unclear briefs.
Hughes draws on his experience of working in trade exhibitions as well as museums and galleries. As a museum professional seeking inspiration from other disciplines I found this broad focus refreshing. Having recently worked on a pop-up travelling exhibition for the first time, I wish I had had the benefit of Hughes’s advice on portable exhibitions beforehand.
Although the book can be read cover to cover as an introduction to exhibitions work, it can also be used as a quick reference guide by those needing a quick refresher in a certain area. Each chapter ends with a handy checklist of dos and don’ts. A broad range of visual material accompanies case studies, making the book an ideal source of inspiration for both designers and content developers. Though all the projects featured have large budgets, the focus on general principles and practical advice means that those working on multinational projects and in small local museums would benefit from Hughes’s guidance.
This second edition touches on developments in interactive media since the first publication in 2010, but some sections would have benefited from further revision to keep pace with evolving technology and expectations. Many of the key projects that Hughes features, such as the Churchill Museum, London, were designed five or more years ago, before most visitors had smartphones – which has arguably transformed the way visitors interact with and flit between physical and digital space.
The chapter on interactive media makes only passing mention of smartphone technology and neglects recent projects, such as those led by the British Museum’s Samsung Centre, where augmented reality is beginning to be used to draw museum visitors into a deeper level of engagement.
Hughes’s final chapter looks to the future, rightly envisaging a world where designers and museum professionals collaborate more and more with audiences to produce exhibitions. In fact, Nina Simon’s vision of a participatory museum has already become a reality in many more co-curated exhibitions than Hughes acknowledges.
But overall this is a useful book for designers and museum professionals alike; one that will aid experienced practitioners and those making their first forays into exhibition work.
Jude Holland is the project manager for the Doncaster 1914-18 programme
