Over the last few years I have slowly and steadily added the role of design consultant for museums, heritage centers, and traveling exhibits to my professional portfolio. In the process of gaining this expertise I have noticed that there has been a decline in visitors to the older venues. It is my belief that the primary cause is that many museums and heritage centers are in desperate need of “facelifts” to make them more interesting and attractive to visitors. Also the themed entertainment industry has been luring away customers due to the emergence of newer entertaining technology, rides and expos. Some heritage centers are on the verge of closing due to the strain of the demand trend toward more exciting and entertaining venues.
These older out of date museums, heritage centers, and traveling historical exhibits are faced with the daunting task of showcasing the concept story line with more up to date and innovative ideas in exhibit designing, utilizing the same marketing tactics as theme parks to create excitement for the guest’s or guest experience. They must use fresh approaches, new theories, new discoveries, and new concepts to envelop the guest with more mixed-use technologies, hands on exhibits, and entertainment.
There are examples of newly constructed and older museums, heritage centers and interpretive facilities that have transformed themselves into successful venues by adding powerful story telling tools and presentations with full multi-media touch stations with surround theaters. They start their tours with multimedia presentations, sometimes featuring a live actor, film, and/or video projections. IMAX theaters, and multi media experiences with hands on interactives that were once only in themed expos, and are now integrated within the walls of museums and heritage centers.
It is, however, initially the subject of the museum that lays the foundation in the “discovery” through the creative story telling experience. To approach that concept in clever ways that meets or exceeds the expectations of the guest is the goal. Today's guests are demanding and drive industry trends. My job is to be highly creative and design an environment within and without the museum that will assist the guests to discover for themselves the adventure in the story line while at the same time gaining the information that the overall presentation is designed to impart.
It is understood that first and foremost, the mission of a museum and in kind facilities is to educate. It is also understood that learning can and should be fun and thought provoking. Using history as the story and immersive environments as the story-teller., “edutainment” exhibits attract visitors and engage them in discovery, learning and exploration. Exploration is key to learning. It is human nature to explore. We invite visitors to become explorers of their physical universe in new and unexpected ways. It is said that a child at play is an explorer at work investigating with speculation. Most of all we seek to inspire that sense of wonder and to provide pathways to action.
People of all ages yearn to explore and are inspired by those who have changed history doing it. Lewis and Clark were explorers. Explorers break new ground - but it doesn't necessarily have to be physical ground. Jonas Salk, the discoverer of the first polio vaccine was an explorer; so was historian Arthur Schlesinger; astronaut Neil Armstrong; film-maker Ken Burns; and baseball Hall of Famer Jackie Robinson. That spirit of discovery manifests itself today in our own search to understand who we are, where we have been, and how we as a society might approach the future.
It is believed that exhibits which work best are those that reach the audience on an emotional level as well as on an intellectual plane. The goal is to truly connect with the audience, to make them stand up and take notice, to create a memorable experience worth repeating .The guest experience as an “edutainment” concept is where trends have been heading. Science centers and children’s museums are moving into more interpretive interactive and hands-on touch station exhibits in their environments within multimedia and reaction based simulators with theaters.
I have been asked about how I transitioned my experience designing in theme parks and themed entertainment into that of designing museums and heritage centers. To me, it seemed a very natural progression. Themed entertainment is centered on a story. Museums, heritage centers, and the like are trying to tell a story as well. In the theme park, the story is usually fictional and is a means to present the primary product, "entertainment and fun." In the museum environment the story is real and is the primary product is education. Both are using the story (the theme) to present the product. The presentation of the "theme" makes all the difference in the success or failure of either venue. Understanding the relationship of theme and product in both venues made the transition almost seamless.
I remember working with the National Museum of Patriotism in Atlanta, Georgia providing creative direction, working as the exhibits designer. The exhibits included a lobby, three theaters, several military kiosks with multimedia display touch screens, and the largest 9/11 exhibit in the Southeast. Additional exhibits included The Immigrant Experience, the Hall of Patriots honoring Medal of Honor and the Medal of Freedom recipients, and other concepts in patriotism and American volunteerism throughout history to present day.
One of my favorite centers will always be The Smithsonian in Washington D.C. which is constantly being renewed. I also enjoy the new National Museum of the Marine Corps and Heritage Center at Quantico, VA. It has the most amazing architecture as a partial in-ground structure. I visited the facility while it was still under construction and toured the site. It is planned to resemble the Iwo Jima Memorial in “stylistic shape” architecturally, not unlike the new Freedom Tower proposed in NY which is geometrically stylized after the Statue Of Liberty.
Others on my list include the National Museum of the Native American Indians for its architecture and artifacts, as well as Mashantucket Pequot Museum & Research Center, which is the world's largest and most comprehensive Native American Museum. Constitution Center at Independence Mall in Philadelphia, Pennsylvania captured my attention with its architecture and interior content design, as did Colonial Williamsburg for preservation. The appeal of the National Scouting Museum in Irving, Texas was for hands on training and NASA's Kennedy Space Center, in Florida was for technology and exploration. These places and others rival theme parks in content, energy and fun while at the same time imparting their primary product (information) to their guests.
A few years ago, I designed the Native American exhibits at the Funk Heritage Museum and Appalachian Settlement near Atlanta, Georgia. It is the "Official Georgia Frontier and Southeastern Indian Interpretive Center". It has artifacts, multi-media exhibits, dioramas, interactive computer displays and The museum’s giant HDTV Theater shows an award-winning film, "The Southeastern Indians". The Funk Heritage Center interprets 12,000 years of Native American history and the pioneer experience in the Appalachians. The Center also houses more than 6,000 regional artifacts, the most significant of which can be seen in the Hall of the Ancients.
With curiosity and enthusiasm, we study history and the ingenuity of science in a continuing age of discovery. Through the past and forward to new discoveries, stories are waiting to be told. Through the years, I have developed a concern and a passion, as I visited other museums and centers, to create not just another historical display, but exhibits that have meaning, education and entertainment-the way storytelling should be.
As an interpreter, what I provide is architectural; exhibits and interior design in modularity or in a permanent space. I try to recognize innovative integration of architecture and exhibits utilizing the “whole” space, keeping in mind the traffic flow. I believe in a collaborative approach that involves each museum director and board and staff members in all levels of planning and design.
There are steps to developing the “whole” space. These include analyzing the mass of the space and developing the plan view to establish exhibit basic size and traffic flow. Then, ensure continuity through overhead programs such as graphics and signage. There are floor treatments, wall treatments, intermediary displays and effects with specialty zones, lighting design, soundtracks, and a well planned series of connecting elements between each unit to consider.
I design with three controls in mind: quality, cost and time to completion. This is accomplished through the process of conceptual design, creative direction, master planning, and thorough knowledge of available materials and associated fabrication methods. I try to create interesting visuals without “over-designing” in relation to exotic materials, difficult fabrication techniques, and complicated installation issues.
Modular projects that I have worked on include the Ordinary Heroes Medal of Honor Exhibit that I co-designed and rendered in Light Wave 3D. As traveling historical exhibit, it involved pictorials with touch station kiosk and was later acquired by The Smithsonian Institute. My position on modular design is that is a means to transform a well-developed plan into manageable units for fabrication and installation. Within this approach, I am comfortable with projects divided into multiple phases, and often produce materials for fundraising efforts to support the institution’s overall goals.
Recently, I designed a new exhibit for The Black Patriots Foundation as a nationwide traveling exhibit that depicts African Americans who fought for our nation from the Revolutionary War until now. This exhibit is to present awareness to help fund The Black Revolutionary War Patriots Memorial on the National Mall in Washington D.C.
As you look through the portfolio, it is hoped that you will notice the diversity of designs. I believe that this diversity is its biggest strength. While some design firms have a noticeable design approach, my style is that whether it is the traditional artifact-driven look or a multimedia expansion with “edutainment” I design with an overall narrative feel that takes on it’s own style. My goal is to establish a reputation for delivering innovative ideas and one-of-a -kind customized solutions that are as diverse as my client base.
In the development stage, I will offer “creative development” solutions with the use of innovative concepts and unique design within realistic facility requirements to keep the plan on track. I can adjust to create quick adaptive designs to meet unexpected complications or requirement changes. While employing diverse resources, I work hand-in-hand with the client and multi-vendor fabrication facilities that are second to none in meeting the project goals, remain in budget, and meet the project deadline.
Best regards
Matthew L. McCoy
EXPERIENTIAL DESIGNER
No comments:
Post a Comment