外文翻譯--基礎(chǔ)室內(nèi)設(shè)計(jì)——展覽設(shè)計(jì)（節(jié)選）

1、<p>　　基礎(chǔ)室內(nèi)設(shè)計(jì)——展覽設(shè)計(jì)</p><p>　　Basics Interior design—Exhibition Design</p><p>　　學(xué) 部（院）： 建筑與藝術(shù)學(xué)院 0 </p><p>　　專 業(yè)： 藝術(shù)設(shè)計(jì)(環(huán)境藝術(shù)設(shè)計(jì)) </p><p>　　Bas

2、ics Interior design—Exhibition Design</p><p><b>　　P Locker</b></p><p>　　The aim of this book is to provide a better understanding of the complexity of exhibition design, by exploring

3、 the role of the exhibition designer as a creative practitioner serving a multi-billion dollar global industry. Symbiotic and experimental in nature, exhibition design overlaps a wide range of design subjects in order to

4、 communicate clearly. In terms of spatial intervention, interior design is its closest relative. Exhibition design is often a reflection or, indeed, driver of contemporar</p><p>　　Exhibition designers need t

5、o be curious about everything, not least the idea of theming, which is often seen as the interpretive ‘hook’ on which to hang a story. The theatrical opportunities</p><p>　　borrowed from multimedia, sound, l

6、ighting design and a range of other exhibition technologies, create interesting opportunities for storytelling through performance. The combination of image and text through large-scale graphic design remains a key metho

7、d of communication to an increasingly technologically and visually literate audience. The easy wealth of access to vast amounts of information have helped to transform the traditional ‘graphic panel’ hanging </p>

8、<p>　　on the wall, to interactive, multi-layered and often multi-sensory touch-screen experiences with the capacity to navigate the visitor through complex layers of information. One of the most stimulating challeng

9、es for the exhibition designer is the exploration and experimentation involved in the search for the most appropriate communication media within engaging interactive environments.</p><p>　　Exhibition Design&

10、lt;/p><p>　　Exhibitions are for people, so the exhibition designer needs to have an understanding of the physical, emotional and intellectual needs of a range of very different audiences in order to deliver env

11、ironments that are accessible, educational and enjoyable. In order to understand how to communicate with an audience, the designer must have an understanding of how audiences learn and ways in which to facilitate this le

12、arning.</p><p>　　The design process begins with a thorough understanding of the constraints and opportunities offered by the brief. Once research has been completed and the storyline identified, the process

13、of developing the exhibition within the space can begin.</p><p>　　The term ‘exhibition’ has multiple definitions. For simplicity, the discussions that follow will use the umbrella terms ‘commercial’ or ‘cult

14、ural’ when describing a range of exhibition projects. Although most types of exhibition will fall loosely into one of these two categories, there will be an inevitable blurring of the boundaries between them. </p>

15、<p>　　The Exhibition Design Process</p><p>　　As this diagram shows, through a constant process of feedback and evaluation, the exhibition designer will encounter six stages in the design process: analy

16、sis, idea, development, proposal, detail, installation. This approach was inspired by a travelling exhibition of Leonardo da Vinci’s sketchbooks. The simple but engaging exhibition used a series of interpretive animation

17、s to bring the sketchbooks to life。</p><p>　　The ‘commercial’ will broadly consider exhibitions that are telling the story of a brand or are predominantly engaged with issues relating to commerce. They inclu

18、de commercial exhibition stands, brand experiences, theme parks, themed retail interiors and leisure attractions.Many commercial exhibitions will charge entry or are only open to audiences whose work is related to commer

19、ce. Whilst expo is also concerned with the promotion and better understanding of cultural relations, their particular </p><p>　　The exhibition design process The first step in becoming an exhibition designer

20、 is to develop an</p><p>　　understanding of the design process. The diagram opposite has simplified this complicated process to a linear pathway that considers how a project moves from analysis to installati

21、on.Exhibitions are designed for people.The figure in the diagram is a useful reminder that throughout the design process we should ask the question; what will be the nature of the physical and emotional relationship betw

22、een the exhibition and its audience? </p><p>　　The circle represents all that is already known about the project; the client, the organisation, the site, a body of research that will create a story. The squ

23、are represents the dialogue between the audience and the exhibition space.</p><p>　　The boundaries between analysis and concept design development are fluid and require constant feedback or return loops; tes

24、ting and re-testing of ideas. Slowly the design will evolve to a point</p><p>　　where a realistic proposal emerges for presentation to the client. Following input from the client team, the designer can begin

25、 to engage with the detail design process and the technical requirements of tendering. Installation forms the beginning of the end of the process. At each stage of the project there will be critical feedback, which at th

26、e end of the project takes the form </p><p>　　of reflection on the whole in order to inform future projects.</p><p>　　The role of the exhibition designer</p><p>　　The specialist rol

27、e of the exhibition designer is to create a three-dimensional environment</p><p>　　that tells a story. This may be about a collection, a brand or simply an idea. Exhibition designers use a range of media an

28、d technologies, often borrowed from other disciplines, in order to effectively communicate messages in space.</p><p>　　The organised creative</p><p>　　As in other creative areas, exhibition des

29、igners need to be highly computer literate and require a varied two- and three-dimensional digital and analogue skills set. However, it is the ambition to generate clear explanations to exhibition audiences, coupled with

30、 a focus on interior communicative content, which makes the exhibition designer distinct from designers in other disciplines. The client is interested in their specialist expertise to create an exhibition according to an

31、 agreed set of com</p><p>　　ROWING GALLERY, RIVER AND ROWING MUSEUM</p><p>　　Henley-on-Thames, UK</p><p>　　D E S I G N E R LAND DESIGN STUDIO</p><p>　　D AT E 1998<

32、;/p><p>　　The complex nature of many exhibition projects requires the designer to be an excellent communicator, negotiating not only with the client but often with a team of creative specialists. For their desi

33、gn of the galleries of the privately funded River and Rowing Museum, Land Design Studio had to work closely with architects,researchers, graphic designers and specialist contractors.</p><p>　　Analysing the b

34、rief</p><p>　　All design projects begin with a thorough analysis of the ‘project brief’.This will form the agreed foundation on which to build the project. As all projects are unique, briefs vary in detail a

35、nd content according to the project’s nature and scale, as well as the experience of the client. In the fast turnover of the commercial world, a brand manager may write briefs on a regular basis, but for the client of a

36、new museum the project may be a ‘one-off’. It is only through clear dialogue, to tease </p><p>　　What is the nature and purpose of the project?</p><p>　　What is the scale of the project?</p&g

37、t;<p>　　Who is the target audience and what are their needs?</p><p>　　Who is the client team?</p><p>　　What is the context and position of the site? </p><p>　　What is the bud

38、get?</p><p>　　What is the timescale?</p><p>　　The answers to these questions will generate a dialogue with the client. For example, they may establish the specific requirements relating to the b

39、rand or collection. The brief will also dictate the specific expertise that will be required in the design team from the start. Following discussion, negotiation and alteration, the brief will become the basis on which a

40、 contract is drawn up.Once the project starts, the brief will become the designer’s constant companion and point of reference. It is</p><p>　　Exhibition space</p><p>　　Working with a site</p&

41、gt;<p>　　For an exhibition within an existing building there will be many practical questions that need to be asked. Is the building listed and if so what are the restrictions regarding intervention in the space?

42、Is there sufficient access to bring objects and exhibits into the space? Is the floor strong enough to receive exhibits or will it need to be reinforced to support heavy objects? Is there access to services? How will med

43、ia run? Does space need to be made within the exhibit for storing support eq</p><p>　　Conventional planting and landscape maintenance often require irrigation and chemicals. Sustainable practices minimize t

44、he use of irrigation, fertilizers, and pesticides and can prevent soil erosion and sedimentation. Erosion from precipitation and wind causes degradation of property as well as sedimentation of local water bodies, and bui

45、lding sites can be major sources of sediment. Loss of nutrients, soil compaction, and decreased biodiversity of soil organisms can severely limit the vitality</p><p>　　Reference to existing plans, elevation

46、s and sections will give the designer an understanding of the scale, the available floor space, window and other heights, services, entrances and exits, mezzanine levels, internal stairs, lifts and a host of other consid

47、erations that will influence the design right from the start. If technical drawings do not exist, the design team may need to carry out an accurate site survey, measuring the sizes and key components of all the related s

48、tructures</p><p>　　Designing for people</p><p>　　Whether an exhibition is culturally or commercially focused, the primary role of the exhibition designer is to create environments within which c

49、ommunication with an audience can take place.</p><p>　　Who is the audience?</p><p>　　Audience analysis will start by questioning the nature of the audience.Is the exhibition expected to attract

50、predominantly individuals, couples, families, national or international tourists or subject specialists and educational groups that may include school children or a combination of the above? Will there need to be special

51、 consideration of visitors’ age, gender, race or physical and emotional ability? Will visitors be attending in their leisure time, or as part of their work?</p><p>　　Will the exhibition aim to appeal to a wi

52、de audience, or will it focus on a specific group?</p><p>　　Families will need spaces that can facilitate small groups of people hoping for a collaborative experience. They will require a hierarchy of inform

53、ation that is of interest to a range of age groups and learning abilities. Children’s exhibitions will require specialist design decisions regarding height, size, colour and use of materials. The age group will dictate t

54、heir literacy levels and will influence how they engage intellectually. Children require the use of appropriate language,font choices</p><p>　　In contrast, a specialist audience will require a greater depth

55、of information,supported by additional written material that can be accessed as a book or online.For international audiences, all the above parameters apply, with additional considerations relating to culture and languag

56、e. </p><p>　　Measuring audiences</p><p>　　As well as their cultural and emotional needs, audiences come in a range of different shapes and sizes.</p><p>　　Anthropometric study provi

57、des us with knowledge about the dimensions of the human body and what it means to be ‘a(chǎn)verage’. This has a direct relationship with the measurements of all exhibition elements, from furniture to graphics. Ergonomics is t

58、he study of human interaction with space and how the design of space influences how people operate in it.Can visitors pass comfortably? Are there clear safe routes to fire exits? </p><p>　　Exhibition spaces

59、 are never passive. When visitors are invited to physically interact with exhibition space they become performers within it. The designer needs to ensure that the design can accommodate the physicality of this performanc

60、e. A combined understanding of anthropometrics and ergonomics helps the designer to create comfortable and user-friendly environments.</p><p>　　As areas developed and urbanized, surface permeability is reduc

61、ed, which in turn increases the runoff transported via pipes and sewers to streams, rivers, lakes, bays, and oceans.Storm water runoff harms water quality, aquatic life, and recreation opportunities in receiving waters.

62、For instance, parking areas contribute to storm water runoff that is contaminated with oil, fuel, lubricants, combustion by-products, material from tire wear, and deicing salts. Runoff also accelerates the flow rat<

63、;/p><p>　　As well as individual scale, designers need to consider how to manage audiences en masse. Wait times within exhibitions need consideration and audio-visual presentations should not be longer than thre

64、e to five minutes or visitors either at worst get bored or at best cause a bottleneck. Information about expected visitor numbers impacts on visitor management and flow to enable the best possible engagement and experie

65、nce. Large visitor throughput, as experienced at an expo, requires effective que</p><p>　　Access for all</p><p>　　Designing for access is an international concern that should enhance a visit for

66、 all audiences. An ethical designer should consider access as an established design habit, as well as a legal requirement, whereby access is considered at every stage of the design process. </p><p>　　When de

67、signing exhibitions the designer needs to consider visitors with mobility, hearing and visual impairments as well as those with learning disabilities who may experience intellectual barriers.</p><p>　　Physic

68、al access is not only about wheelchair users. Families with pushchairs and all those who find level changes difficult appreciate the opportunity to use a slope. Surfaces should be non slip and non trip, and deep gravel i

69、s a particular menace for those ‘on wheels’. </p><p>　　Inside the exhibition, ask whether there are suitable turning places and sufficient distance between exhibits for a wheelchair and carer? Care must be t

70、aken to avoid designing exhibit elements that may create unnecessary obstacles and the design should allow for enough opportunities for visitors to sit down. An exhibition on multiple floors will need a lift; however, th

71、ought should be given to how the position of the lift and the orientation of the ‘story’ relate to each other, so that lift user</p><p>　　Thoughtful consideration of heights can enrich experience, whether th

72、is is the height of furniture, interactive exhibits,display cases or graphical information. For visitors with a sensory deficit, whether this is sight or hearing, the imaginative use of other sensory experiences such as

73、touch, taste and smell offer another layer of communication for all visitors.For those with hearing difficulties,induction loops make a significant difference and sound showers help to focus the sound in specifi</p>

74、;<p>　　be ready to move onto a higher level of engagement that involves learning.</p><p>　　Understanding audiences</p><p>　　All audiences will bring different physical, practical, cultura

75、l, emotional and educational needs to an exhibition and this will influence how they learn.As human beings, we all have a range of emotional and cultural experiences that inform our understanding of the world and how it

76、works. Everyone forms a complicated and interrelated collection of memories that are unique, built over years of experience. An analogy is to think of an imaginary mental landscape that we build for ourselves. When we<

77、;/p><p>　　adding vast amounts of detail, from single blades of grass to huge buildings; all connected in some way to our personal landscape. By adulthood the landscape is incredibly complex and impossible to se

78、e all at the same time. However, we know that with prompting from navigational</p><p>　　signposts, we can seek out the information we need to underpin understanding. It is within this unique memory landscape

79、 of experience that we add new knowledge and construct the next layer of our learning</p><p>　　How can these ideas be applied to learning in exhibitions? Semiotics is the study of the way in which signs and

80、symbols can act as catalysts for a string of thought processes.Everything we see signifies something for us based on what we have previously learnt about the world. This relates directly to how we understand the visual a

81、nd material culture we have constructed in our memory landscape. In Western societies, it is traditional for a bride to wear white to signify purity and new beginnings</p><p>　　to different cultural audienc

82、es. These ideas have been used by advertising agencies for years to encourage us to buy goods. For example, a bottle with a red and white label may subliminally</p><p>　　remind us of Coca Cola. Similarly, if

83、 goods are associated with lifestyles to which we aspire, we may be encouraged to buy them。</p><p>　　Cultural and commercial messages In considering exhibition objectives, let us consider two very different

84、types of exhibition with similar themes. The first is about recycling, a temporary exhibition at a science museum called‘Wash ‘n’ Squash’, and the second is a commercial exhibition stand at a public environment show for

85、a company that sells ‘Ewash’, a non-toxic, wildlife-friendly washing power. Cognitive objectives relate to the important information we want the audiences to learn about recy</p><p>　　want our audiences to f

86、eel as a result of their visit. Visitors to ‘Wash ‘n’ Squash’ have played with a series of interactives about recycling supported by family centred graphics, and so feels positive and motivated. The evocative wildlife im

87、agery of the ‘Ewash’ stand has made the audience feel good about a brand that is helping to look after natural habitats. </p><p>　　Behavioural objectives consider how visitors may change their behaviour as a

88、 result of their exhibition experience. Have the exhibitions influenced our respective audiences to make more of an effort to recycle or change to using environmentally friendly cleaning products? Clearly, if this is the

89、 case, the exhibitions have been successful in their proposed aims and objectives.</p><p>　　Designing a narrative</p><p>　　For the exhibition designer, the concept design phase signals the start

90、 of finding mechanisms to translate the ‘story’ into space, and this will take place through a series of ‘conversations’. </p><p>　　They will have many ‘private’ conversations with their imagination, stirrin

91、g up and connecting ideas that leap from problem to problem and back again. These complicated thought processes are externalised through a range of quickly drawn, two- and three-dimensional sketches; constantly thinking,

92、 questioning and re-evaluating problems. Gradually, having played with various ideas and rejected some, the restless and apparently disjointed concepts begin to settle into a possible solution that may be </p><

93、;p>　　Brainstorming</p><p>　　Creative ideas cannot be formed in a vacuum and thorough research to support an exhibition is a good starting point. ‘Blue sky thinking’ or‘brainstorming’ is a valuable techniq

94、ue used by creatives to seek inspiration and enables the collective experience of the participants to play a part. By bouncing ideas off each other, the designer hopes to generate a catalyst that will trigger</p>

95、<p>　　creative thought processes. In itself, successful brainstorming can only take place within a relaxed environment of mutual trust and respect. Discussion and argument should never be personal and</p><

96、;p>　　though potentially passionate, should be good natured. Humiliation serves only to strangle any hope of free expression. Brainstorming sessions for designers usually include large pieces of paper,mark makers, endl

97、ess supplies of coffee and much stretching and pacing about! Successful sessions will lead to the distillation of a range of possible ideas for the designer to take forward.</p><p>　　Similarly, looking at th