Design and Display

A key consideration in the development of a touring exhibition is whether or not the display furniture and/or display cases will travel with the exhibition. Some exhibition organisers rely on the hiring organisations to provide all of the necessary display cases; others will commission the construction of bespoke build, or purchase cases to travel with the objects. This decision will affect the cost of developing the exhibition, and subsequent travel (as exhibition build will significantly increase the size of the load), the extent to which the display conditions of the objects can be controlled, and the look and feel of the exhibition. Bespoke build will ensure that the exhibition looks the same in each location, whereas utilising an organisation’s existing display cases will cause it to look different on each occasion.

The decision should be carefully considered, to reflect the needs of the objects, your organisational ambitions for the look and feel of the exhibition, and the needs of your hiring venues; some organisations will not have their own display cases, so they could not hire an exhibition without build. If unsure about the most appropriate approach, speak to your potential/target venues, to see what they would prefer, and look at what other organisations are doing, to help make your decision.

If you decide to commission and tour the exhibition build ? rather than touring display cases – you will need to write an exhibition brief. A successful exhibition will be the result of an effective relationship between the organiser and an exhibition designer. If an experienced designer is not available in-house, adequate time must be given to selecting a designer who is able to translate the aims of the exhibition into an accessible and engaging design and who is able to work within the parameters of a given schedule and budget.

Many different factors will affect an exhibition’s communication with the visitor, including:

• General layout, design and colour scheme
• Use of lighting and sound
• Choice of exhibits, the way objects from different periods, cultures or disciplines are brought together, and their method of display
• Style and presentation of the text, and the presentation of other contextual material

It is therefore essential that the designer is given full and clear information at the outset of the project. Clarity of purpose is crucial to a project’s success.

The first stage in the design process is to devise an exhibition brief that will carry all the essential information that a designer will need to know about an exhibition and its subsequent tour. It should also be clear from the outset how long the exhibition is expected to tour and to which venues. An exhibition which may tour for several years to overseas venues and which may be installed by a different team at each venue will require special consideration, e.g. in terms of durability of components and simplicity of assembly.

An exhibition brief is the document that sets out the main concept behind the exhibition, its possible content and methods of delivery. It should consist of the following:

• Statement of the aims and objectives of the exhibition
• Concept and storyline for the exhibition
• Provisional list of exhibits with images, and indication of the environment the objects require e.g. open display, or a sealed case
• Information on the venue/site(s) for the exhibition, including gallery plans, lighting specifications, any special display requirements for exhibits and any relevant health & safety or access issues
• A schedule for design and construction, indicating key dates for meetings, design development and review, sign-off, off-site set construction, on-site installation and the opening date for the exhibition
• Total budget available for design and production

When selecting and appointing a designer, it is important to ensure that they have the relevant experience and understanding to design and deliver an exhibition that is suitable for touring. It is essential that it is lightweight, but hardwearing, and easily constructed. It should take account of the technical resources that will be available to install the show at each venue, the maximum dimension an item can be to fit in the transport vehicle and that build items should not require more than two people to install or carry them. Details of exhibition design companies can be found in the Museum Association ‘Find and Supplier’ database (www.museumsassociation.org/find-a-supplier). It can also be useful to look back at designers/design companies who worked on exhibitions you particularly enjoyed, or thought were successful. The designer’s name is usually on an exhibition’s acknowledgements panel.

It is normal practice to pay a third of the fee when commissioning the designer. The timing of further payments during the progress of the job should be agreed at the same time. The organiser should retain the final payment until the project is signed off, when the work is completed to the organiser’s satisfaction.

The exhibition designer should be required to provide the organiser with regular breakdowns of expenditure for design and production. It is important to make clear to the designers – and their appointed sub-contractors – that they fulfil their contract within the given budget and that any modifications to the design of graphics or construction which will impact on the budget must be agreed with the organiser in advance of commitment.

In the same way as for the main exhibition design, a graphic designer will be appointed, issued with a brief and asked to present a graphic concept for the exhibition, ideally working closely with the exhibition designer. The Graphic Designer should be aware of their specific responsibilities, including:

• Provision of general concepts and mock-ups of graphics to be submitted for access approval and tested for viewing in gallery conditions prior to production
• Adherence to guidelines for the design of graphics, paying particular attention to size, colour, typeface, legibility and location of graphic panels and captions

If the graphic designer is commissioned to design publicity material, such as posters or promotional leaflets, a different set of requirements will be required.

Managing the production of these items will involve the creation of schedules and budgets, close liaison with the designers and printers, proof-reading text, colour-correcting proofs and arranging the delivery and distribution of the finished materials.

With the design brief established, the designer appointed and the brief agreed in writing by both parties, the designer will then produce a concept design. This will be a practical solution to the brief with reasons for doing it in that way and a breakdown of costs. This is the earliest creative stage in the design process, and the concept design can be expected to undergo a number of revisions and alterations before moving on to detailed design which will cover both written specifications and detailed drawings. The designer will then liaise with a specialist contractor over the construction of the exhibition structure.

The design concept will consist of a written description, drawings, sketches, perspectives, plans and/or sections, and possibly a model. At the same time, the organiser must give time and attention to the design concept, to ensure that it meets the requirements set out in the brief, and to consider the cost implications. Alterations become time-consuming and expensive once detailed design has commenced.

Following design sign-off, the designer will produce working drawings and specifications, to a level of accuracy and detail sufficient to communicate to contractors commissioned to build any components of the exhibition structure. The designer will be present at the final creative stage, installation of the exhibition at the first showing, and possibly also at subsequent venues.

The purpose of a display case is to display one or more artefacts safely, a purpose which is the same whether the case is used for touring exhibits or is sited permanently within a gallery. There are several elements to the concept of safe display:

• Contact, i.e. physical protection against handling and touching
• Security, i.e. protection against theft or vandalism
• Environment, i.e. provision of a safe environment
• Presentation, i.e. enhancing the viewing for all users

When planning a touring exhibition, it is important to consider at an early stage the type of display case needed and the level of security and environmental protection required. The organiser may set these requirements, but where items are from an outside source, it will be the lender who sets the specification. For museum objects, the organiser should not consider anything less than a professional, museum-standard specification. If important objects have been lent and/or if the exhibition is covered by the Government Indemnity Scheme, then an enhanced level of security should be adopted, in line with the guidelines issued by the National Security Adviser. Some systems will allow this by fitting temporary security flanges to all four corners of a case.

Cases that are to travel with an exhibition must be fully and easily demountable and, ideally, have their own customised travelling crates. It is normally better to work with a proven demountable system, because all the essential protective and conservation features required should already be built into the system, enabling creative design and presentation.

The organiser should consider the future use of the display cases. Could they be used for other exhibitions in the future and if so, how can this opportunity be optimised? Whether the cases will be re-used directly by the organiser or sold on, their attraction will be enhanced the more flexibly they can be used, e.g. a case with full-height glass rather than a high structural plinth, can be used flexibly with internal dress plinths, shelving or for costume display as required.

Hiring cases has been seen as an option, but the cost of hiring museum specification cases for several months will cost almost as much as outright purchase and there are the additional costs of delivery and collection of the cases. However where a museum does not have the means to buy and store cases, hiring may be an option. This can be flexibly tailored to a museum?s specific and changing requirements.

Presentation: Presentation – enhancing the viewing for all users – is a key requirement for a display case. Whilst it has a protective function, it should also be sympathetic to users, particularly those with disabilities.

Reflections in the glass, when seen from different levels of view, are not only irritating, but make viewing difficult for those with impaired vision. Low reflective glass is a partial solution, but this is expensive, and the first approach should be to look at the natural and artificial lighting within the gallery and then within the cases. It is surprising what can be achieved by adjustment in the first instance. However careful use of low reflective glass is a very worthwhile and rewarding investment and which benefits all users, not just those with impaired vision.

Wherever possible, viewing heights should take account of people in wheelchairs and children as well as other adults. Cases with open or recessed plinths enable wheelchair users to get much closer to the objects. Much can be done at the design stage to ensure that the display is user-friendly for all age and ability groups.

Specification: The following specification reflects the security, curatorial and conservation concerns that are fully addressed by a Professional Museum Standard display case. When assessing cases from different suppliers, comparisons can be made under each heading and scored for compliance or otherwise. In some key sectors, failure to comply should mean elimination.

• Glass thickness: 8.8-13.5mm laminated museum glass to either BS6206A safety glass or BS5544 anti-bandit specification. Thinner laminated glass does not have the structural strength, and the glass will bow, breaching seals and compromising security
• Glass type: Standard or Optiwhite laminated museum glass which filters over 97% of UV radiation in the crucial 320-380 nanometre wavelengths. Float glass and toughened glass do not provide UV protection and are also unacceptable because they disintegrate on impact. An alternative to glass is acrylic. Acrylic covers are generally thinner (and hence lighter) than glass, but are less secure (they can be easily fractured) and are easily scratched and degraded with routine cleaning
• Lighting Unit: This must be totally separate from the display chamber, be vented to minimise heat build up, and have its own locking access for servicing
• Access: By means of a hinged or pull-and-slide door system. Hinged doors should not be wider than 900mm and must have fully concealed hinges. Pull-and-slide doors should open 60% in either direction, and also be removable for full access
• Locking: Double-locking system at top and bottom, comprising a mechanical clasp lock, access to which is protected by an Abloy CL291 removable barrel lock. Each venue should use its own unique suite of locks
• Materials: All materials used within the display chamber should be inert. Conservation grade fabrics can be used to cover ZF MDF treated with an approved sealant or wrapped with a barrier film. Also treated ZF MDF with an inert spray paint or Nextel finish
• System Frame: Top and bottom aluminium frame for all glass cases, or frame all round. Framework should be epoxy powder coated to provide a tough, durable finish
• Glass-to-metal joints: Neutral curing silicone to avoid damaging off gassing and allow for differential thermal expansion
• Door seals: Extruded silicone bubble seal bonded in place. Demountable cases should have this seal fitted into a concealed aluminium angle on all edges
• Shelving: Removable full-height, adjustable shelving using suspended hanging rods, cantilever brackets or corner blocks
• Environmental control: Humidity and pollution control generally using a passive rather than a mechanical system. These can be installed within the display chamber concealed beneath a vented base panel
• Monitoring: The display chamber should have a means of monitoring the key environmental conditions either directly or remotely
• Storage and transit: Each case should have its own dedicated crate and handling system
• Demountability: Speed and ease of assembly and dismantling are very important. A truly demountable system should be able to be fully built and cleaned in 30 minutes. Ensure that the system is fully demonstrated
• Additional Security: Cases should have a battery-powered impact alarm, and should be capable of being connected to a central alarm system
• Documentation: Each type of case should be supplied with a system manual. This should provide a schedule of glass sizes and instructions for the replacement of a damaged panel

Using a hire venue’s display cases: Display cases may be provided by the venue, but in this instance the organiser must ensure beforehand that they are suitable for the exhibition and will meet lenders’ requirements. The UKRG display case supplement can be used to make an assessment of existing cases.

An increasing awareness of our environmental responsibility and dwindling budgets have driven the need to search for valid alternatives to traditional building materials. Some designers and contractors have embraced this and specialise in using sustainable products in the design and build process.

Using sustainable products in an exhibition, or recycling materials once an exhibition has closed, does not necessarily mean that costs will increase. There can be significant cost savings, although the lead-in time for many products is longer than that for traditional materials which will need to be factored into the build schedule. The decision whether to use sustainable products should be made as early as possible, and designers and contractors should be aware of this requirement prior to appointment. It always helps, of course, if you can employ designers and contractors who have experience with, and a genuine enthusiasm for, the use of sustainable products.

The different types and quality of sustainable building materials available continues to increase and includes:

• Wood obtained from managed forests
• Formaldehyde-free (E1 grade) MDF and chipboard
• Recycled plastics and rubber
• Reclaimed acrylic and PVC (the manufacture of PVC is very harmful to the environment)
• Recycled glass
• Water-based inks
• Solvent-free non-flammable adhesives
• Low and zero-VOC paints and finishes (these new paints are durable, cost-effective and less harmful to human and environmental health)
• Low energy light bulbs, e.g. LEDS are better than ordinary light bulbs

Disposal and renewal: When a touring exhibition reaches the end of its life, the question arises of what to do with all the elements that made up the exhibition. This can be anything from showcases, mounts, text panels, interactives, lighting? the list is endless. Some parts may be reused in future exhibitions, but in many cases the exhibition ends up being scrapped.

Some materials may be useful to other museums, galleries, schools and community centres that would be grateful for budget-saving opportunities. These include showcases, graphic panels, textiles and interactives. It is worth creating links with local institutions and organisations, and using the museums? Freecycle website: https://groups.freecycle.org/group/MuseumFreecycleUK/posts/all. The earlier you can ascertain what will be available, the more time interested parties will have to view items and make arrangements to collect them.

Depending on the item being offered, however, there can be health and safety issues associated with its dismantling and transport. Large glass showcases or lighting, for instance, can present significant problems. It is worth checking with your local health and safety officer of any foreseeable problems so that any risks can be managed and reduced. A form should be used to transfer ownership of the item. This absolves the museum of any legal responsibility for that item once the new owner has collected it.

Do think about reusing packing cases, display cases, mounts, plinths and lighting in future exhibitions, as many of these items can be easily adapted; think carefully about what can be reused and plan ahead to prevent any unnecessary waste.

Authors:

Design: Donna Loveday (2005), Display cases: Raymond Chaplin (2005)
Environmental responsibility: Sarah McCormick (2005), updated by Charlotte Dew (2015)