MULTIMEDIA AND AV
THE MAIN INTENTION IS NOT TO GIVE VISITORS HUNDREDS OF MESSAGES TO LEARN, BUT TO FOCUS ON A SMALL NUMBER OF KEY MESSAGES THAT ARE EASY TO KEEP
Markus Beyr, whose fi rm designed the exhibits at Kellerwald Edersee (pictured), believes that most exhibitions are too ordinary
players to “walk” around a modern home, identifying objects that have been referred to in the exhibition. Markus Beyr, managing director of
Kraftwerk, thought outside the box when developing the multimedia exhibits for the German National Park, Kellerwald Edersee, to ensure they would interest audiences across the board. “My intention was to create the unusual,”
says Beyr, who believes most exhibits are too ordinary to excite the visitor, and so spoke with scientists about the best way of engaging audiences. “We transformed things we found in the forest and our daily life into weird, interactive media exhibits, interweaved with a straight message, to cover the demand of the National Park’s scientists,” he says. “The main intention is not to give [visitors] hundreds of messages
to learn, but to focus on a small number of key messages that are easy to keep.” The landscape is shown from a bird’s
eye view, and visitors have a joystick they can use to zoom in, fl y above the land- scape and explore the region. A giant digital wristwatch is a time machine, where visitors can turn the knob to experience dif- ferent periods and see what happened in the national park at that time. The use of Dataton Watchout-powered
displays at The Soccer Museum at the Pacaembu Stadium in Brazil, meant that a museum which had very few artefacts still had the wow factor, befi tting the Brazilian love of the game. In one room, 25 football players appear to fl oat in the air, projected on suspended screens. There are 3D movies and ‘virtual goal
shoot and score’, with sensors indicating the speed of the ball. Electrosonic completed the AV instal-
lation for last year’s revamp of Edinburgh Castle’s Scotch Whisky Experience, which included synchronised lighting, sound and video for a dark ride and a “ghost host” who helps to explain what is going on. A
At Kellerwald Edersee, visitors use a joy- stick on the monitors to zoom in and fl y above the landscape to explore the region
76
Read Attractions Management online
attractionsmanagement.com/digital
ride using whisky barrels, describing the production process of malt whisky, makes sure that young people are catered for with what is essentially an adult topic. Each barrel is equipped with a multi-
channel audio system augmented with scenic elements of the ride. There are 15 languages to choose from. Two sensory rooms are also part of the
experience and translations of the guide’s presentation are available in 15 languages, via Acoustiguide wands. Video sequences on large screens and appropriate lighting scenes are used to bring excitement to the tour The ghost host appears through a ‘curtain of raindrops’. UK company 7thSense and the
Norwegian fi rm projectiondesign worked together last year to create the focal point of Chicago’s Museum of Science and Industry’s new exhibition, You! The Experience. The centrepiece is the 13ft (4.5m)-high Giant Heart, which allows visitors to see the internal workings of the organ. Four different movies can be chosen for the external projection surface, selected by a touchscreen console. These projects illustrate how sophis-
ticated interpretation is becoming, and means that exhibition designers and histor- ical tours really can achieve the ambition of catering for everyone from eight to 80 and in many different languages. ●
AM 2 2010 ©cybertrek 2010
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86