054 CLIENT FILE


to help people engage with the stories. It’s important that every aspect of the environment contributes to telling the story, and we’re always looking for new ways to maximise those possibilities.


Exhibition design used to be only about the object, cabinet and text panel, but over time, more and more layers have been added into the mix. Now we have all these other tools to play with, and the palette has got bigger. Everything has to be orchestrated in a holistic way: materiality, form, space, light, colour, sound, smell, media, movement. But the biggest challenge is doing everything all at once – and a lot of museums are too frenetic and


Exhibition design used to be only about the object, cabinet and text panel, but over time, more and more layers have been added into the mix. Now we have all these other tools to play with


cacophonous. You mustn’t lose sight of the need to create somewhere beautiful and elegant that people will enjoy being in, if you want them to engage with the story.


3. Most museum visitors do not want to read large amounts of text


Apparently, on average only 17% of the available text in museums is read. I really don’t like what we call the ‘book on the wall’ splurge of text that ends up wallpapering quite a lot of the surface area on exhibition walls, and sometimes gets mixed in with images. It’s just too much – you can’t read it all. We prefer giving visitors the option to read more if they


This image Casson Mann’s visitor attraction at the World Heritage Site of Lascaux, features a state-of-the-art facsimile of the Paleolithic painted cave


Right More than 1,600 large and small objects are on display at the First World War Galleries at London’s Imperial War Museum


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