056 CLIENT FILE
embedding a multiplicity of voices and co-curated content, and we’re using multisensory experiences to widen accessibility. For the Musée National de la Marine in Paris, for example, a key objective was to attract new audiences to the museum, especially young people, and the museum also wanted to achieve a gold standard for accessibility. Our design includes many imaginative ways to engage visitors: tactile models, interactives that allow you to create or design, places to sit and rest and reflect. We participated in workshops with both able-bodied and disabled visitors to test our concepts.
‘Universal access’ is now the buzzword and has become a major part of what we’re doing. For Showtown, we responded to feedback from over 19,000 consultees with the aim of creating something that the local community can feel ownership of. It all boils down to listening, and understanding, and letting what we learn from this affect what we do. It makes it more complex as a process, but we end up with better stories, and a much richer result.
9. Mix things up
We’re constantly looking for ways to stir the pot by not being too guarded, precious or purist, but by instead relinquishing some control and allowing surprising, unexpected things into the creative process. Netia Jones with her experience in theatre helped us shape the vision for Ocean Liners at the V&A, which included the Grande Descente, a sumptuous evocation of the grand staircase, featuring actors dressed for dinner filmed using time-lapse and layering techniques. For Showtown, we assembled a ‘clowncil’ of comedians, funny people who became a kind of creative catalyst for us – helping us to consider key questions like ‘what is funny?’ in a fresh way. We like being playful. Playful thinking is key to our working process – making models, playing around with ideas. One of the joys of bringing in collaborators is the chance of that happening. We enjoy forming new creative relationships that can help inject new thinking into a project.
10. Surround yourself with very capable and creative people
If I’ve learnt one thing in 40 years it’s this, because that’s what it’s been like working at Casson Mann. It’s a massive communal exercise. Te people who gravitate towards working for us really want to tell stories, and some have been here over 20 years. Looking back… the no-plan that was Casson Mann has been such enormous fun that I don’t really have many regrets. I love the excitement of the origination of an idea. I really enjoy the process – the endless challenge of getting to fruition all the ideas you had in the first place. And I also love the thrill of it opening. Our reward is the satisfaction of seeing the design enjoyed by the public and the feedback, not just the press feedback, but when you get the real feedback on social media. When you hear that all the layers and complexity have hit the mark with the public you’re designed it for, it’s fantastic.
This image For the Musée National de la Marine in Paris, a key objective was to attract new audiences, especially young people
BOEGLY + GRAZIA
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