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Language is the human capacity for acquiring and using complex systems of communication, and a language is any specific example of such a system.

The custom of the exhibition has been made, we begin to design the project. The language of the exhibition, its use, is the most important part of the conceptualization of this charge exhibition. If we want to transmit to the public a clear idea, a concept, a message, we must compel us in the exercise of design that is comprehensible for everyone. With the exhibitions so does exactly that in observation of the world that surrounds us, the mechanics are identical, same exposure by itself is a means of communication. The only difference in value is that the exhibition is a universal, not one-man field communication, i.e. must contain a message that is understandable for everyone – except that the commissioning of the project set since its inception that must be addressed to a unique segment of the population, – insist because it is very important. For the communication of exposure reaches that level of universal understanding, we are obliged to follow a few steps, a few rules so to speak, to ensure as far as possible that the exhibition is a success in its transmission capacity of scientific or artistic, computer, cultural message, etc. That effectiveness should respond to what we have defined as: steps of creation of the language of the exhibition. We are going to take one one each step with its corresponding explanation. We abreviaremos to do otherwise too long and boring.

1 CREATION OD THE TITLE OF THE EXHIBITION

It is first step is essential for the success of the entire project. A bad title will determine the final quality of the project. It seems definite but we believe it as well. Using the cinematic analogy, it is as if a film gets you a bad title, going to condition input and can even do that, once built and ready to be open to the public, potential visitors do not feel attracted to her for his title wrong. The designation of a bad title for what will be, certainly, a major effort is inexcusable. The creation and graphic design of your Visual identity is also a necessary and fundamental step that complete a formal title.
EVE2
The creation of a good title for the exhibition is very important, successful implementation of graphic design is fundamental to the success of the exhibition

2. ORDER

It has to do with the way the elements or objects of the exhibition, what might be called hierarchical position of things. This order which must be defined is one of the most sensitive when designing an exhibition. It absolutely depends on the content expositvo. It is not the same “sort” art, which computers or audiovisual. All must respond to a sequencing along its length which must start and finish understandably, the universal visitor (the public) to understand it perfectly and effortlessly. There are different kinds of order: chronological, hierarchical, discursive, etc. The design of the project must be based in one of these orders as if he were writing of a script for a film, from beginning to end. We can even design a Storyboard that complements the project overall, will help us to reaffirm that order, above all in the visual perception.

EVE1Aesthetics, still being a factor in the design of the exhibition, must never impose above a logical order of the content if we want to avoid chaos

3. GEOMETRY

The establishment of an order for the exhibition is not enough. The order may be conditioned by the nature of the continent from the exposure, i.e. the place where it will be hosted. There are spaces that are very complex to be faithful to an order previously assigned to the elements making up the exhibition. In these cases, we must rely on the geometric order. There is no other. The geometrical design should be very accurate, since it responds to rules from which we can not escape, may not have deviations from free will. If you skip that geometrical order, the spatial visual effect will not be correct. We will visit the exhibition and will feel some uneasiness, some discomfort that we can not give an explanation if we are not designers. The brain is experiencing disorder and protest. The geometrical pattern can be, for example, to design the exhibition according to assumptions about sizes or colors, or both

EVE3The application of geometry to the exhibition to facilitate the expository language is a double directional weapon

4. COMPOSITION

Not only the geometry is an important factor in the design from the point of view of the expository language. Once marked the order we must configure the different exhibition modules, one by one. The Mainland factor will be decisive in turn. To all the designers we like the open spaces to design exhibitions, but we don’t always have that luck, rather less. In addition, many of these projects are mobile, so the composition must be adaptable to different types of space without losing the thread. We are inclined to design very simple compositions, that are adaptable and, above all, do not distort the message exhibition when located in a place or in another. As we say in the argot of the profession, the composition does not generate noise.

EVE5The use of semiotics and semiology are indispensable in your application to generate a final objective, a coherent conclusion in his didactic speech

5. DIDACTICS

The exhibition should be a source of learning not to mention fun. The ocio-exposicion relationship should not never miss, must not move away from the central objective in its production. At this stage of design we must appeal to the universality of the language. Scholarly contributions * to the exposure draft should be simplified without the loss its educational value. Sometimes it is a comparable work to the translation of a prescription written by a physician, professional speaking normally only if same: make it understandable to the public. Here is more complicated because the scholarly contribution * must pass the exam of the own scholar, that everything seems little versus the obsession of the Designer that everything always seem too. We demand and always we will, a statement which has its origin in the advertising language – M&C Saatchi / “Brutal Simplicity of Thought”.

EVE4The creation of a universal expository language, including images, is the basis of an excellent exhibition

6. THE LANGUAGE OF THE LATEST TECHNOLOGIES IN THE EXHIBITION

We should dedicate to this step across an entry and we will make it one of these days. We must adapt to the new forms of communication that can be applied to the project of the exhibition and that enrich the way in which we transmit the expository discourse. For certain segments of the population, in our time, it is not important, but for others, it is essential that access to this form of communication. They are becoming more numerous digital tools that the designer has in his warehouse of resources, and should use them if you want to reach the entire spectrum of understanding. Augmented reality generates a multitude of resources that have nothing to do with physical space, or factor time, something very important and valuable. The same applies to other techniques at our disposal that propose us solutions: you do not read it, watch it (we are very little in favour of the panels with graphics and other, do not support the idea of the possible Association exposicion-aburrimiento). ICT are therefore a very important part of the expository language and it should take them into account.

EVE6The technique of holography, as other new technologies applied to museography, gives us a new way to disseminate the speech in the exhibition’s content

7. TEST / End of the exhibit project

Finally, we, as in the opera, we propose a test function. We tested the exhibition between the different sectors of public if it’s a universal exhibition: children, adolescents, young, mature and third age. All of them within its sphere of social profile, something that also must be taken into account. Once the test function and having drawn the appropriate conclusions, we proceed to the changes needed to adjust the exhibition message to the universal understanding of what we want to show. Failure to comply with the premise of universal understanding, it will never be a good exhibit project.

EVE7Some of the solutions applied to the exhibition would not need test because we know in advance will work perfectly if you want to generate emotions

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(*) We believe that we must explain the erudite term as we have been using it with some frequency; always under our way of understanding the term, if we cannot afford such leave.

For us scholar is a being, man or woman, who claims his entity staff based on their ability to store knowledge about reality and metaphysics, and, moreover, it has some propensity to think that in the Cartesian plane it is alone in the world, that you should only communicate with himself, that the rest of the world seems to be. When the scholar, in addition to not claim – claim their ability constantly to accommodate theoretical knowledge, know, respect and apply emotions human to his speech, be, we call it wise. For us education is somewhat inseparable knowledge well digested and better shared.

(**) Person of extensive theoretical knowledge about reality and metaphysics, male or female, who normally thinks that people that accompany it during dinner should remain silent. Very dangerous, even harmful, in contact with alcohol.

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