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Bubbles and Circles: Museum of Arts and Crafts, Hamburg (3)

11/27/2014

Some of the oldest material in the Museum of Arts and Crafts in Hamburg is displayed in one of the freshest ways. Stepping into the first gallery of Egyptian art feels a bit like entering an underwater world: the walls are a deep turquoise-blue, the lights are dim, and there are luminous bubbles floating before your eyes. Or so it seems! The bubbles are actually circular windows in the wall that look onto one huge recessed case. The back wall of the case is painted light yellow, which in the dark room practically glows. Like the bright purple cases in the Cabinet of Curiosities, these spots of color attract the eye and draw the visitor in for a closer look.
What's more, this display made me realize that circles are not a shape we often see in museums. I suppose this is partly dictated by the fact that glass display cases almost have to be rectilinear (and although advanced plastics can be molded into all sorts of shapes, I don't know if they are being used in display case technology). It seems to me that using circles to give the eye a break from linear geometry and to highlight certain objects could be implemented with normal cases, too: how about a big vinyl sticker with a circular cut-out in it, stuck onto a glass display case? As a kid I loved playing with the thin, translucent plastic shapes that stuck to windows and easily peeled off again; could we translate that technology?

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Flashy Design as a Theme: Museum of Arts and Crafts, Hamburg (2)

11/23/2014

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Continuing the thread from last time, this post takes us again to the Museum of Arts and Crafts in Hamburg for a look at another of its colorful displays. This bold black-and-purple gallery presents a "cabinet of curiosities" in which the objects are grouped according to aesthetic criteria rather than geographic or cultural origin or the like. Part of the aesthetic effect in this Kunstkammer is achieved not just by the objects but the display: the strongly contrasting colors and recessed cases are very eye-catching. The radiant cases drew me toward them, a moth to the flame. (A similar concept of colorful cubes sunken into a black wall appears in the Neues Museum in Berlin.) What I find so smart about the flashy display concept in this instance is that it actually advances the theme of the room: like the original Kunstkammer, it elevates aesthetic effect to the highest priority. This space demands to be experienced on an aesthetic level first and foremost. Indeed, you can hardly do otherwise — because in keeping with the original Kunstkammer concept, the only text in the entire room is the name of the room printed on the wall!

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Crossing Cultures: Museum of Arts and Crafts, Hamburg (1)

11/20/2014

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Relief from Benin (L), vases and armor from ancient Greece (R). Museum Of Arts And Crafts, Hamburg

Last week I had the pleasure of going goggle-eyed at the Museum für Kunst und Gewerbe (Museum of Arts and Crafts) in Hamburg. Room after room in this museum offered new, bright, lively ideas for displays that had me alternating smiles with scooping my jaw off the floor. Needless to say, I was very excited and merrily snapped photos of a few of my favorites. Today we see the first of five (yes!) highlights.

The large display case at right in the photo above houses ancient Greek objects that represent aspects of Classical Greek warfare. I liked the use of this theme to unify a set of varied objects differing in size, material, and shape, from small clay vases to imposing bronze armor. And although I'm not sure that the radiant blue augments the objects per se, I love that it adds a splash of vibrancy to a set of objects that is otherwise largely bichromatic (red and black/gray).

More striking, however, is the juxtaposition of the large case at right with the smaller one at left. It holds a relief from Benin, Africa. (Although the relief looks minuscule, this is just an effect of the photograph: the relief is several meters farther from the camera. In reality it is a bit bigger than the bronze breastplate at right.) The Benin relief was made approximately a millennium later than the Greek pots, yet it too depicts warefare — in a remarkably different way. Together, the two cases in this room draw connections across time and space to show how very different cultures can share a common social convention (if we can call war a social convention) as well as a desire to express it visually. How they each express it, and why their means of doing so should differ in some ways and align in others, is the basis of precisely the sort of cultural comparison that I think enriches our human experience. It sparks insight, demonstrates connectedness — a profound result from a simple but insightful display concept.

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Simply Good Signage: Domäne Dahlem

11/14/2014

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Horses and sign at Domäne Dahlem, Berlin

A successful display does not need a fancy new design idea or technology to be successful (indeed, sometimes those can really go awry!). Some of my favorite displays are very simple; their strength lies in being extremely well-conceived in terms of how they achieve their few basic goals. One great example is the signage at the Domäne Dahlem in Berlin, a charming set of fields and cottages meant to teach the visitor about old-time farming and artisanal trades. The signs scattered around the grounds are excellent in several simple but important respects:

They are sturdy. Look at that metal frame! The text is protected by a thick sheet of plastic (not yellowed or scratched; is that a special kind of plastic?). And the sign stands on two very firmly embedded poles. These things are equipped to stand out in the sun and snow year-round. Moreover, they have to withstand eager kindergartners running over to them, slapping them in excitement, climbing on them, and many other things I can't even imagine but the kiddies definitely can. They are up to the task! (The signs, that is — but the kiddies too.)
They clearly refer to their subject matter. Despite having to stand in the open air, and not on a wall obviously beside an object (see the previous post on botanical gardens), they are well-placed and -oriented so as to be clearly linked to their subject. The example above faces the horses and, as extra help, even shows the horses in a drawing.
They start with perfect "hook" questions. You can imagine a kid and parent approaching the horse sign and the parent beginning to read the yellow box: "If it whinnies, then it's a...." "HORSE!" replies the kid. I really think this isn't just my fantasy; the sign is begging for this interaction. As for the sign below, which explains nitrogen binding among legumes, I had just wondered aloud what was growing in this big bushy field when I came across the sign that begins with a green box, "So what's growing here?" I call that perfect.
The drawings are simple. Too often the graphics in signage get complicated or rely on colors that have long since faded. Not here! A basic but beautiful line drawing gets the point across in both signs. Even as a lover of color, I far prefer this style for clarity.

Legume sign at Domäne Dahlem, Berlin

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Bubbles and Circles: Museum of Arts and Crafts, Hamburg (3)

Flashy Design as a Theme: Museum of Arts and Crafts, Hamburg (2)

Crossing Cultures: Museum of Arts and Crafts, Hamburg (1)

Simply Good Signage: Domäne Dahlem

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