It's a tricky task to make nature itself into an exhibition. Nature walks (in botanical gardens and model farms, for instance) often rely not on a group of objects or other predetermined set of material, but on an unpredictable troupe of actors who may or may not be on stage that day. What a challenge to present material that the visitor might not even get to see! But certain display tactics can help smooth over the possible unevenness of this living exhibition. The Anne Kolb Nature Center in Hollywood, Florida centers on a boardwalk that winds through a section of mangrove habitat. (It also has a lovely visitor's center which, when I visited, included a display of contemporary art on spiffy movable walls.) At the start of the walk, large signs with vivid pictures of the animals (above) introduce the visitor to the point of the exhibition: to VIEW the plants and animals. Further, to help the visitor engage—and to help them see the critters tucked away in their hidey-holes—the Center offers a handout with a checklist of the plants and animals one might encounter on the walk. This is an easy, effective, low-cost way to encourage visitors (especially kids) to really look, and even to try to identify the things they see. It would be fantastic as an app for mobile devices too.
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:
An exhibition based on a single object can be wonderfully pointed, but it can also hard to stage — especially when the single object is an enormous (albeit fragmentary) pediment from an ancient Greek temple. The Amazzonomachia exhibition that took place in the Palazzo dei Conservatori, Rome, in 1985 faced precisely this problem: how to exhibit a large set of sculptures lined up in a row, as they would have been in the original pediment, without producing a deadening effect? Marble statues standing in a row are not exactly an invigorating sight. Especially when fragmentary, they can appear painfully static and unengaging. To encourage a viewer to come closer and spend time with the objects, the Amazzonomachia design had to introduce an element of variety into the layout, lending a touch of movement to the ensemble.
The designers arrived at a very clever solution (shown in the plan above). They set the entire pediment (D) at an angle relative to the gallery, so that the sculptures do not simply line one side of the long space. This also presented the viewer with a more frontal view when she entered from the short side of the gallery, rather than an end-on view down the long sculptural lineup. Building on this idea, the pediment was set on a trapezoidal base (E) of which one long side parallels the gallery wall — thereby incorporating it seamlessly into the space, rather than allowing it to look arbitrarily, bizarrely skewed. The base itself is cunningly engineered to serve several purposes: it unifies the objects into their original grouping; it emphasizes the objects by elevating them above floor level; and the three steps leading up to the pedimental sculptures invite the viewer to approach, climb up, get closer. The cherry on top is that its trapezoidal shape echoes that of the ancient triangular pediment, as if projected here onto the ground. This final subtle touch would likely not be noticed by a visitor in the room, but may well have produced an unconscious kinesthetic impression that would reinforce the concept of the show.
(The catalogue for the show is here, while several photos of the sculptures can be seen here.)
Ideas on Display
A humble space to reflect on concepts of museum display as enacted across a wide range of subjects, countries, and approaches.