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"Design Expositions."
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SHOP WINDOW DISPLAY MANNEQUINS IN THE CONTEXT OF MODERN DESIGN DEVELOPMENT AND VISUAL COMMUNICATION
Showcasing is a unique marketing tool that implements the requirements for advertising products from different manufacturers for different social groups in a highly competitive environment. Shop window design is part of visual merchandising and it actively uses mannequins as exposition equipment. They help to create an attractive image of the store, which is memorable, in particular, due to the design of the mannequins themselves. A wide range of shop window functions and mannequins are conditioned by the conceptual content and mutual subordination. Shop windows are creating and operating through advertising and selling goods, and mannequins convey the image, values, aesthetic preferences of both the manufacturers and a certain group of consumers. Shop windows have long ceased to be a common display of goods, and city streets are literally full of original installations in creative showcases. As competition between brands intensifies, consumers are saturated with both goods and their representations, which can be considered as a problem that needs coverage. The aspect of shop window interaction with the environment and spectators, their image-emotional influence, connection with mannequinsâ design still remain unexplored. The authors use contextual-historical and comparative analysis, as well as the method of typology to reveal the variations of mannequins during the twentieth century. A retrospective review of mannequin design development is preceded by a complex theoretical and methodological basis of the expositions as a phenomenon and an art and project-based creativity sphere.
Journal Article
Design exhibitions as spaces for controlled experiments
Design research faces growing challenges from multifaceted developments, which traditional methods and lab settings often struggle to address. New approaches are needed to bridge the gap between controlled lab settings, field studies, and these complexities. Exhibition spaces offer opportunities for dynamic, real-world studies beyond lab-based research’s limitations. This study explores a hybrid ‘exhibition-experiment’ format by examining a design exhibition on biophilic workspace design. Participants visited different design exhibits (experimental conditions) within the experiment while a suite of passive measurement devices measured their emotional and physiological responses. The findings highlight the strengths and limitations of ‘exhibition-experiments’, provide insights into the usage of technology-driven tools, and discuss them as a hybrid approach between lab and field studies.
Journal Article
Bröhan 100 : Art Nouveau, Art Deco, Functionalism, Berlin Secession : design and art
\"This lavishly illustrated publication on the Bröhan Museum's collection, established in 1973 by entrepreneur and collector Karl H. Bröhan (1921-2000), surveys the main trends in the history of design between 1890 and 1940. From French Art Nouveau and the British Arts and Crafts movement, the book proceeded to Jugendstil and the German Werkstätten, Viennese Modernism and the international Art Déco movements, then all the way on to the functionalist design of the 1930s. It uses 100 objects or pairs of objects to vividly communicate the history of art and collecting. A special section is devoted to the artists of the Berlin Secession. A must for fans of Jugendstil, Art Déco and functionalist design.\"--Vendor website.
Book
Thing-Human-Emotion-Beauty model for multi-dimensional perception of cultural relics’ values from the design perspective
The digitalization of museums offers new opportunities for presenting and interpreting cultural artifacts, yet visitor engagement and perceived value often remain limited due to low interactivity and insufficient experiential design. To address these challenges, this study proposes the THEB model, a four-dimensional framework for enhancing cultural relic value perception across Thing, Human, Emotion, and Beauty dimensions. The model was applied to a case study of the Rhinoceros-shaped Bronze Zun Inlaid with Gold and Silver Cloud Design. Guided by the THEB framework, AI-generated images and a narrative video were produced using tools such as Midjourney and Pixverse AI. A controlled user study with 230 participants compared the AI-generated video to traditional museum content. Results indicate that while historical depth was not significantly enhanced, the AI video substantially improved engagement, satisfaction, and immersion, particularly in aesthetic appreciation and emotional resonance. These findings validate the THEB model as a practical and conceptual tool, demonstrating its potential to guide museum exhibition design toward more holistic, emotionally engaging, and interactive experiences, bridging material, humanistic, and aesthetic dimensions of cultural heritage.
Journal Article
Moholy-Nagy and the new typography : a-z
In 1929, ten years after the Bauhaus was founded, Berlin's Martin-Gropius-Bau launched the exhibition 'New Typography.' Lâaszlâo Moholy-Nagy, who had left Dessau the previous year and had earned a reputation as a designer in Berlin, was invited to exhibit his work together with other artists. He designed a room'entitled 'Wohin geht die typografische Entwicklung'' ('Where is typography headed'')'where he presented 78 wall charts illustrating the development of the 'New Typography' since the turn of the century and extrapolating its possible future. To create these charts, he not only used his own designs, but also included advertising prints by colleagues associated with the Bauhaus.0The functional graphic design, initiated by the 'New Typography' movement in the 1920s, broke with tradition and established a new advertising design based on artistic criteria. It aimed to achieve a modern look with standardized typefaces, industrial DIN norms, and adherence to such ideals as legibility, lucidity, and straightforwardness, in line with the key principles of constructivist art.0For the first time, this comprehensive publication showcases Moholy-Nagy's wall charts which have recently been rediscovered in Berlin's Kunstbibliothek. Renowned authors provide insights into this treasure trove by each contributing to this alphabetized compilation starting with 'A' for 'Asymmetry' and ending with 'Z' for 'Zukunftsvision' ('vision of the future'). By perusing through the pages and allowing a free flow of association, the typographical world of ideas of the 1920s avant-garde is once again brought back to life. Exhibition: Kunstbibliothek, Staatliche Museen zu Berlin, Germany (29.08. - 15.09.2019)
Book
On memorability of place and installation
Memorability of place and artwork is an important issue for exhibitions in museums and galleries. Understanding the memorability of an exhibition and its effects on visitors might guide curators and designers in exhibition design. The main questions of this study are ‘Can a temporary installation remain memorable for visitors?’ and ‘Which features of installations and place affect visitors?’. The study focuses on the visitor experience to understand the memorability of both an installation named Brain Forest Quipu and the exhibition place which is the Turbine Hall in the Tate Modern Museum. Therefore, visitor comments on social media (Instagram and YouTube) and the Internet were examined with the content analysis method. In order to make the analysis clearer and obtain more precise data, words that are taken from comments were grouped under “Definition” and “Interpretation” titles. Also, five parameters that can affect memorability were identified based on the literature review and included in the analysis. As a result, visitors’ comments revealed the feelings and expressions which both installation and exhibition place created, and it can be said that installation had an impact on most of the visitors because of its topic and the representation. However, it was hard to define the degree of memorability because of the lack of information about visitor’s background and interests. On the other hand, using this perspective about social media comments to discover the thoughts and feelings of visitors can be useful for future studies. The method can be developed with the involvement of some other scientific measurement techniques used in studies on memory.
Journal Article
Women's Display: Editorial
The Special Collection Women’s Display: Women’s Exhibitions and Exhibition Design in the 20th Century explores why, how and under what conditions women made exhibitions about the built environment and who these women were, to achieve a more comprehensive understanding of the exhibitions themselves and their design across different individuals, collaborative groups, time periods and geographical contexts. Women were involved in the financing, planning, organizing, critiquing and staging of exhibitions since the 19th century, even though their contributions, aims and impacts are often little known. The articles aim to broaden and diversify the understanding of exhibitions made by women in the 20th century by focusing on subjects whose stories have been forgotten or marginalized in architectural history. For many women, exhibition design was not only an important career step, but also a political and social commitment and a collaborative form of work voicing critique and an experimental laboratory for testing new approaches. Exhibition design proved to be an accessible niche for many woman architects, who discovered in it a chance to gain a foothold in the profession and to have a platform from which to speak out publicly. The exhibition also opened the opportunity of trying out new design concepts and making a theoretical contribution. A series of exhibitions in Switzerland, the Netherlands, Denmark, Russia, Cuba, Canada and the USA from the 1920s to the 1980s are analyzed, using different approaches to the study of women in architecture, illuminating both individual biographies and collective works in the context of historical and social contingency.
Journal Article