Exhibition design can be hard to pin down sometimes. It has been described as
“. . .a mode of communication that has meant different things at different times, continues to change and expand, and, in fact, is not even recognised universally as a discipline at all.” (Lorenc, Skolnick, & Berger, 2010, p12)
So if you’re commissioning an exhibition designer for the first time, it can be hard to know what you should be looking for. And it’s not a one-size-fits-all thing.
Many different types of specialists may lay claim to being able to design interpretive exhibitions. Such designers range from those with a grab-bag of soft skills that are hard to encapsulate in a few words, to people with clearly defined and quantifiable skill sets such as architects. And there’s a lot in between. In a tendering process, these apples and oranges may find themselves in direct competition with one another. If you’re the person letting and assessing tenders, on what basis should you choose?
I’ve been thinking through some of the issues I think clients should consider before commissioning a design team. This is what I’ve come up with so far:
Square pegs in round holes
It’s possible for a team to have the right skills, but deploy them in an inappropriate way. For instance, a big architectural firm may have ample experience in large complex buildings and fit-outs such as office buildings or shopping malls. Such a track record can be reassuring. But – if they see a museum as just another fit-out along the same lines, they may try and shoehorn it into the same production processes and protocols. Such a work plan will underestimate the amount of time and iteration it can take to get an exhibition layout, graphics and other media all working together in harmony. Office blocks and shopping malls don’t need to worry about “storylines”, so don’t expect standard fit-out processes to be able to accommodate them.
Such shoehorning is more likely to happen when a client uses a modified version of a boilerplate construction tender to call for bids: it doesn’t take into account the specific variables and vagaries of an exhibition.
A question to ask yourself: Does the firm “get” exhibitions or do they see them as yet another fit-out?
The certainty of the cookie cutter
In any exhibition project, certainty and creativity will be in tension. Maximising certainty will lead to cookie-cutter outcomes. Meanwhile, creativity can only flourish in a situation where there is room to make mistakes. Innovation comes with risk. Any given project will need to decide where it wants the creativity-certainty balance to lie. You can’t have your creativity cake and have the certainty of eating it!
Because it’s generally framed in terms of minimising risk, competitive tendering tends to prioritise certainty over creativity. This is not necessarily a problem. But, if you want innovation, you need to ensure your procurement processes allow space for it to happen. A standard tender probably won’t.
A question to ask yourself: Are we making it clear how much certainty we want and how much risk we can tolerate, or is our procurement process sending a mixed message in that regard?
More often than not, it’s not what the brief says that will make you come unstuck, it’s what it doesn’t say. I’ve learned this one from bitter experience! Writing a brief is a bit like playing the tappers and listeners game – we forget that what’s obvious to us, frequently isn’t to anyone else. Misunderstandings in interpreting the brief can also be a failure of imagination on the brief-writer’s part – a case of not spelling it out simply because you can’t envisage it being any other way.
Another weakness of briefs is that they are often expected to capture in words a very specific and detailed image we have in our minds’ eye. It can only ever be the tip of the iceberg, and how someone will interpret a written description will vary hugely depending on their thinking style, prior experience, etc. Exhibitions are a visual medium. Sometimes it might be better to say it with a picture than leave it to words alone.
Things to try: Include visual materials such as mood boards part of the brief. Also, make a “return brief” document an early stage deliverable in the design project. This gives a chance for you and the designer to make sure you’re on the same page and iron out any wildly different interpretations of what’s expected.
Being a “good client”
I’ve been both sides of the client / designer fence, and appreciate that it’s a two-way street. No amount of dedication, skill or experience on the part of the design team can rescue fundamental issues with the client team, such as:
not making decisions, particularly-time critical ones
one client representative saying x, another saying y
not respecting the fact that you’re paying for a process, not just a product. Just because nothing has been built yet, doesn’t mean costs haven’t been incurred. Yes, iterations are part of the process but they cannot be done indefinitely without it affecting the price
not giving clear direction and feedback beyond “I’ll know it when I see it”
not recognising the limitations of your budget and timeframe
protracted, complicated and time-consuming procurement processes that expect design concepts at the pitch stage. This is one of the biggest bugbears of the design industry, and could be a post in its own right.
What tips would you give to a person looking to commission an exhibition designer for the first time?
Update: I posted this piece on LinkedIn, where there were a few very useful comments. Briefly:
Price shouldn’t be a key consideration in choosing a designer – it’s more important to have someone that understands what you want and how you work.
Be an informed client – do your homework about what you like and what you don’t
Resist the temptation to squeeze ‘just one more thing’ into the exhibition – “decide what to say, say it, then shut up!”
Reference: Lorenc, J., Skolnick, L., & Berger, C. (2010). What is exhibition design? Mies, Switzerland: Rotovision.