CambridgeSeven’s Post

How to think about carbon footprint when you are designing museum exhibits? Here are some tips in a blog post I wrote for AAM. https://lnkd.in/eBvAJGkt

I was struck by this quote from Javier Sainz de los Terreros of the Museo Nacional del Prado when speaking about museum patrons at the NEXTIN Summit in Madrid: “They are now empowered”, he said. “They want to take part in decision making and effect change. Museums have now become listeners.” This sums up the shift as we move from a content-centric world to a community-centric world. It's no long just about just creating content for audiences to passively consume. It's now about creating spaces where fans can come together, connect with each other, and actively shape the experience. Of course, creating this space is a lot easier if you already have a museum. But just providing a space isn't enough. You have to design it to facilitate connections, not just for consumption. Blooloop has a full summary of the NEXTIN conference here: https://lnkd.in/gSyyYWpA #museums #communitybuilding #communitymanagement

As museums strive to be more accessible, the architectural response does not need to be an expected or formulaic one. https://lnkd.in/gvVGyixZ

Museums Association recently announced their next conference will be hosted at St Fagans National Museum of History, Cardiff (Amgueddfa Cymru – Museum Wales) next October. The 100-acre site sits within the grounds of a castle and consists of over 40 historic buildings. From 2013-2018, we worked alongside the team at St Fagans to design three of their new exhibition spaces. This project was part of a £30 million redevelopment project, the biggest transformation for St Fagans since it was founded in 1948. "What makes working on the projects that go onto win major prizes like the Art Fund Prize so special is the vision and innovation that characterises the clients and the ability of the architects and the exhibition designers to rise to those aspirations and deliver inspirational visitor experiences. St Fagan's won the Art Fund prize in 2019 for standing as "a monument to modern museum democracy. All three galleries required a sense of informality and welcome which drove the aesthetic of the displays, the nature of the layouts and in particular the tone and style of the graphics. Each gallery had to be designed with the capacity to constantly evolve and incorporate ongoing contributions. Combining collections display with visitor activity, rather than separating the two as many museums do, requires careful consideration and planning. As a designer, you have to get under the skin of what that means." Esther Dugdale. Esther is a Creative Director and Expert Advisor who works alongside us. Find out more about this extensive project below. https://lnkd.in/eyV4ih_X 📷 Museums Association

In the recently concluded CIFF, Sunon kept the 3R sustainable design concept throughout the exhibition hall design, fully considering the efficient use of resources and environmental sustainability. Reduce: The main structure of the exhibition hall is built using mortise and tenon joints, greatly reducing the use of glue and nails. Reuse: Factory-existing wooden pallets are used for the exhibition hall's hard furnishings, cleaned and polished without additional coatings, and can be reused after dismantling. Soft furnishings are sourced from office areas and can continue to be used after the exhibition ends. Recycle: Green plants with soil are used for the exhibition, bringing natural vitality. After the exhibition, the plants are recycled and replanted, forming a closed-loop utilization of resources. Let's be environmental guardians with Sunon. 🎬：https://lnkd.in/eEUXtKtE - - - #sunon #ciff

How does Promat SYSTEMGLAS® help to maximise visitor engagement, safety and asset protection in museums? Building design is key to the success of any museum, regardless of its size. And whilst there is no standard formula for how a museum building should look, there are a number of common goals that lie at the heart of designing these environments, including maximising daylight. Internal glazing is used extensively to achieve this aim as well as to assist with visitor flow and ensure there is visual connectivity between spaces. In many cases, glass elements also contribute to the visitor experience, adding to the aesthetic appeal of the museum. But it is also likely to perform a protective role too, preventing the spread of fire between internal spaces should the worst happen. In fact, the fire strategy in general in museums is critically important, not only to protect visitors and staff, but to ensure the often unique and invaluable assets they accommodate are not lost forever in the event of a fire. Hence why Promat SYSTEMGLAS® can play an important role in creating glazing elements within museums as one of our recent projects in the Czech Republic demonstrates. Read more: https://lnkd.in/eVA6UVS6 #fireglass #FireResistantGlass #fireprotection #internalglazing #fireresistantsystem #systemglas #architects #fireresistantdesign #museumdesign

Have you had any positive experiences with seating at indoor or outdoor cultural sites (e.g. art museums, gardens, historic sites, etc.)? Can you think of examples of indoor or outdoor cultural spaces that provide ample and comfortable seating, including a mix of seating with arms and backs and transfer seating for wheelchair users? I'm doing some research on seating in museums with a focus on accessible and inclusive design, and I'm happy to share what I learn. I also have been having conversations with professionals in various fields about this issue. A few more specific questions I'm mulling over. How do historic sites manage seating in period spaces? I am aware of the folding chairs in the apartments at Tenement Museum, but don't recall similar accommodations at the historic houses and mansions I've been to. How about museum art galleries? Do you work at a cultural space where you've had to make a case for seating, either increasing the distribution of seating or adding different types of seating to meet the varied needs of visitors? What helped you make the case? Curious about any insights people might have, and again I'm more than happy to share everything I learn. Just a note that I'm an admirer of artist Finnegan Shannon's work on this issue "Do you want us here or not?" and their commentary on the lack of seating in museums. If you're not familiar with their work, I'm including a link to their website here. I have also reviewed AAM blogs and the Smithsonian's and the Canadian Museum for Human Rights' Guidelines on inclusive/accessible seating.

How does Promat SYSTEMGLAS® help to maximise visitor engagement, safety and asset protection in museums? Building design is key to the success of any museum, regardless of its size. And whilst there is no standard formula for how a museum building should look, there are a number of common goals that lie at the heart of designing these environments, including maximising daylight. Internal glazing is used extensively to achieve this aim as well as to assist with visitor flow and ensure there is visual connectivity between spaces. In many cases, glass elements also contribute to the visitor experience, adding to the aesthetic appeal of the museum. But it is also likely to perform a protective role too, preventing the spread of fire between internal spaces should the worst happen. In fact, the fire strategy in general in museums is critically important, not only to protect visitors and staff, but to ensure the often unique and invaluable assets they accommodate are not lost forever in the event of a fire. Hence why Promat SYSTEMGLAS® can play an important role in creating glazing elements within museums as one of our recent projects in the Czech Republic demonstrates. Read more: https://lnkd.in/eVA6UVS6 #fireglass #FireResistantGlass #fireprotection #internalglazing #fireresistantsystem #systemglas #architects #fireresistantdesign #museumdesign

Exhibition design is more than just creating a visually appealing space—it’s about crafting an immersive experience that tells a story, evokes emotion, and connects people to the subject in a meaningful way. From museums and galleries to trade shows and retail spaces, every element—lighting, layout, graphics, and even the smallest details—works together to engage the audience. One of the most rewarding aspects of exhibition design is the ability to breathe life into objects and narratives. Whether it’s showcasing ancient artifacts or cutting-edge innovations, we get to bridge the gap between the viewer and the content, making history, art, or ideas tangible and accessible. It’s about blending creativity with functionality, ensuring the visitor journey is as intuitive as it is inspiring. As an exhibition designer, seeing the final result—people interacting, learning, and experiencing the space—is incredibly fulfilling. It reminds me how powerful design can be in shaping perceptions and creating lasting impressions. #ExhibitionDesign #Museums #DesignMatters #StorytellingThroughDesign #CreativeSpaces #eminspost #eminmuseum #talktothemuseum

In an audacious display of defiance against the laws of practicality, the Floating Glass Museum dares to combine buoyancy with opulence, making it the only museum where you might get seasick. Curci’s creation is like Venice met Vegas, gambled on sustainability, and won the jackpot. Here, glass isn’t just half full... it’s fully sustainable and floating, which really should be a contradiction but somehow isn’t. This museum is not just on the edge of contemporary design, it's floating right off it, proving once and for all that architects really just want to show off how much they hated playing by the rules at Legoland. Conceived by the buoyant minds at Luca Curci Architects, an international crew, and some artificial intelligence that probably questions its own career choices, the museum is scheduled float by several cities affected by climate change, such as Dubai, New York, Hong Kong, Singapore, and Busan, intending not only to shift the currents of our attention towards sustainability but also daring to prove that, yes, architects can indeed make waves without a single brick in sight.