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The curriculum, a blend of field and studio work, focuses on designing narrative environments rooted in human psychology. Students explore every type of designed experience, including museums, pop-ups, and interactive digital spaces, and develop skills in concept development, environmental design, graphics, lighting, and model making. Working closely with industry partners, students embark on real-world projects and studio-based competitions with local and international firms, museums, and public facilities. The program culminates with a thesis project that draws on critical research.
"Jambalaya" is an exhibit designed by Briyana Rainer that reflects on the mixing and mashing of cultures and versatility of the dish through a series of projections and audio. It allows engagement and participation by creating the space for the participant's contribution.
No two cowgirls are the same, yet together they form an iconic American identity. SELDOM IS HEARD: VOICES OF THE COWGIRL designed by Ciera Iveson reveals the mindset of the Cowgirl, and the forces women battled to blaze their own trail in the American West, and thus create new possibilities for women across the country. Ciera presented her thesis at the 2022 SEGD Academic Summit, and it was also published in Communication + Place, the official research journal of the Experiential Graphic Design community.
Lyons is an associate professor and the chair of the Exhibition and Experience Design department. She evolves curriculum, supports students and faculty, and facilitates industry partnerships. She was previously the director of the graphic design department at Skolnick Architecture + Design Partnership and a senior designer at Poulin + Morris. She has worked on numerous exhibition and experience design projects domestically and globally.
The MFA in Design prepares students with an emphasis in Exhibition Design for research, teaching and professional leadership opportunities in a highly interdisciplinary field that shapes museum, theme park, tradeshow, exposition, retail, public and civic spaces. An expanding global economy demands a need for exhibition design research that explores innovative approaches to artifact display, interpretive and narrative environments, signage and wayfinding, and engaging experiences for a broad range of audiences that are fully immersive, interactive and participatory. Visit Storied Spaces for more information about the exhibition design concentration in the UC Davis Department of Design.
Exhibition Design is focused on the communication of objects, information and ideas in the built environment and their impact on community interaction and audience engagement. Students studying in this area add much needed critical research to the field, and are provided the tools, resources and action steps for academic and professional advancement in the exhibition design industry.
Graduate students learn new skills in developing meaningful content, curatorship, architectural planning and staging, furniture, lighting, visual communication design, sensory and new media technologies. Their independent research studies may be augmented by electives in these areas, and collaborations with entities and other departments on and off campus including the UC Davis Design Museum.
The Department of Design includes a comprehensive series of labs, full-scale mock-up facilities, and advanced prototyping capabilities to assist and support graduate research and design studies. Additionally, the UC Davis Design Museum is available between exhibitions for prototyping. Students are encouraged to get involved with the museum and assist in the design and build-out of the rotating schedule of exhibitions.
The JoAnn C. Stabb Design Collection is associated with the museum and contains over 5,000 design related objects, mostly ethnographic textiles and fashion. Specialized tools, vinyl cutting and large format inkjet printing equipment are housed in the museum office. See MFA handbook for a list of additional maker spaces on the UC Davis campus belonging to other departments.
There are many people who collaborate to design exhibits such as directors, Curators, exhibition designers, and technicians. These positions have great importance because how they design will affects how people learn. [3] Learning is a byproduct of attention, so first the designers must capture the visitors attention. [4]
A good exhibition designer will consider the whole environment in which a story is being interpreted rather than just concentrating on individual exhibits. Some other things designers must consider are the space allotted for the display, precautions to protect what is being displayed, and what they are displaying. For example a painting, a mask, and a diamond will not be displayed the same way. Taking into account with artifacts culture and history is also important because every time the artifact is displayed in a new context it reinterprets them [5]
Exhibit design is a collaborative process, integrating the disciplines of architecture, landscape architecture, graphic design, audiovisual engineering, digital media, lighting, interior design, and content development to develop an audience experience that interprets information, involves and engages a user and influences their understanding of a subject.[6] There are many different types of exhibit, ranging from museum exhibitions, to retail and trades show spaces, to themed attractions, zoos, and visitor centers. All types of exhibits aim to communicate a message through engaging their audiences in meaningful and compelling interactions.
The exhibit design process builds on a conceptual or interpretive plan for an exhibit, determining the most effective, engaging and appropriate methods of communicating a message or telling a story. The process will often mirror the architectural process or schedule, moving from conceptual plan, through schematic design, design development, contract document, fabrication, and installation. The first phases establish a thematic direction and develop creative and appropriate design solutions to achieve the interpretive and communication goals of the exhibit. The latter phases employ technical expertise in translating the visual language of the designs into detailed documents that provide all the specifications required to fabricate and install an exhibit.[7]
Exhibition design in different parts of the world are influenced by the local culture as well as the availability of materials. Exhibition design in Europe is considered as a meeting place for relationship building while in North America energy is spent on creating a sense of place and building community.
One of the major shifts in museum and exhibit design in the last decade has been a focus on visitor experience. By identifying the five types of museum visitors and their needs and expectations, museums can design their exhibits to give a positive visitor experience.[8] Participatory activities are also becoming more popular, Nina Simon has done research describing and identifying themes and trends in museums that will attract visitors and educate them in fun and engaging ways. [9]
How an exhibit is designed can greatly persuade the visitors comprehension of artifacts. By using colors, lighting, graphics, guidance systems or materials can dramatize the display or help create a central theme which helps the narrative being presented. [5] The use of new interactive technology can increase the comprehension of facts. New full-body or multi-user interactive technology can help engage visitors in fun activities that support exploratory learning.[10] Utilizing this technology can make museums more fun and less intimating. It also encourages learning new ideas while working with others in a social setting. The use of technology in a museum setting goes further than the four wall of the museum itself. By adding the exhibits to a digital platform it allows others who can not visit the museum in person to still learn from the display. [11] We saw proof of this working particularly during the Covid-19 lockdown when no one could go to museums. Another way this practice could be used is creating digital display for the artifacts sitting in storage do to lack of physical space in the display area.[11]
There are many steps leading up to getting a museum job. First you must decide what your strengths are and what kind of job you want. [12] Being a designer will require the same strengths as being a researcher. This would also be the time to being doing to research on what the requirements is for the job. The next step would be to network amongst friends and acquaintances and if possible set up some exploratory interviews. [12] This is a good step to start familiarizing yourself with other you may work with and hear about some first have experience. The final step would be to take stock. This means volunteer, go back to school for a higher degree or a new certificate, or take a smaller step in your career towards the job you want. [12] Doing all of these things are just preparing you to apply for the job. Once these are complete interviewers will still be looking for other things too.
There are many requirements to becoming a exhibit designer. Some positions require a certain level of education such as a postgraduate qualification/museum diploma. [3] Also, getting the degree does not guarantee the job. Some positions also require certain skills such as collections management, administration, or research and publication experience. [3] Once all of these are met and the position is acquired the designers still may not get to always design whatever they want. Designers are also constricted at times with what they can and cannot do. This is because museums are conservative at nature and therefore the professional's who aid with designing exhibits are limited by the core mission as well as audience's expectations. [13]
As briefly discussed earlier there are many people who help aid the exhibit designers or oversee the process within the museum. Throughout the planning and design process, exhibit designers work closely with graphic designers, content specialists, architects, fabricators, technical specialists,[14] audiovisual experts, and, in the case of museums and other mission-based institutions, stakeholders like community members, government agencies, and other partner organizations.
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