Author: Brigid Laurie

Taking Our Show on the Road: An Exhibit Development Workshop in Argentina

In September, SIE’s exhibit developers Brigid Laurie and John Powell flew to Argentina for a weeklong exhibit development workshop, leaving everyone in the office to fend off rogue commas, dangling participles, and incomplete narratives all by themselves. The horror!

 

Why did we get to do this?

Back in May, Smithsonian Exhibits (SIE) had the pleasure of hosting a group of Argentinian museum professionals. Our guests were participating in a yearlong cooperative program, Capacity Building for Argentinian Museum and Cultural Heritage Professionals. The program was organized by the Smithsonian, the U.S. Embassy in Argentina, and Argentina’s Dirección Nacional de Museos (DNM). We had a wonderful conversation, exchanged information, and said, “let’s keep this discussion going!”

 

And the conversation did continue! A few weeks after that first meeting, the Smithsonian’s Office of International Relations and Global Programs (OIR) contacted SIE about offering an exhibit development workshop in Buenos Aires. We (Brigid and John) jumped at the opportunity.

 

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Workshop participants pose on the stairs of the U.S. Ambassador’s residence in Buenos Aires.

 

With a Little Help from Our Friends

Working with OIR, we came up with a full schedule of presentations and activities. In Argentina, we were joined by Magdalena Mieri from the National Museum of American History and Sara De La Torre Berón from OIR, who have been part of the program since it started. Magdalena, one of the program’s mentors, led a session on strategic planning. Sara coordinated the workshop on behalf of OIR and made everything go incredibly smoothly.

 

Who attended?

Twenty participants attended the workshop from five different museums across Argentina. As you would expect, the museums were all at different points in their projects. Some are opening in the near future; others had just started up when this program began. Additional museum professionals from Buenos Aires also attended when their schedules allowed.

 

What did we talk about?

The program focused on audience-centered exhibit and program development. With that in mind, we organized each day of the workshop around a larger topic. Each day built on the previous day’s topics.

Day one focused on understanding visitor needs and strategic planning.

 

two men and two women work at a table in the foreground; other groups are working throughout the room
Participants worked in small groups, discussing long-term goals for their museums and possible ways to implement them.

 

woman in a white blouse stands in front of a projection of the Spanish words Planificacion Estrategia
Magdalena Mieri leads a session on strategic planning.

 

We also had an opportunity to visit the nearby Museo Cabildo, where they showed us the prototyping they are doing for an upcoming exhibit.

 

A bearded man points at a label in an exhibit
Gustavo Alvarez, director of the Museo Cabildo, explains their prototyping process for a new exhibition.

 

On day two, we met at the residence of the U.S. Ambassador to Argentina, a historic mansion, where we discussed interpretive hierarchies beneath exquisite chandeliers.

 

A man and woman give a presentation
Why are people wearing headphones? The U.S. embassy provided simultaneous Spanish-English interpretation via headsets. This let everyone participate in the language with which they were most comfortable.

 

a large piece of paper with colored marker notes in Spanish. arms and legs of the people working on it are visible
Workshop participants chart their big idea and key messages for a new exhibition. Sometimes, even in the fanciest of spaces, the best thing to do is to sprawl out on the floor.

 

By day three, we were ready to dive into the specifics, and talked about ways to organize exhibit content and how to select different tools and techniques to tell a story. We started day three with a random object exercise to consider all the stories you can tell with one seemingly insignificant object, like a coaster.

 

A woman draws a chart on a large piece of paper; a man is in the background
Content mapping is a visual way to organize topics. (NOTE: While awkward posture and bad handwriting aren’t a requirement for exhibit developing, they do add a certain flair to presentations.)

 

Dina Fisman from the DNM led a session on exhibit writing, focusing on how to write for an Argentinian audience. We got to listen to her session (thanks, interpreters!)—it was wonderful and insightful.

 

a woman points to a screen with the Spanish word "concreto" and tips for writing Spanish museum texts
Dina Fisman leads a session on exhibit writing.

 

Day four was the last formal day of the workshop. We covered how to take exhibits from concept to completion. We shared some sample documents from our work at SIE and met with participants to discuss a variety of exhibit-related topics.

 

people sitting on the floor with planning charts in front of them
A group discusses ways to combine two topics within an exhibit.

 

We capped the day with a public presentation at the Museo Roca. It felt like a fitting end to the workshop and it was great to be able to share our experiences with the larger museum community in Buenos Aires.

 

a man and a woman sit at a desk in front of a screen with the Spanish title Intercambio Profesional Para Museo e Instituciones Culturales Argentina
Thanks to our simultaneous interpreters we were able to field questions at the end of our presentation.

 

We spent our last day visiting two different museums in Buenos Aires and learning about their efforts to create visible storage for collections and make museums more accessible.

 

a Braille and textured orientation map for Museo Casa Yrurtia
The orientation map at Museo Casa Yrurtia incorporates braille and a variety of different textures. The map is intended to be used by all visitors.

 

We look forward to keeping in touch with our colleagues in Argentina and hearing about their exhibits. It was a wonderful learning experience for us and we can’t wait for our next opportunity to take our show on the road!

 

Interested in learning more about exhibit development and writing? Check out our guide to exhibit development and our guidelines for label writing.

Even Better Than the Real Thing: Augmented and Virtual Reality

It seems like AR and VR have been hot topics for a while, and for good reason. Oldsters like me tend to point to the young whippersnappers who grew up as digital natives and assume that they want a screen in every exhibition. The thing is, with a good interpretive plan and a digital/media team (in-house or an outside partner) AR and VR can become amazing enhancements that—get this—actually helps the visitors understand the content. When AR and VR are used in conjunction with the exhibition’s design and content development, it’s a bit like an author working with an illustrator: the author tells the story, and the illustrator brings it to life in a different, complementary way.

 

In other words, while it is fun to watch (and play with) all this wonderful technology, it’s important to consider how to best utilize it. Tech for tech’s sake can be lots fun, but tech as a way to enhance a thoughtful experience can have a real impact. AR and VR can also extend the exhibition experience. Visitors inspired by the exhibition can look for additional resources after they leave the museum, and people unable to visit in person can still use online VR to gain an understanding of the subject.

 

still image from a virtual reality video of a plane
Want to know how harrowing early flight could be? You can gain a better understanding of the bumpy, rickety, and low altitude start of aviation through interactive experiences.

 

 

 

So, what exactly are reality, AR, and VR?

 

The terms get thrown around a lot, and if you were watching TV and movies in the 1990s you might remember some particularly misleading (and occasionally outright terrible) fictional versions of these technologies.

 

icon of an eye

Reality

You probably got this one right (or this has just started a HUGE philosophical debate for you and your friends), but for the sake of this post, reality means the world as it is without anything between you and it.

 

 

icon of a mobile phone

AR or Augmented Reality

Augmented Reality puts a new imaginary layer on top of real life. The Skin and Bones app used at the National Museum of Natural History is AR. It puts an overlay of “skin” on the skeletons.

 

 

icon of a person wearing goggles

VR or Virtual Reality

Virtual Reality invents its own world. The aviation interactive pictured and linked to above is VR. Most visitors aren’t going to get to fly a real 1903 plane anytime soon, and this gives visitors a chance to experience some of the thrill and/or terror the Wright brothers might have felt. Some VR technologies are fully immersive and make use of goggles or specially designed spaces to fully place the visitor within the invented experience.

 

 

Who’s Using This Technology at the Smithsonian?

There are a number of people in museums who use this technology as an interpretive tool, but don’t actually make the technology themselves. When Yayoi Kusama: Infinity Mirrors was open at the Hirshhorn, the museum had a VR version of the mirror rooms developed for visitors who had mobility issues and were unable to walk into the small mirrored rooms. In this case, the technology was driven by visitor services and a desire to make the art accessible to everyone.

 

At the Renwick Gallery, the upcoming exhibition Reforestation of the Imagination at the Renwick Gallery will use AR technology as an artistic media. This is an example of an artist integrating an AR experience into their artwork.

 

One example from Smithsonian Exhibits is the bank robbery interactive in The FBI Experience. It uses AR to allow visitors to search for evidence at a crime scene. We developed the story, which explains how the FBI investigates a bank robbery, and designed the exhibition to match the crime scene. We worked with our media partner to make sure that the AR told the same story. This interactive required coordination between exhibition development, design, and media.

 

So, in short, incorporating AR and VR isn’t necessarily an easy process, but if a project builds in the time to do it right, it can be a fantastic tool within an exhibition

 

 

 

AR screens showing the progression of finding evidence in the bank robbery scene
Visitors to The FBI Experience learn how to search a crime scene for evidence in a mock up of a bank that has been robbed. As visitors scan the bank for evidence, they can collect it on screen. The AR triggers additional screens that explain how the evidence is processed and what information can be learned from analyzing it.

 

Want to see the examples for yourself?

If you want to see the original Wright Flyer that inspired the VR experience, visit The Wright Brothers and the Invention of the Aerial Age on the second floor of the National Air and Space Museum.

 

You can use the Skin and Bones app in the Bone Hall on the second floor the National Museum of Natural History.

 

Reforestation of the Imagination at the Renwick Gallery will open June 28 and run through January 5, 2020.

 

Information on touring The FBI Experience is available on their website.

 

 

Want to learn more about the projects?

Smithsonian Exhibits designer Maddie Wan organized an Open Talk about VR/AR and her panelists agreed to let us link to their work. Check out our resources page to learn more about projects by:

  • Cody Coltharp, Digital Interactive Designer, Smithsonian Center for Learning and Digital Access
  • Diana Marques, Visual Science Communicator
  • Sara Snyder, Chief of Media and Technology at the Smithsonian American Art Museum

 

Collaborating with Colleagues, International Edition

Last week, Smithsonian Exhibits had a wonderful day hosting a delegation of Argentinian museum professionals for a lively conversation about exhibition development. We’re always happy to talk about exhibitions and learn from our colleagues, and this day was no exception.

Our guests are part of a cooperative program—Capacity Building for Argentinian Museum and Cultural Heritage Professionals—organized by the Smithsonian, the U.S. Embassy in Argentina, and Argentina’s Dirección Nacional de Museos (DNM). Their year-long program included a visit to Washington to meet with a variety of Smithsonian offices. The eleven participants represent five museums and DNM. The Smithsonian’s Office of International Relations and Global Programs organized the group’s stay in Washington and joined in on their visit to Smithsonian Exhibits.

Museum professionals having a conversation while sitting at a conference table
Our international colleagues came from across Argentina, representing various disciplines within the museum field.

 

Our conversation ran the gamut, from organizing exhibition teams to the best ways to create models. We continued our conversations as we toured our facility in Landover. We met with each of our units, allowing us to get multiple perspectives on a topic. For example, one of our conversations concerned how to best select materials that are cost effective and meet conservation needs for the objects. We were able to start the conversation with design, ask about how those decisions would affect graphic production, and then follow that up with questions about constructing the mounts and the cases.

 

The one common denominator of our conversations? Collaborate! The more the team works together and keeps communicating throughout exhibit development, design, and fabrication, the better the end results. Since there’s no one-size-fits-all approach to creating an exhibition, many conversations will be had along the way to determine the best options. This applies to how to best engage visitors,  meet conservation needs, and well, pretty much every aspect of the exhibition process. There’s a lot of technology and research out there to make all of the steps happen, but those solutions only work if you talk to your team along the way. That’s a plan that makes sense no matter where your museum calls home.

 

Of course, as our day came to a close we exchanged business cards and contact information so that we could keep the conversation going. We look forward to many fruitful discussions about best practices and innovative approaches to museum exhibitions with our international colleagues.

 

a group stands at a table filled with example museum panels made of metal, fabric, and acrylic
Designer Emily Sloat Shaw shows sample prints and discusses material selection as a part of exhibition design.

 

 

a group watches as a man shows how a maze interactive works
Chief of Exhibit Planning Todd Kinser demonstrates a prototype of an interactive SIE made for the National Zoo.

 

 

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Graphic specialist Evan Keeling explains the various printing techniques used in our graphics shop.

 

 

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Model maker Carolyn Thome talks about 3D printing while showing the group a model skull.

 

 

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Model maker Chris Hollshwander discusses computer-aided milling.

Go Fish!

It’s hard to believe that Sant Ocean Hall at the National Museum of Natural History is ten years old. It’s somewhat shocking that it hasn’t just always been there—it’s such a prominent and memorable part of the museum—but it also has a fresh feel to it so it feels like it just opened. The secret? Updates! (As well as all that amazing content, objects, etc. that makes people want to come back.)

 

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Updating the Sant Ocean Hall with new models, like this giant Caribbean sea anemone sculpted by SIE, keeps the exhibitions feeling fresh. The completed 3D print is on the left. On the right, is a screenshot of the digital sculpture used to create it.

 

A few years ago, Carolyn Thome from our 3D Studio made a signature model for the Ocean Hall’s Life in One Cubic Foot. More recently, the 3D Studio created a number of fish models to enliven the exhibition space. Carolyn used reference photos to sculpt the digital files to be sent to our 3D printers. This time, however, Carolyn had the opportunity to mentor an intern while she created the Ocean Hall models.

Carole Baldwin, NMNH Curator of Fishes and Chair of the Department of Vertebrate Zoology, and scientists Allen Collins and Michael Vecchione, served as the 3D Studio’s subject matter experts, ensuring the accuracy of the models.

 

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The installation of the new fish models at the Sant Ocean Hall went—wait for it—swimmingly! This model of a scaleless dragonfish shows off its fearsome teeth and bioluminescence.

 

This project also coincided with the 3D Studio getting a new printer. Our new SLA resin printer can produce very high resolution prints in a variety of resin types. Carolyn and our intern, Willow Collins, familiarized themselves with the new equipment. Willow also learned a new 3D modeling program—by the end of the project she was pretty much an expert in all things fish model. In fact, we were so impressed, that at the end of her internship, Willow was hired on as staff.

 

 

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Juvenile grey snappers appear to dart in and out of the tree roots in a mangrove forest. The image on the left shows the final installation. The image on the right shows the tiny fish in better detail.

 

 

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Exhibit specialist and 3D model maker Willow Collins installs one of her creations, a translucent Lamarck’s Carinaria sea snail. The position of the model on the mount, which nearly disappears once the installation is complete, shows how this type of sea snail floats through the water.

 

 

DECLASSIFIED!! Mission: DIA

Here’s a tricky one: How do you write exhibit text for a new museum when your content experts have top security clearances and can only share a fraction of their content with you? Mission: DIA offered many tricky and interesting questions. For example: will they tell me about REDACTED REDACTEDREDACTEDREDACTED if I ask really, really nicely? *

Working on a museum about an agency that produces, analyzes, and disseminates military intelligence information creates some interesting workflow protocols. When SIE began working with the Defense Intelligence Agency (DIA) on Mission: DIA, we knew that we’d have to build a museum from scratch because their atrium didn’t have an existing museum space. We knew that we’d work with their historians and other experts to create a museum script that told complicated stories. We knew that the graphics would have to convey complex information. And we knew that there was a lot we didn’t know, weren’t allowed to know, and probably won’t ever get to know.

Our unconventional workflow more or less went as follows. First topics were brainstormed, then discussion would follow. As ideas were suggested and settled on, the DIA historians would determine the exact story they wanted to use, and then go off to confirm that the details needed to tell the story well were cleared for use or could be cleared quickly. And lest you think that SIE got to go through all the super-secret stuff, everything had to be declassified before it came to our office, too.

Reading redacted documents became just another part of my day. Eventually, I started to wonder, is this where they blacked out the REDACTED about REDACTED? Despite my strong desire to find out REDACTEDREDACTEDREDACTED and read up on the REDACTEDREDACTEDREDACTEDREDACTED REDACTED REDACTEDREDACTEDREDACTEDREDACTEDREDACTEDREDACTED the historians I worked with at DIA made sure everything was properly declassed before it reached me and my low (so very, very low) security clearance. (NOTE: I know nothing. I’m not worth kidnapping. Not. At. All.)

Mission: DIA opened its first phase in the summer, and more phases are underway. After vetting, scrubbing, redacting, and whatever else might be required, the photos from the first phase’s opening were released to us. So now, unlike the exhibition’s source material, I can talk about the first phase of the project.

The Mission: DIA project posed a number of challenges, not unlike REDACTEDREDACTEDREDACTED REDACTED REDACTEDREDACTEDREDACTEDREDACTEDREDACTEDREDACTEDREDACTED. One challenge was that there was no existing museum and the exhibition was to be built inside a large open space. This meant the designer had to create a “room within a room” in order for there to even be an exhibition.

 

Overhead view of the DIA museum.
This overhead view shows off the design, SIE’s fabrication, and the cast figures made by SIE’s 3D Studio. The two people in the foreground are actual people. The “people” in the back corner behind the reader rail are cast figures.

 

The first section to open, Exposing the Truth, explores DIA’s role in bringing unseen threats to light. The exhibition delves into the escalation of Soviet weapons programs during the Cold War, the Cuban Missile Crisis, catching a spy within the agency, and the H1N1 flu pandemic.

 

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DIA’s publication, Soviet Military Power, was an unclassified document meant for the general public. It showed readers specific threats from the Soviet Union. Here, some of the weapons the publication highlighted are displayed with copies of Soviet Military Power’s ten editions.

 

Three exhibition panels detailing NCMI’s work regarding the H1N1 flu pandemic.
The mission of DIA’s National Center for Medical Intelligence (NCMI) is to predict medical threats and prevent potential infectious outbreaks from impacting the U.S. military and its global allies.

 

As excited as we are to have the first section open, we look forward to continuing our work on the rest of the museum.

The museum REDACTEDREDACTEDREDACTEDREDACTEDREDACTED REDACTED REDACTED REDACTED REDACTEDREDACTEDREDACTED REDACTED REDACTED REDACTEDREDACTED REDACTEDREDACTED is REDACTED REDACTEDREDACTED open REDACTEDREDACTED. It REDACTED REDACTED REDACTEDREDACTED REDACTED REDACTEDREDACTEDREDACTED REDACTED REDACTED went REDACTEDREDACTEDREDACTED REDACTEDREDACTED REDACTEDREDACTED REDACTED REDACTED REDACTEDREDACTEDREDACTED REDACTEDREDACTEDREDACTEDREDACTED REDACTEDREDACTEDREDACTEDREDACTED REDACTEDREDACTEDREDACTED REDACTED REDACTEDREDACTED REDACTEDREDACTEDREDACTED REDACTEDREDACTED REDACTEDREDACTEDREDACTEDREDACTED REDACTEDREDACTED REDACTEDREDACTED well  REDACTEDREDACTED REDACTED REDACTEDREDACTEDREDACTEDREDACTEDREDACTEDREDACTED REDACTED REDACTED REDACTEDREDACTED REDACTEDREDACTED REDACTEDREDACTEDREDACTED REDACTED REDACTEDREDACTED REDACTED REDACTED REDACTEDREDACTEDREDACTEDREDACTED REDACTEDREDACTED REDACTEDREDACTEDREDACTED REDACTEDREDACTEDREDACTED REDACTEDREDACTEDREDACTED REDACTEDREDACTEDREDACTED!

 

 

*No. No, they won’t.

Gone Viral

An interconnected world allows for the easy transmission of ideas, commerce, scientific discoveries, and so many other things … like communicable diseases. The National Museum of Natural History’s new exhibition, Outbreak: Epidemics in a Connected World, explores how microscopic pathogens can cause widespread disease outbreaks. When outbreaks occur, epidemiologists, veterinarians, public health workers, and others all work to identify and contain the infection. These pathogens wreak havoc in communities—not just affecting health, but also leaving huge social and emotional impacts.

 

seven 3D models of pathogens
Worst class picture ever. Back row: Malaria, e. Coli, Lyme Disease. Front row: Ebola, Zika, HIV, and influenza.

 

And therein lies the tricky part for the exhibition: the impacts are huge, but the pathogens are too small to be seen by the naked eye. Exhibitions are by definition a three-dimensional, visual experience. In order to give the pathogens more prominence, the National Museum of Natural History opted for 3D prints of the microbes at scales that, well, honestly are kind of terrifying when you consider what these pathogens do.

Our model maker Carolyn Thome and National Museum of Natural History designer Julia Louie used 3D pathogen files downloaded from the National Institute of Health’s 3D print exchange. (The downloads are free and are handy tools for educators, medical professionals, scientists, and others.) Carolyn manipulated the files to digitally cut the models in half and place them on bases she created using CAD software.

 

Color prints of e. Coli and influenza coming out the 3D printer.

 

She printed her models in color, rather than painting them. It wasn’t necessary to have a true-to-life paint job because the pathogens’ colors aren’t based on their innate colors, but rather are applied to make it easier for visitors to understand their shapes.

 

Ebola gets a resin bath.

 

The finished models needed an epoxy infiltration to give them stability and an even sheen. The heat and resin work together to create a chemical reaction that makes a sturdy finished product, but because of the viscosity and quick setting time, Carolyn only had approximately twenty minutes to finish each resin coating.

 

Ebola goes back into the vacuum chamber.

 

If a model needed a second coat of resin, Carolyn needed to place it in a vacuum chamber and then repeat the speedy process.

 

And one more coat of resin for Ebola.

 

Outbreak will be featured on the second floor of the National Museum of Natural History for roughly three years before it’s contained in 2021.

Field Trip!

It’s almost summer vacation! The time when students and teachers get to reminisce about all the fun things that happened throughout the year. Well, we’re doing the same thing. This year, Smithsonian Exhibits had the pleasure of hosting a fifth-grade field trip. Ms. Deaton’s class, from Stratford Landing Elementary in nearby Fairfax County, Virginia, had a class project to create an exhibition. What better place to learn about the exhibit process than a place that can take a project from development through design and all the way into fabrication and installation? Students had a chance to talk with staff and learn more about exhibit development. They also got a tour of our 3D studio, fabrication shop, and graphics production. Later on, Ms. Deaton let us know that we helped them with their project … and also inspired them to take on another project.

Juggling more than one project at a time? They’d fit right in here! Maybe we should just ask them to work here over summer break.*

So, what was this fun new project these multi-tasking kids took on?

Comic books. Evan Keeling, one of our graphic specialists, showed the students how to make mini-comics like the ones he’s created for the National Museum of American History, the National Portrait Gallery, the National Museum of the American Indian, and other Smithsonian groups.

The Comic Library. One of Evan’s comics is on the left, his future competitor’s is on the right.

 

Ms. Deaton’s students ran with the mini-comic idea. Soon, the students opened a comic library at their school. Students can make their own eight-page booklet, add it to the library, and other students can check them out.

 

A selection of comics I plan on checking out of Ms. Deaton’s classroom if she lets me get a comic library card, too.

 

 


* Funny story: We already put them to work once. The classes were originally split into two back-to-back days, but a weather-related school cancelation postponed one of the trips. The rescheduled field trip came with an extra perk: interactive prototype testing! The interactive, which will be installed at the panda house at the National Zoo later this year, shows how pandas have difficulty traversing their habitat now that construction, logging, and roadways crisscross the mountains on which they live. (But more on that after it’s installed.)

 

The FBI Tour, Revisited (or, “… that’s not the Smithsonian.”)

“So, what are you working on?”

It’s a pretty common question when you work at Smithsonian Exhibits. Usually, the answer is something like “A great show at the Hirshhorn!” or “We just kicked off a new project with the Zoo!” When I told my friends that I was working on a new section about multi-agency partnerships for The FBI Experience, they reacted with:

“… that’s not the Smithsonian.”

And of course, they’re right: the FBI is not the Smithsonian, but they are a federal agency, which means we are able to work on their exhibitions under certain circumstances.

Smithsonian Exhibits’ primary focus is, obviously, the Smithsonian. Our priority is to help our museums, galleries, offices, cultural centers, libraries, and … well, you get the picture: we have a lot of moving parts, and we love to help those parts get their exhibitions up and running. We are, however, also able to partner with federal agencies if their end product is an exhibition on view to the public.

This is particularly handy for agencies that want to set up exhibitions for the first time, but haven’t yet hired museum staff, or perhaps don’t plan on staffing an exhibition once it is open. Provided the work aligns with our missions and goals and we have the capacity to take on the project and a variety of financial requirements are met—I won’t bore you with those details—we can take on the project. In other words, it isn’t a common occurrence, but we do have the occasional outside exhibition. (These outside projects are managed through the Smithsonian’s Office of Sponsored Projects (OSP) through an Inter-Agency Agreement contracting protocol.) When the FBI came to us to discuss opening an exhibition to the public, we were happy to realize that their project met all of the above requirements.

For years, the FBI’s iconic tour had been one of the most popular tours in Washington, D.C. After the 9/11 attacks, the FBI had to shutter the tour due to security concerns. After a lengthy hiatus from welcoming the public into Headquarters, the FBI decided to create an exhibition to explain how the FBI works today. Smithsonian Exhibits was able to partner with the Bureau to create a brand-new exhibition. The FBI Experience opened in June 2017 on two floors of the Headquarters building.

Infographics explain how investigations progress.

 

Specialized equipment is on display in an area dedicated to the Hostage Rescue Team, part of the Critical Incidents Response Group.

 

The FBI restructured after the 9/11 attacks. The newly reorganized Bureau found even greater strength through cooperation with other federal agencies and local police departments.

Recently, the FBI acquired objects for use within a new section on multi-agency partnerships. This section explores some of the ways the Bureau works with other agencies and law enforcement departments. By building on each other’s strengths, the FBI, local police, and other agencies can solve crimes and take down criminal organizations more effectively. Each group brings their own expertise to the situation, and that makes a better team.

Really, that’s what we’re doing with the FBI, too (albeit in a much, much less crime fight-y way). Inter-agency partnership allows for each group to bring their best parts to the process. The FBI brings their practices and history; Smithsonian Exhibits provides exhibit development and design, scriptwriting, project management, custom artwork, and mount making. By working together throughout the phases of this project, we can achieve the best possible outcome.

 

Building on Past Successes

Experimentation and curiosity come with the territory when it comes to design. Past work tends to influence current projects. Luckily for us, our Smithsonian Exhibits colleagues come from a wide variety of backgrounds with an incredible range of professional experiences.

These experiences add up: as we move through our careers each project adds a little something to our bag of tricks. Maybe you found an unconventional solution to an unforeseen problem. Maybe a former colleague had an unexpected take on a project that resulted in an interesting point of view. And maybe, just maybe, everything went right … and who doesn’t want to see that unicorn again?

Senior graphic designer Maddie Wan sat down with me to discuss some of her past work in the commercial sector, where her creativity and attention to detail added up to some amazing projects. (And, as someone who has worked with Maddie at Smithsonian Exhibits, I can tell you her bag of tricks is being put to good use.) A sampling of Maddie’s favorite pre-Smithsonian projects is below.

 

Shanghai Natural History Museum: Details and Documentation

The Shanghai Natural History Museum was the biggest museum project of Maddie’s career to date. She was a lead graphic designer on the team that opened this huge—over 450,000 square feet—museum in 2015. Not only were the exhibitions brand new, the building itself was new. As Maddie said, “It was pretty cool to be on site when it was just a hole in the ground and see how it evolved into a real space.”

All projects benefit good communication and solid documentation. This project required it at a higher level. The design team was not involved in fabrication or installation, which meant the 100% design package had to include every last bit of information because the designers were removed from the building process.

 

 

Pages from Maddie’s graphic design packages are shown with final installations.

 

 

Art Exhibition, Singapore Art Museum, A Century of Story in the Art of the Philippines: Exhibition as Art Installation

In stark contrast to the massive museum in Shanghai, A Century of Story in the Art of the Philippines was a small interpretive art installation displayed at the Singapore Art Museum. “It required a different state of mind to design–it was more intimate, and the graphics were bold but very much designed to blend with the walls, text, and artwork.”

 

 

 

 

EXPO 2010, Shanghai, UAE Pavilion: Reaching an International Audience

For the UAE Pavilion at the Shanghai Expo, Maddie had to assume an international audience and create visuals that branded the UAE pavilion wordlessly while also working with three different languages (Arabic, Chinese, and English).

“Why was this influential? Because it is totally a different kind of experience, very fast-paced, and a totally cool architectural structure. This shape became a direct inspiration for the logo.” 

 

 

 

 

Rock and Roll Hall of Fame, design proposal: Design Exploration

Sometimes, even after a ton of work on a proposal, you don’t get the job. But those could’ve-been projects can lead to new ways of looking at design materials. The proposal process often involves a lot of work and a crash course in the subject matter to get the proposal out on time. Maddie’s previous firm didn’t get this gig, but the research and design layout explorations were worthwhile in their own right. “The design process is a great way to learn new things.”

 

 

 

Witte Museum, Texas: The Unicorn! It worked and it was fun.

Sometimes you do find that unicorn and the project goes as you planned. For this project, Maddie did the graphic design and collaborated with the exhibit designer. They worked closely together and the end result was a seamless merging of their work. But as important? It was “pretty fun hanging out with dinosaurs and all the Texas flora and fauna … The dioramas were especially fun … designing actual scale bison, birds, and other animals on raised open platforms.” This writer can get on board with that sentiment. Isn’t work just a little less work-like when you enjoy what you do?

Okay, so there weren’t any actual unicorns, but there were dinosaurs, and that’s awesome enough.

 

 

The graphic packages (left) and the finished products (right) show how the design elements went from concept to successful exhibition.

 

Anything But A Normal Internship

by Guest Blogger/Intern Rachael Shurberg

 

This summer, SIE hosted six interns throughout our departments. We had Shivani, Elisa, and Keegan in the 3D Studio; Chad in Graphics; Marcella in Design; and me, Rachael, working in Marketing. I’m currently a rising junior at Ithaca College where I am double majoring in Integrated Marketing Communications and Anthropology.

An internship at Smithsonian Exhibits is anything but a normal internship. You won’t be making copies or doing coffee runs. I photographed finished exhibits and exhibit installs. Shivani, Elisa, and Keegan created a camera mount from scrap in the shop. Chad helped on a major graphics install at the National Museum of American History. Marcella is designing a mock-up of an exhibit on Cyprian culture and influence. I think we all got to do much more than we ever expected to as interns.

That isn’t to say it came naturally or immediately. On my first day, I took a tour of the massive facility. I was introduced to the all people who work here, and promptly forgot each of their names. I spent the next week studying up on the “Our Team” page of the SIE website in free moments. Eventually I’d learned everyone’s name, stopped getting lost in the fabrication shop, and stopped being startled by mannequins I thought were real people. Ok, so maybe that last one is a lie, as the mannequins created here are pretty life-like, but I did find my stride here at Smithsonian Exhibits, and I can’t believe my time here is already coming to an end.

 

Me and my mannequin friend at work.

 

To say we’ve learned a lot would be an understatement. Speaking for myself at least, I didn’t even know what a mount was before I arrived. Now, I wouldn’t say I’ve become a mount making expert and I definitely wouldn’t be able to create anything resembling a mount if I were asked to, but I have a greater appreciation for all the work that goes into exhibit creation, especially the work that may go a bit more unnoticed by the general public. As someone hoping to enter the museum field after graduation, I’ve found it to be so important to see the work that goes on at SIE. I always find that I do better work when I understand all aspects of the work and my internship at SIE has given me a piece of that understanding.

To end, I’ll leave you with a quote from Keegan that I’m sure all six of us would agree with:  “It’s also worth mentioning the people I had the pleasure of meeting and learning from. The Smithsonian is chock full of deeply knowledgeable, experienced, and cool individuals.” He’s right. Coming here this summer I of course expected to learn a lot. However, I did not expect the outpouring of support from my colleagues. This summer at SIE has been great, and I’m sad it’s coming to a close. Soon, I’ll leave the heat of D.C. for the cooler climate of Upstate New York with fond memories and a renewed love of museums and all the work that goes into their success.

 

Shivani pours a mold in the 3D Studio. She recently graduated from North Carolina State University with a degree in Industrial Design.

 

Keegan, an Industrial Design major at Appalachian State University, pours a mold.

 

Elisa, from Ohio State University, put her Mechanical Engineering major to work building a camera mount for SIE.

 

Chad, a Graphic Design major at Mansfield University, installs graphics for Within These Walls at the National Museum of American History.

 

 

Marcella uses Vectorworks to design an exhibit. She recently graduated from the Cleveland Institute of Art with a BFA in Biomedical Art.