Graphics Reference
In-Depth Information
Overview
The Graphic Design Museum in Breda initially approached the designers in Decem-
ber 2008 about creating an exhibition focused on typography for children aged 6 to
13. They were given ten months' lead-time before the scheduled opening.
Strange Attractors were familiar with a previous exhibition at this museum, which
had targeted the same audience, albeit with more general content. That exhibition in-
corporated some interactive elements, but the designers realized that the new exhib-
ition needed to be positioned much more as an interactive experience for the target
audience, with spatial and environmental engagement to provoke curiosity and en-
courage direct interaction.
Initially, it was important to instil the museum staffwith an understanding regarding
the difference in approach between a passive presentation of flat, static information
hung on walls or encased in glass and one that actively embodied content and utilized
a holistic expression of experience through the coordination of space, time, sight,
touch and sound. The designers began their research and conceptual positioning from
the broadest perspective; they believed it was important not to rush to obvious and
comfortable solutions, because building a strong fundamental understanding of the
problem would achieve the most effective solutions.
Approach
To begin the initial inquiry, the designers asked a simple question: How do you make
children experience the history and creative possibilities of typography?
They did not intend on making the children do anything; they wanted the exhibition
experience to be so inviting and engaging that children felt compelled to interact with
it. If the exhibition could harness the childlike wonder and enjoyment of play, then
interaction would occur naturally. They also needed to ensure that the children be-
nefited from an educational experience and gave careful thought to the position and
order in which each of the display stations would be encountered. They did not want
the target audience to be reminded of classroom-based instruction, or worse, of home-
work! They structured an active curriculum for children as an engaging experiential
journey using digital and analogue media, colours, sounds, and tactile interaction that
utilized contemporary memes such as text messaging, touch screens and graffiti.
