the design
“We haven’t really put on an exhibition here. It’s a laboratory, an experience and a microbe zoo.” Mark de Jong is talking, the owner of Amsterdam exhibition architecture agency Kossmann.dejong. The agency talked a lot with both Artis and its external advisors about the possibilities and limitations of putting live microbes on display. Kossmann.dejong then tackled the question of how actual exhibits could be used to tell Micropia’s stories. The relationship between man and microbe had to remain central.
The microbes are the stars of Micropia. “The microbes are literally in the spotlight because the only light in the space comes from the exhibits themselves,” explains Michèl de Vaan, who in his role as spatial designer with Kossmann.dejong was involved with Micropia from the beginning. Mark de Jong takes most pride in the fact that Micropia is genuine, and that lots of the organisms on display are alive. “Creating a virtual world would have been much easier. Duplicating the perfect living conditions for the micro-organisms was the biggest challenge.”
In creating the exhibition Kossmann.deJong worked in close collaboration with ART+COM Studios, a Berlin-based media design firm. Their work included the concept design of the media-based exhibits as well as their interaction and hardware design, prototyping and programming. For the ‘extremophile’ exhibit, about organisms which can survive in the most extreme conditions, ART+COM designed a spectacular 3-D landscape in which you, the visitor, can move around. Kossmann.dejong came up with a solid display that is worked by a mechanical wheel. “A badass organism deserves a badass machine,” says ART+COM designer Jussi Ängeslevä.
Lots of Micropia’s exhibits are interactive, although the designers were at pains not to make things interactive just for the sake of it. “Interactivity has to add something to the experience and not distract from the content.” The ART+COM designers point to the body scan as a successful example of this. The visitor not only works the interface in this exhibit but is also the subject of it.
The soundscape which fills the space is an important unifying factor. Sound designer Peter Flamman makes use of analogue noises to give the visitor the idea that he or she is entering an unknown and amazing world.
the design“We haven’t really put on an exhibition here. It’s a laboratory, an experience and a microbe zoo.” Mark de Jong is talking, the owner of Amsterdam exhibition architecture agency Kossmann.dejong. The agency talked a lot with both Artis and its external advisors about the possibilities and limitations of putting live microbes on display. Kossmann.dejong then tackled the question of how actual exhibits could be used to tell Micropia’s stories. The relationship between man and microbe had to remain central.The microbes are the stars of Micropia. “The microbes are literally in the spotlight because the only light in the space comes from the exhibits themselves,” explains Michèl de Vaan, who in his role as spatial designer with Kossmann.dejong was involved with Micropia from the beginning. Mark de Jong takes most pride in the fact that Micropia is genuine, and that lots of the organisms on display are alive. “Creating a virtual world would have been much easier. Duplicating the perfect living conditions for the micro-organisms was the biggest challenge.”In creating the exhibition Kossmann.deJong worked in close collaboration with ART+COM Studios, a Berlin-based media design firm. Their work included the concept design of the media-based exhibits as well as their interaction and hardware design, prototyping and programming. For the ‘extremophile’ exhibit, about organisms which can survive in the most extreme conditions, ART+COM designed a spectacular 3-D landscape in which you, the visitor, can move around. Kossmann.dejong came up with a solid display that is worked by a mechanical wheel. “A badass organism deserves a badass machine,” says ART+COM designer Jussi Ängeslevä.Lots of Micropia’s exhibits are interactive, although the designers were at pains not to make things interactive just for the sake of it. “Interactivity has to add something to the experience and not distract from the content.” The ART+COM designers point to the body scan as a successful example of this. The visitor not only works the interface in this exhibit but is also the subject of it.The soundscape which fills the space is an important unifying factor. Sound designer Peter Flamman makes use of analogue noises to give the visitor the idea that he or she is entering an unknown and amazing world.
การแปล กรุณารอสักครู่..