One museum that filled nearly an entire day was the California Academy of Sciences in Golden Gate Park. Above is a photo of the museum’s exterior and its brilliant Living Roof, seen from the de Young Museum.
There are so many exhibitions within “the Academy” (and so many photos to show) that I’ve broken this post into two parts. Part 1 here covers the Rainforest exhibition on Level 1 and the Aquarium exhibitions on the lower level, most designed by Thinc Design.
After entering the museum I was swept along with the crowds heading to the 4-story, 90-foot-diameter Rainforest Dome. Inside, the rainforest visit begins on a Bornean forest floor, winds upward through a Madagascan mid-story and a Costa Rican canopy, then ends on the lower level in an Amazonian flooded forest.
As a designer, I liked the dome’s juxtaposition of glass and steel and abstracted jungle motifs against living flora and fauna, and the changing vistas as I moved further up the dome. As a nature enthusiast, I enjoyed its subject matter; as a weary museum visitor, I appreciated its delivery: not too much, not too little; brief, interesting, and useful.
The bright, straightforward graphics make use of vivid photographs, and the occasional illustration of an animal signals your arrival in a new area of the jungle. Bamboo- or vine-like vertical posts give a stylized-naturalistic element to exhibit tanks. The light touch with exhibit elements gives the rainforest dome a feeling of exploration and discovery (just ignore the school groups).
At the top of the dome, look out over the three stories you’ve just visited, and down, through a 100,000 gallon tank, to the flooded forest floor. Take an elevator down, then enter the tunnel you were just looking through from afar. Everyone says “oooh.”
The aquarium level felt jam-packed and massive; it’s where I spent most of my time during a 3 hour + visit. There were many exhibitions to see: Amazon Flooded Forest, Water Planet, California Coast, Coral Reefs of the World, Twilight Zone, and more.
Down here, animal identification is found on digital touchscreens. They were intuitive and fun to use, and had just the right amount of information: an animal’s common name, its scientific name, diet, and a one-sentence fact about it.
Below are some photos of the Water Planet exhibition, which groups underwater animals by adaptations. Projected blue and green lighting casts an underwater glow on the sculptural wave walls (similar material here). In the center of the room are curvilinear tanks. [Side note: I was reminded of the Van Cleef & Arpels traveling exhibition, circa 2012. It must be the bubbles.]
The highlight of the Coral Reefs of the World exhibition is the 25-foot deep Philippine Coral Reef tank (above). The exhibit graphics in this area are large image-based wallpapers.
The exhibition Twilight Zone: Deep Reefs Revealed had just opened on June 10. Relatively compact, it was memorable for its tanks filled with the most incredible jellies and vivid deep sea fishes.
Stay tuned for the Academy, Part 2—a return to daylight!
I went to New York City a couple weekends ago—you know, to get away from the country.
My time was packed with museum visits, including my first to the Tenement Museum, at 97 Orchard Street in Manhattan’s Lower East Side; I took their Shop Life tour. The museum’s sixty- and ninety-minute-long tours are docent-led through restored tenement apartments. Most tours focuses on one apartment, one period in time, and one actual family; the Shop Life tour is slightly different in that it highlights multiple families, across time periods, who lived and worked in the basement-level shops. I would highly recommend the museum for an engrossing, educational experience. (Summertime hint: the Shop Life tour is the only one air-conditioned!)
From top left, clock-wise: volunteers pull weeds on the High Line; the entrance to the “Shop Life” tour at the Tenement Museum (no photos allowed inside!); Fly By Night at the Brooklyn Navy Yard; Goshka Macuga at the New Museum.
I also stopped by the New Museum, since I was in the neighborhood for the Tenement Museum, and truth be told, I was mostly perplexed (I’m not that hip, apparently). I paid another visit to the High Line, which has expanded and—as far as plantings are concerned—matured since I was last there. And I saw a performance of Duke Riley’s Fly By Night, in which, “at dusk, a massive flock of pigeons … elegantly twirl, swoop, and glide above the East River.” The pigeons wear LED anklets and respond to whistles and waving flags, flying overhead as commanded. The performance pays homage to the mostly forgotten culture of pigeon keeping and—with just another week to go—is being held at the Brooklyn Navy Yard, once home to the country’s largest naval fleet of pigeon carriers. I loved it.
At the Met Breuer, the Metropolitan Museum of Art’s new home for modern and contemporary exhibitions (in the Whitney’s former building), I saw the exhibition Unfinished. There was nothing ground breaking in the actual exhibition design, but the premise was compelling and a lot of the artwork was fantastic. Sometimes it’s about visiting a museum just to see the fantastic; it can’t and shouldn’t always be whiz-bang exhibit marvels and touch screens.
While at the Met Breuer, I also took in the Nasreen Mohamedi retrospective. (Just closed, on June 5.) After the jam-packed Unfinished, the meditative exhibition was a welcome respite.
At the Jewish Museum, I fell in love with Roberto Burle Marx. Burle Marx was a Brazilian artist who drew upon diverse cultural influences to reinvent the landscape architecture discipline. He incorporated abstracted, irregular forms, native plants (he was a passionate environmental advocate), and Brazilian modernism into his landscape designs. His work is incredible; visit this exhibition!
The exhibition design was spot-on, evoking the geometries and curves of Burle Marx’s landscapes while not distracting from the art on display. An interlocked massing of display cases in the center of the room dominated the exhibition space; an 87-foot-long tapestry (below, left), designed by Burle Marx for the Santo André Civic Center in 1969, provided a stunning focal point. His hand-drawn and painted landscape plans are wonderful to behold; some examples from the exhibition are shown below.
A few blocks north, Beauty, the Cooper Hewitt Design Triennial was bustling. The wide-ranging contemporary design exhibition is a must-see for designers and artists.
The exhibition design was minimal, just the simplest of reader rails and small text panels. The museum encourages use of its “pens,” which allow you to interact with the digitized collection on touchscreen tables and to save objects from the exhibitions to be accessed later. A nice benefit of accessing your visit online is that for each object, museum curators have selected related objects for further exploration. For example, the online entry for “Atmospheric Reentry,” designed by Maiko Takeda (above, left), led me to this hat from Cameroon and this “hairy” garden pavilion.
Below is one of my favorite entries from the Beauty Triennial, “Architecture is Everywhere,” designed by Sou Fujimoto Architects. From the project description: “the project discovers architectural possibility in found objects and everyday materials. Simple artifacts such as a lottery ticket, an ashtray, or a ring of binder clips become intriguing structures when placed on pedestals with tiny human figures.” It was delightful.
On Sunday I attended a tour of the [very cool] National Museum of Health and Medicine, now located in Silver Spring, Maryland. NMNH is a Department of Defense museum first established in 1862 as the Army Medical Museum, “a center for the collection of specimens for research in military medicine and surgery.” And do they have specimens…
The tour was organized by the Washington, DC chapter of SEGD—formerly the Society for Environmental Graphic Design, now the Society for Experiential Graphic Design—and led by members of the museum’s staff and the design team from Gallagher & Associates.
It was a crowd in attendance so we were split into two groups. My group was led by graphic designer Liza Rao, who was responsible for the museum’s fantastic colors and typography, and Andrea Schierkolk, NMHM’s public programs manager. It was a treat to hear reflections from both sides; what they love and what they love less; things that work great and things that didn’t turn out as expected. It was also a treat to see some of my former workmates!
The museum is divided into three major exhibits: the purple “Collection That Teaches,” the turquoise “Anatomy and Pathology,” and the brick “Advances in Military Medicine.” Crisp white casework and glass shelves give the exhibit a “lab-like” look that I enjoyed, and its bold shots of color look great against the mostly tan, cream, and yellow objects on display; yes, most of those objects are corporeal remains. (This museum is not for the sensitive of stomach.)
While the exhibits were designed precisely for the objects on display, they are still changeable—graphics can be slid in and out as objects are rotated or stories are changed.
Thank you to our new DC SEGD chairs, Liza and Chris, for the great program—keep them coming, please!
On view now at the Smithsonian National Postal Museum: “New York City: A Portrait Through Stamp Art”
“New York City: A Portrait Through Stamp Art” opened—today!—at the Smithsonian’s National Postal Museum. I was delighted to design the temporary art exhibition, along with a postcard booklet (free for museum visitors to take with them), and a special postal cancellation (available in the museum’s post office).
The thirty pieces of original artwork on display are part of the Postmaster General’s [extensive] Art Collection, and are arranged in six categories: Baseball, Broadway, City Life, Icons, Politics, and Music. (Who knew there were so many New York City-themed stamps?) The artwork was selected to “celebrate important citizens, events and iconic buildings that have defined New York City as one of the greatest cities in the world.”
(photo credit: Fotobriceno)
(photo credit: Fotobriceno)
The exhibition will be on view through March 13, 2017. If you want the distinct pleasure of seeing TWO Christine Lefebvre Design[-ed] exhibits in one museum, “Freedom Just Around the Corner” is also on view at the National Postal Museum, but for only two more months—until February 15, 2016.
I was in Montréal for just shy a week and spent a few hours at the Biodôme—so much fun! I have plenty to share of the rest of the museum, but to dip my toes back into blogging after (ahem) plenty of time away, here are some photos of the temporary exhibit/art installation, “Calme Aimant (Lazy Love).”
Within the low, glass-walled enclosure, sloths slept inside their cocoon-like nests, hanging from artistic interpretations of trees—the trees were wrapped in braids and painted in monochrome—while a couple of tortoises relatively raced around. Sheer white fabric panels hung from the ceiling, and waved slightly as people passed beneath them.
The exhibit invited guests to have a seat and enjoy a few moments of quiet contemplation. A quiet soundscape played from speakers hidden within the sofas—the speakers are the balls with red felt flowers—and fabric books told the sloths’ story.
“Lazy Love” was our last stop at the Biodôme, and it was a lovely, relaxing, quiet moment to end on. I’m sorry to report though that the exhibit closed last week, so à plus tard, sloths.
Back in November I took a trip to Warren, Vermont for a shoot with photographer Michael Tallman at the Archie Bunker House. When you hear “Vermont” and “architecture,” I’m sure your thoughts don’t wander beyond red barns and white churches, but look up Prickly Mountain—the “anti-establishment utopia” of contemporary architecture. The Archie Bunker House is in that neighborhood of modernist homes, and really incredible. The shoot was a blast, and I promised Dave Sellers, the owner and designer of the house, that I would visit the Madsonian, his industrial design museum up the road.
I ran out of time during that trip in November, but a few weeks ago I made good on the promise, returned to Vermont and paid a visit to the Madsonian Museum of Industrial Design in Waitsfield. The temperature outside was somewhere between 0 and 5 degrees, and inside, the museum wasn’t much warmer, but still my friends and I had a great time touring the museum with Mr. Sellers himself as our tour guide.
The museum has an Industrial Designers “wall of fame,” an assortment of chair designs, vintage advertisements torn straight from magazines and pinned to the walls…
…an automatic pencil sharpener, Polaroid cameras, and many, many more examples of fascinating vintage and antique industrial design. Most everything on display had a personal story attached, such as this menu from the SS Normandie ocean liner. A couple donated it to the museum after their visit—they’d honeymooned on the ship in the 30s and kept the menu as a souvenir.
The layout of the exhibit was strictly utilitarian, with minimal to no explanatory text or graphics and the bones of the building which housed it on display. One bit of clever exhibitry I liked was the use of retractable extension cord reels for spot lighting. Need to move something around? Just screw in a new hook.
The Madsonian currently has an exhibition of classic toy designs, featuring model airplanes and trains (including the two biggest model trains built), an original Mr. Machine, and a toy cement mixer with which a kid could mix actual cement. Apparently the fatal flaw of the toy’s was user error—most surviving examples are welded inoperable by dried cement!
Here are some more photos of the reception for “Freedom Just Around the Corner: Black America from Civil War to Civil Rights” at the Smithsonian Postal Museum. Thanks to photographer Bruce Guthrie for sharing these photos!
A full write-up soon!