Monday, 31 January 2011

Victoria and Albert Museum

1. Critique the logo
Does the logo relate to the architecture, galleries, and collections? 
Describe the overall essence/energy?


The logo contains a V, followed by the symbol “&” which is integrated into the right crosshatch of the letter A.  Notice that both of the letters (V and A) and slightly larger in size than the symbol &, allowing them to stand out as the primary focus of label, and thus the name “Victoria and Albert” becomes a primary focus as well.
            Also notice how the swirls and circular dimensions of the symbol “&” contrast with the rigidity of the two letters which border it.  The symbol “&” is also fully integrated into the letter A, as one of it’s feet becomes the horizontal crosshatch for that letter.  Both of these facts give off an essence of elegance integrated into solidarity, the organic with the geometric.  This reflects the nature of art, the ability to use hard skill to produce beauty, and is especially a reflection of both the Ironwork and Islamic Middle East collections.

2. Cast Courts
Describe your immediate impression(s) of walking into the Cast Courts (Gallery 46a / 46 / 46b) Gallery 46 possible closure. What educational purpose do these collections provide to visitors?



My initial impression upon entering the Cast Courts was one of grandeur.  Operating much like a cathedral, the main attractions, such as Trajan’s Column and the Statue of David, worked to draw my gaze skyward.  This made me truly feel the visceral weight of history, and helped to convey how small I was within the context of those who’ve come before me. 
            I believe the educational purpose of these collections were twofold.  As already mentioned, the collection inspires both awe and respect for the ability of past civilizations to create such works of beauty.  But they also work to communicate the values and the history of that time period.  For example, the Statue of David illustrates the great emphasis placed on the beauty of the human form, whereas Trajan’s Column literally tells the story of Roman military exploits.  Thus, in one swoop we are given both a knowledge of civilizations long past, but also a due respect for them.

3. Isotype
Do the icons/symbols represented in the Isotype exhibition have greater personality than the international system of signs? Elements to consider: legibility, color, dimension, mood, etc. Does this method of information graphics (image + text rather than text exclusively) communicate with a broader range of individuals? Exhibition location: Gallery 17a / 18a



The international symbols definitely seem to have a better degree of legibility than the symbols found within the Isotype collection.  This is mainly due to their black and white color scheme, which stands out very well and is both crisp and easy to see.  Also notice the uniformity of height and dimension within the international symbols, so that they appear less like images of people and more simply as units.  Thus, because they are better suited for legibility and also uniformity, they are would be better recognized globally than those found within the collection.  On the other hand, the non uniformity in both color and size of the images found in the Isotype collection allow them to convey moods and a sense of artistic freedom not necessarily found within the international symbols.
            This method of including imagery with text definitely communicates with a broader range of individuals.  In essence, the uniformity of the international symbols has allowed us to create a language of images, independent of the written languages that often serve to separate foreign peoples from one another.  Thus, it is a globalizing art, one that serves functionally to connect and bridge language barriers.
4. Pattern
Compare and contrast a pattern from the Ironwork collections (Galleries 113-114) with a pattern from the Islamic Middle East collections (Gallery 42) textile, vase, tiles, etc. Elements to consider: figure/ground, color, repetition, scale, rhythm, mood, etc.




In these two examples (one from Ironwork and one from Islamic Middle East), I believe the similarities in design far outweigh some of the more superficial differences between them.  Of course one object is a black, iron wrought overhang while the other is a colorful, circular plate.  What is most surprising, however, is the degree of similarity despite these differences.  The primary element connecting these two pieces is the way in which an organic element was arranged so that it felt both geometrical and symmetrical, so that there is a sense of balance within the vibrant life conveyed. 
            In the Ironworks piece, we see a set of five angels with looping, curling wings set along leaves that border a semicircular structure in the middle, which also contains a leaf/shell within its borders.  However, although the absence of straight edge lines evokes a sense of organic development, the symmetry (notice how the angels project off the center piece as perfect mirror images) keeps us grounded in pattern and design.
            The same may also be said of the Islamic Middle East piece.  Notice how the flower petal design as well as the color scheme (blue, brown and green) evoke a sense of life and the organic, whereas their symmetry around the center conveys pattern.  Inevitably, it is the symmetry and design that works to structure the organic and truly give it beauty.

5. Underground
How do elements of the Underground (identity/architecture) contrast to the Metro transportation in Madison? Feel free to discuss logo, color, bus stops, signage, mapping, etc. Exhibition location: Gallery Architecture Room 12a



In this section I mainly want to discuss the different elements utilized in the design of the two systems’ respective logos.  The Underground logo, to a small degree, uses elements found within other galleries of the museum.  For example, we see the mixture of a circle stamped with a hard, horizontal crossbar across the middle.  Thus, to some extent we have here the return of that classic mix between organic and symmetrical/design.  It is simple yet elegant.  Also notice that this is truly the primary focus of the logo, not necessarily the word “underground” written inside.  Although “underground” is very legible and centrally placed, it is the contrast in shape (circular vs. straight) and the symmetry they create that truly grab the attention of the viewer.  This combination serves to create one of the most memorable logos I’ve seen since arriving in London.
            The Madison Metro logo, on the other hand, does nothing of the sort.  Simply tilting the frame of the logo seems to imply speed, but really it just serves to destroy that element of symmetry and solidarity that the Underground logo evokes so well.  Also notice how the Metro system overemphasizes the letter “M”, whereas the Underground logo emphasized the shape of the logo itself.  The difference, quite simply, is that the letter M, or any letter for that matter, is not very memorable, and certainly doesn’t evoke an idea of the Madison metro system.  I have seen the letter M a million times in other places, and so choosing this as one’s primary logo leaves the logo stranded in the land of unoriginality.  Even the color scheme ruins the symmetry, as there really is no reason to have those colors only at the top, or even to have them at all.
            The difference in busses is also notable.  London’s busses are a bold red, and are also contain a double deck which has served as an icon of the city for quite a while.  And once again Madison’s buses fall flat.  There is nothing memorable in their color scheme, and certainly nothing in their design that evokes originality or allows it to be remembered.
            Thus, I would encourage the Madison Metro system to take a look at the Underground logo and bus design and attempt to find their own logo and therefore a new identity.

6. Object of appreciation
Provide a short description of your favorite object from the collections? Please provide label information such as name, date, origin, etc. Why would you return to this object for greater contemplation? 



            I would have to say that my favorite object within the collection was Trajan’s Column, found within the Cast Courts.  It is a truly beautiful Roman work erected in A.D. 113, and is dedicated to the military exploits of Emperor against the Dacians of the Danube Frontier in the year A.D. 101-102 and 105-106.  This object stands at a surprising height of 38 meters and carries the story of those military exploits, told by the carvings that surround the column from top to bottom.
            The reason I’d return to this item is simply because it was this item that truly elicited an emotional response from me.  Not only did the height of the object strike me with awe, but also the carvings.  The carvings not only serve to please the eye, but also to tell a historical story.  And there is beauty in this, for the same reason that there is beauty in literature.  This column is not only pleasing to the eye, but it reminds us of the importance to record events, for the driving need to remember.  That is why I found this item the most striking in the museum, and I would definitely return to further contemplation.

Monday, 24 January 2011

Science Museum

1. Critique the logo
Does it relate to the mission / subject matter / content? 
Is it appropriate for the audience?

The logo for the Science Museum makes great use of both space and font type to give the museum a trademark which relates fully to the subject matter of the museum itself. 

Perhaps the most notable feature about this logo is the breaking up of both “science” and “museum” into two rows.  This at first appears rather cryptic and illegible, but that initial feeling is soon eased by the uniformity we find among the font type.  The entire logo makes a near perfect rectangle, and the letters are lined in complete unison.  This allows us to “decipher” the message, which is exactly the method science chooses to answer the mysteries of the world.  This, of course, is in addition to the font type, which appears sharp and mechanical, as if it were engineered and robotic.  Thus, this logo is both perfect for the subject matter (science) and is clearly meant for a logical, thinking audience.

2. Navigation
Is there a clear path to exhibitions? 
Do the signs adequately navigate users?
Does the museum plan allow for several paths?
Is the handout/map legible for navigation?

Navigating the science museum was relatively painless.  Upon entrance to each floor/section, there was always a sign listing all of the exhibits that could be found on that level (along with arrows pointing out directions).  This was done cleverly, because it allows the public to decide for themselves if they would like to participate in those exhibits, rather than forcing them through each.  Indeed, having options was the best part about navigating this museum.  Each floor had multiple exit/entrance points (stairs, elevators, etc.) each located near a different exhibit on that floor.  This facilitated an open ended exploration of the museum, where one could exit the current floor almost on a whim in search of new excitement.  Signs near these exit points were also incredibly helpful, as they indicated the exhibits to be found on other floors, and whether to walk up or down.




The map was well laid out, uncluttered, and effective, with a font choice that is clear and legible.

Perhaps my only gripe with the layout of the museum was with the location of the exhibits labeled “Who Am I?” and “Atmosphere”.  They were located on the second and third floors respectively, though what I found strange was that the rest of the floor was inaccessible from these points.  Even though this rather isolated area only contained two exhibits, I still felt that it somewhat dampened the open ended feel.


3. Shop / Cafe
Describe how the shop and cafe extend or compromise the brand? Do products (merchandise) reinforce the brand?

The shop and café were both located on the ground floor nearby the entrance, therefore providing a memorable rest area where one could both purchase food and merchandise easily.  Both were labeled in the same mechanical font similar to that found on the museum’s main logo, thereby extending the brand, as well as allowing these areas to blend in easily with the rest of the museum. 


The café was laid out wonderfully.  There was a wall circling the entire thing that was probably a little over four feet in height.  This allowed one to peer into the café, which felt accessible.  On the other hand, the wall also created an enclosed, designated area which was completely distinct from any exhibit, allowing the customers to feel secure and comfortable.


The shop was also great.  It was a large, open space that allowed for free movement and exploration.  This made it feel like an exhibit of its own.  The merchandise also fit the brand.  The toys were fun, but were also incredibly interesting, and many had functions that made me think of science fields such as physics or robotics.  For example, as soon as I walked in, I noticed an employee standing in the center of the shop throwing a small boomerang in tight circles to himself.  Not only did this make me consider the wonder of the boomerang’s abilities, but his act of throwing this thing in a store encouraged shoppers to explore in a very “hands on” sort of way.  Thus, the exploration and discovery aspects of the museum were represented wonderfully well in the shop.


4. Display cases
Compare and contrast the display cases throughout the museum.
Do they function to protect? How is text integrated into the display?

Display cases tend to have a very difficult job.  They must both draw in the viewer by making the object accessible, and yet they must also separate the viewer physically from the object.  In my opinion, the Science Museum’s strength was in how they decided to functionally protect each object, and how the method changed depending upon what the object was.  For example, objects that were either small or fragile were kept in glass casings throughout the floor of the museum.  I agreed with this choice, as these objects, fragile as they are, need complete protection.  On the other hand, large objects that aren’t easily damaged (such as tractors, steam engines, etc), were often left in the open, with only a waist level railing surrounding them.  Sometimes they were elevated on a platform.  What I loved about this is that this displays trust while encouraging an interactive environment around the object.  And yet, it also displays clearly defined set boundaries. 



The text was very insightful and blended easily with the display.    Often, the text displayed a similar color scheme either with the display itself or with the environment surrounding the object (see the plasticity photo how the sign completely matches the red plastic environment).  If the text was located on a waist-high rail, there would frequently be an arrow pointing to the object it described.  Thus, attention was always being directed towards the object, which was clearly meant to be our main focus.  The text acted in a more supportive role.

5. Exhibits
Describe the details of your favorite exhibit
Consider color, layout, content, objects. Why is this memorable?

My favorite exhibit was definitely the “Who Am I?” exhibit.  Immediately upon entering the room, it became clear that the displays were very different from any I had seen up to that point. 





Nearly all displays were interactive.  At all points on the floor, I saw people laughing, poking at glowing screens, standing for a picture in front of a machine, etc.  One exhibit involved creating an avatar of yourself, where you would get your picture taken and then have it uploaded onto a screen.  From there you could analyze things such as your facial features.  At another table, various visitors sat at screens around a table, where they competed in games that tested things such as reaction time and memory.  At yet another display, one could test how masculine or feminine they really were by responding to a series of questions.  All of this was held in an open, free environment, encouraging us all to move around and to literally discover who we were in step-by-step fashion.  For the first time during the visit, I literally became the object of interest, and was allowed to explore to the fullest.  This is the true method of science, and therefore this exhibit felt like the best reflection of the museum’s theme.

6. Facts
What critical information did you learn from your visit?

In my opinion, one of the most important facts displayed within the museum was the DNA model, which was discovered in 1953 by Watson and Crick.  This structure facilitated our understanding of nearly everything we know about DNA, such as how it divides, why there are certain exact ratios among its molecules, etc.  It was a truly pivotal shift in our thinking, and expanded our knowledge within many fields like microbiology, medicine, and even evolution.  Thus, it deserved its spot in the museum, and I believe it is a critical piece of scientific history.



However, I would say that what I got out of this experience goes far beyond any one display.  For the first time, I actually was paying more attention to the layout of the museum, and attempted to understand why it was laid out the way it was.  Thus, I learned much more about design and functionality than I ever thought I would, and to me this was the most important part about the visit.