Brief
One of the toughest tasks an exhibition designer faces is to turn a blank paper into a persuasive solution. My aim was to define a comprehensive system of thinking about staging, to help aid creatives through a spatial design process. In the case of staging, that solution is an embodiment of a concept, idea, information, feeling, etc. within and around the built environment- one that is convincing enough to delight and intrigue. From this thinking sprung the key question : If staging is seen as ‘the art of persuasion’ in space, is it possible to use classical theories of rhetoric in order to develop models and methods for 3D communication design? With those questions to guide me, I embarked on a study of classical theories and their possible relations to the design process.
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Standing on the shoulders of classical giants, I reconfigured popular methods from rhetorical theory - mainly established by Aristotle and Cicero in Roman and Greek times- for the new staging framework. The folowing three methods make up a chekclist for good staging practice :
To develop the tool I explored a number of different types of exhibition spaces from all over the world. From historical museums, to ceramic shops and cafe chains, I took the most relevant examples and ran them through the checklist of the new rhetorical theory for staging. When placed through the rhetorical filter, many seemingly different staging solutions revealed their similar intent, as well as the differences that made them unique. .
The unique book consists of 4 main chapters, each with further division based on key rhetorical elements. At the end of each is a summary that relates the elements of rhetoric to those of staging. If you get a chance to read it, be sure to look at the margins since they give clues for how to use the accompanying case-studies.
Using the findings and concepts in my thesis as raw content, I created an exhibition experience for those curious to stop by. I was pleased to see the somewhat abstract ideas I’d presented take a more physical form. This clarified and confirmed the validity of the heuristic framework for staging I put forward. It was also something that the visitors could touch and feel. They enjoyed flipping though the booklet, after wandering through the ‘narrative gallery’.