Dernie, D. (2006). Exhibition Deign. London: Laurence King Publishing.
Lorenc, J., Skolnick, L., & Berger, C. (2007). What is Exhibition Design? Singapore: Page One Publishing PTE LTD.
Mikunda, C. (2004). Brand Lands, Hot Spots & Cool Spaces. London: Kogan Page Limited.
Hughes, P. (2010). Exhibition Design. London: Laurence King Publishing Ltd.

Please select from the menu above

  • Anticipation

    This is used to whet people’s appetite, thereby arousing curiosity and building suspense.
    (Mikunda, 2004)

  • Brand environment

    An immersive commercial environment where all the elements of the exhibition are inspired by a company’s brand.
    (Hughes, 2010)

    Environment that are designed to promote an organization’s brand, rather than as spaces for selling.
    (Lorenc, Skolnick, & Berger, 2007)

  • Brand land

    An experience center built around a brand.
    (Mikunda, 2004)

  • Dwell time

    The average time taken by visitors at individual exhibits.
    (Hughes, 2010)

  • Engagement

    The process of gaining a visitor’s attention and encouraging him to bring his faculties to bear on a topic.
    (Hughes, 2010)

  • Environmental Graphics

    Graphics and information meant to be viewed as part of an architectural space or outdoor environment.
    (Lorenc, Skolnick, & Berger, 2007)

    Practitioners in this field are concerned with the visual aspects of wayfinding, communicating identity and brands, information design, and shaping a sense of place.

  • Exhibition Design

    The process or practice of developing environments that communicate a story.
    (Lorenc, Skolnick, & Berger, 2007)

  • Experience Design

    A business and design concept that utilizes analysis of the overall audience experience in the development of exhibition spaces.
    (Lorenc, Skolnick, & Berger, 2007)

  • Immersive environment or experience

    Highly controlled environments with sophisticated multi-media effects and lighting where the visitors are “immersed” in the themes and content of the exhibition.
    (Hughes, 2010)

  • Layering

    The process of using a variety of media to communicate ideas to diverse audiences.
    (Hughes, 2010)

  • Modular exhibition system

    A manufactured flexible temporary exhibit structure made up of a kit of parts that can be quickly assembled, installed and dismantled.
    (Hughes, 2010)

  • Path

    A physical or informational structure designed to direct the audience through an exhibition.
    (Lorenc, Skolnick, & Berger, 2007)

  • Precedents

    Reference material that shows relevant inspirational and/or influential examples of build design schemes.
    (Hughes, 2010)

  • Proximity
    nearness in place, time, order, occurrence, or relation.
  • Shop drawings

    Precise drawing of a design produced by an exhibition contractor to show their tradespeople how they have interpreted the designer’s drawings. These drawings are used by the fabricators during construction and assembly.
    (Hughes, 2010)

  • Suspense axis

    Deep perspective that pulls someone’s eyes into the distance.
    (Mikunda, 2004)

  • Teasers

    Lure you in, make you curious and are anticipation strategies.
    (Mikunda, 2004)

  • Technical drawings

    Formal drawings, now usually created on a computer, which are issued to building contractors and graphic production facilities to produce and install elements of the exhibition.
    (Hughes, 2010)

  • Theater in-the-round

    A circular or oblong theater where the audience is in the center and the display occurs around them, or the audience sits on the edge with the display in the center.
    (Lorenc, Skolnick, & Berger, 2007)

  • Touch tour

    A guided tour of a museum for visually impaired visitors where exhibits can be touched by hand.
    (Hughes, 2010)

  • Visitor attraction

    This term describes a wide range of leisure facilities intended to appeal to the visiting public. In some instances, exhibiting bodies that emphasize visitor experience over the acquisition of collections prefer to be known as visitor attraction to distinguish themselves from traditional museum displays.
    (Hughes, 2010)

  • Voice

    Especially for historical subjects, museum curators and designers report events through the eyes of a variety of observers or participants in the story. These varied perspectives are often known as “voices”.
    (Hughes, 2010)