It advocates the narrative of the project, based on the theme content and information, and is unique in the world through perfect creativity and extraordinary design scheme.
The scene design here includes
"Content determines form"-the design process no longer pays attention to function, but pays more attention to content. This is the development of Sullivan's "form following function", which has become the guiding principle of scene design.
The analysis and development of content and theme is the first step of design conception. At this stage, in-depth communication with customers, experts, marketing strategists and supervisors is particularly important. They need to determine the information and content to be conveyed, which will determine the shape of the building or the structure of the exhibition.
Creative converters will pay attention to the principle of "thinking from the end" emphasized by Uwe R. Brückner, and take the final audience and its expectations, acceptance, cognitive ability and personal perception as the focus of consideration. By reproducing the experience of tourists, we try to meet the needs of different user behaviors or personalized experience methods.
Scene design includes the most extensive means of space design, using architecture, drama, film and plastic arts to create a unique space "plot".
Space is our core medium, and we always take space as the subject and object, blending into it and running through it. No matter how to design scenes for exhibitions or buildings, space itself is regarded as a tool, which can be combined with all other tools and means to create a complete work of art. All exhibition spaces are inseparable from the following four parameters, which determine the expressive ability of space: style, atmosphere, narrative and plot.
Each parameter represents a special spatial quality, which can show the content, explore the essence, reveal the soul or be close to the source of a brand together with other parameters. Whether it is exhibition or architecture, in a conceptual scheme full of drama design and tension, the interaction of spatial parameters will guide the final audience to perceive the story and absorb the information, and all these effects are lasting.
Graphics and characters are the most basic, flexible and oldest tools in exhibitions and museum settings. Since the rise of three-dimensional planning, graphics and texts as tools have gradually developed from two-dimensional media to three-dimensional media. It originated from two-dimensional plane and eventually developed into three-dimensional space.
Graphics are the basic media for shaping and constructing space. It is not only suitable for architectural space, but also can express contents and stories intuitively in spatial scenes. Graphics and texts can present the theme in an abstract way in space, and can also be used as spatial arrangement elements to assist the presentation of spatial content and theme. Graphics can be used to decorate writing rooms, reading rooms, explanation rooms and even decoding rooms. Words and graphics can give space the ability to speak, turn it into an intriguing story, deeply imprint on visitors' minds, and even stimulate their imagination.
Graphic design plays an important role in the comprehensive design method of our firm. In order to fit the content, present and convey the theme and information properly, relevant designers should participate in the scheme design from the beginning and play an active role in the development of the overall appearance and the presentation of the scene.
The design that our firm is engaged in will never make digital media exist independently, but let it play the role of information transmission. They will appear independently or as a part of space, providing people with a window to know things, accept knowledge and understand the complex relationship between things in an emotional and creative form.
Digital media can be divided into two basic forms: "media station" and "spatially structured media". Many concepts of digital media are similar: making the final audience a part of the theme presentation, constantly transmitting information that is difficult to understand or transmit, and making them easy to accept and master.
Because multiple information levels can be highly parallel, it can make the audience understand the relevance of things more quickly and comprehensively. In time and space, all levels of acceptance and cognitive processing have a closer relationship, and even fully understand and master the background relationship; It can almost be said that comprehensive design, including digital media, can integrate sensory acceptance and brain cognition.
The display of content can usually be divided into multiple levels of audience groups, which can be visited, experienced and understood from the perspective of sensibility and rationality. Media is the second level of information reception, allowing visitors to accept and understand topics and information. The company adopted the on-demand information strategy proposed by Uwe R. Brückner to design the concept of this media application.
The "information on demand" strategy allows the end audience to decide the time, type and intensity of the media services they want. Therefore, the audience can intuitively obtain information based on personal experiences and experiences and meet their personalized needs from the differentiated information levels provided by the design. In this process of independently inspiring and continuously feeling the content, the audience will find their own interactive role and become part of the story told or the solution presented.
Hearing is a very ancient and primitive reception level, which mainly stimulates the non-cognitive and unconscious intuitive parts of the brain through noise, sound and music. Music and sound can directly stimulate or affect people's emotions, making people suddenly happy or sad. But all sound forms have one thing in common: they are invisible and have no image, but they form a unique image in the viewer's imagination. Lorenz Okun, a natural scientist (1779–1851) once described it appropriately: "Eyes let people enter the world; Ears let the world enter people's hearts. "
Sound has always been one of the tools in scene design, whether it is the deliberately designed sound in the space, the sound of introducing exhibits or exhibition themes into the overall atmosphere, or the story told in the form of radio or radio drama. Sound can be the entry point of space or scenery, and can also be used to carry important elements, becoming one of the flexible indoor facilities; We can develop dramatic effects and indoor scenes on the basis of traditional broadcast forms, and present content in new ways.
In excellent interior, architecture, space scene and object design, light is the decisive design element. Light can make the overall effect three-dimensional and make the hidden details clearly visible.
The light in the scene can not only be used for lighting, but also establish a connection between objects, which plays the role of elaboration, annotation and connecting the preceding with the following, making the whole full of dramatic appeal. Light plays a decisive role in the design of space and the overall state of space scene. With the help of lighting art, the spatial order becomes reasonable and wonderful.
Our lighting design concept completely follows the latest ergonomics and energy standards, and comprehensively plans natural light and artificial light. Generally speaking, artificial light is divided into three levels: architectural and indoor lighting, exhibit lighting and stage lighting. We integrate them into a whole, which has a decisive influence on the style, color and temperature of the space and can bring fundamental changes to the space within its scope of action.
Architecture and exhibition projects are extremely complicated. Although they have specific start-up conditions and specific project objectives, they often face enormous time and cost pressures. Comprehensive planning, continuous inspection and supervision of schedule, budget and quality is one of the important conditions to ensure the success of the project.
In the project, it is necessary to clarify the responsibilities and professional fields of team members. The project manager is equivalent to a hub, which needs to summarize the situation of each part: the project manager coordinates the work progress among customers, creative teams and professional planners, controls the process and work progress at the level of organizational planning and content design, assigns tasks, divides the scope of responsibilities, sets goals and time limits, and integrates all parties involved into a * * * workflow.
"Take the problem as a challenge waiting to be overcome and solve it with all participants in the process" is our motto, because the final result is the only test standard.
When intuition and reason pursue the same goal, the design process adopts dramatic techniques; When the techniques echo each other and the presentation methods are consistent, it shows that the design works have reached the best state, and the final content will be refreshing.
In this company, it is not only a creative and design strategy, but also a guide and navigation system. It allows us to analyze complex projects and their requirements, and then outline the framework, sketch and general plan, draw up elements that can add wonderful atmosphere and logical three-dimensional images, so that the design content can be presented in detail, and record the results for all project participants to use.
If people stick to their own ideas, cooperate with each other, be prepared to break through professional boundaries, and accept others' views with an open mind, they will often get unexpected surprises in strategy, experience form and presentation effect.
In order to fully cope with the increasingly complex buildings and exhibitions, the firm insists on interdisciplinary team work. Architects, graphic designers, scientists, engineers, product and media designers * * * make architectural and exhibition plans, with the aim of creating a whole work of art, so that the final effect of the work is better than the simple sum of the effects of the various parts, awakening all the senses of visitors.