Benjamin Hubert’s studio designed a modular system of display plinths and wall mounts for this year’s Patterns of the Yr exhibition at the Design Museum in London .
Picture courtesy of Benjamin Hubert
London-based designer Benjamin Hubert was asked to develop the displays for all 76 shortlisted tasks in this year’s exhibition, which selection from massive architecture tasks by way of to interactive street crossings, apps, cars, books and vogue collections.
Image courtesy of Benjamin Hubert
Other objects on show incorporate responsive street lights that play with the shadows of passers-by and a mushroom-based modelling kit.
This year’s exhibition occupies the gallery area on the prime floor of the Design Museum’s creating in Shad Thames.
“For the very first time in the Style Museum’s history, the complete 4.5-metre height of the interior has been utilized to minimise visual noise and boost exhibition surface location,” said Hubert.
“Site visitors are welcomed to the room by a dramatic cantilevered entrance structure that extends more than the main stairwell,” he explained. “This fluid layout language is continued in the architectural framework of the whole exhibition area, which was inspired by the paper canvas utilized in photography studios.”
The entrance framework curves in a single route over the stairs at the leading with the title of the exhibition printed on the front in pink and orange lettering.
It flicks back in the other course at the base, supplying stability and creating a display for a single of the exhibits – wheelchair wheels that substitute spokes with springs so they can be used off-street.
The walls of the area are clad in pine panels covered in a thin strip of versatile MDF – a material created by compacting fibres of wood – and coated with a smooth white finish.
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Hung just below ceiling degree, these cover the walls in sections, with the lower panels curving out at distinct levels to produce displays of distinct heights.
Two big white partitions develop a corridor down the centre of the area. The introductory text for the exhibition was applied to the surfaces in a black typeface that conforms with the Style Museum’s branding.
“The modular system can be utilised to display floor-standing objects, table-height exhibits, angled reading material and wall graphics,” stated Hubert.
“Our notion was clarity and consistency – the typeface is branding policy from the Layout Museum. We targeted on using type across the curved entrance to emphasis the shape and drama of the exhibition.”
Freestanding steel signage is arranged in front of some of the displays with info about each project, and each and every exhibit has a brief description printed in black lettering on the wall over it.
The styles on show cover six categories: architecture, digital, vogue, product, graphics, and transport.
Some – like the BMW i8 hybrid electrical and petrol-powered auto and a bench produced from blocks of dye-soaked wood by London studio Raw Edges – are exhibited in complete size. Others are proven as versions, or represented by photos applied to the walls or movies that are shown on flat screens with headphones so end users can listen to the narrative without disturbing other visitors.
Model of the exhibition design
Hubert’s personal Ripple table, which weighs just nine kilograms and was described as the lightest table in the planet, was shortlisted for the Style of the Year prize final year, so the designer had presently knowledgeable becoming component of the annual exhibition of shortlisted entries.
Model of the exhibition design and style
“Getting a merchandise exhibited last yr helped us recognize the options and pitfalls in the exhibition design of 2014,” Hubert told Dezeen. “Clarity and cohesiveness were the primary possibilities we could see that required bettering on previous shows and we constructed the foundations of our design and style on these values.”
Model of the exhibition design
The winner of the Style of the Year 2015 award will be announced in Might and the exhibition will be open to the public till 23 August.
Photography is by Mirren Rosie, except if otherwise stated.
