View allAll Photos Tagged ExhibitionDesign
Abu Dhabi stand at the World Travel Market in the Excel Center, Canary Wharf, London.
Exhibition stand design by WOOD Design & management - bit.ly/155WZAH
***EXPLORED*** Nov 13, 2008 #377
©ALL RIGHTS RESERVED
2009, 2010 and 2011 catalogue designed by London office Madethought.
photographed by
Frank Dinger
BECOMING - office for visual communication
Saint Benedict and Benedictine spirituality, temporary exhibition
14th May 2015 – 30th September 2015
Curator/photo: Ágnes Kusler
© Copyright: Narmer Architecture Studio
Saint Benedict and Benedictine spirituality, temporary exhibition
14th May 2015 – 30th September 2015
Curator/photo: Ágnes Kusler
© Copyright: Narmer Architecture Studio
Saint Benedict and Benedictine spirituality, temporary exhibition
14th May 2015 – 30th September 2015
Curator/photo: Ágnes Kusler
© Copyright: Narmer Architecture Studio
Catalogue, guide and ticket of fair Design Miami / Basel 2009 designed by London office Madethought.
photographed by
Frank Dinger
BECOMING - office for visual communication
A graceful spiral staircase draws the eye downward in this elegant architectural capture, leading visitors toward the entrance of the Timeless Mucha exhibition. The photo, taken from above, cleverly frames the curve of the stairs as they descend in a half-moon arc, their dark carpeted steps contrasting beautifully with the warm wood parquet flooring below. The golden handrail gleams softly under the ambient lighting, adding a luxurious touch to the otherwise minimalist interior.
Along the wall, the stylized text "TIMELESS MUCHA" appears in distinctive Art Nouveau-inspired lettering, honoring the iconic style of Alphonse Mucha himself. Below the title, a directional note guides viewers to the exhibition beginning on the third floor, hinting at the cultural richness that awaits beyond the staircase.
This image doesn’t just document a space—it invites contemplation. The interplay of textures, from the rich wood grain to the soft carpeting and crisp white walls, adds depth and dimension. The clean architectural lines of the building’s interior are softened by the curvature of the stairs, echoing the organic elegance of Mucha’s own work, known for its flowing lines and natural forms.
Exhibitions dedicated to Alphonse Mucha often highlight his influence on turn-of-the-century visual culture—posters, panels, and decorative designs that helped define the Art Nouveau movement. By starting the viewer’s journey with a moment of calm and beauty, this staircase shot pays homage to the thematic harmony and detail found in Mucha’s compositions. The lighting is warm and subtle, lending a museum-like serenity to the image while emphasizing form and function in the architectural design.
Captured in an art museum or gallery setting, this photo functions both as documentary evidence and a standalone artistic piece. It plays with the concepts of perspective and narrative, positioning the viewer as if they are about to descend and explore the world of Mucha firsthand.
For fans of architecture, interior design, or art history, the photo offers more than a visual—it's an invitation to step into the world of one of the great decorative artists of the early 20th century. Whether viewed as part of a personal travelogue or a larger project focused on museum spaces and cultural exhibitions, the image gracefully captures a moment of stillness and anticipation, poised at the threshold of timeless beauty.
Immerse yourself in the timeless appeal of Fender bass guitars with this striking display at the Fender Custom Shop. Showcased within a sleek, minimalist cabinet, these iconic instruments exude both sophistication and power. Each bass is uniquely crafted, showcasing Fender’s dedication to precision, innovation, and artistry. From the classic sunburst finish that evokes the golden age of rock and jazz to the bold, modern colors that push the boundaries of aesthetic design, this collection caters to both traditionalists and forward-thinking musicians. The architectural arrangement of the display is deliberate and refined, featuring warm, diffused lighting that highlights the contours and craftsmanship of each instrument. The recessed design of the display provides a museum-like experience, enhancing the visual impact of the guitars while emphasizing Fender’s commitment to quality and attention to detail. Whether you are an avid bassist, a collector, or simply an admirer of exquisite design, this installation is a testament to Fender’s unparalleled reputation in the world of musical instruments. The harmony between the guitars’ shapes and the clean, structured lines of the display cabinet creates a visual symphony that appeals to both the eye and the soul.
A jolly little booklet issued by the Tea Centre in London for the 1951 Festival of Britain. The illustrations are by "LS" - Laurence Scarfe - and the booklet was written by Oliver Warner. It was printed by the Curwen Press, Plaistow.
The Tea Centre was situated on Lower Regent St in London, at the corner of Jermyn Street, and it was funded by the Tea Bureau who, on behalf of the Tea Market Expansion Board, ran the Tea Centre. The Board was funded by a levy on all exports from the producers in India, Ceylon, Pakistan, Indonesia and East Africa. It opened in July 1946 and was designed by Misha Black to include exhibition and demonstration areas as well as a Tea Bar for the public. For the 1951 Festival of Britain the Centre received an 'overhaul', this designed by Maxwell Fry and Jane Drew. All three designers were to play a role in the design fo the Festival itself.
The booklet discusses the history of tea production, importation and its growth as a beverage int he UK - at the time tea was the 'drink of choice' here. The Centre is also described and it includes a list of the exhibitions staged at the Centre between 1946 and 1951.
Unstudio
(Ben van Berkel & Caroline Bos) exhibition at Aedes Architekturforum Berlin May 18 - July 4 2013
photographed by
Frank Dinger
BECOMING - office for visual communication
Opening of the exhibition "Frei Otto. Denken in Modellen" at ZKM Karlsruhe
photographed by
Frank Dinger
BECOMING - office for visual communication
A jolly little booklet issued by the Tea Centre in London for the 1951 Festival of Britain. The illustrations are by "LS" - Laurence Scarfe - and the booklet was written by Oliver Warner. It was printed by the Curwen Press, Plaistow.
The Tea Centre was situated on Lower Regent St in London, at the corner of Jermyn Street, and it was funded by the Tea Bureau who, on behalf of the Tea Market Expansion Board, ran the Tea Centre. The Board was funded by a levy on all exports from the producers in India, Ceylon, Pakistan, Indonesia and East Africa. It opened in July 1946 and was designed by Misha Black to include exhibition and demonstration areas as well as a Tea Bar for the public. For the 1951 Festival of Britain the Centre received an 'overhaul', this designed by Maxwell Fry and Jane Drew. All three designers were to play a role in the design fo the Festival itself.
The booklet discusses the history of tea production, importation and its growth as a beverage int he UK - at the time tea was the 'drink of choice' here. The Centre is also described and it includes a list of the exhibitions staged at the Centre between 1946 and 1951. This Centre, at 22 Regent St, latterly became the Ceylon Tea Centre, one of several around the UK, that I recall visiting and shopping in as a child - my introduction to the many teas I still drink today!
Opening of the exhibition "Frei Otto. Denken in Modellen" at ZKM Karlsruhe
photographed by
Frank Dinger
BECOMING - office for visual communication
The new post-war world of town planning here in the UK included the designation and construction of a series of 'new towns', mostly in a ring around London, with the intention of creating towns that conformed to the ideals of the Garden Cities eschewed by Ebenezer Howard and others. The intention was allow for the reconstruction of the crowded slums of London and similar cities at improved densities whilst ensuring that suburban 'sprawl', that had started to enclose London, was stopped. The New Towns were not just dormitory towns but had planned industry and services to help create viable settlements. Needless to say the selection of sites for the New Towns was often complex and contentious and this was the case for the proposed settlement to the north east of London in west Essex. Originally Ongar was seen as a possible site (it still remains a small settlement) but interest soon shifted to the neighbouring villages around Harlow adjacent to the Lee Valley. The town was 'designated' under the 1946 New Towns Act and set up in 1947.
This new town was guided from inception and through the first phases of development by the noted architect Sir Frederick Gibbard who, to give him his due, did live here. The town was based on a series of neighbourhoods that were dispersed with sections of retained countryside, as parks, between them and to allow for building in stages. This image of a scale model appears in "Exhibition Design" published in 1950 and edited by the noted designer Misha Black. We're looking almost north here and the main cluster that can be distinguised is the intended Town Centre that was constructed on this site but never completed to Gibbard's original designs. Indeed, and sadly, recent years have seen radical and unfortunate changes to what was built. To the north is the first major industrial area, parallel to the river valley and main line railway to London. This was also the proposed route of the "London - Cambridge Motorway" and the road network does aim at this trajectory - so the MoT eventually built it to the east of the town and Harlow still suffers from this 'decision'. The model basically shows the proposed raod layouts and potential sites for nirghbourhoods - it also shows these as dual carriageway roads and again these were constructed as single carriageways, apparently because Essex County Council as the road agents didn't consider them necessary in the early 1950s at a time when private car ownership was low and not seen as 'essential'. In a dispersed settlement such as Harlow, that made difficult bus operating territory for London Transport who ran the services here, and it is still an issue here. The road in the foreground is what would become Southern Way, with Staple Tye neighbourhood shopping centre's site shown. Abercrombie Way strikes north and meets Third Avenue, the site of Great Parndon sitting to the east. The model, or this view of it, doesn't show what were the first sections of the town to be completed around the original settlement of Harlow such as Latton.
Opening of the exhibition "Frei Otto. Denken in Modellen" at ZKM Karlsruhe
photographed by
Frank Dinger
BECOMING - office for visual communication
"exhibition "exhibitions "exhibition contractor" "stand contractor" "design contractor" "design exhibition" "interior design" "stand exhibition" "stand design" booth "jakarta event" kontraktor "kontraktor pameran" arsitek architect gambar "interior desain" "desain rumah minimalis" "gaya desain" "minimalis desain" "indonesia desain" contractor "stan system" "exhibition booth design" design "design system" "architect design" "architectural design" "design award" "creative design" "modern design" "furniture design" "layout design" "good design" expo "exhibition design" conference "exhibition booth" "furniture exhibition" "furniture expo" "trade fair" "trade fairs" REDLINE EXHIBITION CONTRACTOR - 0818.07183888, website : www.exhibitioncontractor.blogspot.com
A fascinating publication - a portfolio containing 32 sheets illustrating the range of work undertaken by Cockade Ltd of London and issued in 1949. The folder is printed at the Shenval Press, then regarded as one of the best printers, and the boards are decorated on the cover with the cockade symbol, the inner boards with a very contemporary 'star' pattern.
Cockade was founded by Sir Stephen George Tallents (1884 - 1958), one of the most brilliant civil servants of his generation. His interests in public relations grew following his appointment as Secretary to the Empire Marketing Board in 1926 - the organisation that in its seven years of existance gained an interantional reputation for the quality of its publicity and advertising. When it was wound up in 1933 Tallents moved to the GPO taking with him the EMB's film unit that, as the GPO Film Unit, is regarded as one of the pioneers of the documentary film movement. After service in the Ministry of Information in WW2 Tallents formed Cockade Ltd to produce, as the introductory essay shows, display material of a wide range - both in terms of design and manufacturing. This portfolio has the added attraction of bearing Tallent's signature, dated 1950.
Cockade employed a wide range of talent from the art, design, publicity and public relations fields and boasted a considerable client list. Sadly the cover motif and lettering is not ascribed to a designer but at least one of the illustrations is by Hugh Casson, the well known architectural illustartor. The other may be by Richard Guyatt.
Opening of the exhibition "Frei Otto. Denken in Modellen" at ZKM Karlsruhe
photographed by
Frank Dinger
BECOMING - office for visual communication
It is always rather interesting to see posters displayed 'in real life' and here, described as 'electrical propaganda posters', you get a fine idea of what a group of posters would have looked like to the visitors at an exhibition. The posters displayed are mostly generic ones issued by the Electrical Develoment Association, an early UK publicity proponent of the use of this 'new' fuel and that assisted electricity undertakings in developing markets both domestic and industrial.
The Metropolitan Borough of Stepney was one of the London local authorities that chose to run its own electricity supply undertaking - supply in large areas of the capital was in the hands of private companies - and Stepney had its own power station, Stepney or Limehouse Generating Station that was commissioned in 1907. It also I suspect supplied the neighbouring Borough of Bethanl Green's undertaking. The display stand also shows the marvellous domestic comforts that electriicty could bring into the home. It looks very 'middle class' and in all honesty East End Stepney was not particularly blessed with such a market!
The 1938 Empire Exhibition, held at Glasgow, is reviewed in this the July 1938 edition of Art and Industry Magazine. In some ways the article pans quite a lot of the exhibition design but the author, Walter Landauer, did single out the ICI Pavilion seen on the cover and that was designed by Basil Spence, who went on to a notable career in architecture and design. Th eopening page of the article shows one of the highlights of the exhibition - the sadly lost Tait Tower, so called after the Exhibition's chief architect and designer, Thomas Tait, and that stood highlighting the site at Bellahouston Park. This landmark was considered too conspicuous in wartime days and was demolished.
Munich Olympic Parc 1972
Opening of the exhibition "Frei Otto. Denken in Modellen" at ZKM Karlsruhe
photographed by
Frank Dinger
BECOMING - office for visual communication
I actually have quite a liking for this clevery conceived corporate identity that was commissioned by the brewery group Watney Mann Ltd in 1966 from the Design Research Unit. At the time Watney Mann were, like many other major brewers, busy acquiring many smaller regional concerns, and the subject of a corporate identity for the design of disparate elements such as advertising, publicity, packaging and architecture was being considered by many such companies.
Wattney Mann went to one of the greats - the Design Research Unit who at the time were probably at the peak of their powers - in the early to mid 1960s they, for example, undertook the rebranding of British Rail and did the design specification for London Transport's new Victoria line Underground. This project is credited to one of their founding partner's, Milner Gray, but also nicely credits other involved. Watt Mann, instead of sweeping away their regional subsidiaries and brands, realised that they had considerable local loyalties that could be retained and exploited. The clever trick was to present them in within a single 'look' across the whole group. The identity was also capable of a degree of adaptation, such as for differing styles of public house or property architecture, so as to be more sympathetic to a particular age or style of pub. The look was also carried across bottle labels, pump clips and vehicles. The graphic design and style was also suitably robust enough to speak to previous brewery styles without being too retro - a clever trick.
All in all it reminds me of the work we did at LondonUnderground some years ago on design specifications for different thematic groups of stations - by company, architect or age so as to look sympathetic to each 'type' yet part of the Underground system and 'look'. Watney Mann staged an exhibition of their new look at the London Design Centre along with the Council of Industrial Design who were keen to showcase the approach. The exhibition design itself is a gem - even down to that street facade of public houses to show how the 'look' could be applied and much use of the various now long lost local brewery names.
Opening of the exhibition "Frei Otto. Denken in Modellen" at ZKM Karlsruhe
photographed by
Frank Dinger
BECOMING - office for visual communication
Interactive Environmental Display in the Lightbox Museum & Gallery, Woking UK.
View Rod's map illustration portfolio
© Rod Hunt 2008
Photos © Ben Knight 2008
Data sculpture at Berlin's Museum für Naturkunde showing a sliced 3D view of the "population pyramid" graph for the German population 1900-2000. Very effectively demonstrates the effects of World War 1+2 on age distribution.
Design apparently by Atelier Brückner:
atelier-brueckner.com/en/news/press-releases/press-releas...
The 1938 Empire Exhibition, held at Glasgow, is reviewed in this the July 1938 edition of Art and Industry Magazine. In some ways the article pans quite a lot of the exhibition design but the author, Walter Landauer, did single out the ICI Pavilion seen on the cover and that was designed by Basil Spence, who went on to a notable career in architecture and design. Th eopening page of the article shows one of the highlights of the exhibition - the sadly lost Tait Tower, so called after the Exhibition's chief architect and designer, Thomas Tait, and that stood highlighting the site at Bellahouston Park. This landmark was considered too conspicuous in wartime days and was demolished.
Catalogue, guide and ticket of fair Design Miami / Basel 2009 designed by London office Madethought.
photographed by
Frank Dinger
BECOMING - office for visual communication
Opening of the exhibition "Frei Otto. Denken in Modellen" at ZKM Karlsruhe
photographed by
Frank Dinger
BECOMING - office for visual communication
Design of a Pole House 1961
Opening of the exhibition "Frei Otto. Denken in Modellen" at ZKM Karlsruhe
photographed by
Frank Dinger
BECOMING - office for visual communication
The front cover of the July 1938 edition of Architectural Review that looked at the Empire Exhibition held in Glasgow that year. One of a series of such exhibitions (that arguably ended with the 1988 Glasgow Garden Festival) the covers illustrates various of the pavilions and buildings that comprised the main site at Bellahouston Park. For such a sizable undertaking, with many designers and architecs involved, these exhibitions were ultimately 'ephemeral' in that once closed the buildings were demolsihed and the site cleared - the often substantail appearance of structures were often architectural veneers over basic structure. The various pavilions etc often had 'national' components to their design reflecting that sponsoring country. One structure survived 1930 - Thomas Tait's famous tower but it was removed after the outbreak of war in 1939. I understand one structure does exist from the Exhibition - relocated to Prestwick in Ayrshire and used as a hanger?
Design, grafics and realization:
Exhibition about the evolution at the Museum for Natural Sciences Bolzano within the Darwin year 2009.
A fascinating publication - a portfolio containing 32 sheets illustrating the range of work undertaken by Cockade Ltd of London and issued in 1949. The folder is printed at the Shenval Press, then regarded as one of the best printers, and the boards are decorated on the cover with the cockade symbol, the inner boards with a very contemporary 'star' pattern.
Cockade was founded by Sir Stephen George Tallents (1884 - 1958), one of the most brilliant civil servants of his generation. His interests in public relations grew following his appointment as Secretary to the Empire Marketing Board in 1926 - the organisation that in its seven years of existance gained an interantional reputation for the quality of its publicity and advertising. When it was wound up in 1933 Tallents moved to the GPO taking with him the EMB's film unit that, as the GPO Film Unit, is regarded as one of the pioneers of the documentary film movement. After service in the Ministry of Information in WW2 Tallents formed Cockade Ltd to produce, as the introductory essay shows, display material of a wide range - both in terms of design and manufacturing. This portfolio has the added attraction of bearing Tallent's signature, dated 1950.
Cockade employed a wide range of talent from the art, design, publicity and public relations fields and boasted a considerable client list. Sadly the cover motif and lettering is not ascribed to a designer but at least one of the illustrations is by Hugh Casson, the well known architectural illustartor. The other may be by Richard Guyatt.
A fascinating publication - a portfolio containing 32 sheets illustrating the range of work undertaken by Cockade Ltd of London and issued in 1949. The folder is printed at the Shenval Press, then regarded as one of the best printers, and the boards are decorated on the cover with the cockade symbol, the inner boards with a very contemporary 'star' pattern.
Cockade was founded by Sir Stephen George Tallents (1884 - 1958), one of the most brilliant civil servants of his generation. His interests in public relations grew following his appointment as Secretary to the Empire Marketing Board in 1926 - the organisation that in its seven years of existance gained an interantional reputation for the quality of its publicity and advertising. When it was wound up in 1933 Tallents moved to the GPO taking with him the EMB's film unit that, as the GPO Film Unit, is regarded as one of the pioneers of the documentary film movement. After service in the Ministry of Information in WW2 Tallents formed Cockade Ltd to produce, as the introductory essay shows, display material of a wide range - both in terms of design and manufacturing. This portfolio has the added attraction of bearing Tallent's signature, dated 1950.
Cockade employed a wide range of talent from the art, design, publicity and public relations fields and boasted a considerable client list. Sadly the cover motif and lettering is not ascribed to a designer but at least one of the illustrations is by Hugh Casson, the well known architectural illustartor. The other may be by Richard Guyatt.
A fascinating publication - a portfolio containing 32 sheets illustrating the range of work undertaken by Cockade Ltd of London and issued in 1949. The folder is printed at the Shenval Press, then regarded as one of the best printers, and the boards are decorated on the cover with the cockade symbol, the inner boards with a very contemporary 'star' pattern.
Cockade was founded by Sir Stephen George Tallents (1884 - 1958), one of the most brilliant civil servants of his generation. His interests in public relations grew following his appointment as Secretary to the Empire Marketing Board in 1926 - the organisation that in its seven years of existance gained an interantional reputation for the quality of its publicity and advertising. When it was wound up in 1933 Tallents moved to the GPO taking with him the EMB's film unit that, as the GPO Film Unit, is regarded as one of the pioneers of the documentary film movement. After service in the Ministry of Information in WW2 Tallents formed Cockade Ltd to produce, as the introductory essay shows, display material of a wide range - both in terms of design and manufacturing. This portfolio has the added attraction of bearing Tallent's signature, dated 1950.
Cockade employed a wide range of talent from the art, design, publicity and public relations fields and boasted a considerable client list. Sadly the cover motif and lettering is not ascribed to a designer but at least one of the illustrations is by Hugh Casson, the well known architectural illustartor. The other may be by Richard Guyatt.
The idea of this exhibition design came from the packaging design of their products. It has the main differentiating factor from its competitors. Moreover, it is original and easy to recognize. Thus, we enlarge the packaging and place it in the middle of the exhibition booth, which also acted as a storage room, to attract potential customers at their first exhibition show in Singapore.