APPLYING SCIENCE AND TECHNOLOGY IN MODERN EXHIBITION INTERIOR DESIGN

ABSTRACT

With the rapid development of science and technology, exhibition interior design in the early 21st century has innovated in applying technology, enhancing interaction and giving users a realistic visual experience and easier communication. This article applies the method of secondary data research and case analysis to clarify the changing forms of “viewing the exhibition” and “interacting with the exhibition”. The results of the study show that, through the application of science and technology, new forms of expression of visual arts combined with sound have contributed to transforming the problem of current exhibition interior design and become spaces for performing arts and artistic interaction. In particular, using scientific and technological advances is a sustainable approach to exhibition interior design, creating a breakthrough in solving environmental and social challenges.

АННОТАЦИЯ

В начале XXI века благодаря быстрому развитию науки и техники, дизайн выставочных интерьеров стал инновационным благодаря применению технологий, что позволило улучшить взаимодействие, предоставить пользователям реалистичные визуальные впечатления и упростить коммуникацию. В этой статье используется метод исследования вторичных данных и анализа конкретных ситуаций, чтобы конкретизировать меняющиеся формы “просмотра выставки” и “взаимодействия с выставкой”. Результаты исследования показывают, что благодаря применению науки и техники, новые формы выражения визуального искусства в сочетании со звуковыми эффектами внесли свой вклад в решение проблемы современного дизайна выставочных интерьеров и стали пространствами для исполнительского искусства и художественного взаимодействия. В частности, использование научно-технических достижений - это устойчивый подход к дизайну выставочных интерьеров, создающий прорыв в решении экологических и социальных проблем.

Keywords: exhibition design, interior design, science and technology, visual arts, sustainable design.

Ключевые слова: выставочный дизайн, дизайн интерьера, наука и техника, изобразительное искусство, устойчивый дизайн

1. Introduction

The outstanding development of science and technology, especially information technology, has brought new concepts and methods of expression to artistic life. In the field of exhibition interior design around the world in the early 21st century, the exploitation of modern science and technology applications has changed the form of viewing the exhibition into interacting with the exhibition (Wang, 2023; Kang et al., 2023). Art exhibitions have truly become a modern cultural and artistic space (Dernie, 2006). This is a potential approach for theoretical and practical research in the field of exhibition interior design today.

The characteristic of exhibition interior design is an art form that uses all means of information and has an impact on a large number of viewers (Locker, 2010). Art theorist believes that the artist of the exhibition becomes the director, using elements of very different arts and thereby creating a unified artistic whole (Freeland, 2002). In the current trend, it is worth noting that scientific and technological achievements, multimedia communication, and virtual reality technology are increasingly penetrating the fields of culture and art (Ekman, 2013). New forms of expression of visual arts combined with sound, as a catalytic participating element of visual arts, through multimedia art, Virtual Reality (VR), and lighting combined with digital technology (digital light) have contributed to transforming the current issue of exhibition interior design into art performance and art interaction spaces (Lin, 2020; Burdea, & Coiffet, 2003; Wang, 2023). Exhibition rooms incorporating VR technology experiences help create vivid, interactive advantages of VR technology to build exhibition spaces. This can create perspectives beyond physical limits, combined with haptic feedback technology, stereo synthesis, and technological interactive experiences that help realize a realistic transformation of a virtual environment with a physical exhibition environment.

Therefore, using advances in science and technology can compensate for the existing limitations of exhibition interior design, helping exhibition viewers gain new experiences with richer imaginations. These advantages can meet the strict requirements of modern exhibition design and the diverse needs of exhibition viewers. This is an exhibition interior design trend with a lot of potential, bringing vivid lessons for training and practical activities for current exhibition interior design issues.

2. Methods

The article uses document research methods such as analyzing and synthesizing secondary documents that are scientific works related to the content and scientific basis of scientific articles, and images of applying science and technology in exhibition interior design (e.g. plans, perspectives, space panoramas) (Vartanian, 2010). In addition, the case study method is used to learn and analyze typical cases of applying science and technology in exhibition interior design around the world in the context of the digital era (Stake, 2013).

At the same time, the research also uses an interdisciplinary approach, based on a dialectical materialist perspective and research results from the fields of art, history and cultural studies (Klein, 2007). The aesthetic analysis method is used to evaluate visual art expressions by applying science and technology in exhibition interior design through aesthetic principles and design principles. Research approaches history is used to get an overview of the formation rules of the research object, predict development trends, and propose solutions for exhibition interior design. Besides, the article approaches cultural studies is used to deepen the spread of cultures through the application of science and technology in exhibition interior design. This method helps the article's problem to have a multi-dimensional view in the argument aiming at objective results.

3. Results and Discussion

For the interior design of exhibitions displaying high-tech products, the trend of using multimedia art is applied in a variety and transformation. Multimedia is powered by modern technology, capable of dominating and mastering the layout of exhibition space with an area of tens of thousands of square meters through presentation moments.

In 2009, at this time, thin projection film technology on a synthetic fabric surface appeared capable of shaping in large spaces. Kauffmann Theilig and his colleagues designed the Mercedes-Benz showroom space in Frankfurt using the most advanced techniques and technology of the time (Figure 1). The exhibition of the Mercedes-Benz automobile brand is introduced in a building with architecture like a classical theater. The exhibition area has a large elliptical dome shaped by a thin projection film with an area of over 5,000 m², surrounding the building with rows of atrium corridors. Kauffmann Theylig chose a design solution: the center of the exhibition is also the center of the building's architectural space. Car models on display are arranged in lines radiating from the center, a system of display cabinets for innovative Mercedes-Benz models is arranged in rows to create a path leading to the second floor staircase area. In charge of the projection on the ceiling space is the company Atelier Markgraph with art direction by Eno Henze, lighting designer Ltd Planungsgruppe and film production company Barbecue Design. The building's dome space uses a coordinated system of 14 specialized projectors (Barco Video Projector) each with a light intensity of 31,000 ANSI Lumen, combining laser light projection. The entire complexly shaped projection screen surface combining different projector positions from the ceiling is a special challenge for multimedia solutions. The key issue is actively correcting image distortion while taking advantage of the soft edges of the thin projection film. The projection plan is based on 3D simulation techniques that allow the design team to choose the exact location for the ceiling projectors. In addition, automatic mode allows content to be replayed while taking into account factors that arise during the automation process. The presentation combines laser projection of logo symbols and the words Mercedes-Benz integrated according to a predetermined scenario. The entire dome shape is made up of repeating colored light lines from white - yellow - red - blue. Alternating the color movements are logos and commercial slogans created by white and light blue light on the traditional blue background of Mercedes-Benz.

Figure 1. Membrane projection Mercedes-Benz - IAA 2009

 (source: https://www.m-box.de/)

At this exhibition, every hour the color movement of the color lines through the projector system repeats itself, creating a vivid color space and creating a visually interesting emotional spectacle. The Mercedes-Benz exhibition interior was carried out in two months of design and installation, bringing a vivid light and color space using modern technology at that time. In these cases, the viewer's psychological factors are carefully calculated and considered to become participating factors and interact with the exhibition space. Exhibition viewers become objects of enjoyment, they must go inside the work,  and  the exhibition space to see, admire, contemplate and hear the sounds in that space. The feeling from the exhibition space that the group of authors set up is based on a consecutive series of images to form emotions.

Using programmable light is one of the most popular visual arts tools used in interior design of technology exhibitions. At a time when exhibition spaces only consider light as a means to clarify exhibitions, the 2010 Intel exhibition in Berlin won the Design Busines Association (DBA) award for the Design Effectiveness Awards (Figure 2). Light is both a means of creating color and a means of creating images that dominate the art space of exhibitions. Compact, high-tech and sophisticated computer products are introduced against a digital color sea. The ceiling of the exhibition space is shaped like an internet cloud with a LED lighting system inside the square blocks. This cloud is programmed to automatically control and change color from hot to cold on a 3,500-m² display area. Continuous color transitions according to predetermined tones helped advertise Intel's most advanced digital technology at that time.

Figure 2. Design Effectiveness Awards - 2010 Intel exhibition in Berlin

(source: https://2011.effectivedesign.org.uk/)

Another case shows that light is used not only for pure illumination but also participates in an artistic game in the modern exhibition space. In September 2012, an exhibition on New York City transportation planning, organized by the Columbia University of Architecture, the Institute of Planning and Preservation with the technical cooperation of Audi and LowLine Design Company, showcases proposals and explores new forms of urban mobility for traffic in New York. The exhibition examines different aspects of traffic trends in modern cities such as movement patterns, design in motion and the participation of moving objects. A 15-meter floating model made from sheet aluminium displays Manhattan's street infrastructure, while the shell below shows an architectural view of the subway stations. Subway networks, tunnels, bike lanes and bridges are presented as flows, revealing a new hybrid reality of future city life. It shows the city as a system linked together to move. The language of light, coloured light, and electronic screens combined with interactive multimedia turned an inherently unattractive traffic planning exhibition into a game of discovery and interaction with design models of the future. Modern science and technology can be seen as a strong driving force that increasingly connects people with art forms.

Also using light as a means of expression, virtual reality technology has helped the use of light to have magical new creative possibilities. During the 2013 Motor Show in Tokyo, the Audi automobile brand demonstrated a unique projection technology for cars for the Japanese market. To serve the performance of the Audi R8, a waterfall was designed through laser light techniques of virtual reality technology. This technology creates 3-dimensional images in space (Holography) without the need for a projection screen, helping viewers perceive 360º images without using any specialized glasses. The image of a waterfall pouring down on the Audi R8 car from a height of 16 meters is accompanied by sounds and effects like in a movie theatre.

At the Frankfurt Motor Show 2017, with the theme "Future Now", the Lexus automobile brand brought the message "Experience Amazing". Lexus brand experiences are also rooted in the traditional Japanese philosophy of Omotenashi. Omotenashi is the spirit of serving with all your heart, welcoming and taking care of customers with the utmost dedication and sophistication. Vok Dams Events GmbH (Germany) proposes to use a Microsoft HoloLens device at this exhibition event. This is a new technology device that Lexus and other brands have never used in Motor Show exhibitions.

Developers had to create virtual content that was uploaded and synchronized with holographic presenters. One of the big advantages of HoloLens is that the device is modern, and the lens is very intuitive. Viewers still proceed to visit normally like any other space. However, additional display information will be displayed on HoloLens through virtual images, specifications and headsets. HoloLenses are not considered virtual reality hardware, but rather augmented reality devices for spatial reality. HoloLens wearers can also interact with some holograms by “tapping” to manipulate them and initiate other communications. The HoloLenses experience lasts about 15 minutes. The Lexus display space at the 2017 Frankfurt Motor Show attracted a record number of nearly 500 journalists, achieving a more than 50% increase in media communication.

Also using a large area for multimedia communication, the display space for concept products (trial products, future products) of the BMW automobile brand in Munich is designed very uniquely. Inside the circular space with a diameter of nearly 250m, designers used a combination of 18 high-performance projectors to create impressive 360° panoramic images. Nestled within the circular space is a gallery floor shaped with curved structures like flower petals. The circular arcs of the floor act as balcony forms - where visitors enjoy multimedia presentations. The overall amazing experience of space, images and sounds plays across the entire upper wall of the building's interior space - an innovative multimedia stage of interior architecture in a new form. The images are selective and rhythmic with a high-quality surround sound system. The sonic symphony visually tells the story of BMW's vision, attitude and spirit. The tempo of the classical symphony Adagio (slow tempo) and Allegro (fast tempo) combine the images of 18 consecutive projectors to create a majestic spectacle embellishing BMW products. front. The introduction of multimedia transports visitors to a strange new world of space and time; The passages that follow are full of speed, momentum and energetic movement. The fast tempo of the music determines the visual and auditory impression of the viewer. The purpose of the staging was to present BMW products in a dynamic context and use multimedia design to create a lasting image in the minds of visitors. The entire multimedia scene complies with BMW's commercial statement: “The Ultimate Driving Machine”, which for BMW - is a distinct driving experience.

Some of the cases mentioned above show that exploiting the effective application of science and technology in modern exhibition interior design achieves high efficiency and is a trend for the future of exhibition interiors. Pam Loker, the author of many monographs on the field of modern exhibition interior design, asserts that one of the most stimulating challenges for exhibition designers is the exploration and experimentation in the process of finding the most suitable media in an interactive environment (Locker, 2010). The current contemporary issue with interior design in the above exhibition is that it is not only about ideas and themes - which designers often consider as the main theme for a work of art, the Exhibition designers need to learn about all media, multimedia design, sound, lighting and a variety of other design technologies to create exciting moments through exhibition space(Locker, 2010).

From the above practices and perspectives, to effectively exploit the application of science and technology in exhibition interior design, it is necessary to master the following procedures:

1. Layout is the backbone that creates the overall exhibition interior design. The layout needs to be diverse and rhythmic. Areas using multimedia have the effect of alternating display support, creating dynamic display areas. In the issue of overall layout, it is necessary to find solutions appropriate to the goal in order to present the content effectively. The layout must create a connection between the space's elements, including the participation of multimedia to create a whole that represents the most optimal content.

2. The shaping of the exhibition's interior space needs to be consistent and synchronous. Visual solutions need to consider rhythm and rhythm to achieve visual, psychological and emotional effects for the viewer. When creating a display space, you must consider choosing a form of multimedia communication in relation to shape, colour, visual psychology, ergonomics, vision, etc. to create an effective display space, effective, unique and impressive.

3. Lighting is a necessary content of exhibition interior design. Lighting is a scientific method, so it is necessary to ensure systematic, comprehensive and synchronous lighting, creating an aesthetic feeling. Lighting must coordinate closely with multimedia communication to maximize display goals.

4. Multimedia's forms of audio expression tend to be simple. Sound is often supported by editing, combined with appropriate images according to the theme and theme of each area. Sound plays a catalytic role in creating curiosity and increasing excitement. In some special cases for separate spaces, multimedia is combined with musical elements. In this case, music with many diverse tones, combined with valuable images such as short films, supports and beautifies the products on display.

To sum up, the elements that make exhibition interior design mentioned above can create aesthetic harmony. Designers should bring together technology and beauty to reach the harmony between content and form. The harmony of exhibition interior design according to the standards of the exhibition design, and the beauty in an interactive cycle with emotional and aesthetic effects. It is harmony in the reasonable distribution of spatial functions, taking into account the viewer's sensory state and emotional level.

4. Conclusion

Along with scientific and technological advances, the art displayed at exhibitions has opportunities to develop through the unlimited creativity of interior designers. These new elements have attracted viewers beyond the usual concept of visiting an exhibition, and viewers have become participatory elements, and have new visual experiences. Besides, the trend of applying scientific and technical achievements of digital technology into exhibition interior design has turned exhibition spaces into interactive spaces and connections between art and technology in today's modern society.

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