Exposition design is a true synthesis of functional and aesthetic characteristics, a holistic spatial and object exposition environment. It can include both the spatial and architectural arrangement of exposition materials, and the constructive construction, as well as the formation of an image and a lighting solution.

Exposition design is an expressive and figurative exposition part, providing it with communication, as well as an increased level of functional and utilitarian characteristics in terms of presentation and preservation of exhibits.

Exposition design (from the English design - idea, project, drawing), a set of aesthetic and functional qualities of a holistic object-spatial environment of a museum exposition. E.d. includes the architectural and spatial organization of exposition materials, constructive construction and equipment, color and lighting solutions, image creation, etc. on the basis of artistic and compositional principles and techniques. It acts as a figurative and expressive component of the exposition, ensures its communication and a high level of utilitarian and functional qualities in terms of the preservation and presentation of exhibits.

Principles of building a museum exhibition

The principle of science. The basis for creating a museum exhibition is a scientific concept. It formulates the goals of creating an exposition, its scientific significance, the interest of the exposition for visitors, a description of the exposition and the size of the required space, a description of museum items from its own collection or possible borrowings from other museums, the necessary costs, potential sources of funding and support, and the approximate timing of the creation of the exposition.

The principle of subjectivity. A museum item (exhibit) is the basis of the uniqueness of each exposition. The cognitive value of the exposition, as well as its emotional orientation, depends on the selection of museum objects. Such an expositional display provides visitors with the opportunity to directly familiarize themselves with museum objects.

Principles of intelligibility and universality. When building an exposition as a means of mass communication, the observance of these principles is mandatory. Considerable assistance in this is provided by the versatility of the presentation of exposition materials. The leading exhibits are brought to the fore, the rest are, as it were, “muted”, relegated to the background and even to a “hidden” plan, placed in a horizontal showcase, turnstile, album, on a retractable shield, etc. It is also possible to combine "lightweight", public halls, designed for the "average" visitor, and special halls, which have conditions for in-depth independent work of visitors. For greater accessibility of the exposition, a system of texts, sound recordings, as well as visual scientific and auxiliary materials is being developed. Of great importance is the creation of a unique aesthetic environment throughout the exposition.

Methods for constructing museum expositions

The method of constructing an exposition is a scientifically based order of grouping and organizing exposition materials based on the content of the exposition. In domestic museology, the following main methods of exposure are traditionally distinguished: collection, ensemble, illustrative, museum-figurative.

Topic 5. Museum architecture and equipment in exposition and exhibition activities. Design in the museum exhibition.

Architectural and artistic aspect of the exposition. The role of the artist in the creation of the exhibition.

Museum equipment, its role in the organization of the exhibition space. Types of equipment: showcases, stands, shields, podiums, stands and so on. Functional, aesthetic, ergonomic, constructive requirements for them.

Design in creating the image of the exposition. Artistic techniques in solving design problems.

Any exposition requires accompaniment to reveal its meaning to the visitor. Even expositions created by modern methods (aesthetic, installation), designed for minimal interference in the process of communication "spectator - museum object", suggest the presence of explanatory texts (indications of what kind of object, time and place of manufacture, authorship, etc.) . Traditional expositions (systematic, landscape, ensemble, thematic) are accompanied by scientific auxiliary material (reproductions and copies, maps, diagrams, diagrams, etc. - which refers to scientific auxiliary materials), texts, labels.

Texts in the exposition- a well-thought-out and systematically organized set of headings for sections and topics of the exposition, annotations, labels, indexes, etc., i.e. all inscriptions used in the exposition, which are not exhibits, but perform auxiliary functions. The texts characterize the level of scientific exposition (the more there are, the more information within the profile discipline is offered to the visitor). The texts are especially important for single visitors who independently master the exposition. An important requirement for the use of texts is to prevent the substitution of objectivity for verbal commentary.

The texts in the exposition are subdivided into headings, leading texts, explanatory texts, etiquettes, indexes. Head text - helps the visitor navigate the exposition (they contain the names of halls, thematic sections, exposition complexes). Lead text - expresses the main idea of ​​the exhibition as a whole, separate sections, themes, halls, complexes. In fact, it resembles the epigraph to works of art. Explanatory text - annotation to the hall, theme, complex or individual exhibit. Explanatory texts provide information that lies beyond the perception of the exhibits by the viewer.

Label- text-annotation to a separate object containing attributive data about the object: name, authorship or origin, material, size, method and time of manufacture, whether the object has a memorial value, information about what is being shown - the original or a copy. If the exposition presents mainly originals, and the number of copies is small, the labels of the originals may not indicate the status, only mark copies. And vice versa, if the exposition consists mainly of copies (for example, in museums of casts, etc.), then only the status of the original can be specially noted on the labels, and the copy should not be marked. All labels form labeling - the totality of all labels in the exposition.

Pointers- texts that help to navigate the museum premises, independently navigate the exposition (sequence of halls, complexes, etc.). Pointers can be placed on walls, special stands, etc., i.е. in the actual museum building. The role of pointers can be played by schemes, plans placed in guidebooks.

Texts should be arranged taking into account the peculiarities of human perception. Texts, especially title and auxiliary ones, should be read by several visitors at once and be well lit (lighting should draw attention to them). Words included in one semantic block should not be broken when line-by-line, as this will make it difficult to perceive the meaning of the text. The font composition allows for stylization, but in any case, the inscriptions should be perceived as an integral unity, and artistic solution the font should not make it difficult to read with variegation, complex outlines, etc. Header and leading texts should be raised above the flow of visitors - they are placed above eye level. Explanatory texts, annotations, labels, pointers are placed at eye level or slightly lower or higher. Inscriptions located above or below eye level are best placed on inclined planes perpendicular to the line of sight, which makes them easier to perceive.

In the twentieth century texts in the exposition for the convenience of visitors are beginning to be replaced by the application technical means (technical intermediaries ) transmitting verbal, visual, sound, audiovisual information with the help of special equipment. TO visual aids include electrified maps, light panels, luminous signs and labels, indicators of different colors, which serve to attract the attention of visitors to certain places in the exposition and turn on during the tour.

Sound intermediaries are divided into two groups: 1) those called upon to comment on the exposition ( phono commentaries - Recording the excursion on an audio cassette, replacing a professional guide; noises of nature - the voices of animals, birds, the sound of a waterfall, etc.); 2) serving as an addition to the exposition and even sometimes playing the role of a “museum object” (voice reproduction famous singer in his memorial museum, a recording of playing a musical instrument placed on display, etc.).

Audiovisual simultaneously affect vision and hearing. These include slide films (a series of slides voiced for demonstration), slide programs (thematic slide shows), split screens (devices for simultaneously displaying images on several screens using projectors), poly films (installations with large, usually 6-15, rarely more, screens ), movies and videos.

Museums use automatic reference installations (informers) that provide information about the museum's work, the preparation and holding of exhibitions, expositions, stock collections, the availability and location of shops, canteens or buffets, etc. The types of such devices are different: voice answering machines, mechanical directories (they give out texts printed on the scoreboard), audiovisual and visual responders

Visual and audiovisual technical means today can form part of the exposition equipment. exposition equipment - a complex of elements and devices that carry out the structural and spatial organization of the exposition, ensure the safety and fixation of exhibits at any point in the exposition space, performing certain artistic, symbolic functions. Exposition equipment has come a long way of development. Initially, it reflected the tastes of the era, and the principles of its manufacture differed little from the principles of the manufacture of any other furniture (this is especially true for private museums). closed type, often combining private chambers and a museum). Only in the 1st quarter of the twentieth century. the idea is developed that the equipment should not interfere with the perception of the exposure, and, therefore, it “to face” the simplicity of forms, functionality

Exposition equipment is divided into unique - created to demonstrate a particular collection, and universal - unified, flexible systems that can be used in any museum or continue to be used after re-exposition. Individual equipment can be styled according to a specific era to complete the look of a museum display. To the types of modern equipment include:

stands- vertical flat panels (including pneumatic equipment - inflatable stands, container stands - used both for transportation and for display). Stands include turnstiles - rigid flat surfaces, similar to books, fixed on the axis with the help of hinges

Showcases- equipment for spatial exposure of objects. Modern showcases not only protect objects from dust and unwanted contact with the visitor's hands, but can create an ideal mode of storage (for example, vacuum showcases used in the Louvre

catwalks– elevations for open display of volumetric objects

Versatile modular systems(frame, frameless, combined, frame, space-rod, rocker).

Ensemble expositions are used mannequins . In the 1960s–1980s exhibitions with mannequins have been criticized for excessive "naturalism", but in recent decades the use of mannequins has returned to the practice of museology

At the stage of formation of a scientific concept, the artist to whom the museum entrusts the creation of a future exposition is involved in the work (usually if the museum has such a full-time position or an artist whose cooperation is of a long-term nature), or several artists, each of whom will give his own a vision of resolving the general and specific requirements of museum workers for a future exhibition. In general, the involvement of the artist in the work on the exposition can take place at different stages, but still no later than the drawing up of the thematic plan. The general (scientific) concept is drawn up as a single document, including a description general design, plans-drawings of exposition halls indicating areas of preferable placement of exposition complexes, individual large exhibits, scientific and auxiliary material (dioramas, models, etc.).

The artist must provide a full acquaintance with the exhibits, especially museum objects: the opportunity to examine hallmarks, copyright or watermarks, brand names (for mass-produced items), heraldic signs, etc. To do this, magnifying glasses can be installed to highlight a fragment of an object, an exhibit can be installed on a rotating stand that provides an overview from all sides, a mirror surface of museum exposition equipment is used to demonstrate the back side of flat objects, etc.

Topic 6. Museum pedagogy in the implementation of the educational and recreational functions of the museum. Forms and methods of interaction between the museum and the visitor. Museum design pedagogical programs.

Scientific and practical nature of museum pedagogy and its direction. Interdisciplinarity of museum pedagogy and its connection with psychology, pedagogy, sociology and museology.

Terminological diversity and socio-political conditionality of the concepts: "enlightenment", "political and educational", "scientific and educational", "mass ideological and educational work", "cultural and educational", "recreational activities", etc.

Theoretical foundations of museum pedagogy. The concept of "educational potential of the museum". Recreational opportunities of the museum. The role of the museum object and the museum environment in the educational and recreational processes.

Forms and methods of working with visitors and their classification. Traditional and innovative forms visitor work.

Museum-pedagogical program and stages of its design.

Museum Pedagogy- a special scientific discipline at the intersection of museology, pedagogy, psychology and profile for this museum disciplines (or their complex), the subject of which is museum communication. Its task is to develop new methods of working with the visitor, museum and pedagogical programs, to study the impact of museum communication forms on various groups of the museum audience.

Under museum auditorium in this case, we mean the totality of people included in the scope of cultural and educational activities of museums (excluding museum employees who are involved in the scope of this activity by virtue of their profession)

Museum pedagogy as a practical form of work began to take shape in the second half of the 19th - early 20th century. The term "museum pedagogy" was introduced in 1931 by Freidel. Initially, museum pedagogy focused on the development of working methods and the study of mainly children's audiences. Only in the 1970s-1980s. the importance of such research for other groups of visitors is also recognized (although work with children and adolescent groups remains the most important direction), the connection of museum pedagogy with all aspects of museum work.

The data on the basis of which museum pedagogy draws conclusions is provided by museum sociology - a special scientific discipline at the intersection of sociology (primarily the sociology of culture), cultural management and museology. Museum sociology studies the functioning of the museum as a social institution; implementation in its activities of social needs, requests and expectations; the museum's impact on society and society on the museum; attitude towards the museum of various social, professional, age and other groups, their needs and value orientations.

Modern museology has fully formed ideas about the importance of sociological research not only in the cultural and educational activities of museums, but also in other areas of work. Sociology develops methods expert assessments, functional characteristics of museum funds, content-semantic indicators of museum activities, criteria for the effectiveness of intra-museum communications, links between museum and non-museum work (determining the measure of the significance of this work and its individual forms for the museum audience, experts, specialists, etc.).

Sociological research is an important part of the research work of modern museums. Museum sociology relies both on general sociological data (for example, data from censuses or general sociological studies on the size, age, social, professional, etc. characteristics of the population), and conducts its own research through surveys, questionnaires, observation, study of documents, etc. d.

The separation of museum sociology into an independent field of scientific knowledge occurs in late XIX- the beginning of the twentieth century. In Russia, the first studies of the social, demographic composition of visitors, their requests and behavior were carried out in the 1920s, mainly on the basis of temporary and traveling exhibitions. In the 1930s such studies were curtailed and resumed only in the 1960s. The scope of sociological research of domestic museums falls on the 1970s–1980s. During this period, sociological services were created in many large museums: the Hermitage, the State historical museum, the Russian Museum, etc. Major research is being carried out, for example

The term cultural educational activities has been used in domestic museology since the early 1990s. Prior to this, other concepts were used (mass political and educational work, scientific and educational work), reflecting the understanding of the essence of working with visitors in various historical periods and changing faster than the terminology for designating other areas of museum activity. The process of transferring cultural meanings and meanings carried out in the museum, the purpose of which is the perception of information by visitors, is defined as museum communication, during which the information potential of museum objects is revealed, educational and other functions of the museum are realized.

The content of cultural and educational activities is expressed in the forms of organization of work with the museum audience, interaction with the education system. Back in the 1970s, it was noted that in the arsenal of the museum one can distinguish up to a hundred various forms, among which 10 basic forms are noted.
These are: lecture; excursion; consultation; scientific readings; circles, studios, clubs; literary evenings, film screenings, concerts; meeting interesting people; holidays; historical games; contests and quizzes. There are many characteristics of forms: traditional - new; dynamic - static; group - individual; active - passive; simple - complex; one-time - cyclic; commercial - non-commercial, etc. For example, traditional forms that served as the basis for the emergence of new ones include lectures and excursions, conferences, scientific readings, consultations, clubs, circles, and studios. Forms borrowed from other areas of culture, education and science or due to the development of new museum technologies can be considered as non-traditional.

IN modern conditions cultural and educational activities are focused on the personality of a potential and real museum visitor, in this regard, the following main areas can be identified: information, training, development creativity, communication, rest.
Such a selection is conditional, because the directions themselves are changeable, mobile and often closely related to each other, or intersect in some aspects.
However, in order to acquire methodological skills in museum-pedagogical activity, it is necessary to clearly understand the purpose and objectives of work in each of these areas, as well as to think over the most optimal form of work with the museum audience and methods of pedagogical influence.
A collection of different forms combined common theme and subordinates of a single pedagogical goal become the basis of the museum-pedagogical program.
Let us consider in more detail the essence of each of the directions.

1) Informing is the first step in the development of museum information, i.e. initial receipt of information about the museum, the composition and content of its collections or about individual museum items, as well as on issues related to the profile of the museum, various areas of its activity. It is carried out with the help of such traditional forms as lecture and consultation. However, the current level of development of information technologies involves their introduction and active use in the museum, for example, in the form of a special information center. Information services include a wide variety of ways to present information to visitors using computers, ranging from the quality of signs, plans and guides for both adults and children, and ending with the use of information kiosks installed in the hall or halls of the museum with an Internet connection. Information Systems contain high-quality images of exhibits indicating their location, accompanying and explanatory information.

2) Education - the second stage of mastering museum information at a qualitatively new level, which includes the transfer and assimilation of knowledge, as well as the acquisition of skills and abilities in the process of museum communication.
Studying in a museum involves obtaining additional or alternative knowledge that is impossible or not fully available in other educational institutions. This is facilitated by the introduction of museum-pedagogical programs based on acquaintance and study of objects - originals.

Distinctive features learning in the museum - informality and voluntariness. A feature of learning in a museum is the opportunity to maximize one's abilities and satisfy interests; it is stimulated by the expressiveness, diversity and authenticity of museum objects. Education can be carried out in the form of excursions, museum lessons, classes in a circle. museum lesson(class) is mainly used as a form of museum work with students of schools, gymnasiums, lyceums, colleges. The circle at the museum is an association of people with the same interests with the aim of deepening, expanding and acquiring skills related to the profile of the museum.

3) The development of creative principles is the third, highest level of comprehension of museum information. The development of creativity involves the use of the potential of the museum, concentrated in the monuments of material and spiritual culture, to identify inclinations and reveal the creative abilities of the individual. The museum has special conditions for stimulating the creative process. The most effective of them is the possibility of "entering" into the system the best examples, traditions, examples of the culture of the past. This direction can be implemented in the form of a studio, a creative laboratory or a festival, a quiz, a historical game, etc. The studio aims to reveal Creative skills participants based on the study of museum collections.
Creative Lab- Union stakeholders leading the museum under the supervision of a research assistant experimental scientific activity combined with creative practice. Festival - an action with a wide range of participants, accompanied by a display and review various kinds art or works made by members of studios, circles, other creative groups.

4) Communication - establishing mutual business or friendly contacts based on common interests related to the theme of the museum, the content of its collections. The museum provides ample opportunities both for communication with museum information and for meaningful, interesting and informal interpersonal communication. It can be organized in the form of a meeting, club, olympiad, get-togethers, or in some unconventional form.
Meeting - a meeting arranged for the purpose of meeting and communicating with interesting people on a topic related to the profile of the museum. The club is a public regulated organization that provides an opportunity for free communication with people who have the same orientation of interests related to the museum and its content. Gatherings - a theatrical form, the participants of which gather in the museum for communication, entertainment in combination with any joint activities applied nature (embroidery, lace weaving, weaving, modeling, etc.).

5) Recreation - organization of free time in accordance with the desires and expectations of the museum audience, satisfaction of the need for recreation in the museum environment. Most of of these forms of leisure is designed for an audience of different ages (fair, carnival, open doors, museum festival, concert, KVN, etc.), but there are also specially designed forms of recreation and entertainment for certain categories of visitors (a playroom for preschoolers, a Christmas tree in a museum for junior schoolchildren, tea drinking for the elderly, prom in a museum, a wedding, etc.).

Most often, successful forms are complex. Like directions, forms are mobile, they are improved and developed. They took shape over decades and changed over time under the influence of historical circumstances, scientific research and development, and the demands of society.
The basic principle of any form of cultural and educational activity is to provide visitors with the opportunity to do what interests them, to create conditions for self-realization. At the same time, it is important to take into account psychological features different types and categories of museum visitors. The effectiveness of this work also depends on the interaction of the museum with the school, the integration of school and museum pedagogy.

Currently, cultural and educational activities are one of the leading areas of museum work, primarily with children and adolescents. Museums are developing targeted programs aimed at both children and adults, creating departments of education with a new structure, organizing children's centers, expositions, and exhibitions for children and families. Integration processes contribute to the identification of new issues, methods, which is reflected in cultural and educational programs and projects.

This section will describe the principles of visitor behavior in museum interior. We offer several starting points for research:

• Exhibition design;
• Characteristics of the object;
• Characteristics of architecture;
• characteristics of visitors.

The list of these principles is not exhaustive. We only hope that it stimulates your thinking and pushes you to explore in practice. Which, of course, will help you approach the design of the museum from a more professional side.

"Interior design project and subject decoration increase interest in the exposition"

Some empirical evidence is provided, but more research is needed to validate these methods, to identify the specific dimensions of each variable, and to determine the relative impact of each factor on visitor behavior.

Museums of flora and fauna

For example, consider an exhibition with all kinds of animals and other representatives of the fauna.
1. Large objects or animals attract attention many times more than small ones.
Many Western researchers have found a strong relationship between animal size and zoo exhibit time. Similar results have been seen in reptile pavilions.
2. Moving objects or animals focus on themselves better than static ones. In science museums, more attention is paid to moving mechanisms. In the seasons active life of the inhabitants of the zoo, the flow of visitors is also growing significantly.
3. Objects or animals that are unusual and exotic for a certain area attract more attention than ordinary ones. Visitors constantly flock to see rare species such as white tigers, koalas, panthers, pandas, etc.
4. There are certain qualities of objects or animals that by their nature arouse burning interest. For example, the Hope diamond, a large diamond, one of the famous in the New World, is of great interest in itself. On the other hand, baby paintings will be more interesting to visitors than antique furniture. Thus, it is important to take into account the factors of psychological liking or increased interest in certain areas of life or topics.
5. Objects that combine, along with visual, the possibility of sensory, tactile contact, always attract more visitors. The opportunity to touch the exhibit significantly increase the time spent by the visitor at the exhibition. Sounding the object of the exhibition also increases attraction and holds attention. Thus, we can say that the combination of the visual range, audio and tactile component of the object of inspection makes it much more attractive to visitors.

The Vasa Ship Museum we have already mentioned in Stockholm fully implements these principles, offering its visitors interactive maps of sea routes, “sound rooms” where you can hear with your own ears how life on board the ship sounded, and reconstruction of passenger cabins and other premises. ship. Is it fair to say that you can touch absolutely everything in this museum? Even if an ancient cannon shell raised from the seabed is under glass, there will definitely be its exact plaster nearby, which can and should be felt, stroked, and at least licked from all sides!
6. Interactive elements also greatly increase browsing time. For example, a button on a device that lights up an otter's den generated more views than a similar exposure without light. Moreover, it is worth noting that computers and buttons are less interesting for visitors than the ability to feed animals from their hands.
7. The triangulation method makes it possible to make the exhibit a catalyst social interaction between visitors. So street performers and unusual sculptures stimulate social contact between strangers on the street.

Architectural objects in museum design

1. The more opportunities for unhindered inspection of the object you provide to the visitor, the more attention this object (or subject) will receive. There are at least three variables here: lighting level, visual obstacles, and visual screens. The level of illumination becomes a factor when the level is so low that visitors cannot see the object for 15-20 minutes. In an exposition with low light levels, there are very few visitors.

Visual obstructions include solid barriers, rocks, trees, and other objects that block the line of sight between the visitor and the object or animal.

Visual screens refer to materials such as fences, glass display cases that create glare that interferes with a clear view of an object or animal. The elimination of these obstacles will give you an undoubted increase in visitors and an increase in the time of inspection of the object.
2. The proximity factor plays a certain role. The shorter the distance between the visitor and the object, the more often visitors will stop near the exhibit, and the viewing time will also increase.
3. The position of the exhibited object or subject in relation to the visitor affects the time spent near the exhibit. IN this moment the eye level of the visitor and the viewing point of the exposition are taken into account. The duration of viewing will increase if the arrangement of objects is centrifugal. Also, the top positions of rows of objects will receive more attention than the lower positions.
4. More "real" exhibit is perceived as more positive. There is an observation that animals were perceived better when they were shown in natural conditions than in cages - this was reflected in the time of examination.
5. Sensory competition. The concept includes the presence of exhibits nearby that visually compete with each other. Or their auditory stimuli are in conflict. This will reduce the perception of the exhibition by the visitor if the showcases are placed on both sides of the entrance.
6. Depth of the exhibition object may have the opposite effect of what was intended. Visitors can actually learn more about the exhibit, which was not sunk deep into the halls.

Museum design and public factors

1. Demographic characteristics: Age, gender, socioeconomic status, and level of education and even ethnic factors can influence the reactions of exhibition visitors.
2. The special interests of visitors attract and hold their eyes. Research results indicate that special interests(likes and dislikes) are important predictors of guest behavior.
3. Museum fatigue. Visitors are less and less interested in exhibitions where objects are mostly similar to each other.
4. Perception is fully influenced by instinctive feelings, for example, a sense of beauty or danger. People tend to look at repulsive snakes with apprehension for a long time, even if they don't pose a threat at all.
5. Dominance. If the visitor looks at the captive animal from above, rather than looking at it from below, then a sense of dominance towards the object is likely to be turned on.
6. social impact. The behavior of other people influences the behavior of others. People tend to follow the behavior of others by imitating them. For example, visitors adjust their walking speed in a crowd or a particular hall. People are attracted to a crowd that is interested in something, and crowding out the rest.

All of the above aspects and norms strongly influence the design of exhibition halls. We recommend that you do not exclude any of them when analyzing your exhibition and be sure to supplement the work with a professional design project of the museum.

The exposition of a museum exhibition is studied as a certain system, which is especially significant and specific form communications. In the dictionaries of museum terms, an exposition is interpreted either as "a part of a museum collection put on display" or "a demonstration of museum items in accordance with a scientific concept and a set theme."

"The purpose of each exposition is information, and information can be didactic, commercial or representative in nature. Aimed at a person as a consumer of goods and ideas, the exposition is used to teach, attract to one's side, present something, influence a person, persuade him to certain actions. The main criterion for any exposure is its effectiveness, "- so purely pragmatically forms western author"super task" of the exposition Frank K. Exibitions: The international disighn servis. - New York, 1961. - P. 7. The functions of the exposition act as derivatives of the general museum functions, which the exposition embodies in a concentrated form, being addressed directly to the visitor of the museum, it plays the first role in cultural communication.

As a rule, an exhibition exposition displays, depicts, represents certain events or phenomena, forming from within, on the basis of the subject material, a general information, logical and figurative system that has and develops its own criteria for ideological and semantic content and shaping. But all the phenomena, events and processes interpreted in the process of museum communication are presented in a very specific, "material" form, which is often taken as reality itself, as part of historically preserved reality (especially in memorial museums).

The development of theoretical and practical problems of museology requires a deep understanding of one of critical processes creating an exposition, namely visualization and materialization ideological concept- solving the problem of the unity of content and form, form in the meaning of content. It is about the role of exhibition design. Exhibition design is understood as the art of environmental design, which uses a complex of aesthetic, constructive, technological and other means to create an artistic and figurative structure of exhibitions. Main tasks exhibition design should be considered:

1) Ensuring the unity of the form and content of the exhibition exposition, figurative expression of the conceptual design;

2) Creation of conditions conducive to the preservation of exhibits and ease of use of the exposition, i.e. ensuring its high utilitarian qualities, denoted by the term "technology" of the exposure;

3) Shaping high level communications - "exposition - viewer".

The virtuoso performance of the exposition makes it a work of art, where the form that was sought "to express the content, when found, itself becomes the content that develops and supplements the information of the scientific construction of the topic" Rozhdestvensky K.I. Some problems of museum exhibition art. - M., 1978. - S. 69.

For the optimal arrangement of exposition materials in complexes, rows, still lifes, the researcher together with the artist choose certain exposition techniques, that is, methods for grouping exposition materials. Among the well-known proven methods, it is necessary to name:

Ø selection of exposition centers and leading exhibits that carry the maximum semantic and figurative load;

Ø identification of connections between objects, the method of "mutual documentation", which allows to identify connections, including those that are not amenable to external observations (in particular, the method of "reification" is based on mutual documentation written sources, as a rule, difficult as subjects of museum communication due to weak attractiveness);

Ø comparison, including opposition (reception of a contrast display);

Ш "massive" display of the same type of materials, concentrated on a small area. Such a display was used, for example, in the exposition of archeology of the Tver United Historical, Architectural and literary museum(1996), where deliberately a large number of of the same type of stone objects from archaeological finds creates an expressive image of the "Stone Age";

Ø detente by creating empty space around the most important exhibits in order to focus attention on them;

Ø location of exhibits that require viewing at close range, within the most convenient exposition belt for viewing - the area of ​​\u200b\u200bthe vertical surface of the exposition room at a level of 70-80 cm - the lower limit, up to 200-220 cm - the upper limit from the floor;

Ø organization of "exposition in the window", allowing through the window opening, as it were, to look into another space and time;

Ø selection of the first and second plans, as well as the creation of a hidden exposition plan in turnstiles, cassette stands, etc.

You can give examples of the use of different techniques when showing the same complex. The exposition of many archaeological museums is women's jewelry from ancient burials, which make up a single ensemble. In many museums, the burial is shown as it appeared to archaeologists during the excavations: in a horizontal display case at floor level, along with a skeleton, imitation of soil, etc. The main thing with this method of exposure is the identification of authenticity archaeological find, introducing the visitor to the fact of a scientific discovery. Some exhibitionists group spectacular archaeological objects in a showcase, revealing their aesthetic merits by sparse placement, background, and lighting. Expositionists of Rostov local history museum, placing a set of furniture in a vertical showcase in accordance with the place of each item, in the center where the face should be, they placed a mirror, inviting visitors to "try on" ancient objects, imagine themselves in the guise of their great-great-great-grandmother.

The use of a mirror when demonstrating exhibits requiring inspection from reverse side- a common technique (for example, this is how experts suggest displaying weapons). in Saratov regional museum Local history in the hall with a mirrored ceiling exhibits the aircraft on which Yu.A. Gagarin. Above the hall, as it were, a second plane appears, making a "dead loop". This technique not only makes it possible to view the open cockpit, but visually pushes the limited space of the low hall to "cosmic" limits.

Creative teams of expositionists find and develop their own original methods of creating exposition complexes.

"Exhibit in focus" is also a common method of building an exposition today. The exhibitionist's attention is focused not on the totality of museum materials, but on one item (valuable, unique, rare) in its intrinsic value.

The architectural and artistic solution is included in the concept of "museum exposition" as an obligatory and organic component that embodies modern artistic and aesthetic principles. This definition expresses a modern approach to understanding the museum exposition as a unity of scientific and artistic-figurative principles, which ensures the effectiveness of the main form of museum communication.

Modern museum practice pays great attention creation of an expositional image, which is formed to a greater extent due to the architectural and artistic solution of the exposition. This is understood as artistic design and implementation in a three-dimensional and artistic environment. exposition ensemble based artistic concept in order to optimally master the content of the exposition by museum visitors. The main task of artistic design is to contribute to the disclosure of the conceptual solution of the exposition by means of various types of art, to enhance the emotional impact and ensure effective contact of the visitor with genuine museum objects. The art of architectural and artistic solutions refers to both pictorial and expressive types, relies on the entire arsenal of artistic and technical means.

Thus, decoration expositions and exhibitions in contemporary museums is understood as a synthesis of the spatio-temporal arts and the achievements of science and technology (architecture, painting, sculpture, arts and crafts, cinema, music, speech, theater, computer, etc.). Modern exposition space is an organic artistic unity of all elements of the ensemble: emotional, conceptual and plastic.

The role of the artist in the creation of the exhibition.

Artistic design is largely determined by the creative imagination of the artist, widely uses the data of psychology and pedagogy, takes into account a combination of a number of factors that affect the process artistic perception and on the ability of a person to absorb a certain amount of information.

Among them are such important data as the optimal height of the exposition belt, the angle of inclination of the showcases, the most convenient for viewing the exhibits exhibited in it, the number of materials that fall into the field of view of a person at a time and from one position, the amount of information that a person is able to assimilate in one and a half - two hours stay exposition halls. The artist must strive to concentrate the viewer's attention in various ways and maintain his interest throughout the entire viewing of the exposition, be able to relieve "museum" fatigue and emotional overload in time.

creative fantasy the artist is based on a deep, comprehensive knowledge of the object, i.e. real socio-cultural process and features of its reflection by museum means. Working on the exposition, the artist must rely on knowledge of the museum audience of a particular museum, the socio-demographic composition of its visitors.

It is especially important to draw attention to the leading exposition complexes or individual items in terms of content, to keep it on those exhibits that play leading role in understanding the scientific concept of exposure. The museum exposition is perceived visually, therefore the task of the artist is to create visual rows, areas of emotional impact and routes for visitors. However, experts-artists emphasize that artistic image in the exposition cannot be perceived only as a chain of visual associations. It's over complex concept, in the formation of which knowledge, reflection, the correct historical understanding of the event and its assessment participate.

creative method of a modern artist who organizes a museum exhibition is close to the method of an architect and designer, since his palette of materials includes museum exhibits, pictorial, architectural-spatial and technical means of displaying them. As a result, all together they are rethought, creating a unique figurative language. The contrast of forms, materials, textures, structures, which gives plastic richness and diversity to the exposition, must be mastered by a modern museum designer.

The color organization of the exposition is necessary to activate the visual perception of the exhibits. It enhances the overall emotional atmosphere. The emotional power of the impact of color makes it possible to develop a kind of color symphony in which color chords, for example, sounded in the first hall, should later, like a melody in piece of music, grow and at the end sound a solemn finale. Color should support and express the content of the exposition.

The role of the museum artist as a "director" is also manifested in the fact that the museum exposition has become a kind of performance that uses the specific means of the museum artistic language. The museum exposition organically combines the scientific authenticity of the content with the bright entertainment of the show. The task of the museum artist is to translate the scientific content of the exposition from verbal language into figurative language. effective method their communication.