EXHEBET EFFECTWER‘eESS m AF!
iNTERPRETE‘r-"E SEWER

Thesis for me fiegree of M. 3.
WWW SEATE UNWERSETY
WELUAM GEORCéE THOMAS

‘ 1977

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ABSTRACT
EXHIBIT EFFECTIVENESS IN AN
INTERPRETIVE CENTER
By

William George Thomas

Throughout many interpretive nature areas,
a common way of disseminating information to people
is through the use of exhibits. However, once the
exhibit is in place, little is known about visitor
response to the exhibit. What attracts the visitor
to an exhibit and holds his attention? Are certain
types of exhibits more interesting than others to
the visitor? Are the effects on the visitor those
desired? Answers to such questions would give pro-
fessional interpreters an idea of how to design
and construct more effective exhibits.

In an attempt to determine what the response
of visitors is to interpretive exhibits, it was felt

that two methods of research should be conducted.

 

:zerpretive f
iiere adhere t
are indicated.
a a guide to

It was
agreement betw
ite questionna
55 use of stuf
EXhibit Will a
’fisitor. Them
takes is impor
ilterest the v
themes and liv
Value. The C0:
case was found
tition. The v

ind gained mucl

William George Thomas

First, an intensive search through previous documents
to find if any effective methods had been determined.
Second, the circulation of a questionnaire at an
interpretive facility to ascertain if the exhibits
there adhere to these methods or if other methods
are indicated. The findings could then be combined
as a guide to the interpreter.

It was determined that there was considerable
agreement between past works and the findings of
the questionnaire. Certain physical factors, such
as use of stuffed animals or concise labels in an
exhibit will attract and hold the attention of the
visitor. Themes of exhibits, and the form the exhibit
takes is important in determining the amount of
interest the visitor will give to an exhibit. Animal
themes and live animals held the highest interest
value. The commonly used, glass-inclosed exhibit
case was found to also be a popular method of presen-
tation. The visitor was found to have very favorable
attitudes about viewing of the interpretive exhibits

and gained much information through this medium.

EXHIBIT EFFECTIVENESS IN AN

INTERPRETIVE CENTER

BY

William George Thomas

A THESIS
Submitted to
Michigan State University

in partial fulfillment of the requirements
for the degree of
MASTER OF SCIENCE

Department of Fisheries and Wildlife

1977

 

I wo:
thief Natura:
titorityv at
Saturalist, 5
rating per:
Szcny Creek K
From
thave receiv
Edencorager
.Vichigan Stat
Espartment.

H' Roelofs of

ini Dr. Paul

a

‘5

>1]

Sources Dep
ailments afte

I als

‘1-
~~0m whom I t4

ACKNOWLEDGEMENTS

I would like to thank Mr. Thomas H. Smith,
Chief Naturalist of the Huron-Clinton Metropolitan
Authority, and Mr. Roger A. Bajorek, Supervising
Naturalist, Stony Creek Metropark Nature Center for
granting permission to carry on this survey at the
Stony Creek Nature Center.

From the beginning of my Master's program,
I have received much helpful guidance, critique,
and encoragement from Dr. Gilbert W. Mouser of the
Michigan State University's Fisheries and Wildlife
Department. During this study Dr. Mouser, Dr. Eugene
W. Roelofs of the Fisheries and Wildlife Dept.,
and Dr. Paul H. Risk of the Park and Recreation
Resources Dept. have been helpful in providing their
comments after reviewing the first draft of this
thesis. My gratitude to these men.

I also want to thank my daughter, Kelly,
from whom I took much time of her early years to

ii

complete this project. But, most of all, more than
any other person, my wife, Kathy, deserves credit

for the constant encouragement, devotion, and tremen-
dous help in the completion of this thesis. I owe

her much.

iii

 

Ester

LIST OF TAB
LIST OF FIG

INTRODUCTIC
Problem
Specific
Area of

Descrip'

I' EXPLORATIO:

Theme .
Specime

DeSign

Samplin
Questic

Sampli:

TABLE OF CONTENTS

Chapter Page
LIST OF TABLES O O O O O O O O I O O O O O O 0 Vi
LIST OF FIGURES O O O O O 0 O O O 0 O 0 O O 0 Vii

INTRODUCTION . . . . . . . . . . . . . . . . . .1
Problem and Over-all Objective . . . . . .I. 1
Specific Objectives . . . . . . . . . . . . .2
Area of Study . . . . . . . . . . . . . . . .3

Description of Exhibits Used in Study . . . 14

I. EXPLORATION OF PREVIOUS WORKS . . . . . . . . .19
The me O O O O O O O O O O O O I O O O O O O 2 2
Specimens . . . . . . . . . . . . . . . . . 32

Design . . . . . . . . . . . . . . . . . . .34

II. METHODOLOGY . . . . . . . . . . . . . . . . . .80
Sampling Population . . . . . . . .'. . . . 80
Questionnaire . . . . . . . . . . . . . . . 80
Sampling Frame . . . . . . . . . . . . . . .81

iv

 

I. A: Contents

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97V 7‘7”
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Attractl‘
Theme 5 t3

Kinds of

23 CONCLUSIONS

BIBLIOGRAPI

APPENDIX:

Table of Contents (cont'd.)
Chapter Page

Sample Obtained . . . . . . . . . . . . . . .83

Tabulation of the Sample . . . . . . . . . . 83

III. FINDINGS . . . . . . . . . . . . . . . . . . . .85
Attraction and Attention Holding . . . . . . 85
Themes that Stimulate Interest . . . . . . . 90
Kinds of Exhibits that Create Interest . . . 94
Ways Exhibits Affect Visitors . . . . . . . .95

Demographic Characteristics of Respondents .101
IV. CONCLUSIONS . . . . . . . . . . . . . . . . . .105
BIBLIOGRAPHY . . . . . . . . . . . . . . . . . 109

APPENDIX: Sample Questionnaire Used in Stony
Creek Nature Center Study . . . . . lll

 

r_a
-

(J.
0

Results of
Read .

Ratings of
Rating of
Raking of
Number of
Age Distri
Sex DiStri

ViEWer ACC

Table

LIST OF TABLES

Page
Results of Question 2: Percentage of Tables'

Read . . . . . . . . . . . . . . . . . . . . 86
Ratings of Glass-Enclosed Exhibits . . . . . . .87
Rating of Exhibits at which Most Time Was Spent 93
Ranking of Kinds of Exhibits . . . . . . . . . .95
Number of Responses to Descriptive Adjectives .100
Age Distribution of Respondents . . . . . . . .102
Sex Distribution of Respondents . . . . . . . .103

Viewer Accompaniment . . . . . . . . . . . . . 103

vi

 

gm

.‘ .I"e
.
0“.

r

Stony Cree
2. Exhibit FJ
3. Exhibit 12
4. Live Ami:
5- Aquarium
6- Stuffed '
Matching
Phone EX
Large, T

10‘ Nut Exhi

11. "Want tC

12. Show EX}
Snowy 0V
EverSIE<

DUCK Mi.

FloOr p

Figure

10.
11.
12.
13.
14.
15.

16.

LIST OF FIGURES

Page

Stony Creek Metropark Map . . . . . . . . . . . 4
Exhibit Room, Stony Creek Nature Center, West . 6
Exhibit Room, Stony Creek Nature Center, East . 6
Live Animal Displays . . . . . . . . . . . . . .7
Aquarium Exhibit . . . . . . . . . . . . . . . .7
Stuffed "Touchable" Animals . . . . . . . . . . 8
Matching Game and Photo-Slide Exhibit . . . . . 8
Phone Exhibit . . . . . . . . . . . . . . . . . 9
Large, Turkey Exhibit . . . . . . . . . . . . . 9
Nut Exhibit . . . . . . . . . . . . . . . . . .10
"Want to Help?" Exhibit . . . . . . . . . . . .10
Snow Exhibit . . . . . . . . . . . . . . . . . 11
Snowy Owl Exhibit . . . . . . . . . . . . . . .11
Evergreen Exhibit . . . . . . . . . . . . . . .12
Duck Migration Exhibit . . . . . . . . . . . . 12

Floor Plan of Exhibit Room . . . . . . . . . . 13

vii

 

 

Being a :
:e best means 0
lasting impressi
2:” natural histo
Zreek Nature Cen
Fears, we have d
i‘i'th people. Th
13 determine wha
iature center 1e
Frugrams, Howev
Early Vague notic
The only feedbac
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31 Constructing
what lOOkS 900d

and 1‘0” the intl

 

INTRODUCTION

Problem and Over-all Objective

 

Being a naturalist, I am interested in finding
the best means of reaching people, and making a
lasting impression on them through the many forms
of natural history interpretation. At the Stony
Creek Nature Center, where I have worked for several
years, we have developed many ways to communicate
with pe0ple. Through the years, we have been able
to determine what is successful in school lectures,
nature center lectures, field trips, and special
programs. However, it occurred to me that we have
only vague notions about the success of our exhibits.
The only feedback on these we receive comes in the
form of a few comments offered by visitors. Further,
in constructing these exhibits, we tend to put in
"what looks good", feeling that this will attract

and hold the interest of the public. After the

 

Lie exhibits t
.l:-:- the types
:5: hold the
:ese exhibits
far on the vi5
It was
:‘ten, to gain
;eo;le toward
center-~5peci:
was felt that
aiming the tyj
be successful

the visiting

TO me
that of exhil:

this aim down

2
displays are put in the exhibit room, it is largely
unknown to us just what reactions people have to our
efforts. Is the way the nature center visitor perCeives
the exhibits the same as we -- the park naturalists?
Are the types of exhibits we place there the kind
that hold the interest of the general public? Do
these exhibits create the kind of effect we had hoped
for on the visitor?

It was the over-all objective of this study,
then, to gain a better insight into the reactions of
people toward the exhibits at a nature interpretive
center--specifically Stony Creek Nature Center. It
was felt that such a study would be helpful in deter-
mining the types and design of exhibits that would
be successful in creating the desired reactions in

the visiting public.

Specific Objectives

 

To meet the over-all objective of this study,
that of exhibit success, it was necessary to break

this aim down into several more specific objectives.

 

2)

The St
free nature c
Etropolitan A
it is located
:5 DEtroit, M:
and Rochester
figure 1)

The ..
Same eight hu
rest of the E
to the nature
Ferking for <
ninty‘fmzr t]

area are thn

3
1) To determine what color, composition,
layout, lighting or other physical
factors of the exhibit attract and
hold the attention of the visitor.

2) To determine what themes of exhibits
stimulate interest in the visitor.

3) To determine in what ways the exhibits
affect the nature center visitor.

Area of Study

The Stony Creek Nature Center is one of
three nature centers administered by the Huron-Clinton
Metropolitan Authority in three of its ten metroparks.
It is located approximately twenty-nine miles north
of Detroit, Michigan, between the cities of Romeo
and Rochester, at the north end of Stony Creek Metropark.
(Figure l)

The "nature area" portion of the park comprises
some eight hundred acres and is continuous with the
rest of the park in land only. A separate road entrance
to the nature area comes from Inwood Road and allows
parking for one hundred cars. This area received
ninty-four thousand visitors in 1976. Within this

area are three public nature trails varying in length

O 1/2

Scale in

Park
Boundry
Roads

 

 

 

Park
Roads “ " ‘ ‘

 

Z

I
0 1/2 1 Trails Nature
. Area / Center

p
lb

fi
Scale in Miles

 

 

 

Vernon Rd .

 

 

Mt.

Roads -'“-""" Mt.
Vernon I! 28 M11:_-__

 

 

  

 

 

 

 

 

 

Snell Rd. \ .U
r. ,' 5
‘r S
l5‘\_r‘
t
I
‘\\‘I
26 Mile Rd. _
D‘<’/’
. V Visitor ‘
._ Center ‘
\ / Rochester \f §
2 Miles 1|

 

Figure 1

Stony Creek MetrOpark Map

 

::e-half to t
sniy area, a
letter Buildir

The bl
tilt in 1928
22k possesior
facility capal
usually. The
Public restroc
:lassrooms, o}
It is the exh
35 this study

The e
Largest room
:Y 32 1/2 fee
by old barn w
Cue end of th
2 and 3) .

Cc

able, regiSt

affiCe, and a

exhibits cont

5
(one-half to two-and-one-half miles), a special
study area, a wide variety of habitats, and the Nature
Center Building.

The building is a two-story, one-time residence
built in 1928 as a country retreat. When the Metroparks
took possesion, it was remodeled into an interpretive
facility capable of handling thousands of visitors
annually. The interior of the building includes
public restrooms, an office, workroom, storage areas,
classrooms, observation porch, and exhibit room.

It is the exhibit room that comprises the major interest
of this study.‘

The exhibit room of the Nature Center is the
largest room in the building, medsuring 19 1/2 feet
by 32 1/2 feet. Its general decor is rustic, enhanced
by old barn wood paneling and hand hewn beams. On
one end of the room is a large fireplace (Figures
2 and 3). Contained in this room are a lighted map
table, registration desk, access to the naturalist's
office, and a variety of exhibits. The types of
exhibits contained in this room are as follows:

1) Live animal displays (Figure 4)

2) Aquariums (Figure 5)
3) Stuffed "touchable" animals (Figure 6)

 

 

Figure 2. Exhibit Room, Stony Creek Nature Center, West

 

Figure 3. Exhibit Room, Stony Creek Nature Center, East

 

 

 

 

 

Figure 5. Aquarium Exhibit

 

 

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. ‘4}i’mmha‘.m-"Em

 

 

 

Figure 7. Matching Game and Photo-Slide Exhibit

00f-
"

who‘s that

Figure 8. Phone
Exhibit

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.

 

 

 

 

 

 

 

Figure 9. Large, Turkey Exhibit

10

In a lu—snell

 

 

 

Figure 10. Nut Exhibit

 

 

 

 

Figure 11. ”Want to Help?" Exhibit

 

 

11

 

 

Figure 12. Snow Exhibit

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from the

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Figure 13. Snowy Owl Exhibit

12

 

 

 

 

 

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llllfllllll

 

 

 

 

Figure 15. Duck Migration Exhibit

13

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

" E ‘7 II A i T
FIREPLACE PHONE
ExRIBIT
nucx DOOR To
MIGRATION OBSERVATION
( EXHIBIT PORCH
{- EVERGREm
. ExRIBIT
DOOR TURTLE TANfi
To _
TRAIIs
"'""""" _ ENowI om.
EXHIBIT
fl»
TURNEI L
EXHIBIT snow
EXHIBIT
i _____J__4 1
.———l r
MATCHING LIVE
, CANE ANIMALS WANT To
, HELP?
. /_ EXHIBIT
1 J fl L
I 1*-
MAP STUFFED TABLE NUT
TABLE ANIMALS EXHIBIT
' @43me j
I l MATCHING
, GAME
REGISTRATION
DESK "
AQUARIWB Q
NATURALIST A 77 “I
OFFICE
ENTRANCE
J

 

 

 

 

 

Figure 16. Floor Plan of Exhibit Room
Scale fiinch- 1 foot

i. ...-_..._E1

 

j "‘A' W. ‘1
"and“ "' .f‘ '. 9 " r

The gene r a

Figure 16 .

For
in the Stonj

into seven r

3) Stuffed,
5) phOtO-sli
It 1

Authority to

at the “atUrq
exhibit at $1
sentativE of
Snakes, Salan

covered aqua:

in the middle

visitors to

14

4) Two matching-games (Figure 7)
5) A photo-slide exhibit (Figure 7)
6) A glassed-in phone exhibit (Figure 8)
7) A large glassed-in exhibit (Figure 9)
8) Six, wall-mounted, glass-enclosed
exhibits (Figures 10-15)
The general layout of the exhibit room is given in

Figure 16.

Description of Exhibits Used in Study

For the purpose of this study, the exhibits
in the Stony Creek Nature Center are broken down
into seven main types: 1) live animals, 2) aquariums,
3) stuffed, table animals, 4) matching games,

5) photo-slides, 6) phone, 7) glass-enclosed.

It is the policy of Huron-Clinton MetrOpolitan
Authority to avoid exhibiting live warm-blooded animals
at the nature centers. Therefore, the animals on
exhibit at Stony Creek Nature Center are types repre-
sentative of the cold-blooded fauna of the area.
Snakes, salamanders, frogs and toads are kept in
covered aquariums of various sizes. These are placed
on two shelf-units which are on two wooden tables
in the middle of the room (Figure 4). This allows

visitors to view the animals from both sides. The

 

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7“
A4

as a sep
set apar
aquaria
with onlj
Visible
Carried ¢
not visit
is aCCOmE
label is
Pretive n
F
it Seems
they fEel
Specimens
table (Pig

t

15

interior of the cages are kept simple so the animal
will be in view at all times. On one end of these
tables is a specially built, open-topped, turtle
tank. This extends only 2 l/2 feet off the floor
for the purpose of allowing visitors to reach in
and touch these creatures.

Fish, also cold-blooded animals, are considered
as a separate display in this study since they are
set apart from the other animals in the room. The
aquaria are built into one wall of the exhibit room
with only one wide side of each of the three aquaria
visible (Figure 5). Maintenance of the tanks is
carried on behind the aquaria in a separate room
not visible to the public. Each species on display
is accompanied by a label placed near it. On this
label is a picture of the animal, and a short inter-
pretive narration.

From observations of the present investigator,
it seems peOple enjoy petting animals to see how
they feel. For this purpose, three stuffed mammal
specimens are put out on one end of the live-animal
table (Figure 6). It was found that they had a

tendency to move arohnd, so small chains were attached

.11

 

' Sept was I!

 

L. w
:3 keep t..e..
identifies t
animals inc;

3
L

‘)l

a isplay,
sane means .
Ther
window shelf
have two 915
in which can
The idea is 1
near each ope
switches hays
cums on at t
Near
GXh-ibit (Figu
nunsrous Slide
viewed Since t
than just have
or thought_pro

the Slides. D1

Patte

in .

16

to keep them in place. A small tag on each chain
identifies the animal. Another label above these
animals indicates they are not killed for the purpose
of display, but rather were killed accidentally by
some means.

There are two matching-games placed on a
window shelf in the exhibit room (Figure 7). These
have two glassed-in sections, each with seven openings
in which can be placed an object, picture or wording.
The idea is to match both sides by pressing a switch
near each opening on either side. If these two
switches have matching concepts, then a red light
comes on at the top.

Near these matching-games is a slide viewing
exhibit (Figure 7). This has many rows in which
numerous slides can be inserted. They can then be
viewed since the exhibit is back-lighted. Rather
than just have slides for viewing, some aesthetic
or.thought-provoking idea is incorporated through
the slides. During the time of this study, the con-
cept was "Patterns, Shapes, Colors, and Textures"

found in nature and illustrated by the slides.

17

One glass-enclosed exhibit is considered
separately from the rest for the purpose of this
study because it contains a listening phone (Figure 8).
A recorded message is played over these hear-phones
when a button on the exhibit is depressed. The subject
of this exhibit at the time of this study was hiber-
nation, with the title, "Who's That Sleeping." The
exhibit itself, as in any of the following, can serve
the same function.

There are two other types of glass-enclosed
exhibits. One is a very large exhibit positioned
on the floor with a viewing area of fifty-seven inches
by forty inches (Figure 9). The bottom of this exhibit
is twenty-eight inches off the floor. The other type
is a smaller, wall-mounted exhibit with a viewing
area of thirty—eight inches by twenty-eight inches
(Figures 10-15). The bottom of this type of exhibit
is forty-one inches off the floor. There are six
of these smaller types in the exhibit room. Both
types have slanted glass fronts to reduce glare,
and fluorescent light fixtures to provide illumination.
The exhibits themselves are actually constructed in

inserts which fit into these cases. These inserts

HEWITT. "- 7"? L‘ I“!

 

.11} '
Inn-'3‘

5

E

v
k
C:" 3e C..an

All

: in store;
at the tire c
g'n‘ith it heir
Christmas) he

turkey. " The

the study an

18

can be changed periodically with those not in use
put in storage. The subject of the large exhibit
at the time of this study was the wild turkey, and
(with it being displayed during Thanksgiving and
Christmasl had a title of, "Happy Holidays . . .
Turkey.” The subjects of the smaller displays during
the study are as follows:

1) duck migration-—same title

2) evergreens--title, "Winter Green?"

3) snowy owl--tit1e, "A Visitor from

the Arctic"
4) snow--title, "The Winter's Dress"
5) Michigan's Endangered Species Program—-

title, "Want to Help?"
6) wild nuts--title, "In a Nutshell"

 

There
exhibits at tx
display windn
of big busir. -
these mediums
turn, more m<

0n t
research on
at nature Ce
backing for
return. Re
35 how thee
construCteC.
itT-‘slress'mn
the pSYChQ

ce-
RHErcial

CHAPTER I

EXPLORATION OF PREVIOUS WORKS

There have been many studies of commercial
exhibits at trade fairs, and the use and design of
display windows. Financing these studies is part
of big business. Good, effective advertising in
these mediums naturally means more sales, and, in
turn, more money.

On the other hand, there has been very little
research on the effectiveness of interpretive exhibits
at nature centers. There has been little financial
backing for these studies because of no monetary
return. Recent research assembles some understanding
of how these exhibits may be better designed and
constructed to attract people, and make the desired
impression on those peOple. Fortunately, much of
the psychology and design principles that apply to

commercial displays can also apply to the interpretive

19

 

11"..-

izterpretive
The j
to educate pe
area. Howew
smoling an
are generall
recreate in
“mt PUt f0:
7:15 is trLIE
Eiucation.
leans of le
Audio-viSUa

COntributiO
1)
thi
‘40:
Of
her
Whj
0f
thc
me;

20

exhibit. This knowledge can then be borrowed and
used in the nature center exhibits to "sell" the
interpretive idea.

The job of most nature center exhibits is
to educate pe0p1e about the natural history of an
area. However, "educate" conjures up thoughts of
schooling and hours of study. Since nature centers
are generally located in areas where peOple come to
recreate in their free time, the nature center exhibit
must put forth enjoyable rather than hardsell education.
This is true of most audio-visual methods used in
education. They tend to offer a more enjoyable
means of learning than the standard text book method.
Audio-visuals, according to Edgar Dale, offer seven
contributions to the field of education. They,

f

1) Supply a concrete basis for conceptual

thinking hence they reduce meaningless

word reaponses 2) Have a higher degree

of interest 3) Make learning more perma-

nent 4) Offer reality of experience

which stimulates self-activity on the part

of the viewer 5) Deve10p continuity of

thought 6) Contribute to the growth of
meaning and hence to vocabulary development

A
—--n

 

Ti '

7) Cc
and v5

Eritibits offer
They give idea
scre other auc
are permanent
ambit as mu.
of the indivi.
Period of tim

As an
E'JnCtlon of a
literest in a
icertain thi
the jOb of mc
0f the exhibi

arterial; the

21

7) Contribute to the efficiency, depth
and variety of learning.

Exhibits offer a quick, concise method of presentation.
They give ideas in a form more readily grasped than

some other audio-visual types. Since the exhibits

are permanent, a person can view or return to the
vexhibit as much as he wishes. A large audience (made up
of the individual viewers) can be reached over a

period of time, incorporating very little space.

As an educational tool, exhibits have the
function of attracting attention to, and arousing
interest in a subject, or creating a demand that
a certain thing be done.2 The exhibit planner has
the job of motivating the visitor to stop in front
of the exhibit; remain long enough to look at the

material; then to be stimulated enough for immediate

 

1Edgar Dale, Audio-Visual Methods in Teaching,
p. 31, 36, cited by Bruce A. Riley, Investigation of
Factors Which Influence Flow Developement in Exhibition
Design, (unpublished Master's Thesis, Michigan State
University, E. Lansing, Mich. 1962), p. 36.

2Evart G. Routzahn, The A B C of Exhibit
Planning, p. 17.

.. .. .51.

 

:: future thought
ins, the exhibit
elements: 1) the

2f the objects 01

sf the theme, am

 

the exhibit.4 A

 

‘5 592-3931ng 100
zaterial. PEOpl
trough pictures
la - .
Picture 15 w,
’11 attraCtiVe e

to "look at the

22

or future thought or action.3 In order to accomplish
this, the exhibit planner can work with three basic
elements: 1) the story or theme of the exhibit,
2) the objects or specimens which are the subject
of the theme, and 3) the design or way of presenting
the exhibit.4 A carefully planned exhibit with
ax: appealing look can do much more to inform visitors
a13c>ut a subject than could any lecture or written
Jn£11:erial. People can grasp an idea very quickly
'tlutzrough pictures or actual objects. The old saying,
61. picture is worth a thousand words," is very true.
13x). attractive exhibit draws the peOple to itself

tzca. "look at the picture."

Theme

The prime consideration in preliminary planning

C>15 Ein exhibit is the audience. To get a message
__‘______

3Grant W. Sharpe, Interpreting the Environment,

 

9‘ 287.

 

jg 4Albert Manucy, Emphasis on Indigenous Qualities
3E31i_3§xhibitions, (Proceedings of the Natural Science
Fir Youth Foundation Conference, St. Petersburg,

a. , 1966) I Po IV-8.

23

across, the makeup of the potential audience must

be known. Some things to consider are the age, intel-

 

ligence, social background and time available to

 

that audience. Unfortunately, when planning an
interpretive exhibit, the considered audience may
consist of a wide range of these factors. However,
one thing that most have in common is that their
Visit is intended to seek entertainment or recreation
during their leisure time. "They may not be attending
for education. The educational message must be
' cleverly' worked into the theme which is focused
on getting and keeping attention."5
At the same time, it should be stressed that
the exhibit planner not insult the intelligence of
the visitor or create a theme with extreme juvenile
I“aterial. Henry D. Brown of the Detroit Historical
Museum, writing in Museum News, advises: "presume

the visitor to be intelligent, but uninformed in

Your segment of specialized knowledge. The exhibit
\

M‘ 5Patricia J'. LaFlame, Ideas for Exhibits . . . ,
lchigan Cooperative Extension Service Publication

1:9 - 22 (Institute for Extension Personnel Developement,
963), p. 3.

 

ll‘

”0'

[CV

on
.d

2')

“I

u:

(I)

24

should provide a logical and straightforward progres-

sion from items and situations known and recognized

by the visitor to those new and unknown." The

theme must create some interest to draw the audience

to the exhibit. "It must present subject matter of

general interest to the surrounding society, diverse

if the society is multistratified and limited if

the society is homogenous." It is difficult to haVe

an exhibit that is of interest to everyone who visits

an interpretive center. However, a center normally

has room for more than one exhibit. By varying the

ex1"1:i.bits slightly, the interest attraction of some

e)itl'libits may appeal or be appropriate to almost any

visitor.

Occasionally, it may be possible to draw
visitors to exhibits by the design of the exhibit.

Incorporating some physical attribute in the exhibit

will create curiosity in the visitor, and pull him
6Jefferson T. Warren, Exhibithethods, p. 6.

7Bruce A. Riley, Investigation of Factors

wflch Influence Flow Deve'lopement‘ 1?: Exhibition
(unpublished Master's Thesis, Michigan State

W.
I'1:i.versity, E. Lansing, Mich. 1962) , p. 42.

pl-

[xi-7‘ I ' "

 

.A

 

l

“I

H
tn

25

to the exhibit to examine its contents. This is

especially useful where the message may not seem

important to the visitor, but nevertheless is one

the planner feels should be conveyed. A good example

here might be environmental issues. The majority

of? the general public takes an apathetic approach

tc> these topics, even though they are important to

society

and the future. Some type of “drawing card"

in an exhibit dealing with such a subject may help

in getting the message to the people.

When deciding on a theme for the exhibit,

'tllea interests of the people should be kept foremost

3L11 Inind.

As James Gardner and Caroline Heller put it,

all good exhibition starts from a sympathetic
appreciation (conscious or unconscious) of
the kinds of things people want to see and
know. In fact the one dogmatic rule that
you can make about exhibitions is that the
interests of the potential public come first.
Without this concern for peOple, exhibitions
are simpéy expensive collections of pointless
objects.

The question, then, is what does interest

the public about natural history? PeOple seem

\

8James Gardner and Caroline Heller, Exhibition

53255; Dispiay, p. 12.

 

 

 

5""
Gun;

u
III:

a...-

Av
v“.

U.

AA.
by

’7
C)

V.

'13

U]
9“

(1

26

conditioned to concentrate only on their own interests,
and, knowingly or not, block other distractions from

their minds. "Observation is a complicated business

because there is so much to see." Even if there

are many interesting things nearby, one will observe

only a fraction of what there is to see.

Concerning interests, the visitors may be

divided into two groups. First there are those who

Come with a definite purpose or interest. Students

working on a project, birdwatchers, photographers,

Or those interested in flowers are but a few. They

Pay close attention to exhibits dealing with their

sE3ecial subject and ignore the rest. The other

g’T—“CDup might be considered as those just out for a
good time. They may come in and glance at many exhibits,
eke-mining those which coincide with their casual
interests. Jefferson Warren found that these people
are interested in the exhibits which are "near and
dear" to them. ”Visitors are most interested in the
g:"i‘Ound under their feet, the sky above, and local

waters. An exhibit pertaining to the immediate

\ .._

9Ibid., p. 51.

27

environment evokes a sympathetic response which

does not occur to such a degree with exhibits of

exotic material."10 It seems very few peOple are

concerned about occurances in other parts of the

world, but when something happens in their own back-

yard, they take notice! A good example is the snowy

owl. There are perhaps thousands of snowy owls in

the arctic, but being so distant, not many people

think, or even know about them. However, if a mi-

grating snowy owl should stray into a local community,

Stilddenly interest grows. Everyone goes out to look

for the bird. The owl might even get its picture

in the paper .
Since most nature centers have adjoining

trails, exhibits in a nature center have a prime

p‘13li'pose of orienting the visitor to what he may expect

to find on those trails. The exhibits'are not an

end in themselves, but rather a transition point

between the parking lot and natural area. Here,

Q‘-‘l.‘l':iosities are heightened and opportunities for

enjoyment of the outdoors are instilled. "It has

\

10Warren, op. cit., p. 24.

28

been described as the key which Opens the door to

an understanding of the complexities of nature."
If exhibits are not of local interest, they do not

act as a lead-in to the trails, or act as a guide

in explaining trailside observations.

Another point in favor of regional exhibits
is they may bring to mind a visitor's past experiences.
If things in the exhibits remind him of these experi-

ences, it might motivate him to find out more from

the exhibit. Also, the exhibit may hold a valuable

answer that a visitor has wondered about for a long

time. Here he may obtain satisfaction by answering

his own question. Exhibits dealing with local subjects

are more likely to satisfy these needs.

Dr. J. Alan Wager found in his studies "that

presentations that included violence or violent

e‘rents were the highest in interest" for exhibit

themes. This is, as he points out, "what writers

and entertainers have known for centuries. Such

\
l l . n o _ . . '
William F. Hopkins, Developement and Operation

:\fthe Nature Interpretive Program, HCMA Metroparks
952-1973, (Huron-Clinton Metropolitan Authority

eport, Detroit, Mich.), p. 16.

~—

29

land-shaping processes as glaciation were also of

high interest as were ecological relationships and

mammals and birds."12 Another study done at U.S.

Forest Service visitor centers in Michigan also

found that the wildlife exhibits held the highest

itherest of the unanimated exhibits. People have

a 'tendency to relate to animals more than with most

<otflaer natural objects. It is believed by the present

investigator that this is due to the closer associ-

ation of animals and man.

Once an interesting exhibit theme has been

chosen, it should be narrowed down to present only

a Single message, idea, or mood.

'Exhibits are often expected to do too much.
They are sometimes too technical or too
abstract. Some have an overload of infor-
mation, too many unrelated components, or
have more than one theme; and these words

12Dr. J. Alan Wager, Evaluating Interpretation

'eilldi Interpretive Media, (paper presented to the

A\ C I
sSocietion of Interpretive Naturalists, April 7,

1972, Pine Mt. Ga.). P. 4.

13David W. Lime, An Exploratory Study of the

Efi of Two Forest Service Visitor Igngfgorma‘tion Centers:
§§£EQZageur and Sylvania, (North Central Forest Experiment
tLation Office Report, St. Paul, Mn., 1973), p. 7.

30

can be summiiized in one word
'clutter'."

Overdoing exhibits may cause the visitor to become
confused or overwhelmed. Instead of examining the

exhibits, he may simply be "turned off" and leave

with no enjoyment or enlightenment. "If an exhibit

doesn't sell its message immediately, people will

. - 15
Simply move on."

Exhibit themes should accomplish orientation

With unity. In other words, the exhibit should not

Cause a person to look to another exhibit (or else-

Where) to continue the theme. "Displays should be

designed in eyefuls and each eyeful should be able

to make a simple point without reference to what

Comes before or after it." People tend to look

at exhibits as individual entities and "will not

l3<>‘l:.her to associate the idea in front of them with
a "17 . .
lIllrthing they have already seen. This is a par-

ticularly hard concept for an interpreter to grasp
\

14Sharpe, op. cit., p. 285

15Ibid.

 

16Gardner, op. cit., p. 28.

17Ibid.

 

31

while planning an exhibit theme, since everything
in nature is interrelated. It is difficult to remove
one portion of nature's scheme and deal with it as
a separate tOpic in an exhibit.

After looking through a number of separate
themes, visitors may begin to unconsciously link
these into an overall view of nature. This overview
of related ideas may create an "image" for the inter-
pretive center, and should be one goal toward which
each exhibit should strive.18 Subject matter in
individual exhibits can also gain coherence by creating
unity in design and layout of the exhibits and exhibit
area. This is accomplished through the use of colors,
lights, exhibit cases or other related and similar
forms of support.19 Variation is important to stifle
monotony, but varying each exhibit will totally
separate each from everything else in an interpretive
center. It will add to the confusion of too many

things to view.

18Joseph A. Nicholson, "Interpreting the
Interpretive Center," The Visitor, p. 11, July-Aug., 1975.

ngames H. Carmel, Exhibition Techniques
(Traveling and Temporary), p. 29.

 

 

 

32

To further alleviate monotony for the repeat
visitor, exhibits should be changed periodically.
Store window designers are well aware that if they
leave the same merchandise in the window for extended
periods, it will take on a comforting and familiar
look and act as just a bit of the scenery to the
passer-by.20 The same would occur in the interpretive
center for the repeat visitor. In fact the visits
may cease altogether since they offer nothing new.
Also, exhibits may become obsolete no matter how well
built and designed. They may be out-dated or have
no meaning at all for a new generation of visitors

with different tastes, interests, and backgrounds.21

Specimens

 

Exhibits would not be "exhibits" without
things to show. Instead, they would be more reading

material to add to the already over abundant pile of

 

20Howard Ketcham, Color Planning for Business
and Industry, p. 65.

21Sharpe, op. cit., p. 301.

33

printed matter. All other criteria of building an
exhibit rest on the material to be shown. Themes
are planned according to the objects on hand. All
parts of design, i.e. lighting, color schemes, typo-
graphy and so on, are geared toward showing off those
objects.22 On the other hand, the objects to be
shown help enliven the theme of the exhibit and, with
the design, attract attention to the theme.

Specimens or graphic images offer the most
attracting force to the exhibit. But, these must
have meaning; in themselves, and in connection with
other objects or ideas in the exhibit. HOpkins states
that the original premise of nature center exhibits
"is not intended to be a museum for the collection of
natural objects, but a place where natural objects,
or illustrations and models of natural objects, are
used to explain natural phenomena, to show relationships
which exist in the wild, or display natural objects
which might not be readily seen from the trails."23

In displaying these objects, the exhibits are therefore

 

22Gardner, op. cit., p. 8.

23Hopkins, op. cit., p. 35.

34

a means of visual communication which compliment
observations in the natural area and are not in any
way meant to replace the natural area. However, through
interest in these objects, visitors may gain a more
beneficial experience while in the natural area.
”Natural objects in an exhibit have an intrinsic
interest, but often the interest is heightened by
showing man's use of these products in historic times"
or possibly the present.

Directly observing these things in their

three dimentions gives us the excitement

of translating abstract image into immediate

experience. When exhibition can give us

the feeling of direct perception for the

first time or persuade us to look at famil-

iar objects with fresh interestzgnd aware-
ness, then it is doing its job.

Design

The design of the exhibit offers the planner
numerous possibilities limited only by his enthusiasm

and imagination. There is a great opportunity for

24Manucy, 0p. cit., p. IV-lO.

25Gardner, op. cit., p. 8.

35

creativity and the unleashing of imagination in de-
signing exhibits.26 Neither the theme or the specimens
offer this chance. The theme of an exhibit is deter—
mined so it will interpret some aspect of nature
and so is limited to these natural phenomena. The
Specimens cannot be changed since they are natural
objects set by nature. Only the design offers the
possibility of change to create different reactions.
All facets of design offer variability. One
can vary colors, lighting, shapes, supportive structures,
layout, text, or even add animation or self-partic-
ipation as inducements for the visitor to examine
the display. But creativity and imagination can
go too far if no restraints are used. "Display then
must be a matter of calculated thought and planning."
In designing, one must keep in mind "to win an audience
it must be attractive, informative, persuasive, and
aesthetically pleasing. It must have a conscious

sense of promotion and a clear cut message."27

 

26Sharpe, 0p. cit., p. 287.

27Beverly Pick, Display Presaatation, p. 48.

 

36

Albert Manucy, at the 1966 Natural Science
Center Conference stated, "The basis of good design
is composition which, like good writing, involves
unity, coherence, and emphasis."28 As with commercial
displays, the designer is attempting to isell" an
interpretive idea. Combining the composition of the
writer with the psychology of the salesman, an inter-
preter should be sensitive to public taste and reaction.29
He must also be prepared to adjust his ideas of
design to conform with the main purpose of "selling"
the display. Occasionally, the ego prevents one
from accomplishing this purpose. Forming an idea
for a design is a method of personal creativity and
achievement. However, if the design does not get
the original point of the exhibit across to the public,
then it is no great achievement at all. The inter-
preter must remain flexible and conform to a type
of design which the public will accept. "It is

important to remember that different visitors will

react in different ways. Those who are highly motivated

 

28Manucy, op. cit., p IV-lO.

29Pick, op. cit., p. 48.

37

may accept our efforts no matter how bad they are.
However, if the visitor is not highly motivated, we
must make things enjoyable and easy for him."30 In
this respect, the potential audience must again be
considered, just as it was for the theme of the exhibit.
The same audience attributes that were discussed in
the earlier section of this study also have a direct
bearing on the form the exhibit will take. People
have very definite psychological and physiological
preferences for such things as color, lighting,
method of display, viewing area, or even the location
of the exhibit. If these preferences are not met
or in some way altered to another acceptable form,
we will loose those visitors no matter how interesting
the theme of the exhibit may be.

One important aspect of exhibition which may
bring a harmony to the exhibits, and insure success
is the interpretive center itself. The structure;
the surrounding landscape; even the layout of the

interior all set a mood, and enhance a favorable

attitude for acceptance of the exhibit's contents.

3oWager, op. cit., p. 4.

38

They should carry the visual personality of the
exhibition's purpose. In the case of a nature center,
the exhibit's "personality" would be enhanced if the
architecture of the building were to blend with the
surrounding natural landscape. Many pe0ple seem

to have a preconceived idea of a nature center as
being a rustic building in the woods.

The interior can also help set a psychological
environment toward the subjects of the exhibit. A
layout using natural objects or designs as decor may
help in creating an "outdoorsy" mood. If exhibits
deal with subjects other than natural history, such
as environmental issues, the area these exhibits
occupy may carry a different mood through another
decor. It has also been found that color carries
a large psychological load in setting mood. "Within
the realm of the immediate approach area, color can
be a determining factor . . . for the creation of a
conducive atmosphere . . . . Coordinated color
arrangements can arouse the visitor's curiosity and

interest."31

 

31Riley, op. cit., p. 43.

39

Circulation -- One important consideration in

 

determining the layout of an exhibit area is the
circulation or flow pattern for visitors. It has
been found that people in company with crowds have
definite psychological patterns. James Gardner and
Caroline Heller found that some of these are: that
people generally follow people; are curious; gather
at exhibits where others are standing; avoid open
spaces where they are conspicuous; like to get their
bearings; enjoy surprise; find walking tiring.3

These patterns people set are very important criteria
in the establishment of circulation. Certain psycho-
logical devices can then be employed to establish a
flow pattern. The movement of people can be decidedly
dictated by placement of participation devices. The
flow can be altered by the inclusion of closed areas,
highly structured areas, darkened alcoves, open bays,
ramps, or other types of elevations, lounge areas,

or physical impediments.

32Gardner, op. cit., p. 38-39.

33Riley, op. cit., p. 57.

40

The establishment of a circulation pattern
is important to the enjoyment and learning of the
visitor.
We must place the visitor in a good frame
of mind and set up a clear communications
atmOSphere for him. He should be relieved
of all problem solving and decision making
in so far as it is possible and practical.
Through the use of the finest known tech-
niques and a catering to the psychological
attitudes of the visiting public, visitors
should be3made comfortable and welcome as
possible.
The establishment of a flow pattern frees the visitor
from the necessity of decision-making so he does
not need to choose one course of inspection from many
possibilities, "yet, conversely, he should not be
made a complete captive of a highly structured system.
The visitor should be immediately supplied with an
overall understanding of the situation and then gently
led to it."35 In this case, the visitor's first
impressions of the interpretive center should relieve

him of the tensions of daily life, and nervousness

from being in unfamiliar surroundings. One way of

 

34Ibid., p. 44.

BSIbid.

 

41

accomplishing this is through inclusion of an "initial
entrance feature which serves to relieve the visitor
from irritating external stimuli."36 Caution should
be exercised here. As Gardner noted, "there is a
strong tendency for visitors to step warily into a
hall, hesitate to orient themselves, and move boldly
off into the desired direction. For this reason,
intricate displays should be banned from the entrance."37
Therefore, some simple orientation or atmosphere—
setting device should be used to first acquaint the
visitor to the interpretive center.

Some nature centers do not have a fixed flow
pattern, but instead use a pattern that "may be so
little in evidence that the positioning of exhibits
at first appears casual and accidental: in fact it
has to be very carefully worked out both in relation

to people's movement and points of View to the character

of the exhibits and their backgrounds."38 This leaves

 

36John Cabot, "The Visiting Public and the
Museum," Midwest Museums Quarterly, p. 22, Spring
1961, cited by Riley, op. cit., p. 43.

 

37Gardner, op. cit., p. 39.

38Ibid., p. 45.

42

a visitor with the feeling of being free to wander
around but makes sure that each of the exhibits will
fall into a carefully composed pattern. A technique
of creating this free or uncontrolled flow may be
termed "weighting." This method causes the visitor
to unconsciously select preplanned directions to
consecutive exhibits and so eliminate the need for
physical barriers.39 It also serves to orient the
visitor to the overall layout of the exhibits since
there will be no obstructions to the View. If the
visitor wishes to re-examine a certain area, the
lack of physical barriers allows him easy access
to any of the exhibits. This method works extremely
well where the only unity in the exhibit themes is
very broad subject matter, and where there is little
linkage between groups of exhibits.

On the other hand, if the exhibits have a
stronger relationship to one another, especially in

a desired sequence, a controlled circulation may be

 

9Donovan Worland, "A New View of Museum
Exhibit Design," (Western Museums Conference, Asilomar,
Calif., Oct., 1959), p. 15, cited by Riley, op. cit.,
p. 45-46.

43

best. This means quite simply that the visitor is
not offered a choice of routes, but is instead directed
along the correct path to insure everyone sees every-
thing in the right order.40 The visitor may set his
own pace with his own inclination to stop and observe
areas of interest, or may pass them by more quickly.
Still, there may be the feeling of being shoved where
one may not necessarily want to go; a psychological
feeling of constriction. Therefore, in a controlled
circulation, variety of arrangement, atmosphere, and
scale is an absolute essential to the planner.41
Gardner has set certain rules that should
be followed when a controlled flow is used. They are:
1) It should not last for more than one hundred yards,
with a periodic loosening of the layout to avoid the
feeling of unbearbale constriction (Perhaps even less
lengthy in interpretive centers that are not large.).
2) All displays with a related sequence should be
arranged together down the same side of a gallery.

3) Each display will at least be passed by every

 

fl

4oGardner, op. cit., p. 43.

411bid.

 

44

visitor, so adequate space for stopping must be pro—
vided. 4) For special displays drawing large crowds,
extra space must be available.42 Even when adhering
to these rules, problems may arise when very heavy
use days occur. The one-way circulation may cause
a traffic tie-up at an exhibit of particular interest.
For this reason, it is good to limit the exhibits
in this controlled circuit to those that are quickly
and easily understood, and appreciated by everyone.
To relieve the channelized feeling, and, more
importantly that of fatigue, the element of surprise
may be incorporated. Spectacular features can be
placed effectively at sudden turns. Sound or light
leaking through a partial barrier excites curiosity
and so offers enjoyment of surprise to the visitor.43
Spacial arrangement is a method of relieving visual
fatigue. Joseph Nicholson stated that, "as the
visitor moves through changing levels there are

spacial surprises which tend to reinforce the overall

graphic information presented. These dimensional

 

421bid.

43Ibid., p. 39.

 

45

changes along with appropriate changes in informational
mediums increase visitor interest and produce a

special flow for the story line."44 Simple and constant
variations in areas such as exhibit size and placement,
flooring textures and general atmosphere help to

relieve physical as well as mental fatigue.

Exhibit Arrangement -- The way the exhibits

 

as a whole are arranged is another factor to consider.
There are three things of importance that should

be thought over in arranging exhibits: their relation
to each other, their separation from each other, and

the height from the floor at which they are displayed.45
Exhibits of a story line obviously must be within

close proximity to one another if the viewer is to

get any connection between them. Each of these must
convey its ideas quickly so that the story line is

not lost in one complex exhibit. On the other hand,

exhibits that are displayed separately are the most

 

44Nicholson, op. cit., p. 10

45Routzahn, op. cit., p. 92.

46

successful.46 These do not compete with other near-by
exhibits and so can be observed longer and the message
absorbed more completely. "Since exhibition is a
matter of seeing things, everything must be considered
in relation to the eye and position of the viewer."47
Viewing distance is important to consider when deter-
mining the size of the objects to be in the exhibit.
In most cases, exhibits are in a position to be
viewed closely, and so offer no problem in showing
material to peeple. However, large objects naturally
require much space, and so increase the distance
between the whole exhibit and the viewer. In this
instance, everything must be considered so the viewer
will have a good vantage point, especially concerning
labels.

Viewing height as well as distance should
also be taken into account. Since most centers require
the visitor to walk through the exhibits, the visitor

will be standing while viewing. It has been established

that the average viewing height for an adult is five

 

46Sharpe, op. cit., p. 295.

4‘7Gardner, op. cit., p. 56.

47

feet-three inches above the ground.48 The designer
can establish this as a norm for easy viewing.
However, since children are frequently visitors to
nature centers, this height may be objectionable.
Some compromise can be established so all sized
viewers can participate: perhaps an elevated plat-

form.49

Exhibit Techniqae -- The main thrust of this

 

study is the exhibits themselves. It is true that

many outside influences can cause success or failure

of an exhibit. However, in many cases, the exhibit
planner and builder must work in previously established
centers; places where architecture, interior decor,
circulation patterns, even the types of exhibits and
exhibit cases have already been established. This,
however, does not mean that these things cannot be
changed if they have a degrading effect on the exhibits,
but this may take a long time to determine. Here

the exhibit designer must use his personal techniques

 

481bid.

 

49Warren, op. cit., p. 5.

48

in an experimental way to ascertain what is successful
in his new surroundings.
This exhibit technique may be considered as
a form of art. Like other art forms, it has its
followers and critics. There are some who will obtain
a great deal of informative and aesthetic appeal from
it, or some who feel it is a waste of space. D. M.
MacMaster of the Chicago Museum of Science and Industry
states,
Exhibit techniques are simply methods of
communication . . . the arts of dramatic
presentation are brought to bear on the
problems of mass communications. By pro-
viding high entertainment value with high
educational value, by appeal to emotions
as well as the intellect, exhibgfi techniques
evolve seemingly of themselves.
Caution is advised when using personal exhibit
techniques as a form of art. While useful in attracting
attention and creating interest in an exhibit, consid-

ering them as an art form may cause the designer to

add too much to his exhibit. Exhibit techniques

 

50Ibid., p. 77.

49

should only be used to enhance the exhibit, never
to mon0polize interest in its own right.51

The main reason for incorporating different
exhibit techniques is the aesthetic pull towards
the visitor. There are a number of principles involved
in creating an aesthetically attractive exhibit.
Some to consider are: l) Harmony; of color and form,
all the elements making up the exhibit, 2) Equilibrium;
balance between the various portions of the exhibit
around an imaginary center, 3) Contrast; the use of
shapes, proportions, and lighting, to break monotony,
4) Proportion; use of objects with dimensions which
will be mutually complimentary in size, 5) Originality;
freshness or novelty of an individual's own method.52
To this list should be added neatness and simplicity
for the average public will only be impressed by
what they can easily and quickly understand.

In order to put his own techniques to work,

the exhibit designer has seven tools at his disposal:

 

51Gardner, op. cit., p. 12.

52Frank J. Bernard, Qynamic Display Technique
and Practice, p. ll.’

50

l) specimens or objects, 2) color, 3) lighting,

4) fixtures or display medium, 5) narrative, 6)
animation, and 7) participation. Each of these has
some very definite attractive force to visitors, and
so are dealt with separately in this study. It
must be remembered that most or all of these make

up an exhibit, and so must be considered together

to compliment one another in the final exhibit design.

Specimens -- In displaying an object that

 

is to be the focus of an exhibit, it should be placed
where it will not receive interference from other
things within the exhibit. It should be positioned
where it will attract attention since what catches
the eye may catch the mind.53 Making the object
stand out or be different in some way will cause it
to be noticed. This might be accomplished by spot-
lighting it, by physical isolation, placing it among
dissimilar objects, by color, or even by the display

structure. Varying the main object in an exhibit

 

53William Hayett, Displayand Exhibit Handbook,

51

by any means will emphasize that object.54 If the
object is subordinate to the narrative or subdued
by the color or lighting, it will not be prominent
and may be ignored.

Overcrowding an exhibit with specimens may
overpower the visitor, and cause him to shy away
from such an abundance of information. Unless there
pie some special reason for using many specimens,
they should be limited. It is not the purpose of
an exhibit to give a short course on nature, but
rather to deal with one small aspect of it. Limiting
specimens also emphasizes the elegance of form of
each and helps to give each a special importance

it would lack if crowded with other objects.55

 

Lighting —- "It is lighting . . . that largely
determines how we see, what we see and how we feel about
what we see."56 We are creatures of sight. It

has been found that approximately 87% of our impressions

 

54Carmel, op. cit., p. 68.

551bid., p. 73.

6Gardner, op. cit., p.59.

52

are received through our eyes.57 And sight is dependent
on light. For this reason, we are daytime creatures,
and where daylight does not occur, we use artificial
light. It is easy to see why the intensity, color,
quality, and brightness of light can affect the

way we perceive things and the opinions we form

about what we see. This perception, too, is the

first step in leading to understanding. Without

the experience of sight, we have more difficulty

in gaining knowledge.

Light can affect us much more than by merely
showing us things. "Light can create atmosphere and
mood more effectively--yet more subtly--than the most
complex architectural system of forms and shapes . . . .
The color of light alone can influence mood and can
well affect the reception accorded by the visitor
to ideas or objects presented."58 The color of

light affects our physical and psychological beings

to a very great extent. It has been found that

 

57"Eyes, Our Windows to the World," Better
Light Better Sight Bureau, Form N. B—564, Frontis
Piece, cited by Riley, op. cit., p. 2.

58Carmel, op. cit., p. 116.

53

"the eye sees best in white, yellowish, or yellowish-
green light, and worst in blue light."59 Red light
quickens mental reactions and tends to cause over-
estimation of time. On the other hand, green light
favors slower muscular responses and underestimation
of time.60

The exhibit designer should determine how
light can affect his exhibit. He needs to consider
1) the intensity of light which will determine the
speed and acuity of the visitor's vision and will
help to counteract outside lighting; 2) directional
control to eliminate glare, bring out textures and
patterns, concentrate light for emphasis and produce
dramatic effects; 3) diffusion of light to eliminate
undesirable shadows, raise general lighting level of
the exhibit and make forms more clear; 4) the color

of light which can create atmosphere and attract

attention.61

 

59Faber Birren, Color Psychology and Color
Therapy, p. 243, cited by Riley, op. cit., p. 41.

GoIbid.

 

61Howard Ketcham, Color Planning for Business
and Industry, p. 68.

 

54

To have the most effective lighting on an
exhibit, the designer must have complete control.62
The light that enters through a window from the outside
may be admitted through controlled conditions so it
is graded and glare avoided. Also, these outside
openings should "be placed in such a position or
screened in such a manner so that the eye will not
see the sky or other bright areas, such as white
paving or buildings in sunlight, once it has adjusted
itself to the lower levels of illumination found
inside."63
The general make-up of the specimens and the
theme of the exhibit are the deciding factors in
selecting the type and quantity of lighting fixtures
to be installed.64 The reflectivity of the specimens
and their color determine how well these objects will

be seen under different lighting conditions. The

theme of the exhibit may carry a mood which can be

 

62Gardner, op. cit., p. 41.

63Michael Brawne, The New Museum: Aarchitecture

and Display, p. 170.
64
Bernard, op. cit., p. 208.

55

furthered by some special lighting effect. Those
two factors must be compromised for lighting that will
present the exhibit in the best manner.

Usually, lighting for exhibits should approx-
imate that of daylight. This brings out true color
values, and shows objects in their most natural
way. However, some varience may be required to make
certain objects more visible. Dark surfaces need
a greater intensity of light than do light surfaces.
The former tends to absorb or "swallow" much of the
light making it more difficult to see.65 Light
should also be glare-free. Light traveling directly
to the observer from a bulb tends to dazzle and
irritate. For this reason, indirect lighting, or
lighting with some form of shield should be used.66

Another factor to consider is the economics
of lighting. Fluorescent light bulbs use a given

wattage to greater advantage than do incandescent

lamps, giving light several times more intense with

 

65Bernard, op. cit., p. 208.

66Ibid., p. 209.

56

much less heat loss.67 Fluorescent lighting also
offers a soft, nearly shadowless light. However,
fluorescent light cannot be focused to emphasize

an object. Incandescent light can do this. What
is to be accomplished in the exhibit will determine
the type of light to use.

Light can be used for eye-catching effects.
Emphasis can be placed on a small object by spot-
lighting it.68 Confined localized lighting within
relatively dark spaces produces a series of "television
screens", focusing attention on them.69 Flickering

light, changing colors, neon lights, ultraviolet

lights, moving lights, and transparencies all attract
70

attention. Attention can also be concentrated on an
\z...
exhibit when it is the main source of light and the

rest of the area is darkened.71

67Ibid.

 

68Brawne, op. cit., p. 176.

69Ibid.

 

7oBernard, op. cit., p. 209.

71Gardner, op. cit., p. 75.

57

One other physical factor of light should be
considered: it will deteriorate many items that are
placed in the display, except metal, stone and glass.
Outdoor light is the worst for this--and adds another
plus for restricting its entry.72 Measures to restrict
all light are, of course impossible. Instead a means
to adapt the eye to progressively lower levels of
light could be devised in the transition from outdoors

to indoors.

Spiaa -- Color is one of the most valuable
tools used to attract the eye and pull the components
of an exhibit together. The commercial display designer
learned this long ago. The functional use of color
in these displays is increasing sales of all types.73
Through research they have found what colors affect
people in what ways, so that proper use of colors
will influence people to purchase certain products.
Information gained from the research of these commer-
cial displays can be easily adapted to the nature

center display to give the desired effect.

 

72Brawne, op. cit., p. 170.

73Ketcham, op. cit., p. 2.

58

"The eye reacts to color much as the ear does
to music chords. Certain combinations of tones are
as agreeable to the ear as certain color combinations
are to the eye. Musical dissonances have their
equivalent in 'clashing' colors."74 These color
combinations can then react on our emotions as much
as certain music does. Certain colors can bring to
mind emotional associations based on past experiences.
Red incites the mind to activity and brings about
thoughts of action, urgency, heat, fire, sentiment,
and passion. Yellow brings to mind open air, sunlight,
joy, fun, and movement. Blue provides one with a
feeling of spaciousness, distinction, and coolness.
Green indicates nature, pleasant anticipation, and
a soothing, calming effect. Occasionally, mixtures of
the basic colors can also impart some emotional
feeling such as violet (red and blue mixed) which gives
one a melancholy feeling, or purple (red and violet

mixed) which is associated with majesty.75

 

74Bernard, op. cit., p. 194.

75Ibid., p. 195.

 

era:
Vidt
may
to

gem

59

Along with the emotional impact that some
colors impart is a physical response which they
seem to create. The warm colors which include yellow,
orange, red, and their combinations with white,
impress the eye, enhance the specimens and seem to
optically push them to the front of the display. The
cool colors, blue and green, create balance and an
enlarging illusion to the exhibit.76 Green also
creates a condition for meditation and allows ideas
to be executed.77

Just as music preferences vary from person
to person, so, also, do color preferences. The average
order of color preference is blue, red, green, violet,
orange, and yellow.78 However, even for the indi-
vidual this is not very set, since color preferences
may vary from year to year, place to place, age group
to age group, or between economic levels.79 In

general again, children tend to favor brighter colors,

 

761bid.

 

77Riley, op. cit., p. 39.

78Birren, cited by Riley, 0p. cit., p. 40.

79Ketcham, op. cit., p. 28.

 

colo
and
are

HA1 F
bv$~

ozhe

a V6

the

Wit)

tax:

53101

60

whereas adults are more responsive to off-shades and
sophisticated mixtures; preferences shift from warmer
to cooler colors with increasing age.

To some extent, colors can be used as "atten-
tion-getters" in an exhibit. The main attracting
colors are the reds, oranges, and yellows; purple-blue
and purple are less effective and blue and blue-grays
are attention-losing.81 Effectiveness of using any
color in attracting attention must be coupled with
other colors or design tools. Complimentary colors
combined in an exhibit appear to flicker imparting
a very attracting influence.82 Yellow seems to be
the most visible color from a distance, and, combined
with black, form the most legible mixture of color
combinations.83

Complex color combinations and "loud" colors

should be used with extreme care. The more complex

 

 

80

p. 378, cited by Riley, op. cit., p. 39-40.
81Ketcham, op. cit., p. 66.
82Dale, cited by Riley, op. cit., p. 39.

83Birren, cited by Riley, op. cit., p. 40.

Edgar Dale, Audio-Visual Methods in Teaching,

1"

 

the solo
visitor
colors <
:ateria
used on

ietails

61

the color images, the more strain that occurs on the
visitor to try and retain them.84 So called "loud"
colors do attract attention, but do so away from the
material being displayed.85 These colors should be
used only for small areas to attract attention to
details.

For a pleasing effect on the eye, light shades
are recommended. They give the appearance of deepening
the exhibit, thereby seemingly increasing its size
and making it look less crowded.86 These shades can
then be very useful when numerous items are to be
used in the exhibit. The opposite is true for dark
shades. They give the impression of closing in the
background, and shortening the Space to the eyes
of the spectator.87

From the research accomplished about color
impressions, it would seem very easy to choose a color

to fit the design of an exhibit. These impressions

 

 

84Dale, cited by Riley, op. cit., p. 39.

85Bernard, op. cit., p. 194.

86Ibid. p. 195.

87Ibid.

1’

 

,la

is p.
ice 1

q
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‘VV-

011C
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ba1

In

62

do play a part in color choice, but should not be
the only requirement. Another consideration is the
color of objects used in the exhibit. This may be
a prime determinant in the color scheme; a color
scheme that will give harmony between the specimens
and the exhibit decor. It has been proven that a
neutral-colored item will seem to get lost in a bright,
contrasting background, where a strong-chroma item
will require such a background to give it support
and contrast.88 Use of the pastel shade of the
specimen's chief color is usually a safe rule.89
Single colors in an exhibit tend to be monot-
onous and unappealing. Even though there may be
some contrast with colors in the specimen, a solid
background may not be the choice to hold interest.
Instead, "using well placed accent colors with a total
color impression of middle value" would break the
boredom.90 The use of a light-to-dark value in a

ratio of one-to-three gives a very good balance in

 

fir

 

88Ketcham, op. cit., p. 66-67.

89Bernard, 0p. cit., p. 194.

90Ketcham, op. cit., p. 66.

 

ter

the

Sex

Ca:

63

exhibit preparation.91 The use of many colors is
prohibitive, but use of some colors will help to tie
several aspects of an exhibit together.

a color repeated in different parts of a
display tends to show a relationship among
those parts. A brilliant cerise used only
twice in one design will make those two
points seem related to each other, and the
eye will tend to go back and forth between
them. A bright green that is next to a
slightly grayed green, that, in turn, is next
to a grayer tone of green gives a feeling

of relationship among the colors that carries
the eye along. Such a color plan might

also show a relationship between the ideas
that argzpresented in the three similar
colors.

Fixtures -- In this study, the use of the
term ”fixtures" refers to the medium which will hold
the exhibit or present it to the visitor. The exhibit
must have some means of being viewed by a standing
observer who may be either an adult or child. Pre-
senting the exhibit to the viewer may also require
carrying lighting or subdividing spaces.93 There are

a number of ways to do this. Most obvious is to

9lipid.

 

92Dale, cited by Riley, op. cit., p. 40.

93Brawne, op. cit., p. 181.

 

‘4'-

 

A]:

to I
far
are
to

con

Sui

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tn

64

simply place the exhibit out for inspection. This
method works well for specimens which are meant to
be handled. Setting out in the open, of course,
offers no barrier to inquisitive hands, so items of
value should not be displayed in this manner. On
«3 w
the other hand some restraint or enclosure is needed {
for the live animal exhibits. Cages can conform

to most of the rules governing other exhibits as

 

far as lighting, color and any other design tools 1
are concerned. In this case, the animal is considered
to be the Specimen in the exhibit. The four most
common elements of exhibit display are walls, panels,
supports, and cases.
Walls may be considered the most primary
and readily available support surface for an exhibit.
It is ideally suited for flat-work displays and can
be modified by color or addition of distinctive surface.
Since there normally are walls only on the
outer fringes of a room, panels may be used as inward
extentions of the walls. In this way they serve the
same function as the wall. However, one advantage

they do have over the wall is their mobility. They

“I.
:m
A .V

“In
.L
F9

 

f0

en

YE

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65

can be changed around so that the Space they define
can be altered, and the position they hold in relation
to lighting, other exhibits, and circulation patterns
can become effective for each particular occasion.94

Supports may encompass all methods of holding
an exhibit which cannot be described as a wall, panel
or case. These have the advantages of securement
against removal, providing viewing height, and differ-
entiating the display from its surroundings.95

Cases normally are the most often used method
for holding exhibits. They are glass or plastic
enclosed structures which offer certain advantages
over some other forms of exhibit presentation. Being
enclosed, valuable objects can be publically displayed
yet protected from theft or handling; dust and insects
can be excluded; and climatic conditions can be more
constant or even altered by inserting for instance

hygroscOpic material.96 Each case being a separate

entity in itself, the interior setting can be built

 

94Ibid., p. 182.

951bid., p. 188-9.

96Ibid., p. 135.

bfi
w

. “.1

gf‘
MU

 

tC

oi

66

to coincide in scale with the specimens being shown.97

However, being enclosed does produce the disadvantage
of placing some material, plastic or glass, between
the exhibit and the viewer. This surface can act
as a light reflector, giving an extremely distracting
element to the exhibit. Therefore, these see-through
materials must be positioned or Sloped so they will
not reflect irritating light to a Spectator.98

Each of these mediums has uses for particular
types of displays and for different purposes. Monotony
and fatigue can again result if only one of the methods
is used in an interpretive center. It would be
preferable to use a combination of them, each suited

to a type of exhibit that is compatible with its type

of display.

Narrative -- Once the exhibit fixtures are

 

up with the appropriate colors and lighting to go
along with the specimens shown, some form of inter—

pretation must be used to bridge the gap between the

 

. 9731931.. p. 187.

98Ibid., p. 184.

67

exhibit elements and the viewer. The best "bridge"
would be the interpreter himself; a personal contact
so that explanations and questions answered can be
geared to each individual visitor. This, however,

is not practical and we must rely on other means to
get the interpretive message across. Most often this
takes the form of written material in an exhibit,
which in this study will be referred to as the narrative.
Here, unfortunately, lies one major drawback; the
"premise that modern man tends to overlook printed
typography in favor of the pictorial image."99 It
appears in society today, that with all the printed
material people contact, they soon become tired of

it and look for an easier way to gain information.
Adding to this, most of what we read for pleasure,
education, or otherwise, we read sitting down. There
are very definite limitations to the amount people
will read standing up.100 In exhibits, visitors

may just look at the pictures or specimens, being

 

99Riley, op. cit., p. 3.

looCarmel, op. cit., p. 101.

 

n
.1

P0
ti

be

68

content with what little knowledge they gain from
them, and ignore the narrative.

Where many exhibits have a message to put
across, it is very important to keep the narrative
in these as simple and as easily understood as possible.
In some cases, exhibits may be designed where no
labels at all are needed to convey a message. These
quite often wind up being the most successful. However,
it is difficult to interpret without having an exchange
of words in most exhibits. For this purpose, certain
considerations can help make reading the narrative
more enjoyable and relaxing. Above all, it must be
legible and visible. It must be properly lit and
positioned so it can be easily read without obstruc-
tion.101 The ideas, concepts, and processes should
be put across in a comprehensible way. If something
is difficult to understand, most people will not
bother to figure out what is being said, but will
turn away to something else. To make a lasting impres-
sion, the narrative should teach enjoyably and stimulate

the imagination. Through stimulation, people become

 

w

lolIbid., p. 105.

69

interested and want to gain further knowledge of the
subject. Interest can be heightened by not simply
communicating fact, but instead creating a memorable
experience on which future learning can build.

Using the past to explain the present and the present
to suggest the future will give a basis upon which i
visitors can build.102

"Keep in mind that an exhibition for the

public is a display, a presenting to view, an offering l

 

for inspection, and not a convenient substitute for

a film, book or series of lectures."103 A person
visiting exhibits will spend only a short time looking
and reading a limited amount of descriptive or inform-
ative text. The narrative must not be lengthy, but
should get its point across in as few words as possible
and still be understandable. The most effective
exhibits are those with a single purpose, best achieved

by brief captions or headlines, not by long compo-

sitions.104 Many exhibits attempt to present too much,

 

102Worland, cited by Riley, op. cit., p. 56.

103Carmel, op. cit., p. 101.

104Hayett, op. cit., p. 9.

 

'25L‘
have“

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70

rather than a selection of the best. They become
wordy and redundant in an attempt to convey an over-
abundance of thoughts. If a concept cannot be simplified
into a short narrative, it Should not be used as an
exhibit.

The same is true concerning the words used. (u
Simple words are universally understandable, and it
is understanding that is the exhibit's goal. Therefore, :

elaborate words are best left out of exhibits "for

 

making readability rather than beauty the criterion."105

The narratives used in exhibits can be divided
into three main groups: those that must be seen for
the exhibit to make sense; those that act as explanation
for those that are interested; those that give facts,
figures and explanations for a special interest
group.106 The latter type of narrative Should be
used in exhibits only where peOple with the right
type of technical backgrounds are present. Explanitory
narrative should help tie loose ends together so that

the whole exhibit gives a meaning that the eye and

 

105Carmel, op. cit., p. 103.

106Gardner, op. cit., p. 104.

71

the intelligence can easily follow. Narrative that
is necessary for understanding usually includes an
exhibit title and captions for pictures or objects.
It is normal for people to have preferences
as to what they read. Studies have shown that this
is true of the narrative material in exhibits. It i
was shown that the greatest interest and actual reading

occured with exhibits that presented information

 

as cause and effect relationships, or that had parts
in making a complete story. It was also found that
if a place to Sit was provided, more was read. The
least read and least interest occured with the presen-
tation of isolated facts, such as the identification
of species.

Titles are an important portion of the exhibit
since they can captivate the visitor's curiosity
with only a few words. In this way, a title can
draw a person to the exhibit. They are composed
to announce the exhibit and give the general context
of things to be seen, but done in a way to invite

the visitor over to inspect the exhibit further.

 

107Wager, op. cit., p. 4.

72

They Should always be short--not more than five words,
and positioned and lighted for good viewing.108

The mechanics of setting up the narrative
are as much common sense as those of color. What
looks good to the interpreter should look good to the
majority of visitors. The readability of the narrative
is determined by such things as contrast, colors,
lighting, placement and size. It is increased when
the contrast between letters and the background is
highest. Tests have shown that black letters on
white are easiest to read.109 Lighting and placement
Should illuminate the printing and make for ease in
reading. In order to be seen, the Size of the printing
is important, but length of the narratiVe is also
important. The highest readability appears to be
with a line no more that sixty characters in length.110
For greater legibility, printing or lettering should

be accomplished by mechanical processes. This will

insure an adequate standard of finish and execution,

 

 

108Gardner, op. cit., p. 104.
109Carmel, op. cit., p. 105.
110

Ibid., p. 106.

73

as well as uniform letter size and spacing.111 Once
a particular type face has been chosen, it is wise
to use it consistently.112 Different kinds of type
used in a display are a distraction and awkward, as
well as appearing unprofessional. For the same
reason, many fancy type faces are not recommended.113
Since a majority of narrative material is not
read, especially when there are many exhibits, the
messages they attempt to put forth may be re-worked
for a more interesting or attention-getting delivery.
Dr. J. Alan Wagar found that visitor enjoyment was
greater if the narrative was taped and played back
to the visitor. This method also seemed to increase
the visitor's retention of the material presented.114

Other research indicates that the exhibits that used

hear-phones or taped messages were more popular than

 

 

111Pick, op. cit., p. 138.

112Gardner, 0p. cit., p. 109.

113Ibid.

 

14Wager, op. cit., p. 5.

1".

74

those with only printed matter. However, some people
still did not stay to hear the full length of the

115
message.

To probe the visitor's curiosity, and thus
create interest in the narrative, a moving or animated
message is effective.116 Certain mechanical devices , {.1
have been built for this purpose. They send a message

in flashing lights across a narrow screen "holding" 5

the passer-by to see what comes next. People who

 

1"—

would never read certain printed messages will take

time to wait for the complete message on moving lights.

Animation -- Animation can be a very effective

 

tool used by the designer to attract attention to a
display. "Any individual . . . , unless he is con-
sciously seeking information, will be attracted by
simple and what may seem childish things. Novelity,
ingenuity, movement, . . . tricks and mystery" these

are the ingredients of animation.117 Any form of

 

115Lime, op. cit., p. 7.

116Bernard, op. cit., p. 210.

117Gardner, op. cit., p. 12.

75

bringing life to an exhibit, any kind of movement

or curiosity placement will attract attention to the
exhibit and help to create interest in the subject
matter. "Life" is a key word in using animation,

for it gives us the basis for animation in an exhibit.
Movement is associated with life. So is sound which
can be piped into an exhibit. Live animals themselves
might even come under this heading Since they bring
movement to an exhibit. They have great attractive
force in an exhibit, as evidenced by the annual
visitation to zoos. Forms of animation may help

the exhibit to "live" for people, enhancing a valuable
learning experience. On the other hand, the designer
must be careful to make sure the animation is incor-
porated as part of the exhibit. "Often arbitrary
technical tricks are used to gain attention with
little consideration to the actual retention value

of the various exhibits."118 Flashing lights are

very effective in attracting attention, but have

little to do with, for example, an exhibit on night,

singing insects. Instead, the sounds of these insects

 

 

er

118Nicholson, op. cit., p. 9.

76

played over a speaker may not only draw attention,
but also become a part of the exhibit and add to the
learning experience. Using animation in this manner
makes it a valid technique in exhibit design.
Animation, for the most part, is primarily
used as a device to draw people to an exhibit. Its {61.
secondary function, that of adding information to an
exhibit, will help to create interest. Wagar found

that "movies associated with high interest, followed

 

1w

by exhibits that used shifting lighting, then those
that included audio or recorded sound. The lowest

in interest were those that relied on written text

and mounted photos--f1atwork exhibits that are probably
the commonest of all."119 Wagar further stresses that
the stimuli associated with high interest are dynamic,
and are those associated with entertainment. Those
with lower interest are inert, and are associated

with the traditional educational methods.120

 

119Wager, op. cit., p. 4.

120Ibid.

77

Visitor Participation -- Animation and visitor

 

participation used as tools in an exhibit are very
Similar and in some cases may overlap. In this

study, animation is refered to as some form of attrac-
tion device (sound, lights, movement, etc.) which

may add some feeling or learning value to an exhibit. (“-
Participation is a device which actively involves

the observer through the sense of smell, tactile

 

feeling, manual maneuvers, or mental exercise. A ‘
participation exhibit may also attract attention,
simply because of its nature of involvement. It
also will add to the mood, interest, and learning
value of the exhibit.
A participation exhibit "encourages the
visitor to participate in the exhibit." Therefore,
he is apt to "concentrate to a greater degree and
to be less distracted by what is going on around
him."121 Devices encouraging people to take part

may come in a variety of forms. Push buttons may

be the most common, for very few people can resist

 

121Carmel, op. cit., p. 123.

78

"pushing." These types play on people's curiosity
much like putting up a "wet paint" Sign. Incorporating
a test such as matching games causes the visitor to
use his knowledge of some subject, and through the
test may gain more knowledge. Studies have shown that
visitors have better retention of information when
they are exposed to even the simplest challenge.122
Sense of touch may be used to gain information on

some exhibit. Many objects encourage a tactile
sensation for enjoyment. Again, many people cannot
resist "petting" a stuffed animal to see how it feels.
But tactile sensations are not limited to touching
alone. Some tactile sensations may create a mood

or feeling for an exhibit such as a heat lamp used
near a desert exhibit, or a fan used to create wind
for an exhibit on storms. Odors can be used in the
same way as tactile sensations to enliven an exhibit.
"The act of smelling is an important part of human
life and more often than not recalls to mind pleasant

incidents."123 Examples of this are smoke, and

122Ibid.

 

123Warren, op. cit., p. 21.

 

79

thoughts of a campfire, or ozone which freshens the
air after a storm.

Wittisch best sums up the success of using
participation exhibits: "Effective perception is
thus a blending of sensations (from all senses)
which then gives rise to thoughtful shuffling, arranging,
and selection of a pattern. This pattern may be

thought of as an understanding of an event or object."124

Ale

124Walter A. Wittisch and Charles F. Schuller,

Audio Visual Materials: Their Nature and Use, p. 30.

 

 

CHAPTER II

METHODOLOGY

Sampling_Pqpulation

 

The concern of this study was with the adult
nature center visitors who entered the exhibit room.
It was felt that their intent in coming into the
exhibit room was to view the exhibits. The survey
was restricted to the adult population since they
are better able to understand and give a more mature
response. For this reason, the sampling cut-off

point was limited to age fifteen and above.

Questionnaire

To put the questionnaire in final, under-

standable form and format, the book, Questionnaires:

 

Design and Use by Douglas R. Berdie and John F.

Anderson, was consulted.

80

81

The resulting questions were reduced to a
workable and uncumbersome ten that would give insight
into the objectives of this study. Three demographic
questions were also included to find if this information
had any bearing on the main questions. A sample

of the finalized questionnaire appears in the Appendix.

Sampling Frame

The major details of the sampling frame were
worked out with Mr. Thomas Smith, Chief Naturalist
for Huron-Clinton Metropolitan Authority. This was
done in order to gain an approach that would be the
least disruptive to the duties of the naturalist
or the quality of the public's visit.

The original thought was to distribute the
questionnaires during peak visitation periods, such
as the month of October. This would have obtained
a larger sample but would have created congestion
due to visitors filling out questionnaires. For this

reason, a lower usage period was chosen for sampling.

 

82

Another problem in sampling arose while
testing questionnaires on another survey. It was
found that certain visitors hesitated to fill out
questionnaires if they were with groups or especially
with children. This did not seem to be due to unwill-
ingness to cooperate, but rather to a concern for
losing moments with others in the group, or worry
about what the children would do during this time.

To alleviate this problem, it was decided
to allow the visitors to choose their own course
of action, without any pressure from a staff member
standing by. Since all visitors came through the
front door of the Nature Center passing by a regis-
tration desk, this seemed the most likely place to
ask the visitor for help on this survey. A Sign
was placed on the registration desk asking visitors
if they would please fill in a questionnaire after
looking over the exhibits. Beside this Sign was
a small box containing the questionnaires and a
supply of pencils. So that no one felt they had
to answer in a particular way, a closed, slotted

box was provided for the completed questionnaires.

Sample Obtained

 

Questionnaires were placed out in the above
manner on January 2, 1977. By January 22, 1977,
fifty-three questionnaires had been completed by
visitors. During this time, the Nature Center had
a visitor registration of 394. At least one-third
of those registered were in groups: Boy Scouts,

school groups, etc.

Tabulation of the Sample

 

Due to the facilities available, these question-
naires were hand tabulated. Analysis in this manner
consisted of simple percentages and numerical tabu-
lations, ratings and catagorization of the answers
obtained.

Each question was set up with the purpose
of satisfying one or more of the objectives of this

83

 

x

84

study. For this reason, they will be dealt with as

each becomes relevant in the following chapters.

 

1r

CHAPTER III

FINDINGS

Attraction and Attention-Holding

 

The questions designed to find what attracted

a visitor to an exhibit and hold his attention were
numbers 2, 3, and 5 on the questionnaire.

Question 2 was established to find what
percentage of visitors read the narratives included
in certain exhibits. This was done by asking "What
was the percentage of the exhibits in which you
fully read the labels?" To make this a simple task,
and not create unnecessary hardship on the visitor,
percentages of fully read material were broken up
into four catagories: 0-25%, 26-50%, 51-75%, and
76-100%. Fifty-two of the fifty-three who took
part in this survey responded to this question. It
is very likely that fewer would have responded had

the question been open-ended.

85

86

TABLE 1

RESULTS OF QUESTION 2: PERCENTAGE OF LABELS READ

 

 

 

Percentage of Number of Percentage
Labels Read Responses of Total
0-25% 6 11.5%
26-50% 14 26.9%
51-75% 16 30.8%
76-100% 16 30.8%

 

From this information it would seem that the
majority of visitors read over one-half of the labels
in the exhibits. This may indicate that some attraction
is held in the reading material of an exhibit. Further,
the labels do hold attention for the majority of the
observers. This may come from a desire on the part
of the visitor to gain knowledge about the exhibit
subject.

Question 3 could be partially indicative
in determining if certain physical factors in an
exhibit attract attention. This question asked

the visitor to rank the glass-enclosed exhibits in

order, from those they liked most to those liked

87

least. Only forty-three respondents chose to rank

the exhibits.

Most of the others stated simply that

they were all good and could not rank them against

one another .

TAEHHE 2

RATINGS OF GLASS-ENCLOSED EXHIBITS

 

 

 

Exhibits Number of responses in each ranking Average rating
1 2 3~ 4 5 6 8
Turkey 18 9 5 4 3 2 0 2.511
Duck Migration 3 7 12 6 3 4 4 4.093
Evergreen 1 l 7 9 6 11 3 5.000
Snowy Owl 11 14 5 4 3 3 o 2.883
Snow 1 7 6 8 8 4 3 4.534
Want to Help? 1 0 3 2 6 8 15 6.325
Nut 2 4 3 7 8 9 3 4.976
Phone 7 3 l 3 6 4 13 5.302

 

From the average rating column in Table 2,

it is seen that those exhibits with the highest rating

(lowest average) are exhibits containing stuffed animals.

88

In order of ranking, these are; the Turkey Exhibit,
Snowy Owl Exhibit, Duck Migration Exhibit, Snow Exhibit,
and Nut Exhibit. It would appear that inclusion of

a stuffed animal in an exhibit to illustrate some

facet of the subject tends to attract attention.

The exhibits with the lowest ratings (highest
average) are two exhibits that use only flat-work
to illustrate their subject; the Phone Exhibit and
"Want to Help?" Exhibit. Exhibits with some type
of object illustrating the subject matter do seem
to be more attention-holding than those with flat-work.

Color in these exhibits seemed to have little
effect on their attraction to peOple. Background
colors in some high-ranked exhibits were the same
as those in the low-ranked exhibits. Lighting was
the same for all exhibits.

Question 5 was a direct attempt to determine
what attracted visitors to the glass-enclosed exhibits.
This was accomplished through the open-ended question:
"What in that exhibit (answer to question 4) most

attracted you to it?" Forty-five people responded.

89

Results of this question were not as great
as anticipated. These results gave a better indication
of the preferred themes people desire in exhibits.
However, some pertinent information was obtained.

Four of the five exhibits that contain stuffed animals
received responses related to these specimens. This
covered twenty-three of the forty-five, indicating
again that the use of stuffed animals is a strong
attention getting device.

Six people indicated staying at the phone
exhibit for the longest time with the recorded message
being the attractant. The message being audio rather
than visual also seems better for holding attention.

Only two responses gave any indication of the
design factors being attractants. These were just
general comments stating that the diSplays were beau—

tifully done.

Themes that Stimulate Interest

 

Three questions on the questionnaire were
included to help determine the type of exhibit theme
that would stimulate interest in the visitor. These
were questions 3, 4, and 5.

Question 3 has already been considered in an
attempt to find what physical factors attract attention.
This question also indicates which themes of the seven
glass-enclosed and one phone exhibit at Stony Creek
were most popular. As has been stated, forty-three
people responded on this question.

Looking at Table 2, there are three groupings:
very heavily liked exhibits (those with large numbers
of response in columns 1, 2, and 3), medium liked
exhibits (large numbers in columns 4 and 5), and
least-liked exhibits (large numbers in columns
6, 7, and 8). It is important to add here that those
exhibits with large numbers in the least-liked columns
do not indicate that the exhibits were disliked or hated.

90

91

It is just that, compared to the other exhibits, these
had a lower ranking.

It is interesting to note that those with
high "like" ratings, are exhibits that again contain
stuffed animals. There are three exhibits that fit
in this catagory; the Turkey, Snowy Owl, and Duck
Migration exhibits. Each of these exhibits deals with
the animal on display or some facet of its life.

Two other exhibits that contained stuffed animals
only received a medium rating. These exhibits differ
in the fact that their theme deals with something
other than the animals in the exhibit. Here the
animals are used to illustrate a certain point of

the theme.

On the other hand, it is not an animal theme
alone that creates the interest. The phone exhibit
provides information dealing with hibernating animals.
However, this exhibit is illustrated with line drawings
rather than stuffed animals and received a low rating.
From this it seems that exhibits with a theme about
animals and illustrated by those animals create high

interest.

92

The exhibits with the lowest ratings, the phone
and "Want to Help?" exhibits, have themes that are
of interest to some but are illustrated by flat-work
as stated previously. This may Show that exhibit
design helps play an important role in attracting
attention.

Questions 4 and 5 can be dealt with together
Since they have reference to the same exhibit. In
question 4, it was asked "Which of the exhibits . . .
did you spend the most time at?" Question 5 asked
what attracted them to the exhibit they gave as an
answer in question 4. Forty—eight responded to question
4, where forty-five responded to question 5.

By far the leading exhibit at which people
spent the most time was the Turkey Exhibit. People
Stated that they were attracted to this exhibit because
of: the largeneSS of the bird (5 responses), it
contained an animal (3), wing span (2), and several
other reasons. Here again an animal is indicated in
making an interesting exhibit theme. For a higher
stimulation of interest, some form of "spectacular"

animal can be used in a theme.

93

TABLE 3

RATING OF EXHIBITS AT WHICH MOST TIME WAS SPENT

 

 

 

Exhibit Number of Responses
Turkey 17
Phone 6
"Want to Help?" 6
Duck Migration 5
Snowy Owl 5
Evergreen 4
Nut 4
Snow 1

 

One important outcome of these questions is
indicated by the response to the "Want to Help?"
Exhibit. It is interesting to note that a number
of people spent more time at this exhibit than at
others, yet this exhibit had a low rating for its
popularity. The same holds true for the phone exhibit.
AS stated before, these themes may hold interest but

the design is such that it does not attract attention.

Kinds of Exhibits that Create Interest

 

Only one question was included to determine
what kinds of exhibits create interest. Question 1
asked the visitor to rank the various kinds of exhibits
at Stony Creek in the order of his personal liking.
Forty-seven people responded.

As seen again in Table 4, animals hold a very
high interest, especially the live animals. From
Table 4 one can see that the snakes, turtles, frogs,
and salamanders have a type of mystique which makes
people very attracted to them. The fish have a ranking
more equal to the other kinds of exhibits.

Here again as in other questions, the phone
exhibit ranked low. The recorded audio does not seem
to be as popular as previously believed. Here too,
exhibits that require visitor participation, which
is supposed to add interest, were among the lower
rated exhibits.

94

95

TABLE 4

RANKING OF KINDS OF EXHIBITS

 

Number of Responses Average
Exhibits in Each Ranking Rating

 

 

Live Animal 31 8 2 4 0 2 0 1.723
Photo-Slides 6 1 9 4 ll 7 9 4.489
Glass-Enclosed 10 8 8 8 5 6 2 3.340
Phone 1 3 3 3 7 15 14 5.340
Aquariums 3 13 12 ll 4 2 2 3.297
Matching Games 4 8 3 7 ll 5 9 4.361
Table Animals 2 4 8 12 6 6 9 4.489

 

Ways Exhibits Affect Visitors

 

The way the exhibits affect the nature center
visitor may be the greatest criterion of success.
The Naturalist strives for a certain impact when the
exhibit is put together. If this impact is not achieved
at least in part, then the exhibit has failed. Five

questions were asked of the visitors to try and get

96

some idea of the impressions they received from the
exhibits. These were questions 6, 7, 8, 9, and 10.

Question 6 asked the visitor if any of the
exhibits made him feel like becoming more involved
with the subject of that display. A no and yes response
was offered. In addition, if a yes response was checked,
it was asked which exhibit caused this feeling. Forty-
five people responded to this question.

Of those who responded, thirteen gave a "no"
response. This would comprise 29 percent of the
respondents whose interest was not stimulated to any
great extent by the exhibits. The other thirty-two
that answered yes, gave a variety of answers to "which"

exhibit gave interest. These are as follows:

All exhibits (5) Nature photos (2)
Turkey (1) Nuts (3)
Phone (1) Evergreens (1)
Snow (2) Wildlife study (1)
Live Animals (2) Matching games (1)
Snowy Owl (1) Bird feeding (4)

"Want to Help?" (3) Nothing particular (5)

97

The "Bird feeding" responses referred to several bird
feeders placed outside of the building and not included
as an exhibit.

This wide variety of answers gives the impres-
sion that the Nature Center visitor has a diversity
of interests. This is probably due to the varied
backgrounds (economic status, education, past exper-
iences, etc.) of the visitor as stated in Chapter I.
The replies also point out that variety in exhibit
themes and design help to cover the many interests
of the visitor.

Question 7 asked the visitor if any of the
exhibits made him feel angry or upset. The same
responses were offered here as in question 6. Forty-
three responses were received.

The majority or 86 percent gave a "no" response
indicating they received no such emotional response
to anything in the exhibits. However, the "yes"
responses proved the most interesting. Of the six
"yes" votes, five indicated that the stuffed animals
caused this emotional feeling. Many get upset about

seeing beautiful animals killed. However, these

98

people did not realize how these Specimens were obtained
for the Stony Creek Nature Center. If they did,
perhaps their reaction would not be so upsetting.
The one other respondent indicated being upset by the
Turkey-Dinner relationship.
Question 8 asked the visitor if he felt there
were; too many exhibits, just the right amount, or
too few exhibits. The respondent was able to check
off one of three responses. Forty-seven responded.
Only one visitor indicated there were too many
exhibits. He also stated that his purpose in coming
was to walk the trails, not look at exhibits.
Responses were fairly even between the two
other choices, twenty—one voted for "just the right
amount", while twenty-five voted for "too few." The
indication here is that Nature Center visitors are
very interested in having exhibits available.
Question nine gave the visitor twenty-six
adjectives which might describe the exhibits. He
was asked to circle those which described the exhibits

at Stony Creek. Fifty peOple responded to this question.

99

Fourteen adjectives were considered favorable
toward the exhibits where twelve were considered un-
favorable. Depending on the visitor's reactions, he
could list up to the twelve or fourteen responses.

Most did not circle the full amount in either category,
but instead circled anywhere from one to twelve with
the average number circled being 5.25 per person.

Using Table 5, it is discerned that the greatest
amount of reSponse occured with seven of the favorable
adjectives. These seven (entertaining, inviting,
truthful, informative, enjoyable, interesting, and
friendly) or half of the favorable possibilities
accounted for 73 percent of the favorable response.

It may be that people have a better understanding of
these words or their meaning than of the other words.
As an example, "enjoyable" is a more universally used
word than would be "aesthetic." Another possibility

is that people may recognize these seven as traits

that "things" have, where as the seven lesser chosen
words may be traits more attributable to humans. What-
ever the reason, the exhibits had a generally favorable

effect on the respondents.

100

TABLE 5

NUMBER OF RESPONSES TO DESCRIPTIVE ADJECTIVES

 

 

 

Favorable Number of Unfavorable Number of
Adjectives Times Circled Adjectives Times Circled
Simple l4 Complicated 1
Entertaining 25 Boring l
Aesthetic 12 Repulsive 0
Sincere l6 Fake 0
Inviting 23 Dull 2
Truthful 21 Unreliable 0
Informative 37 Silly l
Enjoyable 35 Cluttered 0
Interesting 36 Dark 0
Reliable ll Unfriendly 0
Bright l4 Frightening 0
Friendly 27 Subdued 0
Serious 6

Forceful l

 

 

Of the five unfavorable responses, four were

chosen by two visitors who stated that they came to

101

use the trails rather than view exhibits. The one
other unfavorable was for the word, "silly" with a
notation that this referred to the phone exhibit.

Question 10 offered three responses to the
question of whether the visitor had gained knowledge
of the outdoors from the exhibits. The three possible
answers were 1) a great deal, 2) some, and 3) gained
nothing. Forty-six people gave answers.

Of the respondents, 74 percent felt they had
acquired some outdoor knowledge from the exhibits.
Another 22 percent felt that they had gained a great
amount. It would appear from this, that the exhibits
are accomplishing one of their major aims: educating

people.

'Demographic Characteristics of Respondents

 

Three questions were set up to determine if
some of the demographic characteristics of the respon-
dents were weighted and thus may have influenced the

outcome of the questionnaire.

102

Question 11 asked for the age of the respondent.
Ages were grouped in certain intervals which might

give indications toward maturity, values, outlook, etc.

TABLE 6

AGE DISTRIBUTION OF RESPONDENTS

 

Age Number of Respondents

 

15-18 5
19—25 9
26-35 19
36-45 8
46-55 5
56-65 4
65 over 1
no answer 2

 

Question 12 asked for the sex of the respondent.

103

TABLE 7

SEX DISTRIBUTION OF RESPONDENTS

 

Male 20
Female 22
No answer 10

 

Question 13 asked who they were in company with.

TABLE 8

VIEWER ACCOMPANIMENT

 

 

 

Viewer with Responses
Group 7
Spouse 21
Children 16
Friend 14

Alone 6

 

104

The average respondent from these answers
would be a male or female in their early, middle
years, visiting with their family.

No indication at this point is given to
indicate whether or not the demographic make-up of

the individuals determined the outcome of the question-

naires.

CHAPTER IV

CONCLUSIONS

In response to the previously stated specific

objectives of this study, an analysis of the collected

data prompts the following conclusions:

Objective 1) A.

Animals used as Specimens
in inanimate exhibits
have a high attractive

value.

When information cannot
be given through visual
means, printed labels

are effective in dis-
seminating at least

half of the information.
Labels must be kept Short
and uncomplicated for

this to be feasible.

105

Objective 2)

A.

106

Exhibit design and
make-up add to the
theme-attraction in

obtaining visitor attention.

Live animals used as
exhibits to indicate
types of local fauna
hold the highest interest

for visitors.

Exhibits using inanimate
objects with Short
narratives are a highly
successful means of

reaching visitors.

An exhibit theme involving
animals holds attention
and creates visitor

interest.

A variety of exhibit

themes and designs will

107

help to reach more
people with varied

backgrounds.

Objective 3) A. Exhibits in a Nature
Center are looked upon
by the Nature Area visitor
as a favorable form

of interpretation.

B. Exhibits are of high
interest as a recreational
outlet as well as an
informative outlet to

the Nature Center visitor.

C. Exhibits accomplish, to
some degree, the aim of
educating the Nature
Center visitor in the
field of local natural
history.

This study is by no means a complete and final

analysis of exhibit effectiveness in the field of

108

interpretation. It is only a start, and may act as
a guide to the interpretive professional in the
establishment of exhibits.

The findings of this survey only indicate
a few trends that are followed at one Nature Center.
These trends may vary in other Nature Centers or
may be all together irrelevant in some areas. Further
work must be done to gain a better understanding of
the objective set forth in this study for all areas

and the field of interpretation.

BIBLIOGRAPHY

BIBLIOGRAPHY

Bernard, Frank J., Dynamic Diaplay Technique and
Practice, Cincinnati, Display Publishing
Co., 1952.

 

 

Berdie, Douglas R., and Anderson, John F., Questionr
naires: Their Design and Use, Metuchen,
N. J., Scarecrow Press Inc., 1974.

 

 

Brawne, Michael, The New Museum: Architecture and
Display, New York, Frederick A. Praeger Co.,
1965.

 

Carmel, James H., Exhibition Techniques (Traveling
and TemporaEY), New York, Reinhold Publishing
Co., 1962.

 

 

Gardner, James, and Heller, Caroline, Exhibition
and Display, New York, F. W. Dodge Corp., 1960.

 

 

Hayett, William, Display and Exhibit Handbook, New
York, Reinhold Publishing Co., 1965.

 

Hopkins, William F., Developement and Operation of
the Nature Interpretive Program, HCMA Metro-
parks 1952-1973, (Huron-Clinton MetrOpolitan
Authority Report, Detroit).

 

 

Ketcham, Howard, Color Planning_for Business and
gadustry, New York, Harper & Brothers, 1958.

 

 

LaFlame, Patricia J., Ideas for Exhibits . . . ,
(Cooperative Extention Service Pub. 22), 1968.

 

109

110

Lime, David W., An Exploratory Stuay of the Use of
Two Forest Service Visitor Information Centers:
Voyageur and Sylvania, (North Central Forest
Experiment Station, 1973).

 

 

Manucy, Albert, "Emphasis on Indigenous Qualities
In Exhibitions," (Proceedings of the Natural
Science Center Conference, 1966).

Nelson, Chistian, "Exhibits--What's in a Title?",
(Proceedings of the Natural Science Center
Conference, 1968).

Nicholson, Joseph A., "Interpreting the Interpretive
Center", The Visitor, July-August, 1975.

 

Pick, Beverly, Display Presentation, New York, George
Wittenborn Inc., 1957.

 

Riley, Bruce A., "Investigation of Factors Which
Influence Flow Developement in Exhibition
Design," Unpublished Master's Thesis, Michigan
State University, 1962.

Routzahn, Evart G., The A B C of Exhibit Planniag,
Russell Sage Foundation, 1918.

Sharpe, Grant W., Interpreting the Environment,
New York, John Wiley & Sons, inc., 1976.

 

Wager, Dr. J. Alan, ”Evaluating Interpretation and
Interpretive Media," (Paper presented to the ’
Association of Interpretive Naturalists,

Pine Mt., April, 1972).

Warren, Jefferson T., Exhibit Methods, New York,
Sterling Publishing Co., 1972.

 

Wittisch, Walter A., and Schuller, Charles F., Audio
Visual Materials: Their Nature and Use, New
York, Harper & Brothers, 1962.

APPENDIX

SAMPLE QUESTIONNAIRE USED IN

STONY CREEK NATURE CENTER STUDY

A Visitor Survey
conducted by
THE FISHERIES & WILDLIFE DEPARTMENT
of
MICHIGAN STATE UNIVERSITY
in co-operation with
THE HURON-CLINTON METROPARKS

The purpose of this survey is to determine what there is in a nature
center exhibit that captures the interest and attention of the visitor,
and if the exhibits themelves create any thought or change on the
visitor's part.

Please answer the following questions as completely as possible.

1) Rank the following exhibits in order, based on how much you enjoyed
them.(p1ace the letter next to the appropriate number):

A. live animals most enjoyed l.
B. photo-slides 2.
C. glass-enclosed exhibits 3.
D. phone exhibit 4.
E. aquariums 5.
F. matching games 6.
G. stuffed, table animals least 7 .

2) What.was the percentage of the exhibits (including the live animals)
in which you fully read the labels?
0-25! 26-50% 51—75% 75-100%

3) Based on what you remember of the exhibits, rank the following
glass-enclosed exhibits in the order in which you liked them. (Place
the letter next to the appropriate number.)

Turkey exhibit Liked most 1.
Duck migration exhibit 2.
Evergreen exhibit 3.
Snowy owl exhibit 4.
Snow exhibit . 5.
6.
7.
8.

Want to help? exhibit
Nut exhibit
Who's that sleeping? - phone exhibit

EQ'IIMUOWH’

4) Which of the exhibits mentioned in question 3 did you spend the most
tune at?
A B C D E F G H

5) What in that exhibit (above) most attracted you to it?

 

OVER

111

6) Do any of the exhibits make you feel like becoming more involved
with the subject of that exhibit?

no

yes, which

 

7) Do any of the exhibits make you feel angry or upset for some reason?

no

yes, which

 

9) Circle the words that you feel describe the exhibits in the nature
center you've just visited.

complicated cluttered
fake

simple bright
informative

boring dark
enjoyable

entertaining friendly
dull

aesthetic unfriendly
interesting

Sincere frightening
reliable

inviting serious
unreliable

repulsive forceful
Silly

truthful subdued

10) After examining the displays, do you feel you've gained:

a great deal of outdoors knowledge.
‘ some outdoors knowledge. '
gained nothing.

11) Your age? ____ 15-18 ____ 19-25 _____26-35
36-45 ____ 46-55 _____56-65 _____over 65
12) ____MALB ____ FEMALE
13) Are you with: ____ a group, _____spouse, ____ children,
friend, ____ alone

THANK YOU VERY MUCH FOR YOUR HELP

112

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