Loading...
Michael Bierut's essay Why Designers Can't Think, applied to event design. Why craft alone makes rooms that say nothing,...
Beatrice Warde's Crystal Goblet applied to trade show booths. When entertainment carries the message, when it only gilds...
Memphis broke functionalism in 1981 and Esslinger answered with form follows emotion. How event designers decide which t...
Nostalgia in design, from Kodak's Super 8 to Corporate Memphis. Why tech brands keep borrowing past eras on the show flo...
Charles and Ray Eames made mathematics walkable in the Mathematica exhibition of 1961. How its objects, layers and restr...
Otl Aicher designed Munich 1972 as one language of pictograms, color and type. What his system still teaches organizers ...
Roger Caillois named four types of play in 1958. How competition, chance, make-believe and vertigo suit different produc...
When news or a tragedy makes a planned event message wrong, separate what carries meaning from what carries the event, a...
Paul Rand's 1987 essay Good Design Is Goodwill, applied to events: why a well-made room builds reputation for years and ...
Spectacle buys attention, not memory. What Herbert Simon and the peak-end rule teach event design about recall, plus a r...
Herbert Bayer angled exhibits to the visitor's eye in Paris in 1930. How his field of vision method fixes the flat trade...
Tibor Kalman, J. Abbott Miller and Karrie Jacobs on good and bad history, applied to themed events. Why Gatsby galas say...
Archigram's Instant City imagined a metropolis that arrives by airship and leaves. What its kit, host town and clean exi...
Christopher Alexander's A Pattern Language described the patterns of good places. Twelve of them, from Entrance Transiti...
If a talk can be watched from home, it should not fill the room. One test for every item on an in-person conference prog...
Theatre techniques for corporate events, from the dramaturg's question to table reads, blocking, the cue-to-cue and a st...
Jeffery Keedy's Zombie Modernism applied to event floor plans. The booth grids and theater rows that outlive their reaso...
Moholy-Nagy fused type and photograph in 1925 and called it typophoto. Event design is now fusing plan, model and walkth...
William H. Whyte filmed where people sat in New York plazas. His findings on seating, flow and triangulation explain why...
Frederick Kiesler's City in Space of 1925 took the exhibit off the wall. What it teaches anyone designing an island stan...
Cedric Price and Joan Littlewood designed a Fun Palace that could become anything. What a flexible venue really needs, f...
Josef Albers showed in Interaction of Color that a color changes with what surrounds it. Why brand colors shift under ev...
Return to office culture fails when the office is a room of desks. Why the office now needs an event designer's brief, a...
Kevin Lynch found five elements people use to picture a city, from paths and edges to landmarks. Read as a venue, they e...
The meaning of form follows function, from Sullivan in 1896 to Tschichold in 1928, applied to event floor plans. Rank wh...
Why good event designs die in the design approval process, and what Paul Rand knew about the people who sign. Shorten th...
Dieter Rams's ten principles of good design, rewritten for rooms, stands and stages, with ten review questions to run be...
El Lissitzky's Soviet pavilion at Pressa, Cologne, 1928, built an exhibition as an argument. How to design a stand that ...
Mies said less is more and Venturi said less is a bore. What their debate, and Lilly Reich's silk cafe, teach exhibitors...
David Maister's psychology of waiting lines explains why a queue feels longer than it is, and how to design registration...
Exhibition dwell time is designed, not hoped for. What slows visitors down, from enclosure to seats and light, and where...
