{"id":774930,"date":"2025-03-05T08:27:55","date_gmt":"2025-03-05T08:27:55","guid":{"rendered":"https:\/\/www.architectsjournal.co.uk\/?p=774930"},"modified":"2025-03-05T14:35:21","modified_gmt":"2025-03-05T14:35:21","slug":"exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx","status":"publish","type":"post","link":"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx","title":{"rendered":"Exhibitionists Part 1: Nissen Richards Studio, Sam Jacob Studio, OMMX"},"content":{"rendered":"

Exhibition design, both for temporary touring shows and more permanent gallery fit-outs, has long been an important part of architectural practice. It is seen as a chance to experiment in space-making, fabrication and materials as well as to collaborate creatively with fabricators and lighting designers. <\/span>It often provides a platform for younger practices to quite literally showcase their design work. But increasingly, too, given the temporary and traditionally wasteful nature of exhibition fit-outs and installations, it\u2019s also a fertile ground for experimentation in sustainable, reusable and low-carbon builds and materials. The AJ approached prominent practitioners for insights into exhibition and gallery design.<\/span><\/p>\n

Pippa Nissen, director and co-founder, Nissen Richards Studio<\/span><\/h2>\n

Describe a key recent project
\n<\/b><\/span>A new permanent exhibition Being Jersey \u2013 Stories of our Island at The Jersey Museum and Art Gallery covers Jersey\u2019s history from the Ice Age to the present day. The 485m2<\/sup> space features six thematic \u2018narrative islands\u2019, highlighting key objects. The design, inspired by Jersey\u2019s landscape, incorporates earthy tones and textures reflecting the island\u2019s archaeology and natural environment and balances thematic and chronological storytelling. We also handled the exhibition\u2019s graphic design, creating a cohesive visual and informational structure.<\/span><\/p>\n

\"\"

Book exhibit at the Being Jersey \u2013 Stories of our Island exhibition, designed by Nissen Richards Studio<\/p>\n\t

Source: Gareth Gardner<\/p><\/div>\n

How do you look to ensure sustainability in designing exhibitions\/gallery fit-outs?
\n<\/b>We prioritise low-impact, recyclable or recycled materials. Repurposing materials from previous projects is also key. Our exhibitions are often modular, allowing for reconfiguration and reuse, with designs that ensure materials can easily be separated and recycled. We use energy-efficient and smart technologies to optimise energy use.\u00a0<\/span><\/span><\/p>\n

Who are the key collaborators and consultants you work with regularly?
\n<\/b><\/span>We have worked with lighting designers Studio ZNA for over 25 years. I first met Zerlina Hughes, director of Studio ZNA, when working in theatre. We work with a trusted network of fabricators such as MER, which constructed the Jersey exhibition. Our regular graphics contractor, Displayways, is a wonderfully creative partner.<\/span><\/p>\n

\"\"

Bone heap and jadeiete axe exhibits at the Being Jersey \u2013 Stories of our Island exhibition, designed by Nissen Richards Studio<\/p>\n\t

Source: Gareth Gardner<\/p><\/div>\n

What other art\/cultural projects are you working on or looking forward to?
\n<\/b><\/span>Notable temporary exhibitions that are set to open include a display running through Chatsworth House and exhibitions at the Imperial War Museum, Courtauld Gallery, Petworth House, Munch at the National Museum in Oslo and several exhibitions in Delhi. We\u2019re also involved in several new permanent galleries and museums: a new industrial heritage museum in Sarawak, Malaysia; two national park visitor centres in Iceland; Rylands Library, in collaboration with Donald Insall Associates; and the Shoemakers Museum, a new cultural space in Somerset created with Purcell. We\u2019re also working on a new permanent gallery in Canada.<\/span><\/p>\n

How does exhibition or gallery work feed into your wider practice?
\n<\/b><\/span>Arts and cultural projects generally are a core part of our practice, ranging in scale from conservation architecture to landscape design, interpretation, wayfinding, graphic design, branding and visitor experience \u2013 alongside exhibition and gallery design.<\/span><\/p>\n

Project data<\/span><\/h4>\n

Project<\/b> \u200aBeing Jersey \u2013 Stories of our Island exhibition
\nLocation<\/b> The Jersey Museum and Art Gallery, St Helier, Jersey, Channel Islands
\n<\/span>Client<\/strong> \u200aJersey Heritage
\nStart on site<\/strong> \u200aNovember 2023
\nCompletion<\/strong> \u200aSeptember 2024
\nBudget<\/b> \u00a31.7 million<\/p>\n

 <\/p>\n

Sam Jacob, principal, Sam Jacob Studio<\/span><\/h2>\n

Describe a key recent project
\n<\/span><\/b><\/span>The Science Museum Group has opened a new collection management facility, the 90 x 300m Hawking Building at the Science and Innovation Park in Wiltshire, designed by GWP Architecture. Its main hall contains 30,000m of shelving, housing more than 300,000 objects from buses to missiles, for which we developed large-scale architectural wayfinding. These use design language drawing on that of warehouses as well as artist Sol LeWitt and supergraphics. A large floor grid uses colour and shape to provide structure for arranging the objects, marking aisles and routes set out using principles similar to masterplanning a city \u2013 taller objects clustered together, smaller objects around them \u2013 with objects of particular interest marking key corners and axes.\u00a0<\/span><\/span><\/p>\n

\"\"

The Hawking Building at the Science and Innovation Park in Wiltshire, designed by GWP Architecture, with wayfinding designed by Sam Jacob Studio<\/p>\n\t

Source: Timothy Soar<\/p><\/div>\n

How do you look to ensure sustainability in designing exhibitions\/gallery fit-outs?
\n<\/b>Exhibitions are interesting places to think creatively and experiment on sustainable design. For example, we used recycled porcelain for the V&A\u2019s gallery in Shenzhen and Jasperware waste from Wedgwood to make terrazzo wall panels at the V&A. We use materials already part of the circular economy, such as cardboard formwork, reuse elements from previous exhibitions, think carefully how things come together \u2013 and how they come apart and have second or\u2006 third lives.<\/span><\/p>\n

Who are the key collaborators and consultants you work with regularly?
\n<\/b><\/span>For exhibition graphics, we work with Fraser Muggeridge studio and with Europa Graphics. We work a lot with lighting designers, especially DHA Designs and Studio ZNA. We like to build relationships with fabricators, such as Jamps and Millimetre, which understand the opportunities involved in exhibition projects.\u00a0<\/span><\/span><\/p>\n

\"\"

View of the freestanding grid of Building One at the National Collections Centre, with architectural wayfinding by Sam Jacob Studio<\/p>\n\t

Source: Timothy Soar<\/p><\/div>\n

What other art\/cultural projects are you working on or looking forward to?
\n<\/b><\/span>The second part of the project for the Science and Innovation Park comprises a new building that resolves the site\u2019s entrance. We are also currently working with the London Museum on an exhibition about mudlarking, opening in April. At the William Morris Gallery we are designing a rehang of their permanent galleries, reconfiguring public areas and working on a temporary exhibition called Morris Mania, about how his work has been used and abused.<\/span><\/p>\n

How does exhibition or gallery work feed into your wider practice?
\n<\/b><\/span>Exhibition design asks key architectural questions \u2013 about thresholds, about the body in context and about space itself. This informs our general approach to projects. It helps clarify issues of space, sequence, material and form as architectural media.\u00a0<\/span><\/span><\/p>\n

Project data<\/span><\/h4>\n

Project <\/b>Architectural wayfinding for the Science Museum’s collection management facility
\n<\/span>Location <\/b>Wroughton, Wiltshire
\n<\/span>Client<\/strong> \u200aScience Museum Group<\/span>
\n<\/span>Start on site<\/b> <\/span>April 2019
\n<\/span>Completion<\/strong> \u200aOctober 2024
\n<\/span>Budget<\/b> \u00a31 million<\/p>\n

 <\/p>\n

Hikaru Nissanke, director, OMMX<\/span><\/h2>\n

Describe a key recent project
\n<\/b><\/span>We won a competition for eliminating waste in the V&A\u2019s temporary exhibitions programme, designing a system to allow The Great Mughals: Art, Architecture and Opulence exhibition to transform into the Marie Antoinette Style exhibition, despite its wildly different content and subject matter. We developed a simple, modular, durable, cost-effective, reusable and repairable system that integrates the V&A\u2019s existing stock and salvage from previous exhibitions, while responding to the museum\u2019s bespoke object requirements.<\/span><\/p>\n

\"\"

The Great Mughals: Art, Architecture and Opulence exhibition at the V&A, designed by OMMX<\/p>\n\t

Source: Max Creasy<\/p><\/div>\n

How do you look to ensure sustainability in designing exhibitions\/gallery fit-outs?
\n<\/span><\/b><\/span>We look to build a sustainable roadmap for each project, identifying how and where we can be innovative and ensuring that, from the outset, any sustainability strategies are resilient to schedule, budget and stakeholder pressures.\u00a0<\/span><\/span><\/p>\n

Who are the key collaborators and consultants you work with regularly?
\n<\/b><\/span>Our most enduring collaborations have been with Kellenberger-White (graphic design), A Practice for Everyday Life, DHA Designs, Studio ZNA (lighting), Coda to Coda (sound) and setWorks (contractor).<\/span><\/p>\n

\"\"

The Great Mughals: Art, Architecture and Opulence exhibition at the V&A, designed by OMMX<\/p>\n\t

Source: Max Creasy<\/p><\/div>\n

What other art\/cultural projects are you working on or looking forward to?
\n<\/b><\/span>Apart from the Marie Antoinette Style exhibition, which opens later this year, we have just opened Design Stories, a permanent gallery for the R\u00f6hsska Museum in Gothenburg, Sweden.<\/span><\/p>\n

How does exhibition or gallery work feed into your wider practice?
\n<\/b><\/span>Exhibition design is an amazing space to rapidly test different approaches to design \u2013 everything just happens so quickly. It\u2019s also an incredible way to keep learning about the world and staying engaged with other fields and communities. For instance, having worked with partially sighted, blind and neurodivergent focus groups in designing our recent exhibition In Plain Sight for the Wellcome Collection, we now advocate for the inclusion of access consultants across all our projects.<\/span><\/p>\n

Project data<\/span><\/h4>\n

Project <\/b>The Great <\/span>Mughals: Art, Architecture and Opulence exhibition<\/span>
\n<\/span>Location <\/b>V&A South Kensington, London<\/span>
\n<\/span>Client<\/b> <\/span>V&A
\n<\/span>Start on site<\/b> September 2024
\n<\/span>Completion<\/strong> \u200aNovember 2024
\n<\/span>New display adaptation<\/b> May 2025
\n<\/span>Budget<\/b> Undisclosed<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Exhibition design, both for temporary touring shows and more permanent gallery fit-outs, has long been an important part of architectural practice. It is seen as a chance to experiment in space-making, fabrication and materials as well as to collaborate creatively with fabricators and lighting designers. It often provides a platform for younger practices to quite …<\/p>\n","protected":false},"author":32845,"featured_media":775105,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_oasis_is_in_workflow":0,"_oasis_original":0,"ep_exclude_from_search":false},"categories":[706],"tags":[100452,69971,2931,2472],"yoast_head":"\nExhibitionists Part 1: Nissen Richards Studio, Sam Jacob Studio, OMMX<\/title>\n<meta name=\"description\" content=\"In a three-part feature\u00a0Rob Wilson asks a range of practitioners about their experience of working in exhibition and gallery design. First up are Pippa Nissen, Sam Jacob and Hikaru Nissanke\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Exhibitionists Part 1: Nissen Richards Studio, Sam Jacob Studio, OMMX\" \/>\n<meta property=\"og:description\" content=\"In a three-part feature\u00a0Rob Wilson asks a range of practitioners about their experience of working in exhibition and gallery design. First up are Pippa Nissen, Sam Jacob and Hikaru Nissanke\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx\" \/>\n<meta property=\"og:site_name\" content=\"The Architects\u2019 Journal\" \/>\n<meta property=\"article:published_time\" content=\"2025-03-05T08:27:55+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-03-05T14:35:21+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/cdn.rt.emap.com\/wp-content\/uploads\/sites\/4\/2025\/02\/17144404\/7-Reconstructed-3D-printed-Dwarf-Red-Deer-skeleton-1024x683.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"683\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Rob Wilson\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Rob Wilson\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx\",\"url\":\"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx\",\"name\":\"Exhibitionists Part 1: Nissen Richards Studio, Sam Jacob Studio, OMMX\",\"isPartOf\":{\"@id\":\"https:\/\/www.architectsjournal.co.uk\/#website\"},\"datePublished\":\"2025-03-05T08:27:55+00:00\",\"dateModified\":\"2025-03-05T14:35:21+00:00\",\"author\":{\"@id\":\"https:\/\/www.architectsjournal.co.uk\/#\/schema\/person\/12806917e77ff2de74f79bac098aac26\"},\"description\":\"In a three-part feature\u00a0Rob Wilson asks a range of practitioners about their experience of working in exhibition and gallery design. First up are Pippa Nissen, Sam Jacob and Hikaru Nissanke\",\"breadcrumb\":{\"@id\":\"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.architectsjournal.co.uk\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Exhibitionists Part 1: Nissen Richards Studio, Sam Jacob Studio, OMMX\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.architectsjournal.co.uk\/#website\",\"url\":\"https:\/\/www.architectsjournal.co.uk\/\",\"name\":\"The Architects\u2019 Journal\",\"description\":\"Architecture News & Buildings\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.architectsjournal.co.uk\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-GB\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.architectsjournal.co.uk\/#\/schema\/person\/12806917e77ff2de74f79bac098aac26\",\"name\":\"Rob Wilson\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\/\/www.architectsjournal.co.uk\/#\/schema\/person\/image\/ed60d01e238ce7e0d3e0737fc651d917\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/48d9a751a55d1fed69daf73efdcee3c2?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/48d9a751a55d1fed69daf73efdcee3c2?s=96&d=mm&r=g\",\"caption\":\"Rob Wilson\"},\"url\":\"https:\/\/www.architectsjournal.co.uk\/author\/rob-wilson-2\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Exhibitionists Part 1: Nissen Richards Studio, Sam Jacob Studio, OMMX","description":"In a three-part feature\u00a0Rob Wilson asks a range of practitioners about their experience of working in exhibition and gallery design. First up are Pippa Nissen, Sam Jacob and Hikaru Nissanke","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx","og_locale":"en_GB","og_type":"article","og_title":"Exhibitionists Part 1: Nissen Richards Studio, Sam Jacob Studio, OMMX","og_description":"In a three-part feature\u00a0Rob Wilson asks a range of practitioners about their experience of working in exhibition and gallery design. First up are Pippa Nissen, Sam Jacob and Hikaru Nissanke","og_url":"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx","og_site_name":"The Architects\u2019 Journal","article_published_time":"2025-03-05T08:27:55+00:00","article_modified_time":"2025-03-05T14:35:21+00:00","og_image":[{"width":1024,"height":683,"url":"https:\/\/cdn.rt.emap.com\/wp-content\/uploads\/sites\/4\/2025\/02\/17144404\/7-Reconstructed-3D-printed-Dwarf-Red-Deer-skeleton-1024x683.webp","type":"image\/webp"}],"author":"Rob Wilson","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Rob Wilson","Estimated reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx","url":"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx","name":"Exhibitionists Part 1: Nissen Richards Studio, Sam Jacob Studio, OMMX","isPartOf":{"@id":"https:\/\/www.architectsjournal.co.uk\/#website"},"datePublished":"2025-03-05T08:27:55+00:00","dateModified":"2025-03-05T14:35:21+00:00","author":{"@id":"https:\/\/www.architectsjournal.co.uk\/#\/schema\/person\/12806917e77ff2de74f79bac098aac26"},"description":"In a three-part feature\u00a0Rob Wilson asks a range of practitioners about their experience of working in exhibition and gallery design. First up are Pippa Nissen, Sam Jacob and Hikaru Nissanke","breadcrumb":{"@id":"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.architectsjournal.co.uk\/buildings\/exhibitionists-part-1-nissen-richards-studio-sam-jacob-studio-ommx#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.architectsjournal.co.uk\/"},{"@type":"ListItem","position":2,"name":"Exhibitionists Part 1: Nissen Richards Studio, Sam Jacob Studio, OMMX"}]},{"@type":"WebSite","@id":"https:\/\/www.architectsjournal.co.uk\/#website","url":"https:\/\/www.architectsjournal.co.uk\/","name":"The Architects\u2019 Journal","description":"Architecture News & Buildings","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.architectsjournal.co.uk\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-GB"},{"@type":"Person","@id":"https:\/\/www.architectsjournal.co.uk\/#\/schema\/person\/12806917e77ff2de74f79bac098aac26","name":"Rob Wilson","image":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/www.architectsjournal.co.uk\/#\/schema\/person\/image\/ed60d01e238ce7e0d3e0737fc651d917","url":"https:\/\/secure.gravatar.com\/avatar\/48d9a751a55d1fed69daf73efdcee3c2?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/48d9a751a55d1fed69daf73efdcee3c2?s=96&d=mm&r=g","caption":"Rob Wilson"},"url":"https:\/\/www.architectsjournal.co.uk\/author\/rob-wilson-2"}]}},"_links":{"self":[{"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/posts\/774930"}],"collection":[{"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/users\/32845"}],"replies":[{"embeddable":true,"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/comments?post=774930"}],"version-history":[{"count":12,"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/posts\/774930\/revisions"}],"predecessor-version":[{"id":776542,"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/posts\/774930\/revisions\/776542"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/media\/775105"}],"wp:attachment":[{"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/media?parent=774930"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/categories?post=774930"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.architectsjournal.co.uk\/wp-json\/wp\/v2\/tags?post=774930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}