Here it is on Information Design Watch:

One of the main pieces of the show is the Bryant Vase, designed by Tiffany and Company. The vase itself was copied by electrotyping and the exhibit accompanies the original with its copper molds. Using the Bryant Vase as the main character, Dynamic Diagrams created a short animation explaining how the electrotyping process works.

Bryant Vase with electrotyping animation in background

The video starts with slow zoom of a photo of the original vase. We then transition to a 3D model which we animate to show the steps in which a mold is created and immersed in a copper-sulfate bath. A “microscopic” view explains how copper ions transmit in the the bath from a positively charged copper bar to the negatively charged mold. Finally, we show how individual pieces are reassembled into a near-identical copy of the original and plated in silver.

By using 3D modeling software we are able to give exhibition visitors a greater understanding of the technology behind the works they are viewing.

Update: The Museum has posted an exhibition page.

“People have spatial reasoning skills, something computers are not yet good at,” [Dr. Seth Cooper, of the UW Department of Computing Science and Engineering] said. “Games provide a framework for bringing together the strengths of computers and humans.”

The game goes by the name Foldit and is supported by University of Washington Center for Game Science.

When you first start playing the game takes you through a series of practice examples to get you familiar with the manipulations you can apply to a protein chain.

If you get hooked, you continue to real problems. Already, game-generated models have helped researchers resolve the structure of previously undefined proteins. Researchers are also looking at some of the unfolding sequences used by Foldit players to develop better algorithms for computer analysis.

“Mapping spatial information reveals part of human history that otherwise we couldn’t possibly know,” said Anne Kelly Knowles, a geographer at Middlebury College in Vermont. “It enables you to see patterns and information that are literally invisible.” It adds layers of information to a map that can be added or taken off at will in various combinations; the same location can also be viewed back and forth over time at the click of a mouse.

The real joy of this feature is the portfolio of projects that accompanies the main overview. Here, for example, is a section from Ms. Knowles’ viewshed analysis of what General Robert E. Lee could actually see in the Battle of Gettysburg:

The pale ovals represent areas that historians have previously assumed to be visible to Lee. In Ms. Knowles analysis, all the light areas of the map could have been visible, depending on tree lines.

Here at Dynamic Diagrams, we have our own fascination with clocks. Here are some images from our own production of a piece on Le Roy’s 1768 Marine Chronometer:

There is little doubt that the “big” museums – the Gettys, the Tates, and the MOMAs – garner a great deal of public attention for their collections and the experiences they create.  Yet, there is something special about the “small” museums and what they can teach us.

Sir John Soane’s Museum is one such example.  Located in London, it was established in 1806 by the architect Sir John Soane in the interest of providing design and artistic resources for his architectural students.  By 1833, the collection had been made public under an act of Parliament  and upon Soane’s death, in 1837, was placed under the auspices of a board of trustees and a curator, with the sole intent of making the house and its holdings broadly accessible.

Housing almost 35,000 unique items ranging from Egyptian antiquities to medieval objects to  architectural models, Soane assembled his own secret world designed to inspire “Amateurs and Students of the Arts.”  In his attention to the smallest and most subtle detail, Soane created meaning for those who cared enough to carefully observe and engage.  Stories could be found in a letter’s postmark or in the placement of a single carved button.  In many ways, this is an early gesture towards producing an experience for a collections’ users informed by a shared language and common goals.

The newly-redesigned Sir John Soane Museum website.

The museum’s web site was recently redesigned and provides an interesting overview of the collection and some of its hidden details.  Still, there is no replacement for actually experiencing the museum in person, even if one must patiently queue for admission.  The wait is absolutely worth it.

One highlight of the visualization is the comparison of three pitches — fastball, cutter, slider. Each is distinguished by a different spin, created by a different grip and release.

Credit for the visualization goes to Graham Roberts, Shan Carter, and Joe Ward.

This is a fine example of technology effectively used to clearly demonstrate an intricate artistic process. It’s the combination of the digital imagery with the live footage of an artist that makes this video exciting and fascinating for all kinds of audiences

The MUSE awards are presented annually by the American Association of Museums’ Media and Technology committee. They recognize “institutions or independent producers which use digital media to enhance the museum experience and engage new audiences.” We are proud to work with The Getty on projects of such scope and distinction.

Every few months, the director of each Pixar film meets with the brain trust, a group of senior creative staff. The purpose of the meeting is to offer comments on the work in progress, and that can lead to some major revisions. “It’s important that nobody gets mad at you for screwing up,” says Lee Unkrich, director of Toy Story 3. “We know screwups are an essential part of making something good. That’s why our goal is to screw up as fast as possible.”

I really like this framework for the creative process. Creative ideas — in design as well as film making — build from iteration, from critical review and rework. The time to run through this process of creative destruction is the concept stage — “to screw up as fast as possible.” Once you move into production, rethinking costs much more time and money. The importance of concept development is something we always try to communicate to our clients.

But I would add that the ability to respond to criticism starts with the stability and talent of the team. General Creighton W. Abrams put it this way:

The only way to get anywhere with kicking ass is with an outfit that is already good.

The cabinet features many panels and doors beyond those opened for display. To give visitors a look inside the cabinet and help them understand the details of its decoration and construction, The Getty asked Dynamic Diagrams to create an interactive 3D model of the artifact.

Working closely with Getty curators and media professionals, we used a comprehensive set of photographs to build the model and apply surface details. We then coded our application to import text and zoomable images from an external source, allowing Getty staff full control over the descriptions and detail views that accompany the model.  

Our application is presented in the gallery on a touchscreen display, as seen at right in this photo from the Daily News of Los Angeles.

The Getty has also placed the application on its web site allowing you to explore the wonders of the Augsburg Cabinet on your own computer.