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《亚洲标识》杂志

数字标牌应用在加拿大人权博物馆中的案例研究

2017/6/29 9:19:20

摘要:

The Canadian Museum for Human Rights (CMHR), which opened in Winnipeg in 2014, is not only the country’s first new national museum to be built since 1967, but also the only one anywhere in the world dedicated to exploring and celebrating the universal concept of human rights, from its history to its future. With a special emphasis on Canada, CMHR presents an ambitious variety of exhibits that integrate digital signage, interactivity, projections and other multimedia technologies.


加拿大人权博物馆于2014年在温尼伯开放,自1967年以来,它不仅是首个新建的国家博物馆,也是世界上唯一一个致力于探索人权概念为主题的国家博物馆。这个人权博物馆精心地提供了各种展览,整合了数字标牌和其他多媒体技术的应用。


Collecting digital assets


收集数字资产

With the development of a new museum comes the rare opportunity to use digital technologies from the outset. Also, as CMHR was to be more a museum of ideas than a collection of physical artifacts, it presented a suitable environment for communications-rich exhibits.


一个新博物馆从一开始就使用数字技术是非常难得的。由于人权博物馆是一个拥有很多想法,而不是一个物理文物的集合地,它为丰富的展览提供了一个合适的人文环境。


“We looked at how the museum could reflect the contemporary nature of human rights,” says Scott Gillam, manager of digital platforms, who joined CMHR’s staff in 2011, three years before the facility opened to the public. “Our mandate focuses on dialogue and reflection. And digital signage is, by its nature, an ongoing conversation.”


数字平台经理Scott Gillam表示:“我们做了一个博物馆如何反映当代人权的研究,任务重点是进行对话和反思,我们认为数字标牌本质上能跟群众进行互动,能向他们传播一些与他们息息相关的理念。”


In addition to place-based screens, Gillam is responsible for CMHR’s online and mobile communications, which share the same ‘repository’ for enterprise content management.


除了负责屏幕的位置部署,Gillam还负责人权博物馆的移动通信设置。


“A curator can log in to the system and choose assets, such as video and audio clips, for any new exhibit or space,” he explains. “We don’t have a large staff, so we leverage technology to be efficient and strategic. By being able to ‘store once and reference often’ with our digital assets, we can continue to tell rich stories.”


Gillam解释说:“策划博物馆的人员可以登录系统,选择应用任何展览资源,如视频和音频等。博物馆没有很多员工,所以需要利用技术来实现整个博物的馆理和发展战略。”


Building the backbone


建立中坚力量

System integrator Electrosonic was contracted to design audiovisual (AV) systems for the museum’s 11 permanent galleries, which themselves were designed by Ralph Appelbaum Associates (RAA).


人权博物馆的画廊由Ralph Appelbaum 协会设计,而系统集成商Electrosonic承包为博物馆画廊设计11个视听(AV)系统。

“The process began with our in-house design department coming up with ‘paths’ for the AV systems,” says Dan Laspa, project manager with Electrosonic, who grew up in Winnipeg himself. “Eventually, the project came back as a bid, which we won.”


这个项目的招标由Dan Laspa负责,项目经理Dan Laspa在温尼伯长大,对项目的开展实施有自己的见解,项目整个过程从内部设计开始。”


The original designs changed somewhat by the time Electrosonic determined the equipment specifications, in part because more advanced technologies had come to market in the interim. It was important for CMHR to have a robust AV infrastructure in place, to support both creativity in exhibit design and other, outward-looking humanitarian efforts.

博物馆原来的设计有所改变,需要重新配置设备的规格,原因在于有更先进的技术在推向市场。重要的是,人权博物馆拥有强大的AV基础设施,以支持展览的创意设计。


“The museum design is heavy in information technology (IT), to which we had to add AV systems and ways to maintain them,” Laspa says. “We also provided software to manage everything, such as on-screen content triggers.”


Laspa说:“博物馆的设计涉及信息技术,因此我们不得不很好地维护AV系统,我们还提供了软件来馆理一切,比如屏幕上的内容触摸器。”


Electrosonic directed the installation work with a local partner, Winnipeg-based Advance Pro. The buildout, which also involved 11 media production partners, required considerable technical co-ordination. By way of example, Kubik—based in Mississauga, Ont.—worked closely with Electrosonic to integrate the AV systems into the exhibits it was fabricating for and installing in the museum.


在这次项目中,除了与本地合作伙伴Advance Pro进行安装工作以外,另外还有11家媒体合作伙伴为项目扩建进行技术协调。例如,位于安大略省密西沙加的库比克与Electrosonic密切合作,将AV系统整合到了博物馆展示的展品中。

“We ran everything through Advance Pro when we were choosing the equipment,” says Laspa. “That makes it easier to handle warranties on an ongoing basis.”


Laspa说:“当我们选择设备时,我们先试运营了一遍所有的工作,这使得后面的工作更加容易持续地操作。”


The project also posed challenges because of the building’s unique architecture, designed by Antoine Predock with very few right angles. The 5,110-m2 (55,000-sf) museum’s seven levels, interconnected by ramps and bridges, focus on a central observation tower, which is intended to represent reaching from darkness to light.


但是,该项目也将面临一些挑战,由于建筑的独特性,进行设备部署时会遇到很多麻烦。5110平方米的博物馆分为七个层次,内馆的结构都是斜坡和桥梁相连,集中在一个中央观察塔,这种结构的设计旨在表示从黑暗到光明的追求与向往。


“It’s certainly a unique building, with lots of ramps, and it would be hard to run cables from one end to the other,” Laspa explains. “Due to the cable length restrictions, the museum opted for a series of localized AV and IT rooms, rather than a large, central electrical equipment room (EER).”


Laspa解释说:“这当然是一个独特的建筑,拥有大量的斜坡,而且很难将电缆从一端运行到另一端。由于电缆长度有限,博物馆设置了一系列本地化的AV和IT室,而不是一个大型的中央电气设备室,这样更加利于后期项目的开展。


For the museum’s audio elements, SH Acoustics developed strategies and treatments tailored to the building’s angular spaces, so as to minimize echoes and sound bleed-through. They deployed compact linear speaker arrays, focusing ceiling arrays and bookshelf speakers to help enhance the immersive effects of the museum’s theatres.


对于博物馆的音频设备,SH Acoustics协会开发了针对建筑物角度和空间做了一个策略,以实现最小回声和声音渗透。他们部署了紧凑的线性扬声器阵列,聚焦天花板阵列和书架上的扬声器,以帮助提高博物馆的拟真效果。


In some of these spaces, including the Examining the Holocaust and Breaking the Silence galleries, they embedded speakers into the bench seating, each of which emits sound to the row behind it, time-delayed to combine with the front speakers to localize sound effects to the screen.


在其中一些空间的安装中,比如在画廊,他们将扬声器嵌入到座椅中,每个座椅都会在后面产生声音,与前置扬声器相结合,使声音效果立体化。


Electrosonic’s service contract provides for two on-site technicians, who monitor and ensure the systems continue to operate effectively.


在安装过程中,服务合同规定了在现场必须要有两名技术人员,监控并确保系统有效运行。


We also rely on their relationships with suppliers when projectors and other components need to be replaced.”


当投影机和其他部件需要更换时,他们也是依赖供应商的。


Indeed, Advance Pro has been able to source different brands of products for different purposes, including projectors from Barco, Panasonic and Christie, media players from BrightSign, speakers from Innovox Audio and James Loudspeaker, liquid crystal displays (LCDs) from Samsung and NEC, mounting systems from Chief and touch screens from MultiTaction and Elo Touch.


事实上,Advance Pro已经能够将不同品牌的产品用于不同的目的,包括巴可、松下和克里斯蒂的投影机,BrightSign的媒体播放器,来自Innovox Audio和James Loudspeaker的扬声器,Samsung和NEC的液晶显示器(LCD),以及来自MultiTaction和Elo Touch的触摸屏和安装系统,每一个产品都能在博物馆里扮演着重要的角色,为参观者带来一场交互式体验。

Touring the galleries


游览画廊

Visitors first encounter digital signage at the ticketing desk, where it promotes memberships, offers and specific galleries’ exhibits.


参观者在售票处就会看到数字标牌,这时的数字标牌将展示特定画廊的展品。


“This is followed by more functional, layered deployments of digital signage in the galleries,” says Gillam.


Gillam说:“参观者接下来进入博物馆内会见到更多多功能的数字标牌,部署在馆内的每一处。

The first theatre asks and discusses the question, “What are human rights?” Three ceiling-mounted projectors show a video ona scrim where people share their ideas on the subject. A synchronized lighting program allows sculptures and artifacts behind the scrim to become visible at specific points in the presentation, as though to punctuate it.


博物馆内第一个剧院的设计主题是“什么是人权”,剧院内三个天花板投影机分享了关于这个问题的文稿和视频。一个同步的照明程序在演示文稿时将文物特定展现。


In the Indigenous Perspectives gallery, a 360-degree theatre is outfitted with six projectors, plus a seventh for any special presentations as needed. A production and playback system handles edge-blending for a video about First Nations’ concepts of rights and responsibilities to each other and the land. In this case, 152-mm (6-in.) speakers were hung behind the screens, aimed down at the audience. An undulating wooden wall was fabricated to provide sound diffusion for the circular room, while compact power-pipe subwoofers were placed under the bench seating to augment the sound further.


在另外一个画廊,有一个360度的剧院,剧院的设计主题是关于第一民族对土地的权利和责任,并配备了六台投影机,在需要时进行视频播放。在播放视频时,152毫米(6英寸)的扬声器挂在屏幕后面,瞄准所有观众,此外,为声音制造起伏效果的木制墙体能在圆形房间内扩散声音,而紧凑型低音喇叭放置在座椅下方,以进一步增强声音的穿透力。


The museum’s largest gallery, Canadian Journeys, features a single-projector theatre, embedded monitors and, most notably, a two-storey tall, 29-m (95-ft) wide ‘digital canvas’ that combines two walls of printed graphics with a third wall where ../images are displayed from four projectors, unifying a grid of faces in a massive presentation mode. The same grid is also rendered on four kiosks for interactive access.


博物馆最大的画廊——加拿大之旅,设有一个单一的投影机影院,还配备了一个嵌入式显示器。在剧院内,最显着的是一个两层高的29米(95英尺)宽的数字画布,数字画布将印刷图形与四面墙壁、四个投影机显示的图像,形成了一个网格来进行大规模演示,发挥了交互性作用。

Another interactive exhibit, Rights in the Courts, is featured in a gallery called Protecting Rights in Canada. A variety of court cases involving human rights are showcased on overhead video displays. Visitors get to view the evidence and vote on each case before learning about the real-life court decision.


另一个有关法院的权利主题的画廊,被列入加拿大保护画廊。画廊的展厅内,在高架视频显示器上播放有关人权的各种法庭案件,参观者可以了解现实生活中的法庭案件,在裁决之前查看证据,并对每个案件进行表决。


Another gallery, Turning Points for Humanity, explores the Universal Declaration of Human Rights with four interactive stations, each of which is equipped with a pair of portrait-mode 1.4-m (55-in.) screens and gesture recognition technology.


一个主题为“人类转折点”的画廊探讨了有关“世界人权宣言”的内容,画廊配置了四个交互式装置,每一个装置都有一个1.4米(55英寸)的屏幕和手势识别技术。


Throughout all 12 galleries, interactive stations—many using 686-mm (27-in.) touch screens—engage visitors with deeper layers of information and additional text, ../images and video. For people with disabilities, Electrosonic collaborated with CMHR and the Ontario College of Art and Design University’s (OCADU’s) inclusive design research centre in Toronto to custom-develop universal keypads.


在博物馆的12个画廊中,都使用了一个686毫米(27英寸)触摸屏,通过文字、图像和视频为参观者提供更深层次的信息。对于一些带有残疾的参观者,人权博物馆和安大略省艺术设计大学设计研究中心合作,定制开发了一种通用键盘,帮助他们识别信息。


In the aforementioned Breaking the Silence gallery, multiple visitors are invited to interact with a digital table, comprising 12 ultra-thin-bezel 1.4-m touch screens. The 8.2-m (27-ft) long ‘study table’ can accommodate up to 24 users—i.e. two per screen—simultaneously, allowing them to access photos, text and graphics by touch.

在上述提过的一个主题为“打破沉默”的画廊中,邀请了多位参观者与数字桌面进行互动,数字桌面包括12个超薄面板和1.4米触摸屏,允许他们通过触摸屏来访问照片、文本和图形,最多可容纳24位用户。

“The deployment needs to make it intuitive for people to touch a screen,” says Gillam. “This is even easier when the screen is table.”


Gillam说:“所有的设备部署为了让参观者能直观地触摸屏幕,进行交互体验。”


This is also an example of where the universal keypads come into play. Vision-impaired visitors, for example, can take advantage of a special bilingual text-to-speech interface to explore the table’s content.


针对听力较弱的参观者,博物馆为他们设置了特殊的双语文字语音界面,来帮助他们获得体验。


“Canadians with disabilities have advised us over time,” Gillam explains. “With the benefit of being able to build all of these components from scratch with our commitment continuing to evolve, we have become a global leader in inclusive design among cultural institutions.”


Gillam解释说:“凭借我们从建造博物馆开始,就构建了所有这些组件,已成为了文化机构中具有包容性设计的全球领导者。”


Another type of interactivity entertains younger visitors with the Lights of Inclusion game in the Canadian Journeys gallery. As they walk into a circle on the floor, it lights up with digitally projected circles of colourful light that surround each participant in the game, then merge and shift as the players approach each other.

除此之外,另一种类型的交互式体验在一个专门为年轻参观者设计的画廊中,画廊内设有一个“独特之灯”的游戏,当他们走在地板上的圆圈内,会出现彩色光线的数字,当每个参观者彼此接近时,图形会随他们移动。


“It’s great eye candy to keep the kids busy,” says Laspa. “There are custom-designed patterns on the floor for them to move through.”


Laspa说:“地板上有定制的糖果图案,可以吸引他们穿过图形。”


“It helps spark conversations for young people about inclusion, co-operation and strength in working together,” says Gillam.


Gillam说:“这样的设计有助于让年轻人进行一场有关团结与合作的心灵对话。”


In 2015, the museum won four Muse awards—including two gold, one silver and one bronze—from the American Alliance of Museums (AAM) for innovation in digital media. The Muse jurors honoured the Lights of Inclusion floor game with a silver award, calling it “elegant and beautiful, truly teaching the benefits of working together, as opposed to separately. The interactive projection is a very effective and engaging technology.”

2015年,人权博物馆获得了美国博物馆联盟(AAM)的四项缪斯奖,包括两枚金奖,一枚银奖和一枚青铜奖。缪斯陪审员把博物馆的设计称之为“优雅而美丽的艺术品”,互动式体验技术非常引人入胜。”

CMHR also won an award for innovation and excellence in the use of digital media that same year from the Jodi Mattes Trust, which promotes barrier-free access for people with disabilities to cultural collections in museums, galleries, archives, libraries and heritage sites. The trust honoured the museum’s inclusive video features and universal keypads for interactivity, with judges saying “all aspects of the museum and its exhibits were built with inclusive design and accessibility in mind. The focus on seamless integration is great and the breadth of offerings is unprecedented. They seem to have thought about a range of audiences from the outset. It’s great to see media is so integral to the experience.”


在同年的Jodi Mattes Trust奖项中,人权博物馆也赢得了创新和卓越的数字媒体奖,该创举促进了博物馆、画廊、档案馆、书馆的文化收藏。评审员表示:“博物馆及其展品的各个方面都是以包容性设计和可访问性来构建的,无缝整合是亮点,产品的兼容性和延展度是前所未有的,不同产品针对不同人群做了受众分析,获得了最大的体验价值。”


The following year, CMHR won the Society for Experiential Design’s (SEGD’s) 2016 Sylvia Harris Award and a Merit Award for three of its exhibitions that were designed and implemented by Gagarin, an ‘interactive experience’ firm based in Iceland:


2016年,人权博物馆赢得了体育设计协会2016 Sylvia Harris奖,包括其中三个展览的优异奖,都是由冰岛的“互动体验”公司设计和实施的:


Collective Actions: Diptychs, which displayed stories of human-rights activism on gesture-controlled 1.4-m (55-in.) portrait-mode screens, using Microsoft’s Kinect system from the video game market.

选择性动作:利用游戏市场上的Kinect微软视频系统,在手势控制的1.4米(55英寸)屏幕上展示了有关人权的故事。

Human Rights Defenders, a series of videos about Canadians fighting against human-rights abuses, accessed by touch screen or universal keypad.

人权捍卫者,一系列关于打击侵犯人权的加拿大影片,通过触摸屏或通用键盘来呈现。

Like the Jodi Mattes Trust, SEGD’s jury applauded Gagarin for making accessibility a core value of these projects’ methodologies.


此外,SEGD奖的评委会赞扬博物馆的设计为无障碍设备项目提供了核心方法。


Moreover, visitors to the museum have appreciated the efforts. When Quoros Consulting surveyed them, 94 per cent said they were ‘satisfied’ or ‘very satisfied’ with the CMHR experience.


此外,人权博物馆的参观者对数字标牌和各种媒体的应用也表示赞赏。当Quoros Consulting对受众进行了调查时,94%的人群表示他们对人权博物馆的体验是“满意”或者“非常满意”。


Developing new exhibits


发展新展品

Temporary exhibits like Gagarin’s are just one example of how CMHR continues to change and offer new experiences to visitors.


之后,人权博物馆将继续改变,为参观者提供不同的体验。


“We have a capital replacement program in place to upgrade our exhibits,” says Gillam, “and in addition to temporary exhibits, we will have some that travel across the country.”


Gillam说:“我们拥有一个资本置换的方案来完成我们的设计,除了展示博物馆基本的展品之外,我们会给参观者带来一种在全国各地旅游的快感。”


Most recently—and in time to mark the country’s 150thanniversary—CMHR introduced an exhibition called Our Canada, My Story, which uses newly acquired 1.5-m (60-in.) ultra-high-definition (UHD) ‘4K’ LCDs to showcase short films about seven Canadians’ diverse experiences with human rights issues.


近期,博物馆在庆祝新思想的引入,用了一个1.5米(60英寸)的超高清LCD来展示短片——加拿大人的各种经历与人权问题。


While the museum has an in-house design team and fabrication shop, the sheer size, scope and number of its exhibits call for outside assistance.


虽然博物馆有一个内部的设计团队和标识制造商,但还是需要外界的众多力量一同协助。


“As a federal institution, we follow the Treasury Board’s guidelines for requests for proposals (RFPs) and requests for quotes (RFQs), which lead us to a wide variety of vendors,” Gillam says. “Gagarin answered one of our RFPs, for example, after demonstrating key expertise in exhibition development. We’ve also seen combinations of soft ware developers and design firms respond to RFPs, where they enter a strategic partnership to provide a bid, as they understand their own gaps in terms of integration. Digital signage is still a young industry. It can be a challenge for one company to handle an entire project on its own.”


在加拿大,数字标牌一直作为动态媒体的温床,传播着文化和主流价值观,而人权博物馆同样借助数字标牌,将它与各种媒体整合,形成了一个巨大的网络,来辐射全国,传播着人权至高无上的理念。数字标牌的运用不仅为人权博物馆增添了新的内涵,还促使了行业新技术与文化产业很好的结合在了一起,数字标牌仍然是一个年轻的行业,对一家公司来说,独自处理整个项目可能是一个挑战。”


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