http://www.cassonmann.co.uk
V&A, London, 2001
How can design help visitors see four centuries of British art freshly? Our ambition was to educate without tiring: to enhance the contextual meaning of the objects without detracting from their standalone beauty. Newly installed environmental control gave us the freedom to combine objects in unexpected ways and see them against unexpected materials.
Gallery of Craft and Design
Manchester Art Gallery, Manchester, 2002
The design of the gallery acts as a helping rather than controlling hand in guiding the visitor around 1000 decorative art objects. Three main stories examine the process of making things, the meaning of objects in our daily lives, and the reason we collect things.
V&A, London, 2001How can design help visitors see four centuries of British art freshly? Our ambition was to educate without tiring: to enhance the contextual meaning of the objects without detracting from their standalone beauty. Newly installed environmental control gave us the freedom to combine objects in unexpected ways and see them against unexpected materials.
'Art Deco 1910 - 1939'
V&A, London, 2003
The V&A commissioned us to design their major exhibition for Summer 2003, an exploration of Art Deco’s global reach in the early twentieth century. The story is told over three architecturally strong and uncluttered rooms that complement the drama and glamour of the style and evoke its themes without competing with the objects on display. A silver wall with angled planes and concealed lighting creates a back drop for the showcases, and stepped plinths suggest New York’s skyline.
V&A, London, 2003
The V&A commissioned us to design their major exhibition for Summer 2003, an exploration of Art Deco’s global reach in the early twentieth century. The story is told over three architecturally strong and uncluttered rooms that complement the drama and glamour of the style and evoke its themes without competing with the objects on display. A silver wall with angled planes and concealed lighting creates a back drop for the showcases, and stepped plinths suggest New York’s skyline.
Gallery of Craft and Design
Manchester Art Gallery, Manchester, 2002
The design of the gallery acts as a helping rather than controlling hand in guiding the visitor around 1000 decorative art objects. Three main stories examine the process of making things, the meaning of objects in our daily lives, and the reason we collect things.
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