The main challenge of the project was to provide an experience that is both in-world and non-stereotypical, and to provide visitors an alternative view of the future that is not only focused on technological advancements, but rather on our role in shaping it, overcoming collectively and individually the challenges that we will be faced with in the future.
To achieve this, a collective endeavour of more than a hundred designers, historians, architects, storytellers, artists, curators, future technologists and scientists, amongst others, all came together, contributing into what has become one of the most complex operations we have achieved as a studio, on every single level. Spanning from the environmental and spatial design, the content development, the Media production, prototyping and R&D, budget balancing all the way to the final execution and implementation, in a time period spanning slightly over 2 years.
In this museum, visitors are invited to embark upon an expedition to a future for which they will, through individual choices, become part of a collective effort to create a better future for all humanity.
The experience stretches over three chapters and 3000 Square meters of exhibition space. Every floor has been created as an in-world immersive experience, with strikingly powerful spatial narratives focusing on a vision and the challenges of the future: Life in space, bioengineering and the regeneration of damaged ecosystems, and individual wellbeing.
Design + Execution
The “Journey of the Pioneers” exhibition was created as a fully immersive experience, whereas each of the chapters is designed to provide a completely in-world and convincing environment to the visitors, with emphasis on the suspension of disbelief.
The choreographed sequence of installations, with moments of intensity, moments of decompression and release, emotional and sensorial engagements on all levels, as well as the sounds, the scents, the light tones, and most importantly, the choice of materials, all play a significant role in the experience.
As an example, the space station walls are interwoven 3d printed meshes that appear to be made from asteroid mined material. The walls of the HEAL Institute are made of sustainable rattan palm, and natural clay engulfs the ALWAHA walls. Every detail has been precisely devised and crafted, and the use of technological tools was only put forward to enhance the narrative and the storytelling.
In all its complexities, and the emphasis of providing convincing environments, the entire built-up of the exhibition was designed in a modular way, a box in a box, completely independent from the architectural shell housing it, enabling an almost complete reusability of all the components used.
Atelier Brückner GmBH (lead design consultant)
Wassim Melki (project & design director)
Rana Rmeily (content management & coordination, ui-ux + experiential graphic design)
Mihai Vanca (technical & interface director)
Sungha Kim (senior exhibition designer)
Deyana Stareva (exhibition designer)
Framestore: Jason Fox (creative director)
Igor Voloschuk (director/ceo)
Dorjan Kolundzija (creative director)
Mina Padezanin (project manager/producer)
Marshmallow Laser Feast
Ersin Han Ersin (creative director)
Carolina Vallejo (project producer)
Anab Jain (director)
Jon Ardem (director)
Andrew Witt (lead creative)
Micah Silver (principal sound designer)
Emilie Baltz (creative concept lead)
DeepLocal: Brittany Bell (creative program lead)
Jason Bruges Studios
Jason Bruges (creative director)
Daria Jelonek (designer/project manager)
Al-Tayer Stocks (general contractor)
Galerija 12 (special exhibit fabricator)
MKTe (special exhibit fabricator)
ID3D (special exhibit fabricator)
DeepLocal (special exhibit fabricator)
Jason Bruges Studios (special exhibit fabricator)
Medien Project p2 (av hardware planning)
Belzner Holmes Light Design (light design & programming)
Buro Happold (engineering services)
Giovanni Gallanello (photography), Chris Kroh, Atelier Brüeckner GmbH (videography)