Studio Todd van Hulzen is an Amsterdam based design studio specialized in showing off: creating museum exhibitions, visitor experiences, design presentations, exhibit furnishings, art objects and theatrical environments.
works of art
Studio Todd van Hulzen is essentially an art studio. Besides practical design Todd van Hulzen is a fine artist, creating in a variety of media. One-off artworks are available on commission, and soon a line of commercially available reproductions can […read further]
todd a van hulzen
Todd van Hulzen (1967) comes from the state of Oregon in the U.S.A from a family of Dutch Reformed rancher-farmers. He studied history and art in Portland, Oregon (Lewis & Clark College.) After an initial stay in the Netherlands in 1989, and in Italy after that, he settled permanently in Amsterdam in 1999. He returns yearly to Klamath County, Oregon to work on his cabin.
After an early career as a fine artist and sculptor in the film world Todd moved on to be a designer of film sets, with as a specialty period architecture and design. As Art-Director/Set-Designer Todd designed film sets for the Oscar nominated films Girl with a Pearl Earring and Fantastic Mr. Fox. Recent Dutch productions are Bloed, zweet en tranen, Michiel de Ruyter en de western Brimstone. Since 2007 he has turned towards the museum world as an exhibition designer. Besides that he works on his own independent work.
At Todd van Hulzen Design it’s all about making unforgettable experiences and inspiring emotions such as admiration, amazement, and self recognition. We love to help people discover how awesome the world is.
The love of a museum for it’s collection is something we admire. We encourage clients to rediscover the beauty of their own missions. Yet, making an exhibition that is also an artistic sensation in itself is the designer’s valhalla. So let’s combine the two!
Here’s a guide to a proper work strategy when making an exhibition:
You begin designing a space by first immersing yourself in the content. Draw everything you can out of historic and scientific material. Draw connections and dare to make thematic leaps.
Make sure that you can unite as many exhibit elements as possible under one umbrella: graphics, multimedia, architecture, PR and story. Encourage as much cross-pollination as possible.
Distill all the themes into one visual brand; if possible one that represents your narrative in a nutshell and one that visitors can have an emotional bond with. Couple it to a slogan.
Value the building and its history and keep the unique mission of the institution in high regard. Don’t let an exhibition clash with its surroundings. Remember accessibility.
- Visitor orientation
Make sure the design answers basic questions of orientation:
Where. Where am I? Where am I within the whole and what is my next step? (Give a clear structure)
Why. Why am I here? What draws me onward. (Reward curiosity with amazement)
What. What is the key question? (Make the raison-d’être of the exhibition apparent)
How. How is my world view changing? (Effective means of communication)