PLANNING AND DESIGNING

SOCIAL SPACES
WITHIN TRADE SHOWS AND EXHIBITIONS

BY
MEI WU

UNIVERSITY OF MANITOBA
2004



PLANNING AND DESIGNING

SOCIAL SPACES
WITHIN TRADE SHOWS AND EXHIBITIONS

BY
MEI WU

A Practicum
Submitted to the Faculty of Graduate Studies
In Partial Fulfillment of the Requirements for the Degree of

MASTER OF INTERIOR DESIGN

Department of Interior Design
University Of Manitoba
Winnipeg, Manitoba

© Mei Wu, December 2004





 


Acknowledgements
Millions of gracious appreciations are given to the following people who

contributed to this project with immeasurable help and support.

Firstly I would like to appreciate my committee members, Professor Lynn

Chalmers, Robert Madill, Faye Hellner, Ian Skelton, and Linda Levit, for their hard

work and instructive guidance throughout the entire process. I would also like to

appreciate my friends and my colleagues from Number Ten Architectural Group

whose help and encouragement made my work go smoothly.

Many thanks will go to my parents and brother in China who have always

supported my study and work with great understanding and love in such a long

distance.

My most special thanks, finally, are going to my dear husband, Bin Kang,

whose constant encouragement and true love I have relied on throughout my 30

months at the University of Manitoba, Winnipeg.






 


Abstract
Trade shows, a powerful tool to introduce and sell products and services,

need to attract, hold, persuade and inform visitors. In trade shows, well-designed

social spaces can facilitate active communications and interactions between

exhibitors and visitors. Besides being amenities to retain visitors, social spaces

can balance or re-stimulate visitors’ emotion. Based on the interdisciplinary

exploration of urbanism, environmental psychology, and exhibition design, the

practicum proposes a new strategy of organization for exhibition layout, structured

by social spaces in various scales and levels. Case studies of existing trade

shows identify the context and design factors in existing social spaces. The

understanding of human behaviour and activities determines an appropriate

configuration of social spaces. Systematic programming will delineate the context

relating to the practicum topic. The final product is to find appropriate solutions

and approachable settings to develop effective social spaces within a public trade

show, improving the comprehensive quality of exhibitions.






 


Table of Contents
1 Introduction……………………………………………………………………...…1

1.1 The Trade Show..……………………………………………………………..1
1.2 Historical Context…………………………………………………………..…1
1.3 Trade Show Types……………………………………………………………3
1.4 Social Space in Trade Show Exhibitions. ……………………………….…4
1.5 Contextual Relevancy ……………………………………………………….6
1.6 Statement of Interest……………………….………………………….….….8
1.7 Summary………………………………………………………………………9
2 Inquiry Process…………………………………………….……………….....…11
2.1 Literature Review………………………………………………………....…11
2.2 Case Studies…………...……………………..…………………………..…19
2.3 Summary…………………………………..……………………………..…..26
3 Design Strategies..






















28
3.1 Distance Control……………………………………………………….....…28
3.2 Interior Streetscape………………………..……………………………..…34
3.3 Modular Design……………………………………………………….......…39
4 Conclusion…………………………………………………............................…42
5 References………………………………………………………………......…....44
APPENDICES
Appendix A. Design Programme……………………………..……………….......….46
Appendix B. Conceptual Drawings………………………..………………...…...…..72
Appendix C. Design Drawings……………………………..………………...…….…77
Appendix D. Design Specifications………………………..………………...…….…95
Appendix E. Presentation Slides……………………………..……………….…..…106






 


List of Figures
Figure 1 Exterior overview of the crystal palace……………………………...……...2

Figure 2 Centre transept………………………………….…………………………….2

Figure 3 Two major dimensions of emotion and their hybrid………………………15

Figure 4 The pleasure-arousal hypothesis………………………….………….……15

Figure 5 Systematic and thematic display layout………………….………….….…19

Figure 6 Entrance galleria of IIDEX/NeoCon Canada……………………….……..21

Figure 7 Lounge space…………………………………………………………..…….21

Figure 8 Social space layout within IIDEX/NeoCon Canada ……………….….….22

Figure 9 Overall venue plan of National Exhibition Centre ……...………….….....23

Figure 10 Central area of National Exhibition Centre..……….………………...…..25

Figure 11 Mall pedestrian street..….………………………………………………….35

Figure 12 Interior perspectives of Vancouver Central Library square and British

Museum Great Court……………………………………………………...36

Figure 13 Main street in TBWA/Chiat/Day office…………………………………….37






 


List of Tables
Table 1 Influence of physical arrangement on visual and auditory contact.…….. 30

Table 2 Relationships between distances and human senses and activities in

social context………………………………………………..………………33







 


1 Introduction
Commercial exhibitions and trade shows are one of the significant powerful

tools for corporations to introduce and sell their products and services. The

purpose of trade shows is to attract, hold, persuade and inform visitors. In trade

shows, well-organized and designed social space can allow exhibitors and visitors

to communicate and interact each other in effective ways. The social spaces are

not only supposed to provide amenities to keep visitors, but also balance or

re-stimulate visitors’ emotion. The intention of this study is to find appropriate

solutions and approachable settings to develop an effective social space within a

public trade show, which might promote the quality level of perceiving and selling

in trade shows.

1.1 The Trade Show

The trade shows are an important marketing tool for corporations today. Every

year more than six billion dollars are spent on trade shows in North America alone

(Velarde, 2001).

The character of the trade show is described by Velarde (2001) as:

…the exhibition was there to persuade the public to buy the services on offer.
In fact, the basic considerations were identical. The physical constraints were
dictated by the place and the characteristics of the people involved, and the
people were “selling” to people. ([Link])
Today many exhibitors realize that good exhibition design for Trade shows is

significant because it enables companies to market their products and services

well. In relation to the growth in commercial and trade events in the twentieth






 


century, however, the commercial exhibition is seen as a sort of minor category of

architecture. More foci need to be placed on research into the design of

exhibitions.

1.2 Historical Context

The trade show is not new but derives from an ancient form of exhibition, as

described, in the Old Testament as a “trade fair” (Velarde, 2001). In 1756, the first

recorded exhibition took place in London (Konikow, 1994). After that, the Great

Exhibition, the first International Exposition, was held at the Crystal Palace in

London in 1851 (see Figure 1, 2). Over 13,000 exhibits were displayed and

viewed by over 6,200,000 visitors to the exhibition. The Great Exhibition is not

merely a milestone in terms of the development of trade show exhibition, but a

symbol of British technological and economic achievement in the industrial

revolution era (Victorian Station, 2001).

Figure 1. Exterior overview Figure 2. Centre transept

The Crystal Palace, Hyde Park, London, designed by Sir Joseph Paxton.
Source from: [Link]

However, as an industry, trade shows did not evolve fully until after the end of






 


World War II. In Canada, the transformation of Canadian National Exhibition (CNE)

was underway from 1966 to 1985. During the twenty years of the post-war, the

attitude of the CNE directors has shifted to lead them to see exhibition visitors as

consumers and exhibition itself as a place to sell to the public. Some existing

buildings were demolished and public transportation facilities were established to

form an area of Exhibition Park in Toronto (Lorimer, 1973).

1.3 Contemporary Trade Show Types

Frequently, “exposition”, “show”, “display”, or “fair” are used to describe

similar types of trade events. The following descriptions, however, provide

explanations of each distinct event.

Trade Fairs

Trade fairs are “exhibitions established for manufacturers and are frequently

categorized. Book fairs, food fairs, motor fairs, cycle shows, computer shows,

business efficiency exhibitions, museum and heritage services-practically

everything has its own trade fair. They are the exhibitions with the competition, to

buy components and, as often as not, to have a good night out with the boys and

girls. The public is rarely invited, and barely knows they are going on” (Velarde,

2001, p.3).

World Fairs

World fairs are those super-colossal expositions that take place in specifically






 


designed venues, conventions centers around the world set up by international

organizations. Generally world fairs have very broad categories and consist of

many countries’ pavilions. The meaning of a world fair has far beyond a

commercial event. The host city can benefit from the international publicity in

tourist attractions, economic lift, and regional redevelopment (Velarde, 2001).

Public Trade Shows

Public trade shows are the kind of annual exhibitions with massive

attendance figures (Velarde, 2001). Usually after starting with a few days devoted

to the press and trade visitors, these exhibitions, such as Boat Show, Motor Show,

Ideal Home Exhibition, and Flower Show, open their doors to the paying public.

Overall, it seems that the primary purpose of trade fairs, world fairs, and

public trade shows is to market, showcase, and sell products. A second

characteristic common within many exhibitions and fairs is the existence of social

spaces.

1.4 Social Space within Trade Show Exhibitions

Exhibitions are at best magic, or at worst, dreary trudges. Most people go to

exhibitions with the expectation of having a good time. However, in most trade

shows, visitors flow by often gloomy and sterile displays, distracted by noise and

crowding, overwhelmed by sights and sounds. Some smaller exhibitors also

complain that they hardly get noticed by the public because they cannot afford the






 


prominent position (Waterhouse, 1987).

To overcome those problems, besides adopting more tactics in promoting

marketing activities, well-designed exhibition spaces are becoming a crucial factor

in the success of trade shows. In recent research, it is realized that a trade

exhibition is not merely an activity of viewing and being viewed, but instead is a

means of communication and interaction (Velarde, 2001). Sometimes, interior

designers design spaces to evoke emotional responses from visitors. These

responses may include interaction, novelty, complexity, wonder, resonance,

surprise and incongruity, which generate a degree of perceptual conflict that leads

the perceiver to draw comparisons between the present stimulus and other stimuli

(Holahan, 1982). Practitioners, educators, and exhibitors have started to consider

more questions in relation to these exhibitions: How can one design a successful

show mentally, physically and emotionally and how can that exhibition space be

more memorable, exciting, and approachable? How can one persuade more

people to attend trade shows? How can one sell more products and knowledge to

the public at a trade show?

A social space is becoming an interesting point for exhibition designers to

consider. In a commercial exhibition, a social space, such as entrance area,

transportation area, information area, an entertainment area is space that can be

occupied and identified by particular social groups at various levels. Here they

can share, transmit and receive all information related to what they perceived. It is






 


important to investigate a social space in a trade show because well-organized

social spaces can improve exhibiting quality, by attracting, holding and informing

visitors. The exhibition and social uses are not same, but if we make maximum

use of the space available, it can serve social purposes as well as display

purposes.

1.5 Contextual Relevancy

The geographic site where a trade fair occurs can affect the social space

layout. Europe and America take different approaches to the trade show space. In

Europe most trade shows are broader in base, lasting longer and are held in

specially built pavilions. As a result, most exhibition booths will be built several

days before the show opens.

By contrast, trade shows in the United States are often held in hotel

ballrooms, where set-up time is minimal and there is nothing but a broad expanse

of space. As a result, show managers have to obtain partitions to divide the space

into exhibit booths. The partitions are generally built in an exhibit shop, and then

shipped to the site and assembled. After Navy Pier opened in Chicago in 1893,

we saw the construction of halls designed especially for trade shows (Konikow,

1994).

The existence of the new halls did not do much to alter the techniques of the

design, construction and installation of exhibits. However, the different venues do






 


result in distinct features of the social space in exhibitions. For example, in an

especially designed exhibition venue, the entertainment area can be located

separately away from the display area while in a temporary trade show which

occurs in a hotel or convention hall, it is more convenient to combine the social

space close to the exhibit booths to make better use of the space given.

Another important element related to the consideration of social space is the

visitor, the person for whom the exhibition is ultimately designed.

Hitherto, visiting museums, galleries and exhibitions is still a most popular

leisure activity. Waterhouse (1987) stated, ”exhibitions are about meeting people”

(pp.4). In a trade show, there are various levels of groups. To ordinary visitors,

especially in the public exhibitions, people go to see and be seen, many will

internalize icons of lifestyle culture presented in the exhibition. Professional

attendees go to seek valuable information on new products. Exhibitors are more

concerned about establishing industry brands, which hold the visitor’s attention.

All these groups will have different agendas, different instructions and different

attitudes for being at a show. In an exposition gathering, however, all people will

be immersed in a common pool of focused and unfocused interaction. The role of

social space is to attract all communities into a common pool and hope they

interact with each other effectively.

Finally, the purpose of trade shows has a significant impact on the design of

the social space. Some shows introduce new products or trends; some are






 


organized to establish brands between professional organizations and

corporations; others are held to advertise and improve merchandising. According

to the set purpose of the exposition itself, design factors and solutions for the

social space will differ as a consequence.

1.6 Statement of Interest

The purpose of this practicum project is to plan and design a prototype of

effective social spaces in trade show exhibitions. Based on a review of existing

precedents, one of the problematic issues is that the spatial scale of exhibition

venues is so massive that it loses its human dimensions. In order to offer more

humanized social spaces and encourage more interactive activities between

visitors and exhibitors, it is important to plan legible, mixed-use, and human

friendly social spaces within an exhibition venue.

Secondly, through study of the fields of urban planning, human behaviour and

social psychology, I will focus on designing public spaces, such as main transit

nodes and lounge areas, to informative and pleasant social spaces that will allow

visitors and exhibitors to socialize and network. In the designed social space, the

attendees will find out what’s going on in the industry, talk to the leading

professionals, get up-to-date with the latest issues, and take a break. Similar to

the oasis or park in a city, the social spaces will create a sense of neighbourhood

to retain more people and emphasize aesthetics and human comfort to make






 


networking pleasurable within the public realm. Consequently, a better exposition

with enhanced marketing qualities will result. Bringing more human qualities into

the exposition space will define the space better and help realize the purpose of

the exhibition.

Overall, social space is a place to encourage more communication and

interaction to occur casually and effectively. Both the exhibitors and visitors will

benefit from a more approachable and comfort social environment within the trade

shows.

1.7 Summary

A successfully organized social space can expand conventional exhibition

practice, interest a broader audience, include potential consumers who are not

passionate about display, and provide exhibitors with an occasion to interact with

the public in effective ways. Obviously, most exhibitors and organizers will benefit

from optimizing the social space in an exposition. As a result, they will sell or

introduce their products and information to more people.

In this practicum, my intention is to develop a planning strategy for exhibition

design that will examine the function of the social space in exhibitions. It will be an

“ideal” prototype for examining issues concerning the standard of state-of-the-art

exhibition. I proposed a conception of social node, which may encourage more

attendees, from customers to salespeople, to be involved in more exhibition






 


practices. These complex-functional social nodes in public exhibition can not only

provide a significant environment of interaction between consumers and suppliers,

but also a particular scenario of interplay between products and users.

 




 


2 Inquiry Process
The inquiry process includes the gathering of information pertinent to the

practicum topic, a systematic analysis of the information collected, and the

synthesis of information.

2.1 Literature Review

The literature related to the investigation can be divided into the following

major categories: new urbanism, environmental psychology, consumer culture,

and exhibition design. A comprehensive and interdisciplinary study has been

undertaken into the following areas:

New Urbanism

New Urbanism, or Neo-traditional Urbanism, is an urban design theory

proposed after World War II. With the problematic effect of suburban dispersal, a

trend to infill and redevelop the city emerged. Drawing inspiration from

townscapes of the past, New Urbanites sought to “provide quality public spaces

that are semi-enclosed, legible, and connect places that people use, in contrast to

the amorphous, illegible, isolated, and largely unused public spaces”(Ellin, 1999,

pp.93).

The planning and design methodology of New Urbanism is successful in

contributing to revitalization of the city and public places. Their design principles

were stated by Bressi (1994) as:






 


Public spaces like streets, squares and parks should be a setting for the
conduct of daily life; a neighbourhood should accommodate diverse types of
people and activities; it should be possible to get to work, accomplish
everyday tasks… and travel to surrounding communities without using a car.
(pp.17)
According to Lynch’s theory of city image (1960), a key variable in determining

environmental quality is legibility. A good place should be mapped mentally and

has an easily remembered spatial organization. Lynch also calls for legible

environment to have identity, structure, and meaning, which can be met with an

easily understood street grid and requisite nodes, edges, paths, districts, and

landmarks. From this point of view, many new urbanism projects are exceptionally

legible. They stress the society, community and correlate to the shape of a city

image.

One of the fundamental organizing elements of New Urbanism is the

neighbourhood. They defined neighbourhoods as “urbanized areas with a

balanced mix of human activity” (Duany and Plater-Zyberk, 1994, pp.9). In most of

their projects, neighbourhoods should be compact, mixed-use, pedestrian friendly,

and structured by public space (Calthorpe, 1994).

The node is an important legible element to structure the neighbourhood. It is

defined as follows:
Nodes are points, the strategic spots in a city into which an observer can enter,
and which are the intensive foci to and from which he is traveling. They may
be primarily junction, places of a break in transportation, a crossing or
convergence of paths, moments of shift from one structure to another. Or the
nodes may be simply concentrations, which gain their importance from being
the condensation of some use or physical character, as a street-corner






 


hangout or an enclosed square…Many nodes, of course, partake of the

nature of both junctions and concentrations. (Lynch, 1960, pp.47)
New Urbanism adopted this notion and developed it to be a mixed-use,

pedestrian-friendly land use pattern that seeks to increase concentrations of

population and activities, therefore, achieving the goals for growth, transportation,

and environmental protection of a region.

In the pedestrian network there are two basic types of nodes, primary or

terminal nodes and secondary or activity nodes (Rubenstein, 1992, pp.36).

Primary Nodes are associated with nodes transfer where walking trips begin and

end, such as parking areas and transit stops. Secondary Nodes are other

locations that attract trips from primary nodes as well as from other secondary

nodes, such as offices, stores, and restaurants.

In the proposed practicum, I intend to transplant the design methodology of

New Urbanism to the spatial planning or configuration in the exhibition layout in

order to develop a new planning strategy, which can group the exhibiting booths in

a more cohesive way. If the large exposition venue in a tremendous size can be

viewed as a roofed container in a town scale, and the individual showcase can be

viewed as land lot in the town, then there is a certain linkage between exposition

and urban planning. Hence, the social spaces for public service, such as lounge

area, information kiosk, and meeting space, etc., can be regarded as the nodes of

a city district that accommodate a mix of activities and uses within buildings, and a

diversity of people as well. I believe, especially in terms of promoting legibility of






 


spatial image and interactive communication between people, the notion of nodes

and neighbourhoods will contribute to shape the exhibition place more effectively

and make the social space more human friendly.

Sociology and Psychology

Sociology and psychology are broad areas of the human sciences, dealing

with the behaviour of human beings in groups and organization (Holahan, 1982).

Two key theories in this field are social psychology and environmental psychology.

Social Psychology is the branch of psychology concerned with the study of

individuals in groups. It deals with the psychological processes and interpersonal

interactions in groups and between groups (Rubin and Elder, 1980).

Environmental Psychology is “an area of psychology whose focus of investigation

is the interrelationship between the physical environment and human behaviour

and experience” (Holahan, 1982, pp. 3). The issues of privacy, personal space

(distance from others), and crowding are also the social concerns in physical

environment (Altman, 1975).

By reviewing previous studies in environmental psychology that focus on retail

and museum environments, there are adequate findings to suggest that

environment affects people’s emotions and behaviour. As the leading

investigation of emotion, the hypothesis of pleasure-arousal proposed by

Mehrabian and Russell (1974) believes that the level of emotion you feel in a

given setting can be influenced by both environmental variables (e.g., light,






 


temperature, or color) and personality variables (e.g., sociability or

arousal-seeking tendency). The result they draw is:

Individuals will want to approach physical settings, which are, apart from their
other characteristics, moderately arousing and maximally pleasurable. Note
also that as the pleasantness of a setting increase, the maximum desire to
approach it is predicted to occur at the higher levels of arousal. (Gifford, 2000,
pp.75)
The results of the hypothesis and other studies show that the emotional

impact of the physical environment is indeed systematically related to approach or

avoidance behaviour in individuals. Moderately arousing settings were more

desirable than that were low- or high- arousal settings. However, for pleasant

settings, approachability did not decline for highly arousing settings but increased

instead (see Figure 4).

Figure 3. Two major dimensions of Figure 4. The pleasure-arousal hypothesis.

emotion and their hybrids from a The desire to approach a setting varies with
circumplex, or circular ordering. the setting’s pleasure- and arousal- eliciting
qualities.
Source from Environmental psychology: Principles and practice (pp.74), by R. Gifford, 2000.

To some degree, it unveils a myth that the highly arousal settings in






 


commercial exhibition design will intrigue and appeal to more visitors. From their

studies, on the contrary, the moderately arousing setting will be more

approachable and may comfort and please people for a longer period. In fact,

within practical trade shows, some booths in a high-load design may disappear

among the ocean of shows because they are too arousing and visitors may feel

lack of desire to approach them. Mehrabian and Russell’s hypothesis offers an

approach to analyze the relationships between physical environments,

psychological emotions, and human behaviours within commercial exhibitions.

Particularly, it will be useful in choosing interior materials, colours, lighting and

other fixtures.

Consumer Culture

Waterhouse (1987) indicated that exhibitions are just one of the many media

available to assist companies in their promotional and marketing activities. In

simple terms, the commercial exhibition is designed to sell and show products. If

we view the trade shows in a mass consumption environment, the place and

consumption are connected- not simply for the obvious reason that people must

consume things in place but in the more important sense that consumption is a

place-creating and place-altering act (Sack, 1992).

The new experience of urban life in a contemporary consumer’s world has

often been characterized as the perception of being surrounded by strangers and

overwhelmed by crowds. One of the important aspects of a consumer society is

 




 


that self and identity are discovered by what is consumed. Some theorists even

manifested that “advertising replaced what had previously been the social fabric

of communities, becoming, in effect, a central source of cultural values” (Sturken

and Cartwright, 2001, pp.193).

Commodities also affect the structure and quality of the places in which they

are sold. Department stores, shopping malls, and trade shows, are designed to

create appealing contexts to enhance consumption: they become stage settings

and even spectacles. The relationship between the built environment and the

visual consumption of places might be well embodied in the commercial spaces.

The environment must be attractive for those commodities to sell. This means that

the store acts as an advertisement for the commodities, displaying them in an

attractive way with more attention to layout, lighting, and displays (Sack, 1992).

Exhibition Design

There is no doubt that the theory of exhibition design is vital to guide

designers to the success of trade show design. It deals with aims, information,

objects, techniques, people and space. Many principles and approaches could be

adopted in designing the social space in trade shows. For example, Velarde (2001)

demonstrated that the aims of exhibitions could be summarized in the following

set of objectives: to sell, to persuade, to expose, to parade, to inform, to explain,

to advise, to generate interest, to delight, and to enlighten. There is a potential

possibility for a social space to accomplish these aims effectively.







 


However, regarding the exhibition planning and how it shapes the space,

there is little systematic research or theory on commercial exhibition design

because it is still a very new industry. Usually, in the reality of trade show

operation, the available exhibition space inside is divided into packages of boxes

in certain footage. These boxes are allocated along predetermined aisles in grid

line. Conventionally, the layout plan is normally arranged to accommodate a

simple structure called a shell scheme, which is “an empty stall of a consistent

size, possibly four metres deep by four wide, with thin board walls papered and

painted white, an adequate floor covering” (Velarde, 2001, pp.4). When exhibitors

go to a trade show, the first thing they have to confront is the site selection. There

are many factors affecting the choice. Corner sites, island sites, and sites facing

the entrance or down to a main aisle are obviously going to be noticed by more

people than those sites hidden in back corner or in the middle of many other

identical booths. The one thing unfortunately out of control is choice of neighbour

when conflicting displays juxtapose each other.

Exhibition designers have suggested two fundamental ways of displaying

information, which are named as a systematic display and thematic display (see

Figure 5). In Designing Exhibitions, Velarde pointed out that there has been a

strong move towards thematic displays in recent years and the motif titles make

evocative and inviting themes. However, he also admitted that a visitor cannot

easily be coerced and the public responds badly to formalized and compulsory






 


routes.

systematic display layout thematic display layout

Figure 5. A systematic display will be laid out in some explicit order – chronological or
scientific. A thematic display will be laid out as a story, around a central theme.
Source from: Designing Exhibitions (pp.97), by G. Velarde, 2001.

In addition, as the exhibition is a place without the necessary attributes of

durability and permanence, but close to temporary installations or settings, light

modernity can be characterized by the flexible design or temporary environment

in micro-systems.

2.2 Case Studies

Being one of numerous important inquiry methods, case studies can provide a

source of practical information on potential solutions related to the practicum topic.

Two case studies were chosen as existing examples of social spaces within

national and international public trade shows. According to my personal interest, I

focus on those cases for interior industry public trade shows, such as furnishings,

furniture, and home shows. Based on available materials and information, the






 


analysis focuses on project purpose, program components, criticism and

limitations, and lessons learned. Other relevant data were collected built on a set

of codes, such as location, size, client, designer, project background and history,

design and development processes, and future plans.

IIDEX/NeoCon Canada

As the largest exposition and conference for the design and management of

interior environments in Canada, IIDEX/NeoCon Canada attracts 14,000 from the

design industry and business community each year and delivers the latest

products and the newest trend information to the professional and the public, with

a focus on all areas of design, including workplace, retail, healthcare, residential,

hospitality and sustainable design (IIDEX/NeoCon Canada, 2003).

The site is located in National Trade Centre, Toronto, which provides an

example of design-build on a massive scale. The total floor area is 1,177,000

square foot, including three main exhibition halls, heritage court, and annexes. In

keeping with the current proliferation of big box buildings, the exhibition halls are

structured with a 90 by 120 foot grid of steel columns to ensure flexibility for

visiting shows (Robert, 1997). As shown in Figure 6, the entrance galleria is lined

with window benches, which provide a breakout space for people to stay.

Inside the exhibition hall, some design-build social spaces, a cafeteria and

four food chain stores, are planned along the perimeter. Other temporary social

spaces, including bookstore, retail, lounge, and lecture place, are arranged

 




 


together with exhibition booths (see Figure 8). In terms of interior details, the

elements of these social spaces, such as seats, patio-like balustrades, and free

stand hotdog sellers, make me recall the image of cityscape. I found the

attendees were more willing to stroll around the spaces close to the show booths

because they seemed more intimate than one usually sees at trade shows (see

Figure 7). They not only serve as a physical breakout area for visitors and

exhibitors, but also provide a scenario for entertainment activities. However, the

whole layout plan is still in a straight grid and people sometimes cannot navigate

very well.

Figure 6. Entrance galleria is Figure 7. A lounge space surrounded

lined with window benches. with small booths is more intimate.
(Photography: Mei Wu, September 2003)






 


Figure 8. IIDEX/NeoCon 2003. Social spaces are green areas as shown.

Source from: [Link]






 


National Exhibition Centre

The National Exhibition Centre is located on a 125-hectare of farmland nine

miles away from the center of Birmingham, the heart of the industrial Midlands

linking London and the North-West of England. The exhibition halls complex

completed by Edward D. Mills and Partners in 197 consists of six halls of different

sizes, all at ground level with a total area of 92,900 m2 in exhibition space, with full

supporting facilities for the developer (NEC Limited), exhibition organizers,

exhibitors, contractors and visitors (Mills, 1976).

Figure 9. Overall venue plan of National Exhibition Centre, Birmingham, UK.

Source from: [Link]

Five of the halls interconnect and radiate from a central service and circulation

zone – the central piazza, which provides the first access to the visitors to the hall

they wish to visit. Thus, it reduces walking distances and visitor fatigue. In addition,

the central piazza also accommodates many facilities needed by both visitors and

exhibitors. The administrative office, shops, banks, information units, security

suite, and communication centre are all located around this piazza (see Figure






 


10). The designer created an entirely different environment from the exhibition

space. Inside the halls, the interior environment has been designed as an

unobstructed neutral environment for the exhibitions, which will create their own

interest in colour, layout and design. The background of the halls has deliberately

been kept at a low key to avoid competing with the exhibits and thus to give

maximum freedom to exhibition designers. A modest level of high-bay natural

lighting has been provided as a compromise interior lighting solution so that the

erection and demolition of exhibitions can be carried out in normal daylight

conditions.

For each exhibition hall, the major public catering areas are planned

individually based on the concept of the “pods”. “Service areas around the

outside of the halls like seedpods round a plant” (Mills, 1976, pp. 19). Each hall

has one or two pods which contain the catering facilities, men’s and women’s

toilets and first-aid rooms. Every catering section includes a restaurant seating

from 120 to 240 people and a fully equipped bar, which has its own separate

identity with a wall display. The architects have carefully considered the interior

design of all catering areas, and the endeavour has been to create an

environment that contrasts with the colourful and often noisy and garish

atmosphere of the exhibition areas. Therefore, the objective has been subdued

lighting in the bars, quiet and restful colours in the restaurants and comfortable

and well-designed furniture and furnishings.






 


Figure 10. Central area of National Exhibition Centre. It not only consists of various needed
facilities, but creates an environment of interior natural garden as well.
Source from: The national exhibition centre (pp. 36). by E. D. Mills, 1976.






 


From these two precedents, it is observed that social or public spaces can be

used to retain people, provide places for socializing, and optimize the planning of

exhibition layout as well. In IIDEX/NeoCon 2003, some exhibition booths are

grouped together with a close motif, “green material” for example, to shape a

small community with a particular identity. As the major public space in NEC,

Central piazza plays a significant roll to interlink six other exhibition halls and give

a memorable landmark to the entire exhibition venue, which solves the issue of

spatial cognition and wayfinding within such a massive scale space effectively.

In interior architectural elements, they both adopt neutral and moderate colour

and materials, without conflicting with exhibiting displays but keeping a

pleasurable and approachable setting still.

2.3 Summary

Based on the practicum topic, the above literature review and case studies

investigated in three major levels from overall to details, which particularly focus

on space organizing and planning, human senses, and exhibiting techniques.

The principles of new urbanism provide an inspiration to rethink the layout of

exhibition. When linking a massive trade show to a town, and showcases to land

lots, the vision of social space as a node emerges, which will anchor as an ideal

place for networking and socializing within trade shows. The study of social

psychology and human behaviour gives a theoretical base from the point view of

 




 


human senses. Further more, M-R hypothesis brings out an issue regarding to

comfort and pleasure level of human beings, which offers a theoretical guidance

in choosing and designing the settings within commercial environments. The

review of practical exhibition design techniques and approaches distinguishes the

special features of trade shows from other building types.

In general, the inquiry process addresses the theoretical considerations and

related materials. Consequently, it will generate the design solutions and guiding

principles.







 


3 Design Strategies
Based on former literature review and case studies, three primary design

strategies are proposed: Distance control, Interior streetscape, and Modular

design. Distance control is an important prerequisite for planning and designing

the forms of social spaces and trade show layout. In this case, when the massive

exhibition venue is treated in a context of urban space, interior streetscape is a

useful tactic to form a powerfully structured, vividly identified, and highly

imageable environment within trade shows. For construction methods and

materials, modular system design is the implement to form the social space in a

flexible, versatile way with relatively less limitation in creativity.

3.1 Distance Control

In terms of human senses and communication, the study of social dimensions

is related to the most comprehensive social activities, such as walking, resting,

seeing and hearing in both public and private spaces. To familiarize and control

those dimensions in trade show planning is a necessary prerequisite leading to

the success of exhibition layout.

Walking usually is the mere transportation type within trade shows and

exhibitions. To reduce the visitor fatigue and optimize the circulation route are the

first considerations of design planning. Some design achieved success due to the

unique approach to resolve this issue. For example, F. L. Wright designed the






 


spiral corridor along the gallery in Guggenheim Museum. For the one level space,

however, it is more important to define the tolerances of walking distances.

As a physical act, there are narrow limits as to how far most people can and

will walk. In a large number of surveys, 400-500 metres is the acceptable walking

distance for most people in ordinary daily situations (Gehl, 1987). For children, old

people, and disabled people, this number is often considered to be less.

The fact that it is tiring to walk makes pedestrians naturally very conscious of

their choice of routes. Whenever people walk, they prefer direct routes and

shortcuts. The planning of long, straight routes should be avoided; conversely, the

alternating view along the route and small squares often make the walking

distances seem shorter psychologically.

Similarly with walking, standing and sitting activities are two important

behavioural patterns that are required on the physical environment (Gehl, 1987).

Within trade shows, the essence of sitting and standing is resting, which is one of

primary design purposes of trade show mentioned earlier. When people stop to

talk to someone, to browse the exhibition stands, or to see what is going on, a

good and comfort place needs to provide for resting.

In a study of the preferred areas for lingering in recreational areas, Derk de

Jonge (1968) mentioned a characteristic edge effect. People are found to prefer

to stay along the facades in a space or in the transitional zone, called node as well,

between one space and the next, where it is possible to view both spaces at the






 


same time. At the edge of the forest or near the façade, one is less exposed and

not in the way of anyone or anything. Thus, when one’s back is protected and the

personal territory is reduced to a semicircle in front of the individual, it is easy to

keep watch and to react. The edge zone offers a number of obvious practical and

psychological advantages as a place to stay and linger.

Not only do the physical activities have spatial requirements within certain

distance, but also the contact between people requires distance control. Gehl

(1987) illustrated that physical arrangement can promote or prevent visual and

auditory contact in different ways (see Table 1).

Table [Link] arrangement can promote or prevent visual and auditory contact.
Modified based on the table retrieved from The life between building (pp.64), by J. Gehl,
1987.

Among the above factors, the distance between observer and object in a

visual contact is significant. According to the precedent studies, a combination of

several social fields of vision is proposed (see Table 2). For example, the

maximum distance for seeing events is around 70-100 metres. At this distance, it

 




 


is possible to determine with reasonable certainty a person’s sex, age, and what

the person is doing. When the distance is reduced to 20-25 metres, most people

can perceive relatively the facial impression of others. At this point the meeting

begin to become truly interesting and relevant in a social context (Gehl, 1987).

Lynch (1962) gives spatial dimensions of around 25 meters as immediately

comfortable and well dimensioned in a social context.

On the other side, for the auditory contact, the sense of hearing has a less

functional range. It is effective to hold conversation within distances of up to 7

metres and becomes more difficult beyond this distance. Within this distance, the

ear is quite effective, and people feel easier engaging in actual conversations.

Hall (1966) terms a number of distances as intimate, personal, social, and

public (each with its close and far phase) to describe different communication

forms in various social situations. Among them, social distance (1.30-3.75 metres)

is the distance for ordinary conversation among friends, acquaintances,

neighbours, co-workers, and so on. The fact that distance is used to regulate

intimacy and intensity in a social context implies that a certain space is needed for

conversations. Based on Hall’s theory, a number of surveys in Australia, Canada,

and Denmark have demonstrated that a distance of 3.25 meters appears to be

very useful in social distance (Gehl, 1987).

Because walking, resting, seeing, and hearing are the most common activities

within trade shows and exhibition, a knowledge of spatial dimensions in relation to






 


those activities and senses can be used to promote the trade show planning. In

my practicum project, the strategy of distance control not only helps to determine

the location and scale of social spaces within trade shows, but influences the

overall exhibition layout under a fully social consideration as well. For instance,

the social space, a good place to sit and rest, should be located at regular

intervals in the transition of visiting route to release the visitor fatigue. To promote

the communication between various groups in social spaces, the spatial

dimensions should be controlled within 7 metres. As strong design evidence, the

strategy of distance control is the first significant step to start trade show planning

and designing.


 Control Distance Activity
Description Remark
(metre) /Human Sense

acceptable walking distance for most people in

500 m walking
ordinary situation

the maximum distance for seeing events;

100 m vision
can perceive person’s age, sex, and action

comfortable space dimension to stay in public;

25 m staying, vision
can perceive person’s facial expression

effective distance to hold and engage in

7m hearing
conversations

social distance for ordinary conversation among

+/- 3.25 m communication
acquaintances

Table 2. Relationships between distances and human senses and activities in social context.




 


3.2 Interior Streetscape

As mentioned earlier, the massive exhibition venue is viewed as a roof

covered urban space in this project. This means that in studying the physical

relationships of social space to the exhibiting area and in strengthening the spatial

identity and image, the design considerations should be based on a context of

urban space and the designer should be able to translate the concepts into

readable spatial forms and images finally.

Presented in The Image of the City, Lynch (1960) has classified five elements

that people use to map an environment, which are paths, nodes, edges, districts,

and landmarks. Three components are founded for the analysis of environmental

imaging:
Identity, or objects in background;
Structure, or objects in relationship to each other;
Meaning, or personal, societal, or figurative belief.
Lynch focused on the identity and structure of spaces to discern what makes

cities imageable or known. He stated that the elements of shape, color, texture,

arrangement, and sensory quality facilitate the legibility of space, which gives the

observer clues to its identity and structure. Certain images and visual clues are

perceived similarly by groups of people who share similar backgrounds, activities,

or routines. Based on this point, the streetscape is the most common physical

features for most people to be aware of in their daily life.

In many other practical projects, the strategy of interior streetscape is an






 


effective way to form a strong mental image of interior public space. The most

popular application may be the interior environmental design in shopping centres

and pedestrian malls and it has achieved a great success (Rubenstein, 1992).

Figure 11. Mall pedestrian street.

(Photography: Mei Wu, December 2003)

Some institutional buildings also use this strategy in designing public spaces.

The British Museum addition designed by Foster and Partners and Vancouver’s

Central Public Library designed by Moshe Safdie are two well-known examples

(see Figure 12). In the public entry foyer, they all have a generous glass roofed

concourse serving lively pedestrian activities at the ground level. Such a public

space surrounding the main functional space form a continuous piazza or court in

a pleasant atmosphere.






 


Figure 12. Interior perspective of Vancouver Central Library square (left) and British Museum
Great Court (right).
Source from: [Link]
[Link]

Even in office design, the concept of “office as a city” is emerging as a new

trend. The renovation of TBWA/Chiat/Day office in Los Angeles designed by CWA

(Clive Wilkinson Architects) offers a small city environment with main street,

irregular “skyline”, green park space, and landmark structure (see Figure 13). It

not only relates a highly imageable space in a well-structured circulation route, but

also makes the place impressed vividly.

 




 


Figure 13. Main street in TBWA/Chiat/Day office, Los Angeles.

Source from: [Link]

In streetscape design, Rubenstein (1992) gives the following characteristics

that should be considered in design or aesthetic quality to urban space.

Associated with trade show design, they can be considered to be significant

design tactics to be applied to social space design.

Figure ground

Figure ground is the contrast of an object to the ground. An element appears

as a figure if it stands out against undisturbed ground (ibid). In a trade show, the

suspending banner, standing signage or other vertical elements can stand out as

figures in contrast to exhibiting booths and build mental identity effectively.

Continuity

Continuity is provided by a series of coherent parts related by keeping a

common scale, form, texture, or color for a space or area (ibid). For example, by







 


using the same material on booth board of a particular color along the pathway, it

will give continuity and orientate visitors to the destination.

Sequence

Sequence is continuity in the perception of space that may create motion or

mood, or give direction (ibid). For example, repetition is one simple kind of

sequence. Any repetition and similarity of shape, color, or texture can contribute

to this characteristic.

Rhythm

Rhythm is a break interrupting the sequence of repetitive elements at specific

intervals (ibid). In the trade show designing, rhythm can be incorporated into a

flooring pattern by creating a design with a change from carpet to vinyl floor at

social spaces as specific intervals.

Hierarchy

Hierarchy is a system to rank sizes or colours (ibid). In a trade show, the

primary node may be a dominant space by having the largest size or the most

prominent position, while the secondary nodes may have smaller size or

subordinate position.

Sensory quality

Sensory quality is a further dimension to the sense of a place, the visual

impression and appeal to senses of hearing, smell, and touch (ibid). Features that

please the human senses can give the social space an atmosphere that attracts






 


people. For instance, well-designed banners, soft illumination, comfortable sitting

areas in which to view other people, and appealing activities all help create this

pleasant environment.

Motion

Motion is a process of temporal alternation or geographical position changing.

It reinforces direction or distance and gives a sense of form in motion (ibid). When

visitors are walking along the exhibition, their observing points and visual angle of

objects keep changing. Awareness of motion can help create interesting and

appealing space to attract people.

In general, this strategy gives a way to organize the settings of social space.

When designing the wallboard, flooring, ceiling, lightings, or furniture, their shape,

color, texture, pattern, and arrangements are supposed to comply with the above

design principles. In this way, the social space will provide an attractive

combination of visual legibility and psychological comfort with the reinterpretation,

integration and transformation of streetscape within trade shows.

3.3 Modular Design

For exhibition designers, the construction methods, systems and materials

have always been the primary technological issues to be concerned with. As an

exhibition lasts for a limited time only, it has always been felt that a construction

that lasts for the length of the exhibition is a good design. As Spence (1951)






 


stated, “a lightness in conception, a simplicity of idea, and the capacity to look

fresh at the end of the exhibition period are essentials” (pp. 114). Although module,

“a series of standardized units for use together” (DeVido, 1996, pp.185), is

nothing new, there are many reasons to adapt modular design in trade show and

exhibitions. The most prominent advantage of modular system is the ease of

assembly and the flexibility offered by its modular design.

Since 1974, the trend of modular system design in exhibiting has emerged

(Konikow, 1994). Instead of a rigid structure, designers were starting to seek

separate units that could be combined in many ways. As Konikow described,

An exhibitors might have a library of elements, and put together a combination

that could fit into the available spaces, and still remain attractive and
functional…. the basic elements of the new systems are structural elements,
components of various constructions and materials that are fitted together by
machine screws or connecting elements. (pp.11)
For example, prefabricated unit, like LEGO, is a kind of construction system

using broadly in trade show, which can be bought and assembled in a number of

different ways. They are mainly use for installation of shell schemes or exhibition

stands, which can be erected and disassembled repetitively in several days

(Velarde, 2001). Such a system serves as support for background panels that

carry graphics, signage, displays, or other exhibiting approaches.

However, the module is not the only requisite factor in exhibiting systems.

They are more likely required to be lightweight, portable, freestanding,

sustainable, easy to store and deliver, and possibly to be recycled or reused.

 




 


Through development in recent decades, modular systems have become more

popular. Not only because the systems are becoming more versatile, more

adaptable, but also because designers are becoming more comfortable in their

use, and learning how to rely on the prefabricated elements without limiting their

creativity. On another side, with the development of technology, some new

materials and products, such as tensile fabric, are also seeking module as a way

to form new structural system.

As a portion of exhibiting, social spaces are no different than the exhibition

booths in construction method. Except for some service areas, which have

already been designed along with the exhibition venue, in terms of the

construction and furnishings, social space has the similar characteristics as the

exhibition stands, such as temporality, flexibility, and adaptability. Based on this

perspective, modular system design will be the chief consideration in selecting

materials and furnishings in the social spaces. For example, the seating and the

partitions can be adjusted in different ways to suit the various locations within

trade shows and accommodate the different needs and activities. Meanwhile, for

different exhibition zones, the alternative look of a social space can help create

the identity of a community. This design strategy is used to maximize the flexibility

and choices for the different user groups of the social spaces.






 


4 Conclusion
This study introduces the public trade show and addresses the needs and

significance of social spaces within trade shows and exhibitions. With more

exhibitions being held throughout the world everyday, the traditional role of trade

show, selling and buying, will be infused with new function, that is, seeing and

being seen. Networking and meeting people are becoming a principal purpose for

exhibition attendees. To enhance the comprehensive exhibition quality, planning

and designing good social spaces within trade shows have been a significant

issue on which the exhibition organizers should focus.

Through a literature review of social environmental psychology, the effects of

social influence in human behaviours and moods were studied. In particular, the

relationships between physical environment quality and human senses were

explored. The results have shown that physical environment arrangements can

promote or inhibit social contact, and arouse or please human emotion. Concepts

and theories, regarding the imageable and legible space for mapping in a massive

exhibition venue, were explored to link the concept of community identity, and

suggest that the social space be used as a node or focus of the exhibition space.

A review of the trade show industry distinguished the characteristics of exhibition

design from other building types due to its temporal and global features. Case

studies of two massive exhibition centres show how these two different features

manifest in social spaces. From this, one finds a reference for determining the






 


size of project building and suggests better ways to arrange the social spaces

within exhibitions.

The results of the literature review and case studies are associated with three

design strategies proposed consequently, which are applied to the planning and

design of social spaces within trade shows. Distance control is the strategy that

relates the physical activities and human senses to a social vision and, suggests

an optimal distance for arranging the size, scale, and the layout of social spaces.

The strategy of interior streetscape links the five mapping elements (path, node,

edge, district, and landmark) systematically to form a well structured, vividly

identified, and highly imageable environment within trade shows. This approach

challenges traditional dull planning of trade shows, while offering a fresh visually

clue in an urban context. Another strategy called modular system design is

implemented to form the social space in a flexible, versatile way with relatively

less limitation in creativity. It gives a principle in the choice of partitions, furniture,

signage, and other design features.

This project is just one experimental study in trade show design.

Understanding the meaning of social space and manifesting it in a legible way is

one of the most important tasks when designing the social spaces within trade

shows. It is not intended to present guidelines to all exhibition design. Instead, it

suggests an effective approach to improve the exhibition quality and hopefully it

will give some new inspirations to the trade show organizers.






 


References
Altman, I. (1975). The environment and social behaviour: privacy, personal space,
territory, crowding. Monterey, CA: Brooks/Cole.
Barker, R. G. (1968). Ecological psychology: Concepts and methods for studying
the environment of human behaviour. New York: Stanford.

Black, M. (1951). Exhibition design. London: The Architectural Press.

Breesi, T. W. (1994). Planning the American Dream. In P. Katz (Ed.), The new
urbanism: Toward architecture of community (pp.17-34). New York:
McGraw-Hill.
Calthorpe, P. (1994). The region. In P. Katz (Ed.), The new urbanism: Toward
architecture of community (pp.3-8). New York: McGraw-Hill.
DeVido, A. (1996). House design: Art and practice. New York: John Wiley.
Duany, A., & Plater-Zyberk, E. (1994). The neighbourhood, the district and the

corridor. In P. Katz (Ed.), The new urbanism: Toward architecture of

community (pp.9-12). New York: McGraw-Hill.
Duerk, D. P. (1993). Architectural programming: information management for
design. New York: Van Nostrand Reinhold.
Ellin, N. (1999). Post-modern urbanism. (2nd ed.). New York: Princeton
Architectural Press.
Gehl, J. (1987). Life between buildings: Using public space. New York: Van
Nostrand Reinhold Company.
rd
Gifford, R. (2000). Environmental psychology: Principles and practice (3 ed.).
Colville, WA: Optimal Books.

Goffman, E. (1963). Behaviour in public places. New York: The Free Press.
Hall, E. T. (1966). The hidden dimension. New York: Doubleday & Company.
Holahan, C. J. (1982). Environmental psychology. New York: Random House.
IIDEX/Neocon Canada. (2003). Info on exhibiting. Retrieved November 10, 2003,






 


from: [Link]

Konikow, R., B. (1994). Exhibit design 6. New York: PBC International.

Lorimer, J. (1973). The EX: A picture history of the Canadian National Exhibition.
Toronto: James Lewis & Samuel.

Lynch, K. (1960). The image of the city. Cambridge: M.I.T. Press.

Lynch, K. (1962). Site planning. Cambridge: M.I.T. Press.
Mehrabian, A. & Russell, J.A. (1974). An approach to environmental psychology.
Cambridge, Mass: MIT Press.

Mills, E. D. (1976). The national exhibition center. London: Crosby Lockwood

Staples.

Robert, Z. (1997). Exhibition building 2: Beguiling behemoth. Canadian Architects,

42, 16-17.
Rubin, A. I., & Elder, J. (1980). Building for people: behaviour research,
approaches and directions. Washington: U.S. Government Printing Office.
Sack, R.D. (1992). Place, modernity, and the consumer’s world. Baltimore: Johns
Hopkins Press.
Sommer, R., & Sommer, B. (2002). A practical guide to behaviour research: Tools
and techniques (5th ed.). New York: Oxford University Press.
Velarde, G. (2001). Designing exhibitions. Aldershot, Hants, England: Ashgate.
Waterhouse, D. (1987). Making the most of exhibitions. Aldershot, Hants, England:
Gower.
White, E. T. (1972). Introduction to architectural programming. Tucson, AZ:
Architectural Media.

Victorian Station. (2001). The great exhibition at the crystal palace. Retrieved
November 10, 2003, from: [Link]





  

 

Appendix A Design Program

Table of Contents
1 Project Overview …………………….………………..................................…47
1.1 Project Description ……………………………………………………....…47
1.2 Design Goals ………………..………………………………………………48
2 User Profiles…………………………………………….……………………...…49
2.1 User Groups……………………………………………………………….…49
2.2 Activities and Needs………………..…………………………………….…50
3 Spatial Allocation…………..………………………………………………….…53
3.1 Spatial Requirements………………………………………………….....…53
3.2 Circulation………………..…………………………………………..………54
4 Programming Wheel and Bubble Diagram……………………………......…56
5 Response to Design Strategies..
















59
5.1 Distance Control……………………………………………………..…...…59
5.2 Interior Streetscape………………………..……………………………..…57
5.3 Modular Design………………………..……………………………….....…59
5.4 Other Design Considerations…………………………………………....…62
6 List of Figures…………………………………………………………….…....…69
7 List of Tables…………………………………………...................................…70
8 References………………………………………………………………......……71


 



  

 

1 Project Overview
The design program analyzes the user activities and spatial functions within

social spaces to reflect the previously discussed theoretical issues and design

strategies. Simultaneously, the programming process also establishes the design

goals and provides guidelines for the next design stage.

1.1 Project Description

As this project is an experimental study model, there is no specific site or

building. Instead, the building is a virtual big box to accommodate the social space

and exhibition. The first thing to do is to define the size and scale of the building

envelope. Through a study of large exhibition centres in the world (see Table 1), I

propose the building envelope size to be 100-metre wide, 200-metre long, and

15-metre high (clear ceiling height) for this project. The axial distance is set as 25

metres, which is a common structural span as well as a suitable spatial

dimension.

Width Length Height Gross Area

Exhibition Hall Location
(metre) (metre) (metre) (m2)

National Trade Centre Toronto, CA 100 250 12 25,000

National Exhibition Centre

Birmingham, UK 120 210 16.7 24,900
(Hall 5)

George R. Brown Centre Houston, US 100 450 11 45,000

McCormick Place
Chicago, US 80 150 8.5 12,000
(Hall C1)

Table 1. The exhibition hall size of large exhibition centres in the world.






  

 

For some large exhibition venues hosting the World Trade Fair, i.e. Milan

Furniture Show or Hannover Fair in Germany, 100-metre wide by 200-metre long

is approximately one hall in a cluster of buildings and can be joined or expanded

in various ways. However, as the intent of this project is to develop a generic

prototype of social spaces within trade shows, it is an adaptable size for a study

model.

1.2 Design Goals

Social space is the space where the attendees socialize with each other. In

addition to networking, the objectives of social spaces are as follows:

• To encourage communication and interaction between attendees by

creating an attractive and comfortable environment for socializing;

• To strengthen the identity and image of exhibition spaces, therefore

creating new opportunities for exhibiting promotion;

• To improve approachability of exhibiting stands, therefore promoting the

exhibitors

In order to accomplish these objectives, the social space is designed to

provide:

• An attractive oasis to visitors;

• A soothing atmosphere;

• A place of contact for all groups of trade show attendees;

• A mix of activities that could not flourish in other locations





  

 

2 User Profiles
2.1 User Groups

The users of a trade show consist of the organizers, exhibitors, and visitors.

Usually the organizer is the owner or primary tenant of an exhibiting venue. They

could be a local council, a limited company, or an industrial association. The

space inside is allocated by the organizer and leased to exhibitors in packages of

square feet or metres (Velarde, 2001).

The exhibitors usually are manufacturers or traders who lease the exhibition

lot from the organizer. They are the clients who usually hire the exhibition

designers. The main purpose of exhibitors is to participate in selling and

introducing their services and products to the public. Both organizers and

exhibitors are regarded as the secondary users of social spaces within trade

shows.

The visitors consist of various groups of people and are the primary users of

the social spaces. Their age, sex, and background can be very different

depending on the theme of exhibition. According to the census of NeoCon trade

show, for example, the attendees include architects, interior designers, students,

manufacturers, representatives, dealers, end users, facility managers, purchasing

managers, and so on (NeoCon, 2004). Generally the visitors are treated as the

adult public (18-to-65 age group) who share the common interest in the trade

show display or events.





  

 

2.2 Activities and Needs

For exhibitors and visitors, besides introducing and learning about new

products in trade shows, a significant purpose in attending is networking and

socializing. From the statistic of NeoCon 2002, 68.4% of attendees go for

networking and social events, and 76.4% of exhibitors achieved their goal of

networking at the exhibition (NeoCon, 2004). It is social spaces within trade

shows that provide such space for attendees to communicate and interchange

information, and networking.

The activities occurring in trade shows can be categorized as: necessary

activities and optional activities, each of which places very different demands on

the physical environment (Gehl, 1987).

Necessary activities are compulsory, those activities in which were required to

participate (ibid). In a trade show, the necessary activities of visitors can be

browsing the exhibition display, searching the interesting products, learning the

information about the products, and so on. Meanwhile, the necessary activities of

exhibitors are selling or advertising their products, providing product information

as needed, and answering questions proposed by visitors. Because the activities

are necessary, they are influenced only slightly by the physical environment.

Optional activities are those activities take place if there is a wish to

participate, and, if time and place make it possible (ibid). In a trade show, they

include such activities as lingering, chatting, relaxing, having food or drink,

 



  

 

interchanging information with each other, or observing what is happening. As

these activities are optional and occur only when the physical conditions are

optimal, they are especially dependant on physical environment (see Table 2).

Quality of physical environment

Poor Good
Necessary activities

Optional activities

Table 2. Graphic representation of the relationship between the quality of public spaces and
the rate of occurrence of activities.
Modified based on the table retrieved from The life between building (pp.13), by J. Gehl,
1987.

According to Gehl in ‘The Life Between Buildings’, two types of activities can

be used to analyze the activities of attendees in trade shows. When the quality of

the physical environment is poor, only strictly necessary activities occur. When the

physical environment is of high quality, the necessary activities take place with

approximately the same frequency. However, wide ranges of optional activities

occur with increasing frequency. As a result, in a pleasant and comfortable social

space, a completely different and broader spectrum of activities is possible

because the place and settings invite people to stop, rest, and talk.

The design of details plays an important role in developing staying

possibilities in social spaces. If spaces are desolate, empty, or lack interesting

details, it can be uninviting. A well-equipped social space should offer many





  

 

different opportunities for sitting and standing in order to give all user groups

inspiration and opportunity to stay (Gehl, 1987).





  

 

3 Spatial Allocations
3.1 Spatial Requirements

Functionally, social spaces are the areas providing information, service, and

opportunities of seeing or being seen for the attendees. Usually social spaces can

be individual or a mix of information spaces (including entrance or registration),

lounge areas, meeting areas (forum or seminar), food areas (café bar or

restaurant), and exhibition shops or bookstores. In some existing exhibition

venues those social spaces are allocated in the predetermined space surrounding

the exhibition space. In my project design, two types of social spaces will be

allocated inside the exhibition space. The prerequisite of the spatial configuration

assumes some service space for public use, such as washrooms, a restaurant,

already exist in the annex of the exhibition building.

The first type will be located in the position of the “primary node”, including an

information pavilion and a forum platform. The estimated floor area of each node

is approximately 10x10 metres. The distance between two primary nodes is within

100 metres. The other type will be located in the position of the “secondary node”,

a lounge space in the core of exhibition group. The size of the lounge space is set

at around 7x7 metres.

Within each space, there should be adequate space to accommodate the

following listed functions:





  

 

Information hub

• Information display

• Self service catering for café, drinks, or snacks

• Desk for customer service or administration staff

• Sitting area for relaxing

• Internet access to provide related product information

• Landmark of the district

Forum stage

• Sitting area for audience

• Stage for presenting a speech

Lounge

• Intimate seating for relaxing

• Open seating for conversations

• Self service catering for café, drinks, or snacks

• Signage to strengthen the identity of exhibition community

3.2 Circulation

Circulation is devoted to the movement of the trade show attendees. In the

same way as exhibition booths, the social spaces must also be easily accessible

and the circulation adequate for the activities. The pathway or aisle should be

wide enough for people to pass through, stand, look or bend to look. There is also





  

 

room for people to stop to talk or to exchange information without disturbing the

solitary viewer (Velarde, 2001).

The main aisles are 7 metres wide and the secondary aisles are 4 metres wide.

On the main aisle the directions should be clearly indicated.





  

 

4 Programming Wheel

Figure 1. The programming wheel shows the integration process of programming.

 



  

 

Bubble Diagram

Figure 2. Relationship of social spaces within conventional trade shows.






  

 

Figure 3. Nodal organization of social spaces within trade shows.





  

 

5 Response to Design Strategies

5.1 Distance Control

As previously discussed, the planning and layout of social spaces will be

informed by the strategy of distance control. The distance between two primary

social spaces is 100 metres, which is the maximum visual distance recommended

by Gehl (1987). Within this distance, the visitors can see what is happening in an

event. Each exhibition group is organized as a neighbourhood within 25x25

metres. The exhibitors in one neighbourhood may have similar product lines or

themes, which can be easily recognized by visitors. To strengthen the identity of

each group, the secondary node, a lounge area is set in the core of

neighbourhood.

Within each social space, a certain distance is needed for visual and auditory

communication among different user groups. The size of the lounge area is

approximately 7x7 metres, which is the effective distance for hearing. The sitting

area inside will be arranged within a 3-metre circle, which is the optimal distance

for social interaction. This distance is used both to regulate intimacy and intensity

in various social situations, and to control the beginning and end of conversations.

To set up the sitting area, the guiding principle is to place the sofas around a table

at right angles, which allows ease of conversation. Thus, the sitting area facilitates

a number of functions beyond merely sitting (Ralph Erskine).





  

 

5.2 Interior Streetscape

Firstly, to create a highly image able space by using the strategy of interior

streetscape design, five mapping elements (path, edge, node, district, and

landmark) will provide the guiding principles for the trade show spatial allocation.

Conceptual drawings are shown as follows.

PATH: public hallway in between the

exhibition booths.

NODE: Intersection or transit stops.

DISTRICT: Cluster of exhibition

booths.





  

 

EDGE: area in between the public area

and exhibition booths.

LANDMARK: appealing and unique

vision to attract visitors.

Figure 4. Five mapping elements within trade shows.

To form a legible space, in addition to those five elements, visual clues can be

utilized to help orient the user. Especially in social spaces, more visual information

needs to be presented to aid visitors in locating their possible destinations. The

following are some interior treatments typically used for aesthetic effect that can

help create a legible environment.

• Change of wall colour, type, or texture;

• Change in flooring;





  

 

• Use of lighting to highlight or minimize areas;

• Change of ceiling treatments;
• Furniture arrangement or type (Graphic Standard, 2003, pp.33).
When using understandable visual clues in an interior environment, the

spatial characteristics can also be reflected to strengthen the visual directions or

images. For example, the change of flooring material or pattern can contribute to

continuity or sequence of space. Hierarchy can be reflected by the distinguishable

size and scale of space. Rhythm in detail arrangement will offer artfully conceived

change of pace and a pleasant surprise.

In general, the use of design elements, such as colour, lighting, finishes, and

materials, doesn’t intent to mimic a real streetscape. Instead, those elements

should be integrated to “metaphorize” an approachable and lively atmosphere to

reflect the daily life in an urban space.

5.3 Modular Design

As discussed before, because modular systems have the advantages of

lightweight, ease of assembly, and flexibility, they are preferred in the selection of

settings and furniture within trade show, including social spaces.

Some possible selections of interior architectural elements, such as partitions,

screens, ceilings, displays, signage, and furniture are proposed as follows.

Flexibility of assembly is another important issue when utilizing these settings.





  

 

Partitions / Screens

To divide the interior space, the freestanding partitions and screens are walls

unwilling to make a commitment, but bringing with versatility and mobility. In the

lounge space partitions are used to form a semi-close space to provide screening

and protection for people and assist in communication. Drapery divider can be

applied to define space loosely but create a soothing atmosphere.

Figure 5. Light screens and drapery dividers can help to define spaces with more flexibility.
Left: Hard surfaces Imago screen from Knoll Textile. Right: Herman Miller RED New York
showroom designed by Brett Tipert.
Source from: [Link] [Link]

Ceilings

Within trade show venue, a tensioned fabric structure will be an ideal

structural system for ceilings or shells because of its particular properties, such as

light weight, ease of installation and delivery, minimum load on existing building

structure. It can satisfy all the specific requirements for trade shows. Visually, it

can provide a focus unique in trade shows and attract the visitors’ attention

because of its organic and dynamic form.





  

 

As an element in the ceilings, tensile fabric ceiling can be used in the

“information hub”, “forum stage”, and lounge areas to create a unique and

appealing landmark.

Figure 6. INFUSIONTM is a new collection of floating ceiling from Armstrong. Available in a

range of choices in textures and colors, it can be used individually or in combination to create
an array of different configurations.
Source from: [Link]

Displays

Information booklets or brochures related to the show could be retrieved from

the social space for convenience. The freestanding display needs to be mobile,

portable and unique. The features may involve digital technology.

Figure 7. Modular display stands.

Source from:
[Link]





  

 

Furniture

Seating should offer multiple possibilities be grouped in various ways to be

adaptable in different lounge spaces. Thus, they can be distinguished from each

other to help strengthen different identities.

Figure 8. Modular lounge sofa design conception.

Source from: [Link]

Signage

As an important visual media to translate the information into graphics, the

signage in social space could be suspending or freestanding banners or pop-ups,

showing information or direction and create the legibility of each exhibition group.

Figure 9: Freestanding banners with digital printing provide graphic signage.

Source from: [Link]





  

 

5.4 Other Considerations

In addition to applying the three main strategies in design, some other issues

also need to be taken into consideration.

Social considerations

In addition to aesthetics, the selection and design of interior elements needs

to be considered in a social context. Unlike exhibition design, the design elements

in the social space should be comfortable and pleasant so that people are willing

to linger. According to Mehrabian and Russell’s hypothesis (1973), moderate

settings are more approachable and make people feel more comfortable than

arousal settings. Based on this theory, some guidelines in relation to the social

spaces interior elements are as follows in Table 3.





  

 

Table 3. Schemes of design elements in three main social spaces.

Space Design Schemes Design Considerations

Elements
Information Colour Neutral, light Do not compete with exhibiting
Hub display; good taste; easily to
approach.
Materials & Freestanding Mobile; trendy looking;
Finishes partition complete multi-function; easily perceived
with semi-gloss
metal frame,
Tensile ceiling
Lighting A combination of Visually attractive
ambient and task
lighting
Forum Colour Neutral, warm Encourage conversations;
stage create a lively ambience.

Materials & Carpet floor, Low cost and maintenance;

Finishes Floating ceiling, Appealing and unique, easily
perceived;
Lighting Ambient lighting Do not conflict with exhibition
Lounge Colour Cool Adaptable; soothing; restful
and relaxing
Materials & Translucent Adjustable; comfortable; do not
Finishes partition, plastic conflict with exhibiting display
laminate finish,
soft fabric on sofa
Lighting Soft, hidden Natural, soothing and relaxing,
enhance the spatial definition.

Universal Accessibility

Compliance with the principles of the American with Disabilities Act (ADA)

promotes the experience for disabled or aged visitors to the trade show.

The following are some criteria for universal design in relation to social spaces





  

 

within trade shows or exhibitions.

• Large-print labelling and signage with good contrast and lighting

• Captioned film, video, and audio for information

• Tactile flooring installed at any locations where there are changes in grade

• Install telephone-teletype devices (TTYs) in the lounge space to allow

people who are deaf, hard of hearing, or speech-impaired to use the

telephone to communicate. A TTY is required at both and ends of the

conversation in order to communicate (TDI, 2004).





  

 

List of Figures
Figure 1 The programming wheel……………………………………………..……...56

Figure 2 Relationship of social spaces within conventional trade shows……..….57

Figure 3 Nodal organization of social spaces within trade shows…………………58

Figure 4 Five mapping elements within trade shows…………………..….……60, 61

Figure 5 Light screens and drapery dividers…….………………….………….……63

Figure 6 INFUSIONTM floating ceiling from Armstrong……………………….….....64

Figure 7 Modular display stands………………………………………………..…….65

Figure 8 Modular lounge sofa design conception………….. ………………..….…65

Figure 9 Freestanding banners ……...………………………………………….…....66





  

 

List of Tables
Table 1 The exhibition hall size of large exhibition centres …………….….….. 47

Table 2 Relationships between the quality of public spaces and the rate of

occurrence of activities ……………………………………………...……….51

Table 3 Schemes of design elements in three main social spaces…………..……67





  

 

Reference
Barr, V., & Broudy, C. E. (1986). Designing to sell: A complete guide to retail store
planning and design. New York: McGraw-Hill Book.
Gehl, J. (1987). Life between buildings: Using public space. New York: Van
Nostrand Reinhold Company.

Mun, D. (1981). Shops: A manual of planning and design. London: The

Architectural Press.

NeoCon (2004). NeoCon attendee information. Retrieved May 21, 2004, from:
[Link]
Reznickoff, S.C. (1986). Interior graphic and design standards. New York:
Whitney Library of Design.
Rubenstein, H. M. (1992). Pedestrian malls, streetscapes, and urban spaces.
New York: John Wiley & Sons.

TDI. (2004). Telecommunications access milestones: History of Baudot TTY,

video & other notable product advances. Retrieved on May 23, 2004 from

[Link]

Velarde, G. (2001). Designing exhibitions. Aldershot, Hants, England: Ashgate.





    
 

Appendix B Conceptual Drawings





  
 

Appendix C Design Drawings

Note: the following drawings are not to scale due to document sizing.


 1 2
B4 B4

1 2
B4 B4

Floor Layout Plan

PLANNING AND DESIGNING SOCIAL SPACES

1
Cross Section 1
B4

2 Cross Section 2
B4

PLANNING AND DESIGNING SOCIAL SPACES




  
 
 

Appendix D Design Specifications

Table of Contents
1 Finishes………….………………...............................………….…………...…96
1.1 Carpet ……………………………………..……………………………....…96
1.2 Plastic Laminate…..…………………………………………………………98
1.3 Area Ceiling.…..………..……………………………………………………99
2 Furnishings……………………….………....………………..……………....…100
3 Lighting and Fixtures…..………….………………………………………...…105





  
 
 

1 Finishes
1.1 Carpet

Location Manufacturer Description Sample Image

Public Hallway Crossley Textured solid,

Belize 30276,
2071 Cinna Mocha

Public Hallway Crossley Textured solid,

Belize 30276,
2045 Vermeil

Information Hub Crossley Textured solid,

Belize 30276,
2117 Prussian

Information Hub Milliken Textured pattern, Explore

Laguna P/6571,
326 Alaskan Frost

Forum Stage Milliken Textured pattern, Explore

Laguna P/6571,
323 Rustic Glen

Forum Stage Crossley Textured solid,

Belize 30276,
2071 Cinna Mocha

Lounge 1 Milliken Textured pattern, Explore

Laguna P/6571,
321 Natural Dune

 



  
 
 

Lounge 2 Crossley Textured solid,

Belize 30276,
2134 Slate Green

Lounge 2 Crossley Textured solid,

Belize 30276,
2039 Honeycomb

Lounge 3 Crossley Textured solid,

Belize 30276,
2039 Honeycomb

Lounge 3 Milliken Textured pattern, Explore

Laguna P/6571,
321 Natural Dune






  
 
 

1.2 Plastic Laminate

Location Manufacturer Description Sample

Forum Stage Wilsonart 1511-60 Mandarin red

-Counter tops

Forum Stage NEVAMAR GKM01909 - CARRE

-Vertical surfaces Silver PF met,
2600x1000x1mm

Information Hub ABET Arancio - 835 MIL,

- Vertical surfaces High pressure laminate,
Straight line for texture

Information Hub ABET Grigio Chiaro - 478 MIL,

- Vertical surfaces High pressure laminate,
Straight line for texture


Information Hub ABET Bleu Rada - 850 SEI,
-Counter tops High pressure laminate

Lounge NEVAMAR GKM01909 - WAVE

- Vertical surfaces Silver PF met,
2600x1000x1mm

Lounge Wilsonart 1511-60 Mandarin red

- Coffee table top





  
 
 

1.3 Area Ceiling

Location Manufacturer Description Sample Image

Entrance Juxtaform Stretched fabric polyester,

Hallway white

Forum Stage Eventscape Aluminium frame and

stretched nylon

Information Juxtaform Stretched fabric polyester,

Hub white

Lounge 1 Juxtaform Stretched fabric polyester,

white

Lounge 2, Armstrong Infusions,

Lounge 3 Sage Happiness, 2’x5’





  
 
 

2 Furnishings
2.1 Panels and Screen
- Knoll Textiles, Imago
- Description: Imago combines the
optimal qualities of fabric, resin, and
glass in a hard surface material.
- Dimensions: 2000x1000 mm
- Retrieved from [Link]

2.2 Drapery Divider

- Knoll Textiles, Caneda
- Content: high tenacity polyester
- Colour: Gris, crema
- Retrieved from [Link]

2.3 Chair 1
- Miss Global Stacking Chair designed by Philippe Starck.
- Description: Miss Global is an elegant chair with seat and back of
batch-dyed polypropylene, which resist abrasion;
frame in powder coated steel. Easily stacked.
Great contract applications as well. Available in
a number of seat colors all with silver frames.
- Dimensions: 15.75" W x 19.75" D x 33" H
- Retrieved from [Link]

 



  
 
 

2.4 Chair 2
- Maran Gigi Arm Chair designed by Marco Maran, from Knoll.
- Description: Gigi Arm Chair affords the sitter comfort and flexibility
because of the curved angle of the chair's back. The chair and arm pad is
composed of sturdy polypropylene with curved stainless steel tubular
frame and arms, and is available in ten colors. Selected color will be white
and navy.
- Dimensions: 19.75” W x 20"D x 34.25" H; seat height 18"; arm height 26.5"
- Retrieved from [Link]

2.5 Lounge Table

- Zanziplano Table - Cafe Square.
- Description: This beautiful series of tables from Rexite feature
high-pressure melamine laminate tops in color (red, grey, lime green, and
blue), steel leg, and chrome plate base with protective rubber where it
meets the floor. A square with rounded corners as noted here with
clickable links to the bar height version as well as the large square with
rounded corners and a true large round.

 



  
 
 

- Dimensions: 24.75" W x 24.75" D x 29.5" H

- Retrieved from:
[Link]

2.6 Occasional meeting table

- Interaction round table from KnollStudio.
- Description: This practical, versatile, and stylish Knoll occasional table
addresses the range of functional and aesthetic needs.
- Dimensions: 42” round, 28-5/8” H
- Retrieved from [Link]

 



  
 
 

2.7 Lounge sofa

- Suzanne Lounge Sofa from Knoll.
- Description: Harmony, simplicity and serenity characterize the Suzanne
lounge collection by Japanese designer, Kazuhide Takahama. The elegant
pre-formed lounge seating comprises a chair, double chair, settee and
sofa, made of a tubular steel base with polished chrome finish and
available in a range of textiles. With its organic lines, distinctive details in
the base and supreme comfort, Suzanne provides unlimited seating
possibilities. Sustainable design.
- Dimensions: 60" W x 35" D x 31.3" H; seat height is 14".
- Retrieved from [Link]

2.8 Bar stool

- Maran Gigi Stool, counter height, from Knoll.
- Description: Gigi Stool affords the sitter comfort and flexibility because of
the curved angle of the stool’s back. This sleek stool is composed of sturdy
polypropylene with a curved stainless steel tubular frame and is available

 



  
 
 

in counter or bar height.

- Dimensions: 19.75" W x 20" D x 24” H
- Retrieved from [Link]

 



  
 
 

3 Lighting Fixtures
3.1 Area Light
- Tango lighting, Akira
- Description: Can be integrated with architectural
structure; 2 x 32W max. T8 Fluorescent; Cord and Plug /
Foot switch.
- Finish: White, Metallic Grey
- Dimensions: 8.5” W x 88.5” H
- Retrieved from: [Link]

3.2 Spotlight
- Artemide spotlight and track
- Description: Mikado system still life
- Dim 120mm for dichroic halogen lamp
- Retrieved from: [Link]

3.3 Lounge seating floor lamp

- Artemide floor lamp
- Description: Dioscuri Tavolo 42, based in
thermoplastic resin, white blown glass acid-etched.
Diffused light emission, incandescent globe dim
95mm, and 150w.
- Retrieved from: [Link]

 



  


  


Appendix E Presentation Slides

 
 Contents

PLANNING AND DESIGNING

SOCIAL SPACES
WITHIN TRADE SHOWS AND EXHIBITIONS
§ INTRODUCTION

§ SECTION 1: INQUIRY PROCESS

• Theory Findings
• Case Studies

§ SECTION 2: DESIGN
• Design Strategies
MEI WU • Programming
UNIVERSITY of MANITOBA • Design
November, 2004

Background Social Spaces Within Trade Show

§ Trade Shows Social spaces include:

§ Historical Context § Entrance / Information
• The first International Exposition at § Café, food area
the Crystal Palace § Lounge Area
Hyde Park, London, 1851 § Seminar, meeting space
Sir Joseph Paxton § Service store
• The trade-show industry after World (retail on display or bookstore)
War II
Transformation of the Canada Significance:
National Exhibition (CNE) § Needs:
• 68.4% of the attendees going for networking and
§ Public Trade Show social events (NeoCon 2002)
§ Advantages
• Provide amenities for socializing, revitalizing, and
retaining
• Allow exhibitors to interact with potential
purchasers in a more intimate and comfort setting
• Help to improve the entire exhibiting quality

Conventional Tradeshow Design Design Intent

§ Finding a strategy in planning a trade show

§ Developing a generic prototype of social

§ Grid booth layout space within trade shows
• Easily lost in space
• Lack of spatial rhythm
• Dead zone § Designing a memorable, mix-use, and
• Unbalanced exhibiting effect human friendly social space to promote
§ Omission in social space social networking in trade show
design
§ Unawareness in enhancement
of social networking in public
space

1
 Theory Findings Theory Findings

§ New Urbanism § Environmental Psychology

• Neighborhood development • Physical arrangement can
• Nodal development: promote or isolate
communication ( Jan Gehl, Life
Primary node, Secondary node
between buildings: Using public
• Using of public space space.)
• Emphasis on aesthetics, human
comfort, and create a sense of
place
Isolation Contact
walls no walls

long distances short distances

Seaside, Florida
high speeds low speeds

multiple levels one level

orientation away from others orientation toward others

Theory Findings Case Study-1

§ National Trade Centre, Toronto, Canada

§ Environmental Psychology • Zeidler Roberts Partnership Architects,
• Pleasure and arousal: 1997
Mehrabian – Russell’s hypothesis
§ IIDEX NeoCon Canada
• Canada’s largest exposition and
conference for the design and
management of interior environments

• Grouped booths with certain identity

• Implicit streetscape settings
• Approachable social spaces

Case Study-2 Distance Control Design Strategy-1

§ National Exhibition Centre, Birmingham,

UK
• Edward D. Mills & Partners. 1976 § +/- 3.25 m (10ft.) ---- Social communication;
• UK’s Largest Exhibition venue and busiest Social Distance (1.30 to 3.75 meters) is the distance for ordinary
exhibition centre in Europe conversations among friends, acquaintances, neighbours, co-workers, and
so on. (Edward T. Hall, The hidden dimension)
• Well pedestrian system § 7 m ---- Distance of hearing
• Central piazza as a primary node Within this distance, the ear is quite effective, and people feel easier to
engage in actual conversations.
• Moderate interior colour
§ 25 m ---- Spatial distance
At this distance, most people can perceive relatively clearly the feelings
and moods of others. Kevin Lynch gives spatial dimensions of around 25
meters as immediately comfortable and well dimensioned in a social
context.
§ 0~100 m ---- Social field of vision.
Within this range, it is possible to determine with reasonable certainty a
person’s sex, age, and what that person is doing.
§ 500 m ---- Walking distance.
400-500 meters is the acceptable walking distance for most people in
ordinary situation. For children, old people, and disabled people, this
distance is often considerably less.

2
 0
Distance Control Design Strategy-1 Design Strategy-1
Sitting Area in Social Space:
The guide principle to arrange the sitting area in public space is to place the benches
around a table at right angles, which is easier to engage in conversation . Thus, the sitting
Allocation Plan:

0
area facilitates a number of functions beyond merely sitting. ( Ralph Erskine)
50 M 100 M

M
1
Edge Effect:
The preferred staying areas are found along the borders of the spaces or at the edges of
PRIMARY NODE spaces within the space. A well-equipped public space should offer many different
opportunities for sitting and standing in order to give all user groups inspiration and
SECONDARY NODE opportunity to stay. (Jan Gehl)

NEIGHBOURHOOD

Typical Lounge Settings Conception Interior Streetscape Design Strategy-2

§ Imageable Space:
• Identity, or objects in background;
• Structure, or objects in relationship to each other;
• Meaning, or personal, societal, or figurative belief.
(Kevin Lynch)

§ Mapping Elements
• Path
• District
• Edge
• Node
• Landmark
Market Place, Miami

§ Design Tatics
• Figure ground;
• Continuity;
• Sequence;
• Rhythm
• hierarchy.

Interior Streetscape Design Strategy-2 Modular Design Design Strategy-3

§ Mobility
§ Flexibility
§ Light weight
§ Ease of assembly
§ Time saving in erecting and
dismantling
PATH DISTRICT EDGE § Convenience of storage and
delivery
§ New technology application

NODE LANDMARK

3
 Design Goals Programming Project Description Programming

Objectives: Proposed Floor Plan

• To encourage communication and interaction between
attendees by creating an attractive and comfortable
environment for socializing;
• To strengthen the identity and image of exhibition spaces;
• To improve approachability of more exhibiting stands,
therefore promoting the advantages of exhibitors 1 1

EXHIBITION HALL
Social space should be: 2 2
• An attractive oasis to visitors
• A soothing and welcome atmosphere
• A place of contact with diversity of trade show attendees
• A mix of activities that could not foster in other locations 3 4 3
• A sustainable design concept for providing possibilities of
expansion and reformation

1 PUBLIC WASHROOM 3 TELEPHONE, CHANGING ROOM

2 CATERING 4 ADMINISTRATIVE OFFICE

Bubble Diagram Programming Floor Layout Plan Design

Streetscape Design Town . District Design

Circulation Analysis

New Town of
Broekpolder ,
Amsterdam, Holland,
by Rob Krier and
Christoph Kohl

Overview Perspective
Installation System & Variations

4
 Community . Neighbourhood Design Streetscape Design

Kirchsteigfeld ,
Potsdam
by Rob Krier and
Cristoph Kohl

Exhibiting Neighbourhood

Streetscape . Path Design Forum Stage Design

“Main Street” Perspective

Forum Stage Design Plaza . Landmark Design

Elevations

“Forum Stage” Perspective

5
 Information Hub Design Information Hub Design

Node . Pavilion Design Lounge . Park Design

Information Hub Perspective Elevation

Lounge . Park Design Lounge . Salon Design

Lounge Perspective
Elevation

6
Lounge . Salon Design Lounge . Cafe Design

Floor Plan

Lounge Perspective

Furnishings Design

THANK YOU!

Floor Plan