WONDER/WONDER
Stephanie M. Lewis
MA Exhibition Design Candidate May 2013
In partial fulfillment of the requirements for the Degree of Master of Arts in Exhibition Design Corcoran College of Art + Design Washington, D.C.
STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
Table of Contents
Mission Statement 3 Audience 4 Educational Objectives 5 Visitor Takeaways 6 Venue 7-8 Exhibit Outline 9-11 Exhibit Content Introduction 12-14 Memorial and Tomb 15-16 For Love 17-18 Liberty and Victory 19-20 Civic Symbol 21 Religion and Reverence 22-25 Contemporary Wonders and Interactive Zone 26 Exhibit Resources 27 Visitor Experience Narrative 28-29 Endnotes 30 Appendix A: Research Plan 31-32 Appendix B: Bibliography 33-34 Appendix C: Illustrations 35
iii STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
abstract
Wonder/Wonder, exhibited at the Field Museum on the Museum Campus of Chicago, examines world wonders from ancient civilization to the present. The exhibit presents a unique fusion of art and architecture, stories of invention and innovation, and reveals commonality among a variety of cultural histories.
To reflect the awe of the world wonders, Wonder/Wonder is strong in con- temporary visual elements, large immersive environments, and multimedia. A variety of historical and archaeological artifacts, models, and drawings also con- tribute to the narrative.
This exhibit encourages knowledge, understanding, and curiosity, allowing visi- tors to reflect on the world and wonders around them.
The research document presented here is meant to accompany a full design package and exhibit artifact database. Please contact for more information.
iv STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
“The origin of the Seven Wonders lies in people. Humans constantly survey their world and set beside the marvels of nature the works that have been imposed on the natural landscape by human hands.”
Peter Clayton
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Topic Selection
The title of this exhibit is Wonder/Wonder to explore the two different definitions of the word
“wonder,” both noun and verb.
After researching the “seven wonders” I found that many world wonder lists exist and are revisited and reconsidered frequently. Although it may seem as though this topic has been exhibited before, I found little evidence of such comprehensive exhibits. I chose to create an exhibit around the idea of wonder and it’s presence today because it as much a reflection of ancient society as it is a reflection of our own.
The topic also presents an interesting design challenge as six of the seven wonders no longer exist, and there is a very limited selection of artifacts left to represent them. Only one of the original world wonders still exists, the Great Pyramid of Giza. The others are known merely through writings, drawings, and ancient coin depictions. I am interested in this challenge and also compelled to present it in a contemporary manner.
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MISSION STATEMENT
Humans have always possessed an innate desire to build, invent, innovate, and discover. These impulses are revealed in the many ‘wonders of the world.’ Wonder/Wonder will acknowledge these impulses through the stories and exploration of many of the world’s greatest manmade structures from ancient civilization to the present.
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AUDIENCE
Primary:
Schoolchildren, Middle School and Older
This exhibit aims to reach a wide audience. Therefore, the design and content will be
designed intentional toward a school-aged visitor, ages 12 through 18. The content will
not be constructed in an overtly complex manner, so that young visitors are able to
gain the knowledge and understanding that is intended.
Secondary:
Photographers, Travel and Archaeology Enthusiasts
The visual assets of this exhibit will include photography, a variety of other digital
media, and several archaeological artifacts. This interdisciplinary collection will attract
photographers, travel enthusiasts, and archaeology enthusiasts alike.
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EDUCATIONAL OBJECTIVES
1. Visitors will be able to identify the seven ancient world wonders, and the numerous
sites considered to be world wonders constructed since.
2. Visitors will learn why the wonders became significant symbols for particular cultures
and sites from the ancient to modern world.
3. The exhibit will reveal to the visitors that the same human impulses that encouraged
building in ancient civilization are, in fact, the same impulses that provoke humans to
build and create today.
4. Visitors will also learn the story of the world wonders list creation and will be
encouraged to consider their own criteria for what is wonderful.
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VISITOR TAKEAWAYS
Much like the educational objectives, it is imperative to the success of the exhibit that the visitor leave with something new, whether it be knowledge, understanding, or simply a new curiosity for the subject matter.
Knowledge
The visitor will learn what the Seven Ancient World Wonders are.
The visitor will learn what sites and buildings are considered to be the existing world wonders.
Understanding
The visitor will learn why the Seven Ancient World Wonders and following wonders were built, and why they are considered world wonders by so many.
Curiosity
The visitor will leave the exhibit with a new feeling curiosity, allowing them to reflect on the world and wonders around them.
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SITE AND VENUE
The Field Museum of Natural History
1400 S Lake Shore Drive Chicago, IL 60605 http://fieldmuseum.org
Field Museum Mission:
Serving The Public As Educator The Field Museum is an educational institution concerned with the diversity and relationships in nature and among cultures. It provides collection-based research and learning for greater public understanding and appreciation of the world in which we live. Its collections, public learning programs, and research are inseparably linked to serve a diverse public of varied ages, backgrounds and knowledge.
Living Together On The Living Earth Combining the fields of Anthropology, Botany, Geology, Paleontology and Zoology, the Museum uses an interdisciplinary approach to increasing knowledge about the past, present and future of the physical earth, its plants, animals, people, and their cultures. In doing so, it seeks to uncover the extent and character of biological and cultural diversity, similarities and interdependencies so that we may better understand, respect, and celebrate nature and other people.1
The Field Museum uses an interdisciplinary approach and it is their goal to increase knowledge of other cultures, which is also part of the Wonder/Wonder objective. The content of Wonder/
Wonder comes from a variety of places all over the globe, and represents several different cultures
1 "Mission Statement | The Field Museum." Welcome to The Field Museum | The Field Museum.
Within the FMNH, there are four special exhibition galleries on the Main Floor. Wonder/Wonder will occupy Hall 7, also called the Levin Exhibition Gallery, which has about 5,600 square feet total.
This space, however, is flexible and will allow temporary partitions to be added to adjust the size of the exhibit as needed. The ceilings are sixteen feet high to the steel grid and will compliment the larger thematic environments intended for the exhibition.
Venue Visitor Narrative
The visitor will arrive to Chicago’s Museum Campus on foot by walking from another place in the city, in a car, bus, train, or from the city’s METRA rail. The visitor may or may not have already visited another museum within the campus on that day. The visitor may be with friends and/or family, belong to a school group or may be visiting by themselves. However, it is important to acknowledge that the visitor is making an intentional choice by visiting the museum campus to visit a museum and acquire knowledge of some sort, whether or not the Field Museum is their primary destination.
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STORY OUTLINE
RELIGION & REVERENCE CIVIC SYMBOL & POWER
CONTEMPORARY WONDERS & INTRO LIBERTY & VICTORY INTERACTIVE ZONE
MEMORIAL & TOMB FOR LOVE
Figure 1: Content outline diagram by theme
The rectangular format of the gallery is represented in the diagram above. The gallery has been divided according to the content outline, by themes and world wonders.
The outermost edges of the exhibit, with the exception of the introduction, are constructed as the framework for the outline, which tells the stories of the seven ancient wonders. The seven wonders have then been distributed into five themes that correlate to existing wonders not on the original list. Using the ancient-wonder-as-backbone and themes, the existing wonders are then introduced more centrally in the exhibit, as illustrated by the gray areas. Existing wonders are placed along what is the gray area in the diagram, each in it’s appropriate theme, and also linking to the contemporary wonders and interactive zone. The gray area can also be used as the fast track for visitors in a hurry, or those with a limited amount of time. 9 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
The story intention follows a certain hierarchy, as illustrated below.
wonder
theme
wonder
reflection
First, there are the original stories of wonder. To grasp the idea of the world wonders, the content introduces the original list, and the original wonders. The exhibit then explores each in detail to describe size, accomplishment and purpose, things one usually considers criteria for wonder. From the purpose, themes then become revealed where the visitor can compare wonders built after the originals. Again, each wonder that is introduced will have a variety of methods to reveal wonderful aspects. From this level the visitor is then brought into the contemporary zone, introducing more recent wonder considerations while also encouraging the visitor, using the criteria and information gathered throughout the exhibit, to reflect on their own consideration and share their wonders. 10 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
Through a variety of media and interactives, contemporary wonders are reflecting what society has decided to build and will ultimately represent humankind for many civilizations to come.
The literal sections for the content outline and corresponding Ancient world wonders are as follows:
Introduction Memorial and Tomb The Great Pyramid of Giza The Mausoleum at Halicarnassus For Love The Hanging Gardens of Babylon Liberty and Victory Colossus of Rhodes Civic Symbol and Power Lighthouse of Alexandria Religion and Reverence Statue of Zeus Temple of Artemis at Ephesus Contemporary Wonders and Interactive Zone
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INTRODUCTION
wonder (noun); a feeling of surprise mingled with admiration, caused by something beautiful, unexpected, unfamiliar, or inexplicable
wonder (verb); desire or be curious to know something
The word wonder derived from the words theamata and thaumata in ancient greek writings, meaning things to be seen, and thaumata eventually translated as wonders. The “seven wonders of the world” are the very well known and often explored concept, but beyond the existence of a seven wonders list, little is often discussed or exhibited comprehensively or through a contemporary narrative.2
As the ancient worlds of Egypt, Greece, and Rome collided, so did travel and exploration. The historian and writer, Herodotus, is credited with the first collected list and description of world wonders as early as the fifth century BCE, and is referenced in many later writings throughout medieval history and forward.3 However, Herodotus created his list many years prior to the creation of the Mausoleum at Halicarnassus and the Lighthouse at Alexandria, therefore he can not be credited with the list of seven wonders known today.
2 John Burrow, History of Histories: Epics, Chronicles, Romances and Inquiries from Herodotus and Thucydides to the Twentieth Century. (New York: A.A. Knopf, 2008), 29.
3 Burrow, 3. 12 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
Ancient writers like Antipater of Sidon and Callimachus are also credited with referenced writings accounting for these wonders, finalizing the list as it is known today after marveling over the wonders in person. Many writers throughout the medieval period also revisited the list.
“I have gazed on the walls of impregnable Babylon, along which chariots may race, and on the Zeus by the banks of the Alphaeus. I have seen the Hanging Gardens and the Colossus of Helios, the great man-made mountains of the lofty pyramids, and the gigantic tomb of Maussolos. But when I saw the sacred house of Artemis that towers to the clouds, the others were placed in the shade, for the sun himself has never looked upon its equal outside Olympus.”
Antipater of Sidon4
Within this exhibit the seven ancient world wonders, the Great Pyramid of Giza, the Mausoleum at
Halicarnassus, the Hanging Gardens of Babylon, the Colossus of Rhodes, the Lighthouse at
Alexandria, the Statue of Zeus at Olympia, and the Temple of Artemis at Ephesus are explored through a variety of media, artifacts, and graphics.
Travel and tourism as concepts are no stranger to contemporary times. We still travel, tour, and look for “sights to see.” Wonders bring us in. They intrigue us, for many reasons. And it is for many reasons also that the wonders are built.
4 Neil Leach, Rethinking Architecture: A Reader in Cultural Theory. (London: Routledge, 1997), 4. 13 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
As monuments, often mysterious in (how) they were built, and known for their size, have been attributed to a variety of purposes. The stories of these wonders are fascinating, but not only because they stand alone as interesting stories themselves, but also because we find ourselves building for the same reasons throughout history and even today.
It was found that the ancient world purposes could be described and filtered into five categories which include tombs and memorials, for love, liberty and victory, civic symbols and power, and
finally religion and reverence. For these are the reasons why men build, and felt so responsible to make these themes known through incredible size, resource, and awe-inspiring mystery/intrigue.
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SECTION 1: MEMORIAL & TOMBS
The first thematic section of the exhibit will explore two ancient wonders of the world under the theme, ‘memorials and tombs.’ The first structure addressed in this section is the oldest of the seven wonders, and surprisingly also the only wonder still standing today, the Great Pyramid at Giza, and the second, the Mausoleum at Halicarnassus. Both the Great Pyramid and the Mausoleum are considered to be tombs of great grandeur built as memorials for rulers of the ancient world. Not only are these sites still valued for their size, but also for their mystery and purpose. Visitors will learn that this theme did not fade with time, but remains a relevant purpose for building throughout history and modern day.
The Great Pyramid at Giza
Perhaps the most infamous and researched of the original seven world wonders is the Great
Pyramid of Giza. Located in Egypt, the pyramid is the oldest and only surviving wonder. The Great
Pyramid sits alongside two other smaller pyramids, and is said to have been built between 2590 and 2506 BC.5 It is also known by other names, the Cheops Pyramid and the Khufu Pyramid.6
5 Reg Cox and Neil Morris, The Seven Wonders of the Modern World. (Parsippany, N.J.: Silver Burdett, 1996), 4.
6 Peter A. Clayton and Martin Price, eds.,The Seven Wonders of the Ancient World. (London: Routledge, 1988), 12. 15 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
The Pyramid was built as a tomb for the ruler, Khufu or by the Greek name, Cheops. It has been widely researched, excavated and studied. It has captivated the world’s attention since it’s creation stirring a certain mystery and awe.
The Mausoleum at Halicarnassus
The Mausoleum at Halicarnassus was the great tomb monument of Mausollos, who was ruler of
Caria from 377 to 353 BC, and at the same time Satrap or Governor for the King of Persia. So vast was the building’s size by ancient standards and so lavish its sculptured decoration that it soon came to be considered one of the Seven Wonders of the Ancient World.
By Roman times the word “mausoleum,” named so after Mausollos, had become a generic term for any large built tomb, and remains so today. 7
It is because of it’s purpose that the mausoleum and the Pyramid become alike in theme. These structures are not alone. Pyramids in Central America, like the Pyramid of the Sun in Teotihuacan, and many others like it were also built to serve memorial or tomb purposes.
7 Clayton and Price, 100. 16 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
SECTION 2: FOR LOVE
Love is often credited for the creation of many things and world wonders are no exception. The legend of the Hanging Gardens of Babylon can be equated to a story of love. Another famous love story can be found in the legend of the building of the Taj Mahal, and even more in modern architecture, today.
“In this palace he erected very high walks, supported by stone pillars; and by planting what was called a pensile paradise, and replenishing it with all sorts of trees, he rendered the prospect an exact resemblance of a mountainous country. This he did to gratify his queen, because she had been brought up in Media, and was fond of a mountainous situation.”
Josephus quoting Berossus 8
The Hanging Gardens of Babylon
The Hanging Gardens of Babylon. are attributed to Nebuchadnezzar II, ruler of Babylon in the 5th century BCE. It is legend that Nebuchadnezzar II wanted to please his lover, who was from a distant land where gardens overflowed and became homesick.
Thanks to extensive archaeological efforts, much about Ancient Babylon has been discovered.
However, no severely convincing evidence of the Hanging Gardens still exists. “No Babylonian inscription refers to a building that can plausibly be identified with a royal and spectacular garden,
8 Christopher Scarre, The Seventy Wonders of the Ancient World: The Great Monuments and How They Were Built. (London: Thames & Hudson, 1999), 25 17 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013 especially one that, if the later accounts shortly to be quoted are to be believed, was such an extraordinary technological innovation.”9
“The Hanging Garden [is so-called because it] has plants cultivated at a height above ground level, and the roots of the trees are embedded in an upper terrace rather than in the earth. This is the technique of its construction. The whole mass is supported on stone columns, so that the entire underlying space is occupied by carved column. The columns carry beams set at very narrow intervals. The beams are palm trunks, for this type of wood - unlike all others - does not rot and, when it is damp and subjected to heavy pressure, it curves upwards. Moreover it does itself give extraneous matter into its folds and crevices. This structure supports an extensive and deep mass of earth, in which are planted broad-leaved trees of the sort that are commonly found in gardens, a wide variety of flowers of all species and, in brief, everything that is most agreeable to the eye and conducive to the enjoyment of pleasure. The whole area is ploughed in the same way as solid ground, and is just as suitable as other soil for grafting and propagation. Thus it happens that a ploughed field lies above the heads of those who walk between the columns below. Yet while the upper surface of the earth is trampled underfoot, the lower and denser soil closest to the supporting framework remains undisturbed and virgin. Streams of water emerging from elevated sources flow partly in a straight line down sloping channels, and are partly forced upwards through bends and spirals to gush out higher up, being impelled through the twists of these devices be mechanical forces. So, brought together in frequent and plentiful outlets at a high level, these waters irrigate the whole garden, saturating the deep roots of the plants and keeping the whole area of cultivation continually moist. Hence the grass is permanently green, and the leaves of trees grow firmly attached to supple branches, and increasing in size and succulence with the constant humidity. For the root [system] is kept saturated and sucks up the all- pervading supply of water, wandering in interlaced channels beneath the ground, and securely maintaining the well-established and excellent quality of the trees. This is a work of art of royal luxury [lit. ‘riotous living’], and its most striking feature is that the labor of cultivation is suspended above the heads of the spectators.”10
Philo of Byzantium, around 250BC, translated by Professor David Oates
9 Clayton and Price, 41.
10 Clayton and Price, 46. 18 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
SECTION 3: LIBERTY AND VICTORY
In some cases, structures are not built to be utilized or operated in the way one might consider to be the purpose of many buildings. Often structures are created to become a symbol for something important. In the case of The Colossus of Rhodes, the structure stood for independence and victory. So infamous, the Colossus continued to inspire, and thus the Statue of Liberty was created, and given the nickname, “The New Colossus.”
The Colossus of Rhodes
The most surprising thing about the statue is its enormous size and this must have been as impressive in its fallen state as when it stood erect. “Most accounts agree on a height of 70 cubits.
One source, which gives 80 cubits, could well have included the base. The cubit varied somewhat in antiquity before from time to time and place to place, but we would surely be right in the giving the Colossus a height of about 33 meters or 110 feet.”11
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Not like the brazen giant of Greek fame, With conquering limbs astride from land to land; Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose flame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand Glows world-wide welcome; her mild eyes command The air-bridged harbor that twin cities frame. "Keep, ancient lands, your storied pomp!" cries she With silent lips. "Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!
The New Colossus, Emma Lazarus, 1883
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SECTION 4: CIVIC SYMBOL AND POWER
The Lighthouse of Alexandria, also known by it’s original name the “Pharos,” has become synonymous as a civic symbol. As a guide for those out to sea coming in to the harbor at
Alexandria, the Lighthouse provided safety, and it’s magnificent construction warranted it’s spot on the wonders list. Another wonder, though not on the ancient wonder list, the Great Wall of China, represents its territory as a symbol of power. The Great Wall and other great sites like the Pont du
Gard and contemporary sites like the Viaduc de Millau are discussed.
The Lighthouse of Alexandria
The Pharos, the great lighthouse of Alexandria on the northwest coast of the Egyptian Delta, was the last building to be added to what became the accepted canon of the Seven Wonders of the
Ancient World. 12 It was the last built, and widely written about, even in the writings of
Shakespeare. It is still considered to be one of the best civic symbols, and it often included on coins and promotional material for Alexandria today.
When describing the island of Pharos, ancient writer Strabo states, “...the extremity of the isle is a rock, which is washed all round by the sea and has upon it a tower that is admirably constructed of white marble with many stories and bears the same name as the island.”13
12 Clayton and Price, 138.
13 Clayton and Price, 140. 21 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
SECTION 5: RELIGION AND REVERENCE
Religion and reverence is certainly not a hidden theme in the history of building and wonder.
Cathedrals, temples, mosques and more have always been infamous sites throughout history. The list of ancient world wonders is no exception. Both the Temple of Artemis at Ephesus and the
Statue of Zeus were built for ancient deity worship and reverence. Later wonders like St. Peter’s
Basilica, Christ the Redeemer in Brazil, the Hagia Sophia, El Castillo at Chichen Itza, Itsukushima
Shrine and more contemporary buildings like the Metropolitan Cathedral in Brazil, and the Spring
Temple Buddha will also be included through this section and into the transition zone.
The Temple of Artemis at Ephesus
Built for the Greek deity the Temple of Artemis at Ephesus was one of the largest marble temples ever constructed. The temple existed from around 560 BCE until it was destroyed in third century
AD after many natural disasters and plunderers.
‘Graecae magnificae’ are the words used by Pliny the Elder to describe the temple. The Greek temple has been characterized as the house of the soul, different from the Egyptian temple, which was the house of the god, and the cathedral, the house of the people. The temple of Artemis could be described as an expression of Greek Ionic soul.
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Like many of the other wonders, the suggested appearance of this wonder has been developed from many writings and ancient coins. Unfortunately, coins depicting the Temple do not always paint the same picture, but do give concrete reference to dates. Some coins depict the temple as having a four column facade, and others give it eight. Since the discovery of many of these coins, many excavations have been made and provide more visual clues to the actual number of columns.
Pliny the elder also wrote quite extensively of the Temple, and reported that 36 of the columns were adorned with sculpture.14
The Statue of Zeus at Olympia
Many are familiar with Olympia, the center of the ancient Olympic Games, and some may even know that it was home to the Temple of Zeus, where the world wonder, the Statue of Zeus, sat.
“Olympia was a place of worship. The temple and altar of Zeus, the king of the gods, drew pilgrims from all parts of the Greek world and one important element of the ritual practiced there was the celebration of athletic contests.”15
Zeus was completed around 435 BCE.
“The statue is made of ivory and it is of such size that although the temple itself is very large, the sculptor may be criticized for not having appreciated the correct proportions. He has shown Zeus
14 Scarre, 94.
15 Clayton and Price, 59. 23 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013 seated, but with the head almost touching the ceiling, so that we have the impression that if Zeus moved to stand up, he would unroof the temple.”16 Strabo
“Cicero, that famous Roman orator of the first century BCE, states that Pheidias ‘had a vision of beauty in his mind so perfect that concentrating on it he could direct his artists’s hand to produce a real likeness of the god’. Here was the king of the gods fashioned in a manner that conveyed every aspect of his godhead, a figure that produced awe in the hearts of those who believed that they were in the presence of Zeus himself. How was Pheidias able to acheive this?”17
There is also evidence of the appearance of the Statue in coins of neighboring cities.
We know the approximate measurements from a poem by Callimachus and according to Martin J.
Price’s interpretation of Callimachus’ description, “The statue itself was 13m high, as tall as a three- story house, a gigantic figure that filled the west end of the temple and made his presence felt throughout the sanctuary.”
Description of the Statue:
“On his head lies a sculpted wreath of olive sprays. On his right hand he holds a figure of Victory made from ivory and gold... In his left hand the god holds his sceptre inlaid with every kind of metal, and the bird perched on the sceptre is an eagle. The sandals of the god are amde of gold, as is his robe, and his garments are carved with animals and with lily flowers. The throne is decorated with gold and with precious stones, with ebony and with ivory.”18
16 Clayton and Price, 65.
17 Clayton and Price, 64.
18 Clayton and Price, 66. 24 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
Pheidias’s workshop
The sculptor of the Statue of Zeus was always suggested and recorded to be a well-known man by the name of Pheidias. In the mid-20th century the original studio site was excavated and artifacts confirmed that Pheidias was indeed the sculptor of the large Statue of Zeus. Tools, inscriptions and writings found at the site provide more clues to the visual appearance and mystery of the wonder.
“The archaeological excavations by the German Archaeological Institute in 1958 proved in a dramatic manner that Pausanias’ informant was correct. Two deposits of debris were found, literally rubbish dumps of material thrown out from this building. They were found to contain tools suitable for work on such a sculpture, discarded cores of ivory, fragments of metal and glass, and there were even terracotta models which had been used for the creation of drapery. The dumps could be dated to the 430s and later. “
“As if further confirmation was needed, the base of a broken jug was also found, inscribed in careful fifth-century BCE letters, ‘I belong to Pheidias.” 19
The statue continued to attract the awe and wonder of those who believed in Zeus. It was moved many times, until it was finally destroyed in the third century AD.
19 Scarre, 167. 25 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
CONTEMPORARY WONDERS & Interactive Zone
When considering the world’s contemporary wonders, it is useful to look again at the definitions of “wonder.”
wonder (noun); a feeling of surprise mingled with admiration, caused by something beautiful, unexpected, unfamiliar, or inexplicable
wonder (verb); desire or be curious to know something
It is here wonder and wonder are tested with modern minds. After going through the exhibit, visitors will assess the current world they know and consider what they may find wonderful.
This section will rely more heavily on photographs. As an interactive effort, visitors will be encouraged to not only upload their own photos, but also select those to display and project in this section with the option to write or record why they find what they have submitted wonderful.
Some of the wonders included in this section at the start of the exhibit, prior to visitor engagement include the Bahai Mandir, the Viaduc de Millau, the Metropolitan Cathedral
Brasilia, the Jewish Heritage Museum, the Bilbao Guggenheim, and even the International
Space Station, among many others. 26 of 35 STEPHANIE LEWIS CCA+D MASTER OF ARTS IN EXHIBITION DESIGN THESIS EX7900 STUDIO B INSTRUCTOR, SELMA THOMAS MAY 2013
EXHIBIT RESOURCES
As stated before, Wonder/Wonder will be an exhibit strong in contemporary visual elements, large immersive environments, and multimedia. Various archaeological artifacts, architectural models, photographs, and drawings will also be on display, but not relied on entirely. Interpretation will come from the collective experience of the exhibit elements and environment as a whole.
Please also refer to the design document and exhibit resource database for specific resource information.
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VISITOR EXPERIENCE NARRATIVE environment AND experience
So many people have heard of the ‘Seven Wonders’. Most people are typically familiar, at the very least, with the idea and existence of the renowned list which has been around for several hundred years. Because of the deep saturation and existence of the topic at minimum, it is important that the exhibit provides an entirely fresh point of view in not only content, but also design and experience.
Wonder/Wonder will be an exhibit strong in contemporary visual elements, large immersive environments, graphics, and multimedia. Certain archaeological artifacts, models, and drawings will also be on display, but not relied on entirely. Interpretation will come from the experience. Lighting will play a large role in setting, varying from section to section.
It is also important to note some of the choices made in reference to the floor plan and outline. (Please refer to earlier pages, 9 and 10.) The visitor is forced to walk into the introduction, and using wall placement, visitors are then effectively encouraged to walk into the first section. From the first section the floor plan becomes quite open, although there are structural elements and components within the exhibit suggesting a linear path, section- to section as outlined in the content narrative. However, this path remains only as
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Package as reference.)
The interactive zone will be mostly visible from every spot in the exhibit. This is important to keep the visitor aware of the objective (these wonders are relevant to today and contemporary wonders... etc. etc.) The zone will be comprised mostly of monotone exhibit furniture allowing for projection of image and video. Stations or graphics to encourage visitor image and video uploading will also be placed here. It is here the visitor will reflect on the surrounding exhibition and knowledge gained to consider what they find wonderful in today’s world.
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END NOTES
1 "Mission Statement | The Field Museum." Welcome to The Field Museum | The Field Museum.
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APPENDIX A: Research plan
The research completed for the exhibit content relies heavily on written sources, and because there are many with fanciful interpretations written for grade school levels, the more reliable sources were relied on heavily. One of these sources include the book, “The Seven Wonders of the Ancient World: edited by Peter Clayton and
Martin Price,” which is comprised of research from a variety of scholars and specialists.
Tasks were originally listed as follows:
Research Plan
September create preliminary list of world wonders read and review research materials continue to find more relevant and reliable resources consider educational objectives/teaching points narrow world wonder list create story outline and introduction
October research specific sites for story outline and write narratives for each determine list of visual assets necessary for exhibit edit and review visual asset list, and story outline continue story development review, edit, revise consider programming, interactive, and digital opportunities through story
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November continue story development review, edit, revise
December Final draft of research paper
In early November, I was able to meet with Dr. Nadine Boksmati-Fattouh, former director of Qal' at Al Bahrain site museum, who is well-versed in archaeological exhibitions. From our meeting, I gathered more reliable sources, and learned that some of the archaeological exhibitions Nadine has worked on have been focused primarily on one object; in some instances it is the interpretation that is what’s most important.
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Appendix b: BIBLIOGRAPHY
Burrow, John. A History of Histories: Epics, Chronicles, Romances and Inquiries from Herodotus and
Thucydides to the Twentieth Century. New York: A.A. Knopf, 2008.
Chippindale, Christopher. Stonehenge complete. Ithaca, N.Y.: Cornell University Press, 1983.
Clayton, Peter A., and Martin Price, eds.The seven wonders of the ancient world. London:
Routledge, 1988.
Cox, Reg, and Neil Morris. The seven wonders of the modern world. Parsippany, N.J.: Silver Burdett,
1996.
Ghazoul, Ferial Jabouri. Wanderlust: travel literature of Egypt and the Middle East. Cairo: American
Univ. in Cairo Press, 2006.
Hoffman, Michael, and Alexander Krings. 100 wonders of the world. US ed. Bath, UK: Parragon
Publishing, 2007.
Leach, Neil. Rethinking architecture: a reader in cultural theory. London [etc.: Routledge, 1997.
Lo, Che. The Great Wall. New York: McGraw-Hill, 1981.
"Mission Statement | The Field Museum." Welcome to The Field Museum | The Field Museum. http://
fieldmuseum.org/about/mission (accessed November 2, 2012).
"New7Wonders." New7Wonders. http://www.n7w.com/ (accessed September 16, 2012).
Provoyeur, Pierre, and June Ellen Hargrove. Liberty: the French-American statue in art and history.
New York: Perennial Library, 1986.
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Scarre, Christopher. The seventy wonders of the ancient world: the great monuments and how
they were built. London: Thames & Hudson, 1999.
Schwartz, Joan M., and James R. Ryan. Picturing place: photography and the geographical
imagination. London: I.B. Tauris, 2003.
"UNESCO World Heritage Centre - World Heritage List." UNESCO World Heritage Centre.
http://whc.unesco.org/en/list/ (accessed September 16, 2012).
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Appendix C: ILLUSTRATIONS
Figure 1: Content outline diagram by theme
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