Philip Hughes Quotes

At Gethsamane and Calvary we see him enduring our hell so that we might be set free to enter into his heaven.

Resurrection means bodily resurrection or it means nothing at all.

The current President of the Consistorial Court was a Scot called Hugh MacPhail. He had been elected young. Presidents served for life, and he was only in his forties, so it was to be expected that Father MacPhail would mold the destiny of the Consistorial Court, and thus of the whole Church, for many years to come. He was a dark-featured man, tall and imposing, with a shock of wiry gray hair, and he would have been fat were it not for the brutal discipline he imposed on his body: he drank only water and ate only bread and fruit, and he exercised for an hour daily under the supervision of a trainer of champion athletes. As a result, he was gaunt and lined and restless. His dæmon was a lizard.

FACT 4 – There is more to the creation of the Manson Family and their direction than has yet been exposed. There is more to the making of the movie Gimme Shelter than has been explained. This saga has interlocking links to all the beautiful people Robert Hall knew. The Manson Family and the Hell’s Angels were instruments to turn on enemy forces. They attacked and discredited politically active American youth who had dropped out of the establishment. The violence came down from neo-Nazis, adorned with Swastikas both in L.A. and in the Bay Area at Altamont. The blame was placed on persons not even associated with the violence. When it was all over, the Beatles and the Rolling Stones were the icing on this cake, famed musicians associated with a racist, neo-Nazi murder. By rearranging the facts, cutting here and there, distorting evidence, neighbors and family feared their own youth. Charles Manson made the cover of Life with those wide eyes, like Rasputin. Charles Watson didn’t make the cover. Why not? He participated in all the killings. Manson wasn’t inside the house. Manson played a guitar and made records. Watson didn’t. He was too busy taking care of matters at the lawyer’s office prior to the killings, or with officials of Young Republicans. Who were Watson’s sponsors in Texas, where he remained until his trial, separate from the Manson Family’s to psychologically distance him from the linking of Watson to the murders he actually committed. “Pigs” was scrawled in Sharon Tate’s house in blood. Was this to make blacks the suspects? Credit cards of the La Bianca family were dropped intentionally in the ghetto after the massacre. The purpose was to stir racial fears and hatred. Who wrote the article, “Did Hate Kill Tate?”—blaming Black Panthers for the murders? Lee Harvey Oswald was passed off as a Marxist. Another deception. A pair of glasses was left on the floor of Sharon Tate’s home the day of the murder. They were never identified. Who moved the bodies after the killers left, before the police arrived? The Spahn ranch wasn’t a hippie commune. It bordered the Krupp ranch, and has been incorporated into a German Bavarian beer garden. Howard Hughes knew George Spahn. He visited this ranch daily while filming The Outlaw. Howard Hughes bought the 516 acres of Krupp property in Nevada after he moved into that territory. What about Altamont? What distortions and untruths are displayed in that movie? Why did Mick Jagger insist, “the concert must go on?” There was a demand that filmmakers be allowed to catch this concert. It couldn’t have happened the same in any other state. The Hell’s Angels had a long working relationship with law enforcement, particularly in the Oakland area. They were considered heroes by the San Francisco Chronicle and other newspapers when they physically assaulted the dirty anti-war hippies protesting the shipment of arms to Vietnam. The laboratory for choice LSD, the kind sent to England for the Stones, came from the Bay Area and would be consumed readily by this crowd. Attendees of the concert said there was “a compulsiveness to the event.” It had to take place. Melvin Belli, Jack Ruby’s lawyer, made the legal arrangements. Ruby had complained that Belli prohibited him from telling the full story of Lee Harvey Oswald’s murder (another media event). There were many layers of cover-up, and many names have reappeared in subsequent scripts. Sen. Philip Hart, a member of the committee investigating illegal intelligence operations inside the US, confessed that his own children told him these things were happening. He had refused to believe them. On November 18, 1975, Sen. Hart realized matters were not only out of hand, but crimes of the past had to be exposed to prevent future outrages. How shall we ensure that it will never happen again? It will happen repeatedly unless we can bring ourselves to understand and accept that it did go on.

What kind of thing is the religion those writings describe? The first difficulty before the enquirer is that the writings do not profess to describe any religion at all, but are supplementary to the basic knowledge which they presuppose. The collection is made up of a variety of things. There are short accounts of the life and death of Jesus Christ; there is an account of the spread of His teaching in the first generation after His earthly life ended; there is a book of mysterious prophecy; and a number of letters written by His principal lieutenants explaining particular difficulties or correcting special errors in belief or practice. The New Testament can thus in no sense be regarded as a systematic exposition of the religion taught by Jesus Christ. It provides, none the less, a wealth of information about this new religion and its Founder sufficient for the historian's purpose, sufficient, that is to say, to make clear the new thing's nature.

The writings which make up the New Testament were none of them written to be a primary and sufficient source of information as to what the new religion was. They were all of them evidently addressed to readers already instructed, to recall what they have learnt, to supplement it, to clear up disputes which have arisen since the first instruction. Yet, though none of them profess to describe fully either the teaching or the organisation, we can extract from them valuable information on these two points. Though the facts may be few they are certain, and among these certain facts is the character of the early propaganda and of the primitive organisation.

The distinc­tives of the Christian faith cannot be bartered for the blandishments of a fashionable bonhomie.

The testimony of a clear conscience before God is the priceless and unassailable bulwark of the soul.

Christian doctrine which is presented to the mind and will, and is received by faith, is proved by experience.

Self-obsession is not self-realization but self-destruction.

Hugh Walpole met him at Marie Stopes’s house in Norbury: ‘something of a shock. How astonished was I when this rather bent, crooked-bodied, hideous old man came into the room. How could he ever have been beautiful, for he has a nose as ugly as Cyrano’s with a dead-white bulbous end?’ Douglas talked nonstop, in a shrill voice. ‘When someone he hates like Wells is mentioned, he gets so angry that all his crooked features light up and his nose achieves a sort of sombre glow

Nothing in this latest development of Paganism brought it nearer to the chance of giving the world what the Gospel promised to give. It was no rival gospel that the Church had to fear in the mystery religions, or in these new cults from the East. The danger was more simple -- that the mixture of charlatanry and sensuality would find so ready a response in the weakest parts of human nature that there would not even remain a beginning of natural virtue to which the super-natural could make an appeal.

The most important achievement of Montanism was that in the first years of the third century it made a convert of one of the very greatest of all Christian writers -- Tertullian. Finally, in different parts of the Church, bishop after bishop turned to expose and denounce the sect, which thereupon showed itself a sect -- for the Montanists preferred their prophets to the bishops. It was in this, precisely, that the novelty of Montanism lay -- "its desire to impose private revelations as a supplement to the deposit of faith, and to accredit them by ecstasies and convulsions that were suspect.

3. The site • Thoroughly investigate the spaces you are designing for by taking photographs, drawing and measuring. • Measure loading bays and delivery doors to determine a maximum size for exhibits and display devices that will be taken through them into the display area. • Analyze and develop exhibition content to see how it might best work within the physical constraints of the exhibition area. • Determine which walls and internal structures can be moved to facilitate displaying the exhibits. • Examine the route from the building entrance to the exhibition space.

[...] interactive media is no longer a novelty [...]—it is an expectation.

Writing an interactive brief 1. The contest of the interactive(s) within the story of the exhibition. 2. The key content messages. 3. Key learning outcomes—what should the visitor take away from the experience? 4. Details of the assets available—this could be a list of objects, set of reference images, data information or moving film footage. 5. Audience profile—who is the intended audience? 6. Initial specifications of the audiovisual hardware likely to be used. 7. Budget.

6. Graphic design skills • Look at the models, drawings and sketches of a proposed scheme to understand the placement of graphics. • Work out the space of 3-D drawings so that graphics can be reproduced at the appropriate size. • Print out graphics at full size and look at them from what will be the visitor's viewpoint in the exhibition environment; adjust the size of text or images as necessary. • Discuss readability issues with your client and avoid long passages of text.

Interactive designers may [...] recommend technologies that do not date as easily as others, such as touch tables rather than apps. One strategy is to use technologies that have been in existence for a while, as component and style have been proved to last, at least for a number of years. The most effective interactive often do not seek to use the latest technology, but rather work with existing technological "gestures", such as using fingertips to zoom in, and exploit these Given that the only certainty for technology is further change, the success of any interactive is always measured by its usefulness, and its relevance to the exhibition content. The only way to mitigate against obsolescence is the richness of the interpretation—if the story is strong enough, an older technological interface can sometimes cease to matter.

Very often exhibition designers are asked to create "interpretive masterplans". These address the need to plan links between disparate content/gallery areas, and often encompass an entire site, or a large section of a site. A completed interpretive master plan shows potential visitor routes between galleries, illustrates logical content sequences (such as chronological or thematic approach) and might illustrate a range of costed options to help the client decide how to best use their buildings and galleries within a given budget.

An "organogram" [is] a hierarchical diagram setting out the roles and responsibilities of the staff designing an exhibition. [p31]

Devising a path The single path: A single path ensures that all visitors have similar experiences and allows the exhibitor to plan their approach to them in detail, so that they encounter a succession of exhibits in a preconceived fashion. This may be important where the objective is to build a platform of knowledge in the visitor's mind. [...] Later exhibits will be better understood once a basic understanding has been established. This process of introduction and preparation is called "scaffolding". Single path displays often involve visitor management problems and "dwell time" needs to be strictly managed.

[...] most exhibitors try to outdo each other in light output. The lighting designer Dan Heap describes this as a "lux war" ("lux" is the measurement of illuminance).

9. Sound and film • Use sound and film to add depth to the theme of an exhibition. Many visitors respond well to audiovisual content, and in some cases, this may be the only bit of the exhibition visitors engage with. Integrate sound and film into the overall narrative of the exhibition. • Develop of the content for film and sound at the same time as the exhibition narrative. • Examine the exhibition environment and make sure the light and acoustic conditions are adequate for audiovisual displays. • Install acoustic barriers between sound areas where necessary to avoid sound spill. • Use your imagination to explore how film and sound can be used. Exhibitions offer grate potential for the use of film and sound that far exceed how film and media are used in a day-to-day context.

[...] exhibition designers must be able to manage and work creatively with the digital information that surrounds and exhibition. Increasingly, the assets of a museum will include an electronic database that can be accessed through websites, apps and creative interactive devices within the environs of a gallery interior, in addition to traditional object displays.

[Historically] display cases with thick wooden frames were the staple of most museum collections, providing security and protection from theft and damage. In conjunction with poor lighting, the glass of these cases meant that many exhibits were difficult to see and also created an important psychological distance between the viewer and the object.

Modern Movement architects and designers reinterpreted the rooms of buildings in new ways, using the language of "spatial relationships" and "volumes" in influence display environments.

[...] in other words, an idealist and determinist covenant with what had been and what was manifest in every nail, piece of wood, caption, and photograph in this installation design." (Mary Anne Staniszewski, author of The Power of Display)

This "take home" aspect of modern exhibitions has parallels with the traditional "giveaways" handed out to visitors and the themed trinkets from the museum shop. The important difference is that data capture at exhibitions allows institutions to draw the Internet traffic of their target audiences into their digital space, delivering the kind of marketing benefits that mere branded trinkets can no longer provide.Interestingly, the live, physical experience of holding an event has not been replaced by virtual exhibitions, as was predicted when the Internet was born. The digital experience often leads to a physical visit that seems to encourage rather than discourage visitors.

Exhibition designers often specialize in one or two areas: museum displays for publicly funded institutions or commercials displays for corporate clients. [...]Typically, exhibition design encompasses areas such as "customer experiences", "brand environments", trade fair stands, launch events, consumer pavilions (including World Expos), museums, art galleries, and science and "discovery" centres.

Commercial exhibitors will often have strategic goals that explain the competitive strengths and unique advantages of their current offer. Related but slightly different are visitor outcomes. These describe the ideas of impressions the client wants the audience to take away from their visitor experience. [...] It can be really helpful to state intended "visitor outcomes" as well as "visitor messages", as there is a critical difference between delivering messages (saying that "science is fun") and designing an experience that creates an understanding in the mind of the visitor (having visitors say "science is fun" after their visit).

Types of exhibit-focused lighting: 1. Spotlights 2. Wall-wash 3. Contoured spotlight

8. Interactives 

• Work with the client to get detailed feedback and agreement on the interactive brief. 

• Work with client to collect great assets (images, videos, language/quotations, etc.) to include in the brief, and ultimately, in the interactive. 

• Ensure that the interactive is fun, easy and rich with ideas. 

• Maintain simplicity and accessibility.

The King’s blond hair, bound by a silver coronet, fell down to his shoulders to frame a white face, narrow eyes, a beak of a nose and thin bloodless lips. Philip

The exhibition strategy always resounds to access and sustainability issues, and must rescind to a given budget. It is not the design per se, but an approach to the design. It can often be best described through images showing the types of activities and moods the designers wishes to create without too much design information.

10. Materials • Examine the durability, fixing methods, cost, sheet size and ease of use of materials. • Check the fire rating of materials to ensure that they conform to local fire regulations. • Specify combinations of materials and types of construction accurately, in conformity with local building regulations. Where possible, be specific about the supplier of a material, its surface texture, colours (including the appropriate paint or the surface treatment) and the required fire resistance. • Ask suppliers for produce prototypes wherever possible. • Build a library of samples that you can refer to quickly and easily.

Philip, whom men nicknamed ‘Beautiful’,

4. Exhibition strategy • Investigate the premise for the exhibition. • Construct an interpretive strategy to bring the premise to life. • Create a storyline that can be divided into chapters to suit the exhibition space.

Exhibit-focused lighting 1. "Ambient light" describes light thrown onto walls creating an overall brightness. 2. "Accent lighting" describes an object illuminated while the surrounding room is in relative darkness. 3. "Sparkle" describes special coloured or accented light features intended to create a spectacle.

5. 3-D design skills • Generate guiding ideas through research, mindmapping and personal observation. • Research and analyze relevant precedents. • Refer to the exhibition strategy when you develop the plan. • Use models, sketches and computer visuals to envisage how the scheme will work in practice.

Designing for readability Some exhibiting institutions recommend in their guidelines that all texts should be readable by an average twelve-year-old. Studies show that even competent readers are less able to see and understand text in the often confusing environment of an exhibition, and reading ages are effectively lower for exhibition texts than for reading in less demanding surroundings, such as the classroom or home.

In most cases, very long lines of text are avoided, especially at a low level. Area titles of chapter headings are usually mounted above the heads of visitors so that they can be seen from a distance.

"Find out more" interactives "Find out more" interactives appeal to visitors of all levels of interest—from those who just want to grasp the big picture to those who wish to dig deeper. Gaming interactives Gaming interactives appeal to those who learn by doing rather than being shown or told (sometimes referred to ask kinaesthetic learners). These do not need to be digital—many of the best game-based interactives are mechanical and kinetic. They are often a great way of helping visitors to see how dry content can be applied to more exciting scenarios. Environmental interactives Environmental interactives are immersive interactive experiences, often on a large scale, intended to connect with users in an emotional and awe-inspiring way by carrying a powerful, overarching message. Often, these pieces feel closer to art installations than interactives The main outcome of the interactive is often a sensory impression, rather than an intense learning experience.

Expense versus value Interactives, especially digital ones, can be expensive, so exhibition designers should carefully consider their function in telling the story and the audience they are addressing.

The Ekarv method, named after Margareta Ekarv of the Swedish Postal Museum, is a proven set of guidelines, the effectiveness of which has been substantiated by research and has been widely adopted. 1. Use simple language to express complex ideas. 2. Use normal spoken word order. 3. One main idea per line, the end of the line coinciding with the natural end of the phrase. "The robbers were sentenced to death by hanging" is short and to the point. 4. Lines of about 45 letters; text broken into short paragraphs of four or five lines. 5. Use the active form of verbs and state the subject early in the sentence. 6. Avoid: subordinate clauses, complicated constructions, unnecessary adverbs, hyphenating words and the end of lines. 7. Read texts aloud and note natural pauses. 8. Adjust wording and punctuation to reflect the rhythm of speech. 9. Discuss texts with colleagues and consider their comments. 10. Pin draft texts in their final positions to assess affect. 11. Continually reverse and refine the wording. 12. Concentrate the meaning to an "almost poetic level".

7. Lighting • Carry out a site survey whenever possible to assess the conditions in which an exhibition will take place, and familiarize yourself with any existing lighting infrastructure and daylight parameters. • Examine existing electrical installations and determine whether they are adequate to support new lighting. Considering the routing of cables carefully. • Plan the lighting early on. It is easier to add it at the beginning of the the design process than at the end. • Create a lighting scheme that supports the exhibition structure and helps the convey the show's concept. • Ensure that all graphical information that is intended to be read and adequately illuminated, and check the readability of the information. • Consider the amount of heat the lighting will generate. Hot lamps may harm the exhibits and if the heat build-up is too great, additional air-conditioning may be needed. • Make your collaborators aware of the lighting solutions you intend to provide by circulating your lighting plans to all relevant parties.

De Craon stood up and walked to the other side of the table. ‘We have French merchants living here, they have interests which affect King Philip. You English are known for being hostile to foreigners

By early afternoon the Carpathia had passed the last of the ice and could begin to pick up speed, but at 4:00 p.m its engines were stopped. Father Anderson then appeared on deck in his clerical garb, followed by Carpathia crewmen carrying four corpses sewn into canvas bags. These were the bodies of two male passengers, one fireman, and one seaman, that had been brought aboard from the lifeboats. Each of the canvas bags in turn was laid on a wide plank and covered with a flag. As the words “Unto Almighty God we commend the soul of our brother departed, and we commit his body to the deep” were read aloud, the bodies were tipped into the sea one at a time. A large crowd stood nearby with heads bared. The canvas bags had been weighted so that the bodies would fall feet first but one of them struck the water flat. A Carpathia passenger wrote that he would never forget the sound of that splash. One of those buried at sea was first-class passenger William F. Hoyt, the heavy man who had been pulled into Boat 14 and died shortly thereafter. When May Futrelle learned that a large man had been lifted into one of the lifeboats, she questioned the crew of Boat 14 but soon realized that the man they described could not have been her husband. She also heard that Archibald Gracie had been pulled under with the ship and worked up her courage to ask him if he had suffered as he was being dragged down. Gracie reassured her that if he had never come up, he would have had no more suffering, giving May some comfort that perhaps Jacques had not endured an agonizing death. That afternoon Charles Lightoller had a serious talk with the three other surviving officers, Pitman, Boxhall, and Lowe, about what lay ahead. It was agreed that their best hope for escaping what Lightoller called “the inquisition” that awaited in New York was to immediately board the Cedric, scheduled to sail for Liverpool on Thursday. Their case was taken to Bruce Ismay who sent a message to Philip Franklin suggesting that the Cedric be held for the Titanic’s crew and himself. Ismay also asked that clothes and shoes be put on board for him. The cable was signed “Yamsi,” his coded signature for personal messages.

That morning Captain Rostron had considered several places he might land his more than seven hundred unexpected passengers. He’d first considered the Azores so that he could continue to the Mediterranean as scheduled; then Halifax, which was the nearest port. But on seeing the survivors come aboard, many of them in a distressed state and some in need of medical attention, it soon became clear that he should take them directly to New York. Rostron decided to visit Bruce Ismay to discuss the decision with him but the shattered White Star chairman quickly gave his agreement to whatever the captain thought was best. It was Rostron who had earlier prompted a dazed Ismay to send a wireless message notifying the White Star Line’s New York office about the accident. To Philip Franklin, the U.S. vice president of White Star’s parent company, the International Mercantile Marine, Ismay had written: Deeply regret advise you Titanic sank this morning after collision iceberg, resulting serious loss life. Full particulars later. Bruce Ismay.

But the hundred-plus years during which France and England fought are characterized by a deeper conflict than mere territorial battles: “The King of England,” says Jean Froissart, “had long wished for an opportunity to assert his right to the crown of France.” When Philip V had resurrected the old Salic Law to take the throne of France away from his niece, he had inadvertently provided a way for the English king to take the French thone. Philip V’s end run around his niece’s right to rule France had led to the barring of his own daughter, his sole child, from the throne, and the appointment of the new House of Valois in the place of Hugh Capet’s descendants—leaving Edward III, son of Philip’s sister Isabelle, as the sole remaining monarch of direct Capetian descent.

his son turns against him and joins the king! And no half-measures, either. By all accounts, he’s fighting for Stephen as fiercely as he ever fought for Maud.’ ‘And bear in mind, Philip’s sister is wife to Ranulf of Chester,’ the courier pointed out, ‘and these two changes of heart chime together. Which of them swept the other away with him, or what else lies behind it, God he knows, not I. But there’s the plain fact of it. The king is the fatter by two new allies and a very respectable handful of castles.’ ‘And I’d have said, in no mood to make any concessions, even for the bishops,’ observed Hugh shrewdly. ‘Much more likely to be encouraged, all over again, to believe he can win absolute victory. I doubt if they’ll ever get him to the council table.’ ‘Never underestimate Roger de Clinton,’ said Leicester’s squire, and grinned. ‘He has offered Coventry as the meeting-place, and Stephen has as good as agreed to come and listen. They’re issuing safe conducts already, on both sides. Coventry is a good centre for all, Chester can make use of Mountsorrel to offer hospitality and worm his way into friendships, and the priory has housing enough for all. Oh, there’ll be a meeting! Whether much will come of it is another matter. It won’t please everyone, and there’ll be those who’ll do their worst to wreck it. Philip FitzRobert for one. Oh, he’ll come, if only to confront his father and show that he regrets nothing, but

España dejó tras de sí una religión e innumerables monumentos, una tradición y mucha literatura. Sobre todo, creó provincias y dominios que lograron madurar en los nuevos países independientes de América Latina. Gran Bretaña no lo hizo tan bien en Oriente Medio, África ni el Lejano Oriente. India y Pakistán son dos países en guerra; México y Argentina, no. Las guerras en América Latina son raras. En comparación con el resto del mundo, se nos antoja ahora un oasis de paz. La presencia de la madre patria continúa siendo una fuerte influencia sobre todo en la vida literaria; y la vida literaria sobresale con fuerza en la cultura hispanoamericana. Resulta permisible preguntarse si ocurrió alguna vez el ocaso de España y el fin de su imperio cuando se visita América Latina.

This was a time when Movement poets such as Donald Davie, Elizabeth Jennings, John Wain, Philip Larkin, and Kingsley Amis dominated the post-war British poetry scene. Luke would later describe the Movement as "an expression of logic rather than myth, 'classical,' and esteemed principally as an instrument of stability." Hughes felt similarly. He associated the Movement poems with 'the post-war mood of having had enough.

in studying these systematic aberrations we have to remind ourselves at every turn that their bizarre extravagance covers a discussion, and an offered solution, of the most fundamental of all problems. The nature and origin of evil, of man, of God, the purpose of life and its attainment through living -- these are the problems, theoretical and practical, which the Gnostic interpretation of Christianity claimed to answer. Nor was Gnosticism a mere academic discussion. It offered itself as a religious system. It had its ritual and its observances, its regulations and its officials. It was a formidable competitor to traditional Christianity, and to Gnosticism the Church lost some of its best minds and most energetic spirits. Nor did the influence of the movement end with the second century. That century witnessed a life and death struggle between the Church and the Gnostics which ended in the Gnostics' expulsion from the Church, but the defeated theories survived outside the Church to provide, for centuries yet to come, an undercurrent of influences which never ceased to irritate and disturb the development of Catholic thought.

St. Justin, faithful to the tradition, explains that there is only one God and that in God there are to be distinguished the Father, the Logos or Son, and the Holy Ghost. The Father is God as the source of divinity and is therefore the Creator who formed all things from nothing. Nevertheless, following St. John (i. 3), creation was, by the Father's will, through the Logos, and so too, through the Logos, has God chosen to reveal himself to man (St. John i. 18) and to redeem him. Creation, revelation and redemption are the work of the one only God. The Logos is truly God; not a creature, not an angel. "God of God Begotten" says Theophilus of Antioch. The Logos exists before all creation, is not himself made nor created, but begotten and therefore truly Son of God. The Logos then is really distinct from the Father. For all the distinction's reality, it does not imply any division of the indivisible divinity, any separation of Logos from the Father.

Master Thomas, for the child that should be born to Aline and Hugh, for young Philip and the parents who had recovered him, for all who suffered injustice and wrong, and sometimes forgot they had a resource beyond the sheriff.

1. Then brief Be clear about what you're required to do. Make sure the brief allows for creative interpretation. Research the subject and the exhibition. Anticipate potential problems at the briefing stage. Share briefing information with important project workers as required.

1. The brief • Be clear about what you're required to do. • Make sure the brief allows for creative interpretation. • Research the subject and the exhibition. • Anticipate potential problems at the briefing stage. • Share briefing information with important project workers as required.

The Visitor Bill of Rights 1. Comfort 2. Orientation 3. Welcome/belonging 4. Enjoyment 5. Socializing 6. Respect 7. Communication 8. Learning 9. Choice and control 10. Challenge and confidence 11. Revitalization

The architecture of the exhibit reflects the product's brand values, with its form, the tactile qualities of the materials, and the sound and smell of the environment specifically chosen to amplify and reflect the brand message.

2. The visitor • Ask your client to pass on information about their current audience and any new audiences they would like to attract. • Research the audience carefully and try to find out what might attract it. • Build up a visual archive of "moodboard" images from your research. • Respond to visitors' diverse learning styles by providing a variety of ways for them to engage with exhibits.

The first rule is that all corporate signage but be scrupulously reproduced; normally no company or institution allows their corporate logo to be altered. However, beyond the obvious strictures of corporate graphics, the further interpretation of the brand is in the creative domain of the designer. As long as he or she can argue convincingly that their ideas coincide with the client's brand values, there is often scope.