Ausstellungsdesigner/Ausstellungsdesignerin

AUMA_Compact - Information Service for the Exhibition Industry, DESIGNER IN ACTION - InfoSite for Creatives, DETAIL - The Architecture and Construction Portal, Initiative for Culture and Creative Industries of the Federal Government, Guide to Professional Work in Museums, m+a report, ndion Design - Brand - Innovation, stores & shops.

The following interests are important and helpful for success in this field of study. Interests are listed in order of their importance. Activities are mentioned for illustration for each area of interest. Interest in creative-design activities: e.g., creating conceptual, dramaturgical, and graphic concepts for exhibitions of all kinds; developing the fundamental design statements and the design of an exhibition; creatively selecting videos, photos, sound, or music accompaniments. Interest in practical-concrete activities: e.g., mounting exhibits; attaching information panels.

Exhibition designers primarily work in office and meeting rooms, on-site in trade fair and exhibition halls, and in the workshop. Additionally, they may also work in a home office or remotely.

Core competencies acquired or deepened during Studium (university studies): Draft, color design, form design, design, concept (advertising, marketing, PR), trade fair and exhibition design, spatial design. Further competencies that may be significant for practicing this profession: Organizing and conducting exhibitions, digital image processing, image and video generators, corporate design, event management, interior architecture, calculation, cultural pedagogy, customer consulting and support, art pedagogy, exhibition stand construction, multimedia systems and technology, museum pedagogy, presentation, research and information retrieval, shop window design, advertising, drawing. Other relevant skills and knowledge: Competency group 'Graphic, Image Processing, DTP, Multimedia Software', Competency group 'Art, Culture, Antiques'.

The advancing digitalization of the working and professional world can change task areas and requirement profiles. Exhibition designers may have the opportunity to engage with the following technologies, procedures, or systems: 3-D laser scanning (e.g., digitally capturing the spatial conditions of a planned exhibition using a 3-D laser scanner), Augmented Reality visualization (e.g., planning the use of tablets and data glasses for visualizing additional information), image and video generators (e.g., using generators in creating exhibition concepts or for inspiration), Digital Asset Management - DAM (e.g., retrieving music, photos, and videos from DAM systems for exhibition design), digital cultural mediation (e.g., incorporating digital mediation strategies when developing exhibition concepts for museums), holography (e.g., planning the use of holograms in exhibitions), sensor technology (e.g., using sensors in exhibition concepts).

Exhibition designers carry out an assignment from conception to practical realization. In doing so, they can demonstrate their creative abilities, as well as their craftsmanship and organizational talent. A sense for aesthetic form and color design and a successful exhibition setup is required when selecting and using films, videos, photos, or sound/music accompaniments and lighting effects for a successful staging of exhibits. Together with museum and exhibition technicians, they plan the type of presentation and the placement of the often very sensitive exhibition objects. Business acumen is necessary to reconcile customer wishes with the possibilities of the exhibition spaces and the corresponding cost framework. In consultation with clients, they respond to their wishes and requirements with communicative skill. They adapt flexibly.

Exhibition designers can become self-employed, for example, by establishing or taking over a design studio.

Due to the broad professional spectrum, no representative income data can be provided for this profession. Please check BERUFENET for current information.

Trade fair, congress, and conference industry; trade fair, congress, and business event organizers; art, culture, museums; museums and collections; leisure industry, entertainment; provision of other services for non-artistic events; advertising; activities of advertising agencies; design, interior design, and spatial planning.

Those wishing to work in this profession typically need a completed grundständiges Studium (undergraduate degree) in exhibition design. Leadership positions or specialized tasks usually require a Masterstudium (master's degree). Activities in science and research often require a Promotion (doctorate) or Habilitation (post-doctoral qualification).

Exhibition Design (undergraduate), Exhibition Design (postgraduate), Interior Architecture (undergraduate), Interior Architecture (postgraduate), Scenography (undergraduate), Scenography (postgraduate).

Exhibition designers can find employment, for example, with exhibition and congress organizers, in museums, with advertising agencies, and in design studios.

Job Title: Exhibition Designer. English Job Title: Exhibition designer (m/f).

Some characteristics of work and social behavior, such as reliability, punctuality, honesty, ability to accept criticism, and appropriate manners, are relevant for all professions and are therefore not mentioned separately. Additionally, the following profession-specific characteristics are required to pursue this career: willingness to perform and commitment (e.g., willingly taking on and diligently leading particularly difficult consultation discussions with clients), conscientiousness (e.g., precise planning of guidance and orientation systems), independent working style (e.g., independently designing and constructing exhibition architecture), creativity (e.g., inventiveness in developing the basic design statements and design of an exhibition; developing content-related, dramaturgical, and graphical concepts), customer and service orientation (e.g., responding to clients' change requests and presenting alternatives).

Exhibition designers plan, develop, and implement exhibition concepts for trade fairs, showcases, or museums.

Blickpunkt Film, BVDG, Deutscher Museumsbund, JackTiger.

Allianz deutscher Designer e.V. (AGD), Ausstellungs- und Messe-Ausschuss der Deutschen Wirtschaft e.V. (AUMA), FAMA Fachverband Messen und Ausstellungen e.V., ver.di - Vereinte Dienstleistungsgewerkschaft.

Responsibility for material assets (especially when exhibits are valuable unique items), customer contact (e.g., developing the exhibition concept in discussion with the client), frequently changing tasks and work situations (changing exhibitions with always different conditions), screen work (e.g., for creating 3D views of an exhibition), work in studios (e.g., graphic studios), work in office spaces (performing design and administrative tasks).

Professional deployment opportunities are divided into fields of activity such as interior design, room decoration, visual marketing, lighting planning, teaching at universities, lecturing at universities and academies, study program coordination, scientific research, research associate roles, leadership of research groups, and scientific staff positions.

Equipment, facilities, and accessories are used, such as video cameras, lighting and guidance systems, display cases, exhibits, posters, signs, and billboards. Documents like design sketches, exhibition plans and concepts, order documents, and specialized literature are also utilized. Office equipment and software, including PCs, internet access, telephones, projectors, scanners, laser printers, CAD programs, and graphic and image processing software, are part of the working tools.

Exhibition designers create artistic concepts for exhibitions in trade fair and exhibition sectors or for museums. In the trade fair industry, they develop new products or information on the tourist offerings of a travel destination. For museums, they select exhibits or natural history collections, compile content, and build initial dramaturgies. They ensure that exhibits are presented in coherent contexts and are made accessible to the target audience. To achieve this, they stage concepts, select presentation forms, and utilize various media. They design the overarching exhibition from the basic idea to the design of information panels, banners, and advertising posters, including the logo and commercials.

Adaptive professional development helps to keep professional knowledge current and adapt to new developments (e.g., in the fields of interior design, room furnishing, museology, trade fair and event management, graphics).

Graduates with a diploma can expand their professional and career opportunities through further Studium (higher education), for example, in exhibition design, interior architecture, or scenography. A doctorate (Promotion) is generally required for a scientific career at a university; an habilitation (postdoctoral qualification) is usually needed for appointment as a university professor. A doctorate may also facilitate access to senior professional positions in the private sector, research, and public administration.

Develop and plan presentations of objects, products, and services. Implement exhibition concepts artistically. Create content-related, dramaturgical, and graphic concepts for exhibitions from planning to realization. Advise on the selection and compilation of content, research, and build an initial dramaturgy. Develop the fundamental artistic statements and design of an exhibition, select and design the presentation form and framework. Design and construct exhibition architecture. Present exhibits or collections in meaningful contexts. Incorporate the exhibition space, for example, regarding color design. Select and use various media and lighting effects. Plan guidance and orientation systems. Design the graphic layout of an exhibition, from the basic typographical idea to information panels and illustrations, including the logo and overall design. Develop accompanying activities to pique curiosity about an exhibition.

An additional employment alternative for exhibition designers is working in exhibition management and planning. Similarities with museologists include presenting exhibits or collections to the public, selecting or developing suitable presentation forms with other participants, and considering museum or exhibition pedagogical aspects where necessary. This alternative may require a longer onboarding period or additional training.

Exhibition designers plan, develop, and artistically implement exhibition concepts for trade fairs, showcases, or museums. The goal is to make exhibits engaging, encouraging the audience to make discoveries, delve deeper into topics, or acquire new knowledge. Given the variety of products and services or extensive museum collections, simply displaying exhibits or goods is not enough; suitable staging is required. Therefore, exhibition designers develop dramaturgies for exhibitions and ensure that exhibits are fully showcased through an appropriate environment, lighting, and, if necessary, the use of electronic media. Comprehensive research, briefings, and consultations are at the beginning of exhibition planning.

The following abilities, knowledge, and skills are required for possible activities in this profession: Verbal (linguistic) thinking (e.g., analyzing and developing narrative and documentary texts about the backgrounds of exhibition exhibits, artists), figural-spatial thinking (e.g., conceiving and designing an exhibition space), observational accuracy (e.g., precisely perceiving and evaluating visitor reactions for planning guidance and orientation systems), manual dexterity (e.g., assembling and placing exhibits at the exhibition site), drawing ability (e.g., creating sketches of the artistic rough draft for an exhibition project), planning and organizational ability (e.g., planning and realizing an exhibition concept; coordinating the setup and dismantling work for an exhibition), sense and feeling for aesthetics (e.g., aesthetically appealing design of an exhibition space).

The practice of this profession may involve the following physical requirements. This information does not necessarily apply to every activity profile or every professional application: Functionality of arms and hands (e.g., assembling exhibits and information boards; attaching guidance systems), fine motor skills of hands and fingers (e.g., drawing drafts for spatial concepts and installations), undisturbed speaking ability (e.g., presenting exhibition concepts to clients), near vision - even corrected (e.g., analyzing the environment before concept creation), color vision (e.g., developing color guidance systems), spatial vision (e.g., effectively placing exhibits in an exhibition), hearing and speech comprehension (e.g., understanding client requests and ideas). Please note: This information does not form a basis for legal action and should not be understood in the sense of a medical suitability assessment. Actual physical suitability or unsuitability must always be assessed individually.

The following lists professions or activities that show similarities to the original profession. These professions represent a possible alternative for applicants who cannot find a vacant position in their learned profession. Furthermore, employers can consider specialists in these professions as alternatives for filling a job in the original profession. Some alternative professions only comprise partial activities of the original profession, while others require an induction period, which can vary in length in individual cases. The following immediate employment and staffing alternatives are available for the profession of exhibition designer: For the overall activity (usually short induction): State-certified Designer (Specialization in Color Technology and Interior Design) / Bachelor Professional in Design; State-certified Designer (Specialization in Wood / Furniture / Interior Design) / Bachelor Professional in Design.

The activity as an exhibition designer is not regulated. No professional recognition is necessary to work in this profession with a qualification acquired abroad. However, there is the possibility to apply for an individual certificate evaluation for foreign university degrees through the Central Office for Foreign Education (ZAB). This can be helpful for applications in the German labor market. Further information on living and working in Germany: Hotline Working and Living in Germany - central information hotline of the Federal Office for Migration and Refugees (BAMF) and the Federal Employment Agency (BA); For people from abroad - an information offer from the Federal Employment Agency; Central Foreign and Specialist Placement Service of the Federal Employment Agency; Make it in Germany - The welcome portal of the skilled workers initiative for international skilled workers.

The following health limitations could lead to problems when performing this profession. This information does not necessarily apply to every activity profile or every professional application. Increasingly, there are also ways to compensate for limitations, for example, through technical aids. Restricted functionality of arms and hands (e.g., mounting exhibits and information boards; installing guidance systems), restricted fine motor skills of hands and fingers (e.g., drawing drafts for room concepts and installations), speech impediment, speech defects (e.g., presenting exhibition concepts to clients), uncorrectable near-sightedness (e.g., analyzing the environment before concept creation), color vision deficiencies (e.g., developing color guidance systems), missing/impaired spatial vision (e.g., effectively placing exhibits in an exhibition), hearing impairment, hard of hearing, deafness, hearing disorder, chronic ear ailments (e.g., understanding client concerns and ideas).

From an employer's perspective, the following alternative occupations are available for an Ausstellungsdesigner/in (Exhibition Designer): Activities in exhibition management, -planning, or Museologe/Museologin (Museologist). Commonalities include: Presenting exhibits or collections to the public, selecting suitable presentation forms or developing them with other stakeholders, and, if necessary, considering museum or exhibition pedagogical aspects. Note: The mentioned alternatives may require an induction period, which can vary in length depending on the individual case.