Case Study: Museum of New ZealandTe Papa Tongarewa
AZTECS RISE AGAININ NEW ZEALAND
VECTORWORKS HELPS THE
Case Study: Museum of New Zealand Te Papa Tongarewa
A native New Zealander, Barraud attended Dunedin School of Art in Wellington, New Zealand. He then ventured to New York City in 1993 to do some traveling. He ended up building a 15-year career there, first art directing commercials and then working in the film industry where he was a set designer, production designer, and art director, using Vectorworks® Fundamentals software to produce and communicate his design visions. The last New York-based film on which he collaborated was the highly acclaimed Julie and Julia, which was nominated for an Oscar and received numerous other notable awards.
In 2009, Barraud returned to New Zealand with his family and settled in Wellington. Then he saw something that changed his life: a job posting for an exhibition designer for the Museum of New Zealand Te Papa
ball
game ring
THE DUALITY
THE LEGACY
OF THE AZTECS
AGRICULTURE
SHOP
MOCTEZUMA IIAND THE LAST RULERS
THE FAMILYAND
EDUCATION
CONQUESTAND
MILITARY EXPANSION
codi
ce b
otur
ini
EXIT
ENTRY
RITUALS, AND RELIGOUSCEREMONIES
RECEP
TION D
ESK
JOU
RNEY
FRO
M A
ZTLA
N C
ASE
01
THE TEMPLO MAYOR
BALL GAM
E
THEFLOWER WARS
AND WARRIORS
AZTECTRIPLE
ALLIANCE
TRADE
EMPERORS ANDAZTEC GOVERNORS
THE SPANISHCONQUEST
LocustPH 01-0293
PiedraReg 21pj.447
snake sculpture10-266092
case 23
MARKET
mask10-168801
back-lit skull wall graphic
Mictlanecuhtli10-264984
Deathreg.21.pj.398
basalt bench10-262564
ceramic brazier10-639181
Clay Tripod brazier10-252951
heart ofjade.
10-392930
CuahxicalliEagle
10-252747
10-265072tombstone
snakehead fromtop of balustrade
conch10-220919
snake head
autosacricecasket.10-466061
awl. knives10-220280
sacrial stonereg.21pj.446
HUMAN SACRIFICEcase 28
Featheredserpent.21.pj.8
tombstone ofTezcatlipoca
A-66602
case18
CoyoteThrone
10-83992
case 22solar disccalendar10-13570
case 17
case08
case 20
Portrait of Cortezcase 16
case 15
clay brazier10-253182
Die
go R
ivera
's pa
intin
g of
a m
arke
t
Anthropomorphic jaguar gure
Fragment of a mural painting
Atlantean gure
case
24
Standard-bearer
Solar ray - sculpture that represents a ray of the sun
Xiuhtecuhtli
Ehécatl QuetzalcóatlA-36229; 10-109262
case 05
Ceramic almenaor merlon,
part of a battlement
case03
case
04codex RamirezB000457
case 13
case 10
case 11
TLALOC AND GODSOF LIFE AND FERTALITY
HUITZILOPOCHTLI AND THE GODS OF WARCONQUEST & DEATH
case 21
Chicomecóatl urn
NOBLES ANDCOMMONERS
Codex
Borgia
case 14MAR
KET
DIO
RAM
A
Zoomorphicfrog sculpture
10-168740
TEMPLEEXIT
CONQUEST OFTHE SPIRIT
chinampas
model
seating
ball
case 27
case 25
Spanish conquest screen
case 26
Atlantean gure
Mictlantecuhtli
Dog
JOURNEY TO MICTLAN
Tlaltecuhtli10-262523
Quetzalcóatl
ball
game ring
female sculpture
case 2
skull mask10-162934
Cihuateotl
TepetlacalliTláloc
canoe andtrident
Goddess of agriculture
Snake warriorStandard bearer
Eagle Warrior
Temalácatl
eagle10-203440
baptismal font10-544945 sacred heart
atrium cross10-341001
religoussculpture
10-264705; 10-26497
case
09
case07
case 06
templemarquet10-496916
seating
stampstation
stamp station
stamp station
stamp station
stamp station
stamp station
Chacmool10-10941
case 29case 30
case 31 case 32
case33
case36
case37
case38
Offering106
case39
TEMPLEENTRANCE
case35
skull nails
Xilonenceremonial
vessel
Anthropomorphic brazier[warrior brazier]
case 12
Owl characterwith helmet
EXHIBITION PLANScale: 1:150
1200X1200X2400mmglass case
custom step or plinth
1200X700mm wall unit
touch screen interactive
custom acrylic case
KEY
day one glass case
kids trail station
case 02case 03 temple marquet case tp46case 04 codex case tp25
case 17 incense burners & brazier case tp45
case 19 currently out of show tp 96
case 23 duality case tp30case 22 calendars case tp33
case 20 gods of life and fertility case tp112 case 21 gods of life and fertility case 2 tp95
DAY ONE CASE INDEX
case 18 Tarascan case tp37
case 07 lip plug case tp28case 06 emperor case tp114
case 08 tribute case tp93case 10 family case tp36case 11 education case tp35case 15 brazier case tp99case 16 anthropomorphic brazier case tp113
case 24 Teotihuacan & Toltec case 41
masks day one wall case
case 27 Florintine codex case tp49
case 05
gods of the 4 directions case tp 96
AZT-1000
1:150BB
17/07/2013
EXHIBITION PLAN
AZTECPROJECT TITLE
DRAWING TITLE
Revision Notes:
Date:MONZApp. by:
Checked by:Date:Scale:Drawn by:
Project Ofce, 2nd Fl.Te Papa, Cable StreetWellington, NZ(tel) +64-4-381 7000(fax) +64-4-381 7070
Check all dimensions on sitebefore commencing. Work togured dimensions and reportany discrepencies to the ContractManager before proceeding withthe work. This drawing iscopyright and must not beretained, copied or used withoutthe authority of theMuseum of New Zealand
Drawing Number: Revision:
Notes:
DEVELOPED
DESIGN
CORTEZ CASE
MOCTEZUMA CASE
JOURNEY FROM AZTLAN CASE
TRADE CASE
NOBLES & COMMONERS CASE
XILONEN CASE
MAYVART CASE INDEX
MAGICAL ANIMALS CASE
case 01case 13case 09case 14case 12
case 26case 25
REV 1-14/12/2012: ExhibitionStructure changed. Position of Temple moved.
REV 2-11/4/2013: Update based new object list and T&G schedule
3
case 28 Sacrice casecase 29 Barzier case
CUSTOM ACRYLIC CASE INDEX
case 30 Barzier casecase 31 Basalt Bench casecase 32 Tombstone case
case 34 Skull mask casecase 35 Offering case
case 33 Jade heart case
case 36 Dog casecase 37 Skull Nail casecase 38 Mask case
REV 3-17/7/2013: Case 12added. Plinth Removed.
Ben Barraud worked with Vectorworks Spotlight software to create a detailed exhibit plan that chronicled the Aztec civiliation.
What do you do for an encore after working on the set design team for The Hobbit: An Unexpected Journey, which garnered three Oscar nominations and more than $300 billion at the box office? If you’re designer Ben Barraud, you bring the fascinating and controversial Aztec civilization back to life on the other side of the world.
Tongarewa (Te Papa). “I always loved museums and would seek them out,” recalls Barraud. “And it seemed like the required skillset would be complementary to what I had been doing because they are both quite theatrical in nature and rely on similar software.” He got the job and learned to use Vectorworks Spotlight, the program that lighting, scenic, set, theatre, exhibit, and event designers use to make their productions memorable.
Since New Zealand is a small country, Te Papa fills the role that multiple art and history museums do in a big city. Providing visitors with a wealth of experiences gives Barraud great opportunities to try different things. For example, he designed A Day in Pompeii, which showcased Italian artifacts. He also collaborated on The Mixing Room, an exhibit revealing the stories of refugee youth whose families found homes in New Zealand. Barraud especially enjoyed putting together the Collecting Contemporary exhibit, which fused recent contemporary art exhibitions, as well as the German initiated European Masters: 19th-20th Century Art from the Städel Museum, an exhibit spanning different eras, from post impressionism to expressionism and through to modern art.
Following those successful exhibits, Te Papa graciously extended Barraud a 16-month leave of absence to serve as set designer and second unit art director for The Hobbit, which was filmed in New Zealand. Barraud used Vectorworks as part of a large team that created the legendary Esgaroth Lake-town for the movie.
Case Study: Museum of New Zealand Te Papa Tongarewa
The rendered concept design below reveals a wide view of the south end of the gallery, which is realized in the live photograph shown here.
AZT-4005
BB
07/11/2012
GALLERY WIDE VIEW
AZTECPROJECT TITLE
DRAWING TITLE
Revision Notes:
Date:MONZApp. by:
Checked by:Date:Scale:Drawn by:
Project Ofce, 2nd Fl.Te Papa, Cable StreetWellington, NZ(tel) +64-4-381 7000(fax) +64-4-381 7070
Check all dimensions on sitebefore commencing. Work togured dimensions and reportany discrepencies to the ContractManager before proceeding withthe work. This drawing iscopyright and must not beretained, copied or used withoutthe authority of theMuseum of New Zealand
Drawing Number: Revision:
Notes:
90% CONCEPT DESIGN
WIDE VIEW OF THE SOUTH END OF THE VISA GALLERY
Welcome to the Aztec World, 500 Years Later
Then came Aztecs: Conquest & glory, from late September 2013 to February 2014, which chronicles the 200-year history of the Aztec civilization, from its meteoric entrance in 1325 to its equally quick demise at the hands of the Spanish in 1521. The show is a major endeavor and marks the first time that it is touring the Southern Hemisphere. In fact, the Aztec culture has only been displayed in a handful of exhibits. When it was showcased by London’s Royal Academy of Arts in 2002 and 2003, it was heralded by the public and called “powerful and macabre” by The Observer. Te Papa’s exhibit will enjoy the limelight in other cities,
as well. Barraud carefully designed it to be packaged and shipped to two other museums—the Museum Victoria in Melbourne and the National Museum of Australia in Sydney.
Barraud and curator Lynnette Townsend built the exhibit from the ground up. Their Mexican partners and a team of curators selected about 200 rare artifacts culled from more than 30 museums across Mexico. Two full planeloads transported elaborate pottery, jewelry, and vessels around the world. Working with Vectorworks Spotlight software, Barraud created a design that integrated the wealth of artifacts, including golden medallions, large carved stone figures, and intricate containers, into a stunning backdrop supplemented with models and multimedia displays to tell the complete Aztec story. Barraud says, “It was wonderful to see all the Aztec treasures and design combine to bring the Aztec story to life.”
This exhibit was seven years in the making, the result of a trade with Mexico’s National Institute of Anthropology and History. Since New Zealand has an isolated history, the Museum saw this as an opportunity to shine a light on a markedly different culture, known for its artwork, jewelry, and, of course, its human sacrifices.
Case Study: Museum of New Zealand Te Papa Tongarewa
The Great Temple Guards Ancient Secrets
Barraud estimates that it took about one year to develop the project from concept to completion. His inspiration was the centerpiece of Aztec culture, the nearly 200-feet-tall Templo Mayor. This “Great Temple” was buried for hundreds of years under a Catholic cathedral erected by Cortez and the Spanish conquistadores when they defeated Montezuma. It came to light in the mid-1900s and was excavated in the 1970s. The Templo Mayor Museum now stands on the same spot in Mexico City. That’s where most of the artifacts in the exhibit hail from, including large gold statues that hung from the temple, ceramic and stone figures, evil warriors, and other representative pieces.
Barraud used the Templo Mayor as the exhibition’s larger-than-life focal point. He designed and constructed a smaller 1:10 scaled version and echoed the layout of that precinct by placing cases, walls, and plants around the temple in a similar radiant fashion. Since the temple had to be flat-packed for future travel to Australia and designed to withstand the threat of local earthquakes, Barraud made it light with an aluminum framework and PVC multi-board painted to look like stucco.
He and the curators felt it was important to introduce the often-controversial Aztec world slowly. First, visitors are immersed in the Aztec’s daily life, learning about agricultural practices like the gardens they built on a lake. This experience is contextualized with items representing things that were happening concurrent to that era in New Zealand. Then, visitors can decide to enter the temple to learn about the gods and the sacrificial rituals, which included human sacrifices, as well as dismemberments.
Barraud carved out this sacred inner chamber space for several reasons, even though the actual Templo Mayor was a monument without an interior. First, he notes, several artifacts were used for the Aztecs’ daily
Exhibit visitors are slowly immersed in the Aztec’s daily life before entering the temple to learn about the gods and sacrificial rituals.
Since the Templo Mayor had to be flat-packed for future travel to Australia, it was designed with an aluminum framework and PVC multi-board painted to look like stucco.
Scale 1:50PLAN
B1
B2
11
3777
1202
ELEVATION B2Scale: 1:50
851
946
5021
3027
2838
2557
ribbed fibreglasspanels bolted to aluminumbrackets.
ribbed fibreglassbalusters bolted to aluminumbrackets.
500
ELEVATION B1Scale: 1:50
ribbed fibreglassshell bolted to aluminumbrackets.
SECTION 1Scale: 1:50
Ribbed fibreglass shellbolted to Aluminum frame
fibreglass moulded steps glued to plywood substrate.bolted to aluminum braces.
Ribbed fiberglass balusterbolted to Aluminum braces.
Note:Interior walls not depicted forclarity of structure.
AZT-3040
1:50BB
10/06/2013
FIBREGLASS COMPONENTS
AZTECPROJECT TITLE
DRAWING TITLE
Revision Notes:
Date:MONZApp. by:
Checked by:Date:Scale:Drawn by:
Project Office, 2nd Fl.Te Papa, Cable StreetWellington, NZ(tel) +64-4-381 7000(fax) +64-4-381 7070
Check all dimensions on sitebefore commencing. Work tofigured dimensions and reportany discrepencies to the ContractManager before proceeding withthe work. This drawing iscopyright and must not beretained, copied or used withoutthe authority of theMuseum of New Zealand
Drawing Number: Revision:
Notes:
TEMPLE MAYOR
DESIGN
human sacrifices, made on the Templo Mayor to ensure the sun would rise in the morning. Second, the native New Zealand Māori culture is especially sensitive to the proper handling of human remains, which are also present. And third, the temple absorbed so much floor space that building a chamber granted them much-needed display space.
“This is a real insight into the Aztec culture,” Curator Townsend remarks of the temple. “It’s dramatic, vibrant, and incredibly intriguing.” Visitors enter the interior by passing by the stone God of the Underworld, Mictlantecuhtli, as well as a large stone eagle that weighs three-quarters of a ton. It has a hollowed-out basin in the top of its back that once held human hearts. Visitors can also view a skull mask with a blade in its mouth that’s was crafted from an actual human skull.
Case Study: Museum of New Zealand Te Papa Tongarewa
AZT-4250
Sheet ScaleBB
13/02/2013
CASE 25_Cortez case
AZTECPROJECT TITLE
DRAWING TITLE
Revision Notes:
Date:MONZApp. by:
Checked by:Date:Scale:Drawn by:
Project Ofce, 2nd Fl.Te Papa, Cable StreetWellington, NZ(tel) +64-4-381 7000(fax) +64-4-381 7070
Check all dimensions on sitebefore commencing. Work togured dimensions and reportany discrepencies to the ContractManager before proceeding withthe work. This drawing iscopyright and must not beretained, copied or used withoutthe authority of theMuseum of New Zealand
Drawing Number: Revision:
Notes:
DEVELOPED DESIGN
PLAN AND ELEVATION
CASE 25CORTEZ CASE2 x mayvart cases
E.3Plate[porcelain]30mmH x 210mm diam.
PLANScale: 1:25
2400
1150
custom base plinth.2400mm x 1150mm x 100mmcovered with red fabric.
GO
T30
0 x
150
GEOL300 x 150
OT150 x 150
FRONT ELEVATIONScale: 1:25
GEOL
SIDE ELEVATIONScale: 1:25
BACK ELEVATIONScale: 1:25
OT
OBJECT PLINTH PLANScale: 1:20
1000
ELEVATIONScale: 1:20
150
450
1000
600
E.93Miniature jar[ceramic, ie red clay]60mmH x 50mm diam.
E.6Olive pot[ceramic, ie red clay]290mmH x 255mm diam.
10-233988breastplate ofPedro de Alvarado16th C; EuropeanIron420mmH x 340mmW;weight 2kg105 / 242
10-92271(armoured headpiece)for a horseearly16th Century;EuropeanRiveted and burnishedwrought iron with etching320mmH x 565mm x 335mm
16th century Spanishsuit of Armour
AZT-4250
Sheet ScaleBB
21/06/2013
CASE 25_Cortez case
AZTECPROJECT TITLE
DRAWING TITLE
Revision Notes:
Date:MONZApp. by:
Checked by:Date:Scale:Drawn by:
Project Ofce, 2nd Fl.Te Papa, Cable StreetWellington, NZ(tel) +64-4-381 7000(fax) +64-4-381 7070
Check all dimensions on sitebefore commencing. Work togured dimensions and reportany discrepencies to the ContractManager before proceeding withthe work. This drawing iscopyright and must not beretained, copied or used withoutthe authority of theMuseum of New Zealand
Drawing Number: Revision:
Notes:
DEVELOPED DESIGN
PLAN AND ELEVATION
Quality Euro 125kgDisplay brushednylon."Burgundy"
object plinthscovered withQuality Euro 125kgDisplay brushed nylon."Burgundy"
Note: Check all Label measurementsLiaise with: [email protected]
By converting object images into image props, Designer Ben Barraud could quickly create 3D objects in the correct scale to populate a virtual exhibition.
Vectorworks Brings a Civilization to Life
Barraud used Vectorworks software to efficiently design a space to house these relics. For his concept design phase, he started with an object list from the curator that he received as an Excel spreadsheet with associated JPEG photo images. Barraud doesn’t have time to do complex 3D models of every item in an exhibition. But he doesn’t have to; with Vectorworks Spotlight, he imports the photographs. Then, by converting object images into image props, he can quickly create 3D objects in the correct scale to populate a virtual exhibition. The tool saves him time because he can start his ideas in 2D and develop them in 3D, so that all stakeholders can visualize the exhibition, and the objects within it, in 3D.
“Vectorworks has been a useful exhibition design tool,” Barraud says. “As an all-around design program, the solution works well in exhibition design because it picks up theatre features from SketchUp® and Adobe® and mixes in a rich color palette, endless built-in objects for creating lighting positions, and more. It has flexibility to incorporate JPEG and other file types into my drawings.”
The software also helped him overcome his biggest challenge, which was collaborating across the world with a number of different institutions. “Vectorworks is great as an interoperative tool,” he says, “so it supported my design inspiration while enabling me to share information fluidly.”
In addition to translation and time zone issues, Barraud and his team needed accurate measurements for all of the objects. “It was quite difficult to work like that—and also difficult trying to get the right weights and sizes for the items, which is really important when you’re dealing with heavy objects,” notes Barraud. To keep communication clear, he created his designs in Vectorworks Spotlight and then sent PDFs to the experts and curators in Mexico to review. He also flew to Sydney to give a presentation using 3D Vectorworks renderings, as well as plans, elevations, and case layouts to the other two museums that would receive the exhibit next. He played a walkthrough in the program in which he actually flipped the whole exhibition 180 degrees to give everyone great insight into his design as he panned, zoomed, and “walked” through his plan.
Case Study: Museum of New Zealand Te Papa Tongarewa
Acknowledgements
Profiled firm: Museum of New Zealand Te Papa Tongarewa55 Cable Street, PO Box 467 Wellington, New ZealandPhone: +64 (0)4 381 7000 Web: www.tepapa.govt.nz
Images: Design images courtesy of Ben Barraud and Museum of New Zealand Te Papa Tongarewa. Photographs courtesy of Norman Heke and Museum of New Zealand Te Papa Tongarewa. Collection items reproduced courtesy of National Council for Culture and the Arts – National Institute of Anthropology and History – Mexico.
Original text and publication by: Nemetschek Vectorworks, Inc. 7150 Riverwood Drive Columbia, MD 21046 USA
Tel: 410-290-5114 Fax: 410-290-8050 www.vectorworks.net
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© 2013 Nemetschek Vectorworks, Inc. Vectorworks is a registered trademark of Nemetschek Vectorworks, Inc. All rights reserved.
New Worlds Beckon
Barraud is designing two new exhibitions from the National Museum of China that will open at Te Papa in early 2014. Throne of Emperors will tell the stories of seven dynasties and seven emperors. He’s also creating a complementary exhibition adjacent to this, a retrospective of Shi Lu, who is known as “China’s Van Gogh.” No matter what new worlds he brings to the visitors of the Museum of New Zealand Te Papa Tongarewa, one thing is certain. They will be larger than life.
LEGEND:ELEMENT
EXTERIOR EXTSTRUCTURE STRINTERIOR INT
TYPE
FRAME FRPURLIN PRTRUSS TRTIE BEAM TIBRACE BR
SKIN SKSTAIR STBALUSTRADE BA
INTERIOR WALL IN
WALL/SIDE
FRONT FRIGHT RLEFT LBACK B
NOTE:ALL ELEVATIONS VIEWD FROM OUTSIDE
HORIZONTAL POSITIONS NUMBERED FROM LEFT TO RIGHT
VERTICAL POSITIONS ALPHABETICALLY FROM BOTTOM TO TOP
F-SK-1A
F-SK-1B
F-SK-1C
F-SK-1D
F-SK-2A
F-SK-2B
F-SK-2C
F-SK-2D
F-BA-1F-BA-2F-BA-3F-BA-4
LEFT CHAPEL
RIGHT CHAPEL
EXTERIOR FRONT 1:50
EXTERIOR RIGHT 1:50
EXTERIOR LEFT 1:50
EXTERIOR PLAN 1:50
EXTERIOR AXONOMETRIC NTS
RIGHT CHAPEL
F-BA-4
R-SK-1A
R-SK-1B
R-SK-1C
R-SK-1DR-SK-2D
RIGHT CURVED WALL
F-ST-1A
F-ST-1B
F-ST-1C
F-ST-1D
F-ST-2A
F-ST-2B
F-ST-2C
F-ST-2D
INFILL TO MATCH PLINTH
RIGHT CHAPEL
F-BA-1
L-SK-1A
L-SK-1B
L-SK-1C
L-SK-2DL-SK-1D
LEFT CURVED WALL
EXTERIOR BACK 1:50
RIGHT CURVED WALL LEFT CURVED WALL
BACK TRUSSSUPPORT
(RIGHT WALL)
BACK TRUSS SUPPORT (LEFT WALL)
TRUSSES. SEE STRUCTURAL PLAN
DRAWN:
SCALE:
DATE:
DRWG TITLE:PROJECT:
7 Gordon Place, Newtown, Wellington T +64 4 380 0010
AZTEC TEMPLE SKIN ASSEMBLY SCHEMATIC 07.10.13
BM-A
1:50 @ A3
The exhibit integrates a wealth of artifacts, including golden medallions, large carved stone figures, and intricate containers, into a stunning backdrop supplemented with models and multimedia displays to tell the complete Aztec story.
Temple design development drawings courtesy of Workshop e.