Points of Contact: A new box with the London Borough of Camden

The Arts & Tourism team at the London Borough of Camden received funding from Arts Council England to deploy a Museum in a Box as the primary vehicle to engage young people in the Camden Arts Collection.

We made a box that contained eight works from the collection; a mixture of sculptural and two-dimensional pieces. The box travelled widely around Camden, and was part of 13 workshops across the borough, held at Swiss Cottage, Kentish Town, Queens Crescent and Kilburn Centre libraries, and the Great Ormond Street Hospital. The project culminated in Points of Contact: The Camden Art Collection Unboxed, an exhibition at the Swiss Cottage Library Gallery, open until 1st of July 2017.

Creating 3D from 2D
We were curious to try a sort of extrusion of some of the paintings in the box, and Tom worked to literally add a new dimension to works by Derek Jarman and others, to create a tactile version of each of the flat works.

Hands on, helpful user research
For us, a big part of the appeal of this partnership was the opportunity to conduct workshops with kids and their guardians in all the libraries we visited. We learned all sorts of things about putting the box in front of people who’d never seen it before, and faced a few teeth-clenching moments as the kids played with the 3D prints in unexpected ways (like making the Running Table try to pass through Barred Portal, which it turns out isn’t possible).

It was a pleasure to witness that first “what’s this magic thing?” look on people’s faces, and the general ease of use of the box. We also learned that the “cornucopia” display technique we’d used with more adults — where we spread lots of objects out and let people choose their own adventure — resulted in kids just wanting to try every object as quickly as possible to see what they’d say. In the later workshops, that led us to a more contemplative, steady demonstration, where we’d bring out one piece at a time, ask the kids about it, and then boop the object to see what happened.

We met lots of brilliant kids, but must give special mention to The Magnificent Balthazar, who we met at Swiss Cottage. He was very happy to sit with the objects and the box for well over an hour, and took the time to create his own rendition of each of the works in the box, all eight, and showed real artistic talent, even at just five years old! At one of the later workshops, run by artist Esther Springett, Angela & and her son, Lorenzo, came along, and enjoyed it so much they attended a second session. Angela even took the time to write a guest blog post on the Camden arts blog, where she reflected:

With 8 artists to choose from, Lorenzo chose the 3D printed ‘Cubes’ (Carl Heideken, 1973) and I have to say he totally surprised me with his creativity. After feeling the textures of the cubes and listening to an audio response to each object on special micro-chipped postcards, Lorenzo started to develop his own story about ’12 boxes 6 chances’. A 3D print definitely helped him to get a stronger connection with the piece.

It was brilliant to meet Angela and Lorenzo in person too, at the exhibition which opened in early May.

Exhibition!
This project was the first time that Museum in a Box ended up in an exhibition. It seemed a natural fit to exhibit all the prints, postcards and the box in the exhibition space. We created two versions to playback for visitors: the first was the “official” responses created by artists participating in the project, Esther, Ciara, and Jonathan. It was great fun to hear such creative responses coming out of the box when things were booped, instead of just a factual, wall-label-style rendition of information about each work.

The other set of postcards played responses made by the kids in each workshop. There were new stories and interpretations about each work, and, again, it was excellent fun to hear such creative takes on the art.

I must say, I did feel a bit strange about having the box locked down in an exhibition space, because it’s designed to be mobile, but once Charlie and I saw the superb installation Jonathan and Sophie had designed for the gallery space, my initial concerns disappeared quickly. Now we’re wondering how else a box might supplement a more traditional exhibition experience…

A Collaboration
We certainly didn’t complete this box in isolation, and it was a pleasure to collaborate with Sophie Rycroft and Samina Zahir from the Camden Arts team, Caroline Moore at the fabulous GOSH Arts, artist and gallery designer, Jonathan Miller, and last but not least, artist educators Esther Springett and Ciara Brennan, who surprised and delighted us mightily with their creativity and skill with kids.

Making smaller brains

We’ve made about 20 prototype boxes now and have learned a great deal from each one. We wanted to highlight one particular box we made a couple of months ago where we experimented with a smaller form and what making it has taught us. 

The design of the box or ‘skull’ (the plywood/acrylic case that contains the tech) as we refer to it is dictated by two things: the form factor of the Raspberry Pi in question and all the features we feel necessary for the product to have.

Early on we were creating boxes with the Pi 2 which required a dongle to connect the box to the internet but several months ago we switched to the Pi 3 which features built-in WiFi saving space within the skull. Raspberry Pi also make the ‘Zero’ which is about half the size of the Pi 3, we liked the idea of a small box which would be more transportable and also not require mains power connection so we designed a smaller square brain inspired by the recorder box we made back in October.

Our prototype recording box which inspired the square brain design

I (Charlie) got to work with the layout of the hardware inside the box trying out a new method of speaker mount while Adrian worked his tech wizardry to figure out what hardware to adapt and then got cutting! The square brain featured several changes from the regular rectangle namely:

  • a power on/off button
  • push button volume control
  • No LED progress bar
  • an internal battery charged via a Pi charger board and micro USB cable
  • A single speaker mounted to one side

We tested the box at Nottingham’s Explorers Fair (we’ll share a post on that soon) where we had it set up alongside the standard rectangular box. Seeing the two side-by-side it was clear the rectangle with its larger surface area provided more of a platform for the children to place multiple objects on top of however the square allowed them to pick the box up and put it to their ear or sit down on the the floor with it.

Getting hands on with the square design at Nottingham’s Explorers Fair

Despite working well and having great mobility the square box also had some obvious limitations:

  • the Pi Zero only allowed us one speaker, so the sound wasn’t as good
  • the clicky volume buttons weren’t as effective or efficient as a dial
  • the lack of our physical progress bar didn’t help people understand they had to wait a bit
  • larger objects might not balance well on the smaller top
The square design with its illuminated power button and push button volume controls

We do love the smaller form factor but when you put the two designs side-by-side the larger rectangular box has a greater presence, not to mention more room for fiddly cables and components. It was a great thing to prototype and has since influenced alterations for our bigger boxes. This won’t be the last you see of square boxes however, I’ve had some fun recently prototyping a bigger ‘Design-for-Disassembly box, but all that is for another day.

C