DESIGNING AN EXHIBITION STAND TO IMPROVE ON

SPACE UTILIZATION IN EXHIBITION ROOMS AT SCHOOL

OF ART AND INDUSTRIAL DESIGN AT KYAMBOGO
UNIVERSITY, KAMPALA UGANDA

BY

LWANYAGA Andrew Njakasi

21/U/VAD/345/GV

A RESEARCH REPORT SUBMITTED TO THE BOARD OF EXAMINERS AT THE

SCHOOL OF ART AND INDUSTRIAL DESIGN IN PARTIAL FULLFILLMENT OF
THE REQUIREMENTS FOR THE AWARD OF BACHELOR OF VOCATIONAL
STUDIES IN ART AND DESIGN WITH EDUCATION OF KYAMBOGO UNIVERSITY.

May, 2024
 DECLARATION
I LWANYAGA Andrew Njakasi, 21/U/VAD/345/GV here I declare that this research report
entitled “Designing an exhibition stand to improve on space utilization in exhibition rooms at
school at school of art and industrial design at Kyambogo university, Kampala Uganda is my
original work and has never been submitted in an academic institution for an award.

Signature………………………………. Date …………………………………….

LWANYAGA Andrew Njakasi

21/U/VAD/345/GV

ii
 APPROVAL
This is to certify that this research report entitled “Designing an exhibition stand to improve
on space utilization in exhibition rooms at school of art and industrial design at Kyambogo
University, Kampala Uganda” by LWANYAGA Andrew Njakasi, 21/U/VAD/345/GV have
been done under my supervision.

Signature………………………………… Date………………………………….

Mr. MAYANJA Richard Weazher

(Supervisor)

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 DEDICATION
I dedicate my work to myself, NJAKASI Timothy, ZAWEDDE Justine, Mr. MAYANJA
Weazher who worked tirelessly to see that I acquire this qualification, endlessly advised me and
encouraged me.

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 ACKNOWLEDGEMENT
First and fore most I would like to congratulate myself for the strength, courage and motivational
spirit towards my research work. I do appreciate my supervisor Mr. MAYANJA Weazher for his
endless effort and dedicated his valuable time to give me guidance towards the accomplishment
of this research report and Mrs. ZAWEDDE Justine for the support given and my special thanks
goes to my parents NJAKASI Timothy, for their support, encouragement, and who at most
funded my academics.

My sincere thanks my friend MUHWEZI Nicholas for his encouragement towards my success.

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 TABLE OF CONTENTS
DECLARATION...........................................................................................................................ii

APPROVAL..................................................................................................................................iii

DEDICATION..............................................................................................................................iv

ACKNOWLEDGEMENT............................................................................................................v

TABLE OF CONTENTS.............................................................................................................vi

CHAPTER ONE: INTRODUCTION..........................................................................................1

1.1. Overview...................................................................................................................................1

1.2. Background of the study...........................................................................................................1

1.3. Statement of the problem..........................................................................................................2

1.4. Purpose of the study.................................................................................................................3

1.5. Objectives of the study.............................................................................................................3

1.6. Research guiding questions......................................................................................................3

1.7. Scope of the study.....................................................................................................................3

1.7.1. Content scope.........................................................................................................................4

1.7.2. Geographical Scope..............................................................................................................4

1.8. Significance of the study..........................................................................................................4

1.9. Definition of the Operational terms..........................................................................................5

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 CHAPTER ONE: INTRODUCTION

1.1. Overview
The study intended to develop an exhibition stand to improve on space utilization in exhibition
rooms at school of art and industrial design at Kyambogo University, Kampala Uganda. The
chapter presents the background of the study, statement of the problem, purpose of the study,
objectives and research questions, scope of the study and significance of the study.

1.2. Background of the study.

An art exhibition is traditionally the space in which art objects meet an audience. Exhibition may
present pictures, drawings, video, sound, installation, performances, interactive art, new media
art or sculptures by individual artists, groups of artists or collections of a specific form of art
while art fair may connote showing, selling and entertainment together. The artworks may be
presented in museums, art halls, art clubs or private art exhibition rooms, or at someplace the
principal business which is not the display or sale of art, such as a coffee house. An important
distinction is noted between art works exhibited some or all the works are for sale, normally in
private art exhibition rooms, and those that are not. Sometimes the event is organized on a
specific occasion, like a birthday, anniversary or commemoration (O’Doherty et al., 1999)

The organization of the exhibition determines how the premise will be laid out in detail in a
given space or location. As such, it required consideration of a whole range of factor, including
the content of the show, how exhibits are divided or classified and how to engage visitors with
the displays. There may be some key determinants that require initial consideration; perhaps the

nature of the area and the size of the works to be exhibited or the need to attract particular
audience, but an exhibition is mostly a compromise between a number of factors. The exhibition
strategy always responds to access and sustainability issues, and must respond to given budget. It
is not the design alone, but the approach to the design. It can often be best described through
images showing the types of activities and moods the designer wishes to create, without too
much detailed design information (Altshuler, 2008).

The amount of light in an exhibition contributes a lot to the rate piece of art exhibition. The
intensity of visible light in the display space should be low enough to avoid destruction, but

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bright enough for viewing. A patron’s tolerance of low-level illumination can be aided by
reducing ambient light levels to a level lower than that falling on the exhibit. Visible light levels
should be maintained at between 50 meters and 100 meters depending on the light sensitivity of
objects. An item level of toleration will depend on the inks or pigments being exposed and the
duration of the exhibition time. A maximum exhibition length should initially be determined for
each exhibited item based on its light sensitivity, anticipated light level, and its cumulative past
and projected exhibition exposure (Altshuler et al., 2013).

Artworks in some exhibition rooms are poorly displayed due to poor organization by the
exhibition room management and poor arrangement of the artworks by the artists during
exhibitions. Wineman and Peponis (2009), assert that the poor arrangement of different sizes of
the art products on display leaves some spaces in the exhibition room unused. Sometimes
exhibition room curators are reluctant to guide artists on the way they should put their products
in the display. All the Artworks are left for the artists. They further argued that during exhibition,
artists should come up with paints that are weather resistant such that they can be displayed on
the compound of the exhibition room. Some of the art works are very big to be exhibited in the
exhibition room, for example the large sculptural artworks because most of the exhibition rooms
has small exhibition area and yet many artists have to exhibit their artworks. It was upon this
background that this study sought to investigate the improper utilization of exhibition space at
Kyambogo University Art exhibition rooms.

1.3. Statement of the problem

Art exhibition rooms served as essential platforms for artists to showcase their works to the
public. However, Kyambogo University art students used to struggle with the effective use of
exhibition space because of the inefficient stand designs and limited utilization of available
technologies. This issue manifested in several ways for example misallocation of space that is
allocating more space to certain artists or exhibits limiting opportunities for others, poor layout
and curation. The inadequate utilization of exhibition space within exhibition rooms presented a
significant challenge, hindering the optimal showcasing of products and information. This
research aimed to address this issue by proposing and designing an innovative exhibition stand
that maximizes space efficiency, enhances visual appeal, and ensures a more effective utilization
of the available exhibition area.

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1.4. Purpose of the study.
The purpose of the study was to design an exhibition stand for the art students at the Department
of Fine art, School of art and design, Kyambogo University.

1.5. Objectives of the study.

The study was guided by the following objectives;

1. To identify specific challenges and areas of inefficiency that contribute to improper

spatial utilization.
2. To examine the various designs of existing exhibition stands
3. To produce an exhibition stand to improve on space utilization in Kyambogo University
exhibition rooms.

1.6. Research guiding questions.

In order to achieve the above objectives, the following guiding questions were used;

1. What are specific challenges and areas of inefficiency that contribute to improper
spatial utilization?
2. Examine the various designs of existing exhibition stands?
3. How can the exhibition stand be produced?

1.7. Scope of the study.

This consists of the content scope, geographical scope the location of my study

1.7.1. Content scope.

The research study was based on the specific challenges and areas of inefficiency that contribute
to improper spatial utilization, develop designs of an innovative exhibition stand that addresses
the identified challenges, focusing on optimizing spatial efficiency, enhancing visual appeal and
to produce an exhibition stand to improve on space utilization exhibition rooms.

1.7.2. Geographical Scope.

The study was carried out from the department of fine art at Kyambogo University. The
University is located 8kms from Kampala city Centre along the Jinja highway. It is accessible
through the Banda Trading Centre and Kyambogo “T” junction. There is also access route
through Ntinda-Kiwatule road. The department of fine art is an academic area and part of

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Kyambogo University where students do perform different courses for different reasons
including, BVAD, BAID, BTAD among others.

A MAP SHOWING THE LOCATION OF KYAMBOGO UNIVERSITY KAMPALA

UGANDA

Figure 1 The location of Kyambogo university Kampala Uganda.

1.8. Significance of the study.

The project was significant in the following ways;

To me the researcher, personally I developed the study by engaging in the project which allowed
me to enhance my knowledge, skills and expertise in the creation and production of multipurpose
exhibition stand. Schiuma, et al. (2016)

To the artists, exhibition stand serves as a visual extension of their artistic identity, creating an
immersive experience for viewers to artists. Esaak (2021), a well-designed exhibition space
enhances the artists ability to convey their narrative, captivate the audience, and establish a
memorable connection, ultimately contributing to the overall success and reception of the artist’s
work.

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To the policy makers, as it provides a platform to visually communicate complex policies,
making them more accessible to diverse audiences. According to a report by the European
Commission (2017), well designed exhibition spaces facilitate effective policy dissemination,
fostering public understanding, engagement, and garnering support, ultimately contributing to
the successful implementation and impact of policies.

For future referencing, lies in its role as a tangible representation of historical events or
information. According to Falk and Dierking’s research on free-choice learning (2016),
exhibition design contributes to long-term memory retention, allowing future references to be
visually reinforced, aiding in the recall and understanding of the exhibited content over time.

1.9. Definition of the Operational terms.

An exhibition stand: Is a physical structure or space within a trade show or exhibition where
businesses and organizations showcase their products, services, or information to attendees. It
typically includes display, banners, signage, and sometimes interactive elements to attract and
engage visitors.

An art exhibition: This is traditionally the space in which art objects meet an audience.
Exhibition may present pictures, drawings, video, sound, installation, performances, interactive
art, new media art or sculptures by individual artists, groups of artists or collections of a specific
form of art.

Exhibition room: Refers to the space or area designed for the display if art, art facts, products, or
other items of interest to the public.

Improper utilization: Refers to the insufficient or incorrect use of resources, time, or assets
resulting into wasteful outcome.

Exhibition space: Refers to a designed area or location where exhibits, displays, or presentations
are set up for the public to view and engage with.

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 CHAPTER TWO: LITERATURE REVIEW

2.1. Over view.

This chapter presents the review of the related literature on the causes of improper utilization of
exhibition space at Exhibition room, challenges artists face in getting exhibition space at
Exhibition room and the possible ways in which improper utilization of exhibition space at
Exhibition room can be reduced; from referenced books, journals, magazines, newspapers,
reports, dissections and other publications.

2.2. Challenges artists face in getting exhibition space at Exhibition room.

Most of the exhibiting grounds are charged expensively with the view that the artist is going to
make more sales of their art products. This makes some of the artists not to participate in some
exhibition in some exhibition rooms because they cannot afford to pay for the exhibition space
and sometimes an artist can afford to pay for the exhibition space but the curators may reserve
the space for particular artists denying others (Psarra, Wineman, Xu & Kaynar, 2007). Exhibition
rooms within universities should not charge the artist or their students such that most of the
artists can exhibit the art crafts.

Wineman and Peponis (2009) assert that corruption is the major challenge most artists face in
acquiring place in some exhibition rooms to exhibit their products. Some of the spaces in
exhibition rooms are preserved for particular people (artists) known to the management of the
exhibition room so they allocate other space leaving others for people even though they come to
book late. Some of the artists may not exhibit art work in some exhibition rooms not that they
were late to book the space but the time they went to would be given space may be over and the
ones left are either those for the artists who may have connections with the management who
might have not booked at that time or to be paid an extra money (bribe). This prevents fairness to
prevail in the booking of exhibition space and therefore it is to a large extent a cost/expense to
the artists since some may bribe to be given a better space for exhibition. In some exhibition
rooms some of the artists are favored when it comes to getting exhibition space making other not

6
to exhibit, this study will recommend the exhibition room managers not to favor any artist when
it comes to getting exhibition space.

Tzortzi (2004) reveals that competition has been a barrier to some of the artists to get space in
some exhibition rooms more especially those that high number of people who attend art
exhibition. The competition for exhibition space between artists becomes so much high because
artist from different area want to exhibit their art product such that they can get market for their
art work. To reduce on competition or for the artists to be competitive must go early enough to
book space immediately he/he hear about the exhibition information.

Established Networks and connections. Building relationships and establishing connections

within the art world is crucial for securing exhibition opportunities. Established artists often have
access to a network of galleries, curators, and collectors, giving them an advantage in securing
exhibition space. Emerging artists may struggle to gain visibility and recognition without
established connections. As noted by Artsy, emerging artists face barriers to entry in the art
world due to the importance of networking and insider connections.

Curatorial Selection and Criteria. Exhibition rooms and exhibition venues often have specific
curatorial criteria and preferences when selecting artists for exhibitions. This may include factors
such as artistic merit, thematic relevance, and marketability. Artists must align their work with
the curatorial vision of the venue to increase their chances of selection. As mentioned in an
article by Art Net News, curators plat a significant role in shaping the art world’s landscape by
selecting the art world’s landscape by selecting and promoting artists whose work aligns with
their curatorial vision.

Logistical Hurdles and Administrative tasks. Securing space involves various logistical tasks,
including negotiating contracts, arranging transportation, handing insurance, and coordinating
installation and deinstallation. These administrative tasks can be time consuming and complex,
requiring careful planning and organization on the part of artists. Without adequate support or
resources, artists may struggle to navigate these logistical hurdles effectively.

Financial Constraints. Renting exhibition space, preparing artworks, marketing materials, and
organizing events can incur significant costs for artists. Financial constraints can be a major
barrier for emerging and independent artists seeking exhibition opportunities. According to an

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article in Forbes, the high costs associated with staging exhibitions, including venue rental fees
and promotional expenses, can pose challenges for artists with limited financial resources.

2.3. The various designs of existing exhibition stand

Shell Scheme Booths

These are the most common type of exhibition stand and are often provided by event organizers.
Shell scheme booths consist of a pre-built framework with walls and often include basic
amenities such as carpeting, lighting, and sometimes furniture. Exhibitors can decorate and
customize these stands with their branding and display materials.

Here are some of the pros and cons of shell scheme booths:

Pros:

Cost-Effectiveness: Shell scheme booths typically offer a cost-effective solution for

exhibitors. Since the basic structure is already provided, exhibitors don't need to invest
heavily in building custom booths from scratch. This can save on both upfront costs and
ongoing maintenance expenses.

Ease of Setup: Shell scheme booths are relatively easy to set up compared to custom-built
booths. With pre-built walls, exhibitors can focus on decorating and branding their space
rather than worrying about constructing the entire structure. This can save time and effort
during the setup phase of the exhibition.

Consistency: Shell scheme booths provide a consistent look and feel across the exhibition
floor. This uniformity can create a professional atmosphere and make it easier for attendees
to navigate the event. It also ensures that all exhibitors have a fair and equal opportunity to
showcase their products or services.

Customization Options: While shell scheme booths have a basic structure, they still offer
plenty of opportunities for customization. Exhibitors can decorate their booth with graphics,
banners, signage, and furniture to reflect their brand identity and attract visitors. This
flexibility allows exhibitors to create a unique space within the confines of the shell scheme.

Accessibility: Shell scheme booths are often designed with accessibility in mind. The open
layout and clear entry points make it easy for attendees to approach and interact with
exhibitors. This accessibility can lead to more meaningful engagements and better
networking opportunities for both exhibitors and attendees.

Cons:

Limited Creativity: While shell scheme booths offer some customization options, they can
limit exhibitors' creativity compared to fully custom-built booths. The pre-defined structure

8
and layout may not accommodate unique design ideas or elaborate displays, potentially
making it harder for exhibitors to stand out from competitors.

Lack of Space: Shell scheme booths typically come in standard sizes, which may not always
meet the space requirements or preferences of exhibitors. Limited space can hinder
exhibitors' ability to showcase their products or services effectively, especially if they have
large or bulky items to display.

Uniformity: While consistency can be an advantage, it can also be a disadvantage in some

cases. Shell scheme booths often look similar across the exhibition floor, making it
challenging for exhibitors to differentiate themselves and capture attendees' attention. This
uniformity may result in a less memorable experience for visitors.

Additional Costs: While shell scheme booths are generally more cost-effective than custom-
built booths, exhibitors may still incur additional costs for customization, decoration, and
branding. These expenses can add up quickly and may exceed the initial budget if exhibitors
opt for premium upgrades or additional features.

Limited Brand Visibility: Shell scheme booths may not provide sufficient space or visibility
for exhibitors to effectively showcase their brand and messaging. With limited wall space for
signage and branding materials, exhibitors may struggle to make a lasting impression on
attendees and convey their unique value proposition effectively.

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Figure 2 Showing shell scheme booth which is one of the commonest exhibition stands.

Modular Exhibition Stands

Modular stands are versatile and can be adapted to various booth sizes and configurations. They
are constructed from modular components and can be reconfigured to fit different spaces. These
stands offer flexibility and can be customized to create unique designs.

Here are some of the pros and cons of modular exhibition stands:

Pros:

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 Flexibility: Modular exhibition stands offer great flexibility in terms of design and layout.
Exhibitors can easily reconfigure the modular components to adapt to different booth sizes
and shapes, allowing for versatility across various exhibition spaces.

Scalability: Modular stands can be easily scaled up or down to accommodate different

exhibition requirements. Whether it's a small local event or a large international trade show,
exhibitors can adjust the size and complexity of their booth accordingly without needing to
invest in entirely new structures.

Customization: Despite being modular, these stands offer ample opportunities for
customization. Exhibitors can personalize their booth with branded graphics, signage,
lighting, and interactive elements to create a unique and engaging experience for attendees.

Cost-Effectiveness: While modular stands may have a higher initial cost compared to shell
scheme booths, they often prove to be cost-effective in the long run. Their reusable nature
means exhibitors can amortize the investment over multiple events, saving money on booth
construction and rental fees in the long term.

Professional Appearance: Modular stands can convey a professional and polished image on
the exhibition floor. With sleek and modern designs, exhibitors can make a strong visual
impact and attract more visitors to their booth, thereby increasing the chances of generating
leads and making connections.

Cons:

Initial Investment: One of the main drawbacks of modular exhibition stands is the initial
investment required. While they offer long-term cost savings, the upfront cost of purchasing
modular components and accessories can be significant for exhibitors with limited budgets.

Assembly Complexity: While modular stands are designed for ease of assembly, they can
still be more complex to set up compared to shell scheme booths. Exhibitors may require
additional time and manpower to assemble and dismantle the booth, especially for larger and
more intricate designs.

Transportation and Storage: Modular stands often consist of multiple components that need
to be transported to and from the exhibition venue. This can pose logistical challenges,
especially for exhibitors participating in multiple events or those with limited storage space
for the modular elements between exhibitions.

Potential for Inconsistency: If not managed properly, modular stands can sometimes suffer
from inconsistencies in design and presentation. Variations in assembly or customization
between events may detract from the booth's overall impact and undermine the exhibitor's
brand consistency.

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 Limited Creativity: While modular stands offer more customization options than shell
scheme booths, they may still have limitations in terms of design creativity. Exhibitors may
find themselves constrained by the modular components' predefined shapes and sizes,
restricting their ability to create truly unique and innovative booth designs.

Figure 3 Showing versatility in the modular exhibiting stands.

Custom-Built Stands

Custom-built exhibition stands are entirely bespoke and designed specifically for a particular
event or brand. They offer the highest level of customization and can incorporate unique

12
features, architecture, and branding elements. They tend to be more expensive but can make a
significant impact.

Here are some of the pros and cons of custom-built stands:

Pros:

Unique Design: Custom-built stands offer the opportunity for exhibitors to create truly
unique and innovative designs that reflect their brand identity and messaging. With full
creative freedom, exhibitors can tailor every aspect of the stand to meet their specific needs
and objectives, ensuring a memorable and impactful presence on the exhibition floor.

Maximum Brand Visibility: Custom-built stands provide maximum brand visibility and
exposure. Exhibitors can incorporate their branding elements seamlessly into the stand's
design, including logos, colors, and messaging, to create a cohesive and immersive brand
experience for attendees. This enhanced visibility can help exhibitors attract more visitors to
their booth and stand out from competitors.

Tailored Functionality: Custom-built stands can be designed to incorporate specific

functionalities and features that enhance the attendee experience and facilitate engagement.
Whether it's interactive displays, demonstration areas, meeting rooms, or product showcases,
exhibitors have the flexibility to integrate various elements into their stand to achieve their
marketing objectives effectively.

Long-Term Investment: While custom-built stands may involve a higher upfront cost than
modular or shell scheme booths, they offer long-term value and return on investment. Since
custom stands are built to last, exhibitors can reuse them for multiple events, amortizing the
initial investment over time and saving money on booth construction and rental fees in the
long run.

Brand Consistency: Custom-built stands allow exhibitors to maintain consistent branding

across all aspects of their booth design, from the architecture to the graphics and materials
used. This consistency helps reinforce brand recognition and recall among attendees,
fostering trust and loyalty in the exhibitor's brand.

Cons:

Higher Cost: The biggest drawback of custom-built stands is the higher cost associated with
their design, construction, and installation. Custom stands often require more time, resources,
and expertise to build compared to modular or shell scheme booths, making them less
accessible for exhibitors with limited budgets.

Complexity and Lead Time: Custom-built stands can be more complex to design, fabricate,
and install than pre-built alternatives. Exhibitors may need to allocate more time and

13
 resources to the planning and execution of their custom stand, including coordinating with
contractors, designers, and suppliers, which can result in longer lead times and potential
logistical challenges.

Limited Reusability: While custom-built stands are durable and built to last, they may have
limited reusability compared to modular or shell scheme booths. Changes in branding,
messaging, or booth requirements may necessitate modifications or redesigns to the custom
stand, which can incur additional costs and effort for exhibitors.

Logistical Considerations: Custom-built stands require careful logistical planning,

particularly concerning transportation, storage, and assembly. Exhibitors may need to arrange
for specialized transportation and handling of the stand components, as well as secure
adequate storage space between events, adding complexity and potential costs to the
exhibition logistics.

Risk of Inconsistency: Custom-built stands rely heavily on the expertise and craftsmanship of
the designers, builders, and contractors involved. If not managed properly, there is a risk of
inconsistencies or errors in the stand's design, construction, or installation, which can detract
from its overall effectiveness and impact on the exhibition floor.

Figure 4 Showing custom built designed for a particular event.

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Pop-Up Stands

Pop-up stands are portable and lightweight display solutions that are easy to set up and transport.
They are often used for smaller events or as supplementary displays within a larger booth. Pop-
up stands come in various shapes and sizes and can include graphics, banners, and shelving.

Here are some of the pros and cons of pop-up stands:

Pros:

Portability: Pop-up exhibition stands are highly portable and lightweight, making them easy
to transport to and from exhibition venues. They are typically designed to collapse or fold
down into a compact carrying case, allowing exhibitors to transport them easily by car or
even public transportation.

Quick Assembly: Pop-up exhibition stands are designed for quick and easy assembly, often
requiring minimal tools and expertise. Exhibitors can typically set up the stand within
minutes without the need for specialized labor or assistance, allowing them to focus more
time and energy on preparing their booth for the event.

Cost-Effectiveness: Pop-up exhibition stands are generally more cost-effective than custom-
built or modular stands, making them an attractive option for exhibitors with limited budgets.
They offer a cost-efficient solution for showcasing products or services at trade shows,
exhibitions, and other events without breaking the bank.

Versatility: Pop-up exhibition stands are versatile and adaptable to different exhibition spaces
and layouts. Exhibitors can customize their stand with interchangeable graphics, banners, and
accessories to suit various branding and messaging needs, allowing for flexibility and
scalability across different events.

Brand Visibility: Despite their compact size, pop-up exhibition stands can still provide
excellent brand visibility and exposure on the exhibition floor. Exhibitors can utilize the
stand's vertical space to showcase their branding elements, including logos, slogans, and
product images, ensuring that their booth stands out and attracts attention from attendees.

Cons:

Limited Size and Layout Options: Pop-up exhibition stands are generally available in
standard sizes and configurations, limiting exhibitors' ability to customize the stand's size and
layout according to their specific requirements. This may pose challenges for exhibitors with
larger or more complex booth designs.

Less Impactful Design: Compared to custom-built or modular stands, pop-up exhibition

stands may have a less impactful design and aesthetic appeal. Their simple and

15
straightforward construction may not be as visually striking or attention-grabbing as more
elaborate booth designs, potentially making it harder for exhibitors to stand out from
competitors.

Durability Concerns: While pop-up exhibition stands are designed for portability and quick
assembly, they may not always be as durable or long-lasting as custom-built or modular
stands. The lightweight materials and construction may be more prone to wear and tear over
time, particularly with frequent use and transportation.

Limited Customization: While pop-up exhibition stands offer some degree of customization
with interchangeable graphics and accessories, they may still have limitations in terms of
design flexibility. Exhibitors may find themselves constrained by the stand's pre-defined
structure and layout, limiting their ability to create a truly unique and personalized booth
experience.

Storage Challenges: Despite their compact size when collapsed, pop-up exhibition stands can
still pose challenges in terms of storage between events. Exhibitors may need to allocate
sufficient space to store the stand components when not in use, which can be a concern for
businesses with limited storage facilities or resources.

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Figure 5 Showing the portability in the pop-up exhibition stands

Interactive Digital Stands

With advancements in technology, interactive digital stands have become increasingly popular.
These stands incorporate digital screens, touchscreens, augmented reality (AR), virtual reality
(VR), and other interactive elements to engage and inform attendees. They are particularly
effective for showcasing products, providing demonstrations, or delivering immersive
experiences.

Here are some of the pros and cons of interactive digital stands:

Pros:

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 Engagement: Interactive digital stands offer a high level of engagement with attendees.
Through touchscreens, virtual reality (VR), augmented reality (AR), or interactive displays,
visitors can actively interact with content, products, and experiences, leading to deeper
engagement and memorable interactions.

Customization: Digital stands provide endless possibilities for customization. Exhibitors can
tailor content, visuals, and interactive experiences to their brand and messaging, ensuring a
personalized and immersive experience for attendees. This flexibility allows exhibitors to
showcase their products or services in innovative and compelling ways.

Data Collection: Interactive digital stands enable exhibitors to collect valuable data and
insights about attendee interactions. Through analytics and tracking tools, exhibitors can
gather information on visitor demographics, behavior, interests, and preferences, which can
inform future marketing strategies and decision-making.

Wow Factor: Digital technology has a "wow" factor that can captivate and impress attendees.
Interactive displays, VR simulations, and AR experiences create memorable and shareable
moments that make the booth stand out on the exhibition floor, attracting more visitors and
generating buzz around the brand.

Versatility: Digital stands are versatile and adaptable to different exhibition environments
and objectives. Whether it's a trade show, conference, product launch, or corporate event,
digital technology can be customized and integrated into the booth design to meet specific
goals and audience needs.

Cons:

Cost: One of the main drawbacks of interactive digital stands is the high cost of
implementation. Digital displays, touchscreens, VR/AR equipment, software development,
and content creation can incur significant upfront expenses, making it less accessible for
exhibitors with limited budgets.

Technical Challenges: Interactive digital stands require technical expertise to set up and
maintain. Issues such as software glitches, hardware malfunctions, connectivity problems,
and power outages can disrupt the interactive experience and negatively impact attendee
engagement.

Complexity: The complexity of interactive digital stands can pose challenges for exhibitors
in terms of planning, execution, and coordination. Integrating multiple technologies and
components into the booth design requires careful planning and execution, as well as
coordination with vendors, developers, and technical support teams.

User Experience: While interactive digital experiences can be engaging, they also need to
provide a seamless and intuitive user experience. Poorly designed interfaces, confusing
navigation, or slow response times can frustrate attendees and detract from the overall
effectiveness of the booth.

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 Dependency on Power and Connectivity: Interactive digital stands rely heavily on power
sources and internet connectivity to function properly. Exhibitors need to ensure access to
reliable power outlets and a stable internet connection at the exhibition venue to prevent
disruptions and downtime during the event.

Figure 6 Showing the technological display of the interactive exhibition stand

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2.4. Producting an exhibition stand to improve on space utilization

Our third objective focuses on crafting an exhibition stand design that fosters a user-friendly
study space within a minimalist residence. This means prioritizing ergonomics and user comfort.

Design and planning (measurements).

Exhibition stand shelves dimension. Will consider ergonomics and available space. Standard
exhibition shelves height for comfortable display of work was 15 inches by 15 inches so that
enough space is provided for the display of 3D art works like ceramics by the students. The
shelves were four with a total length of 60 inches and width of 15inches since each shelf was 15
inches by 15 inches.

Exhibition stand 2D display board dimension. Considering ergonomics and the available space in
the exhibition room, the display for the 2D art works were to be displayed o the board of length
of 72 inches and width of 33inches making the exhibition stand fully of the length as 6fts
(72inches) and the width of 4fts (48 inches).

Material selection.

Wood type and thickness. Choosing study wood like pine, maple, or oak, considering a
minimalist look with a plank thickness of 2inches for a strong profile, the surface is too large
enough to accommodate study works exhibited ad drawings, graphics work among others.

Construction

Cutting the wood, using a saw and other tools to cut the shelves measured at 15inches by
15inches according to the design plan, ensuring all cuts are precise for a clean and study built
well as assembling. Predrill holes for screws or other fasteners to prevent wood from splitting
either way can use a hammer and nails to put the wood together according to the design plan.
After making the structure for the 4 shelves then board are attached to the structure so that the
shelves are given the base so as to handle works which are to be exhibited from there. For the 2D
board, cutting is to be done following a 4ft by 6 ft measurement and after the board will be
attaches to the shelves to make it a complete structure of an exhibition stand because it comprises
of both 3D and 2D space for exhibition of work.

Finishing Touches

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Smoothening out the rough edges with a sand paper for a polished look, staining or painting.
Apply paint or stain that complements your minimalist décor. By incorporating these ergonomics
factors into the design of a wooden exhibition stand, users can be able to exhibit their works well
and also minimize space given to them.

Creating an art exhibition stand involves careful planning, curation, and presentation to
effectively showcase artworks and engage viewers. Here is a detailed procedure when producing
an exhibition stand;

Conceptualization and Theme Development. Begin by conceptualizing the them or concept of

the art exhibition. This could be based on a particular artistic style, genre, or thematic
exploration. According to research by Maria Antonietta Trasforini, published in the Journal of
Arts and Humanities, a well-defined curatorial concept provides coherence and context to the
exhibition.

Selection of Artworks. Curate a diverse selection of artworks that align with the exhibition’s
theme or concept. Consider factors such as artistic quality, relevance, and diversity of styles. For
example, an exhibition focusing on contemporary art might include painting, sculptures,
installations, and multimedia works that reflect current artistic trends.

Design and layout planning. Collaborate with exhibition designers to plan the layout and design
of the exhibition space. Consider factors such as lighting, wall color, and spatial arrangement to
create an inviting and immersive environment for viewers. Look for inspiration from renowned
art galleries and museums known for their innovative exhibition design, such as the Tate Modern
in London or the Guggenheim Museum in New York.

Artwork presentation. Determine the optimal presentation method for each artwork, considering
factors such as framing, mounting, and placement. Utilize museum grade display techniques to
ensure the safety and preservation of the artworks. For example, delicate works on paper may
require archival framing and UV protective glazing to prevent fading and damage.

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Labeling and Interpretation. Create informative labels and interpretation materials to accompany
each artwork, providing context and insight for viewers. Incorporate artist biographies, artwork
descriptions, and relevant historical or cultural information. Take inspiration from institutions
like the Museum of Modern Art (MoMA), known for its clear and concise exhibition labels that
enhance the viewer’s understanding and appreciation of the artworks.

Installation and Arrangement. Work with experienced art handlers and installer to carefully
installers to carefully install and arrange the artworks with in the exhibition space. Pay attention
to factors such as sightlines, flow, and focal points to create a visually compelling and coherent
presentation. Refer to the best practices outlined by organizations like the American Alliance of
Museums (AAM) for guidelines on artwork installation and handling.

Promotion and Outreach. Develop a comprehensive promotion and outreach strategy to attract
visitors to the art exhibition. Utilize traditional marketing channels such as print media and press
releases, as well as digital platforms like social media and online event listings. Collaborate with
art critics, influencers, and cultural institutions to generate buzz and reach a wider audience.

Opening Reception and Events. Organize an opening reception or special events to celebrate the
launch of the art exhibition and engage with the community. Consider hosting artists talks, panel
discussions, or guided tours to provide additional opportunities for audience interaction and
dialogue.

Evaluation and Feedback. Collect feedback from visitors, artists, and stakeholders to evaluate the
success of the art exhibition. Measure metrics such as attendance, visitor satisfaction, and
artwork sales to assess the impact and effectiveness of the exhibition. Use this feedback to
inform future exhibition planning and improvements.

2.5. Summary of the chapter.

In conclusion, the literature review provided valuable insights into the existing challenges
associated with improper utilization of exhibition space in exhibition rooms. Various studies
emphasize the importance of effective spatial design for enhancing engagement and maximizing
the impact of exhibits. By synthesizing this knowledge, our research report seeks to contribute to
this field by focusing on the design of an exhibition stand that addresses these issues, aiming to
optimize the use of space and ultimately improve the overall exhibition experiences.

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 CHAPTER THREE: METHODOLOGY

3.1. Overview

This chapter presents the overall strategy which was used in data collection, analysis and
interpretation and it therefore stipulates research design, sample, population sample, area sample,
sampling technique, sample size, instruments of data collection, method, tools, procedure of data
collection, data analysis, studio design process, validity and reliability of the instruments, ethical
considerations.

3.2. Research design.

The study utilized descriptive methods. A descriptive method intended to present facts
concerning the nature and the status of the situation, as it existed at a time of study and described
the present conditions, events or systems based on impressions of the respondents of the
research. The study was concerned with the relationship and practices that exist, beliefs and
processes that are ongoing, effects that are being felt or trends. It employed qualitative method of
data collection which helped in exploring nuances, context, and underlying meanings, providing
depth to the study to obtain qualitative data.

3.3. Population of the study

The researcher used Kyambogo University art students, materials and tools represented the entire
group of interest. The sample was a smaller, manageable group that’s studied in order to make
references about the population as a whole. Best and Kahn (1993) defined population sample as
the target population to which the study results were generalized. The population sampled was
Kyambogo university students at the department of art and design that do carryout exhibitions
and these students offer courses like BVAD, BAID among others. The study population
compiled of 15participants for instance 10 art students that is 5males and 5females and also
5lecturers who contributed towards the case research study. The reasons as to why the researcher
chose both the art students and the lecturers is that both the groups understand the challenges

23
faced by artists using the existing exhibition stands/boards. The number of respondents who were
interviewed were intended so as to acquire first-hand information which was the primary
research.

3.4. Population sample.

The study used a sample size of 15 respondents that is; ten (10) art students and five (5) staff of
art department Kyambogo university (lecturers) because they are more informed in relation to
the study problem and readily possess information required for the study. They helped in
presenting the information about the different exhibition stand/boards at the Department of Fine
art that gave the researcher a standing point to accomplish the required information.

3.5. Sampling technique.

Simple random sampling technique was used to select the respondents into the study. This
sampling technique was used to select the respondents into the sample. The researcher used this
sampling technique because it is less expensive and ensures that each respondent of the target
population has an equal and independent chance of being included into the sample (Oso and
Onen, 2005).

3.6. Methods and Tools of data collection.

The researcher used qualitative methods of data collection because qualitative methods involve
the use of words rather than numbers; the method help the explanation of the study and
researchers to go beyond conception and generate and revise frame works. The approach was to
help the researcher to generate quality information that gives meaning to numbers. This method
administered; library search, interviewing, observation.

3.6.1. Library Search.

The researcher gathered information from Secondary data. This is the use of the already
collected data that is not specifically gathered for the research question at hand. The data can be
government or non-governmental/private statistics. The researcher got information from the
study of documents which include the publications, periodicals, journals, magazines and other
literature written by different knowledgeable scholar. The data helped the researcher with a
starting point for additional research.

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3.6.2. Interview.

Gupta (1999), defined an interview as a conversation between two or more people where
questions are asked by the interviewer to elicit facts or statements from the interviewee. The
researcher selected interview as one of the methods of gathering relevant primary data from
willing respondents were interview guides used following the study objectives. Face to face
interviews were conducted with the respondents who were not having time to fill in the
questionnaire, the respondents were allowed to ask questions where possible. This was preferred
because it allowed direct exhaustion of data the researcher needed to ask.

The interview is designed in a way that is more specific such that correct answers would be got.
This helps to capture information that were not be provided by the questionnaire. This method is
preferred because of its flexibility and ability to provide new ideas on the subject.

3.6.3. Observation

The observation method was used to collect qualitative data using standardized observation
guide and observing participants reactions. The researcher observed by using his eyes, ears and
nose to hear, smell and also paid close attention to the respondents in order to record the
necessary information that would be hidden by the respondents. While using the observation
method, the researcher got firsthand information on key issues like examining the existing
designs. The distinctive feature of observation as a research process is that it offered the
investigator an opportunity to gather other ground data from naturally occurring social situations.
As a method it has two formats; structure and unstructured.

3.6.4. Studio Experimentation.

Under this, the researcher experimented on the existing exhibition stands and boards at the
department of Fine art and also from other art galleries and how to use design and produce an
exhibition stand to improve on space utilization in exhibition rooms. The researcher used scrap
books and also sketch books.

3.7. Data analysis

After obtaining filled questionnaire through purposive and convenience sampling, raw data got
was cross checked, edited and coded for consistency using a computer and a phone. The

25
researcher reviewed and analyzed the existing literature, reports, articles, official records,
archival data to extract relevant information for research purposes. This enabled a researcher to
configure the information gathered throughout the research process. This information is
categorized into more workable and practically reliable to the research development especially in
the side of problem solving.

3.8. Validity and reliability

According to Kakooza (1996) validity of instruments refers to the testing or research instrument
said to be valid if it measures what it is supposed to measure. The validity of instruments was
achieved by ensuring that questions or items in it are in line with the study objectives. This was
done by contacting the supervisor to ensure the relevance, wording and clarity of the questions or
items in instruments.

The pretest helped the researcher determine the reliability of the research instrument before
going for actual data collection by using a panel of colleagues for feedback purpose on how easy
they could understand the questions and if they would answer easily. This was done to determine
if the respondents were able to easily understand the questions and answer them with ease. This
is because Guba and Lincoln (1989) suggest that reliability in the traditional sense is better
expressed as “dependability” or “consistency” in qualitative research.

3.9. Ethical consideration

In consideration of the research ethics and code of conduct, this study was subjected to the
university review by the supervisor who gave its approval. The researcher seek for permission
from Dean the department of fine art in order to allow him to collect data. Besides, in the process
of collecting data, the purpose of the study was explained to the respondents verbally, and their
consent to participate was obtained. The respondents were informed that participation was
voluntary, confidential, without any risk and they would choose not to participate or withdraw
their participation at any time during the interview. The researcher didn’t bribe the respondents
so as to give information. By prioritizing the following ethical considerations, this research
aimed to contribute to a sustainable and inclusive design solution for minimalist study spaces.

Informed consent; The researcher ensured that the participants are fully informed about the
nature of the study, their role in it, and any potential risks or benefits involved confidentiality

26
measures and the right to withdraw from the study at any time. Participants had to voluntarily
decide to participate based on the information and must be with informed consent before
participating in the study.

Privacy and Confidentiality; The Researcher had to respect the privacy of participants by
protecting the identity of participants and ensuring that any personal or sensitive information
collected during the study is kept confidential, not disclosed to anyone who is not authorized to
access it and only used for research purposes.

Beneficence; The researcher conducted this study in a way that maximizes benefits and
minimizes harm to participants or group involved in the study, involving protecting the well
being and rights of research participants and includes ensuring that the study doesn’t cause any
physical or psychological harm to participants.

Respect for participants; Researcher have to respect the autonomy, dignity, and rights of
participants throughout the study. This includes treating participants throughout the study. This
includes treating participants with respect, considering their perspectives and preferences, and
addressing any concerns they may have.

Data Handling and reporting; Researchers must handle data collected during the study
responsibly and ethically. This includes ensuring the accuracy and integrity of the data,
protecting it from unauthorized access, and reporting the findings truthfully and transparently.

Conflict of Interest; Researchers should disclose any potential conflicts of interest that may
influence the study or its outcomes. This could include financial interests, personal relationships,
or other factors that could bias the research results. It is an ethical consideration because it can
compromise the validity and reliability of the study results, potentially leading to misleading or
inaccurate findings. A researcher had responsibility to disclose any potential conflicts of interest
to ensure transparency and maintain the integrity of the research process.

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 CHAPTER FOUR: PRESENTATION AND INTERPRETATION OF FINDINGS OF
DATA

4.1. Overview

The purpose of the study was to design an exhibition stand for the art students at the Department
of Fine art, School of art and design, Kyambogo University and the data collected therefore it is
analyzed using the themes crafted from the objectives; To identify specific challenges and areas
of inefficiency that contribute to improper spatial utilization, To examine the various designs of
existing exhibition stands, To produce an exhibition stand to improve on space utilization in
Kyambogo University exhibition rooms.
4.2. Challenges artists face in getting exhibition space at Exhibition room.

The data for this study were collected through semi-structured interviews conducted with five
individuals closely involved in the exhibition space allocation process at the school of Art and
industrial Design. The respondents included faculty members, administrative staff, and the
practicing artists. These interviews were designed to elicit detailed information about the
challenges encountered by the artists in securing exhibition space.
The analysis of the interview data revealed several key challenges faced by artists in obtaining
exhibition space as explained below;
Limited Availability. All the five respondents highlighted the issue of limited availability of
exhibition space as a significant challenge. They noted that the demand for exhibition spaces
often exceeds the supply, leading to fierce competition among the displaying of their artwork.
Lack of communication. Four respondents highlighted poor communication channels between
artists and administrative staff as a significant barrier. They observed that artists often struggle to
obtain information about the available exhibition opportunities and the procedures for utilizing
the available space.
Administrative complexity. Two out of five respondents expressed concerns about the
administrative procedures involved in the allocating of exhibition space to the different art
students. Both the respondent described the process as cumbersome and time consuming,
involving multiple steps hence making the people exhibiting left with little time for exhibition.
Financial constraints. Three respondents of the five respondents identified financial limitations as
a key challenge to the administrative stuff. They noted that the high costs to put up proper
exhibition rooms with proper exhibition stands pose a significant barrier, particularly for students
and also the emerging talents who carryout exhibition at the department of fine art.
Implications for Exhibition Stand Design.
Based on the identified challenges, several design considerations for improving space utilization
in exhibition rooms at School of Art and Industrial Design can be proposed;

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Flexible Design. The exhibition stand should be designed to be modular and adaptable, allowing
for efficient use of space and accommodating varying exhibition requirements.
Enhanced Communication channels. Improved communication channels should be established to
facilitate better information sharing between artists and administrative staff, keeping artists
informed about available exhibition opportunities and allocation procedures.
Inclusivity Measures. Steps should be taken to promote inclusivity and fairness in the allocation
of exhibition space, ensuring that opportunities are accessible to artists at all levels of experience.
Streamlined Booking process. Efforts should be made to simplify the process for reserving
exhibition space, reducing administrative barriers and facilitating equitable access for all artists.
Financial support. Consideration should be given to providing financial support to the
administrative stuff around the department so that construction of improved exhibition rooms
with well improved exhibition stand are staged.
In conclusion, the analysis of interview data from the five respondents has shed light on the
challenges artists face in obtaining exhibition space within the School of Art and Industrial
Design at Kyambogo University. By addressing these challenges through strategic design
interventions, such as amore flexible and accessible exhibition stand, the school can create a
more supportive environment for artistic expression and promote equitable access to exhibition
opportunities.
4.3. The various designs of existing exhibition stand
The objective is to evaluate these designs to inform the development of an innovative exhibition
stand that optimizes space utilization in exhibition rooms. Insights gathered from three
respondents familiar with the local exhibition scene contribute to understanding the strengths and
weakness of the current designs.
The analysis of interview data yielded insights into the diverse designs of existing exhibition
stands and their impact on space utilization.
Traditional Booth Designs. Two out of three respondents highlighted the prevalence of
traditional booth designs characterized by rigid structures and fixed layouts. While these designs
provide stability and a consistent aesthetic, they often lack flexibility in adapting to different
exhibition spaces and varying display requirement.
Modular Exhibition Systems. One respondent mentioned the emergence of modular exhibition
systems that offer greater flexibility and versatility in space utilization. These systems typically
feature interchangeable components that can be configured to create custom layouts tailored to
the specific needs of each exhibition.
Custom-built installations. Another respondent noted a trend towards custom built installations
that maximize the use of available space and create immersive experiences for viewers. These
installations often incorporate innovative design elements and interactive features, enhancing the
overall impact of the exhibition.

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Evaluation of design effectiveness.
Based on the insights gathered from the respondents, the effectiveness of existing exhibition
stand designs can be evaluated as follows;
Traditional booth designs are reliable but may not fully optimize space utilization due to their
fixed configurations.
Modular exhibition systems offer greater flexibility use of space and customization according to
exhibition requirements.
Custom-built installations provide unique opportunities for creativity and audience engagement,
but their feasibility may be limited by budgetary constraints and technical expertise.
Implications for exhibition Stand Design.
Incorporating modular elements. The new exhibition stand should adopt a modular approach to
allow for flexible configurations and efficient use of space.
Emphasizing creativity and innovation. Drawing inspiration from custom-built installations, the
new stand should prioritize creative design elements that captivate viewers and enhance the
exhibition experience.
Balancing functionality and aesthetics. While aesthetics is important, the design should also
prioritize functionality and practically to ensure ease of use and versatility in different exhibition
contexts.
In conclusion, the examination of existing exhibition stands designs within and around
Kyambogo University provides valuable insights into the strengths and weaknesses of current
approaches to space utilization. By leveraging the advantages of modular design and innovative
elements, the new exhibition stand at the school of Art and Industrial Design can create dynamic
and engaging exhibition spaces that showcase the creativity and talent of its students and faculty.

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