Interactive exhibitions for businesses: A guide to design, planning and implementation

Traditional forms of presentation often reach their limits in this context. Individual exhibits, linear displays or static panels can convey information, but they usually fail to provide sufficient depth in explaining complex relationships. An interactive exhibition, however, offers a different framework. It combines content, narrative structure, interaction, space and software into a cohesive communication environment that is operated on a permanent basis within the organisation.

The key here is the logical sequence of thought at the outset: a good interactive exhibition does not begin with the hardware or the spatial design. First, the target audiences, communication objectives, content and the function of the space within the company’s day-to-day operations must be defined. Only then can the concept, the design and, finally, the technology be meaningfully derived from these elements.

This guide outlines what companies should bear in mind when designing, planning and implementing an interactive exhibition.

What is an interactive exhibition?

An interactive exhibition is a space where visitors do not merely view content, but actively engage with it. They choose their own paths through the topics, explore information in depth at their own pace, and understand connections through interaction. It is not the technology that matters, but its function: interaction should facilitate understanding and reinforce it in the long term.

In a corporate context, an interactive exhibition translates products, processes, technologies or brand values into a spatial form that provides guidance and allows for varying levels of detail. It is therefore not a mere collection of individual media, but a structured communication system.

What makes an interactive exhibition stand out

A compelling interactive exhibition

• provides a simple and intuitive introduction to a topic
  
• organises content in a clear and accessible way, tailored to the target audience
  
• offers meaningful opportunities for deeper exploration through interaction
  
• combines analogue and digital elements in a playful way
  
• remains easy to maintain and keep up to date
  
• encourages active engagement
  

How an interactive exhibition differs from a showroom, an experience centre and a traditional exhibition

In practice, these terms are often used interchangeably. However, this distinction is important for planning purposes, as it influences the concept and choice of media.

• A showroom is usually more sales-oriented. It showcases products, services or areas of expertise and supports specific decision-making processes.
• An experience centre is often more carefully staged and driven by brand strategy. It frequently focuses on values, visions of the future and emotional resonance. It is often aimed at a broader audience.
• A traditional, analogue exhibition usually has educational or scientific objectives and is not digital.

Interactive exhibitions in a corporate setting often fall somewhere in between. Their primary purpose is to present complex content in a clear and structured way and to guide different target groups interactively through the various topics.

Why companies are turning to interactive exhibitions today

Today, companies must convey increasingly complex content in an increasingly short space of time in a way that is easy to understand. Visitors’ attention spans are getting shorter, whilst expectations of digital solutions are growing. Products require more explanation, technologies are becoming more complex, and future-oriented topics are more demanding. At the same time, visitors expect more than just traditional product displays and information boards. They want to see what is relevant to them personally, how topics are interconnected, and what the company stands for.

An interactive exhibition is non-linear in nature and therefore offers a better experience than linear formats. It allows visitors to get an overview, explore topics in depth and engage emotionally all at the same time. Visitors can first get their bearings and then delve deeper into areas where their interest is piqued or where they feel the need for further discussion.

This is valuable for marketing and corporate communications, as an interactive exhibition allows the brand to be experienced not only visually and through its content, but also through multiple senses and on an emotional level. For senior management and strategic communications, this enhances the quality of interactions. The format is particularly well-suited to innovation and transformation, as it effectively showcases the company’s future-oriented themes.

Which businesses would benefit from an interactive exhibition?

An interactive exhibition is particularly useful when a company wishes to convey more than just individual product features or simple brand messages. It is useful when services require explanation, when topics need to be considered in context, or when key target groups with high expectations engage with the company. Typical venues where interactive exhibitions are used include production sites, innovation centres, corporate lobbies and technology-focused exhibitions in a B2B context. This format is particularly well-suited to companies in the industrial, energy, mechanical engineering, infrastructure, automotive, research, chemical and pharmaceutical sectors that offer complex products or services requiring explanation.

It is often medium-sized or family-run businesses that act as ‘hidden champions’. They are innovative global market leaders and invest millions in research and development. Unfortunately, these companies’ self-presentation often falls far short of what they are capable of. An interactive exhibition can help these companies present themselves effectively and boost their self-confidence.

Such an exhibition is also ideal for companies with a long history. For example, they can use it to mark company anniversaries and bring the company’s history to life. However, an interactive exhibition should not be confused with a traditional, rather sentimental corporate museum.

A practical example of an interactive exhibition

Ars Electronica Solutions and Garamantis have created the ZEISS Museum of Optics in Oberkochen, complemented by two interactive media installations dedicated to the past, present and future of ZEISS. A large-scale timeline can be explored digitally using a sliding multi-touch screen.

If you want to find out whether an interactive exhibition is the right choice for your business, it is often worth seeking expert advice at an early stage, even when you only have initial objectives, themes or ideas regarding the venue. Garamantis helps businesses to structure their requirements, realistically assess the potential, and develop a robust concept based on initial considerations.

First things first: clarify your objectives, target audiences and communication brief

The quality of many projects suffers because work on the technical aspects or the exhibition design begins too early. The crucial first step is a different one: first of all, it must be clarified what the exhibition is intended to achieve, who it is aimed at, and which messages take priority.

The target groups should be described as specifically as possible and prioritised relative to one another. Terms such as ‘customers’ or ‘visitors’ are not sufficient as definitions. What matters is who actually enters the room: their job title, their prior knowledge and the context in which they are visiting. An applicant requires a completely different approach to a delegation of experts. A potential customer requires a different structure to a long-standing partner.

Equally important is the communication objective. Is the exhibition intended to showcase technological expertise? Or is the aim to position the company as a leader in innovation? Or should it provide a framework for discussions or explain complex services in an accessible way? Only once these questions have been answered can the space be designed effectively.

5 key questions for the concept phase

1. Who will actually be visiting the exhibition?
2. What messages should visitors understand and remember?
3. What content should be included on the ground floor?
4. Which topics are suitable for further exploration?
5. How should the space be used on a day-to-day basis?

How content becomes an interactive exhibition: concept, dramaturgy and experiential logic

The actual conceptual work lies between gathering requirements and creating a functioning exhibition. Simply because content is digitised or made interactive does not automatically make it easier to understand. It only becomes effective when it is translated into a clear spatial logic.

A good exhibition therefore develops a narrative structure. This determines how visitors are introduced to a theme, how they find their way around, where it makes sense to explore topics in greater depth, and how individual themes come together to form a coherent overall picture. In terms of the physical layout, this is reflected, amongst other things, in the flow of visitors and in the varying lengths of time spent at the individual is reflected in the exhibition’s interactive installations.

Particularly in a business context, it is important to bear in mind that content is often not self-explanatory. Products, processes and areas of innovation must be presented in such a way that visitors are engaged from the outset, can quickly grasp the essentials and, if necessary, delve deeper into specific topics.

Not all content needs to be interactive. Interactivity is most effective when it highlights connections, opens up new perspectives or creates a sense of personal relevance. It all comes down to the interplay between the physical exhibition – such as a product display – and its digital extension. The magic arises from the playful interplay between these two worlds.

A practical example of an interactive exhibition

The ESA ESRIN Visitor Centre in Italy features an interactive exhibition on Earth observation. A modern media design and a specially developed sound concept create an immersive learning experience that makes complex topics accessible to all age groups. The exhibition was conceived and realised in collaboration between Garamantis and Ars Electronica Solutions.

Which stations and media are truly effective for an interactive exhibition

Only once the concept and content have been finalised should decisions be made regarding the specific media. In practice, many projects choose formats out of habit or enthusiasm for technology without first giving proper consideration to the concept and content. This often results in spaces that require a great deal of effort but lack a clear educational rationale. An example: An immersive projection room, which allows for full-surface projections on all four walls and the floor, is certainly appealing. Unfortunately, such a setup is usually far too expensive and rarely achieves the desired effect.

4 typical interactive stations

1. Interactive tables are particularly useful when content is to be explored and engaged with collaboratively. They are ideal for comparisons, navigation and joint interaction.
2. Media walls, LED walls and projections are effective when it comes to providing an overview, visual summarisation and capturing undivided attention.
3. Real exhibits and display cases remain important when physical products, materials or models play a role. Often, the greatest impact arises precisely from the combination of the object and digital enrichment.
4. AR, VR or immersive elements can be useful if they open up a form of engagement that would otherwise not be possible. However, they should never be an end in themselves.

What to consider when choosing a medium

• What role should the medium play?
• Will the space be explored freely or used in a guided manner?
• How many people will be interacting at the same time, or even collaborating?
• Does the content need to be updated regularly?
• Which interactive installations are durable in the long term and easy to maintain?

Spatial planning and technical infrastructure

An interactive exhibition can only work well if the space and technology support the concept. Problems often arise not from the idea itself, but from insufficiently defined parameters.

Key considerations include sightlines, circulation routes, communal areas, lighting, acoustics, power supply, networking, AV connections, security requirements and service access points. Particularly in existing buildings or multi-purpose spaces, these issues must be clarified at an early stage, as otherwise there is a risk of disappointment from the facility manager or security officer. Escape and rescue routes often play a crucial role in the planning process.

Spatial planning always involves guiding visitors. Visitors must be able to intuitively identify where the entrance is, which areas belong together, and where further exploration is worthwhile. Similarly, technical components must be integrated in such a way that they function reliably not only at the opening but also in the day-to-day running of the business.

Content for interactive exhibitions: What visitors really need to understand

Content is not a secondary element of the project. It is a central component of the exhibition. Visitors do not want to absorb as much information as possible; rather, they want to grasp the essentials. Good content therefore provides clarity rather than overwhelming the visitor. In an exhibition, content must be prioritised more carefully than in other media. Not every piece of information belongs at the first level. Good exhibitions provide an overview, go into greater depth and, where necessary, include a third level for details or supporting evidence.

Experience shows that videos, images and infographics are the most effective forms of content in interactive exhibitions. By contrast, few visitors are keen to read long texts. The key message must be quickly and easily grasped – or better still, experienced. This tiered approach is particularly crucial when dealing with complex topics. Companies in the technology, industrial, energy and research sectors require content that is neither oversimplified nor inaccessible, yet remains easily accessible. A non-linear multitouch software solution and a suitable CMS can deliver all of this.

It is also important to consider ongoing maintenance. After all, themes, products and projects change just as quickly as the company itself. It is therefore important to clarify at an early stage which content needs to be updated regularly and who is responsible for this. As a rule, interactive exhibitions support multiple languages simultaneously.

Software, CMS and control systems: the often underestimated heart of interactive exhibitions

Whether an exhibition works in everyday life depends not only on the media and the design, but also on the underlying system logic. Software, CMS and control systems are therefore not just an add-on, but the core of the system. The software determines how content is displayed, how the individual stations interact, and what the overall visitor experience of the exhibition is like.

A good content management system (CMS) ensures that content is managed and updated centrally and displayed consistently across multiple platforms. This is particularly crucial in organisations dealing with evolving innovations, multiple languages and decentralised responsibilities.

Equally important are roles, permissions and presets. Who is authorised to edit content? Which topics can be prioritised depending on the situation? How can different visitor modes be set up? Questions like these determine whether an exhibition remains manageable in day-to-day operations or becomes unnecessarily complex.

Interactive exhibitions usually using sensors that detect the presence and behaviour of visitors in the room. This allows the room to switch from standby mode to active mode, activate stations in line with visitor flow, and offer visitors appropriate content. These sensors (often LIDAR sensors or camera-based systems) send their signals to the control system and software, where they are processed.

A practical example of an interactive exhibition

Garamantis has organised the special exhibition “#Everyday Life in a Crisis – Communication During the Pandemic” designed to be interactive. The exhibition concept invites visitors to walk along a 30-metre-long timeline, retracing the pandemic and reflecting on it. As they do so, the timeline illustrates events, political decisions, the communications of selected key players, and milestones in the pandemic’s progression. Literally embedded within this timeline are 16 multi-touch monitors, where visitors can engage in-depth with crisis communication. A multi-touch table and a 360-degree rotatable multi-touch monitor form the central stations of the exhibition.

This is how a project for an interactive exhibition typically unfolds

Ideally, interactive exhibitions are developed through a structured process. Good projects generally follow a clear sequence.

First, the target groups, communication objectives and usage scenarios are defined. The next step involves https://www.garamantis.com/de/konzeptentwicklung/, usually with the support of external experts or agencies. Only on this basis are the design, media and software finalised. The project then moves on to the technical planning phase and finally to the construction phase. Before opening, content, user guidance and sensor technology must be tested in real-world situations. After that, operations begin, during which the content is maintained and the space is further developed and optimised.

8 Typical project phases

1. Brainstorming and inspiration
2. Clarification of objectives and definition of requirements
3. Creative concept
4. Detailed concept and technical planning
5. Design, media and software
6. Implementation and integration
7. Commissioning and handover
8. Operation and further development

What factors determine the cost of an interactive exhibition

The cost of an interactive exhibition depends neither on the word ‘interactive’ nor on the size of the space, but on the specific requirements. The key factors are the venue, the structural conditions, the level of customisation, the software, content production and subsequent operation.

The more a project is tailored to a company’s specific themes and target audiences, and the greater the degree of customisation, the higher the development costs are generally likely to be. Similarly, costs rise with the number of interactive stations. One of the biggest cost drivers is undoubtedly the necessary hardware. For instance, it may be possible to create an experience using relatively modest hardware rather than relying on large LED screens – but this should have been clarified during the concept phase. In any case, the quantity and quality of the hardware are among the most important factors when considering the overall budget.

It is also important to consider day-to-day operations. Content changes, systems require updates and technical components need to be maintained. Anyone who fails to factor these aspects into their budget will, over time, underestimate the actual costs involved. A good plan therefore not only improves the quality of the content but also reduces implementation costs. It minimises poor decisions and avoids unnecessary detours later on.

The most common mistakes when planning an interactive exhibition

Most problems arise from gaps and errors in the early conceptual phase. A common mistake is to start with the technology or the physical space before the target audiences and the communication brief have been clearly defined. Equally problematic is an imprecise definition of the target audience. If an exhibition is intended to appeal to everyone at once, without really distinguishing between the different ways in which it is used, it quickly becomes overloaded or haphazard. Another mistake is the lack of a visitor journey. Whilst this may result in individual interesting stops along the way, it fails to create a coherent narrative flow. Furthermore, technical decisions made too early often lead to the space being designed around the medium rather than the content.

It is essential that the plans are visualised in sufficient detail. Ideally, the entire exhibition should be modelled in 3D during the concept phase. Together with textual descriptions and mock-ups of the user interface, this provides stakeholders with a shared, clear picture – the basis for decision-making regarding implementation.

An initial, no-obligation consultation will quickly help clarify which target groups to focus on, what content is suitable, and which formats make sense in terms of space, technology and cost. This will give you a solid basis for decision-making at an early stage regarding the next steps – from the initial concept through to the planning and realisation of your interactive exhibition.

Checklist: Is your business ready for an interactive exhibition?

Before you begin, it is worth taking a realistic look at the current situation. Not every question needs to have been fully answered yet. What matters is whether the key requirements have been clarified sufficiently to ensure that a robust project can be developed.

Key questions

• Is it clear why the exhibition is being created?
• Have priority target groups been identified?
• Are the key content areas identified?
• Have internal contacts been informed and involved?
• Is a potential venue available?
• Are the initial technical and operational requirements known?
• Is there a proposed timeline leading up to the opening?
• Is it clear which budgets will fund the exhibition initially and during its ongoing operation?

If several of these questions remain unanswered, this is not a deal-breaker. It simply indicates that the project needs to be structured properly first. Garamantis offers free consultation appointments and provides non-binding support to help you take the first steps, from the initial idea right through to the opening.

FAQ on the interactive exhibition for businesses

What is an interactive exhibition in a corporate context?

An interactive exhibition is a space where visitors – as well as company staff – actively engage with the content rather than simply consuming it passively. It serves to convey products, services, processes or innovations in a way that is both understandable and emotionally engaging.

How does it differ from a showroom?

A showroom is usually more sales-oriented and product-focused. An interactive exhibition places greater emphasis on communication, structure and varying levels of detail. In practice, the two formats often overlap.

For which companies is an interactive exhibition worthwhile?

This is particularly relevant for companies offering services that require explanation, complex products or innovative solutions. These include sectors such as industry, energy, infrastructure, research and technology-driven services.

What technology is typically used?

Interactive tables, media walls, projections, digital display cases and other immersive formats are frequently used. What matters is not the individual technology, but its role within the overall system.

What role do software and CMS play?

They make content easy to maintain, manage and customise. Especially when dealing with changing topics, multiple languages and various usage scenarios, software and CMS are key to ensuring the system is fit for everyday use.

How will the content be maintained in the future?

This should be clarified at the planning stage. Key considerations include responsibilities, approval processes, update procedures and the question of which content needs to be updated regularly.

How long does the planning and implementation take?

This depends on the scope, level of customisation, spatial requirements and complexity of the content. Smaller projects can be implemented much more quickly (often within a few months) than large-scale corporate exhibitions involving bespoke software and structural integration.

What factors determine the costs?

Above all, interior design, the necessary hardware, the level of customisation, software and operations. A good plan helps to realistically assess and manage the workload and budget.