When developing a plan, programme, policy, building, or product, environmental design is the process of taking into consideration the

parameters of the immediate environment. The goal of environmental design is to develop spaces that will enhance a location's physical, social,
cultural, and natural environments. The environment is one factor that is always taken into account in classical design, but the environmental
movement, which began decades ago, has given this idea more life.

Museums, visitor centres, historical parks, themed entertainment venues, trade exhibitions, corporate environments, expositions, and retail
establishments are just a few of the many applications for exhibition design. It uses actual space as well as visual storytelling to build
comprehensible environments.
Enviromental Exhibtion Design is the merging and integrating method presented by communication and performative exhibition
practises is reworking the pre-existing spaces culturally and physically. Exhibition design is a preferred study framework for
redefining interior spaces value-ratio in modern architecture debate. Innovative planning for shifting strategies simultaneously
and knowledge dissemination is used in the design of exhibitions. As a result, it developed into the most intriguing and cutting-edge
interior design project act, capable of transforming performance venues into crossing experiences created additionally with
meanings diffusion and "surfing" knowledge approach.

Enviromental Exhibition design is a distinct method of managing and developing interior territories with a multimodal approach
whose results are compatible with contemporary social landscapes is the exhibition design direction. Now that the installation of
an exhibition space has begun, its multidisciplinary scope and increasing complexity are beginning to become apparent. The
experiential component, of which the exponential usage of digital solutions is merely an external result, will continue to grow in
importance and will lead to the creation of ostensive solutions that look to new classification parameters capable of
encompassing several concurrent organising relationships.

These parameters represent a variety of super-structural rationalisation process aptitudes that bring real courses and imagined
journeys into close proximity, into complex changing landscapes where place, objects, and viewers' perceptions and myths rise to
the surface. These landscapes are created by production act, supervising to thoughts and actions as independent and symbiotic
designer and visitor conditions.
Visibility
the more visible you are, the
more attention you attract.
This is not just about prime
positioning but about
standing out from the
crowds – think height, width
and colour
Proximity Positioning
play where the people while the eyes aren’t the
play. Be best positioned only sense to be engaged
to take advantage of the they must be prioritised
crowds and as close to when considering position-
the action as you can ing. Place your key attrac-
afford tion or messaging at eye
level – this is what attracts
attention and draws in
your audience
Realism Sensory overload
the exhibition needs while sensory stimulation is key, overload is a
to feel real to con- detractor. Ensuring that these all work
sumers. By placing together, harmoniously, and the stand doesn’t
the product in a real become too busy is pivotal to ensuring
environment they attraction
best understand
how it works and its
importance
 environmental practices have been slow to catch-on with exhibit design and production. Part of the reason is that exhibit design
is multi-disciplinary and not a single standard can be applied. It is much harder to create guidelines when the medium has infinite
possible ways of executions.

Materials Formaldehyde Free Energy (lighting

-Repurpose and re-use:
Museums are regularly
keeping an inventory of
cases, pedestals, and bases
from previous displays.
Then all the inventory will be 
evaluate for the alternative
-Plywood and other composite woods are attached
together using formaldehyde adhesives, which
generate toxic fumes. They have the potential to cause
damage to fabrics, papers, and other organic
materials.
-LED lighting has advanced significantly. LED lights have always been
energy efficient, but the colour variety in the light they create has been an
issue. Furthermore, because LEDs produce little heat, they have a smaller
impact on room temperature. When compared to a traditional halogen
system, the LED lamps saved approximately 83 percent of the energy.

VOC Free Paints Environmental Controls

of not producing new
components. Moreover, the
design of new items may
-Allowable VOC (volatile organic compound) levels in -Temperature and humidity in exhibitions are one of the
also be conceived for re-use
paints and products such as aerosol air fresheners, most difficult environmental concerns for museums.
in the future.
carpets, and furniture have increased since VOCs However, The solution to this problem is building-wide,
contribute to ozone and smog formation and are which consequently lies outside the scope of the
connected to respiratory ailments and memory exhibition designer for the most part.
impairment. AFM Safecoat is another choice, although
it comes in fewer colour possibilities. However, oil based
paints and stains are best avoided.