The Guinness Storehouse exhibition is done very well indeed. Here’re the techniques I thought worked well.

Clear traffic direction. Unlike the Book of Kells exhibition, the Storehouse design clearly channeled people through from point to point. This meant they could let in a significant volume of people while limiting traffic bottlenecks caused by people milling around.

Good use of video elements, with carefully pared-back keywords that communicated just enough. Without overwhelming detail. And without forcing visitors to go up close to read small type.


Integration of video with physical installations/equipment. To effectively show process and movement “inside” vessels and machinery.


Using life-sized videos as talking paintings (on high resolution screens.) By mounting these paintings at head height, in a darkened room, and with speakers directly above each painting meant visitors had to get up closer. It felt like listening intimately to a real person.

Use of non-flat, non-rectangular projection screens. To emphasise certain content (round screen to show the barley being spun and roasted) and to reinforce the environmental architecture (the screens make up the cylindrical architectural element.)


Great use of water for movement, sound and drama. It looked like most visitors connect with this part of the exhibit powerfully. There is something vital about rushing, thundering, splashing water. Guinness’ Water of Life programme is a most appropriate CSR activity given the importance of water to beer making. (And no, the water used to make Guinness does not come from the River Liffey.)


The integration of social media and technology-mediated narcissism is also interesting. You can make Facebook posts from touchscreens on-site (not working when I was there), post messages to a world map (so you see your name on the projected globe), and take funny photos in photo booths (which were clearly very popular with large mobs of giggly youths.)