The brand identity Trigger conceptualised for ‘The 80s Are Back’ referenced quintessential 80s motifs and made them relevant for a contemporary audience. For instance, the campaign embraced graphic elements from the Powerhouse Museum’s former logo, designed in the 80s, as well as other 80’s touchstones. Trigger named the exhibition, conceptualised and art directed all photography and illustration. Trigger created 5 archetypal characters that featured in the exhibition as life-size moving projections and were utilised through out the marketing campaign. Campaign collateral and tasks extended to copywriting, environmental design, print and web graphics, merchandise design, staff uniform design and design of iphone applications. The brand identity for the marketing campaign dovetailed with the exhibition that Trigger also designed, in association with Toland Architects. The presence of Trigger over all exhibition and marketing design, and its unique collaborative relationship with the Powerhouse Museum, helped to create a compelling brand experience. The exhibition was extended three times due to popular demand.

Trigger worked with iconic Australian designer Richard Allan to develop the visual identity for the Powerhouse Museum’s exhibition ‘Marc Newson: Design Works’, a retrospective of the famous designer’s work. The design features a profile portrait of Newson against a background of stars, referencing the designer’s reputation as a design ‘rock star’. Trigger was responsible for developing and applying the identity across all areas of environmental, print and advertising. Trigger also designed all exhibition graphics including a 20 metre graphic feature wall which charts Newson’s journey through his sketches and landmark design achievements.

Trigger was commissioned to re-brand Shear Outback Museum to provide a more lively and contemporary feel without losing its rural characteristics. The original identity was refreshed with typefaces referencing wool bale stenciling, ledgers and log books. Trigger provided the museum’s promotional copy writing strategy. The identity was applied across all collateral of the museum including tickets, brochures, flyers, website and digital. The entry experience was enhanced with: clear signage explaining the museum’s charter, advertising for a temporary show and orientation for visitors. In tandem with the design of the museum brand, a Trigger designed the visual identity for the ‘Shear Strife Sound and Light Show’, a special evening show in the grounds of the museum.

Trigger created the Powerhouse Museum tourism brand - targeted at families with children. The premise of the brand is that the Powerhouse Museum is a place to ‘be inspired’. The wonder of the museum is inspirational to children and adults alike. The gatefold brochure graphically explains this as the image of the child transitions to the image of the adult. The ‘+’ in the museum’s logo is a graphic symbol representing inspiration. Trigger cast and art directed photography and applied the design across brochure design, complimentary tickets and print advertising among other media.

Trigger created a visual identity for the Powerhouse Museum Shop packaging. The design expresses the museum’s science and design charter incorporating line abstract representations of architectural design, circuit boards and multiple trajectories present in information architecture. The striking black and silver colour scheme accents to museum’s focus on technology in its collections and exhibition design.

Trigger designed site-specific environmental supergraphics and smaller pieces for the ‘The 80s are Back’ marketing campaign that appeared at key sites at the Powerhouse and throughout the city. As well a central androgynous hero character, who appeared standing for portrait orientated outdoor and supine for landscape orientated outdoor, Trigger created 5 archetypal characters that featured throughout the marketing campaign and in the exhibition as life-size moving projections. Trigger also wrote copy such as the main marketing tagline ‘Rewinding 80s culture’ which appeared on outdoor.

Internationally renown architect Shigeru Ban and architecture firm Toland have partnered with Trigger to win the project to revitalise the Powerhouse Museum. The project brief to create an ‘open museum’ is realised in the design for an exciting new entry experience and a reconfiguration of the museum’s exhibition, educational, workshop, function and public spaces. Trigger has been a key member of the team’s multi-disciplinary think-tank group, working across all areas of the project, and brings special expertise to bear on strategies to enhance the visitor exhibition experience, the integration of new and existing technologies and design of environmental signage and graphics. The project is due for completion in late 2011.

Trigger was commissioned to re-brand Shear Outback Museum to provide a more lively and contemporary feel without losing its rural characteristics. The original identity was refreshed with typefaces referencing wool bale stenciling, ledgers and log books. The identity was applied across all collateral of the museum including tickets, brochures, flyers, website and digital. The entry experience was enhanced with: clear signage explaining the museum’s charter, advertising for a temporary show and orientation for visitors. In tandem with the design of the museum brand, a Trigger designed the visual identity for the ‘Shear Strife Sound and Light Show’, a special evening show in the grounds of the museum.

Artist Marion Borgelt created a large scale outdoor sculpture in the grounds of the Shear Outback Museum in Hay, in south western corner of New South Wales. The ‘Round Up Maze’ is inspired by the award winning aerial photograph taken by photographer Peter Leaver, featuring a mob of 2000 sheep being mustered on the Hay Plains. The maze is an interactive experience for visitors to understand what it means to be inside sheep yards – the sights, the sounds, the dusty atmosphere. Trigger was commissioned to design panels to interpret aspects of the maze’s construction and meaning and assist in orientating visitors. Typefaces used reference log books and ledgers from sheep stations in the area. Smaller interpretive panel’s within the maze are signposts for an interactive audio tour.

Trigger, in association with Toland Architects designed ‘The 80s Are Back’, a major exhibition at the Powerhouse Museum that inspired thought and reflection on the culture of the 80s. The unconventional and adventurous exhibition design has won accolades for the Powerhouse.

For visitors, the journey began through a ‘time-warp’ tunnel flooded with projections, lighting and sounds to stimulate and disorientate. The exhibition was an immersive experience of interactive displays and static objects, including retro computer gaming and an interactive ‘music’ cube installation of 80’s music for dancing. Over one thousand Magic Cubes were used for the feature title wall, around which a special event was created to engage Museum volunteers and staff.

Trigger Toland’s responsibilities began with naming and branding the exhibition, through to the overall 3D concept, design of both interactive and audio-visual displays and graphics. The Trigger Toland team also worked with the Powerhouse team on the design of the overall marketing campaign, exterior environmental design, print and web design, live action video art direction, photographic art direction, graphics for web, merchandise design, Museum staff uniform design and design of iphone applications.
The task was complex and the time frame was tight – just 12 weeks from initial sketch designs through to documentation, construction and fabrication, installation and public launch.

It was featured on overseas news providers such as the BBC. It has created an invigorating buzz for the Museum and has been instrumental in attracting new visitor demographics. The exhibition was extended 3 times due to popular demand.

Trigger was commissioned to design a travelling exhibition investigating Shearer’s Cooks – the folklore of the shearers cook profession; its history; conditions in the cookhouse, now and in the past; the Cook’s role in looking after the physical and emotional well being of the shearers; the cooks working today; and the type of food prepared. To help evoke the atmosphere of shearers’ cooks working conditions in the exhibition design materials in their natural state were used and the geometry seen in many shearing sheds was referenced. A table laden with photographic food images displays the typical amount of food one shearer would consume in a day and simulates a typical table setting. Overcoming budget restraints required design ingenuity in the design. Inspiration and direction was derived from the philosophies and practices of shearers’ cooks – using available and cost effective materials and tools in inventive ways. Triangular shapes cut out of the structural plywood panels removed more than 50% of the exhibition’s weight, whilst maintaining rigidity, making the exhibition lighter and less expensive to transport. The innovative concertina design of the exhibition allowed much of the structures to be folded up and stored flat for transport. Typography was developed from a study of stencilling on wool bales and was hand stencilled to the image panels.

‘Hot as Hell’ was an exhibition about the effects of heat and how rural Australian coped with it, staged across the country town of Hay’s five museums. To evocatively communicate the exhibition theme all interpretative structures were designed to resemble melted forms – there are no straight lines – and swimsuit fabric was the material used for the interpretive text and image panels. The exhibition had an interactive component, inviting visitors to tell their stories about the heat, and to read other visitors’ stories. These stories were arranged in ‘scrolls’ which were held in place by a gauze panel built into the interpretive structures. The exhibition also included supportive print material which won the best poster award at the Museums Australia Multimedia and Publication Design Awards in 2005.

Graphic Material was an exhibition of works by designers that question the material boundaries of their discipline, held at the UTS Gallery in August 2010. Trigger was selected to participate along with studios: Bert Simons, Mark Gowing Design, Multistorey, Collider and Toko by curator Aaron Seymour. The work, titled ‘Experiment’, investigates how 'users' can create different experiences within the same 'machine'. The ‘machine’ is 151 cardboard tubes clustered into a 1000mm diameter circular form through which individual images are projected using LED light pulses. Each image is a cell that 'tweens' to the adjoining cell in all directions. Movement in any direction captures a series of projections that can form an animation which is: non linear, has no beginning or end and thousands of narrative possibilities. Movement of the user determines the content and speed of the animation. The projections of figurative and abstract images are derived from the designer’s dream-motifs, but are unaligned to any prescriptive storyline to provide opportunities for the user to construct their own narrative sequences and meanings. Users become editors. The editing process is a mix of movement and vision - in a word - dance. Designer Gregory Anderson explains, ‘I am interested in seeing how people use their bodies when absorbed in facilitating the animation and also how will they look moving under the illumination of 151 circular animation cells. What quality will this movement have in the terms of a dance language? I also like the fact that his 'machine' or 'device' is the opposite of the usual sedentary state of ‘experiencing’ an animation.’

Trigger worked with iconic Australian designer Richard Allan to develop the visual identity for the Powerhouse Museum’s exhibition ‘Marc Newson: Design Works’, a retrospective of the famous designer’s work. The design features a profile portrait of Newson against a background of stars, referencing the designer’s reputation as a design ‘rock star’. Trigger was responsible for developing and applying the identity across all areas of environmental, print and advertising. Trigger also designed all exhibition graphics including a 20 metre graphic feature wall which charts Newson’s journey through his sketches and landmark design achievements.

The ‘The 80s Are Back’ printed material that Trigger conceptualised and produced for the Powerhouse Museum exhibition featured print advertising, brochures, complimentary passes and invitations.
The invitation design involved a six colour print on thick toothy uncoated stock, and included two fluorescent inks and a holographic foil stamp – referencing two key 80s graphic innovations. The brand identity Trigger conceptualised for ‘The 80s Are Back’ referenced quintessential 80s motifs and made them relevant for a contemporary audience. For instance, the campaign embraced graphic elements from the Powerhouse Museum’s former logo, designed in the 80s, as well as other 80’s touchstones.

Trigger redesigned the Powerhouse Museum’s quarterly ‘What's On’ publication to reflect the Museum’s core drivers of science of design. The design is functional and direct. Each season is represented by a fluorescent colour. The block coloured covers are easily distinguishable against competitor institutions materials. The cover text clearly delineates the institutions name and its relevance to the current time period. It is a densely informative publication, yet carefully balanced design ensures it does not appear over burdened with material. The design communicates that the Powerhouse is not your average museum. It is place where contemporary practices are highlighted, and there is an emphasis on making and doing.

‘Powerline’ is a visually alluring publication with a design focus. The clean, crisp design showcases the pictorial and written content of the magazine. Trigger's mission has been to create a consistently high quality publication and ensure that every issue resonates with the reader. Thoughtful art direction of Powerline has enhanced its reputation as a lively and accessible read for all Powerhouse members. At the outset of designing Powerline, Trigger undertook an editorial audit and reorganisation in close collaboration with the editor, ensuring that design was not a superficial stylistic varnish but an intrinsic part of the fibre of the publication. The design of Powerline has enhanced and extended the visual direction of the Powerhouse Museum’s identity – the Museum has incorporated graphic elements into the Museum's master identity.

Trigger was commissioned to re-brand Shear Outback Museum to provide a more lively and contemporary feel without losing its rural characteristics. The original identity was refreshed with typefaces referencing wool bale stenciling, ledgers and log books. The identity was applied across all collateral of the museum including tickets, brochures, flyers, website and digital. The entry experience was enhanced with: clear signage explaining the museum’s charter, advertising for a temporary show and orientation for visitors. In tandem with the design of the museum brand, a Trigger designed the visual identity for the ‘Shear Strife Sound and Light Show’, a special evening show in the grounds of the museum.

Trigger worked with iconic Australian designer Richard Allan to develop the visual identity for the Powerhouse Museum’s exhibition ‘Marc Newson: Design Works’, a retrospective of the famous designer’s work. The design features a profile portrait of Newson against a background of stars, referencing the designer’s reputation as a design ‘rock star’. Trigger was responsible for developing and applying the identity across all areas of environmental, print and advertising. Trigger also designed all exhibition graphics including a 20 metre graphic feature wall which charts Newson’s journey through his sketches and landmark design achievements.

Trigger created the Powerhouse Museum tourism brand - targeted at families with children. The premise of the brand is that the Powerhouse Museum is a place to ‘be inspired’. The wonder of the museum is inspirational to children and adults alike. The gatefold brochure graphically explains this as the image of the child transitions to the image of the adult. The ‘+’ in the museum’s logo is a graphic symbol representing inspiration. Trigger cast and art directed photography and applied the design across brochure design, complimentary tickets and print advertising among other media.

Trigger created a visual identity for the Powerhouse Museum Shop packaging. The design expresses the museum’s science and design charter incorporating line abstract representations of architectural design, circuit boards and multiple trajectories present in information architecture. The striking black and silver colour scheme accents to museum’s focus on technology in its collections and exhibition design.

Trigger was commissioned to re-brand Shear Outback Museum to provide a more lively and contemporary feel without losing its rural characteristics. The original identity was refreshed with typefaces referencing wool bale stenciling, ledgers and log books. The identity was applied across all collateral of the museum including tickets, brochures, flyers, website and digital. The entry experience was enhanced with: clear signage explaining the museum’s charter, advertising for a temporary show and orientation for visitors. In tandem with the design of the museum brand, a Trigger designed the visual identity for the ‘Shear Strife Sound and Light Show’, a special evening show in the grounds of the museum.

Trigger worked with the innovative and hard working team at The Powerhouse Museum’s Digital, Social and Emerging Technologies Department on ‘The 80s are Back’ website to provide key visual tools for the website. Within the exhibition, Trigger engineered a style guide for all audio-visuals, including animation specifications. Trigger also designed the interface for all interactives. In effect the whole exhibition and pre-exhibition experience was integrated with branded graphics and consistency of message.

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