aztecs rise again

Case Study:
Museum of
New Zealand
Te Papa Tongarewa
VECTORWORKS HELPS THE
AZTECS RISE AGAIN
IN NEW ZEALAND
Case Study: Museum of New Zealand Te Papa Tongarewa
What do you do for an encore after working on the set
Tongarewa (Te Papa). “I always loved museums and would seek them
out,” recalls Barraud. “And it seemed like the required skillset would be
complementary to what I had been doing because they are both quite
theatrical in nature and rely on similar software.” He got the job and learned
to use Vectorworks Spotlight, the program that lighting, scenic, set, theatre,
exhibit, and event designers use to make their productions memorable.
design team for The Hobbit: An Unexpected Journey,
which garnered three Oscar nominations and more
than $300 billion at the box office? If you’re designer
Ben Barraud, you bring the fascinating and
Since New Zealand is a small country, Te Papa fills the role that multiple
art and history museums do in a big city. Providing visitors with a wealth
of experiences gives Barraud great opportunities to try different things.
For example, he designed A Day in Pompeii, which showcased Italian
artifacts. He also collaborated on The Mixing Room, an exhibit revealing
the stories of refugee youth whose families found homes in New Zealand.
Barraud especially enjoyed putting together the Collecting Contemporary
exhibit, which fused recent contemporary art exhibitions, as well as the
German initiated European Masters: 19th-20th Century Art from the Städel
Museum, an exhibit spanning different eras, from post impressionism to
expressionism and through to modern art.
controversial Aztec civilization back to life on the
other side of the world.
A native New Zealander, Barraud attended Dunedin School of Art in
Wellington, New Zealand. He then ventured to New York City in 1993 to
do some traveling. He ended up building a 15-year career there, first art
directing commercials and then working in the film industry where he was
a set designer, production designer, and art director, using Vectorworks®
Fundamentals software to produce and communicate his design visions.
The last New York-based film on which he collaborated was the highly
acclaimed Julie and Julia, which was nominated for an Oscar and received
numerous other notable awards.
Following those successful exhibits, Te Papa graciously extended Barraud
a 16-month leave of absence to serve as set designer and second unit art
director for The Hobbit, which was filmed in New Zealand. Barraud used
Vectorworks as part of a large team that created the legendary Esgaroth
Lake-town for the movie.
In 2009, Barraud returned to New Zealand with his family and settled in
Wellington. Then he saw something that changed his life: a job posting for
an exhibition designer for the Museum of New Zealand Te Papa
atrium cross
10-341001
10-264705;
10-26497
P
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Spanish conquest screen
EP
TIO
N
D
ES
K
case
27THE LEGACY
OF THE AZTECS
sacred
heart
AND
AZTE
SHOP
CONQUEST OF
THE SPIRIT
ENTRY
case
21
stamp
station
case 05
case 2
THE DUALITY
tombstone of Feathered
Tezcatlipoca serpent.
21.pj.8
A-66602
knives
10-220280
awl.
snake head
TLALOC AND GODS
OF LIFE AND FERTALITY
Cuahxicalli
Eagle
10-252747
case 28
case 29
case
33
autosacrice
casket.
heart of
10-466061 sacrial stone
jade.
reg.21pj.446 10-392930
e
cas
04
codex Ramirez
B000457
Xilonen
ceremonial
vessel
Clay Tripod brazier
10-252951
Goddess of agriculture
conch
10-220919
Ceramic almena
or merlon,
part of a battlement
case 31
cod
Quetzalcóatl
case
10
case
12
case
11
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before com
gured dim
any discre
Manager b
the work. T
copyright a
retained, c
the author
Museum o
case 32
basalt bench
10-262564
10-265072
tombstone
skull mask
10-162934
case
35
Mictlanecuhtli
10-264984
1200X1200X2400mm
glass case
Tlaltecuhtli
10-262523
Tepetlacalli
Tláloc
case
36
Offering
106
canoe and
trident
Death
reg.21.pj.398
JOURNEY TO MICTLAN
Mictlantecuhtli
Cihuateotl
TEMPLE
ENTRANCE
case
37
custom acrylic case
TEMPLE
EXIT
Dog
case
38
back-lit skull wall graphic
skull nails
MAYVART CASE INDEX
case 01 JOURNEY FROM AZTLAN CASE
case 13 TRADE CASE
case 09 NOBLES & COMMONERS CASE
case 14 MAGICAL ANIMALS CASE
case 12 XILONEN CASE
case 26 MOCTEZUMA CASE
case 25 CORTEZ CASE
Locust
PH 01-0293
female sculpture
THE FAMILY
AND
EDUCATION
solar disc
calendar
10-13570
Piedra
Reg 21
pj.447
snake sculpture
10-266092
Notes:
Owl character
with helmet
case 20
RITUALS, AND RELIGOUS
CEREMONIES
HUMAN SACRIFICE
ceramic brazier
10-639181
temple
marquet
10-496916
case 22
case 23
HUITZILOPOCHTLI AND THE GODS OF WAR
CONQUEST & DEATH
snakehead from
case 30 top of balustrade
case
03
custom step or plinth
1
ni
stamp
station
Chicomecóatl urn
ice
botu
case
08
case
18
stamp
station
THE TEMPLO MAYOR
stamp
station
EMPERORS AND
AZTEC GOVERNORS
Coyote
Throne
10-83992
case 17
day one glass case
AS
E0
AGRICULTURE
JOU
RN
EY
l
bal ring
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x
Co de
a
Borgi
KEY
Solar ray sculpture that
represents a
ray of the sun
FRO
MA
ZT
LA
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l
case 13
EXHIB
Chacmool
10-10941
NC
ket
am
ar
of
ng
nti
pai
's
Riv
era
TRADE
DRAWIN
Xiuhtecuhtli
AZTEC
TRIPLE
ALLIANCE
gam
ME
GA
LL
BA
g
tin
sea
CUSTOM ACRYLIC CASE INDEX
case 28 Sacrice case
case 29 Barzier case
case 30 Barzier case
case 31 Basalt Bench case
case 32 Tombstone case
case 33 Jade heart case
case 34 Skull mask case
case 35 Offering case
case 36 Dog case
case 37 Skull Nail case
case 38 Mask case
case
mask
39 10-168801
Ehécatl Quetzalcóatl
A-36229; 10-109262
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bal ring
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cas
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MARKET
DAY ONE CASE INDEX
case 02 gods of the 4 directions case tp 96
case 03 temple marquet case tp46
case 04 codex case tp25
case 05 masks day one wall case
case 06 emperor case tp114
case 07 lip plug case tp28
case 08 tribute case tp93
case 10 family case tp36
case 11 education case tp35
case 15 brazier case tp99
case 16 anthropomorphic brazier case tp113
case 17 incense burners & brazier case tp45
case 18 Tarascan case tp37
case 19 currently out of show tp 96
case 20 gods of life and fertility case tp112
case 21 gods of life and fertility case 2 tp95
case 22 calendars case tp33
case 23 duality case tp30
case 24 Teotihuacan & Toltec case 41
case 27 Florintine codex case tp49
Standard-bearer
Zoomorphic
frog sculpture
10-168740
MA
RK
ET
Anthropomorphic brazier
[warrior brazier]
DIO
RA
MA
Snake warrior
Standard bearer
seating
pas
am
chin odel
m
Temalácatl
THE
FLOWER WARS
AND WARRIORS
gam
e
cas
24 CONQUEST
AND
MILITARY EXPANSION
stamp
station
cas
e
07
NOBLES AND
COMMONERS
Eagle Warrior
Anthropomorphic jaguar gure
Fragment of a mural painting
Atlantean gure
DEVE
DESIG
cas
e0
6
stamp
station
Portrait of
Cortez
cas
e1
6
eagle
10-203440
Atlantean gure
case 26
cas
e0
9
case 25
clay brazier
10-253182
PROJEC
C
MOCTEZUMA II
THE LAST RULERS
religous
sculpture
RE
baptismal font
10-544945
EXIT
THE SPANISH
CONQUEST
Revisi
REV 1Structu
Temple
REV 2new ob
schedu
REV 3added.
Drawing Num
AZT
1200X700mm wall unit
Ben Barraud worked with Vectorworks Spotlight software to create a detailed exhibit plan that chronicled the Aztec civiliation.
kids trail station
Drawn by:
Scale:
Date:
touch screen interactive
Checked by:
EXHIBITION PLAN
Scale: 1:150
App. by: MO
Date:
Case Study: Museum of New Zealand Te Papa Tongarewa
The rendered concept design below reveals a wide view of the south end of the gallery, which is realized in the live photograph shown here.
Welcome to the Aztec World, 500 Years Later
Then came Aztecs: Conquest & glory, from late September 2013 to
February 2014, which chronicles the 200-year history of the Aztec
civilization, from its meteoric entrance in 1325 to its equally quick demise
at the hands of the Spanish in 1521. The show is a major endeavor and
marks the first time that it is touring the Southern Hemisphere. In fact,
the Aztec culture has only been displayed in a handful of exhibits. When
it was showcased by London’s Royal Academy of Arts in 2002 and 2003,
it was heralded by the public and called “powerful and macabre” by The
Observer. Te Papa’s exhibit will enjoy the limelight in other cities,
as well. Barraud carefully designed it to be packaged and shipped to two
other museums—the Museum Victoria in Melbourne and the National
Museum of Australia in Sydney.
Barraud and curator Lynnette Townsend built the exhibit from the ground
up. Their Mexican partners and a team of curators selected about 200
rare artifacts culled from more than 30 museums across Mexico. Two full
planeloads transported elaborate pottery, jewelry, and vessels around the
world. Working with Vectorworks Spotlight software, Barraud created a
design that integrated the wealth of artifacts, including golden medallions,
large carved stone figures, and intricate containers, into a stunning
backdrop supplemented with models and multimedia displays to tell the
complete Aztec story. Barraud says, “It was wonderful to see all the Aztec
treasures and design combine to bring the Aztec story to life.”
Project Ofce, 2nd Fl.
Te Papa, Cable Street
Wellington, NZ
(tel) +64-4-381 7000
(fax) +64-4-381 7070
PROJECT TITLE
AZTEC
This exhibit was seven years in the making, the result of a trade with
Mexico’s National Institute of Anthropology and History. Since New
Zealand has an isolated history, the Museum saw this as an opportunity
to shine a light on a markedly different culture, known for its artwork,
jewelry, and, of course, its human sacrifices.
90% CONCEPT DESIGN
DRAWING TITLE
GALLERY WIDE VIEW
Notes:
Check all dimensions on site
before commencing. Work to
gured dimensions and report
any discrepencies to the Contract
Manager before proceeding with
the work. This drawing is
copyright and must not be
retained, copied or used without
the authority of the
Museum of New Zealand
Revision Notes:
Drawing Number:
Revision:
AZT-4005
WIDE VIEW OF THE SOUTH END OF THE VISA GALLERY
Drawn by:
Scale:
Date:
Checked by:
App. by: MONZ
Date:
BB
07/11/2012
He and the curators felt it was important to introduce the oftencontroversial Aztec world slowly. First, visitors are immersed in the
Aztec’s daily life, learning about agricultural practices like the gardens
they built on a lake. This experience is contextualized with items
representing things that were happening concurrent to that era in New
Zealand. Then, visitors can decide to enter the temple to learn about the
gods and the sacrificial rituals, which included human sacrifices, as well
as dismemberments.
Barraud carved out this sacred inner chamber space for several reasons,
even though the actual Templo Mayor was a monument without an
interior. First, he notes, several artifacts were used for the Aztecs’ daily
946
851
5021
3027
Project Office, 2nd Fl.
Te Papa, Cable Street
Wellington, NZ
(tel) +64-4-381 7000
(fax) +64-4-381 7070
3777
PROJECT TITLE
AZTEC
TEMPLE MAYOR
2557
DESIGN
DRAWING TITLE
500
FIBREGLASS COMPONENTS
ELEVATION B2
Scale: 1:50
ELEVATION B1
Scale: 1:50
ribbed fibreglass
balusters bolted to aluminum
brackets.
ribbed fibreglass
panels bolted to aluminum
brackets.
Notes:
Ribbed fibreglass shell
bolted to Aluminum frame
Ribbed fiberglass baluster
bolted to Aluminum braces.
fibreglass moulded
steps glued to
plywood substrate.
bolted to aluminum
braces.
Check all dimensions on site
before commencing. Work to
figured dimensions and report
any discrepencies to the Contract
Manager before proceeding with
the work. This drawing is
copyright and must not be
retained, copied or used without
the authority of the
Museum of New Zealand
Revision Notes:
B2
Barraud used the Templo Mayor as the exhibition’s larger-than-life focal
point. He designed and constructed a smaller 1:10 scaled version and
echoed the layout of that precinct by placing cases, walls, and plants
around the temple in a similar radiant fashion. Since the temple had to
be flat-packed for future travel to Australia and designed to withstand
the threat of local earthquakes, Barraud made it light with an aluminum
framework and PVC multi-board painted to look like stucco.
ribbed fibreglass
shell bolted to aluminum
brackets.
2838
Drawing Number:
Revision:
AZT-3040
SECTION 1
Scale: 1:50
PLAN
Scale 1:50
1
Barraud estimates that it took about one year to develop the project
from concept to completion. His inspiration was the centerpiece of Aztec
culture, the nearly 200-feet-tall Templo Mayor. This “Great Temple” was
buried for hundreds of years under a Catholic cathedral erected by Cortez
and the Spanish conquistadores when they defeated Montezuma. It
came to light in the mid-1900s and was excavated in the 1970s. The
Templo Mayor Museum now stands on the same spot in Mexico City.
That’s where most of the artifacts in the exhibit hail from, including large
gold statues that hung from the temple, ceramic and stone figures, evil
warriors, and other representative pieces.
1
The Great Temple Guards Ancient Secrets
1202
Case Study: Museum of New Zealand Te Papa Tongarewa
Note:
Interior walls not depicted for
clarity of structure.
Drawn by:
Scale:
Date:
Checked by:
App. by: MONZ
BB
1:50
10/06/2013
Date:
B1
Since the Templo Mayor had to be flat-packed for future travel to Australia, it was
designed with an aluminum framework and PVC multi-board painted to look like stucco.
human sacrifices, made on the Templo Mayor to ensure the sun would
rise in the morning. Second, the native New Zealand Māori culture is
especially sensitive to the proper handling of human remains, which are
also present. And third, the temple absorbed so much floor space that
building a chamber granted them much-needed display space.
“This is a real insight into the Aztec culture,” Curator Townsend remarks
of the temple. “It’s dramatic, vibrant, and incredibly intriguing.” Visitors
enter the interior by passing by the stone God of the Underworld,
Mictlantecuhtli, as well as a large stone eagle that weighs three-quarters
of a ton. It has a hollowed-out basin in the top of its back that once held
human hearts. Visitors can also view a skull mask with a blade in its
mouth that’s was crafted from an actual human skull.
Exhibit visitors are slowly immersed in the Aztec’s daily life before entering the temple to learn about the gods and sacrificial rituals.
Case Study: Museum of New Zealand Te Papa Tongarewa
1000
CASE 25
CORTEZ CASE
2 x mayvart cases
Quality Euro 125kg
Display brushed
nylon.
"Burgundy"
E.93
Miniature jar
[ceramic, ie red clay]
60mmH x 50mm diam.
E.6
Olive pot
[ceramic, ie red clay]
290mmH x 255mm diam.
OBJECT PLINTH PLAN
Scale: 1:20
PROJECT TITLE
AZTEC
600
150
DEVELOPED DESIGN
16th century Spanish
suit of Armour
1000
450
E.3
Plate
[porcelain]
30mmH x 210mm diam.
10-233988
breastplate of
Pedro de Alvarado
16th C; European
Iron
420mmH x 340mmW;
weight 2kg105 / 242
10-92271
(armoured headpiece)
for a horse
early
16th Century;
European
Riveted and burnished
wrought iron with etching
320mmH x 565mm x 335mm
Project Ofce, 2nd Fl.
Te Papa, Cable Street
Wellington, NZ
(tel) +64-4-381 7000
(fax) +64-4-381 7070
DRAWING TITLE
Note: Check all Label measurements
Liaise with: Samantha.Wallis@tepapa.govt.nz
ELEVATION
Scale: 1:20
CASE 25_Cortez case
PLAN AND ELEVATION
2400
object plinths
covered with
Notes:
Quality Euro 125kg
Display brushed nylon.
"Burgundy"
GOT
300 x 150
1150
OT
150 x 150
custom base plinth.
2400mm x 1150mm x 100mm
covered with red fabric.
GEOL
300 x 150
PLAN
Scale: 1:25
Check all dimensions on site
before commencing. Work to
gured dimensions and report
any discrepencies to the Contract
Manager before proceeding with
the work. This drawing is
copyright and must not be
retained, copied or used without
the authority of the
Museum of New Zealand
Revision Notes:
OT
GEOL
Drawing Number:
Revision:
AZT-4250
Drawn by:
Scale:
Date:
Checked by:
App. by: MONZ
BB
Sheet Scale
13/02/2013
21/06/2013
Date:
FRONT ELEVATION
Scale: 1:25
SIDE ELEVATION
Scale: 1:25
BACK ELEVATION
Scale: 1:25
By converting object images into image props, Designer Ben Barraud could quickly create 3D objects in the correct scale to populate a virtual exhibition.
Vectorworks Brings a Civilization to Life
Barraud used Vectorworks software to efficiently design a space to
house these relics. For his concept design phase, he started with an
object list from the curator that he received as an Excel spreadsheet
with associated JPEG photo images. Barraud doesn’t have time to
do complex 3D models of every item in an exhibition. But he doesn’t
have to; with Vectorworks Spotlight, he imports the photographs.
Then, by converting object images into image props, he can quickly
create 3D objects in the correct scale to populate a virtual exhibition.
The tool saves him time because he can start his ideas in 2D and
develop them in 3D, so that all stakeholders can visualize the
exhibition, and the objects within it, in 3D.
“Vectorworks has been a useful exhibition design tool,” Barraud
says. “As an all-around design program, the solution works well
in exhibition design because it picks up theatre features from
SketchUp® and Adobe® and mixes in a rich color palette, endless
built-in objects for creating lighting positions, and more. It has
flexibility to incorporate JPEG and other file types into my drawings.”
The software also helped him overcome his biggest challenge,
which was collaborating across the world with a number of different
institutions. “Vectorworks is great as an interoperative tool,” he says,
“so it supported my design inspiration while enabling me to share
information fluidly.”
In addition to translation and time zone issues, Barraud and his team
needed accurate measurements for all of the objects. “It was quite
difficult to work like that—and also difficult trying to get the right
weights and sizes for the items, which is really important when you’re
dealing with heavy objects,” notes Barraud. To keep communication
clear, he created his designs in Vectorworks Spotlight and then sent
PDFs to the experts and curators in Mexico to review. He also flew to
Sydney to give a presentation using 3D Vectorworks renderings, as
well as plans, elevations, and case layouts to the other two museums
that would receive the exhibit next. He played a walkthrough in
the program in which he actually flipped the whole exhibition 180
degrees to give everyone great insight into his design as he panned,
zoomed, and “walked” through his plan.
Case Study: Museum of New Zealand Te Papa Tongarewa
The exhibit integrates a wealth of artifacts, including golden medallions, large carved stone figures, and intricate containers, into a stunning backdrop supplemented with models
and multimedia displays to tell the complete Aztec story.
New Worlds Beckon
Acknowledgements
Barraud is designing two new exhibitions from the National Museum
of China that will open at Te Papa in early 2014. Throne of Emperors
will tell the stories of seven dynasties and seven emperors. He’s also
creating a complementary exhibition adjacent to this, a retrospective
of Shi Lu, who is known as “China’s Van Gogh.” No matter what new
worlds he brings to the visitors of the Museum of New Zealand Te
Papa Tongarewa, one thing is certain. They will be larger than life.
RIGHT CHAPEL
LEFT CHAPEL
F-ST-1D
F-ST-2D
F-SK-1C
F-ST-1C
F-ST-2C
F-SK-2C
F-SK-1B
F-ST-1B
F-ST-2B
F-SK-2B
F-ST-2A
F-SK-2A
F-SK-1D
F-BA-4
F-BA-3
F-BA-2
F-BA-1
F-SK-1A
F-ST-1A
F-SK-2D
NOTE:
LEGEND:
ALL ELEVATIONS VIEWD FROM OUTSIDE
ELEMENT
HORIZONTAL POSITIONS NUMBERED
FROM LEFT TO RIGHT
EXTERIOR
STRUCTURE
INTERIOR
VERTICAL POSITIONS ALPHABETICALLY
FROM BOTTOM TO TOP
EXT
STR
INT
TYPE
FRAME
PURLIN
TRUSS
TIE BEAM
BRACE
FR
PR
TR
TI
BR
SKIN
STAIR
BALUSTRADE
SK
ST
BA
INTERIOR WALL IN
WALL/SIDE
FRONT
RIGHT
LEFT
BACK
EXTERIOR FRONT 1:50
RIGHT CHAPEL
F-BA-4
R-SK-2D
R-SK-1D
EXTERIOR PLAN 1:50
R-SK-1C
R-SK-1B
RIGHT CURVED WALL
R-SK-1A
Museum of New Zealand Te Papa Tongarewa
55 Cable Street, PO Box 467
Wellington, New Zealand
Phone: +64 (0)4 381 7000
Web: www.tepapa.govt.nz
Images:
Design images courtesy of Ben Barraud and Museum of New Zealand
Te Papa Tongarewa. Photographs courtesy of Norman Heke and
Museum of New Zealand Te Papa Tongarewa. Collection items
reproduced courtesy of National Council for Culture and the Arts –
National Institute of Anthropology and History – Mexico.
Original text and publication by:
Nemetschek Vectorworks, Inc.
7150 Riverwood Drive
Columbia, MD 21046 USA
Tel: 410-290-5114
Fax: 410-290-8050
www.vectorworks.net
EXTERIOR RIGHT 1:50
RIGHT CHAPEL
F-BA-1
L-SK-1D
L-SK-2D
L-SK-1C
L-SK-1B
LEFT CURVED WALL
F
R
L
B
Profiled firm:
L-SK-1A
Find your distributor:
For sales information and to identify your local distributor,
visit www.vectorworks.net/international
EXTERIOR LEFT 1:50
TRUSSES.
SEE
STRUCTURAL
PLAN
BACK TRUSS
SUPPORT
(LEFT WALL)
BACK TRUSS
SUPPORT
(RIGHT WALL)
RIGHT CURVED WALL
LEFT CURVED WALL
EXTERIOR BACK 1:50
EXTERIOR AXONOMETRIC NTS
PROJECT:
AZTEC TEMPLE
7 Gordon Place, Newtown, Wellington
T +64 4 380 0010
DRWG TITLE:
SKIN ASSEMBLY SCHEMATIC
SCALE:
DATE:
DRAWN:
1:50 @ A3
07.10.13
BM-A
Temple design development drawings courtesy of Workshop e.
INFILL TO
MATCH PLINTH
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