Bröhan-Museum Kinder Committee

Must every museum be interesting for kids? No, but if a museum aims to diversify its visitor groups – a declared goal of many museums – a good place to start is engaging with children. After all, the following urbanistic insight can also be applied to the museum realm:

“Children are a kind of indicator species, if we can build a successful city for children, we will have a successful city for everyone.”
Enrique Peñalosa, Former Mayor of Bogota, Colombia*

How do you make a museum accessible to kids? Ideally, by working with them: having conversations, observing them, developing ideas with them, building, testing, and improving prototypes with their help. This ‘Human Centred Approach’ has been an established technique in architecture and product design for a long time. In the German museum scene, however, it is taking longer to catch on.

While many museums offer guided tours and workshops for kids, they miss out on the chance to learn from their visitors. The experiences of the tour guides or workshop leads do not usually in turn influence curation and museum design. No wonder – offering a (specially funded) program is easier than questioning one’s own work.

The Bröhan-Museum, Berlin’s museum for art nouveau, art deco and functionalism, on the other hand, was brave enough to ask: “How do children experience our museum, and what kind of museum do they dream of?”. In the summer of 2019, curator of outreach Nils Martin Müller started a Kinder Committee with the slogan “meddling strictly allowed”, which he asked me to lead.

I had the pleasure of working with twelve fantastic children from grades 5 and 6 and exploring the museum from their perspective, developing prototypes for a child accessible museum together. With the enthusiastic help of the teachers, the museum’s team and the cultural agents Berlin, the Kinder Committee met every Wednesday afternoon for a whole academic year.

A museum visit from the perspective of a child

Every change starts with stocktaking. First, the children explored the museum’s permanent exhibition as freely and peacefully as the museum rules allowed – no touching / no running / no loud noises. We asked them to photograph anything they saw that they would “talk about at home”.

So what did the children take pictures of? Of the 110 photos, there were many shots (25%) of large and spectacular pieces of furniture, such as Hector Guimard’s Water Lily Buffet, and extravagant glass containers (16%) in an illuminated display case that were “twinkling so prettily”, as one child put it.

What surprised us was the large proportion of “pictures of pictures” (16%). Among the paintings, graphics, posters, tapestries and reproduced photos, figurative motifs were particularly popular. The more text was on the pictures, the less interesting the children seemed to find them; the exhibition texts were ignored completely. Are two dimensional pictures a more familiar medium? Are the children searching for a narrative? Either way, pictures seem to be a medium that speaks to children.

The children also photographed many things that experienced museum-goers might not even notice: the view out of the window or into the donation box. A useful hint: new visitors notice the periphery of the museum. Could we use it in a different way? Inspired by this observation, the children hid a miniature world in the museum: Welcome to Bröhania.

The mostly obstructed view into a storage room was especially intriguing. Perhaps sometimes exhibits could be hidden – discovering them for yourself is always more fun!

The items in the museum shop – although in display cases in the Bröhan-Museum and therefore not touchable – were documented just as eagerly as the exhibits. This supports my experience that museum shops can be a stimulating introduction to museums and their content. The Kinder Committee would probably have a lot of good product ideas for the museum shop.

On their photo safari, the children quickly identified the only interactive exhibit in the permanent exhibition – the big mirror at the end of the long corridor. The mirror unites two possible attractions during a museum visit: the possibility of social interaction (messing around together) and magically drawing you into the museum world. The potential for mirrors in the Bröhan-Museum has definitely not been exhausted yet.

The interesting thing was not just what the children found worthy of documenting, but also what they did not: Chairs? We have those at home, why are they in a museum? A good question – that ultimately asks about the concept of the collection and might need to be answered more clearly for many visitors.

Some display locations, like the highest display shelves or table cabinets, are wholly unreachable for children. Could aids be provided for this? A periscope or something similar would surely be fun.

Categorising the findings

We were very curious about how the kids would categorise their own pictures. While the curators sorted the exhibits by style (e.g. art nouveau) or designer (e.g. William Morris), the children divided them primarily into typologies (e.g. cabinet or shelf). In doing so, we found that the vocabulary for types of furniture was very limited – even the word ‘furniture’ was, in part, missing. Wouldn’t it be exciting to “take home” a few unusual words like ‘chiffonniere’ or ‘Sussex chair’? When you consider the enthusiasm with which kids learn difficult dinosaur names, the idea does not seem too far-fetched.

The second most common way of sorting pictures was by function (e.g. home life or tool). Functionality is a central concept in design, but the function of individual exhibits in the Bröhan-Museum is often hard to determine (not only) for kids. For example, a Morris bench was often called a shelf. Other functions might be antiquated – who still needs a ladies’ desk these days? So, an object’s function can also have a direct connection to its historical context. Perhaps there could be more clues about this in the exhibition – and in that context answer the question about the chair?

The subject matter of all pictorial artefacts was particularly dominant, regardless of material. The depiction of a swan on fabric was put in the category “people and animals”, and not “tapestries”. The fact that children really look at pictures and don’t just put them in a box according to style is a great chance! Could adult museum-goers learn from them to look at things directly, and not just compare them with prior knowledge? Mixed age “slow looking sessions” would surely be enriching for the adults.

On a side note, the children also seemed to enjoy forming meta categories like “scandalously pompous”. I would like to ask them to rename the rooms. I wonder what they would come up with for the collection “the social question”?

Children’s visions of the museum

Parallel to the exploration of the museum, the kids worked on their own shoe box museums. Every child chose their own theme and designed a museum according to their wishes. Together, it looks like the children have already made a checklist for an ‘inviting’ museum:

  • A place where you can meet up
  • A place where you play together
  • A place where you produce something
  • A place where you can try things
  • A place where you can buy (take home?) things
  • A place where you learn something about yourself

We reframed the children’s wishes as our challenges, and started by exploring the idea of the museum as a meeting place: “If the museum was a place where you met up and maybe even stayed overnight – what would happen there?” The children imagined what it would be like to sleep over in  the museum and used glow-in-the-dark pens to illustrate the nightly activities. Their pictures are full of ideas and suggestions.

One drawing shows a doormat that reads “Welcome”. There’s no better way of saying it: new (and maybe shy) visitors want to feel welcome in the museum!

In another picture, Mr Bröhan himself is sitting in an armchair, greeting his guests. The fact that the man who lent his name to museum is not present within it, aside from a plaque at the entrance, bothers the kids. Using this mystical figure to create a welcoming atmosphere is a good idea.

In the above-mentioned picture, Mr Bröhan explains to his visitors that there are not only old (in the sense of “shabby”?) things, but also lots of wonderful new things in the museum. An interesting hint that some visitors might be put off by the age of the exhibits. The children, who are not likely to read the texts accompanying the exhibits voluntarily, generally have no concept of how old they actually are.

Most of the kids completely furnished the museum in their pictures – curtains, houseplants, paintings, ornaments, rugs, and pets. This makes sense – furniture usually has something to do with home life. The current exhibition lacks this angle, even though home life is something which everybody is familiar with and which could therefore be an accessible entry point for new visitors.

Some children were inspired by the Bröhan-Museum’s distinctive atmosphere to create fantastical parallel universes in its nocturnal rooms. Humans and ghosts living side-by-side and writing mysterious messages on the walls, skulls and crowns scattered around, doors leading to other worlds and magical books drawing you in. Children often have a sense of romanticism – think of Harry Potter – and the Bröhan-Museum’s magical aura is bursting with unused potential.

The next step was for the committee to consider how and what to play in the museum. But alas, the coronavirus stopped the Kinder Committee in its tracks. It would be wonderful to pick up where we left off next school year – there is so much left to do! Maybe together we can find a way to experience the museum, even with social distancing. In any case, we will be able to learn a lot from each other and have just as much fun!

The Kinder Committee is a collaboration between the Bröhan Museum and Nehring Primary School within the scope of the federal program “Cultural agents for creative schools Berlin” Berlin”. It was led by Rose Epple in the academic year 2019/2020.
Kinder committee: Adem, Alma, Belma, Charlotte, Jana, Krasimira, Luan, Mannat, Mehmet, Peer, Sevim, Sophie, Teba
Bröhan Museum: Nils Martin Müller / Curator of Outreach, Sylvia Hinz / Research Assistant
Nehring Primary School: Sabine Brehm-Hamm / Educator, Verena Nietruch / Educator, Katharina Stahlhoven / Cultural Agent
photos: Kinder Committee and Rose Epple
* The quote was taken from this TED Talk by Mara Mintzer: How kids can help design cities

Welcome to Bröhania

Every day lots of visitors come to the Bröhan-Museum in Berlin. Most visitors though only see beautiful old furniture and things. Good that the attentive children of the ‘Kinder Comitee’ took a closer look and discovered a whole secret world in the museum: Bröhania. The kids took time to listen to the Bröhanians and recorded their stories in a little booklet. As you can see, the inhabitants are quite a colourful bunch. Bröhania is a vast country with many different places and everybody can live the way they like. When they all come together, they always have a party. Next time you come to the museum, do not forget to look out for Bröhania!

“Welcome to Bröhania” characters and stories: Kinderbeirat
Concept, workshops, photos, layout: Rose Epple
The Kinderbeirat (transl.: Kinder Committee) is a cooperation between the Bröhan-Museum and Nehring Primary School as part of the Berlin program Kulturagenten for creative schools. During the school year 2019/2020 the committee was led by Rose Epple.
Kinderbeirat: Adem, Alma, Belma, Charlotte, Jana, Krasimira, Luan, Mannat, Mehmet, Peer, Sevim, Sophie, Teba
Bröhan-Museum: Nils Martin Müller / curator of outreach, Sylvia Hinz / scientific assistant
Nehring Primary School: Sabine Brehm-Hamm / teacher, Verena Nietruch / educator, Katharina Stahlhoven / cultural agent


Design Skills for All!

Design skills for all! Learning to take things into your own hands is useful – especially so in Berlin, where the Bauhaus Agents asked me to help a class of 10th grade students facilitate wayfinding in their school. Continue reading “Design Skills for All!”

Design Thinking Kids Club

What would a school look like if young people and children were designing it? That is what we were trying to find out in this project. For a whole term, I was working with students of the Berlin Bilingual Secondary School in our Design-Thinking-Kids-Club on making their school an even better place.

The Club aimed to raise the creative confidence of its members and teach them tools to enable them to shape their surroundings. Not only because this is useful for their future, but also because we were curious about their ideas.

Based loosely on Design Thinking methods, the open process steered towards a goal decided on by the students. My role consisted of structuring the design process and moving it towards  atangible result. The activities of the club were documented in detail on the project website (in German).

How can we improve daily life at our bilingual secondary school? The students of year eight and nine edged their way towards answers with practical exercises in weekly workshops. After intensive field studies, the students defined their own challenge: How can we create and run a food dispenser in the school, so that students do not go hungry anymore? And how can we make it useful for the whole school?

We bought an old dispenser on Ebay and the students started cleaning it and testing what items would fit into it.

Then they worked on designing the appearance of the automat and came up with a name for it.

The outcome of their work is called fOOd-i, a food dispenser and service based community tool for the school.

At the end of term, fOOd-i was presented to the general public at the annual Summer party to great acclaim.

The Design Thinking Kids booklet charts the ups, downs and outcome of working with students from grades eight and nine on a challenge of their own choosing. If you are interested in the booklet (in German), you can order in on my DESiGN KiDS website. For more details on the individual sessions visit the Club’s website

The Design-Thinking-Kids Club took place at the Berlin Bilingual Secondary School in the Summerterm 2016 and was funded by the Berliner Projektfonds Kulturelle Bildung.
Concept, project management, workshops and photos by Rose Epple.

We Want to See Everybody!

“We are starting an initiative to bring actors with disabilities into German film and television and we need a visual identity. Are you up for it?”– “Yes of course, I said, but only if I get to work with these actors in the process.”

Continue reading “We Want to See Everybody!”

Co-Designing a Yearbook

The plan: to co-design a yearbook with a group of kids between 8 and 12 years old in a weekly workshop. Introduce them to basic principles of graphic design and give them the feeling of empowerment that comes with doing things yourself. Get the book to print.

Did it work? Yes it did! And we sure had great fun with it.

How we went about it: Over a period of four months I met up with a group of 6-12 kids in frantic 50 min workshop sessions every week. To make the layouting possible without having to teach kids a layout programm, I opted for an analogue approach: cutting and pasting with scissors and glue. We started by producing display type, backgrounds and clip-art in individual sessions and then the kids assembled the layouts on their own or in pairs. Once the layouts were finished (stuck together), they were photographed and imported as full page photos in a layout program. The kids left space for texts, working with dummy text which I took off before photographing and added in the final digital document. 

Here are some impressions of our co-design process:

An easy way to create whacky letters: First, draw your letters simply in pencil as a guideline, then draw crazy lines in black marker around them.

Let the marker ink dry and then erase the pencil marks.

Tadaah! Each topic gets their individual type treatment.

Finally we copy all display type unto see-through acetate sheets, so that we can later place them in our layouts.

We also need some background images to make the pages more lively. So we are off to a photographic pattern hunt around school.

Once you start looking, there are patterns everywhere! Some seem to have come about by “accident”…

… others are found ready made!

Now about some clip art to flourish our pages. Before we start, I ask the DESiGN KiDS to range their desks into one continuous line, because they will be churning out clip-art in an assembly line today. I have assembled seven sets of stickers in different sizes and colours, so that every event has a different type of sticker.

Each student gets one sheet with a different theme. I explain to them that they will have one minute for every drawing, then the timer will go off and they have to pass the sheet over to their neighbour and work on the next theme. So each group of clip-art will be assembled by the whole group. Ready? Steady? Go!

They are all clip-art professionals – of course – that is what kids are doing all day at school: doodling in their exercise books.

Look at these amazing Halloween clip art stickers!

Now at last, we are ready to start lay outing! All the ingredients are ready: The photos ( taken by parents and teachers) are printed out on photo paper, our backgrounds laserprinted out on A3 sheets, the clip art on stickers and our type designs on acetates. Let´s go!

The DESiGN KiDS work in groups of two to threes on each topic. These two  are busy at work on two spreads about Maths Week.

diy yearbook in the making

The DESiGN KiDS leave space for the final text by working with dummy text which I take off before photographing.

Once the layouts are finished, they are photographed and imported as full page photos in my layout program. The real text was then added by me  in the final digital document. 

This technique works really well, the printed book has retained a three-dimensional feeling to it.

The co-designing experiment was a success: the Berlin Bilingual School Yearbook 2012 / 2013 got printed in time and quickly sold out. Apart from it being a very authentic document of a busy school year in this extraordinary school, it looks just fabulous. Thank you everybody!

BBS Yearbook 2013

Editor: Berlin Bilingual School · Yearbook workshops, art direction and art working: Rose Epple · Design: Katy Parker, Ava Eusepi-Harris, Alice Lyall, Khela Brophy, Ruby Good, Anne Mooshammer, Kaya Weissert, Trinity Ernst, Alexander Stump, Maytagorry Linshöft, Clara Koebberling, Leonie Gagel, Zoë Kreissl, Dana Mae Westerhoff, Paula Seemann, Jody Lee Albert Arison, Clay Kryst and Griet Verweij · Photos: Nora Kryst, John MacDougall, Anne Meurer, Pictura Foto GmbH · Picture editors: Stefanie Albert, Nora Kryst · Production: Stefanie Albert, Nora Kryst, Lars Borchert · Text and editing: Lars Borchert, Cornelia Donner · Printing: Brandenburgische Universitätdruckerei und Verlagsgesellschaft Potsdam mbH