Global Cities was a large–scale exhibition that took place in the spectacular Turbine Hall at the Tate Modern in London. The exhibition was developed from the show that formed the centerpiece of the Venice Architecture Biennale in 2006 which looked at five major issues—size, speed, form, density and diversity—and their effects on ten major urban centers: Cairo, Istanbul, Johannesburg, London, Los Angeles, Mexico City, Mumbai, Sao Paulo, Shanghai and Tokyo. Global Cities placed comparative socio–economic and geographic data alongside video and photography by twenty artists and architects and specially commissioned London–inspired work by Nigel Coates, Zaha Hadid and Patrick Schumacher, Fritz Haeg, Rem Koolhaas, Nils Norman and Richard Wentworth.

Constructed using scaffolding, the exhibition's design aimed to convey a powerfully urban physical presence within the vast expanse of Turbine Hall. The scheme comprised a two–storey construction that included a pier that extended Turbine Hall’s bridge out over the main exhibition space and floated on top of seven projection rooms for video artwork. Running centrally through the exhibition at ground level was a raised dais that constituted the main exhibition space. The façade of the seven projection rooms provided a canvas for the LSE’s city data, while the freestanding wall at the perimeter of the dais displayed works by artists and architects. Under Turbine Hall’s central bridge, where low light levels made projection more visible, three large screens and a seating area enabled further storytelling. The pier provided a space for the Tate’s specially commissioned work for the exhibition.

Built in 18 days, the basic structural medium utilized extensive scaffold technology where all the materials were hired and/or reusable, and could be installed at great speed. Perhaps most importantly, the scaffold structure was a rudimentary visual metaphor with which all city dwellers resonate, explicit about its temporary nature, indicative of the familiar graffiti and favela that is the reality of urban environments. Used both within and above the exhibition, the structure provided dramatic multilevel perspectives for the visitor.

The art direction complemented the urban vision by basing the visual identity for the show around a custom–made stencil font. The color palette is comprised of five core colors, one for each thematic zone within the exhibition. Collaborating with academics from the LSE, information graphics were also produced that formed the core of the ground floor of the exhibition, establishing an interchange between the LSE’s city data and the work of artists and architects. The clear information graphics were complemented by bold typographic statements. The restrained graphic language communicated key facts that added context to the artwork on display.

Large–scale graphics were also produced that dominated the “skyline” and entrance to the exhibition, enhancing the feeling of being within a cityscape created by our exhibition design. The accompanying exhibition program and advertising posters were also created by Pentagram.