Dinah Casson is one of the world’s most respected environmental and exhibition designers.
Over more than 25 years, her work as co-founder of Casson Mann has transformed museums in the UK into modern and accessible places. They include the V&A, Natural History Museum, Science Museum and the Imperial War Museum. Regional museums like Manchester Art Gallery and Great North Museum Newcastle have benefited too, along with others in the US, Italy and UAE.
In the process, she's brought to life things as diverse as 18th century portraits, dinosaurs and brain science.
Among the exhibitions designed by Casson Mann are the Churchill War Rooms, Art Deco at the V&A and Who Am I at the Science Museum, along with the Design Council’s international Great Expectations show. The practice is also known for visitor centres like Sellafield.
Casson is a trustee of the Creative Education Trust and Master Elect of the Faculty of Royal Designers for Industry. Since the 1970s, she has also taught at design schools like Kingston and the Royal College of Art.
What made you decide to become a designer?
With both parents and a great uncle being architects, it seemed clear from early on that I wasn’t going to stray very far. I chose a course in furniture and product design, however, because the one-to-one scale of it felt closer to my direct understanding – and it wasn’t architecture.
What are you working on right now?
One of the joys of museum design is that the subject matter can range from World War 1 to Benjamin Franklin; wine in Bordeaux to packaging machinery in Bologna; Hollywood costumes to paintings of Kent cows. I am working on all of these at the moment. Feels like a privilege.
Looking back, what project do you feel defined your career?
For the scale, museography, beauty of objects, personal learning, friendship, success for the museum, and influence, I have to look back to the British Galleries at the V&A that opened in 2001. Still regarded by some as benchmark galleries, it’s the project that taught me more than any other.
What inspires you?
If I knew, I’d return to it when I’m stuck. Instead, I know that inspiration comes from a mysterious place and that the important thing is to keep the door open. Any project that results from collaboration can be inspirational, so theatre, opera, film, buildings – and of course museums - are all potential sources. But, equally, they can have the opposite effect: it’s a risk.
Any tips for young designers?
Expect to work hard and don’t expect it to be easy. Learn patience. Expect everyone you meet to be a potential client – whoever they are. Remember that one job doesn't always lead to another. Never cease to be curious. Enjoy it: once you stop enjoying it, stop and do something else.