Museum projection screen: a technology that integrates with the artwork, not the other way around.
- Jul 15
- 18 min read
The context
In a museum, technology is never an end in itself. It serves the artworks, the narrative, and the emotions felt by the visitor. Projection is not simply used to display an image: it complements a work of art, creates an atmosphere, and contributes to the overall staging of the visitor experience.
This approach implies a shift in perspective. Whereas in other contexts the space is organized around the screen, here the screen must discreetly integrate into the project. Its role is not to attract attention, but to highlight the artworks and the narrative they convey.
💡 Expert opinion In museums and exhibition spaces, the vast majority of installations are fixed , non-rollable screens, integrated directly into the scenography. The system is chosen according to four parameters: the type of exhibition (permanent or temporary), the ambient light in the room, the architectural constraints of the space, and the desired immersive effect. The motorized screen is only used when the space needs to be completely cleared when not in use. In a listed building or a room with an unusual shape, a custom solution becomes necessary. |
What you will find in this article
Multivision designs and installs projection screens for museums, exhibition halls, and immersive experiences in Belgium, Europe, and internationally. This article covers the specific constraints of the cultural sector, the available systems, concrete selection criteria, and the atypical configurations made possible by an in-house design office.
Why does a museum require a different approach than other spaces?
A cinema has a clear function: to show a film. So does a corporate auditorium. A museum does not. Each exhibition redefines the use of the space, the visitor's journey, and the role that the image should play. This is why a solution designed for another sector rarely integrates directly into a museum.
The screen is not a piece of equipment, it is a scenographic element
In a museum, the screen is not added to the room; it is a component of the artwork. The projection enriches the artistic space instead of occupying it, creating a dialogue between the works and their environment: an image projected behind a statue, a video that responds to a sculpture, or a set that accompanies the visitor's journey.
In this context, the success of an installation is measured by its discretion. The visitor's gaze should naturally be drawn to the artwork and the image, never to the frame, the fixings, or the mechanism. The quality of the projection is obviously essential, but it is not enough: the screen must also be integrated into the scenography to the point of visually disappearing and no longer being perceived as a technical object.
Ambient light, a determining factor
Unlike a movie theater, a museum is rarely plunged into darkness. The lighting of the artworks, the openings to the outside, the signage, and the constraints related to welcoming the public all create a luminous environment that must be taken into account from the project's inception.
The choice of projection screen is therefore inextricably linked to that of the video projector. Depending on the lighting conditions, a screen with appropriate gain and optical coatings helps preserve contrast, black levels, and image clarity. In some cases, a high-contrast screen is the best solution. In others, rear projection offers superior results when the venue layout allows.
Heritage and architecture: when the building is also a work of art
In many projects, the building itself is a piece of heritage. The screen must then find its place without altering the identity of the place, while meeting the needs of the exhibition.
This quest for balance guides the entire design. The choice of fixings, the integration of the frame, the materials used, and compliance with applicable standards are all considered from the very beginning of the project. The objective is not to adapt the building to the technology, but to develop a solution that integrates seamlessly with its architecture.
How to choose a projection screen for a museum or exhibition hall?
Choosing a projection screen never begins with comparing products. In a museum project, each installation is guided by the constraints of the space, the objectives of the scenography, and the experience one wishes to offer the visitor.
Before defining a technology or format, our design office analyzes several parameters that naturally guide the technical choices. Here are the main questions that structure this process.
Permanent or temporary exhibition: which type of projection screen should be preferred?
The lifespan of the exhibition is generally the first element considered. A permanent or long-term exhibition will most often favor a fixed screen, integrated into the scenography and designed to be a lasting fixture in the space.
Conversely, a temporary or traveling exhibition requires greater flexibility. Depending on the project's constraints, a demountable, transportable, or freestanding screen may be preferred to facilitate successive setups without compromising projection quality.
Ambient lighting in the exhibition hall: which projection screen should you choose?
Lighting conditions directly influence the performance of an installation. A fully controlled room does not require the same choices as a space bathed in natural light or brightly lit to showcase the artworks.
The choice of screen is therefore considered in parallel with that of the video projector. Depending on the needs, a high-contrast screen will preserve the depth of the image, while rear projection may be the most suitable solution when the configuration of the venue allows it.
What immersive effect are you looking for in your exhibition or museum tour?
Not all projections serve the same purpose. Some discreetly accompany a work, while others become the central point of an immersive experience.
Defining the role of the image from the outset of the project helps guide the design of the installation: screen dimensions, number of projection surfaces, potential curvature or synchronization of multiple screens. The goal is to develop a system consistent with the desired experience, without oversizing or limiting scenographic possibilities.
What architectural constraints does the venue impose on the projection screen?
Each building has its own constraints. Heritage architecture, ceiling height, public circulation, available fixing points or acoustic requirements directly influence the design of the installation.
Rather than trying to adapt the building to a standard product, Multivision develops solutions that can integrate seamlessly into the existing environment. When a project deviates from conventional configurations, a customized study reconciles technical constraints, aesthetic requirements, and installation reliability.
Should the projection screen disappear from the scenography when not in use?
Finally, it is necessary to determine the space that the screen should occupy when the projection is finished.
If the screen needs to remain visible and be an integral part of the set design, a fixed screen is generally the most suitable solution. However, when the space needs to be restored to its original appearance or accommodate other uses, a motorized roll-up screen will allow the fabric to be completely concealed within its housing.
This choice depends primarily on the use of the site and will be discussed in more detail in the following section.
Fixed screen or motorized screen: which system for which use in a museum?
The choice between a fixed screen and a motorized screen depends not only on dimensions or budget. It is primarily guided by how the space is used and the role the projection plays in the overall scenography.
In most museums and exhibition halls, the screen is an integral part of the visitor experience. It remains visible at all times and contributes to the presentation of the artworks. In this context, a fixed screen is generally the most suitable solution.
Conversely, some spaces host events, conferences, or several successive stage designs. When the room needs to return to its original appearance between screenings, a motorized screen allows the projection surface to disappear completely once it is retracted.
The fixed screen: a discreet and durable integration
Designed to remain in place for the entire duration of the exhibition, the fixed screen integrates seamlessly into the scenography. Its dimensions are determined according to the space, the works on display, and the available viewing distance to achieve the most harmonious integration possible.
When discretion is essential, Multivision develops frameless solutions, such as cinevision, which allow the viewer's attention to be focused on the image rather than the projection surface. For freestanding or mobile installations, screens like the st John's offer great flexibility in placement while maintaining excellent projection quality.
The motorized screen: preserving the versatility of the space
When projection is only used at certain times of the day, or when the room hosts multiple activities, a motorized screen provides a particularly suitable solution. The screen retracts into a housing once the projection is finished, completely freeing up the space and preserving the room's aesthetics.
Depending on the project's dimensions, Multivision recommends different solutions. widevision screens are suitable for installations up to 7 meters wide, while larger formats are handled by the nolimit range , developed in-house for very large projects. As with all Multivision solutions, the choice of system is primarily based on an analysis of the project's constraints rather than simply applying a range of products.
Comparative table: fixed screen vs. motorized screen in a museum context
Fixed screen | Motorized screen | |
Principle | Permanently integrated into the scenography | It wraps up in a casing, disappears when not in use |
Ideal use | Long-term permanent or temporary exhibition | Room for alternating uses, space to be freed up |
Discretion | Invisible frame possible (cinema vision) | No visible presence, screen put away |
Scenographic integration | Maximum: the screen is part of the artwork | Heavy when not in use, standard when in use |
Curved surfaces | Possible | Limited |
Mobility / roaming | Possible with a freestanding screen (St John's) | Not very suitable |
Museum Frequency | Majority solution | Specific cases |
💡 Expert opinion The real question isn't "fixed or motorized?" but "should the screen remain visible at all times or disappear once the projection is over?" In most museums, the screen is a permanent part of the scene: a fixed screen is the obvious choice, and the discreetness of the frame becomes the key criterion. A motorized screen is only relevant when the room changes function or when the exhibition design requires a blank space outside of screenings. Starting with the system before considering its use is the most common mistake in this type of project. |
Immersive and unconventional projects: when bespoke solutions truly come into their own.
Museums and exhibition spaces are increasingly incorporating immersive experiences. Video mapping, monumental projections, multi-screen displays, and interactive pathways allow for storytelling in new ways and greater visitor involvement.
These projects often go beyond standard solutions. Each installation presents its own unique integration, size, and operational constraints. It is in this context that Multivision's approach truly shines: our design office develops bespoke solutions capable of meeting scenographic ambitions while guaranteeing a reliable and long-lasting installation.
Curved screens to enhance immersion
The shape of the screen directly influences the perception of the image. When a project seeks to envelop the visitor or create a true sense of immersion, a curved surface allows for a wider field of vision and better integration of the projection into the space.
The curvature is never a mere aesthetic effect. It is part of the scenographic design and contributes to enhancing the experience offered to the audience.
Large dimensions and multi-screen installations
Some scenographies require pushing the boundaries of traditional formats. XXL screens, assemblages of several projection surfaces, or atypical configurations are among the projects regularly developed by Multivision.
Our design office gets involved from the earliest stages to transform a scenographic concept into a technically feasible solution. Whether it's a monumental projection, a suspended screen, or a synchronized multi-screen installation, each system is designed according to the constraints of the venue and the project objectives.
Choose the right canvas for each project
The choice of screen material is just as important as the choice of the screen itself. Depending on the constraints of the venue, it is possible to opt for a rear projection screen to eliminate shadows, a sound-transparent screen allowing speakers to be positioned behind the screen, or a high-contrast screen to preserve image quality in a bright environment.
To guarantee consistent performance, Multivision relies primarily on screens developed by Demospec, the French subsidiary of the Harkness Screens group, recognized for its expertise in the field of projection surfaces.
Integration planned from the design stage
Beyond the screen itself, the entire integration system is being studied. Depending on the building's architecture and the constraints of the scenography, the installation may be suspended from the ceiling, integrated into a false ceiling, or rest on a custom-developed self-supporting structure.
This design freedom allows screens to be integrated into very diverse environments while respecting architectural constraints, public traffic flows and the aesthetic requirements specific to each project.
Reference: Julian Charrière, Frieder Burda Museum (Baden-Baden)
For the exhibition I Feel the Earth Whisper (Frieder Burda Museum, Baden-Baden, 2024), artist Julian Charrière's studio commissioned Multivision to create two freestanding st John's screens, each 5.80 m wide by 3.30 m high. The installation, Calls for Action , broadcast live, 24/7, two video windows onto threatened forests.
The technical choices illustrate the underlying principle: a non-perforated, high-contrast gray screen (gain 0.8) to preserve the image, a profile barely 13 cm thick, and a viewing area extending to the edge for total immersion. The screen is intentionally discreet because in this room, what matters is what is projected, not the support on which it is displayed.
💡 Expert opinion An immersive project doesn't begin with choosing a screen, but with reflecting on the desired experience: the role of the image in the user journey, the desired level of immersion, and the constraints of the space. This reflection then guides the technical choices (dimensions, curvature, screen material, mounting, motorization). At Multivision, we apply this logic by designing bespoke solutions to bring even the most ambitious scenographic projects to life. The idea isn't to adapt an existing screen to the project, but to create a solution specifically designed for its needs. |
Integrating a projection screen into a listed building or heritage space
A listed monument doesn't preclude projection; it simply imposes a distinct design constraint that must be anticipated from the outset. In this type of venue, the screen must serve the exhibition without ever compromising the building's identity.
The constraints specific to heritage
Three requirements consistently recur. First, fixings that are as unobtrusive as possible, so as not to leave a lasting mark on the building. Second, a frame that blends into the background, to avoid any visual competition with the architecture. Finally, materials that comply with public safety standards, most often an M1-rated PVC fabric. These requirements are not added to the project after the fact; they structure it from the very first sketch.
Cinevision: the invisible frame
It is precisely these challenges that the cinevision. Thanks to its "postcard" frame system, the frame disappears entirely once the screen is stretched: the eye perceives only an image, without any visible technical border. In a historical space, this discretion makes all the difference; the screen then integrates fully into the scenography, instead of imposing itself as an object foreign to the space.
Reference: Tour de la Chaîne, La Rochelle
In March 2025, as part of the national event Biens venus! supported by the Centre des monuments nationaux and the Cnap, Multivision designed and delivered a 6.76 m wide by 3.80 m high cinevision frame screen for the immersive installation Ad Infinitum by the artist Tania Mouraud, at the Tour de la Chaîne, an emblematic monument of French maritime heritage.
Each technical choice is tailored to the site's constraints: a non-perforated Super Matt White screen for a clear, glare-free image; M1-rated PVC compliant with public space standards; a black anodized aluminum frame with an invisible mounting system; and vertical profile supports for a stable and discreet installation that doesn't detract from the monument. The result: an 8-minute video loop, the hypnotic ballet of gray whales, which resonates fully in this historically significant location, without the screen ever appearing artificial.
The in-house design office, the cornerstone of heritage projects
No single off-the-shelf product can meet the requirements of a listed building. That's the role of Multivision's in-house design office : to analyze the site's actual constraints before proposing a solution, not the other way around. Involved from the design phase, they transform a heritage constraint into a feasible project rather than a forced compromise.
Screens designed to last under intensive exposure conditions
In a museum and exhibition setting, a screen is subjected to continuous stresses: daily switching on, prolonged exposure, variations in brightness, dust, humidity, and repeated mechanical stress. Under these conditions, durability is not simply a marketing ploy, but a genuine operational imperative for institutions concerned with ensuring the long-term stability of their installations and avoiding premature replacements.
European manufacturing and expert assembly in Belgium
Multivision ensures manufacturing in Europe and assembly in Belgium, adhering to rigorous quality control and complete mastery of the production chain. This approach avoids planned obsolescence and guarantees a consistent level of reliability.
Unlike solutions based on standardized and outsourced assemblies, this industrial model allows for precise monitoring of materials, components and manufacturing processes, with a direct impact on the robustness and lifespan of equipment.
The “nolimit” system: a fully internalized design
The nolimit system was designed and developed in-house by Multivision's engineering teams. This strategic choice of technological mastery stems not only from a logic of innovation, but also from a desire for total control over the mechanics, maintenance, and scalability of the product.
This internalization guarantees the availability of parts in the long term and allows intervention several years after installation on a perfectly documented and controlled system.
Proven durability over several decades
Multivision installations are designed for long-term operation, potentially spanning several decades. Field feedback confirms this approach.
In 2025, maintenance was carried out on a Nolimit screen installed more than twenty years earlier in Tubize, Belgium. Originally installed by the Multivision team, the mechanism was still functioning. A cleaning of the system and the screen was all that was needed to restore it to near-new condition.
This longevity is based in particular on the control of the main factors of degradation: dust, humidity and corrosion, the effects of which are anticipated from the design stage.
A long-term maintenance service
Sustained performance also relies on ongoing technical support. Multivision offers a dedicated maintenance service that includes cleaning the mechanisms, checking the motors, and monitoring the fabric tension.
These preventive interventions, carried out periodically, significantly reduce the risk of failure and sustainably extend the lifespan of the installations, while guaranteeing consistent display quality.
💡 Expert opinion When it comes to museum equipment, the best indicator isn't the purchase price, but the installation's ability to withstand the test of time without disrupting the visitor experience. A screen that functions for twenty years with minimal maintenance offers a continuity that equipment replaced twice within the same period cannot guarantee, each time resulting in a disrupted exhibition, necessary repairs, and an installation that needs to be interrupted. The real question to ask before buying, therefore, isn't "how much?" but "what is the recommended maintenance frequency?" This is what distinguishes an installation designed for ten years from one designed for twenty. |
What cultural sector influencers expect from a screen manufacturer
A museum project rarely involves just one decision-maker. Museum curator, exhibition designer, architect, AV integrator, technical director: each arrives with their own priorities, and a good manufacturer must meet the needs of all five at once. Here's what each profile expects and what Multivision delivers in concrete terms.
Profile | What he expects | What Multivision brings |
Museum designer | The screen should serve the purpose of the exhibition and the visitor experience, without interfering with it. | An approach that starts with the scenographic intention and not the product; a screen that fades away in favor of the artwork. |
Set Designer | Creative freedom, aesthetic integration, immersive effect | Curved surfaces, large formats, invisible frame (cinema), freedom given to artistic choice |
Architect | Discretion, respect for the building, controlled fixings | Invisible "postcard" frame, custom fixings, expertise in listed buildings |
AV Integrator | Reliable specifications, projection compatibility, deadlines met | Support from the design stage, adapted screens (rear projection, acoustic transparency), installation support |
Technical Director | Long-term reliability, maintenance, safety | Made in Europe, durable for decades, maintenance service, M1 fire-rated fabrics |
What unites these five profiles is that none of them is simply looking for "a screen that works." Each expects a solution to a specific challenge: architectural integration, durability, and scenographic coherence. It is this requirement that, in the cultural sector, makes all the difference between an equipment supplier and a true project partner.
Choosing a manufacturer capable of engaging with these five profiles from the design stage – architect, curator, scenographer, project manager, maintenance manager – is not an organizational detail: it is what determines whether a project progresses smoothly or accumulates adjustments and delays.
This is precisely the method that Multivision applies to each museum project: a single point of contact, cross-functional expertise, a solution that delivers on its promises for years to come.
Frequently asked questions about projection screens for museums and exhibition spaces
What type of projection screen should I choose for a museum or exhibition hall?
In museum and scenographic environments, the choice of a screen depends primarily on its integration into the overall setup and not on a simple technical criterion.
In the vast majority of cases, the fixed screen is the preferred solution. Integrated directly into the scenography, it becomes a permanent element of the space and allows for precise adjustment to architectural constraints and artistic intentions. This continuity makes it the standard for permanent exhibitions or long-term immersive installations.
The motorized screen is only used in configurations where the space needs to regain complete neutrality outside of projection sessions, particularly in multipurpose rooms or hybrid venues.
The choice is systematically based around four parameters: nature of the exhibition (permanent or temporary), level of ambient light, architectural constraints and degree of immersion desired.
Fixed screen or motorized screen: which solution is best for a museum?
The distinction between fixed and motorized screens should not be approached as a technical opposition, but as a question of space usage.
A fixed screen is essential when the installation is intended to be permanent. It allows for seamless scenographic integration, particularly through frameless solutions such as the cinevision system , which is especially well-suited to museum displays.
The motorized screen, on the other hand, makes perfect sense when the room needs to become fully multipurpose again once the screening is over. The screen then rolls up into a discreet housing, completely freeing up the space.
In practice, the determining question is not “which screen to choose?”, but “should the space remain dedicated to projection or be totally reversible?”.
How to integrate a projection screen into a listed building or historical monument?
Integrating a screen into a heritage building requires a balance between architectural respect, visual discretion, and technical constraints.
Three principles generally guide these projects: reversible and minimally invasive fixings, minimal visual integration of the frame, and compliance with the standards in force in establishments open to the public, in particular through fire-rated fabrics (type M1).
Invisible frame solutions, such as the cinevision system , make it possible to meet these requirements while preserving the architectural readability of the place.
In 2025, Multivision notably installed a large screen at the Tour de la Chaîne in La Rochelle, an emblematic monument of French maritime heritage, as part of Tania Mouraud's Ad Infinitum work.
In this type of project, anticipation is crucial: the involvement of the design office from the design phase determines technical feasibility and successful integration.
Can a projection screen be curved for an immersive exhibition?
Yes, and this option is now widely used in immersive scenographic displays. The curvature of a screen allows it to follow the visitor's field of vision and reduce visual breaks between the image and the space. It thus enhances the enveloping effect and promotes a more natural immersion.
This approach is particularly relevant for large-format installations, immersive experiences, and scenographic journeys where the image becomes an environment rather than a simple projection surface.
Which projection screen should I choose for a room with strong ambient light?
Ambient light is one of the most crucial parameters in the quality of image reproduction from a projection.
In brightly lit spaces, high-contrast screens help preserve black levels and overall image clarity, whereas a standard screen would tend to wash out. When the setup allows, rear projection is also an effective solution for minimizing stray light and shadows cast by the audience.
The screens used by Multivision come mainly from Demospec, the French subsidiary of Harkness Screens, and cover a variety of uses: ambient light management, acoustic transparency or rear projection.
What is the lifespan of a projection screen in a museum setting?
A screen designed for museum use is not a short-cycle piece of equipment, but an installation designed for the long term.
The minimum lifespan is generally estimated at ten years, but in reality, a properly maintained installation commonly operates for fifteen to twenty years, or even longer. This longevity is based on sound design, European manufacturing, and assembly in Belgium, without any planned obsolescence.
In 2025, a maintenance intervention on a screen installed for more than twenty years in Tubize confirmed this durability: after a simple cleaning of the mechanism and the screen, the installation regained its optimal operation.
The main factors of aging, dust, humidity or corrosion, can be effectively controlled by regular preventive maintenance.
Why use a specialist manufacturer rather than a reseller for a museum project?
A museum project involves constraints that go far beyond the scope of standardized solutions.
Using a specialist manufacturer provides access to dedicated engineering, capable of designing tailor-made solutions (non-standard formats, curved screens, multi-screen devices or specific fixings).
This also allows the design office to be involved from the design phase, in direct collaboration with the architects and scenographers, in order to anticipate technical constraints and avoid late compromises.
Finally, continuity of service is a major issue: maintenance and long-term support guarantee the sustainability of the installations well beyond their initial commissioning.
Conclusion: Which projection screen is right for your museum or exhibition?
Choosing a projection screen in a museum setting is not solely a technical matter, but a matter of overall scenographic decision-making. The fundamental rule remains constant: the technology must adapt to the project, not the other way around.
In this logic, each screen type responds to well-defined usage and space constraints.
The fixed screen is the most universal solution. It integrates seamlessly into most setups, whether for permanent exhibitions or long-term temporary installations. Its stability makes it a standard in museums and cultural institutions, where continuity of use is paramount.
The cinevision
This solution is essential when visual discretion becomes a central issue. In heritage buildings or scenographies where the screen must disappear in favor of the image, this solution allows for almost invisible integration into the architecture.
The freestanding screen , like those offered by St John's, meets the requirements of traveling exhibitions or installations without wall support. It offers great flexibility in placement, particularly for floor projections or modular spaces.
Motorized screens are particularly well-suited to multi-purpose environments. They allow for a completely neutral space to be created outside of screening sessions, making them a preferred solution for multi-use rooms or event venues.
Finally, a bespoke approach becomes essential when a project deviates from conventional standards: non-planar surfaces, large-scale immersive devices, synchronized multi-projections, or specific architectural constraints. It then becomes a tool for adapting to the most complex environments.
Beyond typologies, one principle remains crucial: the integration of the design office from the initial planning phase. Anticipating technical constraints upstream allows for the transformation of ambitious scenographic visions into truly feasible solutions, while simultaneously addressing heritage, technical, and budgetary constraints.
In this comprehensive approach, Multivision supports museums, exhibition halls and cultural institutions in the design, manufacture and installation of customized projection solutions, in Belgium, Europe and internationally, from the study phase to maintenance.
