20 years of phaeno – In conversation with one of the original curators.
He has been involved since it opened in 2005: as curator, Davy Champion has helped shape phaeno, staged exhibits and repeatedly built bridges – between science and art, between theory and experience, between wonder and understanding.
In 2025, phaeno faced a special challenge: the major renovation brought 50 new and around 200 revised exhibits into the building. At the heart of it all was our team of curators, who ensured that the Science Centre continued to feel like a coherent experience despite all the changes.
In this interview, Davy Champion talks about his role as a "translator between science and experience," about emotional decisions during the renovation, about the new Ames Room, and about why the Friends of phaeno are so important. He also reveals what he is particularly looking forward to in the upcoming phaenoBricks exhibition.
A conversation about 20 years of curiosity, precision and the art of seeing the world a little differently every time.
Interview with curator Davy Champion.
You have been part of phaeno since the very beginning – working as a curator for 20 years. How would you explain your role at phaeno to someone who doesn't know you yet?
As a curator, I am something of a translator between science and experience. My job is to design content in such a way that it is understandable, surprising and, above all, experiential. It's not about imparting knowledge like in a schoolbook, but about arousing curiosity – in children as well as adults.
In the past, my work focused more on programmes, shows and productions. In the broadest sense, it was about presenting scientific content in such a way that it was exciting and attractive to a wide audience – also in order to appeal to the emotions of the visitors.
In doing so, I was always building bridges between different disciplines. At Mission W., we collaborated with a theatre director and a media artist as part of a partnership with the Scharoun Theatre. This approach of not thinking in strictly separate categories – "there's science, there's art, there's technology" – has always been important to me. That's what fascinated me so much about the Exploratorium in San Francisco: this openness to cross boundaries and create connections.
20 years of phaeno – review & renovation in 2025.
The 2025 renovation was a major project in which you were heavily involved. What areas were you specifically responsible for?
I was primarily responsible for the conceptual development of several exhibits and exhibition areas. This included revising old exhibits, but also integrating new exhibits – such as the Borderlines exhibit, a large floor projection in the maths area, the large pinball machine and the Slanted Room – into the existing architecture. I worked particularly intensively on the Maths Magic and Perspective areas.
In addition, there was the construction of the large pinball machine, the restoration of the art installation "Secret Life" and the design of the architecture for the digital station – these were the first projects, some of which we had already started at the end of 2024.
It was particularly important to me that, despite all the changes, phaeno continued to feel like a coherent experience – not like a collection of individual stations, but like a place where everything is interwoven.
What were the biggest challenges – professionally, organisationally or emotionally?
The biggest challenge was actually striking a balance between preservation and renewal. Many of the exhibits have a long history and are very popular with visitors. At the same time, we wanted to be bold and visibly develop the museum further.
In terms of organisation, time was the biggest challenge: 50 new exhibits, 200 revisions, new floors, painting work covering an area of 9,000 square metres. We did all this while the museum remained open to the public. The time frame was extremely tight and required a lot of coordination.
From a technical point of view, the compilation and planning of interactive exhibits was a relatively new field for me. Familiarising myself with such diverse topics within a short period of time, deciding: Who do we work with? Which company, which artist builds which exhibits – and in what form, with what interaction? How much should be new, and what does "new" actually mean?
These were all curatorial decisions: What new themes and focal points do we want to set? Which themes do we address in the exhibition and with what means? This led to some very emotional discussions among us curators and with the management – but in the end, we came up with some very good solutions together.
Looking ahead...
Which new exhibits or areas bear your signature in particular?
I am particularly proud of exhibits that focus more on physical experience – where you don't just see phenomena, but feel them directly, as in the slanted room or the Ames room. This is something that has always distinguished phaeno, and which we are now emphasising even more strongly.
However, I must be honest and say that it is more through open collaboration with external partners, who have brought in new ideas and impulses, that the exhibits have been given a special signature. For example, the collaboration with architect Marina Rütten was very important for the rooms. She already supported us in the planning and design of the children's area. The colour scheme and design are also coordinated with the overall design by Archimedes, a Berlin-based company that supported us throughout the entire project.
It was also important to me to showcase innovative installations in certain areas. One example is the video installation "Planktonium", which deals with the topic of biodiversity. It represents the "do it yourself" approach and is located in an exciting spot in the building. For me, accents like this make all the difference.
phaeno circle of friends.
Support for the new exhibits came from the Friends of phaeno, who provided financial backing for the new Ames Room. Why is this kind of support so important for phaeno?
Without this support, many special projects would not be feasible. The Friends have enabled us to create another iconic exhibit – one that might not have been possible without this financial assistance.
We depend on the support of friends, and this will become even more important in the future. Our financial leeway is becoming more limited, which is why we need partners – both private individuals and companies who become members. This support gives us the freedom to implement bold, unusual ideas.
What specific advantages do members of the Friends have?
Friends Circle members are closer to the action: they are informed about new exhibitions at an early stage, invited to exclusive events and get to experience phaeno behind the scenes. A real sense of community develops – you are not just a visitor, but part of the family.
The atmosphere at Friends events is very relaxed, and you get an exclusive look behind the scenes at phaeno, such as at the special exhibition phaenoBricks. At the preview event on 26 February 2026, Friends members will get a sneak peek at the exhibition before it opens and can get to know the members of the fan groups. Many people really appreciate this.
I myself am on the board of the Friends' Association and act as a link between phaeno and the board. I also provide input for the activities of the Friends' Association – this is something close to my heart.
Outlook for 2026.
The next special exhibition is already scheduled for 2026: phaeno Bricks. What are you personally looking forward to the most?
The creativity! phaenoBricks shows how complex ideas can emerge from simple building blocks. I am particularly excited that technology, imagination and community come together here – and that people of all ages can build, marvel and experiment.
I am particularly excited about the large central installation: the GBC – Great Ball Contraption. This is a huge system with around 300 different modules, in which small balls are transported from one mechanism to the next. Things in motion, with lots of technology – it's going to be spectacular!
There will also be a large snow and winter landscape, which I am very excited about. And then, of course, there is this special community, this scene that creates a very special atmosphere at phaeno every time and is very inspiring for the guests.
Important to note: the exhibition will take place over three days – from 27 February to 1 March 2026. So don't miss it!
Looking ahead...
If you had to give someone just one reason to visit phaeno in 2026, what would it be?
Because phaeno is a place where you see the world a little differently every time you leave. And because even after 20 years, it still surprises you.
A visit to phaeno is exciting every day. Especially after we've done so much work on it, you can just drop by and be amazed at how much has changed in the exhibition – including the atmosphere. In places, it feels like a new building.
Thank you very much, Davy – for your candid answers, for the insight behind the scenes, for the energy and passion you have put into the new exhibition, and for the fantastic revamped and new exhibits – from the entire phaeno team.
phaeno 2026
