MINI Plant Oxford, UK. by Harleen Kaur

VISITOR EXPERIENCE FOR MINI PLANT, OXFORD.

HarleenKaur

STUDENT ID- 8018271

The project is proposed with the aim of providing an exciting and enthusiastic visitor experience at the Mini Plant, Oxford, UK. The research part focuses on how the Mini has evolved in the market since the ages, and what a visitor experience is all about. It is further continued with a few case studies, carried out to understand the visitorâ&#x20AC;&#x2122;s behaviour and expectations from a space. The later part describes the design ideations and its process to accomplish the final concept.

MA. Interior Design MINI Project Harleen Kaur - 8018272 2017-2018 Coventry University, UK.

TOPIC: PROPOSED VISITORâ&#x20AC;&#x2122;S EXPERIENCE AT THE MINI PLANT, OXFORD, UK.

Declaration The research and studio work embodied in this project has been carried out by the undersigned as a part of the Semester 1, Design Innovation and Collaboration Module of the Postgraduate program in the Department of Arts and Humanities, Coventry University, UK. under the supervision of my tutor Mr.Clive Hilton and Mr. Michel Goatman and Selma Porobic as module tutors. The undersigned thereby declares that this work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made.

HarleenKaur

Acknowledgements

It is with great pride that I hereby present my Postgraduate Project. During the one month long process, I have gained knowledge of this research and it has been beneficial to my development in furthering my career and my studies in the future. I would like to express absolute gratitude to my main tutor, Mr. Clive Hilton and the module tutors, Mr. Michel Goatman and Selma Porobic for their encouragement and persistent support in undertaking of this research throughout the semester. I would like to express my appreciation and thank the members of The Mini for helping us in every possible way and by providing us the real knowledge about the Plant that helped me strengthen my perspective towards achieving my goal. My friends and my group mates for their valuable inputs and feedback. Lastly, this project draws upon my education as a student of Interior Design and will thus be incomplete without acknowledging the educators I have encountered in my few months at Coventry University and my family who have supported me throughout.

Abstract

This project is a part of the Ma. Interior Design program at Coventry University. It triggers around the idea of keeping its visitors engaged and not get bored. It will motivate the visitors to strongly say Yes to own a Mini by the end the tour. The project explores the idea of a Tunnel, a Museum and a Kaleidoscope which together come up as a design solution to the Mini Tour. The report consists of three main parts – “Background Research”, “Concepts and Ideation” and “Design Outcome”. “Background Research” deals with the qualitative research supporting the project which focuses on how the Mini has evolved in the market since the ages, and what a visitor experience is all about. It is further continued with a few case studies, carried out to understand the visitor’s behaviour and expectations from a space. The rest of the part contains the concepts and ideas derived from the research, as well as a Mood Board which supports the decision made throughout the project. “Design Outcome” describes the design process and proposes the final concept.

Contents

01.

Phase 01- Background Research • • •

02.

Phase 02- Case Studies • • • •

03.

2.1- THE BIRMINGHAM MUSEUM OF ART AND GALLERY. 2.2- THINKTANK- BIRMINGHAM SCIENCE MUSEUM. 2.3- COVENTRY TRANSPORT MUSEUM. 2.4- COMPARATIVE ANALYSIS.

Phase 03- Concepts and Ideations • • •

04.

1.1- A MINI HISTORY. 1.2- ABOUT MINI. 1.3- VISITOR’S EXPERIENCE.

3.1- IDEATION. 3.2- MOODBOARD. 3.3- INITIAL CONCEPTS.

Phase 04- Final Design

1 2 7 8

11 12 14 16 18

19 21 23 24

List of Figures • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Figure 1: Fuelstation (England, 1957) Figure 2: Fuel-efficient, economic car, by Alec Issigonic (England, 1957) Figure 3: Reinventing the wheels, Alec Issigonis (Mini launched, 1959) Figure 4: Car of the British culture (England, 1960s) Figure 5: A Mini- an efficient motoring for everyone Figure 6: Mini- A Thrill Ride Figure 7: Birth of a Racer (1961) Figure 8: International winner, Monte Carlo (1964-1967) Figure 9: A dynamic expression of Individuality Figure 10: An International all rounder (1969) Figure 11: America would have to wait (late 1960s) Figure 12: European car of the year (1999) Figure 13: Birth of a new Mini (1999) Figure 14: More than just a car (2003) Figure 15: Evolution of a pair of racing cars Figure 16: Establishing a car plant (Oxford, 1913) Figure 17: Producing Models (Oxford, 1950s) Figure 18: Classic Mini was Born, Sir Alec Issigonis (Oxford, 1959) Figure 19: Landmark in the City (Oxford, 2000s-Present) Figure 20: Mini Then and Now Figure 21: Visitor’s Experience Figure 22: BMW Museum-Building Figure 23: BMW Museum-“The Bowl” Figure 24: BMW Museum-Nodes and Paths Figure 25: BMW Museum-5 Storey Museum Bowl Figure 26: BMW Museum-Display Figure 27: Author’s Diagram-Brainstorming-Museum of Arts and Gallery Figure 28: Author’s Image- The Museum Entrance Figure 29: Author’s Image: The Museum Map Figure 30: Author’s Image: Design Illustration Figure 31: The Round Room Figure 32: The Industrial Gallery Figure 33: The Baroque Art Figure 34: Author’s Diagram-Brainstorming on Thinktank Figure 35: Author’s Image- Nodes and Paths Figure 36: Author’s Image- Levels Segregated Figure 37: Author’s Image- Learning Traffic Rules Figure 38: Author’s Image- Learning by Doing Figure 39: Author’s Image- Understanding by Experimentation Figure 40: Author’s Image- Nodes and Paths within the Museum Figure 41: Author’s Image- Experimenting the Technicalities Figure 42: Author’s Diagram-Brainstorming-Coventry Transport Museum

• • • • • • • • • • • • • • • • • • • • • • •

Figure 43: Author’s Image: Coventry Pioneers. Figure 44: Author’s Image: Fastest Mode of Transportation(1910). Figure 45: Author’s Image: History of Coventry on a Projected Screen. Figure 46: Author’s Image: Part 3- First World War. Figure 47: Author’s Image: Video of the Process. Figure 48: Author’s Image: Future of the Motors Cars. Figure 49: Author’s Image: Motor Cars after Coventry Bombing. Figure 50: Author’s Table: Comparative Analysis Figure 51: BMW Tour Route- Body in White. Figure 52: BMW Tour Route- Assembly Area. Figure 53: A collage comprising of images from Pinterest and goole research. Figure 54: Author’s Sketch: Projecting a Hologram. Figure 55: Author’s Sketch: Double Mini Door. Figure 56: Author’s Sketch: Pathways and Signages. Figure 57: Author’s Sketch: The Interactive Tunnel. Figure 58: Author’s Sketches and Models: Mini- Art Installation. Figure 59: Author’s Sketch: Conveyor Belt- Elevation. Figure 60: Author’s Sketch: Conveyor Belt- Plan. Figure 61: Author’s Sketch: Kaleidoscope Concept- Ideation. Figure 62: Author’s Sketch: Kaleidoscope Concept- Final Design. Figure 63: Author’s 3D Render: Entrance to the Assembly Area- Final Design. Figure 64: Author’s 3D Render: Tunnel 1- The Final Design. Figure 65: Author’s 3D Render: Tunnel 2- The Final Design.

PHASE 01 BACKGROUND RESEARCH “MINI sets trends in the industry and has always had a perfect feel for the times. The brand’s unconventional approaches traditionally attracted people with a high level of individuality and creativity. Because of that, we never stand still – and we always evolve with our customers.” -Sebastian Mackensen Senior Vice President MINI at the IAA 2015

-PHASE 1-1.1-A MINI HISTORY-

MINI MAXIMISES YOUR URBAN EXPERIENCE. FOCUSED. ENGAGING. INSPIRING. 1.1 -A MINI HISTORY-

-A FAMILIAR DILEMMA. The year was 1957, and in post-World War II England the Suez Crisis had sent fuel prices soaring, leading many to start wondering if the large, gas-guzzling vehicles of the day made much sense. Figure 1: Fuelstation (England,1957)

-A CAR BUILT FOR EVERYONE

Figure 2: Fuel-efficient, economic car, by Alec Issigonis (England,1957)

So Sir Leonard Lord of the Morris Company issued his top engineer, Alec Issigonis, a challenge: design and build a small, fuelefficient car capable of carrying four adults, within economic reach of just about everyone. As fate would have it, the challenge of fitting so much function into such a small package inspired a couple of historic innovations.

-REINVENTING THE WHEELS The two most important innovations Issigonis came up with were to create more room in the cockpit: pushing the wheels all the way out to the corners and turning the engine sideways giving the car more stability in tight turn and more passenger space on the inside. The world had never seen a car quite like it. And when the first Mini launched in 1959, the public was a bit baffled.

Figure 3: Reinventing the wheels, Alec Issigonis, (Mini launched, 1959)

DID YOU KNOW ? … that the last classic Mini – number 5,387,862 – rolled oﬀ the production line in Longbridge on 4 Oct. 2 2000?

-PHASE 1-1.1-A MINI HISTORY-

-THE SPIRIT OF THE STREETS. Soon enough, people began to recognise that the Mini was not merely a car. The unique combination of classic British style in a lowcost, small size, fun and nimble package came to symbolise independence and spontaneity. The very essence of the youthful 1960s culture. Figure 4: Car of the British culture(England,1960s)

-A CULTURAL PHENOMENON. One of the most remarkable elements of the Classic Mini’s popularity was how its infectious spirit transcended traditional class barriers. From hipsters and mods to milkmen, rock stars and royalty to rally racers. Everyone could have efficiency, fun and freedom, motoring in a Mini. Figure 5: A Mini- an efficient motoring for everyone

-A THRILL RIDE. It soon became apparent that, while intended to create more passenger room, Issigonis’s numerous layout innovations also helped make the Mini a standout performance car. Wheels at the corners meant a wide, go-kart stance and nimble handling. And the transverse engine kept weight over the front tires, helping provide great balance and grip. Figure 6: Mini- A Thrill Ride

DID YOU KNOW ? … that the current generation of the 3-door MINI is 76.7 cm longer than the original 1959 Mini? 3

-PHASE 1-1.1-A MINI HISTORY-

-BIRTH OF A RACER. It was 1961 when the humble little peoplemover fell into the hands of British racing legend John Cooper. A more powerful engine, bigger brakes and a few tuning tweaks later, the Classic Mini Cooper 997 was introduced. And a rally demon was born. Figure 7: Birth of a Racer (1961)

-A GIANT KILLER. Before long, the nimble little Classic Mini was outracing and outlasting the larger, more powerful, but clumsier sedans of the day. Visits to the winner’s circle became a regular event as Mini chalked up numerous international race wins – including 3 at the prestigious Monte Carlo rally from 1964 to 1967. Figure 8: International winner, Monte Carlo (1964-1967)

-YOU-NIQUE. In addition to being exhilarating to drive, owners loved how easily their Mini became an extension of themselves. A dynamic expression of their individuality and a personality-packed sidekick that was always up for a bit of spontaneous fun. Figure 9: Mini- A dynamic expression of individuality

DID YOU KNOW ? … that over 3 million MINIs have been sold since the relaunch in 2001? (updated 2014) 4

-PHASE 1-1.1-A MINI HISTORY-

-A WORKHORSE. By 1969, over 2 million Mini had been sold around the world. Pickup and station wagon versions were introduced and all were incredibly durable – whether rallying or doing the daily errands. Owners knew they could depend on their Mini to get the job done. And inspire smiles the entire time.

Figure 10: An International all rounder (1969)

-AMERICA WOULD HAVE TO WAIT. By 1977, the Classic Mini’s popularity had truly taken off around the world with over 4 million cars sold in each corner of the globe. Sadly, Americans never quite got the chance to catch the fever since new emissions regulations in the late 1960s forced Mini to give up its U.S. green card.

Figure 11: America would have to wait (late 1960s)

-EUROPEAN CAR OF THE CENTURY. Fast forward to 1999. Over 5 million Classic Minis had found happy homes around the world leading a panel of 130 international automotive journalists to vote Mini “European Car of the Century.” In fact, only Ford’s Model T received more votes for the global title. Figure 12: Mini- European car of the year (1999)

DID YOU KNOW ? … that you can buy a MINI in 109 diﬀerent countries worldwide? 5

-PHASE 1-1.1-A MINI HISTORY-

-THE NEXT EVOLUTION. In October of 1999, just a few days before the final Classic Mini rolled off the production line, the concept for a new MINI is unveiled at the Paris Auto Show. The distinctive design and personality is immediately recognisable. Figure 13: Birth of a new Mini (1999)

-MORE THAN JUST A CAR. Taking the 2003 North American Car of the Year Award, the general public and auto enthusiasts alike find the new MINI hard to resist. Owners personalise their MINIs to their hearts’ content and form motoring clubs all across the country. Figure 14: More than just a car (2003)

FEISTIER THAN EVER. Updated with modern performance features and a committed passion for racing, the MINI Motorsport teams are once again taking tracks. The newest to represent the racing heritage is the MINI John Cooper Works Team, who wield a pair of the most powerful MINI models ever built – the John Cooper Works Hardtop 2 Door.

Figure 15: Evolution of a pair of racing cars

DID YOU KNOW ? …that 28 supple female gymnasts fit in the new MINI? (world record set in 2014 in Potters Fields Park in London). 6

-PHASE 1-1.2-ABOUT MINI-

1.2 -ABOUT MINI-

Figure 16: Establishing a car plant (Oxford,1913)

Figure 17: Producing Models (Oxford, 1950s)

Figure 18: Classic Mini was Born, Sir Alec Issigonis (Oxford, 1959)

Figure 19: Landmark in the City (Oxford, 2000s-Present)

Figure 20: Mini Then and Now

-PHASE 1-1.3-VISITOR’S EXPERIENCE-

1.3 -THE VISITOR’S EXPERIENCE-INTRODUCTIONThe Visitor Experience is a journey of discovery around the services and facilities at the Giant's Causeway.

In order to increase visitor interactivity, most art museums provide handheld guides with audio tour in order to enhance art interpretation and empathy.

Along with the services provided by a space, visitor’s experience is delivered in a physical environment or site which encompasses the land or building area, shape, lighting, means of orientating the visitor, queues, waiting, crowding, and methods of stimulating interest and engagement. For example, in the case of museums, the effectiveness of communicating historical information, the essential product, convey information, and engage the visitor, through either social exchange or more traditional textual and visual methods.

Recently, some of the museums have started using apps on smart phones to replace traditional handheld guides. These apps integrate multiple functions, such as tour guide, exhibits information, membership activities, and maps. However, they are stable in nature because they are a unique bond of information. A limitation to these applications is that they are presented through small screens that only allow one person to interact at a time.

History museums mainly use artifacts, text, and archival images to answer the question “what happened before?”. Science museums try to translate scientific concepts into a story that the public can easily digest. The story can be told using multimedia and interactives. Children’s museums use a large amount of interactions in colorful exhibits, which engage children to learn through creativity and experimentation. These exhibits focus on children who physically, socially, and emotionally challenged.

Figure 21: Visitor’s Experience

-PHASE 1-1.4-BMW MUSEUM BY ATELIER BRUCKNER-

1.4 -BMW MUSEUM-

-BY ATELIER BRUCKNER

-INTRODUCTIONArchitects Atelier Bruckner of Stuttgart have designed the new BMW Museum, which opened in Munich in 2008. The project involved renovating the existing Museum Bowl designed by Karl Schwanzer in 1973 on the site of BMW’s headquarters and adding a further 4000 square metres of exhibition space.

The museum has 125 exhibits on show, including cars, motorcycles, and aircraft engines and racing engines. The new BMW Museum in Munich has a modern, dynamic language. It has set a new standard in the realm of brand-focused museums. Along with the BMW Welt, opened in October 2007, and the BMW factory tour, the museum is the final component of the BMW Triad, where two million visitors are expected annually.

The existing architectural form of the famous Bowl, remains while the adjoining building elements are integrated for the museum’s utilisation.

Schwanzer’s basic idea for the museum, that is, “continuation of the street in altered space”. The silver construction, which outwardly is very closed, looks light and generous inside. Through the rising spiral ramp, the visitor enters five seemingly free-floating platforms that serve as exhibition areas.

The concept is based on theme- specific spaces made accessible via ramps symbolising mobility and movement. These ramps connect the locations of the exhibition and experiences. The idea of the original museum architecture was, streets and places in urban space, is continued in the form of an urban spatial experience of streets and building.

The circular base of the museum widens from approximately 20 metres to 40 metres in diameter. On platforms four and five, the visitor can experience more wider airspace and the building expansion.

-VISITOR’S EXPERIENCEA kilometre-long ramp leads visitors through seven permanent exhibitions in the new three-storey building and temporary exhibitions held in the 5-storey Museum Bowl.

-PHASE 1-1.4-BMW MUSEUM BY ATELIER BRUCKNER-

Figure 22: BMW Museum-Building

Figure 23: BMW Museum-“The Bowl”

Figure 24: BMW Museum- Nodes and Paths

Figure 25: BMW Museum- 5 Storey Museum Bowl

Figure 26: BMW Museum-Display

PHASE 02 CASE STUDIES

-PHASE 2-2.1-CASE STUDIES-

2.1 -THE BIRMINGHAM MUSEUM OF

ART AND GALLERY-INTRODUCTIONThe Birmingham Museum and Art Gallery is associated with the orthodox methods of preserving and displaying historical artefacts. However, while the museum receives public funding, cuts in budgets and management policy changes have increased financial pressures and resulted in efforts to attract a wider cross-section of the community, particularly to visiting exhibitions which require admission charges. At the time of writing, the museum and art gallery were attracting approximately one million visitors per annum, with the art gallery drawing 600,000 and the museum 400,000.

•

-KEY POINTS-

Contemporary Vintage Public Delicate Regional Famous Vibrant Oldest Modern Rich Grand Prestigious Vast British National Masterpieces Royal Tressure Valuable Artefacts Culture Elegant Natural Educational Heritage History Tools

-OBSERVATIONS OF THE MUSEUM•

•

It included exhibitions of classical archaeology, a history of gems, an exhibition dedicated to the history of the city, displays of clothes, machinery, natural history, and the fairly recent addition of an exhibition entitled ``A meeting ground of cultures''. Throughout the museum there was a very less detail regarding the nature of interpretation in each hall.

The starting point for the analysis, is concerned with the entrance to the museum on Edmund Street which was badly signed. As you enter inside, the reception was stark and offered very little information regarding current displays. A board consisting of the floor plans was situated to the right of the reception, which served as a guide to the levels and rooms. The museum is large and offers a variety of exhibits ranging from a history of the city from medieval times to the present day, to a hall displaying artefacts and stories from ancient Egypt.

Archaeology

Free

Symmetry

Unique

Geometry

Figure 27: Author’s Diagram-Brainstorming on Museum of Art and Gallery

-PHASE 2-2.1-CASE STUDIES-

-IMAGES-

Figure 28: Author’s Image- Museum Entrance

Figure 29: Author’s Image- Museum Map

Figure 31: The Round Room

Figure 30: Author’s Image- Design Illustration

Figure 32: The Industrial Gallery

Figure 33: The Baroque Art

-PHASE 2-2.2-CASE STUDIES-

2.2

-THINKTANK-

-BIRMINGHAM SCIENCE MUSEUM-

-INTRODUCTIONThinktank Science Museum aims to develop a hands-on science gallery that explained to visitors how and w hy Bir ming ham became known as ‘the workshop of the world’, and how innovation continues to be part of the cultural identity of the region. There are four clear sections – Nuts & Bolts, Treasure, Tins and Things and Gadgets.

•

Nuts and Bolts focuses on Birmingham’s role in making iron and steel goods for the world, but the city is equally famous for its Jewellery Quarter innovations too – hence a Treasure section.

-KEY POINTS-

Tin and Things spreads the net a little wider, to include aluminium products and Black Country glass-making skills, while Gadgets shows how many different materials are used to make everyday objects from cameras to phones.

Medicines

•

Construction

Remains Wildlife Evolution Discovery Science

-OBSERVATIONS OF THE MUSEUM•

It differentiates the past, the factory, the present and the future in different levels, and thus reviews itself as a story. Visitors are able to engage with science through familiar themes and link earth’s resources with working machines. Birmingham and the region have such a rich history of manufacturing. It creates fascinating for families to explore it.

ExplanatoryEducational Expressive Heritage

Nodes and Paths are clearly visible in and around the museum. There are volunteers signages everywhere w h i c h g i v e s a s m o ot h f l ow an d transparent direction to the exhibitors. The museum map interestingly showcases the concept of the museum and thus creates psychological curiosity among the visitors of all age groups.

Universe Hands-on

Interesting Technology

Robot Invention

Artefacts

Figure 34: Author’s Diagram-Brainstorming on Thinktank.

-PHASE 2-2.2-CASE STUDIES-

-IMAGES-

Figure 37: Author’s Image- Learning Traffic Rules

Figure 35: Author’s Image-Nodes and Paths.

Figure 36: Author’s ImageLevels Segregated

Figure 38: Author’s Image- Learning by Doing

Figure 39: Author’s Image- Understanding by Experimentation

Figure 40: Author’s Image- Nodes and Paths within the Museum

Figure 41: Author’s Image- Experimenting the Technicalities.

-PHASE 2-2.3-CASE STUDIES-

2.3 -COVENTRY TRANSPORT MUSEUM-

-INTRODUCTIONCoventry Transport Museum houses the largest publicly owned collection of British vehicles in the world, and tells the fascinating story of Coventry and its people through the rise and fall of its biggest industry. The Museum’s collection consists of motor cars, commercial vehicles, cycles and motorcycles. In addition, extensive c o l l e c t i on s of aut om o bi l i a , b o o k s , photographs and a wealth of other archive material is held and conserved at the Coventry History Centre at the Herbert Art Gallery & Museum. Most of its collection exists through the generosity of individual donors.

-OBSERVATIONS OF THE MUSEUM•

•

The Museum has new displays and interactive features which engages the visitors and delivers a world class museum experience. There is a 4D land speed record simulator, which allows the visitors to experience the thrill of the fastest car in the world. There is a smooth flow of the visitors as everything in the museum is selfexplanatory and engages the visitor completely.

•

It differentiates the past, the present, the future of Automobile Industry and thus reviews itself as a story. Visitors are able to engage with science through familiar hands-on activities for Kids and other visitors.

-KEY POINTSContemporary Vintage Public Regional Famous Vibrant Thrill Oldest Rich Valuable Power Prestigious British National Masterpieces Royal Tressure Artefacts Energetic Elegant Educational Hands-on Heritage History Tools Expressive Free

Unique

Figure 42: Author’s Diagram-Brainstorming on Coventry Transport Museum.

-PHASE 2-2.3-CASE STUDIES-

-IMAGES-

Figure 43: Author’s Image-Coventry Pioneers.

Figure 44: Author’s Image-Fastest mode of transportation(1910).

Figure 45: Author’s Image-History of Coventry on projected screen.

Figure 46: Author’s Image-Part 3-First World War.

Figure 47: Author’s Image-Video of the process.

Figure 48: Author’s Image-Future of the Motor Cars.

Figure 49: Author’s Image-Motor Cars after Coventry Bombing.

-PHASE 2-2.4-COMPARATIVE ANALYSIS-

2.3 -COMPARATIVE ANALYSIS-

TOPIC

Case Study 1: Birmingham Museum of Art and Gallery

Case Study 2: Thinktank, Birmingham Science Museum

Case Study 3: Coventry Transport Museum

Location

Chamberlain Square, Birmingham B3 3DH

Millennium Point, Curzon St, Birmingham B4 7XG

Millennium Place, Hales St, Coventry

Connectivity

It is located at a 10 minutes walk from the New Street Station and also has an easy access with the local buses.

It is located at a 20 minutes walk from the New Street Station and also can be visited by local taxes and buses.

It is located at a 1 minute walk from the Coach Station and 15 minutes from the Train Station. It lies in the heart of the City Centre.

Architectural Character

The concept is more focused on its functions and geometry all together.

It balances the functional and aesthetical character equally.

The concept is focused on the levels of the building and the timeline of Coventry’s history. It reflects the functional and the aesthetical character.

Public Spaces

Edwardian Tearoom, Bridge Cafe, Shop.

Cafe, Shop, Picnic Area, Science Garden, Group Meeting areas, Planetarium.

Cafe, Shop, Conference rooms.

Vehicular Movement

Vehicular movement is restricted to the visitors.

No vehicular movement.

Vehicular movement is restricted to the visitors.

Organised Pedestrian movement.

Pedestrian Movement is designed in a way that the visitor is excited and curious to see the next space and overall covers the whole museum.

Flow of the Visitors is such that they cover each and every area of the Museum and have no scope of Ignorance. Every space leads to a second space and further third.

User Behaviour

Visitors are more serious about the museum and its displays.

Visitors are playful, more energetic, curious to experiment the hands-on techniques and learn practically about the past and technicalities of a machine or body.

Visitors, specially the children are more playful and excited to experiment with the diﬀerent machines and the hands-on activities.

User Age Groups

16 years +

All age Groups ranging from young toddlers to elderly.

All age Groups are welcomed.

Pedestrian Movement

Figure 50: Author’s Table- Comparative Analysis.

PHASE 03 CONCEPTS AND IDEATIONS

-PHASE 3-3.1-CONCEPTS AND IDEATIONS-

3.1 -IDEATIONThe ideation phase started with focusing on the design requirements, provided by the client, that demanded creative problem solving by providing their visitor’s with a memorable experience. • • • • •

How to provide conditions for an innovative visitor experience ? How to provide conditions to make the spaces of the plant more interactive ? How to ensure that the visitors engage completely with the surroundings and the environment of the plant ? How to allow the visitors to commute and understand the space completely without any hassles and do not get oﬀ track while they are on the tour. How to celebrate the birth of the Mini ?

Above mentioned questions came up as a challenge that were to be successfully answered and further resolved to narrate an engaging story to the visitors.

-INITIAL IDEASBefore visiting the BMW Plant, there were some initial ideas developed as to what areas could be worked on in a car plant. Also, how its historical story could be reflected with some new ideas and designs, incorporated in the plant. The main idea was to make the space more interactive, visually appealing, aesthetically and technically solving the problems identified. Below are the pointers that could be incorporated and worked on: • Working on the levels, heights, ceilings, walls etc. • Create Art installations and Design Interventions. • Identifying a specific area and making it interactive. • Add green areas. • Use the basic/ spare parts of the car • Keeping Modern, Ecofriendly and Urban Habitat in mind as the actual brands concept and try to solve the problems by recreating and connecting the space. • Incorporating Energy, Power and Thrill to the design. • Free floating platforms/ cantilevers. • Making the space exciting for the children of age 14 years and above.

-PHASE 3-3.1-CONCEPTS AND IDEATIONS-

-BODY IN WHITE-OBSERVATIONS• • • • • • • • • • • •

Total area of the Bodyshop is 100,000sq.m, which is equal to 14 football pitches. It works in 2 styles, that is, Modern (Fully Automatic Robots) and Traditional (Associates are required). It has a 8.5kms long Conveyor Belt which helps in transportation and buffering. Lifts are also present for vertical movement of the moulded parts. SUPERMARKET- It has no specified storage area, purple coloured racks are used instead. 40% of the energy is trapped from the solar panels. There are upto 1000 robots and 6000 spot welds, which create 1 Mini. Due to a high amount of energy generated, the area has a smell of the machines. There are no signages present in any area, which makes it very difficult for the visitor to understand each space. Colours Identified are- Blue, Orange, Steel, Grey, Yellow, Purple and Creme. There are meeting spots present, but are not maintained correctly and thus makes difficult for a visitor to identify any of them. There is no Natural sunlight present in the room. It feels like trapped in a box. -BLOCK MODEL-

Figure 51: BMW Tour Route- Body in White.

-PHASE 3-3.1-CONCEPTS AND IDEATIONS-

-ASSEMBLY AREA-OBSERVATIONS• • • • • • • • • •

Total area of the Assembly Area is equal to 10 football pitches. It works in 2 styles, that is, Modern (Fully Automatic Robots) and Traditional (Associates are required). It has a long Conveyor Belt which helps in transportation and buffering and also acts as a Red Carpet, to celebrate to birth of a new Mini. Lifts are also present for vertical movement of the developed part. It has no signages and therefore makes very hard for the visitor to understand the functioning of each area. There are sky lights in the assembly area which brings natural light to the plant and makes it feel more energetic. There are no signages present in any area, which makes it very difficult for the visitor to understand each space. There are meeting spots present, but are not maintained correctly and thus makes difficult for a visitor to identify any of them. There are central units which are not properly maintained and designed, thus it seems to be very mismanaged. There are camera’s to capture an image of the process of developing a Mini at every step. Hence, it shows the accuracy and commitment towards professional delivery to its clients. -BLOCK MODEL-

22 Figure 52: BMW Tour Route- Assembly Area.

-PHASE 3-3.2-CONCEPTS AND IDEATIONS-MOOD BOARD-

3.2 -MOODBOARD-

Figure 53: A collage comprising of the images from Pinterest and google research.