MAURESA MITCHELL MFA THESIS
SUMMER 2017SPRING 2019
Digital Interactive Exhibits AND the Visitor Experience
“ ...designers create
transformative experiences that educate, awe, inspire, and engage visitors.� Clare Brown
MAURESA MITCHELL MFA THESIS
SUMMER 2017SPRING 2019
Digital Interactive Exhibits AND the Visitor Experience
MAURESA MITCHELL MFA THESIS
SUMMER 2017SPRING 2019
Contents 01
PRELIMINARY RESEARCH
01
04
ASSESSMENT MATRIX
21
PR E FACE
TOPIC DEVELOPMENT
03
APPR OACH
INTERVIEW
22
OBSERVATION & PHOTOGRAPHY
23
05
OBSERVATIONS
26
FI E LD OB S E RVATI ON S
SUMMARY
35
DESIGN GUIDELINES
00
01
20
02
RESEARCH TOPIC
06
I NTR OD U CTI ON
PURPOSE OF RESEARCH
07
RESEARCH QUESTIONS
08
KEY TERMINOLOGY
09
03
MUSEUMS
12
R E S EAR CH
VISITOR EXPERIENCE
12
06
EXHIBITION DESIGN
00
DESIGN GUIDE
GRAPHIC DESIGN
15
INTERACTION DESIGN
00
05 12
26 00
spring 2017
01 PR E FACE During my first semester in graduate school, I came in with a passion and drive to develop my design skills and learn about interaction design. I quickly found myself emerged within a place lost without a thought in sight. Every step forward felt like five steps back. I began questioning, was interaction design important to my design career? Am I going about interaction design in the wrong way? In what context do I see working with interaction design? Next thing I knew it was Spring 2017and I was in an art history course. At the time, this course was the solution to my questions. This art history course consisted of research about an art movement that
influenced graphic design. From the research, a final project was constructed with two other grad students, Benjamin Ingle and Taylor Klover. The final project was an exhibition design that focused on teaching the International Typographic Style. As one moved through the space, they collect the corresponding components. These components then could later be composed into a composition by following the instructions provided on the workstations. From this project, the connection to museums and interactivity. In this case, I am referring to tangible interactivity but what would happen it digital interaction was considered?
PREFACE: PRELIMINARY RESEARCH
02
PREFACE: TOPIC DEVELOPMENT
committee meeting notes
03
04
02 I NTR OD U CTI ON
INTRODUCTION: RESEARCH TOPIC
06
Designing Museum Exhibits: Enhancing Visitor Experience Through Digital Interaction Technology is growing constantly and is being used among many industries. The growth of technology allows for enhancement to museum exhibits. With these advancements in technology, there comes a need for designers to understand and be able to design for the screen in a museum context. The purpose of this study is to investigate digital interactive exhibits in museums and provide a framework for designing interactive exhibits. This study was conducted between September
2017-May 2018. XXX museums participated in an interview process and exhibit observations. Each museum was evaluated from a design stand point on the exhibits engagement, design aesthetic and general usability. By analyzing the collection of data from each museum, a set of guidelines or “rules� are established for designers.
07
INTRODUCTION: PURPOSE OF RESEARCH
Why does it matter? Graphic Design is rapidly and consistently changing, not only in response to style changes but also in response to where and how any design is displayed. Museums have been a hub for information. They allow visitors to step in to their environment and learn something new or to expand their knowledge. Traditionally in museums, exhibits feature artifacts and facts displayed for viewers to examine. However, as technology has advanced exhibits are becoming more engaging through the use of digital electronics, the Internet and interaction design.
Designers now have to not only think about what is being displayed but also take into consideration, how the viewer may engage with the design. They must consider the layout design that is displayed on a screen, the user interface, while also considering the impression the user or viewer has when navigating through design, user experience. Both the user interface and user experience have to work together to create a successful design solution. If either one, user interface design or user experience design, fall short of their requirement, a user can
R E S EAR CH QU E STI ON S 1. What digital interactive components are used within museums? easily become frustrated, leading to a negative impression of exhibit. By analyzing a museums purpose and history, current digital interactive exhibitions, and exhibition design processes, designers can learn how to design engaging interactive experiences for museums.
2. How can digital interaction influence learning/education within museums? 3. How can interaction design change the passive museum visitor experience into a more engaging experience?
09
INTRODUCTION: KEY TERMINOLOGY
key terminology
01 Artifact Artifact refers to an object made by a person, usually an item of cultural or historical interest. Photographs from period are considered one of these objects.
02 Digital Interaction Digital interaction is digital computer-based systems where a users engagement or actions control content displayed. This content could be text, moving image, animation, video, audio, and video games.
03 Exhibit Exhibit is an object or collection on display for public viewing.
10
04 Interaction Design Interaction design is a design process that focuses on creating engaging interface design while considering the users action’s and goals.
05 Internet Internet is a global computer network that provides information and communication through the use of interconnected networks.
06 Typography Typography refers to the style and appearance of letterforms. Typically controlled leading, tracking, and kerning.
07 User Experience User experience is the experience of a person using digital interactive content such as website or computer application.
08 User Interface User interface is the visual component in which the user interacts with, in particular the use of input devices and software.
09 Visitor Experience Visitor experience refers to the response of the visitor in reference to a single exhibit or encounter.
03 R E S EAR CH
Literature Review
Information within a museum is displayed in a variety of ways through the use of exhibits. With the advancements in technology, museums are able to design and develop new ways of presenting information to the visitor. The beginning of this paper discusses preceding literature on the background of museums, museum experience, followed by an examination of design processes.
RESEARCH: MUSEUM
12
The following review of literature will discuss the historical context of museums (3.1) to understand how museums have developed over time as well as the visitor experience. Additionally, the literature review will discuss different design areas (3.2-3.5) and how they have aided in the advancements of museum exhibitions. This review of literature will assist in evaluation development and design process of this study.
The word museum is a Latin word derived from the Greek word mouseion. The Greeks defined mouseion as a “temple dedicated to the Muses” where Muses were “goddesses who watched over music, love poetry, oratory, history, tragedy, comedy, the dance, and astronomy (Alexander, 1979).” About muses to America.... To fully understand and define what a museum is in United States of America today, 2017, we have to examine the historical context of museums.
3.1 Museums What is a museum? A museum broken down to the simplest form is a structure with walls that contain a collection of objects or artifacts for viewers to investigate and/or admire. Museums have existed for many years in human culture and over the years the definition of a museum has developed or changed among different societies.
3.1.1 Visitor Experience Museums are the hub for visitors to come, explore, learn and engage with collections. Every person who visits a museum, will leave with an experience — some kind of thought, interaction, reaction to what the museum has provided. For many years, researchers have continued to try to develop an understanding of how and what
13
RESEARCH: MUSEUM
a successful visitor experience should look like. This leads to question, what makes up a visitor experience? In Enhancing Visitor Experience, John Falk and Lynn Dierking (2008), break down the three main components that form the visitor experience. They use the Contextual Model of Learning to illustrate. FIG. 01 The model is comprised of three areas, personal, socio-culture and physical context. Their explanation goes on to define personal context as “the sum total personal and genetic history that an individual carries with him or her into a meaning-making situation (2008).” When referring back to the museum and visitor, personal context is what the visitor brings with them to a museum. This could be but not limited to past knowledge learned through education, personal interest, reason for visit or presumptions about the museum. The second component mentioned was socio-
culture context. Falk and Dierking (2008), explain socio-culture context as “humans are social creatures, products of their culture and social relationships.” In other words, people learn from their cultures and relationships in their social lives. And their ideas, values or thoughts contribute to decision or perspective a person may have within a particular situation. Again, taking a step back into the museum, socio-culture context means a visitor could develop a reaction or expectation from their background, from the people they may be at the museum with or even by a staff member of a museum who is providing a tour. Social aspects influence visitors depending on culture backgrounds and the current social situation. This leads into the final component of the model, physical context. “Meaning making always occurs within a physical setting; in fact, it is always a dialogue with the physical environment (Falk and Dierking 2008).” Visitors arrive to a physical location, the museum and then develop response
14
PE R S ONAL CONTE XT
S OCI OCU LTU RAL CONTE XT
E X PE R I E N CE
PHYS I CAL CONTE XT FIG. 01 John Falk Contextual Model of Learning
based of the physical traits it portrays. These physical traits could refer to things like, the architecture, building layout, exhibition design, or use of technology. All of these physical traits impact or influence a visitor’s perceptions of the museum. When personal, socio-culture and physical contexts come together an experience has occurred. Design can impact a visitor’s experience by adjusting the physical context through the use of color, graphics, images and/or text.
15
RESEARCH: GRAPHIC DESIGN
3.3 Graphic Design Graphic design is focused around the idea of communicating an message through visuals and text. Visuals could includes images, graphics or both depending on the message that is to be communicated. When thinking about graphic design in a museum context, the goal or objective is focused on a theme or timeline. Graphic design enhances the exhibit helping communicate to the visitor. To fully understand the process of graphic design, a understand of what makes a successful design is important to know.
to aid in development of a solution. As mentioned previously graphic design in one element that can affect a person’s physical context of learning or experience.
3.3.1 Successful Graphic Design A successful design is commonly referred to as design solution. For every design situation, a problem is brought to the table looking for a design solution.
In the first step, planning and preliminary negotiations, a problem has to be identified along with research of design market to identify designers. Typically this step involves more than the designer to establish business matters such as, client contracts and other business documents. Also during this time, there are aims to define who the target audience is as well as discussing verbal creative ideas.
3.3.2 Graphic Design Process To get to any design solution there is typically a method or process in which a designer will take
Louis Ocepek, Professor Emeritus of Art from New Mexico State University, describes the “almost universal design process” that “generate(s) effective communication solutions (2003).” FIG. 02 In his process, he describes five essential steps to designing effective communication.
16
In the second step, previsual research and analysis, designer begins to familiarize themselves with the client and/or subject matter of project. Following the second step comes, visual conceptualization. The fourth step of the process focuses on comprehensive layouts and presentation. Graphic production and delivery is the final step of the design process.
17
RESEARCH: GRAPHIC DESIGN
FIG. 02 Adaptation of Louis Ocepeck’s Graphic Design Process
01
PLAN N I N G AN D PR E LI M I NARY N E G OTIATI ON S - define the problem - research the market - select the designer - negotiate the contract and budget - establish the schedule
02
PR E-VI S UAL R E S EAR CH AN D ANALYS I S - profile the client - collect existing materials
- research the subject - consult with the client - edit the research
18
03
VI S UAL CON CE PTUALI ZATI ON - brainstorm for ideas - analyze text for meaning
- create thumbnail studies
- edit thumbnails
04
COM PR E H E N S IVE LAYOUTS AN D PR E S E NTATI ON - refine thumbnail into roughs
05
G RAPH I C PR OD U CTI ON AN D D E LIVE RY - commission images as needed
- refine roughs into comps
- assemble text and images
- present comps to client
- proof artwork and assembly
- critique comps and make changes
- present proofs for client approval - supervise fabrication and delivery
04 APPR OACH
APPROACH: RESEARCH COMPONENTS
20
Defining collection methods. The purpose of this study is to investigate current digital interactive museum experiences and propose a way museums can effectively use design and digital interaction to enhance visitor experience. A series of research components were put together to collect data and analyze how museums are using interactive technology within their space. Research Components The museum industry is integrating digital interactive experiences into their exhibits. This study aims to improve experiences by analyzing current exhibit designs. To gain better knowledge and understanding of what museums are doing, a series of museum exhibits were visited, documented and analyzed.
Museums were evaluated using a matrix, or cross comparative content assessment tool that was developed based on theories from literature review. This tool examines design components, types of displays, and interactivity used within different museums. The conduction of museum interviews, allowed for a inside knowledge on the process of making these exhibits. To maintain consistency protocol was developed for collection personal observation and capturing of exhibit images. The exhibits were evaluated on how well their ideas were communicated whether or not the design process had an effect on final result.
21
APPROACH: CONTENT MATRIX
EX. A
Section one focuses on the museum visitor – questioning whether or not the exhibit attract the visitor and if the visitor is engaged once interaction has begun. For interactive design to be successful it is important to understand if users are intrigued by design or if they find it confusing and complex. Section two focus on components associated with the design and construction of exhibit.
Attract Visitors
no
Engage Visitors
yes
COMPONENTS
Content Assessment Matrix A content assessment tool was developed as a way to evaluated museum exhibits comparatively. The foundation structure of the content assessment tool is a matrix comprised of three main sections. These sections were broken down to evaluate what the exhibits are doing and how they are interacting with the visitor. The assessment tool is shown to the right. FIG. 03
Text
yes
Labels
yes
Imagery
yes
Animation
yes
Video
no
Artifacts
yes
DISPLAY Multi-touch
yes
Computer
no
Projection
no
Mobile Devices
no
Tablets
no
Virtual Reality
no
INTERACTION Space/Room
F I G. 03
research components
VISITORS
no
Audio
no
Touch
yes
Smell
no
Taste
no
APPROACH: MUSEUM INTERVIEWS
Museum Interview There are roughly 35,000 museums in the United State of America alone (Washington Post Online). For this study, the pool of museums was narrowed to museums that focus on or advertise interactive exhibits. The American Alliance of Museums has a website search tool to find museums based off a advanced search. Searches could be narrowed by three categories, by museum name, location or type. Due to travel limitation and budgets museums were selected based on driving distance or predetermined travel plans. A map FIG. XX shows the locations across the United State of America. Sample group of locations encompass a variety in geographical location and museum type. Each museum was contacted via email or phone to ask in participation. Following response,
22
museum visits and interviews were scheduled. To help gain an understanding of design process and reasoning a series of open-ended questions were developed. These questions inquire about people involved in design process, the design process itself, and exhibit evaluation methods. Questions pertaining the people, help give an inside look on how many people are involved, what are their roles within the museum and how do they work together. The design process questions focus on how does the process begin, how is equipment determined, what are the duties of those involved. The evaluation questions were formulated to gain insight or knowledge on whether or not museum look at or gage their success with individual exhibits.
23
APPROACH: OBSERVATIONS & PHOTOGRAPHY
Observations and Photography Observations were recorded for each exhibit. A observation guide was developed to ensure consistent information was recorded from one exhibit to another. Observation were written from the perspective of a designer. The objective of observations were to look at the location of exhibit, visual interest, interaction type, sensory engagement, user friendliness. To record observations, Google Docs voice recorder was used. This created a way to collect all thoughts without having to stop and write. Thus, the formal observation found in the next chapter was formulated from recordings. Photographs were included with each observation. Each exhibit was photographed to include the following photos:
exhibit in the space, overview of exhibit, and interaction of exhibit. Photographs were used to later reference exhibits to evaluate overall design success.
“ Be a sponge. Not like a
scrub-the-sink sponge, but like a sea sponge.” Ellen Lupton
26
05 FI E LD OB S E RVATI ON S
27
The about screen on interactive exhibit. Provided information pertaining to content and use.
FIELD OBSERVATIONS: OBSERVATIONS
One of the sections, Trails. It was an animated data visualization that the viewer could control the number of bison trails displayed.
The Beach Collection section. The main screen displayed a series of circle moving around the plane. Each circle was a piece found within the museum collection.
28
01
Touch the Prairie Exhibit The museum was a large structure which appeared to have multiple levels from the outside. Upon entry of the lobby, you are located on the second floor. Directly in the lobby there was a large multi-touch screen. This was the “Touch the Prairie” exhibit. It could easily be mistaken as a wayfinding tool or information board because of the location of exhibit appeared to be separated from the other exhibits. The exhibit used a large touch screen on wheels, that was adjustable in height (however this was not obvious, someone walked over to lower screen after they saw my struggle in viewing). There were 5 sections on the left-hand side. Each section was labeled – About, Beach Collection, Grow Meadow, Artist Save the Prairie and Trails.
There were little to no instructions throughout interaction. For the most part, it was a guessing game, just tapping on one thing to another and waiting to see what happens. It was hard to understand what to do and where to look. Upon further examination, many of these problems could be found within the choice of graphics, typography and color.
Location: Marianna Kristler Beach Museum of Art Manhattan, Kansas Museum Type: Fine Art Date: September 6, 2017
29
The main wall of the exhibit featuring historical photographs, and interactive display below.
FIELD OBSERVATIONS: OBSERVATIONS
The interactive display below the main wall. Suggestive of table settings, with white table cloth and fancy chairs.
A close up shot of the interactive screen. It displayed a place setting with information based of what was clicked from the menu.
30
02
We’re Bigger than U.S. Steel The museum was comprised of three floors. Each floor represented a different time during the organized crime history. Many of their exhibits contain digital technologies to aid in communication of material. The “We’re Bigger than U.S. Steel” was featured along one wall. The wall featured a large photo of a dinner party with three-dimensional type layered on top. Below the photo was a long table running against the wall with elegant chair back. This gave the illusion of being within a space while looking at a wall. The table had set in touch screens that displayed a dining room place setting. The viewer instantly became a user when they reached out to tap the screen. Through a series of taps information was displayed about when
people were attending this dinner party from. Each tap initiated an animated transition from one screen to the next. The colors were light and airy with a classic serif font - this gave the sense of a formal atmosphere. Images and text work together to provide information for a variety of ages. There was a clear hierarchy of text to guide the user in both reading and in navigation.
Location: The Mob Museum, The National Museum of Organized Crime and Law Enforcement Las Vegas, Nevada Museum Type: History Date: October 17, 2017
31
The beginning of the exhibit wall, showing the variety of elements used.
FIELD OBSERVATIONS: OBSERVATIONS
A closer look at a panel showcasing images, texts, and tangible interactive elements.
The digital interaction display of exhibit. A large touch screen that provided more information about the museum’s history, design and construction.
03
32
Making a Landmark The museum was sectioned off into five areas which included, the lobby, theatre, a traveling exhibit, the permanent exhibit and playground area. The permanent exhibit was focused on the creation of the museum. Upon entry from a larger room, the visitor is funneled down a hall with the exhibit displayed in multiple panels. The wall consisted of five panels separated by the architecture of the building. Each panel used multiple photographs, text and tangible objects or buttons. The furthest panel was labeled “Landmark: History, Design & Construction�. This panel featured a large touch screen device. The visitor could touch to learn more about each of the three areas about the making of the museum. When a visitor clicked on an area, they were prompted with more information about that area.
Some featured large text to read, while other showcased photos to scroll through or even a silent video of the construction. There were a variety of colors used in the design. They were bright and bold contrasting colors, that grabbed the attention if the user. However, was little information to display for each area but the user had to click multiple things to see anything. The text was large all over the screen making it hard to know what was important and what the user should do next. The navigational buttons were small and not always apparent. Sometimes it was confusing whether or not you had already seen that screen or if it was displaying something new.
Location: Exploration Place Wichita, Kansas Museum Type: Science Date: November 3, 2017
33
Interactive tables in a dim lit room. Content was projected down from ceiling and could be interacted with by using a small flash light.
FIELD OBSERVATIONS: OBSERVATIONS
A look at visitors engaging with the exhibit content.
A closer look at the visual design of exhibit. Showing the hierarchy and contrast of text and graphics.
04
34
Main Exhibit - Interactive Tables The museum floor plan was shaped similar to an oval. The visitor enters on the right and moves counter clock wise through the space. Overall the content was displayed in a timeline fashion broken up with interactive stations of a video. There were two large rooms off the main exhibit which housed interactive tables. Theses tables were long conference style. The lights were dim for the table content was projected down from the ceiling. The table was sectioned with different activities for the visitor to engage with. There were small flash lights connected with a cable at each area. When the light was pointed on an element, a video, image, or content begin to change. The content played off the main exhibit allowing one to engage for a better understanding.
The integration of sound, video, photos and directions kept people engaged within the space. Each area was laid out differently to best suit the content being displayed. However, the hierarchy of the areas remained the same. The text or instruction with boldly stated against the mellow background, helping guide the user. The color choices related directly to time period using tans, greens, white, red and black.
Location: National War World I Museum and Memorial Kansas City, Missouri Museum Type: History Date: November 19, 2017
35
FIELD OBSERVATIONS: SUMMARY
Comparative Summary A content assessment tool was used as a way to evaluated museum exhibits comparatively. Each museum was recorded individually then combined into a large chart to visualize a side by side comparison. FIG. 04 The overall goal of matrix is to evaluate the effectiveness of museum exhibits. Visitors Positive visitor experience occurs when a visitor not only is attracted to exhibit but the when the visitor sticks around to engage with exhibit. Exhibits two and four accomplished a positive visitor experience. To determined what may have lead to this positive experience an evaluation of components, display choices and interaction were evaluated.
36
01
02
03
04
Attract Visitors
no
yes
yes
yes
Engage Visitors
yes
yes
no
yes
Text
yes
yes
yes
yes
Labels
yes
yes
yes
no
Imagery
yes
yes
yes
yes
Animation
yes
yes
no
yes
Video
no
no
yes
yes
Artifacts
yes
yes
yes
yes
Multi-touch
yes
yes
yes
yes
Computer
no
no
no
no
Projection
no
no
no
yes
Mobile Devices
no
no
no
no
Tablets
no
no
no
no
Virtual Reality
no
no
no
no
no
yes
yes
yes
VISITORS
COMPONENTS
Components, Display and Interaction To Be Continued....
DISPLAY
INTERACTION Space/Room
FIG. 04 Key: 01 Touch the Prairie
Audio
no
no
no
yes
Touch
yes
yes
yes
yes
Smell
no
no
no
no
03 Making a Landmark
Taste
no
no
no
no
04 Interactive Tables
02 We’re Bigger than U.S. Steel
37
REFERENCES: BIBLIOGRAPHY
References Ahlberg, P. (2016). Please make this look nice: The graphic design process. New York, NY: Skira Rizzoli Publications. Alexander, E. P. (1979). Museums in motion. Nashville: American Assoc. for State and Local History. Ambrose, G., & Aono-Billson, N. (2011). Approach and language AVA Publishing. Ambrose, G., & Harris, P. (2013). Design thinking (2., durchges. Neuaufl. ed.). MĂźnchen: Stiebner. Anderson, G. (2012). Reinventing the museum (2. ed. ed.). Lanham, Md. [u.a.]: AltaMira Press. Falk, J. H. (2007). In principle, in practice. Lanham [u.a.]: Altamira Press.
Falk, J. H., & Dierking, L. D. (2000). Learning from museums. Lanham, MD: AltaMira Press. Kolko, J. (2011). Thoughts on interaction design (2. ed. ed.). Burlington, Mass. [u.a.]: Morgan Kaufmann Elsevier Publ. Leonard, N., & Ambrose, G. (2012). Design research. Switzerland: AVA Publishing. Leonard, N., & Ambrose, G. (2013). Idea generation. Switzerland: AVA Publishing. Locker, P. (2010). Exhibition design AVA Publishing SA. Lord, B., & Lord, G. (2002). The manual of museum exhibitions / edited by barry lord and gail dexter lord. Walnut Creek, CA: AltaMira Press.
38
Ocepek, L. (2003). Graphic design: Vision, process, product Bud Therian. Tallon, L., & Walker, K. (2008). Digital technologies and the museum experience. Lanham, Md. [u.a.]: AltaMira Press. Wood, D. (2014). Interface design. London, UK: Bloomsbury.
MAURESA MITCHELL MFA THESIS
SUMMER 2017SPRING 2019