Reimagining museum interaction through location based app by Sheilli Johiya

GRADUATION PROJECT Reimagining museum interaction through location based app Sponsor : Sensus Labs, Bangalore

STUDENT : SHEILLI JOHIYA PROGRAMME : MASTER OF DESIGN (M.DES)

GUIDE : DR. JIGNESH KHAKHAR

2016 IT INTEGRATED FACULTY (NEW MEDIA DESIGN )

National Institute of Design, Gandhinagar

The Evaluation Jury recommends SHEILLI JOHIYA for the

Degree of the National Institute of Design IN IT INTEGRATED DESIGN (NEW MEDIA DESIGN)

herewith, for the project titled "Reimagining museum interaction through location based app" on fulfilling the further requirements by*

Chairman Members :

*Subsequent remarks regarding fulfilling the requirements :

Registrar(Academics)

Acknowledgment I would like to express my sincere gratitude to my project guide Dr. Jignesh Khakhar (Coordinator, New Media Design, NID). He has been very supportive whenever I was in trouble and had questions about my graduation project and steered me in the right direction whenever he thought I needed it. Iâ&#x20AC;&#x2122;m grateful to Sensus Labs for sponsoring the project and helping me understand the company and its products and giving valuable feedback on iterations. I would also like to thank Ms. Tanishka Kachru (Associate Senior Faculty, Exhibition Design, NID) for her guidance and suggestions. Iâ&#x20AC;&#x2122;m grateful to museum professionals at National Gallery of Modern Art (NGMA), Bangalore for sharing their expertise and co-operating during my surveys. It inspired me to visit other museums in Bangalore, Mumbai and New Delhi; Government Museum (Bangalore), Karnataka ChitraKala Parishath (Bangalore), Bangalore Palace, National Gallery of Modern Art (NGMA, Mumbai) and Lalit Kala Akademi (New Delhi). Finally, I must express my very profound gratitude to my parents, my elder brother and to my friends for providing me with unfailing support and continuous encouragement throughout the course of the project. This accomplishment would not have been possible without them. Thank you!

Sheilli Johiya | National Institute of Design | NMD 2013

About NID Founded in 1961, National Institute of Design was set up by the Government of India to bridge the gap between modern technology and traditional ideas with the aid of problem-solving design consciousness. In 1950s, rapid industrialization stormed the consumer goods industry and posed a grave challenge to the artisans, craftsmen, handicraft and small-scale industry sector in India. That was the time of nation building and the need to establish an institution which shall combine the age old traditions and skills with modern revolutionary experiments and machinery in the spheres of art, architecture, and design grew stronger. In 1957, on the recommendation of Pupul Jayaker and other like- minded people, and with the assistance from Ford foundation and Sarabhai family, the Government of India invited Charles Eames, an American industrial designer, and his wife and colleague Ray Eames, to explore the problems of design and to make recommendations for a training programme that would serve as an aid to the small industries; and that would

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resist the present rapid deterioration in design and quality of consumer goods. Charles and Ray Eames visited and travelled to all parts of the country, meeting and talking to writers, craftspeople, architects, scientists, industrialists, educators and philosophers and presented the ‘India Report’ on April 7, 1958. The Eames Report defined the underlying spirit that lead to the founding of NID and beginning of design education in India. Today, NID is a world-class design and research institution that promotes design awareness and application in the arena of products, processes, services, and systems. The designers and design researchers work across the spectrum ranging from humanizing technology and integrating the physical with the virtual world, on one hand, to providing design interventions for craft, handloom, small and medium- scale industry sector, on the other hand. In 2014, NID was declared as ‘Institution of National Importance’ by the Act of Parliament, by virtue of the National Institute of Design Act 2014.

About New Media Design New Media attempts to examine the impact that technologies may have on mankind in the future. The thoughtful and appropriate application of technology at an individual, organizational and national level can lead to significant economic benefits, while being aware of its cultural impact. Through a historical grounding in art, craft and design practices; surveying of scientific and technology landscape of the world; and building an ability to keenly observe the cultural fabric of the country, students of new media develop integrated and context relevant solutions for addressing contemporary issues.

Contemporary practice and study of new media is at the intersection of art, craft, science, technology and design. In this sense the programme is truly transdisciplinary. Students of new media design should be capable of creating associations / cross linkages across the fields of art, science, technology and design. They should be able to function in situations where lack of definition persists, and define their own practices and grounds, informed through practice and research.

There are three primary objectives of the programme. 1. Exploring and critically examining the relationship between technology and culture. 2. Gaining competency in judging the appropriate application of technology. 3. Developing insights leading to the invention of new technology.

Sheilli Johiya | National Institute of Design | NMD 2013

About Company Sensus Labs is an artificial intelligence company based in Bangalore. It provides solution for indoor positioning and navigation on mobile platform. Sensus Labs strives to make every physical space responsive and intelligent to address various human needs then and there. At Sensus, they match the technology novelty with design thinking to achieve rich contextual intelligence in indoor spaces. They plan to integrate their easy to use consumer grade hardware (2cm by 2cm in size) with smart devices like Smartphone and AR devices which find wide application of accurate context in indoor spaces. The solution has achieved 30 cm level accuracy in real time navigation in indoor spaces.

Sheilli Johiya | National Institute of Design | NMD 2013

Contents 01

Synopsis

1.1 1.2

Abstract Project Brief

Introduction

2.1 2.2 2.3 2.4

Museums in India Purpose and Importance of Art Design Process Process Roadmap

03 3.1 3.2 3.3 3.4 3.5 3.6

Introduction Frameworks for Understanding Visitors Museum Guide Precedent Study Underlying Technology : Beacons Beacons vs Other Solutions

Methodology

Primary Research

5.1 5.2 5.3

Initial Understanding

Purpose Interview with Museum Staff Interview with Visitors

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06 6.1 6.2 6.3

07 7.1 7.2 7.3 7.4 7.5 7.6 7.7 7.8

Synthesis & Analysis

Insights from Museum Staff Insights from Visitors User Persona

Ideation & Conceptualization

08 8.1 8.2

Conclusion

135

Learning Future Scope

Bibliography

138

Ideation Concept Development Information Architecture Wireframe Exploration Interface Exploration Pilot Testing Final Design Prototype

Sheilli Johiya | National Institute of Design | NMD 2013

Synopsis 1.1 Abstract 1.2 Project Brief

Sheilli Johiya | National Institute of Design | NMD 2013

1.1 Abstract Museums and galleries are challenged today to exhibit their social relevance and provide an evidence of their educational value. This demands a greater sensitivity towards actual and potential visitors; primarily, a better understanding of how the visitors perceive museums. Also, it is very important for visitors to be able to feel and talk about the qualities of the artwork that impresses them, which results in creating a better experience for them. “Meaning Making” or interpretation, is a dynamic research theme at present. “Meaning” in museum is developed in the spaces between the interpretive intentions of the curator, and the interpretive experiences of the visitor. “According to constructivist learning theory and interpretive philosophy, people actively construct sense and make meaning for themselves using their existing knowledge in interpreting new experiences”. Meaning-making therefore integrates both immediate events and past experience i.e. what happens during the museum visit,

the event itself, is understood on the basis of prior knowledge and experience. (Tallon and Walker, 2008) Placards that give some details about the artwork, like the title, artist, date, and sometimes a short description, generally accompany art on display. But what if visitors want to know more than what’s described? It then becomes difficult for non-expert visitors to learn about the artwork, and to find its relevance to other artworks or to themselves. Although museums have developed interpretive aids such as brochures and audio guides but they are very limited and do not offer visitors the possibility to explore, both broadly and deeply. Often, visitors have questions in mind that go unanswered or pass through an exhibition without being engaged. Since different visitors have different needs and wants, it becomes difficult to offer any version of the present interpretive aid that could be compatible with all of those needs. Personal mobile device is a good platform that could provide interactivity, access to unlimited amount

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of information and flexibility for customized experiences both inside and outside the museum. This project presents a unique challenge of amalgamation of art and technology, where technology is used as a tool to re-examine the importance of art, keeping the power and essence of art intact. It also comprises a critical examination of issues faced by the museum authorities and visitors. The project aims at developing a location based mobile application that could help in improving engagement through an interactive experience, thus bridging the gap between information about museum collection and visitor engagement. It focuses on providing interpretive knowledge rather than plain information.

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â&#x20AC;&#x153;The aim of art is to represent not the outward appearance of things, but their inward significance.â&#x20AC;? Aristotle

1.2 Project Brief Design Brief: The project aims at building an understanding of art museum visitors and enhancing their engagement through an interactive experience; thus encouraging learning in and outside museum. Scope and Constraints: Being a wide topic project, there were certain constraints that defined the scope of the project â&#x20AC;˘ The system should be in the form of mobile app. â&#x20AC;˘ The system should do justice with the technology offered by the company.

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Introduction 2.1 Museums in India 2.2 Purpose & Importance of Art 2.3 Design Process 2.4 Process Roadmap

Sheilli Johiya | National Institute of Design | NMD 2013

2.1 Museums in India Museums are no longer just buildings where ancient artefacts are stored, instead they must become living dynamic entities that are constantly interacting with public who are interested in Indian culture; it needs to be an interactive experience. People should try and absorb atleast something of such great place of our cultural heritage. It would be a great loss if in pursuit for modernity, we lose touch with our own cultural roots, and this is where museums can play a vital role. In a speech by Dr Karan Singh, President of Indian Council for Cultural Relations (ICCR), said “As you know the deeper the roots of a tree go, the more luxurious is its growth. Therefore the idea that the movement towards modernity involves cutting away, a cutting off the roots of our culture is entirely misplaced. In fact I would say that in order to really flourish we need to renew, reinvestigate and rearticulate our great cultural heritage”(British Council, 2014).

In India, museums as social institutions can play an important role but unfortunately they are not used properly. They have an immense potential to be a resource centre for educating people. Unlike the west, museums are not the part of the curriculum hence museum literacy in India has not reached that stage. Most of the people have not been able to relate to museums, as they are still seen as an “elite” institution. Digital Although a lot of museums in India have recognized the importance of digitization, but most of them do not have a digital strategy. There are very few museums who have a website, infact some of them are not even known by people. These websites are either independent or under a mother organization, but they are more like contact information page. These websites provide only location, timings of the museum and in very

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few cases some basic information about the collection, unfortunately they lack the dynamic nature required to attract and engage the online viewer. Inventory systems used in most of these museums are out-of-date and give superficial information of their collections. Audience In India, most museums are collection and exhibition-focused and no monitoring or evaluation of audience response has been done. There are a few that aim at being visitor-friendly and interactive, but there has been no detailed study or research on museum visitors (British Council, 2014). Whatever the curators are doing or the different kinds of exhibitions held, the kind of audience visiting to these different exhibitions and their reactions to it has never been evaluated. Very rarely exhibitions are evaluated by visitors. Evaluation by audiences must be part and parcel of the exhibitions. By doing this, we will then be able to know whether what we are doing is the best for the audiences we have.

Sheilli Johiya | National Institute of Design | NMD 2013

2.2 Purpose & Importance of Art Art is an integral part of our life as it widens our concept of thoughts, our outlook towards oneself and towards others. Looking at art and encouraging conversations about it can support not only visual perception skills but also literacy skills. When we create art we make decisions throughout the entire process. When we view art we make decisions on how to interpret what we are seeing. We use logical reasonings to attribute meaning to what we see or what we create. Because art has such an emotional connection to us, these choices are passionate to us. We learn to defend them and explain them to others. Art not only helps strengthen our critical thinking skills, but it also improves the way we communicate our thoughts and emotions to others. “Researchers who study creative development in young people tell us that thinking skills used in making visual art such as experimentation, exploration, invention and imagination; become the foundation for higher-level thinking skills such as synthesis, inquiry and research” (Baruth, 2016). What

makes art beautiful is that there are no distance or language barriers, it is universal. By observing the creations of people belonging to different cultures we can gain a better understanding of what and how their life has been. Through art we are able to get a glimpse of another persons existence through their eyes. It is a powerful tool that can improve communication and relationships between cultures.

“If I were called upon to define briefly the

word Art, I should call it the reproduction of what the senses preceive in nature, seen through the veil of the soul.” Paul Cezanne

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2.3 Design Process

IDEATION SECONDARY RESEARCH

• Literaure Review • Precedence Study

Sheilli Johiya | National Institute of Design | NMD 2013

PRIMARY RESEARCH

• Interview with Museum Staff • Interview with Visitors

CONCEPT ITERATIVE PROTOTYPING

2.4 Process Roadmap 2

Understanding the company products

Understanding the initial brief and context

Understanding people visiting museums and why people do not visit museums

Understanding technology supported by company and its limitations

Identifying use case of the technology in and outside museums

12 Pilot Testing and analysis

Create a proof of concept using high fidelity prototype

Designing wireframes for scenarios

Iterations for interface design

6 7

Oberserving user behaviour

Understanding user group and developing personas

8 Creating scenarios encompassing all interaction touch points

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Initial Understanding 3.1 Frameworks for Understanding Visitors 3.2 Museum Guide 3.3 Precedent Study 3.4 Underlying Technology: Beacons 3.5 Beacons v/s Other Solution

Sheilli Johiya | National Institute of Design | NMD 2013

Introduction Before trying to understand how the museums could improve visitor experience, it was important to understand the kind of engagement they have with the space and the artwork. To create a better learning experience, brainstorming exercise was performed to understand a deeper meaning â&#x20AC;&#x153;Engagementâ&#x20AC;?. Secondary research done for this project focuses on understanding the different kinds of visitors and their behavior in museums, their mental model and how do they respond to digital technology. It also reviews technology that could be used for providing contextual information. The research objective is also to study the evolution of museum handheld devices and how it could be used to make museums a better learning space. This includes reports on changing needs and expectations of visitors and how they could connect with the museum collection. Also considerable amount of research was done to understand how to appreciate art and what to look for in an artwork.

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to become involved

to bind

to absorb that touches on multiple levels

tending to draw favourable attention or interest

occupy or attract

to make relevance

anything that adds value to your lifeĂ&#x2022; s prospect

content offers something new; new perspective, bits of knowledge

to participate

ENGAGEMENT keeping focused

to entertain sometimes you feel you are being spoken to directly

when you dont have to fight to keep audienceĂ&#x2022; s attention

to keep busy or occupied

makes you want to linger to learn more

Sheilli Johiya | National Institute of Design | NMD 2013

personally relevant

establish a meaningful contact or connection

to hold the attention to do or take part in something

3.1 Frameworks for Understanding Visitors Traditionally, museum professionals have used demographic data to understand their visitors, which typically includes information such as race, age, income, and level of education. Though itâ&#x20AC;&#x2122;s considerably easy to get this data from visitors, years of visitor research shows that this data is not sufficient enough to be able to predict visitor behavior or experience (Falk, 2009). Since museums cannot have a deep understanding of all the visitors, visitor models can help museums in identifying new ways to offer interactive experiences that could create curiosity and help visitors in finding meaning in the collections.

It also allows us to better understand the nature of the museum experience and how we could improve it. The visitor types are: (1) (2) (3) (4) (5)

Experience Seekers Explorers Facilitators Hobbyist/Professionals Rechargers

Falkâ&#x20AC;&#x2122;s Visitor Model Renowned museum researcher John H. Falk describes different types of visitors based on their visit goals, which relate to their sense of personal identity. These identity-related museum motivations provides a unique window through which we can understand how best to accommodate museum visitorsâ&#x20AC;&#x2122; needs.

Sheilli Johiya | National Institute of Design | NMD 2013

Experience Seekers

Explorers

Facilitators

Visitors who are motivated to visit because they perceive the museum as an important destination. Their satisfaction primarily derives from the mere fact of having â&#x20AC;&#x153;been there and done thatâ&#x20AC;?.

Visitors who are curiosity-driven with a generic interest in the content of the museum. They expect to find something that will grab their attention and fuel their learning. They seek to learn new information, and understand new concepts, during their visit.

Visitors who are socially motivated. Their visit is focused on primarily enabling the experience and learning of others in their accompanying social group.

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Hobbyists/ Professionals Visitors who feel a close tie between the museum content and their professional or hobbyist passions. Their visits are typically motivated by a desire to satisfy a specific content-related objective.

Rechargers Visitors who are primarily seeking to have a contemplative, spiritual and/or restorative experience. They see the museums as a refuge from the work-a-day world or as a confirmation of their religious beliefs.

Falk, in collaboration with Lynn Dierking, also developed the Contextual Model of Learning, also called as “meaning making”, which shows how visitor experience is affected by factors other than identity, such as personal context (prior knowledge, experiences, and interests), socio-cultural context (current companions, others at the venue, and cultural background) and physical context (advance organizers, architecture and exhibit design). Meaning making is not an instantaneous phenomenon but rather a cumulative process of acquisition and consolidation (Tallon and Walker, 2008). Thus, experiences occurring after the visit play an important role in determining what meaning are actually “made” in the museum.

Other Visitor Model In addition to Falk’s visitor model, there are more studies that propose other models of visitor types, centering on the idea that personal information—like previous experience, goals and identity—are more meaningful than demographic data in terms of predicting visitor behavior and desires. These models offer other perspectives on visitors that could help in shaping interpretive aids.

Dallas Museum of Art Visitor Model Researchers at Dallas Museum of Art (DMA) developed a visitor model based on how visitors prefer to engage with art in the museum setting and their comfort levels while looking at and talking about art. The cumulative findings of the research identified the following four related “visitor clusters,” grouped according to individual preference for interpretation types and comfort levels with art (Pitman, 2010): • Observers, who have the most limited background in art and art history, and who tend to prefer a guided experience at the museum. They are generally uncomfortable in museums. • Participants, who have a stronger knowledge of art than Observers and have the strongest interest in connecting with works of art through a variety of ways, including through music, dance, dramatic performances, and readings. This knowledge makes them feel comfortable in museum environment. • Independents, who prefer to experience a work of art without explanations or interpretation. Such visitors feel very comfortable when they visit museum.

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â&#x20AC;˘ Enthusiasts, who are most emotionally affected by art, and are most interested in the artistâ&#x20AC;&#x2122;s materials and techniques, and in explaining the meaning of a work to a friend. They are generally very comfortable in museums. By analyzing different kinds of visitors, museums could categorize them into different categories, which could then help them in designing exhibits, and communications that could appeal to a varied range of visitors. These categories could cover distinctions such as identity-related goals (as does that Falk model), attitude toward the subject matter (as does the DMA model) or other distinctions that are of interest to a particular museum.

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3.2 Museum Guide Museum audio guides were the precursors to mobile guides which was originated in the 1950s as the standard method for delivering content beyond catalogs, text panel or wall labels. They began as personal receivers for short-wave radio broadcasts where visitors could “tune-in” and listen to a recorded audio program that was already in progress. The drawback of such guides was that visitors did not have any choice over what or when to listen to it (Tallon and Walker, 2008). In the early 90s random access capability was introduced, visitors could access audio clips by keying in numeric codes placed by artworks, they were now able to choose their own routes and listen as long as they liked (Acoustiguide, 2010). Visitors had more control—they could choose to only listen to information about works in which they were interested. For any visitor provision, digital or otherwise- fundamental is an understanding of visitor’s needs and expectations. Today’s

museum visitors are less audience than they are author- active participants in meaning making and content creation. Handheld technologies in museums have gone from being one technology- a portable audio player or audio guide- to being many, each with specific functionality. Mobile, digital and personal: these are three defining qualities of this technology category. Today, most museums with audio guides use systems that have changed little since the introduction of random access.

What can mobile digital technology offer visitors Digital technology can offer access to vast resources of information to visitors from which they can search and select items of their interest. This provides museums with the opportunity to cater to people with different learning styles who are looking for very different kind of information. Digital technology also provides opportunities for museum visitors to capture and take

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back to home or school digitized images of objects or artwork, or links to sources of information for further study which could make them remember about their experience at museum (Tallon and Walker, 2008). Mobile guides offer new capabilities and conveniences to address the limitations of traditional audio guides. They can be accessed on visitorsâ&#x20AC;&#x2122; own devices and can provide a richer experience. (1) Unlimited Content It can provide visitors with unlimited amount of information and multimedia content in a number of formats. This enables museums to present different options for engaging with the collection and allows visitors to explore artwork beyond the basic facts in as much breadth or depth as they choose. (2) Exploration Options Digital guides can also allow visitors to choose between guided tours or on- demand information. Although audio guides have evolved into an on-demand system, but still there are visi-

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tors who may prefer the structured approach of organized tour. Mobile guides can offer both, including many distinct tours and the ability to switch between on-demand viewing and following a tour. (3) Purchase/Decision Timing Currently, before seeing the exhibition visitors have to decide if they want to get an audio guide. At the beginning of the visit they may not realize that they would want a guide, or might not be aware that the museums provides such facility, if not brought to their attention. By developing guides for their smartphone, visitors can decide to opt-in/opt-out to the guide at any given point of time. (4) Reading and Listening Options Visitors could get freedom to choose to get information in any medium, text or audio based. According to convenience, at any point they can change the medium of information. (5) Ease It has the potential to quickly and easily update information, and the size and breadth of the audiences that can be reached is far greater using digital technologies.

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3.3 Precedent Study To set a precedent would mean to begin a certain line of thought which can be the foundation for futher exploration of work. The general principle of precedent study is the mechanism by which the goal is attained through understanding of what has been implemented by other people working on similar lines. It is to explore the possibilities through already undertaken work.

The aim of this precedent study was to explore the use of different technologies used in museums.

Exploration of previously implemented works gives a background for further development. It also controls the course of the project so that similar work is not put into practice. It creates a foundation for novice creations so as to be able to function in situations where lack of definition persistes, to define our own practice and grounds, informed through practice and research.

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Personal Digital Assistant (PDA) Personal Digital Assistane, PDA, is a handheld device used as a museum tour guide system based on the modern wireless technologies.

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Virtual Object Handling Museum artefacts are usually displayed behind glass or are often too fragile, small, heavy or valuable to handle physically or even touch. In a museum most things are for display only, and rarely can an object or replica be touched or held. In order to create a haptic sensational museum experience and find out more about an object, this system allows visitors to touch precious objects which are usually unlikely to be handled. The Probos unit offers the chance to have a 3-D tactile experience of museum objects through fingertip discovery. The system features high-quality 3-D scans of an object and offers additional audio/multimedia information and the ability to magnify and zoom in on details. It is possible to feel details like cracks on the surface according to the magnification and it is possible to differentiate materials from the sound they make (Merriman, 2014).

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ArtLens - Cleveland Museum of Art The ArtLens iPad/iPhone application is a unique personal guide for museum visitors. Visitors can use ArtLens in several ways. Near You Now uses on-board location services to navigate to nearby objects and then browse a menu of audio or video content. Scan uses image recognition to scan an object to access hot spots - short audio or text snippets tied to a detail of the object. Visitors can also follow a museum- or visitor-curated tour, or create their own (Museums and the Web, 2014).

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Audioguide Louvre: Nintendo 3DS XL The Louvreâ&#x20AC;&#x2122;s new audio guide offers over 35 hours of audio content. In lively and informal on-the-spot interviews, the museumâ&#x20AC;&#x2122;s curators and lecturers share their expert knowledge of the Louvre and its artworks. Developed with help from Nintendo, the specialized 3DS XL provides maps, 3D and HD photos, and other extra content. Besides the 3DS, the Louvre is also investing in interactive displays and augmented reality (Lourve, 2012).

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Brooklyn Museum, New York The Brooklyn Museum is using iBeacon technology. Through its iOS app, guests can ask questions about an artwork or for recommendations on what to see, and get a real-time response. Major institutions like the Met, Museum of Modern Art in New York, and Guggenheim are also testing beacon-based location technology (Les Shu, 2015).

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British Museum, London Working with Samsung, the British Museum used AR to create an education program for kids, where they can explore virtual content as they wander through the museum. AR is still in its infancy, but museums around the world are already testing its potential. With augmented reality, visitors can use a simple smartphone to discover more information about a piece of art in an interactive manner. For example, placing a smartphone or tablet over an ancient statue could display missing parts that have broken off â&#x20AC;&#x201C; giving the visitor a glimpse of how it would have looked when it was new. Because AR responds to your movement in the environment, the experience is also completely 3D (Les Shu, 2015).

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Getty Museum, Los Angeles Like the British Museum and others, it’s also trying out augmented reality. The museum’s Collection Information and Access department recently unveiled an interactive AR feature that lets Getty website visitors use their webcam to explore a 17th-century cabinet, by overlaying a virtual 3D object atop a live feed. Users can interact with the object, working in conjunction with the viewer’s body movements (Les Shu, 2015).

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Museum of Modern Art (MOMA), New York Augmented Reality Exhibition

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Cooper Hewitt Smithsonian National Design Museum Smithsonian wanted to give guests a more interactive experience that goes beyond a smartphone app. To deliver on that, the museum added 4K touchscreen tables where visitors can pull up high-res images and information on items from the museum’s collection – many that aren’t exhibited. Users can also draw shapes, and the display will display objects relating to those shapes. Seven tables – in 84, 55, or 42 inches – are placed throughout the museum. One table displays information about the donors and objects, while another talks about the museum’s space, the Carnegie Mansion. The museum also gives guests access to the Pen, an electronic stylus that lets you remember the things you saw. Simply tap the Pen on a placard, and it’ll “collect” the information. Users can transfer the info to one of the aforementioned tables to collect more info. After the visit, users can access a dedicated website that contains all the objects collected (Les Shu, 2015).

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The Metropolitan Museum of Art The Met’s flagship app, which was released in 2014, does a variety of things. A list of highlights - complete with pictures of each work - would help first-time visitors get their bearings in the sometimes overwhelmingly large collection. Tapping on each photo brings up a description of the piece, as well as where you can find it in the museum. Museum visitors can browse listings of the day’s events and buy tickets for those that are coming up in the future. The app has a quirky side, too, with a guided tour of the museum’s best mustaches and its best hidden gems (Stone, 2014).

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Cleveland Musem of Art Within Gallery One, just off our new central atrium, a one-ofa-kind, 40-foot multi-touch Collection Wall displays high-resolution images of almost 4,000 works of art from the permanent collection, most on view in the galleries. Every 40 seconds, the wall changes views, showing groupings of art objects based on themes, allowing visitors to see that the collection is dynamic, depending on how you view it. Visitors can touch and browse objects on the Collection Wall to discover other artworks that are related and to find tours that connect objects throughout the collection (Goeser, 2013).

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Sculpture Installation in Gallery One

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Victoria and Albert Museum (V&A) The V&A is dedicated to bringing its permanent collections, galleries and exhibitions into the digital age by creating apps on multiple platforms.

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Virtual Reality A downloadable virtual reality museum has been developed that allows digital visitors to move around an array of exhibitions just as they would if they were visiting in reality (Ingham, 2014).

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3.4 Underlying Technology: Beacons Since the company is primarily into delivering contextual intelligence so it was important to understand the underlying technology, i.e. Beacons, which deliver relevant information to your smartphone based on your indoor position.

“Beacons are like a lighthouse. They send out a signal. They’re unaware of themselves and any other devices that are around them.”

Beacons are actually a low-cost, low-powered transmitters equipped with Bluetooth Low Energy or BLE (also called Bluetooth 4.0 or Bluetooth Smart) that can be used to deliver location-aware, context-aware messages. They are ideal for pinpointing the location of smartphones indoors, where GPS and Wi-Fi aren’t always effective, and sending alerts and data to apps on those devices (Beaconstac, 2014). In terms of range, beacons function in the interim of NFC (too narrow) and GPS (too broad) ranges, and that is what makes it more effective than the other two.

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The signal is detected by nearby smart devices via Bluetooth Smart

A Beacon is a small wireless device transmitting a continuous radio signal

Let’s try an example Say you’re walking by your favourite clothing store and they’re having a sale on socks. There is a beacon placed next to the socks section that alerts you to the sale when you pass by

There is a Beacon placed

The signal tells your smart device “I’m Here” by giving its ID number.

What could that response be? That’s upto you. Your smart device then sends that ID number to the cloud server The server checks what Action is assigned to that ID number and responds

The result? You’re more engaged with the store and get the perfect pair of socks you never knew you needed!

next to the socks section

Image coutesy : www.kontakt.io/resources/ Sheilli Johiya | National Institute of Design | NMD 2013

3.5 Beacons v/s Other Solutions Unlike any other solution, beacons can provide a relevant content at a relevant spot. The user doesnt have to look for information, once the user comes in the range of a beacon, it appears on its own. So this means they can combine the headâ&#x20AC;&#x2122;s up experience offered by traditional audio guides which is proximity driven and the QR codeâ&#x20AC;&#x2122;s interactivity, but is cheaper than the audio guide and much easier than QR code. They are also useful in providing an in-depth analytics on visitorsâ&#x20AC;&#x2122; behaviour and can provide data about which exhibits are getting the most attention.

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Solution

Printed Labels

Pros

Cons

very low cost

cannot provide much content (limited space on card)

almost zero technical requirement

Difficult to see at crowded exhibits

ubiquitous

more languages=less room for overall content unengaging

Guidebook

good souvenir

expensive

more in-depth information on exhibits

“head down” experience (reading book) instead of “head up” experience (looking at exhibits) localizing in less common languages cost prohibitve

Brochures

compact and informative

very limited information

convery your message quickly and cost-effectively

high cost for material and prints environmental concerns

Traditional audio guides

additional revenue generation from rental fees

high costs of implementation and maintenance

increase visitor engagement in front of exhibits

impossible to collect in-depth and real-time data about visitor’s engagement and satisfaction

predictable visit times

dedicated staff required expensive rental fees may discourage visitors

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Solution

QR Codes

Standard mobile apps

Beacons

Pros

Cons

low costs of creating conten and printing QR codes

WiFi network required

possible to measure traffic and time spent consuming triggered content

requires user intervention to activate

low costs of creating content and printing QR codes

requires that a visitor has a smartphone

comprehensive & flexible

WiFi network required (atleast to download the app)

possible revenue (if app is paid)

very high costs to implementation and development

track and measure user engagement

“head down” experience (engaged with app) instead of “head up” experience (looking at exhibits)

context-aware content delivered to a visitor automatically once he or she approaches an artwork

requires that visitor has a smartphone

low-priced hardware that doesnt consume energy

WiFi required

accessible no matter how many visitors or exhbits there are

Sheilli Johiya | National Institute of Design | NMD 2013

Methodology

Sheilli Johiya | National Institute of Design | NMD 2013

General Project Brief

Methodology The project started off with a general theme of visitor engagement and learning in museums through mobile. After initial literary research, it came out that currently there is a tremendous amount of research going on in this domain and researchers are trying to explore the various possibilities of introducing the use of technology and mobile devices and how Indian Museums could be transformed into spaces of learning and meaningful engagement. The findings made during this research process served as guidelines to the concepts and design solution proposed in this thesis.

 Domain Research



 User Research



Technology Research

User Observation

 Guidelines Constraints

 Concepts

 Final Design



Prototype



Testing

Sheilli Johiya | National Institute of Design | NMD 2013

Primary Research 5.1 Purpose 5.2 Interview with Museum Staff 5.3 Interview with Visitors

Sheilli Johiya | National Institute of Design | NMD 2013

5.1 Purpose Since the project is exploratory, attempt was to stress on user research, explore the opportunity areas and develop concepts. For a deeper understanding, interviews and surveys were conducted with museums professionals and visitors at the following Art Museums: 1. National Gallery of Modern Art (NGMA), Bangalore. 2. Government Museum, Bangalore. 3. Karnataka ChitraKala Parishath, Bangalore. 4. Bangalore Palace. 5. National Gallery of Modern Art (NGMA), Mumbai 6. Lalit Kala Akademi, New Delhi

The purpose of the research was to: • • • • •

Understand the current scenario in the museums. Visitor expectation from museums. How much time do visitors spend in front of an artwork. Behavior study. Museum professionals about improving visitor experience.

Also efforts were made to understand why people do not visit Art Museums

Since the project focuses on enhancing visitor engagement, it was important to understand user behaviour, opinion, beliefs, feelings and perception. Equal importance was given to understand the visitors from museum professional’s point of view.

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National Gallery of Modern Art (NGMA), Bangalore

Bangalore Palace, Bangalore

Karnataka Chitrakala Parishath, Bangalore

Government Museum, Bangalore

National Gallery of Modern Art (NGMA), Mumbai

Lalit Kala Akademi, New Delhi

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5.2 Interview with Museum Staff All the museums professionals who were interviewed for this project showed interest in how we could improve visitor experience. They were all interested in providing content to visitors in addition to wall labels, brochures, guidebooks etc; suggestions included artist interviews, videos explaining the art-making process, historical context, and recommendations about which works to view. They believe that museums are great institutions of learning but somehow they have lost the charm they used to have before. Some of them also raised concern that visitors had questions but shy away from asking it from the staff members; possible explanations include that visitors are intimidated, worry about bothering staff, think that the staff is not knowledgeable enough, or worry about revealing their own lack of knowledge or understanding. Also “ordinary” visitors often don’t know why the objects and work on display are important.

Overall, museum staff was enthusiastic about providing visitors with option and letting them explore but at the same time some had concerns about visitors “wandering” in exhibitions and might not reach the learning goals that are defined by the museum. In some cases the goal is to allow visitors to make their own meaning based on their understanding about the art and in others there are specific concepts or information that staff would like visitors to know. Despite all the positive feedback on the possibilities of mobile guide, some people had raised questions on whether a guide would distract from the artwork and become its own activity.

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Director, Government Museum • The museum has 2 Kiosks which displays website of protected monuments across India. • Daily footfall : around 500 • Provide basic information but for people who want more information they have set up a publication section or can also go to library.

• People don’t come up with suitable proposals and convince government. It happens, that the proposals get rejected twice or thrice. But then, government do consider, If you are able to convince them.

Curator, NGMA Bangalore

• I feel science museums are more attractive than history as people find history boring.

• Mostly college students visit here who are either in design, architecture or art field.

• We are planning to put up screens in museum to display sculptures but it won’t be for each sculpture as space is an issue.

• Artists are very selective about things.

• People in western countries are literate but they don’t have strong cultural background so they visit museum quite often. In India, we have a strong cultural background but we do not understand it’s value.

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• Depending on exhibition, artists and art critic comes up. • I think around 40% of visitors have an understanding of art, a basic sense to look at art. • We organize different activities for visitors which later on we put up on social network.

Staff Member, Government Museum • People have lack of interest in museums • Collection should be more, most important-information should be there • “Nahin samajh me ata logo ko” • 20 years ago dead animals were displayed in museum so a lot of people used to come and had 2 tickets for counter but now there is only 1 ticket counter

Sheilli Johiya | National Institute of Design | NMD 2013

5.3 Interview with Visitors During interviews, a lot of people were skeptical about audio guides, as they didn’t wish to follow a set pattern and thought that they would be forced to follow the route in numerical order. Study also shows that visitors typically spend less than 20 min in an exhibition regardless of its size or topic. Visitors thus only allocate a few minutes to an interactive exhibit, so instructions and conclusion need to be brief and preferably integrated into the main experience. If the visit experience can be improved, then there should be an increase in interest and visitorship among them.

Visitor 1, Government Museum • Third visit to museum. Came to know about the museum by word of mouth. I’m interested in science, so came to science museum and since this museum is just besides it, so just having a look at the collection.

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• I came here today as I had some spare time. I liked the weapons in the museum. • I liked the science museum more as you can see daily use objects there, which you can relate to. On the other hand, history is boring, sculptures are boring as they are passive. • Science museum has lot of interactivity, so children like it. Here, everything is passive and static. • In science museum, you can see entire thing in one go. Here, everything is discrete. Cannot connect dots. Entire culture should be depicted instead of individual objects. • There should be segreggation by period. Separate dynasties in separate galleries. • Current random positioning does not educate. If they are grouped and I get information of that group there, it would educate people and will give a feeling of they have learnt or

know something new. • I was not able to visualise the timeline of the artefacts and also they were not attractive. • Information was not sufficient. For example, just keeping arms in arms collection makes no sense. Instead, if I get what are those objects, where they were used, who used it and a brief importaant history of it would help me collect and store information. • It feels, museum authority has kept objects to fill up spaces. Theres no meaning to it. • The information should be mix of text and narratives.

to the experience as it would make me feel that I have learnt something new today.

Visitor 2, NGMA Bangalore • First time to this museum. Interested in museums so came here. Been to lot of museums. • More information should be there. Like for the musical instruments, there should have been where they are made, who used them, where ere they used, etc.

• Ticket price should be increased. It is psycological, when I see the price is less, I feel everything is less important.

• I have done MA and researched on Museums. So, I have been to a lot of museums, they all are moreover similar to this.

• Here children have to read information. Whereas, in science museums, children can touch, feel and experience things. It is very happening.

• Information should be there right beside the artefact. It should be multi lingual as there are lot of foreigners coming to museums.

• Contextual data in museums will deifinitely help and add

• Been to a museum, where they provide booklets of various

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languages. They are costly, but for those who want information will definitely buy it. • There should be large posters saying everything about an artefact before viewing the artefact. So that, I read all the information before hand and then I can relate to the artefact. • There can be a special mention section before the museum like top 10 artefacts, this information would help. • Knowing the historical importance before will make the artefacts more interesting and will make the experience richer. • Rubin Museum in New york city, is the best example I have seen so far. It has got information besides every artefact which contains maps, short stories which are well texted. • There are also interactive kiosks, so for the people who want more information can go to kiosks and have information. The information there is also well made. • I do not like audio guides and would prefer text because I like to view things with my pace.

Sheilli Johiya | National Institute of Design | NMD 2013

Visitor 3, NGMA Mumbai • First visit to museum. • Feels that museum should allow photography so that visitors can capture everything and recollect all after going back. • Whenever I visit a new place, I go to a museum to find what is unique and historic importance of that place. Museums tells us the cultural importance of that place and educates us. • As my family reads a lot, even my kids, they are very much interested in museums, as they can find artefacts which they have read about and can relate to it. • I liked metallic arrowheads. Since I am reading trilogy currently, so I can relate to it. • Whatever information is available right now is okay. People only want pointers. More information might turn off people. They will easily google, if they want more information.

• I am not interested to read huge chunks of text, no one wants to read a lot. Kiosks should be there and working. Digital information always compliments. • Contextual information would be helpful. Would be more interested in audio as media. • Make the information available and let people decide whether they want it or not. If there are installations, people abuse these medias.

• The information should be multi lingual. • Increased ticket price will add value and I will see everything as I have paid. Now, I don’t care much and undertand its value as the ticket is 4 rupees.

Visitor 4, NGMA Mumbai

• Narrative, stories are better than dry facts.

• First visit to museum, got to know about the place from internet.

• Conducted tours do not allow to spend much time. If the museum is good, we can spend 2.5 - 3 hours.

• The museum is super boring. I am not here to see stones and broken pots.

• We are interested in broad information, not detailed information.

• There was no information at all. I was looking for information but it was not available.

• This museum should be divided in 8-10 zones. They can have speakers throwing audio information. Each audio clip should be 3 - 4 mins, so that you complete the entire museum in around 45-50 mins.

• Went to Tipu sultan palace before this, it was disappointing as all the rooms were empty. There was only one sword and few pictures.

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• I liked carvings as they are better than the stones and broken pots. • Visited a place in delhi which was a great experience. There were objects and paintings put up and along with every artefact or painting there were 2 3 lines written for each of them. All the lines are related. They were all written in the form of a story. You read each and every line to complete a story and also the artefacts compliment the text. You can relate to it. • History is always boring. In school, you like history if the teacher is interesting and teach in an interesting way. Same should be applied to museums. • I saw the coorg sword, and I was standing there for a while just because I have been to coorg and heard about it. So I stood there for a while. Otherwise, I would have walked like other artefacts.

Visitor 5, NGMA Bangalore • Its interesting to know feelings of artists, their emotions. • Time and space of when artist painted. • Sometimes a glance attracts. • Artist should be there to explain. • If it’s a conceptualised painting, it should be very clear. If the viewers don’t understand then they won’t be able to relate to it. • If I’m not able to understand about the painting then it would be just a colorful image. There is always a motive behind a painting so definitely we would like to know that. • Sometimes I do not want to go with the description, I want to understand it myself first and then later get into description. • Every artist comes with a background, we do not know that background so I dont want to come to a conclusion with-

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out understanding the background of that painting. • If its a visual art then people will come because its entertaining but a painting is not just entertaining, there is something beyond that so layman or normal people should come and appreciate the art.

Visitor 6, Lalit Kala Akademi • Art lover and a regular visitor. Visits art museums atleast 6 times an year. • Most of the times information is not available, and if its there then its not interesting. • Sometimes there are just titles, so someone who doesnt have knowledge about art it is difficult for them to understand. • I have my own interpretation of the art but I would like to know the artist’s perspective as well. • Also, if the text is too long then can’t read it. Audio will be more easy.

• The purpose of art gets defeated if the person goes away very quickly.

Visitor 7, Lalit Kala Akademi • First visit to museum. My friend insisted me so came with her. • I did not like it as it is quite boring. Some information should be there so that people like me can understand it. • I liked the ceramics exhibition as the products were very beautiful. Also the artist was there who was explaining things to me, so that was good. • Contextual data will be helpful because then I dont have to be dependent on artist to explain it to me and follow him. There should be something to keep people busy with. • In India, we do not have museum culture. In abroad it is there.

Sheilli Johiya | National Institute of Design | NMD 2013

Synthesis 6.1 Insights from Museum Staff 6.2 Insights from Visitors 6.3 User Persona

Sheilli Johiya | National Institute of Design | NMD 2013

6.1 Insights from Museum Staff • Context is the key, although there is a lot of information that museum wants to share, that information has to be shared strategically to support a positive learning experience. • The system should be relatively cheap, robust and easy to pilot-test • Museums want to engage visitors in a dialog. • Not all the visitors are in a position to make contextual links with what they see on display without any interpretive help. • Visitors should be given a freedom to explore and not follow a linear pattern. • Want to ensure that interpretive aid enhances learning and doesn’t distract from the exhibition.

Sheilli Johiya | National Institute of Design | NMD 2013

6.2 Insights from Visitors • Have many and varied unanswered questions about the exhibitions.

• Visitors feel that information of what exactly is happening in painting would be helpful.

• Contextual information would be helpful. They would be more interested in audio as media.

• Interpretive information may enhance people’s view of the power, personal meaning and expressiveness of artworks.

• Interested in broad information, not detailed contextual information.

• Visitors desire both freedom and structure.

• Information would educate people and will give a feeling that they have learnt or know something new. It would help people to relate to it. • Generally tend to visit in groups- either as tourists or students or families and friends • Visitor wants to be involved in content creation verse being mere consumers. Their inputs add another layer of meaning to the exhibits that make it richer.

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6.3 User Persona A user persona is a representation of the goals and behavioof a hypothesized group of users. In most cases, personas are synthesized from data collected from interviews with users. The purpose of personas is to create reliable and realistic representations of your key audience segments for reference. The following personas have been created keeping in mind the characteristics of both the visitor model, i.e, Falkâ&#x20AC;&#x2122;s and Dallas Museum of Artâ&#x20AC;&#x2122;s visitor types.

Sheilli Johiya | National Institute of Design | NMD 2013

AKANKSHA NAGPAL

25 years, Participant & Experience Seeker

• Akanksha is pursuing her masters in creative writing and is quite ambitious. • She spends her free time hanging out with friends and reading novels, but she also loves to travel and has a list of places to visit. • Since she is new to Bangalore, she is excited to see all the sights. • She has just got involved in a project that keeps her busy. It’s Saturday and she decided to take a break from work and wants to go to her list of places to go in this city, so she heads to an art museum.

Sheilli Johiya | National Institute of Design | NMD 2013

HIMANSHU ROY

23 years, Observer & Fascilitator

• Himanshu is a fashion designer and is working as a designer with an apparel house. • He has been to few museums while on vacations but always felt ambivalent about them. • He decides to take his friend Arjun to an art museum because Arjun has never been to an art museum and is very excited about his first visit there and to see some impressive collection. • Since Himanshu has had more experience, so he feels responsible for showing his friend around and to make sure he has a good time.

Sheilli Johiya | National Institute of Design | NMD 2013

DIVYA BAKSHI

27 years, Participant & Explorer

• • • •

Divya is a Sr. Sales Executive in an MNC. She has studied Arts in her school as an elective so has some knowledge about it. She is really interested in going to an art museum provided she gets a companion go to with. Divya and her friend Vaibhav decides to go to an art museum because both of them have never been to one.

Sheilli Johiya | National Institute of Design | NMD 2013

SIDDHARTHA SHARMA

30 years, Enthusiast & Explorer

• Siddharth is majoring in anthropology, he loves learning about other cultures and studying their traditional artwork. • He has visited art museum when he shifted to Bangalore but has not returned since then because he has been really busy with work. • So over a long weekend he decides to go to an art museum.

Sheilli Johiya | National Institute of Design | NMD 2013

POOJA GYALTSEN

35 years, Independent & Aspiring Professional

• Pooja is pursuing her MA in sculpture. Some day she would like to be an artist or a dancer. • Since she is majoring in sculpture, she has to choose a topic for her final research paper. • She decided to head over to an art museum to see their sculpture collection. Maybe she will be inspires and come up with a research topic.

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Ideation & Conceptualization 7.1 Ideation 7.2 Concept Development 7.3 Information Architecture 7.4 Wireframe Exploration 7.5 Interface Exploration 7.6 Pilot Testing 7.7 Final Design 7.8 Prototype

Sheilli Johiya | National Institute of Design | NMD 2013

7.1 Ideation Once the design goals and directions were finalized, ideation was started to map out all the possibilities and features that could be incorporated into the mobile app. The images shows the exploration of multiple ideas. In the end, these ended were merged into bits and pieces to form a whole.

Image Courtesy : http://www.cambridgeenglish.org/learning-english/

Sheilli Johiya | National Institute of Design | NMD 2013

7.2 Concept Development Near Me

Audio Guide

This feature allows visitors to explore artworks around them, based on their location in the museum, within a predefined radius. By placing beacons around the museum, approaching visitors can receive detailed information directly on their mobile home screens. Visitors can proceed at their own pace, spending more time near exhibits most appealing to them, thus eliminating the need to follow strict walking guidelines.

A lot of people during primary research mentioned that they think audio augmentation could enhance their visit, are easy to use and much better than simply reading the text. They have a control over the audio, may pause/play at any given point of time.

Themes

This feature suggests other works in order to encourage reflection and exploration. Visitors can choose to immediately visit the contrasting work, or they might continue their current path but view the suggested work on their phone. Works may contrast in terms of style, time period or subject matter. This feature would work best in a museum whose collection is large and has a great variety in style and subject matter.

When designing different exhibitions in the museum, curator could categorize the artworks on the basis the theme that these artworks fall under, for example : intorspection, life, phylosophy etc. The users then could filter the results on the basis of different theme that they might be interested in

Sheilli Johiya | National Institute of Design | NMD 2013

Contrasting Artwork

Similar Artwork

Timeline

In order to help visitors structure their visit in a meaningful way this feature creates interesting connections between different artworks. They may be related in a number of ways, such as by one workâ&#x20AC;&#x2122;s influence on another, time period, medium, artist, technique, or geographic location etc. The Related Works feature can also show works that are in the museumâ&#x20AC;&#x2122;s collections but not currently on view, or even works that are in other museums; these works would help visitors to analyze the work that they are currently viewing.

Timeline featue helps visitors in understanding the artist and his/her work in deep. It shows the evolution of the artist and different techniques and art forms practised by him/her.

Bookmark/ Favourite If there is an artwork that a visitor found really interesting, he/ she can bookmark it for future reference and also more information about that artwork would be sent via an email.

Ask Curator This feature gives an added advantage to the visitors. They could ask if they have some query about the artwork. Since the application is beacon enabled so the museum staff could track the current location of the visitor in the museum and an art expert or curator could personally reach out to them.

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Comment An interesting thing about art is learning about different perspectives. It fascilitates visitors to know about what others feel about the artwork.

Share This feature enable visitors to digitally “share” or “like” something that they liked in museum, right then and there. This in turn works as a great advertising medium for museums.

Video Visitors who are intereted in knowing more about the artwork or want to learn about the art making process and technique, the is an option to

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7.3 Information Architecture Information architecture is the creation of a structure for a website, application, or other project, that allows us to understand where we are as users, and where the information we want is in relation to our position. Information architecture results in the creation of site maps, hierarchies, categorizations, navigation, and metadata.

Interface Wireframes Metadata

â&#x20AC;&#x153;Information architecture is the practice of deciding how to arrange the parts of something to be understandableâ&#x20AC;?

Information Architecture Users

needs, behaviours

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Content

structure, meaning

Context

culture, technology

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HOME Exhibitions

Today’s Events

Curator’s Pick

Near Me

Information about exhibtions

Brief information about current exhibtions

Brief information about exhibtions suggested by curator

Preview of artworks available in certain range

upcoming ongoing previous

Artwork Image Interpretive Audio Concept Text

Maps Shows user’s location in the museum

Flyout About Us My Bookmark

Universal Search Allows users to search within the app

My Comments Settings Logout

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7.4 Wireframe Exploration Once all the features and information was finalized, wirframes were designed to have an idea about how the information could be represented in the app and in what all different forms. It connects the underlying conceptual structure to the surface of the app. Wireframes help establish fuctionality and the relationship between screen templates of the app

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Walkthrough

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Walkthrough

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Homescreen Exploration

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Near Me screens

painting photo

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1 :

Near Me

1 :

Near Me ABOUT

1 :

2 30

Near Me TIMELINE

COMMENT

Painting Title 00:30

01:30

Painted in 1960, the present lot depicts a group of musicians and their instruments against a largely monochromatic brown background. READ MORE

Painting Title Painting Title

TIMELINE

00:30

(Text)

00:30

01:30

Painted in 1960, the present lot depicts a group of musicians and their instruments against a largely monochromatic brown background. READ MORE

(Text)

01:30

Painted in 1960, the present lot depicts a group of musicians and their instruments against a largely monochromatic brown background. READ MORE

(Text) SHOW MORE

Art Making Process

Learn the technique (video)

Timeline Comments Similar Style

Share your views (comments) (Views)

Paintings images

(Views) SHOW MORE

Similar Style Paintings images

are your views

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Timeline- Depicting work evolution of artist (Text)

year

(Text)

(Text) year

(Text)

(Text) year

(Text)

(Text) year

(Text)

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7.5 Interface Exploration - Homescreen

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Near Me screens

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Near Me screens

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7.6 Pilot Testing After basic structure of the app was designed, pilot testing was done for an exhibition at Lalit Kala Akademi, New Delhi to test it in a real museum environment. It helped in fine-tuning the product, leading to more reliable results. Pilot testing provides an opportunity to validate the wording of the tasks, understand the time necessary for the session, and may even supply an additional data point for study. It helped in providing critical data which was very useful to deal with the problems that were faced after the product was deployed in a real museum, under real time scenarios. The behaviour pattern of visitor within the space and with the device was observed. With this data, the required changes in the product was then implemented in the next phase.

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7.7 Final Design - Homescreen

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Near Me screens

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Near Me screens

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Near Me screens

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Timeline- Depicting work evolution of artist

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Other screens

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Other screens

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Other screens

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7.8 Prototype

Image Courtesy: Chaitanya Solanki Sheilli Johiya | National Institute of Design | NMD 2013

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Image Courtesy: Chaitanya Solanki

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Image Courtesy: Chaitanya Solanki

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Conclusion 8.1 Learning 8.2 Future Scope

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8.1 Learning This project offered me a great opportunity to learn and work for art museums. Discussions and feedback from a lot of people during the project has helped me in understanding and gaining knowledge in terms of interaction, experience design and usability. The project introduced me to new technologies, which otherwise I might have not got a chance to explore. From design perspective, it was a great learning to look at holistic perspective up on the scenario and coming up with solutions that are feasible, following a Human Centered Design process. This project has helped me in understanding the process to a great extent and how to handle and work under tight constraints without compromising with the process and the quality of results.

Image Courtsesy : http://www.wiziq.com/teachblog/what-do-teachersneed-to-know-about-neuroscience-and-brain-based-learning/

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8.2 Future Scope This project has focused on developing an understanding of museum space, visitors, meaning making, and developing a specific study to prototype the possible solution. The conceptual findings aand the exploratory work performed can be used at varied number of museums to create a larger application.

and how they could reach there, just how any map does, with accurate results.

Since the proposed solution is a mobile app, later advancements in technology could help in minimizing this dependency and it could be as easy as a single click. It could be possible that users do not have to download the app, infact every possible information could be available on a weblink that would be sent as a notification whenever the visitor approches the artwork. It could also provide dynamic map that could help them in navigating within the museum premises. This would fascilitate visitors to know in which part of the museum they are currently and what all things are there in the other part of the museum

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