visitor experience – CustomCat1

Have a ♥️, Don’t Touch the Art (!)

carl schmitz — Fri, 08 Nov 2019 18:03:53 +0000

Locked eyes on this sign as it was hanging in the second floor galleries of the Last Bookstore in Los Angeles. The placement might not fit at a museum, but let’s think with this approach to communication. I feel this much more than the “touchy subject” genre of wall texts that attempt to dissuade our more tactile friends through the use of complete sentences, piling up into lengthy paragraphs, all set in glorious grayscale. One of the impulses that could lead someone to touch a work of art is feeling like their eyes were just drawn to it. How can we draw those same eyes to a clear message?

Science Museum Tips: On Prototyping

Gweneth Mclittle — Mon, 14 May 2018 13:00:21 +0000

EXHIBIT TIPS FROM AROUND THE WORLD

This is an extended version of an article that appeared in the January/February 2014 issue of ASTC’s Dimensions magazine. Kari Jensen, senior exhibit developer, Oregon Museum of Science and Industry, Portland

ON PROTOTYPING

The Museum of Science, Boston, has been prototyping extensively since the 1980s. We have experimented over the years with various ways of prototyping, all using an iterative process of exploring, testing, and refining learning and design strategies so that the final exhibition fulfills the project aspirations, which include meeting the needs of the widest possible range of visitor abilities, learning styles, and interests.

We have found that the most successful projects are ones in which the team engages in a design process that includes:

data-based decision-making
active reflection upon and discussion of critical issues
continual refinements of exhibition designs
a focus on the visitor’s experience and learning.

We typically prototype in phases, from the earliest concept in which we confirm that the idea has traction with visitors, to the near-final version of the component, in which we verify that the visitors can successfully use, learn from, and enjoy the component, and that the component is technically feasible and maintainable.

Research and evaluation staff are included in every team, which results in a seamless process, and ensures not only that findings from prototyping are applied throughout the life of a project, but also that lessons learned during one exhibit project are applied to other projects as appropriate.

Recently we have found success in increasing our emphasis on testing the technical feasibility and maintainability of components throughout the prototyping process. Our technical designers and exhibit maintenance staff are working closely to refine a process that ensures that components are designed in a way that they can be easily repaired, and that replacement parts are available and affordable, are safe for visitors, and are durable for long-term survival in our extreme exhibit hall environment!

Andrea Durham, former director of exhibits, Museum of Science, Boston

Photo by San Diego Air & Space Museum Archives

Attention to Detail Makes Me Smile

Gweneth Mclittle — Sun, 08 Apr 2018 17:11:17 +0000

This is just a simple first article from me. If ever you think to yourself “I can skip that part of the install, no one will notice” you’ve just lost the game. Of course we cut corners all the time to “get it done”, but those little details, those little things we do make a huge difference. Just sayin’. Keep up the good fight everyone!

Photo by Internet Archive Book Images

Options for Installing a Label on a Pedestal or Case

Matt Isble — Fri, 17 Apr 2015 17:00:00 +0000

Here are a few option for installing labels on pedestals. It can be difficult to read a label when there is a lot of extended text. So we put them on a plexiglass slant. In one case the gallery gets more beat up for some reason, so we have plea covers made. They aren’t as elegant, but they do the trick. Do you have another technique, please post!

Ikea Couches Look Nice in a Gallery

Matt Isble — Sun, 12 Apr 2015 23:23:47 +0000

Hi Everyone,

No, I don’t work for Ikea, but hey do donate a certain amount to our education programs every year. I wanted to take a moment to show how nice these work in an art museum as well as add a word of caution. On the positive side you can change the color on this model and it will cost you $30-$80 for each new cover. So far we have utilized the black and charcoal versions. The stand in the gallery unoffensive and provide more cushion and support than a bench, but they do take up more room than a bench and would be tougher to clean than most benches. After 2 years of on and off use we have not had any damage or stained to them (knock on wood). I won’t go on about the color choices as you can go online and check em out yourself. The sofa itself is $300 and I don’t recall if it came with the cover or if that was separate, probably the latter. The series is called Klippan.

On the negative side, the cover can become frumpled and will need some tucking in to look its best. How often will depend on the number of users, popularity of the exhibit, the audience for the exhibit (age group,etc), and so on. Someday I will update this post with a test to fix this problem, or if one of you want to or have already tried this idea, please post back here. The idea is to drop 3 dowels into each trough when the fabric tucks in; along the back and one on either end near the arm rest. Next punch out, cut, or otherwise sew in holes through the fabric near the ends of each dowel. Then tie some cord or twine to the dowel (probably through a hole we drill in dowel) and pass that cord through the holes and into the underside of the sofa. With the sofa on its side so we can see up into the underside we pull on the cord until it is taught and either tie it off onto something or screw in into the wood structure. That’s it: 6 holes, 3 dowels, 6 lengths of cord, and maybe 6 screws. To be continued…