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How Interaction Design for Ceramics Exhibition Will Help Audiences to Have a Better Experience in Museums

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How Interaction Design for Ceramics Exhibition Will Help Audiences to Have a Better Experience in Museums How interaction design for ceramics exhibition will help audiences to have a better experience in museums. A thesis submitted to the Graduate School College of Design, Architecture, Art, and Planning of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Design in the School of Design of the College of Design, Architecture, Art, and Planning by Fei Xie July 24, 2013 B.E., Automation School, Beijing University of Posts and Telecommunications (BUPT), P. R. China, 2010 Committee: Craig M. Vogel, MID Chair Katie Parker, MFA Member Renee Seward, MGD Member Abstract The common ways of offering information and educating visitors in museums are providing audio, interpretive signs and video displays. However, non-interactive ways don’t work well at engaging audiences. Artifacts in most museums are not allowed to be touched by visitors. They are usually put into glass display cabinets for protection. This thesis focuses on identify issues of user experience design in museums and define interactive product requirements for museum exhibitions as a harmonious whole system in order to provide audiences exciting experiences during visiting. Among archaeological artifacts, ceramics play an important role in understanding a region’s culture and technology. However, for audiences from a different cultural background, it is hard to understand when there is a lack of contextual information. There are also lots of stories behind ceramics, which are worth detailed explanations. However, only a limited amount of information can be presented to audiences in the museums. For that reason, this thesis uses ceramics as an entry point and discusses how to present knowledge of exhibition subject and artifacts information to audiences by using interaction designs. By applying the Goal-Directed design approach in the process, this thesis is seeking for solutions to provide a better museum experience and creates multiple prototypes of interaction design for ceramic exhibition. The last chapter of the thesis summarizes findings from the process and extends the finding to general design requirements for designing interaction products or system for museum exhibitions. i ii Acknowledgements I would like to express my deep appreciation to Professor Craig Vogel who not only served as my committee chair but also encouraged me, and helped me during my graduate study in the program. Thank you to my committee member professor Katie Parker for her patience and support whiling helping me understand ceramics. Thank you to professor Renee Seward for her support and guidance through my thesis process. Last but not least, thank you to my family, classmates and friends. iii Chapter 1. Introduction 1.1 Why interaction design Interaction design is the practice of designing interactive digital products, environments, systems and services, according to Alan Cooper, the author of About Face. Interaction design for exhibitions ranges from commercial purposes to art exhibitions. In the case of ceramics exhibits in museums, interaction designs' purposes are more about helping visitors to interpret information, encouraging them to discover and get a memorable and delightful experience. Current exhibitions in museums are mostly just art pieces on display. The most common and basic ways of offering information and educating the public in museums are using audio, interpretive signs and video displays. User experience is all the aspects that a product or system brings to its users, including users’ emotional feelings, mental perception and the physical outcome that users received from the experience. However, non-interactive technologies do not work well for representing ceramics’ nature and engaging visitors during visiting. Sometimes, visitors can only look at the artifacts from a distance through the glass cabinet window, especially for archaeological findings or precious breakable sculptures. 1.2 Why ceramics The earliest ceramics found date back to 25,000 BC. The earliest pottery found date back to 20,000 years ago in southern China and it was used for cooking. People from a few cultures have started pottery manufacturing during the Paleolithic. From ceramics archeology finds, we can deduce that the earliest pottery in different cultures has almost the same figures and similar 1 geometric patterns. However, forms of ceramics change a lot during thousands of years of cultural and region specific development. Different cultures have a wide variety of forms and styles of ceramics to date. Ceramics have changed from being basic storage containers and drinking vessels to art objects, luxury decorations and high performance products for manufacturing. The types of ceramics have also changed due to social factors, the technology of making ceramics, and aesthetic preferences over time. Ceramics play an important role because of the culture and technology behind it. However, only a limited amount of information can be presented to audiences in the museums. Therefore, how to choose the right amount of information and use attractive ways to present it is essential issues that need to be solved. 1.3 Context introduction – Difference of Museums in China and United States Ceramics, bronze containers, antique jade and antique hardwood furniture are major categories in Chinese historical and archeology museums. For those major categories, there is usually a relatively large exhibition area for each of those themes. They are usually arranged according to a timeline. In addition, in some museums, each category even has its own series of showrooms. Most Chinese museums and American museums share the features mentioned above. However, the great difference is that, in Chinese museums, there are only Chinese antiques, so ceramics are simply arranged by time. There are ceramic artifacts from many countries in most U.S. museums. Therefore, they are also arranged according to the producing time and producing countries. Secondly, in china, the majority of visitors to museums are Chinese audiences. They come from the same culture background with artifacts. Relatively, museums in U.S. usually have artifacts that were imported from other cultures. Therefore, 2 museums in U.S. are in a greater need of clear tools to assist visitors to understand artifacts that come from exotic cultures. 3 Chapter 2. Goal-Directed Design Approach 2.1 Goal-directed design approach Goal-Directed Design approach is “a set of methods to address the needs of this new kind of behavior-oriented design, which addresses the goals (Rudolf, 1998) and motivations of users.” – About Face 3. It’s a core methodology that was developed by Cooper, a leading interaction and service design consultancy. Goal-directed design explains the relationship between goals and activities. Someone’s goal is driven by his inner motivation while tasks and activities are performed because of the goal. Therefore, what designers should do is to design services or products that help users to accomplish their goals. There are six phases in this process: Research, modeling, requirements definition, framework definition, refinement and support. Figure 1. Process of the Goal-Directed design process 2.2 Why use the Goal-Directed design approach The information shown in the museum should not make the audience feel overwhelmed or disappointed. What is truly important for audiences to know from museum educators’ point of view sometimes may be different with what audiences actually want to know. What do audiences want to learn? How deeply do they want to know about materials and processes? What makes 4 them come to the museum and want to learn about ceramics? In order to answer those questions, the Goal-Directed design approach will be used in the process. This thesis applies this approach and develops several prototypes of interactive tools for ceramics exhibitions from the research to design phase, and focuses on how to integrate different components and multiple formats of interactive tools. 5 Chapter 3. Research and Modeling 3.1 Research – understanding context and user 3.1.1 Understanding the context -- Museum The majority of museums in the US are non-profit or operated by government agencies. There are diverse kinds of museums. Due to their different purposes, subjects in museums, and the group of people they attract, the proper ways of presenting artifacts are different from institution to institution. For example, a private museum’s owner would want to share his collection with others and is concerned mostly about safety and preservation issues, while some non-profit museums think their mission is cultural dissemination and hosting educational activities. Overall, all the museums play the role of artifact conservation and exhibition to the public. What they are concerned about is engaging the public, educating people, sharing meaningful information and making profits as well. In order to understand the context, user behavior and user goals, the following activities have been conducted: User observation and field study User interview Subject matter expert interview Market research - Benchmarking existing product system Contextual Inquiry 3.1.2 Current tools used in museums 6 Current tools that are used in museums could be categorized into four quadrants according to the format and content information of them. Most tools are in the subject related content – static quadrant. 1. Static. This includes printed materials and historical decoration. They help visitors to build a first impression. 2. Interactive but not related
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