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Electronic Theses, Treatises and Dissertations The Graduate School
2019
Visitor Center Design and Possibilities for Visitor Engagement at ad Dir'Iyah HTaneeermi Atlajahganei Site
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COLLEGE OF FINE ARTS
VISITOR CENTER DESIGN AND POSSIBILITIES FOR VISITOR ENGAGEMENT AT AD-
DIR'IYAH HERITAGE SITE
By
TANEEM ALJAHANI
A Thesis submitted to the Department of Interior Architecture and Design in partial fulfillment of the requirements for the degree of Master of Science
2019 Taneem Aljahani defended this thesis on October 31, 2019. The members of the supervisory committee were:
Yelena McLane Professor Directing Thesis
Jill Pable Committee Member
Marlo Ransdell Committee Member
The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements.
ii
To my parents, Hamoud and Fatima, for their constant support and encouragement.
iii ACKNOWLEDGMENTS
I would like to express my heartfelt appreciation to my major professor, Dr. Yelena
McLane for her invaluable support, guidance, and advice. Thank you for taking the time to share your thoughts and knowledge which helped me in completing this thesis paper. I would also like to thank my committee members, Dr. Jill Pable and Dr. Marlo Ransdell, for their consistent encouragement and insightful feedback. I am also very thankful for all my family and friends who have helped and motivated me throughout my academic journey.
iv TABLE OF CONTENTS
List of Figures ...... viii Abstract ...... x
1. INTRODUCTION ...... 1
1.1 Introduction ...... 1 1.2 Context and Problem Statement...... 2 1.3 Purpose and Justification of the research ...... 2 1.4 Research Questions ...... 3 1.5 Methodology Overview ...... 3 1.6 Assumptions, Limitations and Delimitations ...... 4 1.7 Definitions of Terms ...... 5
2. LITERATURE REIVEW...... 6
2.1 Introduction ...... 6 2.2 Cultural Heritage ...... 6 2.3 Heritage Site Interpretation ...... 8 2.4 Heritage Site Facilities ...... 9 2.5 Definitions and Characteristics of Experience ...... 12 2.5.1 Cultural Heritage Experience ...... 12 2.5.2 Characteristics of Experience ...... 13 2.6 Stages of Visitor Experiences ...... 14 2.6.1 The Pre-Visit Phase...... 16 2.6.2 During the Visit Phase ...... 18 2.6.3 The Post-Visit Phase ...... 22 2.7 Creating a Sensory and Emotional Experience within a Physical Space ...... 23 2.7.1 Perception, Atmosphere, and Sensory Experience ...... 24 2.7.2 Spatial Design and Experience ...... 25 2.7.3 Lighting and Atmosphere ...... 28 2.7.4 Color and Atmosphere ...... 29 2.8 The Saudi Commission for Tourism and National Heritage ...... 30 2.9 Management and Preservation of Saudi Cultural Heritage ...... 32 2.10 Theoretical Framework ...... 34 2.11 Summary ...... 36
3. METHODS ...... 38
3.1 Introduction ...... 38 3.2 Purpose ...... 38 3.3 Research Questions ...... 39 3.4 Methodology ...... 39 3.5 Study Site ...... 40 3.5.1 The Atturaif District in Ad- Dir'iyah Background ...... 40
v 3.6 Visual Documentation ...... 42 3.7 Architectural Plans and Organization Document Analysis ...... 43 3.8 Questionnaire ...... 43 3.9 Data Analysis ...... 43 3.10 Assumptions, Limitations, and Delimitations ...... 44 3.11 Summary ...... 45
4. FINDINGS ...... 46
4.1 Introduction ...... 46 4.2 The Case Study ...... 46 4.3 Information Content ...... 49 4.3.1 Geography ...... 49 4.3.2 Settlements Over Time ...... 50 4.3.3 Key Historical Events ...... 51 4.3.4 Main Palaces ...... 52 4.4 Atmospherics ...... 54 4.4.1 Spatial Layout ...... 54 4.4.2 Geometry, Scale, Proportion, and Balance ...... 56 4.4.3 Movement Through the Space ...... 57 4.4.4 Materials, Textures, Colors, and Lighting ...... 57 4.5 Communication ...... 60 4.5.1 Multimedia Screen ...... 60 4.5.2 Interactive Kiosks...... 61 4.5.3 Atturaif District Model ...... 62 4.5.4 3D Mapping Shows ...... 63 4.6 Summary ...... 65
5. CONCLUSION ...... 66
5.1 Introduction ...... 66 5.2 Literature Review Summary and Framework ...... 66 5.3 Findings Summary and Research Questions Discussion ...... 67 5.4 Data Collection Reflection ...... 72 5.5 Future Research ...... 72 5.6 Conclusion ...... 73
APPENDICES ...... 74
A. SAMPLE QUESTIONNAIRE ...... 74 B. IRB APPROVAL ...... 75 C. CONSENT FORM ...... 77
References ...... 81
vi Biographical Sketch ...... 91
vii LIST OF FIGURES
2.1 Spatial Relationships of Visitor Center to the Main Attraction ...... 10
2.2 The Visitor Journey Model ...... 15
2.3 The Heritage Visitor Experience – Conceptual Model ...... 16
2.4 The Google Web Lab ...... 20
2.5 Schematic Diagrams of Space Layout ...... 27
2.6 Mada’in Saleh in Al-Ula ...... 32
2.7 Theoretical Framework ...... 36
3.1 The Location of Ad- Dir'iyah ...... 40
3.2 Aerial View of Atturaif District in Ad-Dir'iyah ...... 41
3.3 Najdi Architectural Details ...... 41
3.4 The Atturaif Visitor Center ...... 42
4.1 Exterior View of the Visitor Center ...... 47
4.2 Atturaif District Site in Ad-Dir'iyah ...... 48
4.3 Site Plan ...... 48
4.4 Saudi Arabia and Ad-Dir'iyah Maps ...... 50
4.5 Hellenistic Style Fresco from Al-Faw, Riyadh National Museum ...... 51
4.6 Salwa Palace ...... 54
4.7 Visitor Center Floor Plan ...... 55
4.8 The Ceiling at the Gallery Area ...... 56
4.9 The Gallery Area Flooring ...... 58
4.10 The South Wall at the Gallery Area ...... 59
4.11 Multimedia Screen, Gallery Area ...... 61
viii 4.12 Interactive Kiosks, Gallery Area ...... 62
4.13 Atturaif District Model ...... 63
4.14 Roof Terrace ...... 64
4.15 3D Mapping Shows...... 64
ix ABSTRACT
Visitor centers have become more common around heritage sites. These facilities contribute to the increased level of engagement and education about cultural heritage sites. This study investigated the physical design characteristics of a visitor center located at Ad-Dir'iyah heritage site in Saudi Arabia. It also explored what interior design features may facilitate visitor engagement. The research employed an ethnographic qualitative approach for data collection and analysis, which involved site observations, visual documentation, analysis of architectural plans and an organizational document, and a questionnaire. Photographs of the visitor center interiors were taken during the researcher’s site visit. The site plan and the floor plan of the facility were obtained from the Diriyah Gate Development Authority (DGDA). The document containing information about Ad-Dir'iyah history was shared by the Saudi Commission for Tourism and
National Heritage (SCTH). In addition, a questionnaire was filled out by a senior officer of the heritage site. The literature review showed the importance of Ad-Dir'iyah site in the cultural and political history of the Arabian Peninsula. The historic structures which define the heritage site feature unique for the region earthen constructions which consist of mud-brick as the main building material.
The researcher based her analysis on a theoretical framework which identified information, communication, and atmospherics as the three major contributing factors of visitor engagement. The findings of this study indicate that the design features that may potentially have a positive effect on visitor engagement are free circulation, curtain wall, the multimedia screen, the cove lighting, and the roof terrace. The researcher concludes her study by suggesting some improvements that can be made at the site to enhance heritage site experience for its visitors.
x CHAPTER 1
INTRODUCTION
1.1 Introduction
Providing enjoyable, memorable, and satisfying experiences for visitors is the primary goal of cultural, heritage, and tourist attractions such as museums, galleries, and heritage sites.
Throughout the world, when people select destinations to visit, they often strive to have extraordinary experiences, ones that are different than what people encounter in their daily lives.
Pine and Gilmore (1998) have suggested that for organizations to connect with potential customers, they need to not only offer services and goods, but they must also stage an experience for the visitor that is “inherently personal, existing only in the mind of an individual who has been engaged on an emotional, physical, intellectual, or even spiritual level [during their visit]”
(para. 6). As a result, management organizations in these types of facilities are making every effort to offer experiences that set their site apart from other local attractions.
Visitor experiences at heritage sites are often influenced by many factors, including physical setting of the facility and the story and interpretation of the historical place (Trinh &
Ryan, 2017). The importance of providing authentic and memorable services to the visitors by establishing distinctive visitor centers and infrastructure associated with the site is emphasized by several authors (Falk and Dierking, 2012; De Rojas and Camarero, 2008; Apostolakis &
Jaffery, 2005).
Recently, the Saudi Arabian government has launched a substantial effort to revive and promote the country’s most significant heritage sites with the goal of attracting more local and international tourists to these locations (Carver, 2018). For this initiative to be successful, managers and designers of these sites and their facilities must understand how to craft engaging, 1 inspirational, and memorable visitor experiences. This study seeks to examine the design of a visitor center at Ad-Dir'iyah heritage site in Saudi Arabia and explore how this visitor facility may facilitate engaging and meaningful visitor experiences. In this study, the researcher analyzes architectural and interior design elements of the visitor center and offers her perspective on the design features that were most and least successful. These findings may assist decision-makers, managers, and design practitioners in planning for high-quality visitor-centered design solutions for similar types of facilities.
1.2 Context and Problem Statement
Bonn et al (2007) pointed out at the importance of the physical setting in affecting visitor satisfaction of trip destination. While Saudi Arabia aims to develop heritage sites and promote its culture for the local and international audience, at the present time there is no thorough research conducted at Saudi sites that address the influence of facilities in shaping visitor experiences.
Most of the previous studies explored visitor experience from tourism, marketing, or management perspectives. This research is the first to develop a new framework and to investigate how a Saudi cultural heritage site’s facility may shape visitors’ experiences and enhance visitor engagement with local geography, history, and culture.
1.3 Purpose and Justification of the Research
The purpose of this study is to explore what design aspects of Ad-Dir'iyah heritage site’s visitor center may shape visitor experiences by making them more educational, engaging, and ultimately more memorable. The researcher evaluates the program, physical setting, architectural and design elements, and functions of the site’s visitor center. The study also identifies the most important design features that will need to be considered when planning and designing cultural heritage facilities that shape visitor experiences and improve visitor engagement.
2 While visitors’ journeys generally encompass three stages - before the visit, during the visit, and after the visit - this research focuses only on the actual site visit phase. Visitor centers are usually the first point of contact with heritage sites. That is why the architecture and design of these facilities are very important in setting up the aesthetic and emotional tone for the entire visit. This study seeks to examine an existing visitor center and to provide additional information that supports the development of historical attractions, the architectural and design aspects of the sites’ amenities and services. The findings from this research provide insights into the effectiveness of design features to deepen visitors’ engagement and contribute to better understanding of how these features may be integrated in design for similar facilities.
1.4 Research Questions
The two primary research questions that directed this study were:
1. What are the essential design components (such as spatial layout, movement through space,
materials, textures, colors, lighting, and modes of communicating the site’s history) that
shape visitor experience at the Ad-Dir'iyah heritage site?
2. How may the design of the visitor center facilitate visitor engagement with Ad-Dir'iyah
heritage site?
1.5 Methodology Overview The inquiry is designed as a qualitative ethnographic case study. It was conducted in the
Atturaif District in Ad-Dir'iyah, Saudi Arabia, a UNESCO heritage site. The collected data included visual documentation, architectural plans, an organization document, and a questionnaire. The researcher visited the site for 2 full days in July of 2019. Personal experiences and photographs helped the researcher to analyze the architecture and interior spaces of the center. The researcher obtained the architectural plans of the facility from the Diriyah Gate
3 Development Authority (DGDA) which were used in analysis of the building’s layout. A response to a questionnaire addressing the visitor center design and its functions was completed by a senior officer of the heritage site.
1.6 Assumptions, Limitations, and Delimitations
The researcher assumed that the visitors who come to the heritage site will enter the attraction through the visitor center and that the intent of their visiting the site is the desire to learn more about the history of the site as part of the national history and identity of the Saudi
Arabian State. It was also assumed that the senior officer answered the questionnaire honestly and accurately.
An important limitation of the study is its generalizability. The first reason for this is that this is a qualitative study where the data was obtained through the researcher as the primary observer. The second reason is because the study focused on one visitor center and included only one participant. Rather, the researcher hopes that this study will serve as a pilot inquiry which established a framework and a sample analysis that may be adopted to similar other visitor facilities investigations. Thus, instead of generalizing the study results, the researcher hopes that the readers will be able to transfer (Firestone, 1993) or apply and interpret some or all of its findings to their situation or setting (Pilot and Beck, 2010).
A major delimitation of the study was that the investigation of visitor experience only considered during the visit stage and did not explore the other two stages of the whole journey
(the pre-visit and the post-visit). This study sought to evaluate the role of visitor facilities in shaping visitors’ experience as these spaces are likely to be the first point of interactions before people enter the heritage site itself. Therefore, the research did not entail a thorough exploration of other factors that might affect visitor experiences before or after the visit.
4 1.7 Definitions of Terms
Atmospherics: Environment’s effect on a person’s cognitive and behavioral responses.
Cultural heritage site: A historic building, a town site, and important archeological site, or a work of monumental sculpture or painting (Encyclopedia Britannica).
Experience: A result of “encountering, undergoing, or living through things; providing sensory, emotional, cognitive, behavioral, and relational values that replace functional values” (Schmitt,
1999, p. 57).
Heritage: “The history, traditions and qualities that a country or society has had for many years and that are considered an important part of its character” (Oxford Learner’s Dictionaries, Def.1,
2019).
Interpretation: “Potential activities intended to heighten public awareness and enhance understanding of cultural heritage site. These can include print and electronic publications, public lectures, on-site and directly related off-site installations, educational programs, community activities, and ongoing research, training, and evaluation of the interpretation process itself” (ICOMOS, p.4, 2008).
Perception: “The way we notice things, especially with the senses” (Oxford Learner’s
Dictionaries, 2019).
Visitor engagement: An individual interaction with a site’s amenities and activities.
Visitor center: “a public facility with exhibition character that has a direct relation to a local attraction or the immediate environment. It provides an overview and first point of contact for visitors as well as a central meeting and starting point for guided tours or for individual exploration of the site” (Ripp, 2016).
Wadi Hanifa: A valley that penetrates the capital city of Riyadh, Saudi Arabia, from the western side.
5 CHAPTER 2
LITERATURE REVIEW
2.1 Introduction
The visitor experience at heritage destinations has been the main subject in various fields, mainly within the tourism context. This chapter will explore the phenomenon of cultural heritage in general and Saudi Arabia in particular, including cultural heritage sites, the importance of their interpretation, and strategies to promote cultural heritage through their visitor facilities. It will highlight the significance of heritage site interpretation and facilities provided to shape and enhance the visitor experience. The literature review will investigate the nature of visitor journey and factors influencing the whole experience, with an emphasis on on-site visits. It will also provide an overview of currant scholarship on visitor center role in shaping visitor experiences.
2.2 Cultural Heritage
Cultural heritage conservation received much attention from international agencies starting in the 1950s (Blake, 2000; Atalan, 2018). In 1958, The United Nations Educational,
Scientific and Cultural Organization (UNESCO) was founded in Paris. One of its aims was to protect and conserve heritage and culture worldwide (Blake, 2000). It gained great recognition when the international convention titled The World Heritage Convention convened in 1972. The convention developed a set of guidelines and procedures to recognize and protect cultural heritage around the world (UNESCO, 2017). Today, a panel known as the World Heritage
Committee (WHC) includes a group of members representing twenty-one countries. The organization’s board arranges the annual conference, manages its agenda, and registers various properties on the World Heritage List (Slatyer,1983; Pederson, 2002; UNESCO,2017). There are
6 three additional organizations which serve as advisory bodies to the World Heritage Committee: the International Centre for the Study of the Preservation and Restoration of Cultural Property
(ICCROM), the International Council on Monuments and Sites (ICOMOS), and the International
Union for Conservation of Nature (IUCN). The ICCROM supports government organizations and institutions around the world to conserve cultural heritage. The ICOMOS is a non- government organization which aims to preserve cultural heritage sites. It focuses on protecting architectural and archaeological heritage by applying different theory, methods, and scientific strategies. The IUCN helps public, private, and non-governmental institutions to preserve nature and environmental resources. All of these sub-organizations are working with the WHC to conserve all types of natural and cultural heritage (UNESCO, 2017).
The World Heritage Convention classified cultural heritage into three categories: monuments, group of buildings, and sites and defined them as follows:
Monuments are described as “architectural works, works of monumental sculpture and painting, elements or structures of an archeological nature, inscriptions, cave dwellings and combinations of features, which are of Outstanding Universal Value from the point of view of history, art or science” (UNESCO, 2017, p.18).
Group of buildings is defined as “group of separate or connected buildings which, because of their architecture, their homogeneity or their place in the landscape, are of Outstanding Universal
Value from the point of view of history, art or science” (ibid).
Sites are defined as “works of man or the combined works of nature and of man, and areas including archeological sites which are of Outstanding Universal Value from the historical, aesthetic, ethnological or anthropological points of view” (ibid).
7 The World Heritage Committee (WHC) selects any place that has been designated with
Outstanding Universal Value and meets specific criteria to be added to the world heritage list. In the case of Saudi Arabia, there are five locations registered by the committee as World Heritage
Sites. These are: Al-Hijr (Madâin Sâlih) (2008), At-Turaif District of ad-Dir' iyah (2010),
Historic Jeddah (2014), Rock Art of the Hail Region (2015), and Al-Ahsa Oasis (2018)
(UNESCO, 2019). To promote and safeguard these sites, they should be interpreted, so people could understand and recognize their importance.
2.3 Heritage Site Interpretation
The idea of heritage interpretation originated in the United States at the end of the 19th century (Babic, et al., 2016). Freeman Tilden documented the basis of interpretation and its relation to the visitor experience in 1957 (Babic, et al., 2016). In his seminal book titled
Interpreting Our Heritage he defined the term of heritage interpretation as: “An educational activity which aims to reveal meanings and relationships through the use of original objects, by firsthand experience, and by illustrative media, rather than simply to communicate factual information” (Tilden, 1977, p.8). The application of interpretation was primarily associated with the US National Park Service, an agency which focused on protecting and interpreting natural parks which, in the 1930’s, included heritage and historical sites (Babic, et al., 2016).
Tilden (1977) proposed six interpretation principles to support his definition. He believed that interpreting heritage must be relatable to the visitors, be informative, and be thought- provoking. These primary principles inspired other scholars and organizations to introduce additional interpretation criteria suitable for the current world. One of these includes using advanced technologies to have an interesting interpretation and presentation. Another principle that was added was using different interpretation methods for children and adults (Baeyens, et
8 al., 2005; Babic, et al., 2016). Another definition was coined by International organizations such as the ICOMOS (2008) where interpretation was viewed as:
“the full range of potential activities intended to heighten public awareness and enhance
understanding of cultural heritage site. These can include print and electronic
publications, public lectures, on-site and directly related off-site installations, educational
programs, community activities, and on-going research, training, and evaluation of the
interpretation process itself” (p.4).
Attraction places such as museums, natural landmarks, zoos, and heritage sites depend on interpretation to create spaces that would educate people and enhance their engagement and the whole experience (Roberts, 2014). Interpretation is often used in other visitor facilities such as visitor centers. These designed spaces are carefully created to interpret the attraction’s story and often display or convey its essential features. Effective interpretation is a very important management tool that helps with engaging visitors and shaping their experiences (Baeyens, et al.,
2005).
2.4 Heritage Site Facilities
Heritage site facilities play a crucial role in preserving places throughout the world that are irreplaceable because of their historical and cultural significance. Visitor centers are public buildings which are often built next to an attraction in order to present general information about the site’s historical and cultural importance. They are often the first entry point to the site and are primarily used to help the visitor better understand the significance and interpret the meaning of the site throughout their journey (Ripp, 2016). Visitor centers are different from museums in that they do not set out to gather, preserve, or rigorously research heritage objects and resources. As stated by Dalton (2017), the primary purpose of a visitor center is to “have an experience” while
9 the main purpose of a museum is to “gain knowledge”. Additionally, their aim is to help the public recognize the vital legacy and cultural properties of a particular site (Baeyens, et al., 2005;
Ripp, 2016). Visitor centers often consist of a number of functional spaces. These might include cafés, gift shops, restaurants, galleries, exhibitions, educational spaces, restrooms, and administration offices.
The spatial relationships between visitor centers and attractions can take different forms:
(a) the attraction can be entirely enclosed within the visitor center; (b) it can be semi-enclosed;
(c) it can adjoin the visitor center; (d) it can be nearby; (e) it can be relatively far from the visitor center; or (f) the visitor center can be entirely enclosed within the attraction (see Figure 2.1).
Figure 2.1 Spatial Relationships of Visitor Center to the Main Attraction (blue = attraction; dashed line = the visitor center) adapted from “Designing for heritage: Contemporary visitor centers” (Dalton, 2017, p.18)
10 Visitor centers are established to provide a convenient experience for visitors and provide the public an opportunity to learn more about the different features that make a site so valuable
(Allaback, 2000; Whyman, 2009). Dalton (2017) mentions several purposes of visitor centers including: raising public awareness, acting as a portal into the site, providing an orientation space, offering historical information about the site, framing an experience, belonging and place- enhancing, guiding or controlling movements, protecting the attraction, and generating income.
Here is how the author distinguishes between these purposes:
(1) Awareness-raising: by building a new visitor center, more individuals would be inspired and motivated to visit, and the attraction can become well known to new visitors. (2) Portal and orientation: a visitor center can serve as the site’s portal or its entry. It offers a welcoming environment and operates as the place where visitors start their site experience. It is the likely that they will end it there too. (3) Education: a visitor center provides a chance for visitors to learn of the historical, cultural, or any other informative aspects of the attraction. (4) Experience framing: the spatial layout plays a role in forming a visitor’s experience. The visitor center’s spatial design will be discussed more in the upcoming section (2.7.2). (5) Belonging and place- enhancing: a properly designed visitor center will allow visitors to develop a sense of belonging and attachment within the space. (6) Guiding movement and attraction protection: a visitor center can play a role in controlling the number of visitors who access and circulate throughout the site. It also can serve as a form of barrier for protecting more vulnerable sites. (7) Income generation: a new building such as a visitor center can encourage more people to visit and thus generate more income. Amenities such as food services and gift shops will increase revenue within a site. All of these features and functions of visitor center facilities, when well designed,
11 can support visitors’ engagement and help them develop a meaningful and memorable experience of the site (Jose Vinals, Morant, & Teruel, 2014; Bitgood, 2006).
2.5 Definitions and Characteristics of Experience
According to the English Oxford Dictionary (2019), an experience is “an event or occurrence which leaves an impression on someone.” Merriam-Webster Dictionary (2019) defined experience as “the fact or state of having been affected by or gained knowledge through direct observation or participation.” Pine & Gilmore (1998) considered experiences as distinctive encounters that differ from one individual to another. Such experiences include traveling and visiting world attractions including heritage sites. Numerous works of literature on heritage tourism, marketing, and visitor management discussed the concept of experience (Taylor, Frost,
Laing, 2017; Kempiak, Hollywood, Bolan, & McMahon-Beattie, 2017; Sheng, & Chen, 2012;).
It is difficult to unify different definitions of experience, to identify its components, and to define its quality for visitors because it is a very complex and highly subjective perceptual and emotional state (Volo, 2009; Jelincic, & Senkić, 2017). The researcher further explored what constitutes experience in the context of heritage tourism in subsequent sections.
2.5.1 Cultural Heritage Experience
According to the United Nations World Tourism Organization (UNWTO), people nowadays are more interested in visiting cultural heritage sites and having authentic and meaningful cultural heritage experiences. The heritage tourism sector is growing and flourishing rapidly at an international level (Jelincic, & Senkić, 2017). According to Timothy (2011), built heritage, people’s manners of living, ancient artifacts, and modern culture are all parts of cultural heritage tourism. It also includes visiting museums, archeological sites, monuments and historical sites.
12 An engaging and unforgettable trip to a heritage cultural site is essential for visitors’ experience. De Rojas and Camarero (2008) highlighted the effectiveness of preparing, creating, and displaying the cultural setting for visitors’ experiences and satisfactions. Developing facilities and improving heritage setting help visitors’ engagement and satisfaction (Apostolakis
& Jaffery, 2005). Creating a suitable physical environment that considers the five senses is one of the main elements that affect visitor experience (Walls, Okumus, Wang, & Wuk Kwun, 2011).
2.5.2 Characteristics of Experiences
Pine and Gilmore (1998) articulated the concept of memorable experiences in the 1998 article “Welcome to the Experience Economy.” The authors introduced four types of experiences: educational, entertainment, esthetic, and escapist. An individual’s nature of participation, either active or passive, and the type of connection (absorption or immersion) with the setting shapes the experience (ibid). The authors suggested techniques that might help businesses construct and provide memorable experiences for their customers. For example, introducing a theme within spaces and using design elements that can create a stimulating and engaging environment that would affect people’s perceptions and lead to a remarkable experience for them.
Memorable and extraordinary experiences have been recognized in recent research studies (Taylor, Frost, & Laing, 2017). Jefferies and Lepp (2012) described extraordinary experiences as “highly memorable, very special, emotionally charged, and potentially life altering in that they may contribute to personal growth or renewal” (p.38). Referencing psychological literature, Tung and Ritchie (2011) conducted research to investigate what important attributes form a memorable experience. Their purpose also was to know how memories of tourist experiences are recalled. The researchers determined four main features that
13 help create memorable experiences: (a) affect which relates to people’s emotional state toward experience; (b) expectations refer to tourist’s satisfaction with their visits aspirations; (c) consequentiality involves personal feedback from the journey and has four aspects include social relationships, intellectual developments, self-discovery, and overcoming physical challenges; (d) recollection occurs when tourist try to do things to remember the visit such as taking photos or buying souvenirs (Tung and Ritchie, 2011).
2.6 Stages of Visitor Experiences
Several studies divided visitor experiences into distinct phases to help distinguish each stage (Kempiak, Hollywood, Bolan, & McMahon-Beattie, 2017; Packer, & Ballantyne, 2016;
Kuflik, Wecker, Lanir, & Stock, 2015; Kim, & Fesenmaier, 2015; Lane, 2007; Aho, 2001). Most of these studies came from tourism management, visitor studies, and hospitality disciplines.
Their primary purpose was to develop frameworks and models to understand the visitors' experience better and recognize each stage requirements. Lane (2007) reported on the way the
London Agency Development employed a model to enhance visitors’ access in London. The framework was initially created to help organizations such as tourism agencies, hotel chains, large-scale attractions, and local authorities determine each stage and its essential requirements and enables these organizations to improve their services at destinations (Lane, 2007). The sequential linear framework was called “The Visitor Journey,” which has six main connected parts (see Figure 2.2). The first part includes stimulation, planning and anticipation, where visitors expectations of destinations are formed and their decisions before the trip are made. The second part is the ease of booking, where visitors have an easy access to various sources of prior arrangement. The third part is traveling to the destination, where visitors utilize transportation methods available to the destination. The fourth part is the destination experience, where the
14 visitors experience the attractions. The fifth part is going home, where visitors leave the destination. The sixth part is the recollection of the experience, which includes the memories that remain with visitors after their journey. The first three parts are occurring before the trip, while the fourth and the fifth parts are taking place during the visit. The sixth part happens after the journey is over.
The visitor journey model is overlapping with frameworks developed by other scholars.
For example, Kempiak, Hollywood, Bolan, & McMahon-Beattie (2017) investigated different factors affecting heritage attractions’ visitors. The authors identified three primary stages of visitor experiences: pre-visit, during the visit and post-visit (see Figure 2.3), and each phase contributes to the development of memorable experiences. It starts from the visitors' decision to take a trip, planning, traveling, arriving, visiting the destination, and then recalling the experience (Lane, 2007).
Figure 2.2 The Visitor Journey Model (Adopted from Lane, 2007) 15
Figure 2.3 The Heritage Visitor Experience – Conceptual Model (Kempiak, Hollywood, Bolan, & McMahon-Beattie, 2017).
The following sections will present a further exploration of three key stages with a greater focus on the “during the visit stage” which is considered to be the stage to affect visitor experience the most (Taylor, Frost, & Laing, 2017) and which is the main focus of this study.
2.6.1 The Pre-Visit Phase
The pre-visit stage includes motivations and drives for visitors to look for experiences outside of their mundane routines (Quan, & Wang, 2004). It is the phase where individuals decide on choosing a destination that better meets their needs and hopefully expectations (Aho,
2002). Deciding which destination people select to visit depends on motivational factors which differ from one individual to another (Trinh, & Ryan, 2017; Kempiak, Hollywood, Bolan, &
McMahon-Beattie, 2017). Individuals are motivated when they search for a personal experience that satisfy their needs, highlights their interests, and aligns with their predictions (Falk &
Dierking, 2012; Aho, 2002). Falk & Dierking (2012) classified these individuals as explorers, facilitators, professionals/hobbyists, experience seekers, rechargers, respectful pilgrims, and
16 affinity seekers. These categories are based on the “Identity-related” motivations model. The model identifies types of people who visit specific attractions and why they choose to visit those attractions (Falk & Dierking, 2012).
Various publications and academic articles discussed why people have the ambition to visit worldwide attractions which include historical sites, museums, galleries, national parks etc.
(Trinh, & Ryan, 2017; Allan, & Altal, 2016, Falk, & Dierking, ,2012; Poria, Butler, & Airey,
2001). Some of these studies specifically explored characteristics of people who are interested in cultural and heritage journey. McKercher (2002) determined five types of visitors who are particularly motivated to visit heritage sites. These are: (1) the purposeful (the purpose of cultural heritage visit is to gain knowledge about different cultures); (2) the sightseeing (the reason for the visit is mainly for entertainment; enjoyment and recreations); (3) the causal (the reason for the visit is not about having a cultural experience); (4) the incidental (individual will engage in the activities within the place although the reason for the visit is not about having a cultural experience); (5) the serendipitous (the person will have a profound experience even though the reason of the visit is not about having a cultural experience).
The purposeful and sightseeing types of visitors are most likely to visit sites that have prominent cultural and heritage value (McKercher, 2002). Purposeful and sightseeing types of visitors are most likely to plan their trips ahead of time. They are also the ones that are most likely to visit well-known heritage sites that include interpretive centers. Interpretative centers or other visitor facilities provide extra services and additional information about these sites.
Recognizing these various types of visitors would support not only managers in knowing their customers but it would help designers know their target users, thus guide them in their design
17 decisions. These motivational factors would guide visitors’ trip planning. They would also impact the next stages of experiences both during and the post visit phase.
2.6.2 During the Visit Phase
The second stage of visitor’s journey constitutes on-site experience and takes place at the determined destination, which often includes the site itself and its facilities and amenities.
According to Taylor, Frost and Laing (2017), the climax of the journey manifests at the destination in which pleasant experiences are developed. This on-site, experiential phase offers the visitors their first-time exposure to a new location and can often lead to a sense of awe as part of their experience (Aho, 2002). Kempiak, Hollywood, Bolan, & McMahon-Beattie (2017), determined four aspects affecting visitor experiences during this phase: information, communication, engagement, and atmospherics. The information aspect is associated with the amount of knowledge people may gain from their visit. Learning about another culture and having an informative and recreational trip is among the reasons why individuals are interested in visiting historical places (Calver & Page, 2013). Providing authentic and easily accessible information can affect individuals’ perception of the visit and thus influence their whole experience (Ho & McKercher, 2004).
The second factor influencing visitor experience is communication, which refers to the techniques facilities use to convey information regarding specific cultural features and historical details. Much valuable information within heritage sites is often displayed using a variety of methods, such as static displays (texts, objects and artifacts) and interpretative media (videos, audio and electronic interactive displays). There are also informational signage and wayfinding systems that help the visitors navigate throughout the space and move from one place to another
(Hughes, 2015). The visitors' perceptions regarding their entire experience within site are often
18 driven by how effective displays communicate the important information and details that are consistent with the aim and mission of the site (Bogle, 2013; Leighton, 2007; Ho & McKercher,
2004).
Engagement is the third factor that shapes individuals’ experience during the visit. At this stage individuals become involved with activities such as interactive exhibits, educational workshops, entertaining events, live performances, and living history reenactments (Leighton,
2007). These types of engagement are vital in providing educational and entraining purposes for visitors, and as a result, enrich experiences (Chhabra, Healy, & Sills, 2003). To create a stimulating, engaging, and informative environment, designers should identify and plan for potential users' needs and interests (Hughes, 2015). For example, age differences among visitors should be analyzed and addressed as designed displays presented differently for children than adults (Hughes, 2015). Another example distinguishes design requirements between local and international visitors. Designers, managers, and curators should know how they can deliver an authentic experience for locals and at the same time considering international visitors who do not have any knowledge about the attraction.
One of the practical approaches for designers to develop an exciting place is knowing various types of visitors learning styles, which include visual, auditory and kinesthetic learners
(Vincent & Ross, 2001; Pashler, McDaniel, Rohrer, & Bjork, 2008). The visual learners are more drawn to visual showcases – images, diagrams, visual timelines, and films. Auditory learners are interested in verbal communication and conversation to learn something. They need interactive screens, audio guides, and other interpretation media that fit their needs. The third type of visitor is the kinesthetic learner, who depends on haptic stimulus and effective interactions to learn.
Interactive displays would meet the kinesthetic learners' requirements. The design of interactive
19 media can be used as a tool to inform visitors and enhance their involvement (Hughes, 2015).
Hughes (2015) mentioned an effective example of interactive methods used at the Science
Museum in London, featuring the Google Web Lab involving interactive experimental exhibits, provided an intellectual and entraining environment (see Figure 2.4).
Figure 2.4 The Google Web Lab (Hughes, 2015)
The fourth aspect that affects the visitor experience on the site is atmospherics, which refers to the physical environment features that have a significant impact on individuals' attitudes
(Forrest, 2013). Atmospherics also is known as servicescapes (Bitner, 1992). It concerns with design details within different types of interior settings such as museums, retail stores, hotels, and other types of public spaces (Lin, 2004). Bogle (2013) used the term ambience to characterize a museum’s environment. She defined ambience as the total experience that encompasses and stimulates all individuals’ senses in the surrounding environment. Multiple inquiries have studied some of these physical elements to better understand how they affect
20 people's perception and behaviors (Custers, de Kort, IJsselsteijn, & de Kruiff, 2010; Kottasz,
2006; Turley, & Milliman, 2000). For example, Cho and Lee's (2017) study identified the significance of colors as well as other design elements in creating a luxurious retail stores image in consumers' minds, thus affecting individuals' attitudes. A facilities' interior design (along with its exterior) plays an integral part in forming a stimulating and positive atmosphere (Cho and
Lee, 2017; Bonn, Joseph-Mathews, Dai, Hayes, & Cave, 2007; Lin, 2004 Bitner, 1992).
Another study has specifically investigated aspects of a physical environment in a heritage setting. In their research, Bonn, Joseph-Mathews, Dai, Hayes, & Cave (2007) explored if the visitors' behaviors were affected by certain atmospheric features and if these characteristics influence people willingness to revisit. The researchers adopted Baker's (1986) framework, which presented three atmospheric elements: ambiance, design, and social. Ambient factors concerned with features like lighting, temperature, ventilation, music, and noise. These elements developed the aura of the setting and influence all visitor's five senses. Design factors–aesthetic and functional–can stimulate people’s perceptions and attitude thus encouraging meaningful experiences. Colors, textures, materials, style, decorative architectural details, layout, comfort, and signage are some examples of design elements. Applying these both functional and aesthetic aspects help provide a pleasant environment. The social factor is the third atmospheric element, which deals with the social behaviors of visitors and employees at the heritage place. It highlights how visitors grasp the information provided from services and staff at the heritage setting. According to the findings, the physical environment has a substantial impact on visitors’ impression of the place and how they interact with other people inside the space. This investigation of these three elements would inform managers about the importance of interior design in creating a compelling atmosphere (Bonn, Joseph-Mathews, Dai, Hayes, & Cave, 2007).
21 People are drawn to visit places that offer unfamiliar and exciting physical settings
(Calver & Page, 2013; Bonn, Joseph-Mathews, Dai, Hayes, & Cave, 2007). As a result, management at these settings is seeking to improve their amenities and provide a unique atmosphere. To achieve that, they need to collaborate with designers, architects, and researchers
(Bonn, Joseph-Mathews, Dai, Hayes, & Cave, 2007). Recognizing what the best design practices and elements of the physical environment are would create more exciting places thus attracting more visitors.
2.6.3 The Post- Visit Phase
The post visit phase shows what factors would help make visitors’ journey memorable and different than their usual experiences. It shows if visitor’s anticipation has been met and if planning before the journey have been successful (Calver & Page, 2013). Three factors that influence experiences after visitors leave the destination and return home are visit duration, acquisition of knowledge, and satisfaction (Kempiak, Hollywood, Bolan, & McMahon-Beattie,
2017). The time visitors spend on heritage sites would differ depending on how impressive the place is (Botti, Peypoch, & Solonandrasana, 2008). The knowledge acquired during the visit is an integral part of the experience for those whose purpose of the visit is to learn something.
Facilities that consider educational aspects would fulfill the needs of specific individuals who want to get new information (Packer & Ballantyne, 2002). An important factor that affects positive experience is satisfaction. The high standards of facilities and amenities provided at destinations would increase visitors’ satisfaction, hence they would likely revisit (De Rojas and
Camarero, 2008).
22 2.7 Creating a Sensory and Emotional Experience within a Physical Space
Interior spaces influence people’s physical and emotional states whenever they are inside them. No matter where they reside, work, or spend their leisure time, individuals experience a variety of interior environments, each stimulating their senses in different ways and thus enhancing their life experiences (Whitehead, 2017). As suggested by Pallasmaa (2014), we experience atmospheres and ambiances of spaces by awakening each of our senses upon entering an interior architectural space. This multi-sensory experience includes the stimulation of vision, sound, smell, touch, and taste. Besides the sensory impressions an individual feels, interior spaces also influence our physical well-being and cognitive perceptions (Penn, 2003;
Odabasioglu, & Olgunturk, 2015; Salonen, Lahtinen, Lappalainen, Nevala, Knibbs, Morawska,
& Reijula, 2013). Several scientific studies in psychology and neuroscience have explored the link between the built environment and its impact on an individual’s emotions, experiences, and cognitive functions (Coburn, Vartanian, & Chatterjee, 2017; Lichtenfeld, Elliot, Maier, &
Pekrun, 2012; Yildirim, Hidayetoglu, & Capanoglu, 2011). In her book Welcome to Your World:
How the Built Environment Shapes Our Lives, Goldhagen (2017) explained the connection between the built environment and humans physical, psychological conditions, and actions. She argued that knowledge from cognitive neuroscience and psychology fields would help design practitioners and decision makers to create better environments that promote people’s lives.
Interior designers have the responsibility of finding creative design solutions that appeal to people in ways that affect them both cognitively and emotionally. In order to accomplish this, the interior environments must meet individual needs and preferences by using a combination of design elements and features such as materials, colors, lighting, and texture, that will create the intended mood of a physical interior space (Caan, 2011).
23 Interior designer Jean Whitehead (2017) in her book, Creating Interior Atmosphere:
Mise-en-scène and interior design, explores the concept of mise-en-scène. This concept is a common approach used in theater and film set designs to create a physical setting to form a dramatic atmosphere in a scene by using furniture, fixtures, colors, materials, pattern, and lights.
Thoroughly designed sets help in delivering the story and identifying with the plot and characters. Within almost the same context, interior spaces communicate a specific mood and stimulate users’ emotions. The creation of interior atmospheres is similar to mise-en-scène. This approach is common in commercial and hospitality spaces where the design of interiors should express clients’ aspirations, wants, and needs. Interior designers seek to create the type of atmosphere that stimulates the senses and allows users to have an emotional and memorable experience. Similarly, designers of heritage site visitor facilities could also utilize these tools to create an engaging atmosphere where visitors would be excited to connect with the site in a strong emotional and memorable way. It is these types of unforgettable impressions that inspire visitors to refer the site to others and spur them to return frequently. Interior designers can play an essential role in helping site managers achieve their vision.
2.7.1 Perception, Atmosphere, and Sensory Experience
According to Cohen (2016), the perception of a space is formed when a person processes sensory information within their surrounding environment. This perceptual process often involves the stimulation of all five senses in such a way that the brain recognizes and then interprets this information. How people interpret sensory information, however, is often based on their own different life experiences. In other words, each individual will have a different sensory experience (Whitehead, 2017) based on one’s past, psychological condition, memories, and other factors (Cohen, 2016). The value of architectural buildings emerges from humans’ emotional
24 interaction with built spaces. As suggested by Pallasmaa (2014), people’s perception and assessment of architectural spaces are prominently determined by spatial atmosphere or ambiance they encounter within these spaces. Experiencing interior spaces is not only associated with ornamental and structural aspects, but with the atmosphere spaces that individuals perceive with their imagination capabilities (Pallasmaa, 2014).
It is essential that interior designers consider the sensory experience when designing a space. Whitehead (2017) explored some design approaches used to create a sensory space. Such a space is formed by carefully applying and arranging colors, light, layout, materials, textures, volumes, scales. Combined together, these core elements have the potential to create an atmosphere that contributes to the formation of sensory experiences. An interior environment can engage with one or more human senses depending on the narrative designer seeks to convey within space.
2.7.2 Spatial Design and Experience
As previously mentioned in the ‘Heritage Site Facilities’ section (2.4), one of the guiding principles architects and interior designers use when developing the layout of a visitor center is based on the concept of ‘experience framing’. According to Dalton (2017), visitor experiences are controlled or ‘framed’ by a visitor center’s spatial design and the selection of the objects to be displayed within this space. In architectural theory, the arrangement of different areas, exhibits, and other objects that affect each visitor’s experience are linked to two specific design concepts. The first concept is based on the premise of building a narrative for each visitor who passes through the center. With a storytelling experience in mind, the architects and designers deliberately set up the displays, carefully sequence the information, and intentionally control how each visitor circulates through the space in order to create a specific narrative within this
25 learning environment. The second concept, referred to as staging, is associated with the idea of creating a theatrical experience within the space. Whitehead (2017) further explores this concept when she states that “the ‘setting’ forms the ‘backdrop’ to the interior, essentially the physical surfaces that create and enclose a room – its walls, floor and ceiling. This setting has an imprint of the atmospheric, aiming to communicate a certain aura through its form, materiality, and finish. It helps to ‘set the scene’ or ‘set the tone’ for the interior by evoking a specific time or place, whilst its staging can enhance a particular effect’ (p.41). Staging can be done by the careful arrangement of the spatial layout and the specific designing of exhibits. The purpose of this approach is to create an environment in a way that visitors experience a sense of theatrical performance while they flow through the space. By implementing different spatial arrangements, driven by the concepts of storytelling and theatrical staging, the designer is better able to create a space where an individual can have a more moving and memorable experience as part of their journey within a visitor center (Dalton, 2017).
Within the literature there is a scarcity of information about the most common features of spatial layouts regarding visitor centers found at heritage sites. Much of the literature discussing the different approaches of spatial layout is found in journal articles and books that describe museum spaces. Because the purpose of both museums and visitor centers is to educate the public, spatial layouts of the two types of buildings share similar approaches. Huang (2001) describes two primary spatial approaches that characterize the layout of museums. These approaches include: 1) the organization of spaces into sequences and 2) the development and interpretation of gathering spaces. One of these spatial aspects is based on the relationship between the visitors and the objects displayed, and the other is based on how visitors interact and congregate with each other within the spaces. The organization of spaces into sequences have
26 two layout types: the grid and the single sequence. The grid layout allows visitors to walk randomly throughout the space in a way that does not restrict their movement pattern. On the other hand, the single sequence layout controls the movement pattern of the visitors and forces them to follow the same path within each space without allowing them the opportunity to change their routes (Tzortzi, 2007) (see Figure 2.5).
The Grid Layout The Single Sequence Layout
Figure 2.5 Schematic Diagrams of Space Layout (adapted from “Museum Building Design and Exhibition Layout: Patterns of Interaction” (Tzortzi, 2007, p.72-5)
Huang describes the layout of the gathering space as the specific areas where people congregate within a museum. These are also socially-friendly spaces because they allow for informal congregation of large number of people and as a result they facilitate social interactions between individuals. These interactions can often enrich the experience of the visitors as they peruse through a museum. While individuals move through arranged spaces and organized
27 exhibits, their movement and exploration patterns will affect their perception (Wineman &
Dalton, 2006).
Museums and visitor centers are often designed either as either open or closed spaces.
Open exhibition spaces usually have large windows and connect interiors with exterior environments. The design of visitor centers that features large windows helps to create a space where visitors’ attention is drawn to outside views (Dalton, 2017). In order to keep this natural light from becoming intense and overwhelming within the space, designers introduce daylight control so visitors could have a more pleasant experience (Hughes, 2015). In contrast, enclosed spaces are designed without the use of natural light and as a result, visitors are more focused on interior exhibitions without any outside distractions. This type of space allows designers to show a variety of multimedia displays that require low-level lighting. Spending a long time within these closed environments may cause a sense of discomfort in visitors. Designers must consider compensate for this and create rest stops with brightly-lit areas (Hughes, 2015).
2.7.3 Lighting and Atmosphere
Light within an interior space has many purposes. It helps individuals see the space around them clearly, it modifies the appearance of colors, and it unveils the shape of space
(Edensor, 2015). It is one of the essential design elements and has a significant impact on spatial perceptions and atmosphere (Innes, 2012; Custers, de Kort, IJsselsteijn, & de Kruiff, 2010). It also can trigger either positive or negative emotional reactions such as a sense of calm or high energy, alertness of irritation (Innes, 2012).
An interior space that carefully incorporates well-designed lighting features provides an aesthetic, practical, and sensory experience for its users (Whitehead, 2017; Innes, 2012). The two basic light design approaches involve natural and artificial light, where the former has gained
28 more attention in the past two decades as the primary light source (Meek, & Van Den
Wymelenberg, 2015). Natural light can penetrate interior spaces through wall and sky openings.
There are a handful methods of daylight design that must be thoughtfully planned and implemented concerning the building type (Meek, & Van Den Wymelenberg, 2015). For example, shafts and filters are used in order to direct the light within interiors. On the other hand, artificial light can be used to create different ambiances depending on space requirements. The color of light has a psychological effect on people’s perception. Warm lighting provides a calm and natural atmosphere, while cool lighting provides an energetic feeling (Haller, 2017).
2.7.4 Color and Atmosphere
Color is the most visible design element in interior environments (Lin, 2004). The perception of colors is affected by light. Colors also have a dominant effect on people’s physical, psychological, physiological, and sociological lives (Jalil, Yunus, & Said, 2012; Turley&
Milliman 2000). A recent study in the field of cognitive psychology determined how bright colors can affect the perceived size of a space. Spaces with bright colors will appear deeper than areas with dark paints (Von Castell, Hecht, & Oberfeld, 2018). An architectural study that studies how the size and atmosphere of space are affected by the variation of color value
(lightness and darkness) concluded that lighter colors come off as having less weight while dark colors look very heavy (Meerwein et al., 2007). Functionally, colors can be applied to emphasize different spatial zones and circulations while psychologically, colors can change individual’s mood and stimulate their perception of space. Colors can be implemented in interior spaces by using materials, patterns, and lighting. For example, patterns are created with various colors, and motifs can present a specific era and style. It also used to create visually attracting designs
(Whitehead, 2017).
29 Jalil, Yunus, & Said (2012) reported studies from different fields discussing the influence of colors on humans’ emotions and behaviors. These studies used various assessment methods and explored diverse subjects in order to measure a color effect on areas such as environmental and emotional state, performance or non-performance, and physiological aspects (Elliot, Maier,
Binser, Friedman, & Pekrun, 2009; Kuller, Mikellides, & Janssens, 2009; Bynum, Epps, & Kaya,
2006; Jin, Yu, Kim, Kim and Chung, 2005;Tsunetsugu, Miyazaki, & Sato, 2005; Knez, 2001;
Kwallek, Woodson, Lewis, & Sales, 1997). Jin, Yu, Kim, Kim, and Chung (2005) showed that altering a color’s luminosity level to meet individual preferences, has a positive effect on a person’s psychological state. For example, warm colors alleviate stress in both the body and mind.
In conclusion, Bonn, Joseph-Mathews, Dai, Hayes, & Cave (2007) found that light, color scheme, layout, and other physical environment elements impact visitors’ assessment of the place and their tendency to revisit. Another study also concluded the importance of atmospheric cues, which include lighting, special effects, and signage in influencing visitors’ satisfaction and enjoyment (Kottasz, 2006).
2.8 The Saudi Commission for Tourism and National Heritage
The increased interest in preserving Saudi Arabia’s cultural heritage has been advanced by the establishment of the Supreme Commission for Tourism (SCT) in 2000, currently known as the Saudi Commission for Tourism and National Heritage (SCTH). The Saudi Commission for Tourism and National Heritage (SCTH) is working with cities’ municipalities, provinces and management organizations to administer and develop heritage sites as tourist attractions. The original purpose of this organization was to increase the tourism of its Saudi citizens and to preserve Saudi’s cultural antiquities (SCTH, 2016; Bagader, 2016). In 2008, however, the SCTH
30 broadened its mission to include the protection of archeological areas, the improvement of existing museums, and the preservation of the country’s heritage (SCTH, 2016). The SCTH first focused on informing its Saudi citizens about the importance of heritage protection and encouraging them to be a part of the heritage conservation process. Recently, the SCTH has widened its focus to include bringing in more visitors from abroad who are interested in visiting
Saudi’s unique cultural and historical sites (SCTH, 2016).
In 2014, the SCTH established a cultural tourism initiative, covering four main parts: antiques, museums, urban heritage, and handicrafts. The development strategy for both the antiques and museum sectors involved creating better methods for displaying the country’s distinctive antiquities, organizing exhibitions, preserving archeological sites, and inscribing them in the UNESCO’s World Heritage List. Furthermore, this initiative also focused on enhancing existing museums and creating new ones in all five provinces and municipalities throughout
Saudi Arabia. Other objectives include developing interesting tourism activities and programs at heritage and natural sites and acknowledging the value of national culture (SCTH, 2016).
In addition to the STCH, the government has also created other organizations affiliated with the commission that were charged with preserving and promoting the country’s historical and cultural sites. For example, a Royal Commission for Al-Ula City (RCU) was established in
2017 to transform Al-Ula city, located in north west of the kingdom, into a cultural heritage destination. The RCU also plans to protect Mada’in Saleh, an ancient settlement in Al-Ula and the first Saudi site to be registered on the list of UNESCO World Heritage Sites (see Figure 2.6).
Presently, there are five Saudi sites that are registered with the UNESCO World Heritage Sites.
At this time, SCTH is also preparing ten other sites for registration (SCTH, 2016).
31
Figure 2.6 Mada’in Saleh in Al-Ula (experiencealula.com)
2.9 Management and Preservation of Saudi Cultural Heritage
One of the main sections of the SCTH programs is organizing conferences, forums, and supporting scientific research that coincides with the SCTH objectives, particularly the development of the tourism sector in Saudi Arabia (SCTH, 2016). This plan has encouraged scholars to present papers that discuss topics such as tourism management, investments, and heritage sites planning. Alzahrani (2008), an academic who has an interest in tourism planning of historical places, published a paper titled Tourism Planning of Heritage Sites: Al Ula Case Study.
The author conducted a study on Al Ula city by completing a thorough observation and field survey. The data was collected in the location between the years 2003-2007. It was instrumental in helping Alzahrani (2008) to propose a strategic plan to rehabilitate the site to become a tourist destination. Based on his findings, the author recommended having visitor services and infrastructure, including transportation, hotels, restaurants, cafes, and restrooms, to be located
32 close to the visitor center and the site. He also suggested building a museum and two parks that highlight the heritage of the site. The author argued that implementing a proper plan and investing in the available resources of the site would transfer Al Ula into an attraction; thus, the site becomes an optimal model for other Saudi heritage places. While the Alzahrani (2008), looked into the matter of improving tourism, his study did not address the importance of facilities on visitors experience when they visit the historic region.
There is a limited number of academic papers, however, that talk about the role of visitor facilities in shaping experiences from an architectural and design point of view. Architectural researchers Alawi, Jamjoum, and Samir (2018) carried out an investigation to determine general aspects that could improve heritage experience of visitors in Historical Jeddah, Saudi Arabia.
Although their study needs further in-depth exploration of literature and site analysis, the researchers identified general factors affecting visitor experiences. These factors include services, facilities, hospitality, recreational activities, technology, safety, and accessibility. The researchers used a structured questionnaire survey to collect data from visitors. According to the study’s findings, participants’ level of satisfaction with available services and facilities was 2.4 out of 5; the lowest score compared to the factors that could affect their visit experience. The study showed how suitable amenities affect visitors’ perspectives on having a satisfying experience.
A research paper by Orbasli and Woodward (2005) focused on how to develop heritage tourism in Saudi Arabia was published in The International Scientific Symposium, proceedings of the ICOMOS. The authors discussed some interpretation methods of the Hijazi Railway, an old railway linked the holy cities of Makkah and Madinah with Damascus, Syria. The researchers suggested several approaches to develop the Hijazi Railway as a tourist attraction.
33 Some of these include: (1) establishing a Hijazi Railway museum; (2) operating a section of railway to allow the visitors to have a journey; (3) providing an interpretation and visitor centers along the railway which include interpretive exhibits to attract young generations. These suggestions were not only to interpret the railway and promote tourism, but were primarily intended to safeguard the cultural heritage of the route.
2.10 Theoretical Framework
Based on the literature review presented above, the author identified four main factors that influence visitor experience at cultural heritage sites: information, communication, engagement, and atmospherics (Kempiak, Hollywood, Bolan, & McMahon-Beattie, 2017). The researcher suggests that instead of being equally important, information, communication, and atmospherics are the factors that influence visitor engagement the most. Engagement is the individual interaction and involvement with one’s physical surroundings. It is the result of the three factors working together to shape visitor perceptions, cognitive, and aesthetic experiences.
The three factors can be defined as follows:
Information is the story of the site its cultural context, history, natural and architectural features, and artefacts. Factual and personal narratives can affect individuals’ engagement with the site by being appealing to different visitors’ age, interests, cultural background, etc. During the site visit phase, visitors encounter information through visitor facility location, its architectural language, interpretive displays or exhibitions, and educational programs. Directional and informational signage are both smaller but no less important components of the visitor center and site design.
Atmospherics is the feature that is concerned with the overall design of the space and its parts.
Design factors, both aesthetic and functional, can stimulate visitors’ perceptions and attitudes
34 thus encouraging (or not) engaging experiences. Atmospherics may be defined by several design components (see section 2.4 and 2.7 for more details):
a. Spatial relationship between visitor center and the site (see Figure 2.1);
b. Spatial layout within the visitor center (see section 2.7.2 for discussion of linear
sequence and the grid layout (see Figure 2.5, general public (e.g., entry foyer),
semipublic narrow function spaces (e.g., exhibition spaces, reading/library,
classrooms), and off limits for visitors staff areas);
c. Movement through space;
d. Geometry, scale and proportion, and balance;
e. Materials, textures, colors, and lighting – a sense of drama created by using these
design elements (see section 2.7.3-2.7.4).
Communication typically refers to the modes and techniques through which the information
is conveyed to visitors. Much of the information regarding specific cultural features and
historical events and personalities is often presented through static displays (texts, objects,
and artifacts), interpretative media (audio, video, and interactive electronic displays), or
theatrical installations (often combining static and interactive displays enhanced by the use of
historically dressed mannequins, video projections, and lighting).
The definitions of the term ‘experience’ discussed earlier in this chapter along with the four visitor experience factors, suggest that visitor engagement is the key aspect that allows individuals to connect with the site thus making their visit more educational, meaningful, and memorable (see Dalton, 2017; Walls, Okumus, Wang, & Wuk Kwun, 2011; Bitgood, 2006; Pine
& Gilmore, 1998). In order to better understand how heritage site visitor center design may shape visitor experience, this study will examine the three main factors that constitute it as they
35 are manifested in the design of the visitor center at Ad-Dir'iyah Heritage Site. The diagram of this framework is presented below (see Figure 2.6).
Engagement
Atmospherics Information Content Communication Modes - Historical / cultural / Functional - Static displays (texts,
biographical narratives - Spatial relationship with objects, or artifacts) - Objects or artefact the site - Interpretative media - Visitor center - Spatial Layout (audio, video, and interactive electronic architectural details - Movement through space displays) Aesthetic - Theatrical installations - Geometry, scale, and proportion, balance - Materials, textures, colors, lighting
Figure 2.7 Theoretical Framework
2.11 Summary
The review of literature explored the phenomena of visitor experiences and different aspects that influence visitors’ senses and behaviors at cultural heritage sites. It discussed people’s motivations and expectations when they are planning to visit cultural and heritage attractions. The analysis of existing studies pointed out the importance of the physical environment in attracting visitors and enhancing their experiences. Various studies from tourism, marketing, and management fields have examined patterns of visitor behavior to determine the most common factors instrumental in creating memorable experiences: information,
36 communication, atmospherics, and engagement. This information is particularly pertinent in light of a recent Saudi Arabian government initiative to develop national heritage sites into cultural tourism destinations. The next chapter will address the methods that will be used to collect data for this study to investigate how visitor centers may improve visitor engagement at a
Saudi heritage site.
37 CHAPTER 3
METHODS
3.1 Introduction
As discussed in Chapter 2, visitor experiences are influenced by a variety of factors that shape visitor journeys at different cultural and heritage destinations. Previous studies highlighted the role of site facilities in engaging the visitors and enriching their trips. Visitor’s engagement affects the whole site visit experience. The researcher proposed a framework where engagement is broken down into three factors: information, atmospherics, and communication. These factors are the focus of this research. This chapter will present data collection and analysis methods that were used to gather information about how the architectural and the design features may create an engaging environment that affect visitor experiences at Ad-Dir'iyah heritage site, Saudi
Arabia.
3.2 Purpose
The purpose of this study was to explore how Ad-Dir'iyah heritage site’s visitor center may shape visitor experiences by making them more educational, engaging, and ultimately more memorable for visitors. This study sought to examine the program, interiors, and the story that the designers tell through the building and its interpretive displays. The study also investigated the effects that some physical features of the interior may have on visitors’ senses, emotions, and behaviors. The findings from this research provide insights into the effectiveness of design features to deepen visitors’ engagement with the site. The researcher also identified basic design aspects which need to be considered when planning and designing similar cultural heritage facilities.
38 3.3 Research Questions
The two primary research questions that directed this study were:
1. What are the essential design components (such as spatial layout, movement through space, materials, textures, colors, lighting, and modes of communicating the site’s history) that shape visitor experience at the Ad-Dir'iyah heritage site?
2. How may the design of the visitor center facilitate visitor engagement with Ad-Dir'iyah heritage site?
3.4 Methodology
The researcher followed a qualitative ethnographic case study approach to collect and analyze data. The methods of data collection combined visual documentation, architectural plans analysis, an organization document analysis, and a questionnaire. The researcher visited the site for two days and documented the interior spaces of the visitor center. Architectural plans of the facility were obtained from the Diriyah Gate Development Authority (DGDA). A questionnaire was sent to a senior officer who works with DGDA and who works as one of the managers of the heritage site.
The Atturaif district in Ad-Dir'iyah site was selected as the primary location for this research because of its “outstanding universal value” and its rich history which has qualified it to be included on the UNESCO world heritage list, and because the site contained one of the newest high-profile visitor centers of this kind in Saudi Arabia. This stone and glass visitor center was completed in 2018 and is now opened for special tours and visits. It will open its doors to general public in December of 2019.
39 3.5 Study Site
3.5.1 The Atturaif District in Ad-Dir'iyah Background
The Atturaif district in Ad-Dir'iyah is situated within the North West area of Riyadh city,
Saudi Arabia (see Figure 3.1). It is located on the banks of Wadi Hanifa on a site that contains the original Al-Dir’iyah oasis. The establishment of Ad-Dir'iyah city dates back to the 15th century. At the end of the 18th century and in the early19th century, Ad-Dir’iyah became the first capital of the Kingdom of Saudi Arabia. In the 19th century the ruling House of Saud developed the citadel of the Atturaif as their political, social, cultural, economic, and religious center. The Atturaif district developed organically, following the natural topography of the land
(see Figure 3.2). It contains important archeological buildings (palaces, historical mosques, and others) that were built in the Najdi architectural style, unique to the middle of the Arabian
Peninsula (see Figure 3.3). This style features high ventilation openings, columns made of plastered and lime washed stone, high-rise wind towers, keel (ogee) arches, and internal courtyards (STCA, 2010).
Figure 3.1 The Location of Ad-Dir'iyah (Google Map)
40
Figure 3.2 Aerial View of the Atturaif District in Ad-Dir'iyah (Daniel Henderer, 2017)
Figure 3.3 Najdi Architectural Details (Dir’iyah Gate Development Authority, 2018)
Because of the site’s historical significance, its role of a human settlement which persevered in a harsh desert environment and for its distinctive architectural features, this historic site was included in the list of UNESCO World Heritage Sites in 2010 (STCA, 2010). In July
41 2017, the Diriyah Gate Development Authority was established to develop the site and transform it into a destination for both local and international tourists. The Authority aimed to highlight the architectural, historical, and cultural importance and beauty of the Ad-Dir'iyah for visitors from around the world (DGDA, n.d.). A visitor center adjacent to the historic site was designed by the architectural firm Ayers Saint Gross Architects (“Atturaif Living Museum”, 2018) (see Figure
3.4). The building’s program includes a reception area, galleries, and multimedia exhibits. Its primary function is to offer visitors information, orientation, and guidance to the site.
Figure 3.4 The Atturaif Visitor Center (Daniel Henderer & Ted Henderer, 2017)
3.6 Visual Documentation
The researcher used photography to document the visitor center. The photographs recorded the main interiors as well as architectural features and details of the spaces. Visual documentation of the visitor center’s interior allowed the researcher to analyze the physical characteristics of the place, as well as the overall atmosphere and style. The photographs also
42 help the readers to visualize how the interior environment of the visitor center will appear to future visitors of the center. The photographs are accompanied with written descriptions of the space as evidence of the visual documentation.
3.7 Architectural Plans and Organization Document Analysis
Architectural plans, site map, and renderings for Ad-Dir'iyah visitor center were obtained from the Diriyah Gate Development Authority (DGDA). The plans offered important insights into the planning of the visitor facility and highlighted how its designers envisioned the visitor journey through the center to the historic site. The researcher also obtained a planning document prepared by the Saudi Commission for Tourism and National Heritage (SCTH). This document contained information about the history of the Atturaif district in Ad-Dir'iyah, detailed descriptions of its historical buildings, and characteristics of their unique architectural style.
3.8 Questionnaire
The researcher contacted the Diriyah Gate Development Authority that oversees Ad-
Dir'iyah heritage site to obtain a permission to conduct the study and to invite potential participants to answer a questionnaire. One participant was identified and agreed to participate in the study. Having followed the FSU Human Subjects Protocol, the researcher contacted the participant and obtained their consent to complete a questionnaire (see Appendix B). The questionnaire asked about the purpose and design of the visitor facility and how the designers and stakeholders envisioned the design may enhance the visitor engagement (Appendix A).
3.9 Data Analysis
The researcher was the main subject of this study; therefore, the data and their analysis were based on the researcher’s personal experience during the site visits and reflected her perceptions and interpretations. The analysis of architectural plans and visual documentation
43 were written into detailed descriptions. The collected data was organized and analyzed based on the framework outlined in Chapter 2. Subsequently the data were synthesized to answer the two research questions presented earlier in this chapter.
3.10 Assumptions, Limitations, and Delimitations
The researcher assumed that the visitors who come to the heritage site will enter the attraction through the visitor center and that the intent of their visiting the site is the desire to learn more about the history of the site as part of the national history and identity of the Saudi
Arabian State. It was also assumed that the senior officer answered the questionnaire honestly and accurately.
An important limitation of the study is its generalizability. The first reason for this is that this is a qualitative study where the data was obtained through the researcher as the primary observer. The second reason is because the study focused on one visitor center and included only one participant. Rather, the researcher hopes that this study will serve as a pilot inquiry which established a framework and a sample analysis that may be adopted to similar other visitor facilities investigations. Thus, instead of generalizing the study results, the researcher hopes that the readers will be able to transfer (Firestone, 1993) or apply and interpret some or all of its findings to their situation or setting (Pilot and Beck, 2010).
A major delimitation of the study was that the investigation of visitor experience only considered during the visit stage and did not explore the other two stages of the whole journey
(the pre-visit and the post-visit). This study sought to evaluate the role of visitor facilities in shaping visitors’ experience as these spaces are likely to be the first point of interactions before people enter the heritage site itself. Therefore, the research did not entail a thorough exploration of other factors that might affect visitor experiences before or after the visit.
44 3.11 Summary
This chapter introduced qualitative research strategies used to collect and analyze the data obtained for this study. Information was gathered from visual documentation, analysis of architectural plans, and organizational documents and a questionnaire, and the researcher’s personal visit to the site. Qualitative data was analyzed by utilizing thick description approach which followed the framework articulated at the end of Chapter 2. The findings of the study addressed the two research questions and helped the researcher to better understand the effective impact of site facilities design on visitors’ engagement, which consequently influences their whole experience.
45 CHAPTER 4
FINDINGS
4.1 Introduction
This chapter will present data collected from analyzing a case study of Ad-Dir'iyah heritage site. The site of Ad-Dir'iyah was selected for this study because of its status as the origin of the first Saudi state. Its historical buildings have a unique architectural style known as Najdi style. Ad-Dir'iyah considered to be one of the first sites to adopt mud brick construction technique in Saudi Arabia. This original research was conducted to examine how the design of the visitor center at Ad-Dir'iyah heritage site may play a role in visitor engagement. Based on the theoretical framework explained in Chapter 2, the visitor center at Ad-Dir'iyah heritage site will be analyzed by looking at three aspects of visitor center design and features: information, atmospherics, and communication. The data from the case study analysis will be discussed in relation to the two research questions.
4.2 The Case Study
The case study selected for this research is the visitor center at Ad-Dir'iyah site (see
Figure 4.1). The visitor center is located at Atturaif district, which includes the remains of the
House of Saud palaces, mosques, and souk (market area) (STCA, 2010) (see Figure 4.2). The center was designed by the architectural firm Ayers Saint Gross. The firm also developed shaded walkways and exhibition galleries at the heritage site. As discussed in Chapter 2, there are several approaches of the spatial relationship between the visitor center and the site. In this case study, the visitor center is set next to the heritage site and both can be accessed via a pedestrian
46 entry ramp (see Figure 4.3). The center can also be reached through a pedestrian bridge which connects the site with the heritage park.
According to the senior officer, the purpose of the visitor center is to provide visitors useful site information and to help them navigate the heritage site. Also, it provides a convenient and a cool place for visitors to take a break during their visit. At the time of the study, the visitor center was closed for public visits, but was only opened for special private events. The senior officer reported that most of visits at that time were delegations (groups).
The site was founded in the 15th century. It became widely known in Saudi Arabia in the second half of the 18th century when it assumed the role of its first capital. One of the most distinctive features of Atturaif district is its historical buildings and their unique architectural details. Most of the buildings adopted the Najdi architectural style, which originated locally, in the middle of the Arabian Peninsula. Its most distinct features are ventilation openings and plastered columns (STCA, 2010).
Figure 4.1 Exterior View of the Visitor Center (Roimon Hepburn, 2014)
47 Site Legend 1. Visitor Reception center 2. Atturaif Bridge
3. Wadi Farm
4. Salwa Palace 5. Ad-Dir'iyah Museum 6. Mohammed bin Saud Mosque 7. Treasury Museum 13 8. Moudhi’s Sabala Mosque
9. Atturaif Souk Orientation 10. Souk (Old Market ) 7 11. Traditional Food Court 12. Abdullah bin Saud Palace
13. Turki bin Saud Palace
14. Bujieri development 15. Wadi Park Figure 4.2 Atturaif District Site in Ad-Dir'iyah (Ayers Saint Gross, 2015)
Figure 4.3 Site Plan (Riyadh Authority Development) 48 The following sections discuss the physical environment of the visitor center. This analysis will cover the three main factors that constitute the visitors’ engagement. The written description includes the researcher’s personal observations and photographs of the site and the visitor center interior space.
4.3 Information Content
Information is the collection of historical details and cultural aspects of the heritage site.
It helps visitors to connect with the rich history of the site and inform them about its significance.
A variety of information about Ad-Dir'iyah site is featured at the visitor center. The following sections describe the information that the visitor center displays:
4.3.1 Geography
Ad-Dir'iyah is located to the west from Riyadh city by Wadi Hanifa on the eastern slope of Tuwaiq Mountains (see Figure 4.4). It extends along a valley called Wadi Hanifa (formerly known as Wadi Al-Irdh) and sits on the top of the hillside overlooking the valley of Hanifa. The altitude of the site is 700 meters (2296.59 feet) above the sea level. To the north the site is bounded by Alamarya Road, and to the south by the Eraqa center. Ad-Dir'iyah has hot and dry summers and cold winters (ADA, 2009; STCA, 2010). The natural landscape of Ad-Dir'iyah is characterized by small lakes. The water reflects the blue sky and greenery of palm trees, adding vivid colors to the sandy structures around it. This area is famous for its fertile lands. The
Atturaif district is considered to be the most important historical district in Ad-Dir'iyah. Its human history organically evolved from the natural topography of the site.
The district contains several buildings that have historical and cultural significance.
These buildings were constructed using traditional materials available in this desert climate, such as mud bricks, limestone, and palm fronds. Upon entering the district, visitors get a sense that
49 they are stepping back in time, that they were teleported into a place different from the ultra- modern Riyadh with its concrete and steel high-rises. A historic landmark that once was a vibrant and prominent city, Atturaif gives visitors a chance to experience the history of the site, rather merely reading a book about it.
Figure 4.4 Saudi Arabia and Ad-Dir'iyah Maps (STCA, 2010)
4.3.2 Settlements Over Time
Because Ad-Dir'iyah is located on the banks of Wadi Hanifa, it attracted many human settlers dating back to approximately 80,000 years ago. During the 3rd and 2nd centuries B.C., agricultural settlements were established in Wadi Hanifa. One of these well-known settlements was the village of al-Faw. It was the capital of Kindah kingdom (a kingdom in the center of the
Arabian Peninsula ruled by the Kindah tribe). From the 2nd century BC to the 5th century A.D., there were several palaces and temples. Woodwork, jewelry, and statues made of stone and bronze were discovered after the excavation of Al-Faw village (STCA, 2010) (see Figure 4.5).
50
Figure 4.5 Hellenistic Style Fresco from Al-Faw, Riyadh National Museum (F. Cristofoli, 2008)
Another old settlement was established by an ancient Arab tribe called Banu Hanifa. In the 5th century, Banu Hanifa settled in Al-Yamamah area which was located in the south of Najd
(central of the Arabian Peninsula). They formed the largest known community in the Arabian
Peninsula, which existed for centuries and was knows as the most significant agricultural area
(STCA, 2010).
4.3.3 Key Historical Events
Ad-Dir'iyah’s history is related to the First Saudi State and the present-day Saudi Arabia.
In 1744, Imam Muhammad Bin Saud made Ad-Dir'iyah a political center where he started his plan to unite several regions of the Arabian Peninsula under one state. The authority of Ad-
Dir'iyah reached out all over the central region of the peninsula. After the death of the Imam in
1765, his son Abdulaziz carried on his father’s plan. In the early 1790s, Eastern and Western regions were under the control of Ad-Dir'iyah. After successfully unifying all regions, Ad-
Dir'iyah turned into a prominent city, and the Atturaif district at Ad-Dir'iyah became the seat of the government. Along Wadi Hanifa, many administrative buildings and palaces were built.
51 Between 1816 and 1818, the Ottoman Empire started a war against the First Saudi State.
The Egyptian ruler Mohammad Ali Pasha with his two sons Tusun and Ibrahim were assigned by
Ottomans to conquer the center of Arabia. The Ottoman army included ten thousand men from
North Africa, Turkey, and Albania. By the end of 1818, Ibrahim and his army reached Ad-
Dir'iyah and put it under siege. The siege lasted for six months and resulted in the fall of Ad-
Dir'iyah. In September of 1818 Imam Abdullah, who was the ruler at the time, surrendered to the
Ottomans thus bringing the First Saudi State to the end.
The son of Imam Abdullah named Turki, however, continued fighting against the
Ottomans and in 1824 he was able to defeat the Ottomans and forced them out of the Arabian
Peninsula. Following this victory, Turki selected Riyadh to be the capital city of the Second
Saudi State. As a result of Ad-Dir'iyah’s destruction, the site became uninhabited for over one hundred years. In the 1950s people started to move back and settle in the eastern side of Ad-
Dir'iyah. In 1982, Ad-Dir'iyah received a status of a significant historic site under the leadership of the Department of Antiques (ADA, 2009; STCA, 2010).
4.3.4 Main Palaces
Atturaif district contains ruins of several historical palaces. These include Salwa palace,
Ibrahim bin Saud palace, Fahad palace, Sabala Moudhi, Abdullah palace, Turki palace,
Thunyyan palace, Palace of Omar Bin Saud, Mishari Bin Saud palace, and Farhan palace
(STCA, 2010). When visitors approach the site, they can see the grandeur of Salwa palace arising in front of them. Salwa palace is the largest building in the central Arabian Peninsula (see
Figure 4.6). It has an approximate size of 10,000 square meters (107,640 sq. ft.), and it encompasses seven units constructed of mud brick and faced with limestone blocks. The complex’s construction started at the end of the 17th century, and at the mid of 18th century it
52 was renovated. Salwa exterior walls are decorated by small triangular openings arranged in geometric patterns that were pierced through mud brick walls for ventilation.
The first unit of the Salwa palace was built next to Wadi Hanifa. It contains two clusters of buildings connected by a long corridor. Both buildings have a large hall enclosed by three rooms. The second unit is a two-story building and has a rectangular layout. Its main entrance is located on the north side of the building. The entrance leads to a hall divided into several rooms that were used as storage. There is another hall that has a stairway that leads to the upper floor.
The third unit is a three-story building, and its interior is similar to the second unit. It has a large hall in the middle and two small rooms on the east and the west sides. The fourth unit is also a three-story building with a main entrance and a tower both located on the east side. The fifth unit is larger than the previous ones. It was built after the destruction of Ad-Dir'iyah in the middle of
18th century. The sixth unit consists of three houses, each with its own entrance. The seventh unit has two parts: one was used as a residence, and another as a courtyard (STCA, 2010).
In addition to the Salwa palace, visitors can see the remnants of centuries old mud towers that are still standing despite the harsh desert weather. While the researcher was visiting the site, she observed how large the palace was in relation to the other historical buildings. Walking around the large palace feels like walking through a maze where each entry leads to a separate space that leads to another area. The way the palace was constructed encourages visitors to explore each building and see how they are connected, forming a labyrinth of smaller and larger rooms clustered around courtyards. These patterns reflect the grown of the community over the years.
53
Figure 4.6 Salwa Palace (Sauditourism.sa)
4.4 Atmospherics
Atmospherics is the design characteristics of spaces that affect people’s senses, perceptions, and attitudes. Several atmospheric features such as the layout, materials, color, and lighting create the mood of the physical environment. The following sections discuss the visitor center’s design characteristics that define visitors’ perceptions of its interiors.
4.4.1 Spatial Layout
The visitor center is located a short distance away from the Atturaif district. Visitors can easily walk from the visitor facility to the heritage site and vice versa. There is a forecourt paved area that separates the visitor center and the historical site. This spacious area allows people to congregate and enjoy exterior views if the weather conditions are suitable. The compact curved structure of the visitor center is positioned parallel to the site outline. The front and the rear of the building are enclosed with a roof overhang made of bronze material. The main entrance is located on the side of the building while the front façade of the building is facing historical
54 buildings. To provide visitors a choice to enter the visitor center or to proceed directly to the historic part, the ticket office is located outside next to the main site entrance.
As shown in the floor plan (see Figure 4.7), the building is divided into two sections: the front of the building constitutes visitors facilities and the rear section includes staff offices and visitor services. The interior layout of the building is open which allows visitors to move freely throughout the space. The main entrance of the building is shared by visitors and staff. The visitor facilities consist of four areas: reception/information desk, gift shop, main gallery area, and a roof viewing area.
Figure 4.7 Visitor Center Floor Plan (Riyadh Authority Development)
55 4.4.2 Geometry, Scale, Proportion, and Balance
The visitor center is a single-story building and stone-based construction. Its overall shape is a large curve that follows the organic pattern of the surrounding landscape (see Figure
4.3). The curved walls create an active, dynamic space. The building is relatively small in scale and well-proportioned in relation to the original historic structures of the site. The ceiling height and the main door are proportioned to the human scale. Looking around the space, the researcher observed that the arrangement of furniture matches the scale of the interior space. The scale of information desk fits the size of space. The stone textured wall behind the large multimedia screen is emphasized to be a focal point of the space. Also, the stone texture adds to the interior space richness, while the repetition of wood ceiling beams creates a rhythm (see Figure 4.8).
Figure 4.8 The Ceiling at the Gallery Area (The Diriyah Gate Development Authority, 2018)
56 4.4.3 Movement Through the Space
As the visitors enter the building, they walk into the main gallery area that contains an information desk, multimedia screen, and the gift shop (see Figure 4.7). Both the information desk and the gift shop are placed at a short distance from the entry to facilitate the accessibility for visitors. The main gallery area also contains offices spaces (not available for visitors) and visitor restrooms. Upon entering the area, the visitors will see in the center a large model of the
Atturaif district accessible on all sides. Going down a few steps or using the ramp, visitors can enter the viewing gallery or sit at the customized seating and enjoy the view of the historic city wall and buildings. Visitors may take exterior stairs to the roof terrace.
4.4.4 Materials, Textures, Colors, and Lighting
The building embodies a contemporary style contrasting to the traditional mud brick construction appearance found at the site. The materials and finishes that were selected for the interiors reflect the simplicity of the natural environment that surrounds the building. Semi- glazed terrazzo was chosen for the whole interior space flooring (see Figure 4.9). This terrazzo with beige tones blends elegantly with the interior environment of the building. The same type of flooring was in a slightly darker tone were used for the three steps which visually separate the main galley area from the viewing area facing the historic site. The main gallery area incorporates a juxtaposition of design elements. For example, the curved wall made of stone serves as a backdrop for the multimedia screen, creating a contrasting effect of natural and traditional material and the display technology thus adding an additional layer of dynamism to the interior.
57
Figure 4.9 The Gallery Area Flooring (Author, 2019)
Other materials used within the space are glass and wood. In order to open up the interior space, a large glazed wall was incorporated at the southwest side of the building. This large curtain wall serves as the main source for the natural light which eliminates the need for artificial lighting during daytime. Also, the glass wall connects the interiors with the outdoors. As shown in Figure 4.10, the wood is used as finishing material for the south wall and for the ceiling beams.
58
Figure 4.10 The South Wall at the Gallery Area (Author, 2019)
Inspired by the desert, the colors selected for interior spaces reference sand dunes, desert valleys, and hills that characterize the landscape of Ad-Dir’iyah and its surroundings. The researcher observed that the building interiors are rendered in sandy tones from light to dark brown which provide a sense of calm. Visitors entering the building may feel warm, relaxed, and comfortable in this environment. The main gallery, the gift shop walls, and floor were also beige, and the ceiling was half white and half brown. The combination of these warm colors with the building’s human scale and simple outlines creates a sense of serenity.
In addition to natural light which gently lights the space through an undulating curtain wall, a number of artificial lighting types are used inside the space: ambient lighting, cove lighting, and track lighting. Ambient lighting is incorporated through the use of recessed LED
59 lights. Cove lighting is attached to the stone wall and is placed behind the screen. It washes over and emphasizes the rugged surface of stone material. The cove lighting is also used beneath seating making it more attractive. Track lighting is placed above the large bronze model to accentuate specific parts of the Atturaif district.
The sound of soft music fills the space. The music corresponds to the digital presentations displayed on the large multimedia screen. Reflective materials used throughout the interior such as terrazzo and glass, increase the overall sound level. In this environment, if the space is not filled with people, visitor conversations are amplified.
4.5 Communication
Communication refers to the multiple methods that are used to present information to the visitors. These techniques allow visitors to obtain general information about the site, its history and culture. These communication techniques enable visitors to explore the site and engage with its story in an uncontrolled and in an individualized way.
4.5.1 Multimedia Screen
One of the techniques used by the center designers is the multimedia screen. It occupies the most prominent position in the center’s interior. The screen is 25m (82 ft) long and extends along the entire interior stone wall (see Figure 4.11). It features the site history from the early settlement to the development of modern Ad-Dir'iyah. According to the senior officer, the multimedia screen was the primary feature at the building the management focused on and wanted to offer to the visitors. Along the digital screen wall, there are four attached small touchscreens which are used to present in-depth historical information about the site.
60
Figure 4.11 Multimedia Screen, Gallery Area (Author, 2019)
4.5.2 Interactive Kiosks
The second technique used is interactive kiosks. There are four interactive kiosks located in the visitor center, two at the upper level and another two at the lower level (see Figure 4.12).
These cubes form kiosks that are attached to a seating area that has a touchscreen interface featuring the map and historical background of the site. They are also used as wayfinding systems to guide visitors through the site. By tapping the screen, visitors first can select either
Arabic or English language, then they choose from a list the type of information they want to explore. The list contains the most important historic places and landmark buildings of Ad-
Dir'iyah. These kiosks are easily accessed by different age groups providing an interactive educational experience.
61
Figure 4.12 Interactive Kiosks, Gallery Area (Author, 2019)
4.5.3 Atturaif District Model
The third technique used is a large model of Atturaif district made of bronze material (see figure 4.13). It is connected to an interactive touchscreen where visitors can select a specific area from the screen through which detailed information is presented. Each area or the building that was selected will be illuminated from a track light located above the model. This technique
62 provides visitors with an engaging experience while they are exploring different information content in the visitor center.
Figure 4.13 Atturaif District Model (The Diriyah Gate Development Authority, 2018)
4.5.4 3D Mapping Shows
One of the main architectural features of the building is the roof terrace which offers the visitors an overview of the site and enjoy this visual experience (see Figure 4.14 and Figure
4.15). Built-in benches allow the visitors to face the site and observe the historical palaces. At the terrace, there are two projector towers. They are used to project dynamic visual presentations from the building on the walls of the historical palaces (see Figure 4.15) during night time. The façade of these historical buildings become a theatrical backdrop of the lighting shows. This 3D mapping show technique creates an engaging environment for visitors.
63
Figure 4.14 Roof Terrace (The Diriyah Gate Development Authority, 2018)
Figure 4.15 3D Mapping Shows (Mohammad Alharbi, 2018)
64 4.6 Summary
This chapter reported data gathered from visitor center observations at Ad-Dir’iyah heritage site. The analysis was based on a theoretical framework which categorized the visitor engagement into three main categories: information, atmospherics, and communication. In regard to the significance of the site, findings indicated that Ad-Dir'iyah represents a turning point in the history of the Arabian Peninsula because it was the first capital of Saudi Arabia. The site contains historical buildings that adopt the traditional Najdi architectural style and show a unique example of earthen constructions which depends on mud-brick as the main building material. Also, the findings covered the design aspects of the visitor center and the communication methods used to present historical information. The next chapter will discuss the findings in order to answer research questions.
65 CHAPTER 5
CONCLUSION
5.1 Introduction
This study explored the essential design components of the visitor center at Ad-Dir'iyah heritage site and how these components may support visitor engagement at Ad-Dir'iyah heritage site. The researcher developed a theoretical framework for this study to examine the role of heritage facilities in shaping visitors experience, specifically investigating how these spaces may make the visits more engaging. The framework consists of three key factors: information, atmospherics, and communication that helped in analyzing the visitor center design. This chapter will sum up the data collected from researcher observations, visual documentation, architectural plans analysis, organization document analysis and a questionnaire. It will also analyze the findings and answer the research questions. At the end of this chapter, the researcher will discuss suggestions for future research.
5.2 Literature Review Summary and Framework
The literature review in Chapter Two discussed the nature of visitor experiences at cultural heritage sites. Studies from tourism, marketing, and management disciplines have defined the characteristics of meaningful and memorable experiences. The researchers, for example, identified that for the visit to be memorable, it should offer different opportunities to people such as educational and entertaining activities. In addition, several studies confirmed that heritage site facilities, such as visitor centers, make a substantial positive contribution to visitors’ experiences. These facilities provide an opportunity for visitors to thoroughly get to know about the natural and social history and culture of the site. They also can be used as alternatives to the
66 actual sites in those cases when the sites are in a fragile condition or inaccessible to visitors. The literature review also explored the importance of the physical interior environment of visitor centers as affecting people’s perceptions and attitudes during their visit to heritage sites. More specifically, the design features that influence visitor experiences are spatial layout, circulations, materials, lightings, acoustics, and colors. Other factors are concerned with the information and the story itself and how it is presented and communicated. After reviewing the literature, the researcher developed a theoretical framework, which identifies visitors’ engagement as an essential aspect of overall visitor experience which includes three subcategories: information, atmospherics, and communication. The researcher applied this framework to analyze the visitor center facilities at the Ad-Dir'iyah heritage site.
5.3 Findings Summary and Research Questions Discussion
Two primary questions arose addressing the significance of physical design features that likely contribute to visitors’ engagement. The first primary question was: What are the essential design components (such as spatial layout, movement through space, materials, textures, colors, lighting, and modes of communicating the site’s history) that shape visitor experience at the Ad-
Dir'iyah heritage site?
The analysis of the visitor center design at Ad-Dir'iyah suggests that there are several design attributes that contribute to creating an engaging environment for visitors. The footprint of the visitor center forms a curving façade that provides a panoramic view of the historical buildings. The interior of the visitor center is designed as an open space plan which connects between the reception desk area, the main gallery area, the gift shop, and the ground floor viewing area (see Figure 4.11). The open layout creates a free-flowing circulation throughout the space and unobstructed lines of sight allow visitors to move freely and directly from one area to
67 another. Several benches are available for visitors in the main gallery and the viewing areas. The distribution of seating throughout the space provides opportunities of social interactions between visitors in small and large groups alike. The benches positioning in the center of the open space gives visitors an option to choose between watching a digital presentation on the large multimedia screen or to enjoy the view of the historic cityscape through the curtain glass wall.
The findings show that the materials chosen for the visitor center are simple in appearance yet transform the interiors into an inviting space. For example, the stone is the primary material used for the interior and exterior wall finishes. Its rough texture adds texture and depth to space, and it functions as the center of attention. Also, the stone’s earthy soft tone provides the whole interior area with a sense of warmth. The northeast stone wall harmonizes with the wooden beam ceiling. Throughout the interior space, beige terrazzo is used as the finish material for the flooring. The subtle tone of terrazzo makes the space look and feel larger. The southwest curved wall is made of glass which allows the natural light to flow inside the building.
The designers chose a sandy color palette and incorporated a combination of darker and lighter hues of brown inside the space. From the exterior, the visitor center is light brown, in contrast, the palaces of Ad-Dir'iyah site are a slightly darker shade of brown.
Another design feature of the space is the use of lighting. Various types of lighting
(ambient, cove, and track) are used within the space that set the mood and add a sense of drama to the interior space. Besides the ambient natural lighting, the cove lighting is hidden in the back of the multimedia screen and underneath the furniture (reception desk, model, and benches). The track lighting is used in only one area to highlight the surface of the large bronze model that displays the relief map of the Atturaif district. Quiet background music playing inside the space fills the interior with soft and soothing folk melodies from the Saudi past.
68 The findings also show the techniques that are used throughout the space to communicate the heritage site information. The multimedia screen serves as the primary feature incorporated into the building design to create an engaging educational opportunity for visitors. Another important feature of the visitor center design is its roof terrace, which offers a spectacular view of the mud brick structures and their architectural details from high up. The structures are cast as the main “characters” in dramatic night light shows.
While the first primary question addressed the main design features of the visitor center, the second question focused on the features that are the most and the least effective for visitor engagement: How may the design of the visitor center facilitate visitor engagement with Ad-
Dir'iyah heritage site? After summarizing the findings, the researcher identified that the features most likely to impact the visitor engagement are circulation, the glazing wall, the multimedia screen, the cove lighting, and the roof terrace.
The interior of the visitor center employed a free flow layout which creates flexible movement patterns and allows the visitors to circulate freely throughout the space. The building also has an open floor plan that allows a group of visitors to gather in different spots where they can converse with each other. The openness of interior space with free circulation enables visitors to maneuver the space without any restrictions. Also, the visitors can explore the space by giving them a control over the path they want to follow. Some visitors can move toward the multimedia screen and take a look at the visual presentations, others can walk to the viewing area and overlook the ruins of the historical buildings through the glass wall. With the flexibility of navigating the space, visitors are empowered to personalize their experience and thus enrich their engagement. Adjacent to the entry is the viewing area that has a glazed wall overlooking the historical buildings. This full-height glass wall connects the interior with the exterior, which
69 gives an illusion of a larger interior. While the wall provides a wide-open view of the outdoors, it also allows the natural light into the space. As reported by the senior officer, this wide glass wall is considered one of the most successful architectural elements because it allows the visitors to enjoy the full spectacle of the palaces from the shady and cool visitor center interior.
Another effective design feature is the multimedia screen. Upon entering the space, the widescreen catches the visitors’ eyes and attracts their attention by showing a series of colorful animated digital videos of significant historical events that took place in Ad-Dir'iyah. Natural and artificial lighting is an additional factor that the author identified as another successful feature that may make an impression on visitors. Thus, cove lighting creates soft light effects and adds dynamic accents throughout the whole space. Finally, the roof terrace also provides a great opportunity to offer engaging experiences. During night times 3D lighting shows, consisting of vivid visual presentations, are projected on the historical walls of palaces, thus offering visitors spectacularly orchestrated memorable experiences.
It is important to point out that there are less successful aspects of the visitor center that could hinder visitor engagement. The visitor center could not accommodate large groups of people due to its overall compact area. While openness of the floor plan has many advantages as discussed earlier in this section, if the space becomes crowded, it may become difficult to navigate through the space easily. A crowded area would create an inconvenient environment for visitors and give a negative first impression of the space. The building would also benefit from having additional service amenities such as a multi-purpose area, an exhibition area, and a café.
A multi-purpose space where lectures and seminars can be held would be helpful, especially for visitors whose primary reason for their visit is to learn more about the heritage site. Classrooms also would be helpful to involve visitors with the facility’s activities and educational programs.
70 An exhibition space intended to display different historical artifacts and items would also provide additional learning opportunities. There could be a collection of authentic objects where each has a story of how it was used and what it was made from. These artifacts would offer a window into a world of local material culture and possibly even invite visitors to share their thoughts about the significance and value of these or similar objects in their culture. Looking at these objects could stimulate visitors’ imaginations and allow them to picture the historical narrative behind them.
Another space which would be helpful inside the visitor center is a café. Integrating a café area into the building would offer visitors a place where they can take a break from exploring the site and recharge while having snacks and coffee. In addition to the above drawbacks, the author identified wayfinding issues: visitors are unable to easily find the way to the roof terrace unless someone from the center’s staff helps them. Architects and designers could have placed the staircase in a more visually accessible location, for example, next to the reception area where it could be more visible. Also, the route from the visitor center to the heritage site is hard to find. Changing the flooring materials or colors would assist with navigation to the site without the need of putting up additional directional signage.
In summary, the first question focused on identifying the essential design components that shape visitor experience in the visitor center. These include the spatial layout, potential movement patterns, materials, texture, colors, lightings and communication techniques used throughout the space. The second question addressed how these design components may facilitate visitor engagement. The majority of design drawbacks in the visitor center design fall under the category of atmospherics and could be improved to make visitor experiences more engaging.
71 5.4 Data Collection Reflection
During the data collection phase, the researcher encountered some difficulties with gathering data. Initially, the data collection included on-site observations with behavioral mapping of visitors and in-person/phone interviews with more participants: site managers, curators, and architects who were involved in designing the visitor facility. Unfortunately, after arriving to the site the researcher discovered that the site was closed to the public, and that part of data collection had to be removed from research design. Other difficulties arose with a number of potential interview participants who, having initially agreed to participate in this study, did not respond to subsequent multiple communication attempts by the researcher.
5.5 Future Research
Further studies could investigate the visitor center as an educational space and how the space is designed to motivate visitors to learn more about the site’s historical and cultural context. Future research could also expand to include quantitative research methods to collect visitor data. A quantitative study could include a survey to explore the visitors’ perceptions regarding the visitor center environment and evaluate their sense of engagement with the space.
A dual or multiple location case study would allow to compare different visitor centers and to explore how their design enhances visitors’ engagement and experiences. It also would be valuable to explore design practitioners’ perspectives on the role of visitor center design on creating engaging environments. And finally, a study could focus collecting thorough behavioral mapping data to identify visitors’ behavioral patterns throughout the space. All the studies outlined here would provide valuable information that would be very helpful with designing better cultural heritage site visitor centers.
72 5.6 Conclusion
This study explored the design characteristics of the visitor center and its role in enhancing visitors’ engagement. The study examined the visitor facility at Ad-Dir'iyah heritage site, Saudi
Arabia. The contents covered in the literature review emphasized the significance of the physical environment on affecting people’s perceptions and attitudes. It also explored different aspects that affect visitors’ behaviors during the three stages of the visit: the pre, during, and the post visit phases. By synthesizing the review of literature, the researcher created a theoretical framework to analyze the visitor center. Three main factors were considered as contributing to enhancing the visitors’ engagement. The findings indicated that the combination of physical design features may have an impact on visitors’ actions. Those features include spatial layout, furnishings, colors, lighting, and materials. The findings also revealed that the way the information is presented inside the space and how the visitors engage and interact with it, may affects the whole experience. Although there are some features that are regarded as the most influential on visitor engagement, there are aspects that could be added to enhance visitor experiences. The visitor center is small and does not have the capacity to accommodate a large number of people. The building program is limited and lacks such important functional spaces as classrooms, exhibition spaces, and a café. Another weak aspect is the way visitors struggle to navigate the site. Visitor centers are a type of building that not only can help protect fragile heritage sites, but also prepare individuals to enjoy their visiting experience more fully.
73 APPENDIX A
SAMPLE QUESTIONNAIRE
1. What is your position at the organization? 2. How long have you been managing the site? 33. What are your primary job duties? 4. How many visitors a year visit this site? What are the busiest and the slowest times of the year? Of a month? Of a week? 5. What is your visitor demographic? Age (rough % of all visitors), gender (rough % of all visitors), occupation? 6. What percentage of your visitors is Saudi? Regional (what countries)? International (what countries)? 7. Did you participate in planning the visitor center? If yes, what was your role? 8. What were the main reasons for building a visitor center at the site? 9. What were the primary areas the management and curators wanted to focus on in the visitor center? 10. What overall experience did you want your visitors to have?11. Did the design of the building reflect your expectations? 12. What are the most successful design/architectural features the building has? Why do you think they work well? 13. What are the less successful features? Why do you think they fell short from expectations? 14.. What are the programs/activities does the site offer? For what kinds of audiences? 15. What is the story you would like to share with your visitors? How are you telling this story to your audience? 16. What are the future plans of your organization to make the site more accessible and exciting to visitors?
74 APPENDIX B
IRB APPROVAL
75
76 APPENDIX C
CONSENT FORM STUDY00000197 FSU IRB Approved Permission to Take Part in a Human Research Study 28 July 2019
Title of research study: The Role of Visitor Center Design in Enhancing Visitor Experiences at Saudi Heritage Sites HRP-503(SBS) Investigator: Taneem Aljahani
Key Information: The following is a short summary of this study to help you decide whether or not to be a part of this study. More detailed information is listed later on in this form.
Why am I being invited to take part in a research study?
We invite you to take part in a research study because you were involved in developing the design of visitor center at Ad-Dir'iyah heritage site or you are one of the employees involved in managing its visitor facilities/programming.
What should I know about a research study?
• Someone will explain this research study to you. • Whether or not you take part is up to you. • You can choose not to take part. • You can agree to take part and later change your mind. • Your decision will not be held against you. • You can ask all the questions you want before you decide. Why is this research being done?
The purpose of the study is to explore how heritage site visitor facilities shape visitor experience by making it more educational, engaging, and more memorable. More specifically, the study will investigate what design features need to be considered when planning and designing cultural heritage facilities. These design features help visitors know more about history and culture of the site through presentations of interpretive information and through ambient atmosphere of visitor facilities. It will explore designers’ and managers’ perspectives on what works more or less successfully to communicate the educational message of the site.
77 The study seeks to provide information that may be helpful with planning architectural and design aspects of visitor amenities of historical attractions in Saudi Arabia. Although the research does not include any direct benefits to participants, the findings might provide a better understanding of many issues to be considered when planning visitor facilities and to better understand design factors that enhance visitor experience during site visit.
How long will the research last and what will I need to do?
We expect that you will be in this research study for approximately one hour at the time convenient for you. You will be asked to answer several questions about designing or managing the visitor center at Ad-Dir'iyah heritage site. The questions will focus on your experiences in designing/managing the visitor center, its programming, planning, and goals. You will be asked to share your perceptions effective impact of site facilities on visitors’ engagement and what design tools were used to achieve this. More detailed information about the study procedures can be found under “What happens if I say yes, I want to be in this research?”
Is there any way being in this study could be bad for me?
Participating in this study may expose you to a minimal risk of a confidentiality breach. To minimize this risk, the researcher will not collect any personal or sensitive information besides age, job title, and years of practice. The researcher will assure you that your names and answers will not be shared with your superiors or administration or mentioned in the final report. The results of the study, however, will be made public. You will be able to withdraw from the study at any point during the interview. More detailed information about the risks of this study can be found under “Is there any way being in this study could be bad for me? (Detailed Risks)”
Will being in this study help me in any way?
There are no benefits to you from your taking part in this research. We cannot promise any benefits to others from your taking part in this research. However, possible benefits to others include understanding of the proper planning of visitor centers and visitors’ behaviors inside these facilities.
78 What happens if I do not want to be in this research?
Participation in research is completely voluntary. You can decide to participate or not to participate. Your alternative to participating in this research study is to not participate.
Detailed Information: The following is more detailed information about this study in addition to the information listed above.
Who can I talk to?
If you have questions, concerns, or complaints, or think the research has hurt you, talk to the research team at 850 405-8854 or [email protected]. You can also contact the researcher’s major professor, Dr. Mclane at [email protected]. This research has been reviewed and approved by an Institutional Review Board (“IRB”). You may talk to them at 850-644-7900 or [email protected] if: • Your questions, concerns, or complaints are not being answered by the research team. • You cannot reach the research team. • You want to talk to someone besides the research team. • You have questions about your rights as a research subject. • You want to get information or provide input about this research. How many people will be studied?
We expect about ___8__ people here will be in this research study out of __10___ people in the entire study nationally.
What happens if I say “yes” to being in this research?
If you agree to take part in this study, you will be asked to provide a time convenient for you to conduct interviews. Prior to the interview, questions will be shared with you to help you make an informed decision on whether to participate in this study. The phone interview will last for approximately one hour. The questions will focus on your experiences in designing/managing the visitor center, its programming, planning, and goals. You will be asked to share your perceptions effective impact of site facilities on visitors’ engagement and what design tools were used to achieve this.
79 What happens if I say “yes,” but I change my mind later?
You can leave the research at any time it will not be held against you.
Is there any way being in this study could be bad for me? (Detailed Risks)
Participating in this study may expose you to a minimal risk of a confidentiality breach. To minimize this risk, the researcher will not collect any personal or sensitive information besides age, job title, and years of practice. The researcher will assure you that your names and answers will not be shared with your superiors or administration or mentioned in the final report. The results of the study, however, will be made public. You will be able to withdraw from the study at any point during the interview.
What happens to the information collected for the research?
Efforts will be made to limit the use and disclosure of your personal information, including research study to people who have a need to review this information. We cannot promise complete secrecy. Organizations that may inspect and copy your information include the IRB and other representatives of this organization. Your information that are collected as part of this research will not be used or distributed for future research studies, even if all of your identifiers are removed. We may publish the results of this research. However, we will keep your name and other identifying information confidential to the extent allowed by law. Signature Block for Capable Adult Your signature documents your permission to take part in this research.
Signature of subject Date
Printed name of subject 7/30/2019
Signature of person obtaining consent Date Taneem Aljahani 7/28/2019 Printed name of person obtaining consent IRB Approval Date
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90 BIOGRAPHICAL SKETCH
Taneem Aljahani was raised in Jubail Industrial City, Saudi Arabia. She earned her
Bachelor’s of Science degree in Interior Design from Jubail University College, Saudi Arabia, in
2013. Following graduation, she began her professional career as an instructor at the interior design department at Yanbu University College. Currently, she is pursuing her Master’s of
Science degree in interior design at Florida State University. After graduation, she is planning on pursuing a Ph.D. degree in the design field.
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