Tim’s 10 principles of exhibition/experience design
- Develop engaging content and compelling stories
- Know the audience
- Understand the site
- Plan for pre/during/post visitation
- Learn from other successful and unsuccessful examples
- Create dynamic spatial experiences
- Stage environments to engage the senses
- Vary the range of interpretive/engagement methods
- Establish unified visual language/identity
- Specify designs that are clear, appropriate and resolved
Types of Exhibition Environments
Cultural environments include museums and historical sites. These are highly narrative spaces where the principal means of visitor communication are exhibit based experiences, which are presented in an open-ended, informative and educational manner. The California Academy of Sciences is a good example.
Commercial environments include retail spaces, trade shows, corporate displays and restaurants; any space that is communicating a brand story and trying to sell you something. Starbucks is a good example, where a consistent customer experience is conveyed through staff, decor, graphics, music and smell.
Entertainment environments include theme parks and attractions; any place where storytelling is delivered primarily through interaction. Disneyland is the
archetypal example and sports arenas, theaters and museums are influenced by how Disney manages crowds, entertains diverse audiences, and sells fun.
Community/Civic environments include public parks, streets, libraries, government buildings, churches; these are open-ended, publicly funded sites that are usually free. Central Park is a good example, free and open to all.
Design Engagement and Storytelling Methods
Contemplative is a static form of communication that uses predominantly two-dimensional graphic elements such as words, images and illustrations. Less than 10% of people actually read messages in the built environment.
Sensory is a mode of exhibition interpretation that uses passive physical elements, such as sound, smell, and light to deliver content. These techniques use a highly emotive form of communication that can transcend multiple languages, cultural identities and demographic forces.
Discovery is as an active method of interpretation that uses hands-on participatory elements such as playing games, simulated rides, solving puzzles and dress-up. People are far more likely to absorb an idea when they physically have to discover the content or answer a question. Children’s museums use this method extensively.
Participatory is an interpretive method that uses reciprocal interactive elements such as computer kiosks, activities and games, facilitated discussions, talks and role playing. Science centers, theme parks and expositions use these techniques to create immersive and memorable experiences.
Audience Factors
What do people want?
To seek experiences that are functional, educational, entertaining, esthetic, escapist, and social
Audience Contextual Experiences (Falk and Dierking, 1992)
Personal Context: prior knowledge, experiences, motivation, values
Sociocultural Context: cultural background, interactions with others
Physical Context: environmental factors, design, comfort, accessibility
Understanding Audience Needs (Visitors’ Bill of Rights by Judy Rand, 1996)
Comfort; Orientation; Welcoming & Belonging; Enjoyment; Socializing; Respect; Communication; Learning; Choice & Control; Challenge & Confidence; Revitalization
Plan for Audience Behavior
People who visit exhibition environments
can be described as:
Streakers (spend seconds)
Strollers (spend minutes)
Studiers (spend hours)
Cater to Audience Behavior (Bernice McCarthy, 1997)
Imaginative people: seek meaning, ask “why?”
Analytical people: seek facts and ask “what.”
Common people: ask “how does it work.”
Dynamic people: ask “what if…”
Visual Learner: Image based exhibits that use visual impact rather than words.
Auditory Learner: Verbal communication based exhibits that use sound and narration.
Kinesthetic Learner: hands-on exhibits that allow for touch and physical interaction.