NODEM 2014 Proceedings

A Case Study to Make Use of Cross-channel User
Experience for Interactive Exhibition Design
Simge Esin Orhun
Ozyegin University, Turkey
Abstract: Current improvements in the media landscape paved the way for the techniques used in interactive exhibition design
based on the dynamics of pervasive computing. However, varying interaction modes of each tool and spatial constraints caused
highly fragmented narratives, which raised conflicts concerning the nature of these technologies and the organization of the
information. The aim of this study was to explore hints for the design of cross-channel user experiences that would guide the
alteration of the exhibition areas into engaging places to overcome this problem. Rather than using traditional approaches for
design, we focused on making use of the obstruction method of disabling environment, which approached the interaction design
problem to be solved for a tactual, auditory or visually disabled visitor profile or the generated disabled environment itself. The
analysis of the conceptual interactive exhibition design projects developed in between 2011-2012 in the design studio course by
the undergraduate students of the Department of Communication Design of a well-established university, reflected a solution
that sustained the theme by maintaining the synchronous information flow between participatory digital tools through the
integration of an additional wearable or mobile interactive tool for personal use. The outcomes reflected the potential of this
approach to improve the role of museums as a bridge between the physical and the digital while reflected the traces for future
solutions to unify the scattered urban experiences at a larger scale.
Keywords: interactive exhibiting, pervasive computing, cross-channel user experience, disabling environment
Introduction
Today, contemporary life is shaped by the different alternatives for communication, storytelling and information
technologies (Jenkins, 2006), which emphasizes the act of experiencing and interacting for many achievements
including learning. As processing of information in daily life has changed, museums’ roles have shifted
from being institutions that host collections to environments that serve for experiencing (Locker, 2011) (Soojin
Jun, Hyun-Kyung Lee, 2014). As we reconsider museums with their new roles and responsibilities, the need to
understand how visitors experience and engage in exhibitions gains importance.
From the recent researches, most exhibitions were identified to make extensive use of terminals, projections
and multi-touch displays in their display areas. Making use of these tools could be considered as a form of
displaying and dissemination of information, but they did not exactly act as the complimentary components
of an engaging space. Actual improvements within this area in terms of interaction and experiencing started
to happen when the traditional forms of art were replaced by participatory installations, which defined the
new visitor profile as the kinaesthetic learner (Hughes, 2010) due to his active role in the process of learning
by experience. Gjedde and Ingemann (2008) also indicated the importance of process by pointing out the fact
that visitors acquired personal and cultural meanings revealed by the design of the exhibitions. However, this
improvement, which includes the integration of technologies with the artworks, lacks spatial unity that will
support the visitor’s perception of the exhibition as a whole. With the technological advancements contributing
to every part of our lives, our perceptions of the process and our expectations of its outcome are constantly
NODEM 2014 Conference & Expo
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