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Joburg Art Gallery Redesign - Open Access Conference
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Joburg Art Gallery Redesign - Open Access Conference

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  • Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  • Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  • Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  • Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  • Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  • Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  • Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  • Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  • Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  • Another way to approach the gallery is through the use of new public transport (Untested to a large degree). Gautrain and Rea Vaya. Gautrain - Walking might be intimidatingEntrance through North entrance of park.Park constantly ungradedProblem with litter and loiteringFear of crimeCommunity policing Greenhouse and chess players
  • Another way to approach the gallery is through the use of new public transport (Untested to a large degree). Gautrain and Rea Vaya. Gautrain - Walking might be intimidatingEntrance through North entrance of park.Park constantly ungradedProblem with litter and loiteringFear of crimeCommunity policing Greenhouse and chess players
  • Another way to approach the gallery is through the use of new public transport (Untested to a large degree). Gautrain and Rea Vaya. Gautrain - Walking might be intimidatingEntrance through North entrance of park.Park constantly ungradedProblem with litter and loiteringFear of crimeCommunity policing Greenhouse and chess players
  • OR arrive East of park with Rea Vaya bus and follow signage to entranceSimilar experience as other visitors when entering the gallery.
  • OR arrive East of park with Rea Vaya bus and follow signage to entranceSimilar experience as other visitors when entering the gallery.
  • OR arrive East of park with Rea Vaya bus and follow signage to entranceSimilar experience as other visitors when entering the gallery.
  • Friendly greetingBookshopDisruptions due to renovations and hanging new shows. These improvements negatively perceived. (Example: Courtyard trees and Courtyard)
  • Is this a museum or is it a gallery

Transcript

  • 1. PUBLIC ACCESS: Public Art Conference 2012The human experience design of theJohannesburg Art Gallery
  • 2. There are conflicting views of theenvironment and purpose of thegallery.
  • 3. Who are our users? And how do weincrease attendance?
  • 4. The audience is more complex than itmay seem
  • 5. What is valuable (or not valuable)about the Gallery is also different todifferent people
  • 6. For a family that is not particularly aware of art thevalue may just be a day out with the kids
  • 7. For a family that is not particularly aware of art thevalue may just be a day out with the kidsFor the art world it may be about networking
  • 8. For a family that is not particularly aware of art thevalue may just be a day out with the kidsFor the art world it may be about networkingFor some it may be about prestige
  • 9. For a family that is not particularly aware of art thevalue may just be a day out with the kidsFor the art world it may be about networkingFor some it may be about prestigeFor academics it may be about access to knowledge
  • 10. For a family that is not particularly aware of art thevalue may just be a day out with the kidsFor the art world it may be about networkingFor some it may be about prestigeFor academics it may be about access to knowledgeFor the city it may be about cohesion
  • 11. However, the audiences of the JAGare also stakeholders. The buildingand collection were donated to the cityand people of Johannesburg.
  • 12. Much of our thinking about value lies inobjects.
  • 13. Much of our thinking about value lies inobjects. The object of exchange.
  • 14. These things are the „what‟ of ourexperiences.
  • 15. It includes thebuilding, thecollection, thearchives…
  • 16. On multiple levels these objects areinaccessible
  • 17. I can buy a drill bit for R20.This implies that the value of the drill bit is R20.
  • 18. But people don‟t want to buy a quarter-inch drill bit.They want a quarter-inch hole.
  • 19. The value of the object isin ways an illusion.Further, the value of thething is only revealedwhen used.With the drill-bit andscrew I am able to hanga painting. The value liesin having a paintinghanging in my livingroom.In this sense, the actualvalue is co-produced.
  • 20. The value of the object isin ways an illusion.Further, the value of thething is only revealedwhen used.With the drill-bit andscrew I am able to hanga painting. The value liesin having a paintinghanging in my livingroom.In this sense, the actualvalue is co-produced.
  • 21. This not only tells us that value exists-in-use but alsothat what we need to look for is the “why”
  • 22. So why are the building, thecollection, the archivesvaluable?
  • 23. …as „totems‟ to link people together…for community engagement and cohesion…for filling a void…for problem solving…for personal transformation…for dignity…social activation…a social economy…memory creation…memorialisation…placemaking…identity making…beautification…democratisation…consciousness, debate and growth at the personalor societal levels
  • 24. In this sense, the Gallery, it‟s staff, operations,exhibits, archive are agents for a value exchange thatexists across the JAG‟s ecosystem.
  • 25. It is the way that JAG facilitates theengagement with these objects that isthe hidden intellectual capital
  • 26. The user experience of the inner cityremains the „what‟ but onesrelationship to that experience can shiftwhat it means.
  • 27. Development or decay?
  • 28. The answer to questions like:Why visit the JAG?Why donate to the JAG?Why lend art to the JAG?Why tell your friends about the JAG?Why lobby for the JAG?
  • 29. …lies in an argument and demonstration of therelevance of the co-produced value that the JAGprovides as an agent to its stakeholders.
  • 30. This relevance needs to be explored, understoodand unpacked.Once we can can see this landscape of meaningwe can start to design ways to engagestakeholders in the co-production of the value itholds.
  • 31. And this should form the basis for thedesign of a new user experience.
  • 32. Why is this exhibitionrelevant me?
  • 33. The process:1. Understand values2. Demonstrate or create relevance3. Build and nurture relationships
  • 34. The model:1. Define purpose2. Establish encompassing values3. Link purpose and values to create behaviours4. Deliver behaviours through tactics
  • 35. THANK YOU.