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From Interaction & Exhibition Design to Service Design in Museums

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Presented at UX Australia's Service Design 2016, Melbourne, March 2016 and covering work previously done for Powerhouse Museum (Sydney), Cooper Hewitt (NYC), and at ACMI (Melbourne).

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From Interaction & Exhibition Design to Service Design in Museums

  1. 1. from interaction & exhibition design to service design @sebchan cxo/chief experience officer acmi.net.au | freshandnew.org
  2. 2. david bowie is exhibition 2015
  3. 3. game masters exhibition 2012
  4. 4. 1999-2011
  5. 5. powerhouse museum sydney
  6. 6. many web properties
  7. 7. apps, games, interactives
  8. 8. dense exhibitions
  9. 9. immersive av
  10. 10. web projects and digital projects existed in their own domains
  11. 11. although they were used by the same people who visited exhibitions
  12. 12. 1. Analogue in-house 2. Digital in-house 3. Online 4. Online, in the network Figure 3 Distribution rings showing the various forms of access to cultural heritage. source: business model innovation, cultural heritage, knowledgeland, the netherlands, 2009
  13. 13. early digitisation
  14. 14. early collection online 2005
  15. 15. early social success
  16. 16. data informed practice
  17. 17. data informed, highly content driven, not context aware
  18. 18. about nsw 2008-2010
  19. 19. early augmented reality
  20. 20. curator built mobile apps
  21. 21. early geospatial storytelling
  22. 22. these projects never reached their full potential because they never effectively addressed the contexts in which they might be used outside the museum
  23. 23. exhibit design & wifi tracking data at Powerhouse Museum 2010
  24. 24. parent-focussed school holiday planner designed with the ixc
  25. 25. waterworx iPad interactive 2010 designed with digital eskimo
  26. 26. 2011-2015
  27. 27. cooper hewitt smithsonian design museum
  28. 28. “two blocks north of the guggenheim”
  29. 29. andrew carnegie steel magnate, philanthropist
  30. 30. just a minor renovation
  31. 31. just a minor restoration
  32. 32. 1600square metres. its quite small.
  33. 33. the renovation was to make the building fit for people to use it as a public space
  34. 34. Birdcage In The Form Of A Church, mid-19th century
  35. 35. Button Showing West Indian Scene, late 18th century.
  36. 36. Sidewall, “Meatballs on Green Weave", 1990. Sidewall, “Play Ball", 1949.Sidewall, 1955
  37. 37. Figure, Duvelo Porcelain Factory, 1989 Figure of a pony, 1930
  38. 38. Figure, "Cat and kitten", late 19th–early 20th century.
  39. 39. “The tchotchkes and baubles on which the museum's reputation was built, though, are not what attract today's forward-thinking corporate sponsors and cutting-edge designers” Fast Company 2011
  40. 40. Poster, "El Dominio del Fuego (The Domain of Fire)", Luis Vega .1972 Poster, "Otis Rush", 1967. Wes Wilson
  41. 41. Planter, ""Hyvalysti" Garden Tool Set", 1988. Kai International Co., Ltd. Radio, "Tykho", 1997
  42. 42. Software and Source Code, "Planetary", Bloom Studio, 2011. inanimate to animate objects
  43. 43. Urn, "Tall Green Bloom", Michael Eden, 2012. Rhinoceros source code "Tall Green Bloom", Michael Eden, 2012. objects with source code
  44. 44. 210,000objects
  45. 45. even though every object would be online we needed to assert the importance of physically visiting
  46. 46. 2011 - 10K online (4.7%) 2015 - 197K online (93.8%) rapid mass digitisation begun 12/2014
  47. 47. a ‘design museum’ sits between the art museum and the science museum. it can draw attention to the processes, choices, human decisions in the making, not just the finished object
  48. 48. “threshold fear” (Elaine Gurian, museum consultant)
  49. 49. “There are so many kids in this country who look at places like museums and concert halls and other cultural centers, and they think to themselves, ‘Well, that’s not a place for me — for someone who looks like me, for someone who comes from my neighborhood” Michelle Obama, Whitney opening, 2015
  50. 50. technology changes behaviour. we need an opinion on that.
  51. 51. the design & technology challenge: give visitors explicit permission to play make interactive experiences social help visitors remember their visit ensure a ‘look up’ experience make it ubiquitous, a ‘default’ operating mode
  52. 52. 26 GETTING YOU AWAY FROM YOUR PHONE AND BRINGING YOU CLOSER TO DESIGN THIS IS LOCAL PROJECTS ENTRY TECH: PEN TICKETING TABLE ETC PUBLIC - ENTRY TECHFIRST FLOOR- ENTRY TECH initial concept art for pen by Local Projects
  53. 53. the pen was to be both functional and symbolic
  54. 54. “design is for doing, not just for looking”
  55. 55. the pen also marks a return to the original purpose of the collection
  56. 56. international co-design collaboration between the museum and spain, usa, taiwan
  57. 57. funding and in-kind support from foundations & board contacts
  58. 58. early cooper hewitt UX video storyboarding
  59. 59. Cooper-Hewitt Pen | June 2014 9 INITIAL SKETCHES product design sprint with GE
  60. 60. SVA Products of Design UX sprint
  61. 61. 3d printed shell protypes
  62. 62. battery charging time shared design language multiple colors create desirability what to do with the stuff on pen how durable is it didn't receive data on phone cleanable & sanitization don’t want to work hard trouble with account when home ease of manufacture children losing pen better than a smartphone can't see the NFC icons create desire to use screen & pen calibration am I doing it right is this distracting from the objects on display what kind of feedback pen won't sync pen is too subtle where to store all the pens how intuitive is it DESIGN FOCUS product design sprint with GE
  63. 63. NFC reader capacitive stylus
  64. 64. the pen in operation
  65. 65. playful and generous interfaces browse not search
  66. 66. haptic memory “did i mention it vibrates?”
  67. 67. the simplicity makes it attractive to non-tech users
  68. 68. 4 millionobjects collected in first 12 months live public stats at collection.cooperhewitt.org/stats dataset released under CC-BY-NC
  69. 69. technology was designed to make the exhibitions and collections fit for people to use it as an ongoing public resource
  70. 70. immersion room
  71. 71. 123,000visitor-made designs saved live public stats at collection.cooperhewitt.org/stats dataset released under CC-BY-NC
  72. 72. via instagram
  73. 73. 110 minutesaverage time spent in the museum live public stats at collection.cooperhewitt.org/stats dataset released under CC-BY-NC
  74. 74. a complex system diagram by aaron cope
  75. 75. built on the architecture and philosophy of the web
  76. 76. diagram by katie shelly
  77. 77. “the API as public infrastructure”
  78. 78. diagram by katie shelly
  79. 79. anonymous respectful of visitor privacy with opt-in accounts
  80. 80. “my objects and my creations”
  81. 81. downloadable as vector shapes & 3d models
  82. 82. download and/or delete your data
  83. 83. stable URLs for everything
  84. 84. stable URLs for media
  85. 85. porous collection connected to others
  86. 86. interfaces that privilege browsing
  87. 87. 28% returnvisitors coming back to see their objects live public stats at collection.cooperhewitt.org/stats dataset released under CC-BY-NC
  88. 88. people not ‘technology’ is what makes it successful.
  89. 89. ‘consent not consensus’ (Mike Arauz & Clay Parker Jones, formerly Undercurrent NYC)
  90. 90. both the challenge and the opportunity is that the work is never finished
  91. 91. week one UX problem sketch
  92. 92. improving pen & ticket pairing UX ux research by katie shelly
  93. 93. initial customer service UX
  94. 94. initial printed card prototypes ux research by katie shelly
  95. 95. iterating messaging ux research by katie shelly
  96. 96. 2nd version of card design ux research by katie shelly
  97. 97. continuous iteration of the system continues today more at labs.cooperhewitt.org
  98. 98. “Museum of the future” The Atlantic Transformed visitor profile and visitor numbers Global reputation and new partnerships A bunch of awards
  99. 99. Rostering App Deputy is a simple, mobile first rostering system. It can notify staff of their shifts via the mobile app or SMS. Printed ‘Day at a Glance’ sheets Devices for communica Confirmation email to event goers Print at home tickets WelcomETicketsherE VSO DirectIon TO.. TICKETS V DAYAT AGLANCE VSO SUP VSO OL VSO SUP V bow ie flinders st entrance Welcome FOYER SIGNPDF POWER POINT DOC WEB do wnstairs ticketing Bowie bar Ticket VSO VSOcasuAl Visitors record their visit to ACMI by taking selfies with signs outside the museum Although many visitors photograph their visit, few tag it as #ACMI on social media (only 29,000 tags on Instagram). A missing opportunity here over 1.5 million visitors per year. Event attendees can get lost on arrival Despite providing attendees with arrivals information and addresses, they can still get lost. At times staff are on hand to direct, but events staff would like to be able to put up temporary signs for their events. TESSITURA ICT E V e N T VSO Let’s make awesome stuff together! TESSITURA 11AM5 TICKETS LEFT 12PM2 TICKETS LEFT 1PM15 TICKETS LEFT E WHAT’S ON TODAY How can I help? V V berm uda triangle BEN meMbEr Where are you? I’m in the foyer Seats are very popular but hard to find After entry, visitors like to sit down and pack their bag, rest and readjust, or just catch their breath. If there aren’t any chairs available they will use whatever they can find, including garbage bins to rest their bags upon. Visitors kill time by looking at their phones Visitors who are waiting for their exhibit entry time or their friends will pass the time by browsing the internet on their mobile phones. They are not engaging with ACMI content, however. Members’welcome A few times a year the head of membership will sit at the ticket desk to meet members (they are notified by email) and to attend to any questions they might have about their membership. Ticketing confusion ACMI has both ticketed and non- ticketed offerings which appears can confuse some visitors who can’t easily tell which parts are free and which are not. Ticketing VSOs provide multiple services As well as selling of tickets,VSOs give tourist information, exhibit downloads, welcoming services, and take phone calls to help customers with online booking problems. Visitors can become confused when entering It’ s not just the heavy doors on Flinders Street or the fact the chevrons point away from the entry. Visitors get lost in the ‘Bermuda Triangle’ or mistake the Bowie Bar for a reception desk.Those who are confused may leave unassisted. Visitors can easily find the printed brochures,but not always the ones they need Visitors look for a map of the museum and a weekly ‘what’s on’ guide. Brochures are particularly popular with seniors. Express entry Visitors who have their printed tickets in their hand are easily spotted by volunteers and directed downstairs to the galleries. Visitors look for more information on arrival Visitors will stop and watch the digital sign and then turn to a VSO or volunteer for more information. If no one is available they will consult the printed brochures. Digital signage requires multiple steps to create Content is extracted from the web, put into a PowerPoint document, before a PDF is saved and sent to the digital sign.The content cannot therefore be changed quickly. VSOs don’t let a poor arrival affect the remaining experience for visitors Arrivals are important to get right. The main role of a VSO is to make visitors happy so they go out of their way to greet and direct. For example, VSOs will help visitors with heavy Flinders Street doors and use that as an opportunity to start a positive interaction with them. The unofficial‘pathway’ helps retain institutional knowledge and culture Staff initially employed to boost VSO numbers during blockbuster exhibitions are kept on board after the exhibition ends if they prove their worth. Casual staff have gone onto quite senior roles which means that knowledge and expertise is kept within the organisation. VSOs need a diverse range of skills to do their job It’s not just about customer service.VSOs have a wide remit of responsibilities and must be adaptable and able to juggle multiple demands. All of these skills are looked for when recruiting as are skills in film or the performing arts. Staff are encouraged to collaboratively develop outside projects VSOs will help each other on creative projects. ACMI exhibitions have been developed this way. Tessitura helps to plan the day Tessitura ticketing software shows when the museum will be busy based on ticket sales. The VSOs can plan their day based around this if there is a paid exhibition on. Tessitura has potential but not enough resources to explore them The ICT team is relatively small and there is only one Tessitura expert.The ability to explore the true potential of systems integration is small. Staff use an app to choose their shifts Staff can use a phone app, website, or the iPad in the staff room to choose their shifts.VSOs do not sit at a desk so availability through multiple devices is a plus. Rostering is made easier through regular programming. Visitor diversity is mirrored in the VSO population The diversity of the visitor population is reflected in the diversity of VSOs and volunteers.This helps to make all visitors feel comfortable, no matter their age, gender, or background. Pre-shift briefings are the best way to share information with a mobile workforce Face-to-face briefings are essential as floor staff don’t have desktop computers to refer to through the day. Paper briefing sheets are the ‘single source of truth’ for the day but these cannot be updated quickly. Some staff will use their paper with visitors as a talking point which is slow and looks unprofessional. Arrivals Arriving visitors look for somewhere to‘reset’ Directly after entering the museum, visitors are looking for places to sit and things to do to help them transition into ‘museum’ mode. Transition Entry experiences can be confusing Although the opening of the Flinders Street doors has improved general flow into the museum, the arrivals experience is still less than perfect for some visitors. VISITOR SERVICES VSO VSO You are in luck.ACMI is THE bestplace to work inMelbourne I love ACMI but my skills are really in other areas than customer service I’m confused. Am I meant to pay for this or not? International visitors require different levels of service Both ACMI and Fed Square have high proportions of international visitors,VSOs and volunteers are the only way that ACMI currently has to service those who speak a language other than English. mapping the visitor journey with meld studios
  100. 100. building a house in the middle of a flowing river source: http://www.flickr.com/photos/30674396@N00/68903700/
  101. 101. service design and digital transformation as organisational change
  102. 102. thank you want the font? its open source at cooperhewitt.org/typeface @sebchan cxo/chief experience officer acmi.net.au | freshandnew.org

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