3D digitization of cultural heritage has long been used to preserve information about cultural heritage (CH) objects such as architecture, art, and artifacts. 3D dissemination of CH objects through technologies such as augmented reality, virtual reality, and 3D printing have impacted the fields of art history and cultural heritage and have become more common. Yet, studies that go beyond the technical aspects of 3D technology and treat such topics as their significance for restoration, conservation, engagement, education, research, and ethics hardly exist. The aim of this paper is twofold: on the one hand, it aims to get a better understanding of the applicability of each technology for different purposes (education, research, conservation/restoration, and museum presentation), and, on the other hand, it focuses on the perception of these technologies. This research was carried out by combining a literature review with quantitative and qualitative analyses of the data acquired through (1) a questionnaire of eleven questions and (2) a workshop with a group of specialists and non-specialists who were asked to brainstorm about the different uses of the 3D technologies and their applicability to their areas of work and research. Based on the analysis of these quantitative and qualitative data, we provide some criteria for using 3D digitized and printed reproductions to enhance cultural experiences. The results demonstrate the importance of carefully designing 3D interactions in the personal and cultural contexts of end-users and cultural institutions in order to create authentic cultural experiences.
The present work introduces a cyclical model which showcases the process of immersion during Immersive Technological Experiences (ITEs) such as Virtual Reality, Augmented Reality and Mixed Reality. This model is based on the identified concepts around immersion and immersive environments across 30 years. The concepts' similarities were used to organize them on a cyclical model by acknowledging the user's presence at the beginning and end of immersive experiences. The proposed model's value relies on its cyclical approach based on a user-centred perspective and having a general overview of the immersion process. The Immersive cycle can serve as a mapping tool for developers and researchers, thanks to the inclusion of guidelines that complements the model. Both of these were used in three different examples of ITEs. Furthermore, the cyclical model could be used as a tool for ideation and conceptualization during the early stages of developing immersive experiences. Nevertheless, it is recognized that this is the first step in developing this model; therefore, it still needs to be validated and improved based on tests with developers, designers and researchers in the field.
This book will be published in Januray 2018, by Springer. The book:
Explores the implications of contemporary trends that are shaping the future of museum experience design.
Unravels theoretically as well as through example design cases the complexity of designing for museums as part of ecosystems.
Discusses and illustrates the impacts of novel technologies on museum experience design.
Illustrates and reflects on dealing with diverse audiences and online crowds in designing engaging museum experiences.
This book chapter presents the development of a design-inclusive research approach aimed at making it possible to raise more interest in small museums by using digital innovation that allows for more appealing museum experiences, despite their limited financial resources and competences in digitisation.
10th International Conference on Design & Emotion, 27-30 September 2016, Amsterdam
This paper introduces a virtual tour, Visit the Louvre, designed specifically to engage older adults in an immersive visit through part of the Louvre by a distant real-life guide. An initial diary study and a creative workshop were conducted to understand the needs and values of older adults and how to support participation to virtual museum visits with a video-based communication system. Preliminary results show that ‘virtual visitors’ experienced high levels of social and spatial presence; immersion and engagement were quite high independent of the level of interactivity of the guide, or the presence of others.
10th International Conference on Design & Emotion, 27-30 September 2016, Amsterdam
In this paper we propose a new design approach in which positive emotional experiences are used to incite desirable behaviors, based on the insight that specific experiences can motivate particular behaviors. In the approach, designers first identify users’ concerns and expectations and deduce from those the psychological needs that underlie them. Positive emotions are then sought that match the identified psychological needs. The positive emotions with their related thought-action tendencies then inspire the designer to formulate design intentions in terms of experiences and behaviors to target for, aimed at guiding the design process. The approach was developed for, and applied to a design case for the Mauritshuis, a museum for classical art in the Hague, the Netherlands. An app was developed for engaging a new target group of young adult travelers: to enhance their art appreciation and to motivate them to explore the local Dutch culture. We explain the various phases including user studies, generating ideas and testing designs, and discuss our experiences with applying this approach.
CHI'16 Extended Abstracts, May 07-12, 2016, San Jose, CA, USA ACM 978-1-4503-4082-3/16/05. http://dx.doi.org/10.1145/2851581.2856482
A general trend of museums and cultural heritage institutions besides digitizing their collections is to involve the public more and at various levels. Technology plays an increasingly important role in this involvement. Developments we have observed in museum experience design, include trends towards 1) dialogical engagement of the public; 2) addressing crowds as audiences; 3) the use of Internet of Things (IoT) and Do-It-Yourself (DIY) technology in museums; and 4) designing for museum systems and institutional ecologies instead of for individual museums only. In this one-day workshop we especially focus on exploring the implications of museums reaching out to crowds beyond their local communities, and of museums increasingly becoming part of connected museum systems and large institutional ecosystems. By means of a tangible game we will brainstorm about future opportunities and challenges, cluster and evaluate them, and suggest future work.