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Constructing Augmented Space to Highlight the “Story Line” of a

Scientific Exhibition

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Jennifer Jiayi Jin
University of Nottingham
Constructing Augmented Space to Highlight the “Story Line”
of a Scientific Exhibition
- Case Study : Hong Kong Space Museum
PART1: MUSEUM LEARNING THEORY
 PART1: MUSEUM LEARNING THEORY

CONSTRUCTIVISM

People give personal interpretation to the data which is

what ‘meaning making’ is. This activity is fundamental to us as
it is how we make sense of these worlds.

However, this ability is not innate but gradually developed as

we interact with our environment. This brings us to the
constructivist approach of learning, which says that learners
actively construct knowledge by testing ideas and concepts
based on prior knowledge and experience (Hein, 1999).
 PART1: MUSEUM LEARNING THEORY

INTERACTIVE MUSEUMS

Within the museum environment, artefacts can be regarded

as facilitators to the construction of meanings about and
within cultures (Falk & Dierking, 2000).

Artefacts are seen to evoke memories and prior knowledge,

and (Hooper-Greenhill, 1999a)
 PART1: MUSEUM LEARNING THEORY

INQUIRY

Inquiry is a multifaceted activity that involves making

observations; posing questions; examining books and other
sources of information to see what is already known;
planning investigations; reviewing what is already known in
light of experimental evidence;

(Olson & Loucks-Horsley, 2000, p. 23)


How can we use the inquiry cycle in museum learning?
What do the different stages of the process look like?
PART1: MUSEUM LEARNING THEORY
Age 5 to 10:
• Ask a question about objects, organisms, and events in the environment.
• Plan and conduct a simple investigation.
• Employ simple equipment and tools to gather data and extend the senses.
• Use data to construct a reasonable explanation.
• Communicate investigations and explanations.
Age 10 to 14:
• Identify questions that can be answered through scientific investigations.
• Design and conduct a scientific investigation.
• Use appropriate tools and techniques to gather, analyse, and interpret data.
• Develop descriptions, explanations, predictions, and models using evidence.
• Think critically and logically to make the relationships between evidence and
explanations.
• Recognize and analyse alternative explanations and predictions.
• Communicate scientific procedures and explanations.
• Use mathematics in all aspects of scientific inquiry.
(Olson & Loucks-Horsley, 2000, p. 19)
 PART1: MUSEUM LEARNING THEORY

APPROPRIATE DIFFICULTY

Figure 1 - Circular diagram Figure 2 - The flow model (Kiili, 2005) Figure 3 - The flow model (Kiili, 2005)
(Zone of proximal development, 2015) (modified from Csikszentmihalyi, 1991). (modified from Csikszentmihalyi, 1991).
 PART1: MUSEUM LEARNING THEORY

IMMERSION

Figure 1 - Physical immersion Figure 2 - Digital immersion Figure 3 - Combined physical-digital

('Journey-through-the-human-body-experience' (oculus-myo-640×0, 2015) (Wu Kingdom Helv Relic Museum immersive show,
, 2015)) 2015)
 PART1: MUSEUM LEARNING THEORY

NARRATIVE AND STORYTELLING

• encourage co-operative activity;

• encompass holistic perspectives;
• value emotional realities;
• When museums give their visitors the opportunity
• link theory to practice;
to share and process their practice experiences,
• stimulate students’ critical thinking skills;
storytelling has the power to do the following
• capture complexities of situations;
things.
• reveal multiple perspectives;
• make sense of experience;
• encourage self review;
• construct new knowledge.
• (Alterio, 2003)
PART2: MUSEUM TREND ANALYSIS
 PART2: MUSEUM TREND ANALYSIS

CUSTOMIZATION

Products and services are becoming more personalized which according to

TrendWatch plays out in three areas: the creation of personalized goods, the
filtering of personalized content, and the creation of personalized experiences

(TrendsWatch 2015, 2015).

 PART2: MUSEUM TREND ANALYSIS

WEARABLES

The wearable trend is part of a much bigger ‘internet of things’

development which will revolutionize the way we interact with
our products and environments.

As devices are starting to speak the same language they can

increasingly cater to our personal needs in an intelligent way. This
in an inevitable technologic development which indicates that the
wearable trend should be taken seriously.
 PART2: MUSEUM TREND ANALYSIS

MAKER MOVEMENT

Maker culture, already recognized as a trend in the

museum market in 2012 (Asin, 2012) , is still relevant in
2015 and keeps popping up on trend websites, blogs and
news websites like ‘WIRED’ (Gould, 2015),
‘Frankwatching’ (van de Velde, 2015) and ‘The Huffington
Post’ (Dubrow, 2015).

Figure: Maker movement is a reaction to the de-valuing of physical exploration and the growing
sense of disconnect with the physical world in modern cities resulting from the growth of
technology.
 PART2: MUSEUM TREND ANALYSIS

AUGMENTED WORLD

Virtual and augmented reality offer new ways for

museums to enhance the experience of visitors and is
already being applied in museums. Augmented reality
offers the possibility of adding a virtual layer to the
actual room and physically present collection.

Figure: ROM's "Ultimate Dinosaurs" app gives a virtual reality view of dinosaurs
in its "
PART3: COMPARABLE MUSEUMS
PART3: COMPARABLE MUSEUMS

Climate Change Exhibition,

Science Centre Singapore

Project content and themes:

An exhibition for visitors aged 10 and

above looking at the scientific evidence
of global climate change. The gallery
zones include the Climate in Flux
where topics covered included
weather, green house gases and the
Carbon Cycle.
PART3: COMPARABLE MUSEUMS

Climate Change Exhibition,

Science Centre Singapore
PART3: COMPARABLE MUSEUMS

Futures Gallery,
THINKTANK, Birmingham
Science Museum

Project content and themes:

The gallery includes a digital

planetarium, and debating area. Visitors
can drive a Mars Rover across a Martian
landscape, try their hand at docking a
Spaceship and all visitors can Build an
Alien which is then shared across the
skyscape of the gallery.
PART3: COMPARABLE MUSEUMS

Futures Gallery,
THINKTANK, Birmingham
Science Museum
 PART3: COMPARABLE MUSEUMS

PROBLEMS from these two science museums:

• Too much play:

these self-created physical challenges appear to get the children so hyped up that they do not have the interest
to then calmly discuss what natural phenomena is at work and what is meant to be shown with the exhibit.

• No effective learning:
Not many conversations among their peers or parents arise about the topic of the exhibit but more about how
to behave themselves and who gets to go second.
 PART3: COMPARABLE MUSEUMS

OBSERVATIONAL RESEARCH (about family learning):

• Children are very physical as they will touch, hit, hang and sit on everything.
• Children think backlit posters are screens that can be swiped.
• Parents are making considerable effort to convert the information by the museum to fit their children and
enjoy helping their child. This behaviour seems to occur mostly around young children (age 5-8). Parents are
frequently observed to sit down next to their children and point at things while they explain.
• Children eagerly work together when interacting with an exhibition.
• Children are curious to try anything that affords some physical action. However, if the installation is not
immediately understood they often give up and move on to something else quickly.
 PART3: COMPARABLE MUSEUMS

OBSERVATIONAL RESEARCH (about school class learning):

• needed to be constantly guided, encouraged to answer and their efforts need to be positively reinforced.
• had a natural curiosity that guides their action.
• were very willing to try to interact with the exhibits as intended and are generally obedient to their teachers.
• had a tendency to come up with their own games, when they do not understand an exhibit.
• without much discussion engaged in role playing with their peers.
• genuinely enjoyed all physical activity.
PART4:DESIGN + IDEATION
 PART4:DESIGN + IDEATION

Figure 1: The location of Hong Kong Space Museum, and the seaside of Tsim Sha Tsui
in Kowloon, HongKong

Figure 2: The external view of Hong Kong Space Museum

 PART4:DESIGN + IDEATION

PROJECT CONTENT AND THEMES

The exhibition is located in two galleries each with a

distinctive look and feel. The Hall of the Cosmos, set
around the planetarium dome, is a complex shape
with ceiling heights varying from 20 to 30 metres
(curving) down to 3.5 metres.

The Hall of Space Exploration is on the first floor and

separated from the first hall by a flight of stairs and
the lobby.
 PART4:DESIGN + IDEATION

“I am going to create augmented spaces of the cosmos that

evokes active engagement with historical artefacts through
DESIGN DIRECTION curiosity, guides through narrative, and gets children
acquainted with inquiry by doing and making. The installation
should adjust information appropriately to the personal
needs of both families and visiting school classes.”
HOW TO..

• Piece together a story in an EXPLORATIVE way?

• Learn by MAKING & DOING?
• Keep ENGAGED by evoking CURIOSITY?
• IMMERSE the user in the story?
• Adjust information according to the INTERESTS of the user?
• Let an installation fit both the FAMILY and SCHOOL CLASS target group?
• Adjust information according to the PRIOR KNOWLEDGE of the user?
 PART4:DESIGN + IDEATION

DESIGN DIRECTION

1. PHYSICAL LEARNING

2. CURIOSITY TO INQUIRY

• Ask a question about objects, organisms, and events in the environment.

• Plan and conduct a simple investigation.
• Employ simple equipment and tools to gather data and extend the senses.
• Use data to construct a reasonable explanation.
• Communicate investigations and explanations.
 PART4:DESIGN + IDEATION

DESIGN DIRECTION

3. IMMERSE IN NARRATIVE

4. CATER TO THE INDIVIDUAL

• Fits appropriately to the previous knowledge of the child and let them remain in a state of
flow.
• Provide a variety of different entry points that permit free choice learners to pick the point
that best meets their personal need at that point in time.
• Layer the complexity of the experience – so visitors can self-select the complexity and depth
of information they need.
 PART4:DESIGN + IDEATION

Figure2

Figure1. Content plan for the Hall of the Cosmos - A proposed

reversal storyline

Figure1 Figure2 The final digital sketch-up model for the Hall of the Cosmos,
Hong Kong Space Museum.
 PART4:DESIGN + IDEATION

Zone 1 - The Solar System Zone Zone 2 - Earth and Moon Area
 PART4:DESIGN + IDEATION

Zone 3 – Star Lab Zone 4 - Galaxies

 PART4:DESIGN + IDEATION

Zone 5 – The Big Bang Zone 6 - The Universe

 PART4:DESIGN + IDEATION

THE FEATURE AUGMENTED SPACE INSIDE

Zone 6 - The Universe

Gravity and Resistance

 PART4:DESIGN + IDEATION

AIM OF THE EXHIBIT

- Gravity and Resistance

The active experience aimed for is

reached by the way people interact
with the exhibit. They are able to
control their movement through
the solar system via their body
movement, that enables them to
freely navigate through space. In this
3 minute experience people are
challenged to collect as much
information on the solar system as
they can.

TECHNOLOGY-WISE:
- Gravity and Resistance
A square field of 6 x 6 meters is set up on the
floor of the exhibition venue, onto which lines
are projected as if scanning the space.
PART4:DESIGN + IDEATION
Sensing Mechanism
The field consists of a cell-like arrangement of a total of
225 square panels of 40 x 40 centimeters with an
embedded sensing mechanism.
GPS Satellite
In this work, GPS satellites orbiting high above the sky
are additional elements that play a vital role, as the
virtual attractive forces occurring between the work and
GPS satellites are converted into distortions of the lines
and other spatial transformations as well.
PART5:REFLECTION

VISITOR EXPERIENCE REFLECTIONS
- Gravity and Resistance
Initial Attractiveness
The final design of Gravity and
Resistance stands out from other
exhibits in the gallery;
it attracts visitors to initiate in
play, eager to experience the
exhibit, making it clear what to do
from the start to initiate in the
experience.
PART5:REFLECTION
Flow (Play Factor)
Flow can be described as a state
of mind in which people forget
about time and space in a pleasant
way. Focusing on this augmented
exhibit will increase awareness
and subjectivity to learning new
subjects. This process should be
initiated right from the start of the
experience, emerging people in
the environment.
Informal Learning
Once engaged in the flow, people
are susceptive to learning new
subjects. It should be an almost
subconscious process, enriching
people when the experience of the
exhibit is over, leaving them with
understanding and insights not
known to them before.
 PART5:REFLECTION

TWO LAYERS OF AUGMENTED SPACE DESIGN DESIGN DIRECTION

Exhibition Narrative Design 1. PHYSICAL LEARNING

2. CURIOSITY TO INQUIRY
Interactive Exhibit Design Physical interactivity design

Dialogic interactivity design 3. IMMERSE IN NARRATIVE

4. CATER TO THE INDIVIDUAL

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