INTERACTION · UX · SERVICE
PRODUCT · INTERACTION · UX
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A VR museum of homes which connects the living environments of different cultures across time. It exhibits objects in full context, allows users to curate their own exploration, and shows how objects can be related to others in a variety of ways. 

A new interactive tangible toy for children who are losing physical experience which is crutial for developing cognitive abilities and acquiring relevant knowledge, because of frequent exposure to digital games. PIRAMZE is equipped with both digital and analog toy features, in order to fulfill physical experience as well as keep attracting children's attention and curiosity.

PROJECT INFORMATION
PROJECT INFORMATION

CMU MDes  Fall 2018  IxD Studio I  6 weeks (Sep 10th ~ Oct 17th)

HCI Korea Conference 2017

Team  |  Anukriti Kedia, Emma Zelenko, Khushi Shah

Computer Science - Alena Kazakova, Stefan Erich Boschenriedter

Role  |  research, ideation, prototype(3D, interface, audio, editing), presentation

team leader, research, ideation, design, video, paper

Tool  |  Cinema 4D, Adobe AfterEffects, Illustrator

team leader, research, ideation, design, video, paper

OVERVIEW
DESIGN PROCESS
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01. CONTEXT

Objects don’t exist in isolation. They are a part of a greater whole; people, cultures, places, and time. Significance and story are lost without these other elements.

02. ENGAGEMENT

Museums have limited routes of discovery, which could make audiences passive. Also, audiences cannot fully engage with objects which are usually untouchable or inaccessible.

03. EASE OF INFORMATION

Information overload. Audiences feel boring and pass over blocks of text.

04. BIGGER PICTURE

It is difficult to see the connections between items. Current museums cannot provide how do they relate to each other or how they can be seen in a different lens. 

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01. TO PROVIDE CONTEXT

VR can house a larger collection from many museums and visualize spaces that are hard to create in reality.

02. TO INCREASE ENGAGEMENT

We can allow audiences to explore on their own in the VR space, instead of following a specific curation.

03. TO EASE OVERLOAD

Audiences can gain information in various ways in VR; photos, videos, narrations, interaction with objects, movement, close observation.

04. FOR BIGGER PICTURE

VR is free from space and time constraints, which enables us to organize diverse connections for each item.

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Organise information in a way that is easy to consume. Use progressive disclosure to avoid information overload.

Find connections and show how artifacts relate to others in various categories.

Non-linear navigation. Audiences can learn information according to their pace and path.

Allow keeping data. Audiences can collect interesting objects and learn further later.

EXPERIENCE DIAGRAM
DESIGN PROCESS
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1) MAP - A user selects a location that he/she want to explore.

2) HOME ENVIRONMENT I - A user learns history, culture, and people related to that location in that context. A user interacts with each object and also learn information about it. If a user selects one, he/she is transported to a WORLD OF CONNECTIONS space.

3) WORLD OF CONNECTIONS - This space shows how a selected object can be seen in different lenses. A user can change a connection and explore multiple relationships with other objects. If a user selects one of them, he/she is transported to the home of the selected object.

4) HOME ENVIRONMENT II

5) A user can keep exploring transporting from one place to another.

 

* Users can save and collect objects whenever they want. Collected objects can be reviewed further through the application.

CONTROLLER · INTERACTION
DESIGN PROCESS

The VR gear that we focused on is OCULUS GO. The controller of OCULUS GO is able to detect the direction, but not the position. Thus, the interactions were limited to the features of the controller.

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Not to distract users, we removed the cursor as a default. When they push the button of the controller, the cursor appears.

By releasing the button, users can click or select. 

There are options to go back. Using the back button, users can go to the previous space. Also, the home button allows users to be transported to the MAP space.

Users can interact with objects by hovering the cursor. In order to provide a sense of exploration, we removed other visual signs (such as light) that shows whether the hovered object is interactive or not. Only interactive objects move in a certain way when hovered.

DESIGN PROCESS
DESIGN PROCESS

Research - Problem Framing - Ideation - Concept - Prototyping - Presentation - Reflection

RESEARCH
BACKGROUND

We started with an initial discussion on our feelings about museums, problems we’ve observed with them, and initial ideas on how to incorporate VR and data. We discussed the possibility of incorporating social interaction, using gamification, and creating a museum of user-generated content. 

OBSERVATION

To get us in the mindset of this project we visited the Carnegie Museum of Art and of Natural History, observing how their artifacts were presented, how information is given, and how people are navigated around the exhibits.

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The museum experience is often passive- just looking at objects from a distance instead of interacting with the objects or other people. 

One exhibit begins with a discussion on how globalization influenced culture in Europe between 1500 to 1800. This nicely ties in historical context to the art. However, this story did not continue throughout the exhibit and no discussion of globalization within individual pieces.

The Hall of Architecture was one of the most exciting exhibits. Because they were so large you could walk below them and feel as though you were actually in the environment where these buildings existed.

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INTERVIEW

We started off the week by visiting the Carnegie Museum of Natural History to speak with Becca, the head of exhibition content and gallery implementation, about how they are incorporating technology into their museum. They haven’t decided yet if VR is appropriate for their museum because it can be isolating and people often visit the museum as a family as a way to interact with each other. However, they will be incorporating AR into a wildlife diorama to show how the animals moved.

PROBLEM FRAMING
BACKGROUND

Based on our observations from the museums we spent time generating a list of problems we saw with current museum experiences. We then used affinity mapping to group our findings into five main categories.

Distractions - other visitors can be noisy or block your view of an artifact.

Context - artifacts are often shown by themselves instead of in the environments they existed in. Even the descriptions of the artifacts don’t explain the cultural significance of the artifact.

Engagement - museums typically require passive engagement where you can simply look at objects, not touch or interact with them. Background information is typically displayed in dry, static text.

Information - the amount of information provided can be too overwhelming, irrelevant to what you are interested, or easy to ignore. Even when information is read it is unclear what you should do with this information.

Bigger story - it is unclear how objects within an exhibit relate to each other. What are the connection and the message visitors should take away?

IDEATION
IDEATION
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After spending time on research and discussing our impressions of museums it was time to start coming up with our own ideas. We had a variety of ideas we were toying with:

WORLD OF CONNECTION

Provide ways to see how artifacts relate to one another. An user would select an object and would be shown other objects that are related to it in an unexpected way.(ex: all created while the artist was living through a war, all images of the love interest of the artist)

FREE EXPLORATION

Instead of having a clearly laid out set of objects, a user can explore a virtual world. Many objects would not be visible until a user reach a new destination.

MUSEUM OF HOMES

A variety of artifacts from history and art museums would be placed in recreations of homes from multiple cultures and time periods to create a greater sense of content.

GAMIFIED EXPERIENCE

A type of activity users must participate in while exploring pieces (ex: a scavenger hunt.) The Cooper Hewitt Museum has several examples of playful (though not quite gamified) experiences that it incorporates.

MUSEUM OF TODAY

A platform to share people’s current experiences or what they find valuable. (ex: an exhibition that illustrates millennial bedrooms across the world)

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We focused on WORLD OF CONNECTIONS and MUSEUM OF HOMES, because we thought that these ideas had the most possibility for novel, engaging experiences that could utilize the 3D space of VR and think about ways to explore large amounts of data.

CONCEPT · STORYBOARD
CONCEPT KEYWORDS

MUSEUM OF HOMES

Combining DIGITAL and ANALOG features,

AN INTERACTIVE ROBOT MOVING IN THE MODULARIZED MAZE

which can provide what currently museum experiences are missing:

Combining DIGITAL and ANALOG features,

AN INTERACTIVE ROBOT MOVING IN THE MODULARIZED MAZE

CONTEXT, ENGAGEMENT, EASE OF INFORMATION, BIGGER PICTURE

Combining DIGITAL and ANALOG features,

AN INTERACTIVE ROBOT MOVING IN THE MODULARIZED MAZE

Provide the bigger context
Show how objects relate to one another
Allow for free exploration
Provide for a different experience every time

Combining DIGITAL and ANALOG features,

AN INTERACTIVE ROBOT MOVING IN THE MODULARIZED MAZE

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PROTOTYPING
USER SCENARIO
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USER SCENARIO
USER SCENARIO

Insights

A VR experience cannot replace a physical museum experience. Since physical museums are is made of real, tangible and sensorial experiences.

However, it can supplement it by

Housing a larger collection from many museums
Organizing content in multiple ways
Visualizing spaces that are hard to create physically
Enabling an experience that may not exist in reality

Copyright 2018 Jaeyeon Huh. All rights reserved.