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Designing Interactive Exhibitions Based on Innovative Narrations Guided by

Architectural Space and Digital Technologies

Conference Paper · December 2013

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 Designing interactive exhibitions based on
innovative narrations guided by architectural space
and digital technologies
Simge Esin Orhun, Ozyegin University, Turkey

Abstract: Although museums started to employ varying interaction modes using advanced networking and displaying
technologies to improve their roles in conveying information through participation, the analysis of the latest interactive
exhibitions reflected an insufficiency to create compact and unique intelligent environments for exhibiting. However,
developing the narrations of exhibitions on the basis of the physical qualities of the space and advanced technologies for
interaction will increase the potential to stage varying interactive experiences. This paper searches for alternative solutions
to generate innovative narrations to bring novelty to the design of interactive exhibitions and contribute to the interpretative
processes of museums. In parallel with our aim, 55 conceptual design projects created for interactive exhibiting in the
Spatial Interaction Studio Design Course in the Department of Communication Design of a well-established university
between the years 2009-2012 were analyzed. The findings show that the innovative narrations were significant for making
use of architectural qualities of space or supporting the physical space with the use of an additional mobile or wearable tool
to link the performed experiences within the design, which enhanced the entertaining, informative and explorative aspects of
the exhibitions.

Keywords: interactive exhibiting, narration, innovation, architectural space, digital technologies

1 Introduction
As traditional forms of art started to be replaced by process based and participatory installations,
museums and galleries begun to make use of the rich sources of networking and displaying
technologies (Bullivant, Responsive Environments, 2006). These improvements in technology brought
alternative modes of communication. Visitors had the opportunity to interact with artworks in various
ways and museums and galleries developed different exhibiting strategies, in order to maintain the
permanence of art, knowledge and cultural heritage (Lorenc, Skolnick, & Berger, 2006).
The initial point of integration of the concept of participation in exhibition design started with “hands-
on” exhibitions in the 1960s where visitors started to learn by the experience. The evolving virtual
exhibitions also gained popularity for providing some kind of interactivity on the Internet. However this
had not decreased the interest in the physical and live experience of an exhibition and eventually a
new visitor profile was introduced, defined as the kinaesthetic learner (Hughes, 2010). Nevertheless,
recent studies show us that the architectural qualities of space had not been taken into account for the
design of varying interactive narrative experiences, ranging from video games to participatory art
installations. Moreover, in terms of exhibiting, it was recognized that the interactive exhibitions focused
more on the adaptation of technology, rather than using technology as a means to convey the
message by connecting user, technology and the content of the exhibition (Bullivant, 4D Social
Interactive Design Environments, 2007) (Caulton, 1998). As a matter of fact, it is possible to say that
most of the analysed exhibitions that made use of digital technologies can be perceived as sets of
interactive experiences placed one after the other in a physical space. The audience’s curiosity to
interact with the device takes precedence over their understanding of the concept of the exhibition and
the story behind it (Simone, 2010). We believe that proper use of the dynamics of the architectural
space combined with participatory digital technologies may enhance the narration and bring innovation
to the concept of interactive exhibiting.
Considering the fact that the today’s artwork is defined as the whole process that involves the
participant interacting with the art object (Buskirk, 2005), we believe that the narration of any exhibition
design needs to integrate the qualities of the architectural space and be a guide for the selection of the
digital tools to perform the interactive experiences. On the basis of these issues, we examined the
impact of architectural space and digital tools on the narration of interactive exhibitions and
investigated if innovation brought by narrative means may be used as a strategy to transform these
physical spaces into intelligent environments. In parallel with this research, we tried various
approaches to, and different versions of, space and digital technologies in order to develop narrations
for the design of conceptual interactive exhibitions. We then analysed the design works to see the
outcomes and reach for conclusions.
2 The relationship between narration, architectural space and digital
technologies in the frame of interactive exhibiting
In order to develop innovative narrations that would transform museum and galley spaces into
interactive environments, we needed to explore and define the relationship between the narration,
architectural space and digital tools. Through this we could see how physical space and interactive
tools were able to enhance the innovation in the narration of an interactive exhibition.

Being an immersive and participatory area, interactive exhibiting addresses the concept of visitors
becoming actors, perceiving and navigating in the narration by interacting with tools, works and
applications (Porteous, Cavazza, & Charles, 2010). Being one of several strategies leading visitors
with an interest in exhibitions, narrations are the main instruments, which structure our perception and
communication on the basis of making meaning (Bruner, 1990). The language of narration is very
significant to the story and the design of the setting becomes an important tool to enhance and reveal
the text and the story behind it (Lorenc, Skolnick, & Berger, 2006). However, spatial aspects start to
appear, as the story represented by text becomes a visible scene when describing activity and
communication between people. By itself, space is neutral and vacant, and it can only attain its full
potential when action is taking place (Parker, Craig, & Block, 2008). So, space becomes a meeting
point for the potential visitors and actors for the creation of interaction.

Interactive exhibiting can be defined as the idea of communicating a story in three-dimensional space
using participatory digital technology that links varying interactive actions (Howard, 2002). The design
of interactive experiences combined within a narration is sustained by the architectural quality of the
space (Ozcan, 2002), whereas the concept of interactivity defines the limits and parameters of the
navigational actions required for the user experience (Kolko, 2007). So the narration will both conduct
the exhibition design and serve to define the constraints and the active intent of the experiences
(Locker, 2011), which in turn will define the set of operations and actions related to the experience
(McCulloughm, 2004). Mediation of tools with activities, combined with visual and audio elements to
support the narrative expression, will be embedded in the physical space giving visitors the chance to
become active participants (Hughes, 2010). So, the visitors’ primary form of communication with the
exhibition can be viewed as navigating in the narration, which is structured upon the organization of
the spaces of information supported by digital tools (Saffer, 2007).

While it is possible to say that any narration cannot be presented without a suitable setting, each
architectural space has its own dynamic, which can be described as its geometry and characteristics.
The vertical, horizontal and diagonal measurements describe the geometrical aspects of a space,
helping us to visualize it. Characteristic qualities include a space’s “atmosphere”, which is important
and influential to the experience of the audience and the actors. Each space has its own individual
characteristic derived from the materials used, the architectural elements, the lighting etc… (Parker,
Craig, & Block, 2008) (Dade-Robertson, 2011).

In terms of interactive exhibiting, this research questions how narrations of interactive exhibitions
benefit from the different geometries and characteristics of the architectural space. Moreover, although
the selection and combination of participatory digital technologies in parallel with the narration brings a
level of interactivity directly to the exhibition design, are there any other solutions brought by the use of
these technologies, that can improve and make the narration more innovative?

In parallel with the above identifications and discussions, we tried to propose a general framework
illustrating connections between architectural space, digital tools and narration. Using these
definitions, we tried to develop narrations for conceptual interactive exhibition designs for varying
forms of architectural spaces and different technological tools to obtain findings, which might be
adaptable for the designs both for virtual and physical environments.

3 Methodology
This research looked for various ways to develop narrations for exhibition as a three-dimensional
image, including the planning and the layout of the actors and objects in a setting to match the story
(Parker, Craig, & Block, 2008). With the aim of developing innovative narrations for interactive
exhibitions, the method for this research was configured on the basis of working on different
architectural spaces with varying geometries and characteristics. The themes and stories developed
for the narration were expected to resonate with the architectural qualities of the space while providing
a scene for the interactive experiences to take place.
In order to obtain alternative solutions for design, a studio design course based on spatial interaction
was planned within the Department of Communication Design of a well-established university that
would focus on developing conceptual interactive exhibition designs. Two different exhibition areas
were selected as case studies, and students chose either one of them to create conceptual interactive
exhibitions. This course was carried out for 8 semesters between the years 2009 and 2012 with an
average of 15 students each semester. These students had no prior experience of architecture but
were well trained in creating interaction designs using different mediums. The following design briefs
were defined:
1. Design brief based on a single story linear space
The students were expected to design interactive exhibitions for a linear space. A corridor of the
ground floor of a building, having two entrances, a length of 35 meters, a width of 2.8 meters and a
height of 6.5 meters was chosen as the first working site (Figure 1). The students were encouraged to
make use of the height of the space within their projects as the space would be able to house it. The
choice of audience profile was left to the students to decide in relation to the theme.

Figure 1: Plan of the linear space

2. Design brief based on a multi-story square shaped building

This brief focused on creating designs for a 3-story building, with two entrances from different levels,
an area of 16 meters by 16 meters per floor and 2.5 meters floor height for each level (Figure 2). The
students were advised to make use of the total floor height, including the possibility of adding or
deleting a floor. Students would be able to select the audience profile as in the previous brief.

Figure 2: Plan of the multi story square planned building

For both design briefs, the choice of the narration was up to the student’s preference, but the choice
relates to his or her inspiration from, and attraction to, the spatial data. Within the process of
developing the narration, the students also carried out research into digital tools and media used in
physical spaces in order to integrate suitable technologies with the theme and architectural space. The
works were examined on the basis of the innovation brought by analysed design projects.

4 Evaluation of the works

For 8 semesters, 55 design projects were developed and examined to find innovative narrations
brought by the use of the qualities of architectural space and digital tools. The general outcomes
reflected the fact that all of the students integrated digital tools in parallel with the interactive
experiences and the narrations. Most of the students perceived the spatial data to organize the
activities, while some of them failed to develop narrations to match the qualities of the exhibition area.
In parallel with the aims and objectives of this research, the outcomes can be grouped under two
topics:
4.1 Innovation by the use of the architectural qualities of space to shape the narration
The successful design projects of this group formed their narration to match the perceptual aspects
provided by the geometry and characteristics of the space. In parallel with this approach, the long
corridor was inspirational to the development of narratives that were composed of a linear sequence of
events and experiences.
Figure 3: An example of a conceptual exhibition design for the linear space

Selecting a theme that involved a linear sequence of objects, events, sequences or experiences and
shaping and adapting the narration to the architectural space with proper digital tools created a unity
within the space. This was observed as an appropriate strategy for design. The suitable themes
centralized around historical events, timelines, planetary configuration of space and geographical
layouts. With the analysis of the works, we recognized that the linear form of the space limited the
choice of technological tools and guided most of the students to make use of screens and displays for
their designs. Figure 3 shows the conceptual exhibition design named “Off Limits”, by Doruk Saglam.
In this exemplary work the exhibition area is organized in accordance with the planetary sequence.
The aim is for the users to experience the different qualities and conditions of the sun, planets and
space. The developed interactions were based on the use of multi-touch surfaces, augmented reality,
projections and static visuals.
In terms of the multi-story space, we recognized that the students struggled with the form and the
nonlinear configuration of the architectural space, which required different spatial solutions. However,
the successful designs showed innovation through much more creative and experimental themes and
narrations. The students solved the design problem of organizing the multi-story space by structuring
the narration in parts or episodes (generally 3 parts), where each part would fit one floor. In each floor
they placed different digital tools and were able to make use of a variety of technological platforms.
Non-linear navigation can be maintained within this spatial geometry, but it was difficult to preserve the
unity of the exhibition, as the whole experience is divided into 3 parts.

Figure 4: An example of a conceptual exhibition design for the multi-story space

The high spatial quality and diversity of the selected interactive tools maintained by the narrations
were benefits of working in a multi-story space. This can be observed from the conceptual design
named “Stories of Childhood” by Öykü Çataltepe, Figure 4. The narration focuses on visitors
experiencing varying imaginative perceptions brought by the stories. Nonlinear navigation provides the
opportunity to make use of different stories - to be grouped according to their similarities.
4.2 Innovation by the integration of personal digital tools within the narration
This group of projects was recognized for their approach to connect the performed experiences with
an additional mobile or wearable tool. As these tools were planned to carry information concerning the
progress of the visitor in the exhibition, they not only guided the navigational aspects within the space
but also gave the opportunity to privatize the experiences of each visitor. Besides providing connection
to social media when needed, these tools were also beneficial in archiving each visitor’s experience
and in providing the visitor with a permanent reminder of his or her experience.

Figure 5: An example of a conceptual exhibition design for linear space

Figure 6: An example for conceptual exhibition design for the linear space
The narration guided the design and the choice of tools. Tablets, eyeglasses, gloves, headphones,
flashlights, helmets, memory sticks and cards were among the tool choices integrated into the design
projects. The design project in Figure 5 by Dilara Dagli, uses both a watch and a set of headphones
for the realization of the diving experience. The watch was planned to control the video displays on the
walls and the headphones were devised to control the proximity between other people and to provide
a sensation of pressure within the process. Likewise, the design project in Figure 6 by Yasemin
Yildirim, made use of a flashlight to collect and disseminate information from varying sources in the
“Media House” and to connect to social media. As seen from these examples, this strategy for design
enhanced the individual experience and gave the visitor more freedom for navigation.

5 Conclusion
As an emerging concept, interactive exhibiting has great potential for staging participative experiences
through the use of digital technologies, providing environments for different readings of the meanings
of the exhibited artworks. Narrations, being one of the main instruments upon which we build our
experiences, play an important role for finding meaning for the visitors to connect and perceive. While
all narrations take place in a setting, we believed that making use of the spatial data and digital
technologies would be an efficient strategy to devise narrations, bringing innovation to the process of
interactive exhibition design. This study searched for relationships between spatial data, digital
technologies and narration on the basis of interactive exhibiting and looked for clues for the
appropriate use of the dynamics of architectural space and digital tools to develop innovative
narrations.
In parallel with these aims, a spatial interaction studio design course was planned and realized
between the years 2009 and 2012. This course focused on the development of innovative interactive
exhibition design. 55 conceptual interactive exhibition design projects supported by various digital
tools and embedded technology were developed for two different architectural spaces: a linear single-
story space and a square planned multi-story space. These designs were then analysed in terms of
bringing innovation to exhibition design by the narration.
Generally, it is possible to say that while some of the designs could not go beyond using the traditional
approach for exhibiting, they were still fruitful for their generous use of visual data, for the integration
of digital tools to create a participative experience and for the spatial organization of the activities.
Successful works can be placed in two groups: (a) ones having narrations which were inspired by the
form of the architectural space, and (b) ones that connected the performed interactive experiences by
using an additional digital tool invented especially for the narrative.
To conclude, the following issues should be considered in the design of interactive exhibitions:
i. It is understood that interactive exhibiting is more than just placing interactive tools or technologies
within the physical space. Innovative solutions arise when the narration is planned and structured with
respect to the qualities of the architectural space. Narration can also guide the selection of digital
tools.
ii. In terms of the use of architectural space, it is recognized that every spatial condition brings its own
circumstances, which in turn effect the choice and the structure of the narration. A sequenced
narrative structure matches a linear architectural space well, whereas a networking or an episodic
narrative structure is more suitable for a multi-story space.
iii. Interactive exhibiting can benefit from the integration of a mobile or wearable digital tool related to
the narration. These tools are recognized to maintain the unity of the space while enhancing the
adventurous, informative and experimental aspects of the exhibition, as they connect each performed
interactive experience and provide guidance for navigation within the exhibition. Moreover, visitors can
actually influence the narration and their own navigation with their performances guided by the
technical competencies of these personal tools.
From the exemplary works and outcomes, it is possible to understand that the area of interactive
exhibiting has huge potential for innovative solutions. Moreover, this area can show the way for new
inventions for networking and displaying technologies, as these cases arise from narrations. As
interactive tools and technologies continue to develop and become more advanced, the appropriate
use of spatial data and the refined use of digital tools will gain more importance, enabling the
development of unique designs. We believe that the area of interactive exhibiting will benefit more
from innovative approaches for design with the original combinations of narrations, architectural space
and digital technologies, where the concept of participation drives the design.
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