{"id":5861,"date":"2019-04-29T17:25:36","date_gmt":"2019-04-29T21:25:36","guid":{"rendered":"http:\/\/studentwork.prattsi.org\/foundations\/?p=5861"},"modified":"2019-04-29T17:25:39","modified_gmt":"2019-04-29T21:25:39","slug":"observation-at-the-copper-hewitt-smithsonian-design-museum","status":"publish","type":"post","link":"https:\/\/studentwork.prattsi.org\/foundations\/2019\/04\/29\/observation-at-the-copper-hewitt-smithsonian-design-museum\/","title":{"rendered":"Observation at the Copper Hewitt Smithsonian Design Museum"},"content":{"rendered":"\n
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Copper Hewitt museum is a constantly innovative place which\nalways gives me surprise. During this visit, the new exhibition content has brought\nme new information experience. The first step after entering the museum is to\npurchase admission tickets. The museum staff gave me an interactive pen and\nasked me if I have been here before. Since this is my second visit, I had\nunderstood the functionality of the pen and felt excited and looked forward to\nthe actual use of it.<\/p>\n\n\n\n

The current exhibitions is inclusive of Nature by Design,\nRebeca M\u00e9ndez Selects, Moustiers ceramics, Iridescence, Immersion Room, Models\n& Prototypes Gallery and Scholten & Baijings in the Process lab (\u201cCooper\nHewitt, Smithsonian Design Museum\u201d). The innovative exhibits in museum brings\npeople brand-new feelings in all the aspects of sense, hearing and touch. <\/p>\n\n\n\n

The installation in Process lab invites visitors to\nexplore the design process of contemporary industrial design studios by themselves.\nThe lab shows some industrial crafts and a number of interesting details about\nthe making process of tableware, furniture, and textiles. Some objects from\ncollection are available for touch and two interactive tables are offered for color\nexperiment. <\/p>\n\n\n\n

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Process Lab<\/figcaption><\/figure><\/div>\n\n\n\n

Immersion Room is a creative space where visitors can\ndraw their own wallpaper designs and experience the full-scale projection of\npattern on the walls around them. At the same time, visitors can select\nwallpapers from museum\u2019s extraordinary collection and see them projected on the\nwalls, accompanied by audio clips about the information of that particular\ndesign or designer. Multiple types of information give visitors immersive experience,\nwhich helps them find inspiration and learn to create.<\/p>\n\n\n\n

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Immersion Room<\/figcaption><\/figure><\/div>\n\n\n\n

There is a new project at the second floor \u201cHow was your\ncommute to the museum?\u201d which analyzing the commuting process of visitors. Visitor\ncan pick a small red or green ball and put it into one of the transparent buckets\nwhich corresponding to a certain type of commuting. The green ball means \u201cgood\u201d\nexperience while the red one means \u201cnot so good\u201d. The commuting types including\npedestrian, bicycle, motorized vehicle, bus and subway. These soft color balls arouse\ninterest of visitors to participate the project, which provides statistical data\nfor future strategies on enhancing museum experience.<\/p>\n\n\n\n

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Copper Hewitt has made some intriguing digital innovations\nin the field of interaction, among which interactive Pen and touchscreen table are\nthe two major innovative features of museum. Both interactive pen and\ntouchscreen table give visitors the new experience compared with traditional\nmuseum experience.<\/p>\n\n\n\n

Interactive pen gives visitors the opportunities to immerse\nin the process of seeing and feeling exhibits instead of taking pictures busily\nor using traditional museum App. By aligning and pressing the flat end of the Pen\nto any object labels, visitors can collect and save objects from around the\ngalleries. Then all the saved exhibits information will be accessible online\nfor future read. Meanwhile, the pen is also used to explore and manipulate the\nobjects that visitors have collected on the touchscreen table. Copper Hewitt converted\nthe pen to a piece of consumer hardware by cooperating with an international\nteam, as stated on the museum site, \u201cLike so many of the objects in the\nmuseum\u2019s galleries, it is the product of a collaborative, international\nindustrial design process, exemplifying how designers solve real-world\nproblems.\u201d <\/p>\n\n\n\n

According to the introduction of interactive table on\nmuseum website, touchscreen tables uses projected capacitive touch technology,\noffering the same resolution as tablets and smart phones, which enables visitors\nclearly observe the details of exhibits and get inspiration. This visitor\ntechnology emphasized the play experience and displays the specificities of a\ndesign museum. Interactive table is not only a \u201ccollection browser\u201d, but also a\n\u201cplay designer\u201d that offers various materials, modes and object scenes for drawing\nthree-dimensional model types by visitors themselves.<\/p>\n\n\n\n

Copper Hewitt Museum\u2019s innovation on digital experience shows\nthat it attaches great importance to the interactive experience between visitors\nand exhibits. By building interactive digital entity space, it transforms the\ntraditional one-way display platform into an interactive space for public\nparticipation. More broadly, it reflects a digital transformation trend of\ncultural institutions. With the rapid development of information technology,\nespecially the coming of big data era, our social lifestyle is facing the situation\nof being changed profoundly by IT, and so does people\u2019s cultural life. As the closest\ncultural contact with the public, cultural institutions can no longer meet people\u2019s\nrequirements change and diversity according to existing service mode. Therefore,\nmany cultural institutions around the world have been exploring and practicing digital\nconstruction in recent years, such as innovating institute website and mobile app\nor creating virtual experience projects. <\/p>\n\n\n\n

Digital and emerging media is helping cultural institutions\nsuccessfully meet their missions by various digital strategies. According to Xingya\nWang, being more accessible, engaging content and generating revenue are what\nmuseums are focusing on based on their strategies, and digital innovations give\nmuseums these possibilities. <\/p>\n\n\n\n

In order to be more accessible, museums are providing audience\nwith more open access to collections and making museums websites more accessible.\nTake National Portrait Gallery as an example. In recent years, National\nPortrait Gallery is not only extending the range and methods of viewing digital\nimages of their collections and addressing the importance of open and sharable\nsources, but also prioritizes investment in redesign of its website to create seamless\nuser experience. To enrich the content, there are many museums have embraced digital\nmedia as a creative method. Among them the Metropolitan Museum of Art is one\nstandout. The Met is regarded as a potent, full-fledged media company because\nits digital achievement (Baker, 2015). Begin from 2011, the Met has been\nworking closely with industrial organizations to develop apps, 3D print\ninteractive objects and virtual reality experience for the museum. The Met also\nbuilt a 70-person digital media team in order to formulate and implement effective\ncontent strategies in media-saturated landscape. Experimental initiatives\nincluding content creation and content distribution. Besides, using digital\nmethods to generate revenue and funding of museum is another trend. Digital\nactivities or products including digital funding model, better UX design, online\ncourses, paid onsite multimedia tour, self-serving ticketing and so on.<\/p>\n\n\n\n

Meanwhile, many cultural institutions are also involved\nin the field of digital technology education for public. For example, Tate, an\ninstitution that houses the United Kingdom’s national collection of British art\nin a network of four art museums (\u201cTate\u201d), has built a Digital Learning Studio to\nincrease participation and attraction. As a multi-use space for making and\nlearning about digital technology, the studio offers a wide range of learning\nprograms including courses, workshops and development projects. <\/p>\n\n\n\n

The digital transformation of cultural institutions is a digital practice which redefines the interaction between public and institutions. According to Dalbello, \u201cPublic conversation is at the core of heritage practices involving artifacts and their digital representations\u201d. In this sense, through digital transformation, cultural institutions are extending their role to become participates in a broader discourse with the public.<\/p>\n\n\n\n

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Reference:<\/p>\n\n\n\n

“Cooper Hewitt, Smithsonian Design Museum”. Cooper Hewitt Smithsonian Design Museum<\/em>, 2019, https:\/\/www.cooperhewitt.org\/.<\/p>\n\n\n\n

“Tate”. En.Wikipedia.Org, 2019,\nhttps:\/\/en.wikipedia.org\/wiki\/Tate.<\/p>\n\n\n\n

Wang, Xingya. “Review Of Different Museum\nDigital Strategies”. Museums And Digital Culture – Pratt Institute<\/em>,\n2018,\nhttps:\/\/museumsdigitalculture.prattsi.org\/review-of-different-museum-digital-strategies-6ec009d2f80b.<\/p>\n\n\n\n

Baker, Dillon. “Museums, The Next Media\nCompanies: Why The Met Built A 70-Person Media Team”. Contently<\/em>, 2015,\nhttps:\/\/contently.com\/2015\/05\/12\/museums-the-next-media-companies\/.<\/p>\n\n\n\n

Dalbello, Marija. (2009). \u201cDigital Cultural\nHeritage: Concepts, Projects, and Emerging Constructions of Heritage.\u201d\nProceedings of the Libraries in the Digital Age (LIDA) conference, 25-30 May,\n2009.<\/p>\n","protected":false},"excerpt":{"rendered":"

Copper Hewitt museum is a constantly innovative place which always gives me surprise. During this visit, the new exhibition content has brought me new information experience. The first step after entering the museum is to purchase admission tickets. The museum staff gave me an interactive pen and asked me if I have been here before. […]<\/p>\n","protected":false},"author":612,"featured_media":5868,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5861","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"jetpack_featured_media_url":"https:\/\/studentwork.prattsi.org\/foundations\/wp-content\/uploads\/sites\/5\/2019\/04\/\u56fe\u7247-1.png","_links":{"self":[{"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/posts\/5861","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/users\/612"}],"replies":[{"embeddable":true,"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/comments?post=5861"}],"version-history":[{"count":5,"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/posts\/5861\/revisions"}],"predecessor-version":[{"id":5874,"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/posts\/5861\/revisions\/5874"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/media\/5868"}],"wp:attachment":[{"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/media?parent=5861"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/categories?post=5861"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/studentwork.prattsi.org\/foundations\/wp-json\/wp\/v2\/tags?post=5861"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}