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circulation, density, lighting, backgrounds, arrangement,

and labels

The circulationof the space indicates the layout and direction of flow for visitors.

This can be done by numbering objects, or the layout of displays. Poor circulation can

result in the patron missing some galleries or displays or viewing objects in an order

other than what the curator intended. Circulation should feel natural and logical; the

patron may feel herded and become resentful.

Density, clarity, and emphasisare other aspects to consider when planning a new

space. Galleries and individual objects should be placed so that everything appears to

have equal value and importance. Then within displays, objects should not beovercrowded or cluttered. Lightingis etremely important and cannot be overloo!ed

when planning new galleries. "atural light is ideal, but it must be filtered, and not too

intense. #t also should be consistent throughout the day $ northern and southern

eposure is ideal.

Backgroundscan refer to a number of things% props, panels, or a simple painted wall

can serve as a bac!ground to an object or display. These must be subdued enough that

they do not detract from the object on display, but they should be complimentary. The

specific position, arrangement, and displayof an object is important to consider.

&eight of the display case, order in which objects are placed or hung, and the

grouping of certain objects are all major factors in how patrons interpret objects.

Museum labeland explanatory accessoriesare essential to a patron's eperience in

a museum. (nough information should be provided that the patron feels as if they

understand what they are loo!ing at, but too much can bore or confuse the visitor.)ome eamples of these accessories are collection guides available for the overall

museum eperience, larger panels at the start of each gallery that can eplain the

intent of the collection, and smaller panels at each object should inform the viewer

the object's use, medium, creator, and dates.

1. Define the Client (Different than user or designer):

This is often harder than you think. If you are an internal designer working at a museum, the easy

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answer is the visitor is the client. In reality the answer is more complex, why is this project

eing created!. "ften the reasons have to do with internal ojectives. The stakeholder of the

ojectives is the client. The client is the person who influences and decides success.

2. Empathy for the client:

#hy is the client doing the project ! $uccess is often ased on understanding the reasons a

client decides to move forward with a project. #alk in the client%s shoes.3. Define the goal of the client:

#hat is the client hoping to achieve with the project !

4. Define problem:

&ll design is prolem solving, define the prolem

5. Define user:

The designer is not the user. The 'ser is not the client. #ho will use your product or service !

(reate a persona )a composite of the identified user*

. !esearch the problem:

+ow have other solved the prolem ! esearch other solutions and the how the solution

succeeded or failed.

". Empathy for the user

#. Create $%ro&ect 'riefreviewed y client and user include price point )$imilar ut different from -roject (harter and

-- process*

. *top:

"ften the most important step and missed during many design projects. /earn to stop. "nce all

of the research is complete and the project is well understood, stop. Inspiration the next step is a

creative process and can%t e forced or rushed. 0ive yourself and the team time to reflect and

understand emotionally what has een gathered to date.

+,. -nspiration:

&llow yourself to react, now that you understand the project intellectually, understand the project

emotionally and come up with several inspirations. The inspiration is the oject, idea or form

that will guide your design thinking

++. Create solutions:

'sing your inspiration as guide and as a enchmark create several solutions

12. *etches 2D and 3D/ se0eral options

&lways provide at least three options. "ften the less successful options inform and influence the

more successful options

+3. !e0ie1 by client and user

/earn to half listen, listen to comments y the client, listen to the comments y the user, ut

don%t let your project ecome land. "ften projects lose their sexiness y listening too closely

to the client and user. /et the project have a life of it%s own.

+4. Design de0elopment:

ot losing sight of the client, goal, prolem, user and inspiration, refine your product or service.

+5. estingTest your product or service with your identified user and in the market place. Is the user

interested ! Is the marketplace interested !

+. -terations

I have een reading /ean $tartup, enjoying the idea of continual iterations and that life is too

short for products noody wants. Is there a market for what you are creating! If not keep

iterating.

+". %roduction/ areting *ales