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PUBLIC ACCESS: Public Art Conference 2012
The human experience design of the
Johannesburg Art Gallery
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
There are conflicting views of the
environment and purpose of the
gallery.
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Who are our users? And how do we
increase attendance?
The audience is more complex than it
may seem
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
What is valuable (or not valuable)
about the Gallery is also different to
different people
For a family that is not particularly aware of art the
value may just be a day out with the kids
For a family that is not particularly aware of art the
value may just be a day out with the kids
For the art world it may be about networking
For a family that is not particularly aware of art the
value may just be a day out with the kids
For the art world it may be about networking
For some it may be about prestige
For a family that is not particularly aware of art the
value may just be a day out with the kids
For the art world it may be about networking
For some it may be about prestige
For academics it may be about access to knowledge
For a family that is not particularly aware of art the
value may just be a day out with the kids
For the art world it may be about networking
For some it may be about prestige
For academics it may be about access to knowledge
For the city it may be about cohesion
However, the audiences of the JAG
are also stakeholders. The building
and collection were donated to the city
and people of Johannesburg.
Joburg Art Gallery Redesign - Open Access Conference
Much of our thinking about value lies in
objects.
Much of our thinking about value lies in
objects. The object of exchange.
These things are the „what‟ of our
experiences.
It includes the
building, the
collection, the
archives…
On multiple levels these objects are
inaccessible
Joburg Art Gallery Redesign - Open Access Conference
I can buy a drill bit for R20.
This implies that the value of the drill bit is R20.
But people don‟t want to buy a quarter-inch drill bit.
They want a quarter-inch hole.
The value of the object is
in ways an illusion.
Further, the value of the
thing is only revealed
when used.

With the drill-bit and
screw I am able to hang
a painting. The value lies
in having a painting
hanging in my living
room.

In this sense, the actual
value is co-produced.
The value of the object is
in ways an illusion.
Further, the value of the
thing is only revealed
when used.

With the drill-bit and
screw I am able to hang
a painting. The value lies
in having a painting
hanging in my living
room.

In this sense, the actual
value is co-produced.
This not only tells us that value exists-in-use but also
that what we need to look for is the “why”
So why are the building, the
collection, the archives
valuable?
…as „totems‟ to link people together
…for community engagement and cohesion
…for filling a void
…for problem solving
…for personal transformation
…for dignity
…social activation
…a social economy
…memory creation
…memorialisation
…placemaking
…identity making
…beautification
…democratisation
…consciousness, debate and growth at the personal
or societal levels
In this sense, the Gallery, it‟s staff, operations,
exhibits, archive are agents for a value exchange that
exists across the JAG‟s ecosystem.
It is the way that JAG facilitates the
engagement with these objects that is
the hidden intellectual capital
The user experience of the inner city
remains the „what‟ but ones
relationship to that experience can shift
what it means.
Development or decay?
The answer to questions like:

Why visit the JAG?
Why donate to the JAG?
Why lend art to the JAG?
Why tell your friends about the JAG?
Why lobby for the JAG?
…lies in an argument and demonstration of the
relevance of the co-produced value that the JAG
provides as an agent to its stakeholders.
This relevance needs to be explored, understood
and unpacked.

Once we can can see this landscape of meaning
we can start to design ways to engage
stakeholders in the co-production of the value it
holds.
And this should form the basis for the
design of a new user experience.
Joburg Art Gallery Redesign - Open Access Conference
Why is this exhibition
relevant me?
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
Joburg Art Gallery Redesign - Open Access Conference
The process:

1. Understand
   values
2. Demonstrate or
   create relevance
3. Build and
   nurture
   relationships
Joburg Art Gallery Redesign - Open Access Conference
The model:

1. Define purpose
2. Establish
   encompassing
   values
3. Link purpose and
   values to create
   behaviours
4. Deliver
   behaviours
   through tactics
THANK YOU.

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Joburg Art Gallery Redesign - Open Access Conference

  • 1. PUBLIC ACCESS: Public Art Conference 2012 The human experience design of the Johannesburg Art Gallery
  • 18. There are conflicting views of the environment and purpose of the gallery.
  • 23. Who are our users? And how do we increase attendance?
  • 24. The audience is more complex than it may seem
  • 27. What is valuable (or not valuable) about the Gallery is also different to different people
  • 28. For a family that is not particularly aware of art the value may just be a day out with the kids
  • 29. For a family that is not particularly aware of art the value may just be a day out with the kids For the art world it may be about networking
  • 30. For a family that is not particularly aware of art the value may just be a day out with the kids For the art world it may be about networking For some it may be about prestige
  • 31. For a family that is not particularly aware of art the value may just be a day out with the kids For the art world it may be about networking For some it may be about prestige For academics it may be about access to knowledge
  • 32. For a family that is not particularly aware of art the value may just be a day out with the kids For the art world it may be about networking For some it may be about prestige For academics it may be about access to knowledge For the city it may be about cohesion
  • 33. However, the audiences of the JAG are also stakeholders. The building and collection were donated to the city and people of Johannesburg.
  • 35. Much of our thinking about value lies in objects.
  • 36. Much of our thinking about value lies in objects. The object of exchange.
  • 37. These things are the „what‟ of our experiences.
  • 38. It includes the building, the collection, the archives…
  • 39. On multiple levels these objects are inaccessible
  • 41. I can buy a drill bit for R20. This implies that the value of the drill bit is R20.
  • 42. But people don‟t want to buy a quarter-inch drill bit. They want a quarter-inch hole.
  • 43. The value of the object is in ways an illusion. Further, the value of the thing is only revealed when used. With the drill-bit and screw I am able to hang a painting. The value lies in having a painting hanging in my living room. In this sense, the actual value is co-produced.
  • 44. The value of the object is in ways an illusion. Further, the value of the thing is only revealed when used. With the drill-bit and screw I am able to hang a painting. The value lies in having a painting hanging in my living room. In this sense, the actual value is co-produced.
  • 45. This not only tells us that value exists-in-use but also that what we need to look for is the “why”
  • 46. So why are the building, the collection, the archives valuable?
  • 47. …as „totems‟ to link people together …for community engagement and cohesion …for filling a void …for problem solving …for personal transformation …for dignity …social activation …a social economy …memory creation …memorialisation …placemaking …identity making …beautification …democratisation …consciousness, debate and growth at the personal or societal levels
  • 48. In this sense, the Gallery, it‟s staff, operations, exhibits, archive are agents for a value exchange that exists across the JAG‟s ecosystem.
  • 49. It is the way that JAG facilitates the engagement with these objects that is the hidden intellectual capital
  • 50. The user experience of the inner city remains the „what‟ but ones relationship to that experience can shift what it means.
  • 52. The answer to questions like: Why visit the JAG? Why donate to the JAG? Why lend art to the JAG? Why tell your friends about the JAG? Why lobby for the JAG?
  • 53. …lies in an argument and demonstration of the relevance of the co-produced value that the JAG provides as an agent to its stakeholders.
  • 54. This relevance needs to be explored, understood and unpacked. Once we can can see this landscape of meaning we can start to design ways to engage stakeholders in the co-production of the value it holds.
  • 55. And this should form the basis for the design of a new user experience.
  • 57. Why is this exhibition relevant me?
  • 63. The process: 1. Understand values 2. Demonstrate or create relevance 3. Build and nurture relationships
  • 65. The model: 1. Define purpose 2. Establish encompassing values 3. Link purpose and values to create behaviours 4. Deliver behaviours through tactics

Hinweis der Redaktion

  1. Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  2. Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  3. Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  4. Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  5. Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  6. Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  7. Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  8. Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  9. Two dominant perceptions of the inner city.King George Street can be an intimidating experience (taxis, litter…)Entrance to the gallery. Taxis, litter and bollardsSigns on gates – NO PARKINGConfusion once entering the gate. Drive around to North entrance, Pass by original South entrance – Signage I have images, find attachedLitter on the railway track North entrance - No disabled parkingNorth entrance seems neglected – in need of renovation/restoration
  10. Another way to approach the gallery is through the use of new public transport (Untested to a large degree). Gautrain and Rea Vaya. Gautrain - Walking might be intimidatingEntrance through North entrance of park.Park constantly ungradedProblem with litter and loiteringFear of crimeCommunity policing Greenhouse and chess players
  11. Another way to approach the gallery is through the use of new public transport (Untested to a large degree). Gautrain and Rea Vaya. Gautrain - Walking might be intimidatingEntrance through North entrance of park.Park constantly ungradedProblem with litter and loiteringFear of crimeCommunity policing Greenhouse and chess players
  12. Another way to approach the gallery is through the use of new public transport (Untested to a large degree). Gautrain and Rea Vaya. Gautrain - Walking might be intimidatingEntrance through North entrance of park.Park constantly ungradedProblem with litter and loiteringFear of crimeCommunity policing Greenhouse and chess players
  13. OR arrive East of park with Rea Vaya bus and follow signage to entranceSimilar experience as other visitors when entering the gallery.
  14. OR arrive East of park with Rea Vaya bus and follow signage to entranceSimilar experience as other visitors when entering the gallery.
  15. OR arrive East of park with Rea Vaya bus and follow signage to entranceSimilar experience as other visitors when entering the gallery.
  16. Friendly greetingBookshopDisruptions due to renovations and hanging new shows. These improvements negatively perceived. (Example: Courtyard trees and Courtyard)
  17. Is this a museum or is it a gallery