This project aims to introduce first year Industrial Design Engineering bachelor students to the world of Industrial Design through the creation of an exhibition that centers around the products from the faculty’s Heritage Collection. The exhibition, located at the entrance of the faculty, is designed as an educational tool that uses the displayed products to showcase the various dimensions of Industrial Design. Currently, the products displayed in the faculty are not sufficiently contextualized and fail to fully convey their historical, technological, or cultural significance. This project seeks to address that gap, providing new students with a more comprehensive and accessible narrative to help them better understand the evolution of Industrial Design and its role in contemporary society.

The exhibition was created to fill a gap identified during the research phase: the lack of a historical educational approach to Design within the faculty’s curriculum. It allows visitors to explore the history and identity of the displayed products, highlighting the importance of choices related to materials, production technologies, aesthetics, and functionality. This is done through four distinct thematic areas, each dedicated to a specific aspect of the product. The pieces in the Heritage Collection are not merely objects but concrete testimonies of how Industrial Design has addressed challenges and needs over time, offering innovative solutions that continue to influence daily life.

Another goal of the project is to spark students’ interest in research and innovation, encouraging them to reflect on how past designers were able to anticipate future needs and how to carefully observe a product to fully understand its meaning. The exhibition, therefore, not only celebrates the past but also inspires a new generation of designers to look ahead with creativity, critical thinking, and an awareness of the emotional impact that an object can evoke.

For the creation of the exhibition and the communication strategy, various methodologies were explored and then integrated into the exhibition as essential parts of the process. Interactive design, storytelling, and emotional design methodologies were analyzed, all aimed at engaging visitors and creating an immersive educational experience. These techniques were then applied through the use of informational panels, multimedia supports, interactive installations, and narrative paths. The goal was not only to convey information clearly but also to spark curiosity and reflection, making the history of Industrial Design accessible and engaging for a diverse audience.

Recent advancements in Additive Manufacturing (AM) suggest that Multi-Material Jetting (MMJ) could create materials with interactive properties that encode digital information readable by computers. However, it remains unclear if these opportunities are compatible and how they could integrate effectively in designs for tangible interaction and Extended Reality (XR). Building on the concept of Radical Atoms (Ishii et al., 2012), this research explores how MMJ might connect physical interactions with digital information through materialization. A literature study was performed to examine how multi-material 3D printing could enable XR systems to capture and interpret physical manipulation, particularly addressing challenges in XR and Tangible User Interfaces (TUIs). A unique solution space for MMJ was identified, envisioning Stimulus-Responsive materials capable of converting physical stimuli into fiducial responses for computer vision. To assess the feasibility of this embodied approach for TUIs and explore potential interactions that can be achieved, a “Research through Design” methodology was applied. The proceedings document the design and development of Colorful Bits: a Stimulus-Responsive material for kinetic interaction. Colorful Bits present a configurable Stimulus-Responsive material which captures kinetic interactions as a dynamic fiducial color response. By interlinking mechanical and optical properties through material and structure, a mechanical metamaterial is designed which transforms movement, orientation, and kinetic deformation of objects to color-encoded information. Through the physics principle of superposition, the applied stimuli that cause the movements and deformation can be obtained, allowing for force-, stress-, and pressure-sensitive interactions. By applying this process, designers are enabled to design kinetic materials for XR that provide virtual feedback in response to applied kinetic deformation. Evaluations of Colorful Bits reveal promising insights into the viability of Stimulus- Responsive materials for TUIs, though current gaps between digital models and real-world behaviors limit full application. While Colorful Bits focuses on kinetic interactions, future applications are envisioned that expand fiducial Stimulus-Responsive materials to respond to environmental stimuli such as temperature, light, and moisture, positioning MMJ as a versatile platform for XR applications.

The Rotterdam Public Library (RPL) houses the largest collection of works by Erasmus, a renowned humanist and scholar of the European Renaissance. To honor his legacy, RPL established the "Erasmus Experience." However, after eight years, the Experience faces significant challenges: it has remained unchanged, its collections are inaccessible and non-interactive for visitors, and its presence is largely unknown to the public. In collaboration with RPL, I undertook a design project to address these challenges and align the Experience with the library's mission: fostering critical thinking among citizens.
To guide my design process, I employed the Double Diamond Model. Initially, I conducted a literature review, interviews, and observations to explore trends in library experiences and understand visitor demographics, ultimately identifying a target audience. Next, I performed field research to identify issues and opportunities within the current Erasmus Experience. This research led to the insight of focusing on a single book to stimulate critical thinking. I then carried out desktop research on similar book-based experiences and user engagement with historical texts, ensuring that each research stage addressed the core challenges identified at the outset.
From this research, I developed a design vision: using the contents of Erasmus's The Praise of Folly to inspire visitors to reflect on themselves. The final design is an interactive, "magical" old book that guides users through self-exploration, helping them discover the "fool" within themselves. After the experience, participants received a personalized poem from the book based on their responses. Throughout the interaction, users choose between two cards to receive questions, which are projected onto the book's pages. They respond verbally, and through touch, they receive their customized poem. The experience is designed to create a nostalgic, immersive environment that encourages critical self-reflection, while the personalized poem provides a unique, memorable takeaway that aligns with users' expectations. Furthermore, design elements and interactive guidance connect participants to the broader legacy of Erasmus.
Before finalizing the design, I conducted user tests with six participants. Their varied reflections indicated that the experience successfully stimulated critical thinking. The interaction flow and card-based design were well-received. I enhanced the final prototype using an antique-style book and projection technology to strengthen its nostalgic atmosphere. Nevertheless, further improvements could be made, such as testing the experience within a library setting for more realistic feedback and incorporating a replica of an actual Erasmus text to deepen the connection to his work.

The National Library of the Netherlands boasts an extensive collection of Pop-up books. However, due to their age, some of these Pop-up books have deteriorated over time, making it impossible to display them to the public. Nonetheless, emerging VR/AR technologies offer a solution to this issue. By recreating these Pop-up books within the VR/AR realm, users can once again engage with these embodiments of human wisdom. Hence, the core of my graduation project lies in designing a VR/AR Pop-up book experience. With the aim of fostering a greater appreciation and understanding of Pop-up books, I envision my experience to meet the following criteria: 1. It should provide users with a profound sense of immersion. 2. It should be easy to navigate and operate. 3. It should offer users a novel perspective for appreciating Pop-up books.

Analysis
Through my research into the histories of "Pop-up books" and "VR/AR books," coupled with an analysis of their features, I have uncovered a shared core concept: the transformation of imagination into tangible form. This underlying principle resonates with people's desire for immersion. Furthermore, my investigation into the literature surrounding "immersion" has led me to identify seven factors that influence the sense of immersion in an experience: Sensory, Curiosity, Concentration, Comprehension, Control, Challenge, and Empathy. These factors exert varying degrees of influence on immersion at different stages of the experience.

Design
After careful consideration, I decided to utilize VR to present a Pop-up book titled "TIP+TOP Boven De Wolken." Building upon my previous conclusion of immersion and insights gained from user study, I particular emphasis on the environment and interactions part. I decided to craft the environment as a "Wizard's attic" and will introduce two pivotal interactions: "Scalable Pop-up book size" and "Exploration-triggered story-telling." These components collectively encompass all the factors influencing immersion. I believe that their synergistic integration will effectively enhance the sense of immersion within the experience.

Conclusion
Ultimately, upon completing the experience, I invited 24 participants to engage with it and provide feedback. Through the analysis of both ratings and feedback, I have concluded that my VR Pop-up book experience has successfully enhanced user immersion and introduced a novel perspective on Pop-up books for some users. However, it also revealed several areas that require further improvement.

This project focuses on translating a historical pop-up book into a meaningful virtual experience. The project is in collaboration with the National Library (KB) of the Netherlands, which has a special collection of historical pop-up books. The KB will be moving their collections to an external location, making the books inaccessible. These books are meant to be interacted with; however, this interaction also makes them fragile and rare. Virtual reality offers a solution to this dilemma as it can be used to preserve the original heritage while also making it accessible in an innovative way. The use of VR fits within a wider development of new technologies being implemented in museums and cultural heritage institutions. This project creates a VR experience with a pop-up book called: Tip & Top boven de wolken, created in 1964. The project specifically focuses on two different aspects of the heritage: the materiality and the narrative. It researches how these aspects influence the experience in both physical and virtual pop-up books. It also aims to enhance the aspects using the affordances and interactions possible in VR, with the ultimate goal to integrate the aspects into a coherent experience.

The project starts with a literature review, which selects relevant frameworks for characterizing the materiality and measuring the narrative engagement. It is supported with additional desktop research looking into existing applications of VR/AR for (children’s) books. Two observation studies were conducted focusing on the materiality and the narrative. The first study compares the materiality of physical pop-up books with that of virtual pop-up books. The second study is focused on the narrative engagement and interpretation of the story of the case study book. These insights form the input for the ideation and conceptualization phases. A creative session was hosted to generate ideas for new interactions with the virtual book that integrate materiality and narrative. The interactions and general flow of the virtual book were tested using different storyboards, ranging in fidelity from paper to interactive digital storyboards. A new approach to materiality in VR was created to combine the materiality of the artifact with that of the narrative. The insights of the different concepting rounds were incorporated into a final prototype. The final concept integrated the materiality and the narrative through special interactions called material touchpoints. The final concept was compared to the original book and the interactive storyboards and it met all the design goals.

Fluidic interfaces use liquids to sense, compute, and output a dynamic appearance or behavior in response to mechanical deformation inputs.
Integrating logic and user-actuated control mechanisms in the interfaces can, in the future, enable to achieve more complex dynamic behaviors for designing interactive artifacts that are entirely analog and fluidic driven, opening the space for more nuanced interactions to be envisioned and integrated into the artifacts.

Employing material jetting 3D printing as a manufacturing process, the project aims to expand the design space and computation & interaction possibilities of fluidic interfaces as programmable (meta-)materials, by expanding the possibilities of user-controlled interaction with the artifacts.

As final outcome, two prototypes with programmable dynamic appearance and tangible, user-actuated controls are developed, showcasing the capabilities of fluidic interfaces and the possibility of designing these artifacts for specific user-controlled experiences.
The potential future applications of fluidic interfaces are explored through the application of the Context Variation by Design methodology, and expert interviews, applying the Material Driven Design approach. This investigation lays the foundation for further research and practical implementations in the field of interaction design.
Through the exploration of logic implementation and tangible control mechanisms for 3D printed fluidic interfaces, this master thesis aims to generate valuable knowledge for the field of HCI (Human-Computer Interaction) and Digital Fabrication, highlighting the possibilities and challenges of integrating fluidic interfaces into future applications.
The project contributes to the ongoing research on meta-materials and Tangible (analog) User Interfaces in HCI in the hope of inspiring new research and design initiatives that can lead to the integration of this technology in people’s life.

Executive summary Visiting a museum is not only about the unique collection or the information available. Visiting a museum is about the visitor. Without them, what would be the point of putting a collection on display? Exhibitions are only as relevant as they are experienced to be. In line with this thought, the graduation project presented in this thesis centres on design for museum visitor experience enhancement. Specifically, the usefulness of digital technologies in allowing visitors to experience a museum in new valuable ways is focused on as an emerging key driver for museum experience design. A conceptual framework was proposed for (re-)designing museum exhibitions to expand the visitor experience, enabled by technological add-on features. The applicability of this guiding framework by exhibition designers in the field was illustrated with a proof of concept, developed for the case of a fictional museum exhibition on pre-Columbian adornment artefacts. These results were achieved through a design process consisting of phases of contextual research, practical research, development, evaluation and discussion. In the contextual research phase, the involved stakeholders were identified and described, and studies were conducted on the principles of museum experience, the potential uses for digital technologies in enhancement, the role of gamification in effectuating visitor participation in tech-enabled learning interactions, the state of the art of digital technologies considered for the development of add-on features, and finally the financial confines and dependencies to development typical for the museum sector. The practical research activities, these being an observational study in a museum and a generative session with museum visitors, served to validate prior findings and complement these with additional insights gathered. The proposed conceptual design framework and corresponding proof of concept would be developed through a bottom-up 'Research through Design' process, iteratively building upon knowledge acquired through progressive development. The proposed designs would be evaluated with the involvement of target stakeholders, contributing to further validation of the proposed designs as well as additional considerations for concept design processes. Further recommendations for development of the proposed designs and for exhibition design more generally, as well as the limitations of the study presented in the thesis, are presented as a follow-up. The project was concluded by stating the need for the proposed framework to be used by exhibition makers in real-life design settings in order to learn more about potential adjustments to the framework to better support exhibition design processes.

Royal Delft is the oldest manufacturer of delftware that is still producing Delft Blue using traditional techniques up to this day. At the core of their company lies the craftsmanship of producing delftware by hand, from creating the moulds to hand-painting each piece of Delft Blue. With a fast moving industry, Royal Delft needs to innovate constantly to keep their market presence. By modernising their designs and collaborating with external companies, they manage to create contemporary Delft Blue.

Apart from hand-painting and transfers, Royal Delft wanted to look for new possibilities to decorate delftware. Through a collaboration with TU Delft, a first prototype was made with a lot of potential, which let to this master thesis.

This thesis presents an improved design of a Delft Blue painting robot with a working demonstrator. This demonstrator is able to autonomously decorate tiles with different techniques, ranging from creating personalised anniversary tiles to gold lustering and painting large tableaus. The consistency of the painting robot is achieved by analysing the surface of each tile and adjusting the brush accordingly. The robot uses the traditional brush and paint as hand-painted delftware, meaning that the robot is able to change brushes and dip the paint automatically.

The benefit of this production method is the quick personalisation and cost efficiency compared to other production methods. As hand-painted products are easy to customise but very expensive, and transfer products require a large batch, robotic painting is a good alternative that is both easy to customise and affordable.


An attempt was made to expand the product range to 2.5D products, such as plates and dishes. After scanning the surface and writing the software to follow the surface, the results lacked consistency due to the accumulation of uncontrolled variables, making 2.5D painting not viable with this configuration.

Finally, a design was presented for implementing the robot into the Royal Delft production process. The concept was validated with a showcase product, a demonstration day in the museum and a discussion with the account managers of Royal Delft. The results were promising, and the robot could be a valuable addition to Royal Delft.

Fabricating custom-made ocular prostheses is currently a highly-skilled, labour-intense and non-reproducible process performed by an ocularist. Custom-fit prostheses are made from acrylic using a plaster mould, the iris is hand-painted, and veins are mimicked by adding red embroidery threads. Digital production techniques provide opportunities to improve and automate this process. Therefore, this graduation project aims to research a possible digital workflow, including data capturing and calibration, modelling and 3D printing, for producing 3D-printed full-colour ocular prosthetics. The workflow should capture and reproduce the eye’s appearance to create a life-like ocular prosthesis that resembles the patient’s facial appearance as closely as possible.

Research into manual and digital production techniques results in a proposed digital workflow showing how a prosthesis can be produced. The workflow consists of five phases: collect, design, produce, post-process and finalise and shows how the patient and the ocularist are involved.

Data capturing and calibration
The patient’s eye colour data needs to be captured and calibrated to ensure accurate colour reproduction of the eye. The images can be calibrated by applying a colour profile made from a colour target to correct the camera error. The capturing research showed that photographing is a suitable technique to collect colour data for accurate colour reproduction if the eye and the colour target are shot under a controlled light condition. Multiple calibrated iris images were printed and compared to the participant’s eye to review the capturing and calibration process.

Modelling
The modelling research showed that a parametric model based on a computational design template is a suitable solution for adjusting the prosthesis model to a personalised shape.
The template should automatically model the inner parts of the prosthesis based on the outer shape and important parameters, such as the iris and pupil diameter. The first steps towards creating this computational design template are shown in this report by modelling a parametric iris disk.

3D Printing
The full-colour 3D printing technology's capabilities were exploited to reproduce best the various features of a human eye, such as the sclera, blood vessels, pupil, cornea and iris. This investigation showed that mapping an eye image to the model does not always give the desired result and that different printing techniques are suitable for different eye parts. Alternative approaches, like contoning, sclera generator and ‘dotting’ and ‘varying line deepness’ techniques, are exploited and show promising results. However, a voxel-based printing technique is needed to combine and control these approaches, and current software lacks these possibilities.

Two experts and five users validated prostheses produced following the proposed digital workflow through an interview and by photographing them next to their eyes. All participants were impressed by the prosthesis and rated the total prosthesis as ‘sufficient’ or ‘good’. Nonetheless, it remains a challenge to reproduce the exact iris colour, structure and veins. A voxel-based printing technique is recommended to have more control over these various aspects. More research is needed to explore the possibilities for controlling colour on a voxel level and to model a complete voxel-based prosthesis. The comparison between the manual and digital workflow showed that 3D printing results in significant time savings since over four hours of manual work could be replaced by 3D printing. 3D printing ocular prostheses make the workflow reproducible and faster, which leads to more accessible and affordable prostheses in the future.

Cephalopods (e.g. squids, octopuses, cuttlefish) are able to actively adapt their appearance in terms of color, texture or transparency. The goal of this project is to mimic this ability with a simple and mechanical solution and apply this technology to a product or environment. This resulted in a pneumatic mechanism which folds open after actuation and thereby changes color. This mechanism was then applied to a wall panel which can be used to cover the inner or outer walls of buildings and thereby change the color of the facade or space.

Flavobacteria could become a sustainable alternative for the colouring industry by using them to grow colours on artefacts, as they are capable of creating dazzling structural colour. To contribute to this development, the temporal and iridescent appearance is characterized, captured and communicated within this graduation project. The appearance of naturally grown Flavobacteria on marine growth medium is characterized regarding its size, iridescence and dominant colour. This is done by capturing colonies of Flavobacteria every 8 hours of their lives from different angles. It turns out the surface area grows quadratically; the colony appears the brightest when looking at the retroreflection from a height of 45° degrees; the colony reaches its green colour with red edges within 24 hours. A setup is created to capture samples of Flavobacteria consistently and densely. To properly capture the temporal and iridescent appearance, the setup is automated and able to tilt and rotate the sample, as well as change the azimuth angle (i.e., the angle between the light and the camera). To create straightforward visualizations that communicate Flavobacteria’s unique appearance, an interactive webpage is created. This communication tool shows the captured sample and allows users to control the variables of the data (i.e., the tilt and rotation of the sample, the azimuth angle and the time). Besides communicating Flavobacteria’s appearance to designers and artists, the communication tool can be used during experiments regarding influences on the appearance. These experiments need to be conducted in the future for designers to be able to steer the appearance to grow colours on artefacts to our own liking. To easily draw conclusions from these experiments, a second version of the communication tool is created, showing two samples side by side. At the end of the project, design guidelines are formulated based on the characterization and experience of working with Flavobacteria, for designers that will integrate Flavobacteria’s structural colour. Finally, further research is recommended regarding the definition of properties, the communication and perception of Flavobacteria and the search for potential application areas.

All museum visitors should be able to go to any museum they like and observe the artworks they prefer. For
visually impaired people this is often not the case, even though museums have a social responsibility to make 
their collections accessible for everyone. Especially since the United Nations agreed on the rights of persons with disabilities to live independently and participate fully in
all aspects of life (2006). The process of creating a more inclusive cultural sector is well underway, but people with a visual impairment are often excluded from truly experiencing the art world. In my thesis I explored opportunities for Dutch museums to bridge this gap. The Netherlands counts 320.000 people with a visual impairment (in different forms). Having a visual impairment affects many aspects of life, ranging from practical to psychological and social problems. Being dependent on others is experienced as a key disadvantage. Visually impaired people want equal chances in what society provides to the public, including art. They like to be free in choosing when to go to a museum and what artworks to explore rather than depend on special museum tours and selected art to experience with multiple senses. They also like to explore art together with a companion; a sighted friend, family member or partner. They want a playful social interaction; they dislike experiencing art only through the eyes of their companion. The question is how to create an equal, balanced experience with a sighted person. In order to explore the value and richness of an artwork, visually impaired people put a strong emphasis on the use of multiple senses. Unlike visually impaired people, sighted people can explore artworks, as they prefer. I found inspiration for my design in two principles on how sighted people explore visual art: Visual Thinking Strategy (VTS, 2020) and a principle by Panofsky. VTS is a learning method to observe, listen and build on each other without judgment when looking at art. The Panofsky principle consists of 3 layers: 1. Gather visual information; 2. Apply meaning to what is observed; 3. Think about what is observed and seek to broaden the meaning. (Messham-Muir, 2014). Visually impaired people can receive pure visual information through observational techniques. Sighted people can learn from using other senses than just sight. Both get a deeper understanding by talking to each other, seeking the underlying meaning and building knowledge together. After my analysis, I designed and prototyped ideas. The most promising idea turned out to be a toolkit with guidelines and tools for multi-sensory experiences: describing, (tactile) drawing, enacting, talking and touching. I developed this idea into a concept design and tested it with the target audience. The playful and interactive tools create an equal museum experience for visually impaired people (different levels) and their sighted companion. The toolkit is designed in such a way that interaction leaves room for own imagination and interpretation about the artwork. Visually impaired and sighted visitors will discover equally interesting information. It helps them to interact socially, start dialogue and exchange thoughts about artworks. The toolkit can be used independently at any time, at any museum and for any type of artwork.

This is the reporting of the master graduation assignment of Hester de Bliek, Design for Interaction, Industrial Design Engineering, TU Delft. The main goal of the assignment was to make visual art accessible to people with a visual impairment. This assignment arose from the PhD research of W.S. Elkhuizen about 3D printing and Fine Art Reproduction, in association with the Rijksmuseum, who are looking for ways to make the museum more accessible.

This report is constructed in three phases: Analysis of the user and the context, Ideation from the design brief towards the concept and Demonstration, where the concept is detailed and tested.

Analysis
The first part of the analysis covers the basic characteristics of the usergroup. Besides, the museum context is explored in order to understand why people visit museums in general, what is important for such visits and which experiences take place.
Then, the relation between the visually impaired visitor and the museum is researched through literature and in practice. Accessibility of art for visually impaired is covered based on the five different senses, from which audio and touch seem most relevant.
This lead to the design goal of making the image, story and expression of paintings intuitively accessible for both blind and ill sighted visitors during an independent museum visit.
The scope is defined, just as the requirements that the final concept should meet and the intended interactions in the interaction vision of unpackaging gifts.

Ideation
From this design goal, the ideation process is started, with help from several visitor scenarios. By doing a creative session with visually impaired and individual brainstorm sessions with multiple input sources, ideas are generated.
These ideas are evaluated and downsized in number, then assessed through PMI (Plus Minus Interesting) and clustered to create a morphological chart. By taking ideas from the different layers in this chart and merging them together, three concepts arose: ‘Take your Technique’, ‘Exploration Table’ and ‘Splitting the Art’. These are worked out into a design sketches and storyboards.

The three concepts are assessed by two experts from the field of visually impaired and two experts of the Rijksmuseum. This resulted into valuable feedback with strong and weak points per concept. On the basis of this feedback, the three concepts are revised and a fourth concept, ‘Portable Exploration Table‘ is created. All of them are assessed through a Harris profile based on the requirements and through the Interaction Vision. Eventually, a decision was made and the ‘Portable Exploration Table‘ was chosen which contains a relief of the artwork, an audio guide and several layers with specific information.
This concept is iterated upon to find the best way to guide someone through an artwork without human interference. Eventually this is done with use of vibration.

Demonstration
This last chapter explains the final concept in detail. Generally, the concept exists out of two main aspects: a basic relief to understand form and composition and layers on top of this to clarify other aspects of the work like materiality or lighting. The worked out prototype focusses on the first part.

The prototype guides people through the artwork in an independent way. It exists out of a relief of the artwork from which several parts can vibrate in order to guide and give feedback. It is accompanied auditory by narration. The vibration mechanism is explored both theoretically and practically through research and prototyping simultaneously. The relief is created through a heightmap. Last, the (background of) the guidelines for the accompanying story are outlined and the story is created . In between the story, complementary sounds are added, like bread and milk.

The prototype was tested by six participants with a visual impairment within the Rijksmuseum. The overall feedback was positive, participants expressed their with to extend this concept to other artwork as well. The possibility of touching is desired although the relief can be strengthened. The vibration was received well and it’s intended use understood. The narration was clear for most participants. It could use a rewind option. The intermediate sounds were received positive as well, for they added to the atmosphere. Scent was mentioned here as well.

In conclusion, the design goal was met fairly well, which is explained thoroughly, and the concept definitely has potential. The recommendations outline further detailing and testing upon the current prototype and the possibility of adding layers on top of the relief. Also the placement and accessibility within museums should be considered well.

In order to attract a broader audience and encourage the user group to buy artworks after visiting a gallery, this project aims to create a new gallery concept combining the physical and the virtual dimension. The main objective of this master thesis is to use virtual reality to enhance the current art experience and encourage their purchases, designing intuitive interactions between the viewer and the virtual art gallery. The project started with researching from three aspects, including human, technology and business, to explore the current situation of the galleries and customers, as well as the possible design opportunities. The result showed there were mainly two reasons why more galleries closed because of few customers in recent years. On the one hand, current galleries often couldn’t attract customers to view around for a long time. On the other hand, novice customers don’t have an easy and friendly way to purchase artworks. Therefore, it requires the design to find a proper way to help the small art businesses adopt a more modern way of selling artworks, and attract younger customers. The desired user experience focusing on three key elements (approachable, emotions, purchase) is determined after analyzing.
During the conceptualization, three concepts focusing on three key elements were developed by conducting co-creation sessions. User evaluation was conducted using paper prototyping to test certain features and people’s likelihood of use. Six key elements that should be included in the final concept was concluded from the evaluation. By conducting the prototyping process, four steps of building a virtual gallery were found, and the process is able to be used as a guideline for researchers or designers who want to develop a virtual gallery. In order to find a relatively better interaction for certain functions, two gallery concepts were created to compare the interactions. In the last evaluation phase, the design concepts were tested with potential users to get critical feedback and suggestion. The recommendations and limitations were discussions as well in the end.