Conference Agenda

This article examines an Indigenous-led exhibition renewal at the Sámi Museum Siida, in which multisensory design and digital media were collaboratively developed with Sámi artists and museum experts. The exhibition was created primarily for the Sámi community, in a museum that also receives many international visitors. The study is based on a survey (n=35) and three focus groups (n=9) with participants representing diverse visitor perspectives to understand how people experienced and interpreted the exhibition’s sensory and technological elements. The results demonstrate that the exhibition created a sense of immersion through spatial and multisensory design grounded in local artistic and cultural practices. The analysis explores how collaboration among designers, artists, and museum professionals can support inclusive and culturally grounded approaches to digital transformation in heritage contexts. The findings offer insights for future museum practices that incorporate digital and sensory design through collaboration with Indigenous communities.

Abstract: As digital technology becomes an integral part of museum services and strategies, visitor experiences have evolved from physical to phygital experiences. Phygital emphasizes the fusion of digital and physical environments, constructing complex emotional scenarios that bridge those realms across different exhibition phases—from entry and immersion to extended experiences—thus distinguishing itself from traditional, object-led historical museums. This scoping review employs a hybrid deductive-inductive coding method to analyse 54 publications from databases including WOS, IEEE Xplore, Scopus, PubMed, and PsycInfo. It proposes a DES emotional experience framework for historical museums and identifies corresponding technological interventions and design directions. The study advocates for the creation of more inclusive, equitable, and enjoyable cultural experiences in future historical museums.

In biennales and world expos, where creative ideas, cultural values, and technological developments in art and architecture are exhibited, kinetic systems are increasingly used in installations and pavilions. This paper frames kinetic structures in relation to embodied aesthetics and investigates how such kinetic structures go beyond mere display to offer visitors a holistic aesthetic experience. It introduces a selection of kinetic structures presented in diverse biennales and expos by utilizing publications, commentaries, and curatorial statements; deconstructs and analyzes their designs regarding types of movement, body-space-time relations, participation modes, embodied metaphors, and conceptual narratives. Thus, the paper shows how kinetic structures designed with a somaesthetic sensitivity expand architectural aesthetics from visual appreciation to bodily experience. Overall, it proposes a framework for investigating kinetic exhibition designs in line with the approaches defined in the literature.

The cross-cutting introduction of digital technologies into museum infrastructure activates a process of reinterpretation of digital languages within the museum narrative framework. From this perspective, the spread of phygital phenomena, such as contextual interaction between physical and digital worlds, is recontextualised within the field of cultural heritage and museums, revealing narrative and experiential potential in the capacity to express the evocative component of the spaces and artworks on display, through digital and interactive abilities. The contamination between physical space and digital layer is constructed starting from the stories to be told, orchestrated by the body gestures of visitors. The paper presents a taxonomy of phygital experiences, conceived as analytical tool to guide the relationships between digital level, spatial context, and visitors. This taxonomy offers a perspective for the theoretical and applied investigation of phygital narratives within the museum, describing the design characteristics and extrapolating orientation for future research.

As digital interactive technologies evolve, visitors have higher expectations for narrative experiences in revolutionary history museums. This study uses the three stages of flow theory—conditions, experience, and effects—as a starting point, integrating user experience design with narrative communication theory. A mixed research approach is employed to explore how digital interaction design can trigger user flow states and enhance immersion. By transforming passive observation into actively engaging flow experiences, we focus on three dimensions: the operability of hardware interaction, the guidance of software interfaces, and the immersion of content narratives. An integrated immersive interaction design model, termed “Three-Dimensional - Four-Stage,” is constructed for museums. Design practices are conducted, and the model's feasibility is validated through System Usability Scale (SUS) and User Experience Questionnaire (UEQ) testing. This provides a design methodology reference and practical paradigm based on flow theory for enhancing digital experiences in revolutionary history museums.