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EXDE

an experience design notebook

Tag: family experience

July 1, 2015February 17, 2019

respond and explore

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April 1, 2015February 17, 2019

wonder wall

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January 7, 2015February 17, 2019

exploring complex subject matter

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November 5, 2014February 17, 2019

expanding practice: kinetic response

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September 3, 2014February 17, 2019

expanding practice: family event

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July 2, 2014February 17, 2019

basic elements: Touch It / Find It

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I’m Nicole Leaper, an experience design lover, design researcher/strategist, and Experience Design Director intrigued by the emotional experiences created when humans interact with information. My background is in communication, visual design, and time-based art. I hold an interdisciplinary master of science degree in information theory, information design, and business strategy, with a personal focus on user experience design for arts and learning environments.

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@bullseye__studio collaborates with artists, architects, and designers from around the world to fabricate art glass for the built environment, including architectural, landscape, and product designs; public art projects; and art installations. World-renowned for kilnforming expertise and custom color capabilities, the Studio needed a highly visual web site to show their work to an audience with a range of interests and needs. As an added requirement, @bullseyeglass was beginning a web site overhaul for the mix of sites across the organization, and needed a universal navigation system and universal style guide. The resulting information architecture for the Studio site is flexible and adaptable enough to account for a growing portfolio of diverse projects, while offering a variety of ways to discover content. We focused on both findability and discoverability, encouraging visitors to move freely through the content visually, using industry terms, or through desirable associations. We were lucky to have a strong internal team, including subject matter expertise, branding, technology design, and content creation, all working in concert with the fine folks at Zeek Interactive. My roles included information architecture, art direction, brand direction, UX consulting, universal navigation co-design, universal style guide co-design, and content creation workflow design. Design and content team: Dawndae HK Hamilton (Studio Development Manager) @_behind_the_glass_, Nicole Leaper (Experience Design Director), Chris Petrauskas (Multimedia Developer) @chrispetrauskas, Enrique Fuentes Lungo (Graphic Designer), Hanmi Meyer (Photography) @h2meyer, Lisa Wood (Marketing and Communications), Blake Peterson (Communication Coordinator) @blakep83, and Zeek Interactive #artdirection #branddesign #branddirection #contentcreation #experiencedesign #informationarchitecture #informationdesign #interactiondesign #interactivity #navigation #usability #ux #uxdesign #workflowdesign #zeekinteractive

Salt Lake City, Utah, 2010 #placemaking #wayfinding #exploreandrespond #selfdirectedlearning #ux #xd

A self-directed “find it” sheet encourages visitors to search and discover an exhibition, asking them to look deeper into content, material, and process. Designed with families in mind, they allow the participating adult(s) to ask questions and make connections along with young people. Cassandra Straubing: Poetic Ghost Bullseye Projects, Portland, Oregon, 2014 In her previous work, Cassandra Straubing tackled the stories of labor by casting work clothing in glass. Neatly folded worn jeans or heavy work shirts draped over chairs are transformed from rough fabrics to transparent glass. Often accompanied by narrative titles, this transformation immortalizes the banal object and they become placeholders for the stories of migrant labor, mining, or masonry. “Glass displays ghostly reminiscences, representing a personal history or memory left behind,” says Straubing. #finditsheet #familymuseum #kidsingalleries #interactives #visitorresponse #museumlearning #exploreandrespond #museumedu #selfdirectedlearning Design team: Michael Endo (Curator), Nicole Leaper (Senior Communication Designer), Kristen Pilgrim (Education)

Inviting visitors to use kinetic response offers a physical way to respond to the artwork and a way to process form and meaning in parallel with but outside of the intellect. It’s also fun, and a wonderful way to break the ice in a group setting. Cassandra Straubing: Poetic Ghost Bullseye Projects, Portland, Oregon, 2014 In her previous work, Cassandra Straubing tackled the stories of labor by casting work clothing in glass. Neatly folded worn jeans or heavy work shirts draped over chairs are transformed from rough fabrics to transparent glass. Often accompanied by narrative titles, this transformation immortalizes the banal object and they become placeholders for the stories of migrant labor, mining, or masonry. “Glass displays ghostly reminiscences, representing a personal history or memory left behind,” says Straubing. #interactives #visitorresponse #museumlearning #exploreandrespond #museumedu #kineticresponse Design team: Michael Endo (Curator), Nicole Leaper (Senior Communication Designer), Kristen Pilgrim (Education)

The “touching table” encourages visitors to explore an artist’s process and materials in a physical way. People love to touch things! A material perceived as fragile or dangerous becomes accessible when there is a place to handle it safely. Seeing samples from various stages of the artist’s process breaks down barriers and invites questions. Especially in a fine art environment where visitors can be intimidated, “please touch” is a welcome invitation. Emily Nachison: The Realm of Quantifiable Truths Bullseye Projects, Portland, Oregon, 2014 #pleasetouchtheart #tactileart #tactileplay #interactives #visitorresponse #museumlearning #exploreandrespond #museumedu Design team: Michael Endo (Curator), Nicole Leaper (Senior Communication Designer)

The “touching table” encourages visitors to explore an artist’s process and materials in a physical way. People love to touch things! A material perceived as fragile or dangerous becomes accessible when there is a place to handle it safely. Seeing samples from various stages of the artist’s process breaks down barriers and invites questions. Especially in a fine art environment where visitors can be intimidated, “please touch” is a welcome invitation. Charissa Brock + Martha Pfanschmidt: Of Earth and Sky Bullseye Projects, Portland, Oregon, 2014 Charissa Brock and Martha Pfanschmidt present two perspectives on the natural world through kilnformed glass paintings and mixed-media sculpture. “Many times in my life,” says Brock, “I have come upon an artifact, plant, animal or insect that has a questionable purpose, origin or meaning. It is a guessing game, where narrative is imagined and meaning is constructed.” Using strips of heat-treated bamboo and kilnformed glass, Brock develops systems for creating intricate structures. In 2004, Martha Pfanschmidt began translating her layered print work into kilnformed glass and it has taken on its own vocabulary. Like her work on paper, Pfanschmidt’s glass paintings draw inspiration from nature. #pleasetouchtheart #tactileart #tactileplay #interactives #visitorresponse #museumlearning #exploreandrespond #museumedu Design team: Michael Endo (Curator), Nicole Leaper (Senior Communication Designer)

affect architecture authenticity brand design brand participants cognition context Cottrell House creativity CRISP-DM data mining design for living design research design thinking didactic digital privacy engagement ethnography experience design experiential learning family experience flowchart holistic marketing identity design information architecture information design interaction design interactive experiences interactivity John Yeon me narrative participatory design PICA Portland product design self-directed learning self concepts social media design TBA:09 time-based art touching table usability user experience design visitor response visual design visual process flow Visual Thinking Strategies visual workflow whitepaper

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