A Rant About Wayfinding . . . or the Lack Thereof

Wayfinding is important.  Let me say that again.  Wayfinding – you know, the signs, floor plans, and the other stuff that tell visitors where to find things – it’s important.

Recently, my husband, Jeremy, and I visited a museum that had undergone a major building project in the past 10 years.  The wayfinding was abysmal.

First, the entrance lobby.  It was an impressive space.  But nothing told us where to go for tickets.  There were some people sitting at tables, but no sign that said “tickets” or “admissions.”  We had to guess. 

With tickets finally in hand, we passed through security and entered the museum.  While we were interested in the museum overall, there was one special exhibition in particular we wanted to see.  The floor plan provided noted where all the temporary gallery spaces were . . . but no mention of what the temporary exhibitions were, or where to find them.  Now I have no problem with a museum saving money by not changing their printed floor plans every time there is a new exhibition, so long as there is good signage or an insert that says where the temporary exhibitions are located.  In this case, however, we were provided neither. 

So we asked, and were told the exhibition was on the second floor.  We went up a floor and stood looking at the floor plan . . .  and still had no idea how to get to the exhibition.  Jeremy works in affordable housing and reads floor plans every day.  I am no slouch in this department either.  The printed floorplan seemed to have no relation to the reality in the building.  And signage?  Once again, forget about it. 

We eventually stumbled across the exhibition, which had some really, really cool objects in it.  But no coherent storyline telling us why all of it was important. 

Both of us became so frustrated that after visiting the exhibition, despite being interested in the rest of the museum’s contents, we decided to leave.  Walking out, Jeremy said “thank goodness we didn’t pay for these tickets . . . I would have been mad.”

I don’t think this museum means to make its visitors mad.  Or even frustrate them.  I just think they don’t care enough about their visitors to make the visit enjoyable.  And that may be even worse. 

Have you had a terrible wayfinding experience somewhere?  What made it so frustrating?  What would have made it easier?  To share, simply click on “comments” below.  (If you are reading this from your e-mail subscription to the blog, please go to our blog's website to add a comment.)

- Susie

Comments

[Larry Fisher]

Susie -

I cannot agree with you more on this subject so I suppose I will share in your rant. First, I've had so many frustrating wayfinding experiences I could not begin to tell you about even a fraction of them. However what struck a chord with me is that I came into the museum design field, in part, as a result of working in the environmental graphic design profession. I entered the environmental graphic design and wayfinding world (back then we still called it the "sign business") working with EGD pioneers such as Paul VanOstrand, Jack Biesek, and John Follis. While with Vomar Products and Turner Design I worked on wayfinding systems for airports, hospitals, universities, mass transit, convention centers, national parks, theme parks, and yes - even museums.

Later, I became a designer and project administrator of environmental graphic design for Walt Disney Imagineering, the elite "think tank" responsible for the creation of Disney's theme parks and other experiences worldwide. While at WDI I realized the power and potential of wayfinding and well executed environmental graphics to not only direct a guest's movements, but to significantly enhance the quality and impact of the guest's experience. That is because wayfinding is a part of the graphic environment in which we live, work, and play every day. The graphic systems and vocabulary in those environments does more than direct or inform, it can tell a story, create a mood, suspend disbelief, and much much more.

Like you and your husband, I found museums, parks, zoos, and aquariums to be some of the worst examples of institutions that simply didn't care enough about their guests to provide a decent wayfinding system or graphic environment as part of their overall experience. Yet, on numerous occasions I've encountered museum professionals who continue to be bewildered when their audiences "don't get the exhibit" - That's because many museum professionals whether curators, interpretive planners, exhibit designers, museum educators, etc. are lousy storytellers and the museum culture in many cases continues to develop experiences that are not guest-focused.

Recognizing this "failure to communicate" I left WDI to work with museums to craft better, guest-focused, experiences that are effective at telling the amazing stories that can only be told within the context of these amazing places and with the aid and authenticity of their collections. Unfortunately, I think many museum's forget that they exist to immerse their guests into the life and stories of the extraordinary people and events that came before us, not to be warehouses of inaccessible content and collections.

You suggested sharing an experience. I've had one experience occur multiple times, like a recurring nightmare. Over the past twenty years I've heard numerous museum staffers make a comment that is generally like this, "You know, our jobs would be a lot easier if we didn't have visitors." The culture that produces these kinds of observations is at the very root of this wayfinding problem.

However, to be fair (and your floor plan example illustrates this) the wayfinding challenge doesn't always originate within the museum institution - nope, it also stems from one of our other revered institutions, the practice of architecture. Like my previous example, I've also encountered architects who will readily abandon a guest-friendly approach to a design in favor of their aesthetic ideal. Now I'm not knocking our friends in their architectural studios, but the process of programming museums and their guest experience often occurs without consultation with those who ultimately are responsible for the exhibitions, the wayfinding, or the overall experience of the museum visit - a deadly disconnect that results in architectural dead-ends, cul-de-sacs, roundabouts, and endless trips to the fire stairs as an alternate route.

You may have noticed I use the word 'guest' when I refer to those wonderful, generous people who visit museums. There is a reason - Ben Franklin said, "Fish and Visitors smell in three days." Ben was likening an unwanted visitor to a bad fish. When we refer to a 'guest' it is because we want them to have the most enjoyable experience possible, after all they are "our guest" not "the visitor" - The tax assessor 'visits' your house; you 'visit' the Doctor's office (usually not an enjoyable experience), a visitor is often uninvited and not necessarily welcome - a guest is. Simply put, a guest is a visitor to whom hospitality is extended. An essential part of that hospitality in museums is fantastic environmental graphics and an effective wayfinding system.

Now where's the egress?...

Larry Fisher is a consulting planner, designer, and imagineer whose work covers a broad array of museums and other compelling places. Among other places Larry can be found on LinkedIn or at: http://www.behance.net/lawrencefisher

[Ellen Rosenthal]

People in all walks of life exhibit the traits described by the "Theory of Mind", a theory usually associated with people on the autism spectrum. It explains (or I should say, I think it explains as I am by no means an expert) that autistic spectrum people believe that whatever they are thinking other people must understand. Museum people sometimes seem particularly afflicted, but perhaps that is because many people go into museum work because they love art, objects, history, dinosaurs, etc., not communication. Or perhaps it is because museums have been funding/donor driven rather than visitor driven. This is not to say that museums can't learn to see through outsiders' eyes. Reach advisors has done an admirable job of bringing into focus the world from the visitors' perspective.
I'm curious to know who is responsible for wayfinding in most museums. It sometimes falls between the cracks.

[Erin]

We knowingly print museum maps that quickly become incorrect when temporary exhibits change. Printing the huge quantity is cheaper per sheet than smaller runs of correct maps. It's atrocious. But we don't even have enough money for exhibits. Getting the director to focus on wayfinding? Impossible.

[Kris]

We recently visited the RISD Museum in Providence and were surprised at the lack of coherent wayfinding aides. The map was difficult to decipher (once we found one) and there is very little directional signage. The building has grown over the last century to encompass a few historic structures as well as major 21st century additions, and feels very cobbled together architecturally. Decent wayfinding could play a major part in unifying an otherwise confusing layout, but unfortunately we left feeling extremely frustrated. Even a "you are here" map at the elevators or in any of the large stairway landings would have been a tremendous help.

[Hanan Cohen]

At the Bloomfield Science Museum, Jerusalem we are currently re-designing our map and signage.

Contrary to the request in your blog post, I would love to get pointers to GOOD examples of floor plan maps.

Thanks.

[Elizabeth Merritt]

I visited a university art museum once with a friend. There were no signs about tickets or admission fees, and no one seemed to be paying attention to us, so we went on in to the galleries. Later, we asked a volunteer at the front desk about restrooms, and she got very upset we were not wearing "the button." Turns out there was an admission fee, they just had no signage about it! "The guards should have caught you" she complained "but they were laid off due to budget cuts." Well, that would have been ok then!

On the other hand, at another university art museum, I wandered into an exhibit through the back door, and had a delightful time deciphering what it was about. An installation of memorabilia, correspondence, pictures, etc assembled to resemble a Victorian parlor, it told (without words) the story of the University's founder. I enjoyed it immensely, especially the intellectual engagement of figuring out the "secret" text for myself. Then I exited via the front, and found the massive explanatory wall text that would have spoiled the whole experience, had I read it going in...

[Matthew Strumpf]

I have just returned from a three week vacation doing what we all like to do, visiting museums. I found that most of the museums we visited had very good maps, but maybe that is just because I like maps and building design. Some dealt with some complexities of ramps blending floors (Corning Glass Museum and the Cincinnati Museum Center [in which you would need to be a spelunker to properly follow what floor you were on.]) and some with construction (Cleveland Museum of Art) but all at least tried and nothing was better then having a person there to help guide you.
What I also found very nice was being given a schedule of today's programs. Not a chart of potential programs this month that I then had to calculate, but what is happening today, while I am here.

[Jenniefer Gadsby]

I have just stumbled across this post on a rather desperate (and unfruitful) search for information and guidance on creating an effective map in museums and tourist attractions. I work at a museum in the south of England that is spread across a large site, displaying some fantastic archaeological remains, with a variety of indoor and outdoor facilities. Many of these are missed by our currently aimlessly wondering visitors. We have recently done lots of consultation with our visitors and we see not only the frustration it causes when they miss key facilitates but more urgently the impact this can have on their understanding of the archaeological remains.

So now we recognise the need for a map but are keen it is more than just a well designed floor plan simply showing what we have and where it is! We want something that truly enhances our visitors experience and ensures they get the most of their day, including understanding the archaeological remains and helping them visualise the site in the past. Yet we are at a loss on how to ensure we create a great brief for any proposing designers and ensure what we end up with delivers everything we want and need it to be!

If anyone does have any tips/ advise/ resources/ guidance/ experience or any other such wise words of wisdom to help us on this journey then please share: jgadsby@bmth.ac.uk