Documente Academic
Documente Profesional
Documente Cultură
By
Murathan Biliktü & İhsan Oruç
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Project Odyssey
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Table of Content
Introduction 8
Comparative Research 12
Target Audience 16
Design Methodology 19
Branding 48
Posters 50
User Interface 72
Concluson 82
References 83
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Project Odyssey
Duo de Camus
Biliktü &
Oruç
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Introduction
Theme: Project Odyssey, aims to develop an application that primarily
focuses on providing guidance to users, researchers and visitors throughout
their visit to museums and historical places under the Ministry of Culture.
Application will include the works that are categorized according to their
subjects and contents, thus provide a guidance to the user.
Initially, it is expected to build a prototype according to the list acquired
from the Ministry of Culture1 which consist of the top ten most visited
museums and archeological sites in Turkey.
Introduction 9
Visitor
1. Visitors can purchase Müzekart and tickets by using mobile appli-
cation, this way entrance to the museum would be seamless.
4. User could use the plan of museums and could find the works that
they desire to see by using the application.
Museum
1. This project integrates Müzekart and ticket sales into the appli-
cation, this will reduce printing costs and ensures the simultaneous
collection of statistical data, thereby aiming to gather more healthy
data.
Comparative
Research
Various applications that are designed to promote and en-
courage users to visit museums and galleries are available in
Turkey and worldwide application markets. Some of these
applications are listed below with details, and the following
examples are compared with Project Odyssey.
Müze Asist
(Turkey - iOS/Android- Kodar Bilişim)
Museum Guides
( Europe - iOS/Android Museum Guides Ltd.)
4 Paris Museums Bundle(Louvre, d’Orsay, Orangerie & The Water
Lilies, Rodin Museum), London Museums Bundle(British Museum,
National Gallery, Natural History), Berlin Museums Bundle(Per-
gamon, Alte National Gallery, Neues) 5, The applications offered
separately. However, they all have the following contents.
Saatchi Art
(UK- iOS - Saatchi Art)
Target
Audience
According to Neil & Philip Kotler’s Museum Strategy and
Marketing: “Museum audiences are varied. They include
people who just wander in and people whose visits are
planned in advance.” Anyone who visits museums and
can reach the internet on mobile is the target audience
of the project. However, the experts who wrote about the
personalization of the exhibitions in the museums (David
Dean, John H. Falk) have classified the visitors according
to the classification systems they have created and the
most suitable profiles for the target group of the project
are mentioned below:
- Professionals: Visits typically have the desire to fulfill a specific purpose for
the content.
Our Takeaway
Researchers (Professionals and Visitors for study purposes): Maintaining the
statistical data kept simultaneously is one of the most important elements that
will help the researchers. On the other hand, the high resolution of the visuals of
the museums in the application and the access to the texts from the application is
another important element.
Expected Result
As a result of the completion of the literature survey and prototype in line with
the objectives of the project, the expected outcome of the project is as follows:
Museums and Visitors: The three main topics of the interactive experience mo-
del; personal, social and physical, which are lacking in the museum experience
are contributed to museums by the project, by using a mobile platform.
How do we do it?
Design
Methodology
Medium: Mobile application and web platform
According to a survey made by the We Are Social agency says the num-
ber of access to the Internet in Turkey is 54.3 million. The number of
users who have access to the internet as mobile is 51.5 million.
Method: This project is planned to complete the design and prototype phase
within 3 months and prepare for the software stage. These stages are prepared
according to Design Sprint and Design Thinking principles used by many large
companies.
1. Understanding Phase: Identifying the users and finding their needs, Basics of
sub- text, Competitor comparison, Strategy development.
2. Deviation Stage: The foundations of the design process through the strategy.
5. Verification Phase: Preparing the finalized design ideas to the software stage
and ending the reporting.
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Expected Result
To expand upon deviation stage, a design sprint has been conducted. Sprint tasks are
listed below;
Deadlines:
● First Sprint: 13-14-15 March
● Second Sprint: 19-20-21-22 March
● Third Sprint: 25 March - 10 April
● Evaluation phase: End of April to May 2nd
First Sprint:
● Outline the project’s essential deliverables
● Diminish the vagueness by focusing on the essential elements
● Understand the user by emphatical approaches and exercises
● Plan out the sketches and continue to apply the iterative emphatical approaches
● Create a wireframe
Second Sprint:
● To test out the initial wireframe write a simple story
● Create a storyboard for the wireframe
● Iterate these processes to find out new possibilities to the solution that we are
offering.
● Visit a museum to conduct a research which will allow us to clear out the obstacles
on our path
Third Sprint:
● Conduct interviews with possible personas from the target audiences specified on the
proposal paper.
● Discover the new possibilities or confirm the available design choices.
● If everything goes right complete the sprint and move to the design building phase, if
not repeat the crucial steps of the sprint.
Techniques
● How Might We: How: assumes opportunities exist. Might: says we don’t have to find
something. We: is all about doing this together
Expected Result 21
Elevation: To indicate elevation Odyssey Design System uses shadows. Shadows are
available if there is a need to differentiate an important element from the rest of the
elements. For example you can see elevations on alerts and important elements such as
a “most popular tour package” to draw attention.
Iconography: We takes the approach of using recognizable, functional icons that don’t
have customized, distinguishing characteristics or ornament. By not giving their icons
branding or distinct style, they can be paired with any content of any tone and not
conflict with that content’s style.
Color Palette: Colors are a crucial part of the system. The Primary color is a tone of
white and it has been inspired by the materials of the ancient statues.
The now colorless statues are supporting the idea of perfection and reminds us a saying
by Dieter Rams “ Less is more”.
Secondary color is especially selected for its similarity of the Turkish flag color. Also it
automatically pops out and indicates the important actions that users should interact
with.
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Typography: A modern and geometrical sans serif font had to be selected in order to
make the content more readable and, aesthetically undisturbing and pleasing.
Home Page: Home page contains relevant informations that the user might need and
some featured contents that the museums want to promote.
Branding: ‘Müzeler’ logotype at the top left is concidered as the starting point for the
eye tracking movement. Müzeler uses a standard navigation bar to navigate through
the whole app.
Featured Brief Section: With the feautured brief section users can explore more about
the cities they are interested or have a plan based on that city. This section also allows
users to interact with the cities in a much more familiar way.
Home page also has specially selected events and collection recommendations based
on the users’ usage of the app.
Design Methodology 27
The personalisation the most important aspect of the application. ‘Based on topics you’ve engaged.
Explore an Artifact: This section is thought to bring more interest to the selected artifact by the
curators of Müzeler app. By using this section users can interact with an artifact more, because
of the video explanation that it has. Based on Your Plans: Based on your plans is a simple caution
alert for the user’s upcoming travel plans. It shows the weather and and some other details for
the cities that are in those plans.
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Typography: A modern and geometrical sans serif font had to be selected in order to
make the content more readable and, aesthetically undisturbing and pleasing.
Home Page: Home page contains relevant informations that the user might need and
some featured contents that the museums want to promote.
Branding: ‘Müzeler’ logotype at the top left is concidered as the starting point for the
eye tracking movement. Müzeler uses a standard navigation bar to navigate through
the whole app.
Featured Brief Section: With the feautured brief section users can explore more about
the cities they are interested or have a plan based on that city. This section also allows
users to interact with the cities in a much more familiar way.
Home page also has specially selected events and collection recommendations based
on the users’ usage of the app.
The generated travel plan is shown like this and it shows the date, map of the destinati-
ons and a list of the destinations that can be edited whenever user wants to edit.
Design Methodology 29
Müzekart Ads: Müzekart is a crucial part of the marketing strategy that Ministry of
Culture in Turkey and Müzeler app is well aware of that. When the users decide to
purchase the tour plan they will be presented with a simple advertisement for Mü-
zekart ,which occupies the %25 of the screen, is the direct focus. After purchasing
the plan the user can start their plan via the plan profile page designed to show the
essential informations for the tour.
Müzekart Ads: Müzekart is a crucial part of the marketing strategy that Ministry of
Culture in Turkey and Müzeler app is well aware of that. When the users decide to
purchase the tour plan they will be presented with a simple advertisement for Mü-
zekart ,which occupies the %25 of the screen, is the direct focus. After purchasing
the plan the user can start their plan via the plan profile page designed to show the
essential informations for the tour.
1: Remaining Time indicator. 2: Museum Slider
Tour Page: Tour page is the main hub for the user. This page is designed to help user to
not lose their flow and not to drown in useless and unrelated information. Architecture
of this page is; name of the plan, a museum slider that indicates which museums they
are in and information about the other museums that they are going to visit.
A museum information card with a map and a brief information about the museum.
Museum’s collections and artifacts based on the user’s interests that they indicated at
the creation of the plan.
After Starting the tour if a user visits a page out of the tour plan page they will be pre-
sented with a timer that shows the remaining time until the next museum. This is de-
signed to remind the user that they have to be more careful with the time management.
Filtering the Content: With the usage of the filter button next to the search input box,
users can filter out the unwanted informations they might not need. This section con-
sists of “location, topic, collection, artifact, period, event” filtration selections.
Design Methodology 31
Audio Guide on Demand: If the user wants to listen an audio guide with an artifact
number they can use the red button that is floating on the bottom right corner of the
screen and open a drawer panel that allows them to type in any artifact number and
plays the audio guide.
Search Results: The results of the keyword searched are related topics, artifacts, events
and collections. These results may change according to the keyword’s character.(e.g. If
the keyword is a city it may not show artifacts but events that are upcoming instead.)
Profile Page: This page consists of user’s Müzekart, last tours, collections that they fol-
low and they created. Users can find personal options about their profiles here.
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Müzekart: Clicking on the Müzekart card will direct user to the Müzekart information
and upgrade options page.
Settings: Settings have to options; General Settings and history. History: It consists of
Previous plans visited places and previous events.
My Events and Collections: They show the events and collections that user is following
and the collections that user created.
Design Methodology 33
Müzekart: It is consists of the information of user’s Müzekart and has an upgrade but-
ton if the user wants to upgrade their Müzekart plan.
General Settings: Every setting option that user will need is here. Privacy is our main
concern since Müzeler app collects data to improve the analysis reports that the Mu-
seums will need, that is why there is a privacy settings option into the Müzeler app.
Other Profile Pages: Other Profile Pages such as Artifact, City, Museum, Topic and Col-
lection has a similar architecture. They are focused on the content and giving informa-
tion to the user.
Artifact Profile Page: It has a zoomable image at top. It has information about the artifa-
ct and a audio guide player specially for the artifact and an add to collection button.
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Museum Profile Page: It has an image of the museum at top and map for viewing the
location on Google Maps and an indoor sketch. Clock indicator beneath the title shows
the time of the opening of the Museum. This page also contains artifacts , collections
and events that are in that museum.
Collection Profile Page: It has a follow button on the top right. A brief information is
shown on a card. The creator name is shown benath it and all the artifacts are shown
with a slider design.
Findings and Discussions 35
What we found?
Findings &
Discussions
Museum Experience: “Museums offer experiences, ideas, and satisfactions not
found in other places. These derive from authentic objects of nature, history,
science, and the arts that museums collect and display; the sensory experien-
ces with three-dimensional objects that museums present and interpret; and
research, scholarship, and interpretation that support museum collections and
exhibitions.”
The Social Context: “Visits to museums occur within a social context. Most
people visit museums in a group, and those who visit alone in variable come
into contact with other visitors and museum staff. Every visitors’ perspective is
strongly influenced by social context.”
The Physical Context: “The museum is a physical setting that visitors, usual-
ly freely, choose to enter. The physical context includes the architectural and
“feel” of the building, as well as the objects and artifacts contained within.”
Thirty-six works for four museums and three 360-degree images for the ruins were
chosen. While selecting these works, lists of popular content sites were used, museums
that are listed were visited and the websites of these museums were used as a source.
The reason why these resources are used includes the websites that visitors use to plan
their trips.
Müzekart Statistics: According to 2017 data31, the number Müzekart can be purchased
by citizens of the Republic of Turkey is 1,650,966.
When this information is taken into consideration, it is aimed to reduce the printing
costs of the cards by digitizing Muzekart.
Selected Artifacts
Oil Lamp
As a Caliph of Islam, it was the duty of the Ottoman sultans
to maintain and repair the Kaaba in Mecca, providing and
renovating chandeliers, censers, rosewater vessels, oil lamps,
supports and copies of the Qur’an.
Chest of Fatimah
Chest of Fatimah is among the most important holy relics to
be collected in the 16th century and the first half of the 20th
century.
Findings and Discussions 41
Footprint of Muhammad
The prohpet Muhammad left imprints of his bare feet on a
number of stones. Some of these footprints are preserved
in situ, where they were left by the prophet Muhammad, and
other footprints were moved and later preserved in mosques,
shrines, and tombs of prominent Muslim figures. Some of the-
se footprints were collected and are now housed in the Topka-
pi Palace Museum
Ottoman helmet
The weapons in the treasury consist of swords, daggers,
scimitars, yataghans, bows and quivers, thumb rings (zehgîr),
helmets, pistols, heavy rifles and maces
Vessel
It was the duty of the Ottoman sultans to maintain and repair
the Kaaba in Mecca, providing and renovating golden chande-
liers, censers, rosewater vessels, oil lamps, supports and copies
of the Qur’an.
Porcelain Gift
European porcelains sent to the sultan and to palace digni-
taries as gifts of state. These pieces are especially striking for
their fine craftsmanship.
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Mosaic Tughra
On the wall to the right of the main entrance door of the outer
narthex is the Tughra of Sultan Abdülmecid. Tughra was built
by the Italian master N. Lanzoni from the golden gilded origi-
nal mosaics of Hagia Sophia during the repairs carried out by
the Fossati Brothers in Hagia Sophia in 1847-1849.
Caligraphic Roundels
The great rounded calligraphic panes on the walls of the main
place had been written by Kadıasker Mustafa İzzet Efendi who
was one of the famous calligraphers during the repairs between
1847 and 1849 of Sultan Abdülmecid period (1839-1861).
Apse Mosaic
The Virgin and Child mosaic is located in the apse semi dome.
In the mosaic Mary is enthroned and she puts her right hand
on shoulder of the Child Christ who is seated in her lap. Her
left hand holds a handkerchief, which is on Christ’s knee. In the
mosaic, Christ has a fair complexion.
Deesis Mosaic
On the western wall of Northern gallery, there is the mosaic
board where the Deisis stage, considered as the start of re-
naissance in East Rome painting, is located. In the portrayol,
Ioannes Prodromos ( John the Baptist) on the right and Virgin
Mary on the left and in the middle Pantocrator Jesus Christ are
located
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Sidamara Sarcophagus
The height of the marble sarcophagus is 313 cm, length is 381
cm and width is 200 cm. On the front of the sarcophagus is a
man sitting in the middle of a philosopher’s dress in the middle,
on the right is a young girl in an Artemis outfit, on the left is a
woman covered head of Demeter clothes.
Code of Hammurabi
The Code of Hammurabi was one of the only sets of laws in the
ancient Near East and also one of the first forms of law. The
code of laws was arranged in orderly groups, so that all who
read the laws would know what was required of them. Earlier
collections of laws include the Code of Ur-Nammu, king of Ur
(c. 2050 BC), the Laws of Eshnunna (c. 1930 BC) and the co-
dex of Lipit-Ishtar of Isin (c. 1870 BC), while later ones include
the Hittite laws, the Assyrian laws, and Mosaic Law.
Vase of Inandik
It is the famous vase of the Hittite state in Hanhana (Inandık
Village near Çankırı) cult center. The picture depicts the mar-
riage ceremony of the holy gods. It reflects the Hittite culture
very well.
Bronze Tablet
This document, written with the Hittite cuneiform found in
the Bogazköy excavations in 1986, is the only bronze tablet
found in Anatolia. King of Hittites IV. Between Tuthaliya and
the Kurunta King of Tarhuntas Country. This is the treaty text
made in 1235.
Findings and Discussions 47
Leopard Reliefs
The leopards should have a special place or religious mea-
ning in the lives of the people of Çatalhöyük. These plastered
leopard reliefs adorned the walls of a Çatalhöyük house. The
plaster and paint layers above the leopard head suggest that
the reliefs were used in Çatalhöyük houses for many years.
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Branding
Brand, is a Plutonic idea that revolves around the cus-
tomers’ minds that consists of the look and the feel of a
certain thing that we call “Brand”.
Colored Monochromatic
The logo has a double meaning. It has elements from both traditi-
onal and modern concepts. The Red and white color represents the
colors of the Turkish Flag.
Triangular elements that are placed in the center of the black bor-
der are making up a “M” letter and the secondary meaning of this is
a “tulip” which is one of the traditional symbols of Turkey.
Posters
Posters 51
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User Interface
User Interface 73
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User Interface 77
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Home Page
User Interface 79
Guide Page
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Search Page
User Interface 81
Profile Page
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Conclusion
This application, which is mentioned in the scope of this report and which contains sele-
cted museums according to museum statistics taken from Ministry of Culture data, aims
to digitize Museum experience and to be a guidance application for its visitors.
In order to design a universal language in the process of the interface design of the app-
lication, the language of Google Material Design has been utilized and as a result “Odys-
sey Design System” which takes its name from the project has been formed by using this
system, according to the content.
As a result, the examples of the similar projects in the World and Turkey were compared.
In addition to the end of the prototype was shown to users who are the target audience
of the project. In general, the feedbacks were positive. The project is eliminates the lack
of the digital museum experience and guidances. This was the result of the Project Odys-
sey aimed to achieve.
References 83
References
- The Museum Experience, John Howard Falk, Lynn Diane Dierking, 1994
- MET Museum:https://itunes.apple.com/us/app/metropolitan-mu-
seum-of-art-nyc/id977211908
- Statistic: https://digitalreport.wearesocial.com
- http://dosimm.gov.tr/assets/documents/2018.pdf
- Design Sprint:https://www.gv.com/sprint/
- https://play.google.com/store/apps/details?id=com.google.android.apps.
cultural
- https://play.google.com/store/apps/details?id=air.com.bm.london.vusiem
- https://play.google.com/store/apps/details?id=air.com.nhm.london.vusiem
- https://play.google.com/store/apps/details?id=air.com.lvr.paris.vusiem
- https://play.google.com/store/apps/details?id=air.com.dor.paris.vusiem
- https://play.google.com/store/apps/details?id=air.com.ng.lon
- https://play.google.com/store/apps/details?id=air.com.orangerie.paris.
vusiem
- https://play.google.com/store/apps/details?id=air.com.rodin.paris.vusiem
- https://play.google.com/store/apps/details?id=air.com.perg.berlin.vusiem
- https://play.google.com/store/apps/details?id=air.com.ang.berlin.vusiem
- https://play.google.com/store/apps/details?id=air.com.neues.berlin.
vusiem
- https://play.google.com/store/apps/details?id=com.kodarbilisim.muzeasist
- Tripadvisor.com
- Trips.google.com
- Lonelyplanet.com
- Culturetrip.com
- Viator.com
- Alamy.com
- Khanacademy.com
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