Designing Participation through Graphic Systems
Designing Participation through Graphic Systems
Zarbān: A Practical Experiment at Choreographing Meaningful Attention
Zarbān: A Practical Experiment at Choreographing Meaningful Attention
New Museology: Paradigm Shifts
New Museology: Paradigm Shifts
Museums can use tools like panaromic view and 360 scene viewers to immerse visitors in historiuc or geographic locations, like the Roman Colosseum
Drag along the photo to experience
Museums can use tools like panaromic view and 360 scene viewers to immerse visitors in historiuc or geographic locations, like the Roman Colosseum
Drag along the photo to experience
The structural evolution of contemporary exhibitions is deeply rooted in New Museology, a theoretical movement championed by scholars like Peter Vergo in the late 20th century that called for a radical ideological shift from the methods of museum curation to the purposes of museums in society. New Museology explicitly demands the dismantling of the traditional, elite institutional hegemony, seeking to transform the museum from a temple of passive, unquestioned consumption into a democratic, polyphonic space of social discourse.
In real-life application, this theoretical paradigm is realized through the architectural and visual decentralization of curatorial authority. Institutions like the Mesa Contemporary Arts Museum and the District Six Museum embody this by directly integrating community-generated content, oral histories, and raw personal testimonies into the permanent design layer of their galleries.
For the graphic designer, New Museology provides the ultimate mandate: if the institutional focus shifts from the object to the visitor, the visual environment must change accordingly. Design cannot simply present a final, unchallenged curatorial verdict. Instead, it must expose the interpretive process itself, utilizing transparent visual systems that explicitly show visitors that history is a living narrative to be actively co-created rather than a monolithic truth to be silently memorized.
The structural evolution of contemporary exhibitions is deeply rooted in New Museology, a theoretical movement championed by scholars like Peter Vergo in the late 20th century that called for a radical ideological shift from the methods of museum curation to the purposes of museums in society. New Museology explicitly demands the dismantling of the traditional, elite institutional hegemony, seeking to transform the museum from a temple of passive, unquestioned consumption into a democratic, polyphonic space of social discourse.
In real-life application, this theoretical paradigm is realized through the architectural and visual decentralization of curatorial authority. Institutions like the Mesa Contemporary Arts Museum and the District Six Museum embody this by directly integrating community-generated content, oral histories, and raw personal testimonies into the permanent design layer of their galleries.
For the graphic designer, New Museology provides the ultimate mandate: if the institutional focus shifts from the object to the visitor, the visual environment must change accordingly. Design cannot simply present a final, unchallenged curatorial verdict. Instead, it must expose the interpretive process itself, utilizing transparent visual systems that explicitly show visitors that history is a living narrative to be actively co-created rather than a monolithic truth to be silently memorized.
Another institution in Paris offers a significant case in point: the Bibliothèque nationale de France (BNF). Given its mission to document and preserve any published material and medium, and thanks to the legal deposit requirement, the BNF today holds a million posters printed in France, collected independently of any criteria of quality or authorship. In this regard it can be argued that the BNF has come closer to embodying Marx’s vision of a comprehensive poster museum. However, the importance of the BNF for the musealization of graphic design goes beyond that. Over time, as the BNF progressively appraised its holdings in terms of graphic design, it also began assuming the role and functions of a graphic design museum or curatorial department, actively engaging in all activities related to musealization as a process that entails not only physically or conceptually extracting objects from their original environment and relocating them within a museum setting, but also studying, interpreting and displaying them. More recently, the BNF has begun promoting contemporary graphic design. Apart from highlighting that the museum function is certainly not exclusive to institutions bearing the title of “museum,” the case of the BNF also sheds light - as an exception to the rule - on a distinctive aspect of the fate of graphic design objects as cultural heritage: their dispersed and overlooked existence.
Another institution in Paris offers a significant case in point: the Bibliothèque nationale de France (BNF). Given its mission to document and preserve any published material and medium, and thanks to the legal deposit requirement, the BNF today holds a million posters printed in France, collected independently of any criteria of quality or authorship. In this regard it can be argued that the BNF has come closer to embodying Marx’s vision of a comprehensive poster museum. However, the importance of the BNF for the musealization of graphic design goes beyond that. Over time, as the BNF progressively appraised its holdings in terms of graphic design, it also began assuming the role and functions of a graphic design museum or curatorial department, actively engaging in all activities related to musealization as a process that entails not only physically or conceptually extracting objects from their original environment and relocating them within a museum setting, but also studying, interpreting and displaying them. More recently, the BNF has begun promoting contemporary graphic design. Apart from highlighting that the museum function is certainly not exclusive to institutions bearing the title of “museum,” the case of the BNF also sheds light - as an exception to the rule - on a distinctive aspect of the fate of graphic design objects as cultural heritage: their dispersed and overlooked existence.
The shift toward experience has also intensified the role of participation in museum design. Nina Simon’s participatory museum framework remains especially relevant because it treats participation as something that can be designed across a spectrum, rather than as a single fixed mode of interaction. Her emphasis on scaffolding is particularly useful for graphic design since it highlights the need to structure participation so that it is neither overdetermined nor too open-ended. A well-designed participatory environment does not simply ask visitors to contribute; it helps them understand how, when, and why they might do so.
The shift toward experience has also intensified the role of participation in museum design. Nina Simon’s participatory museum framework remains especially relevant because it treats participation as something that can be designed across a spectrum, rather than as a single fixed mode of interaction. Her emphasis on scaffolding is particularly useful for graphic design since it highlights the need to structure participation so that it is neither overdetermined nor too open-ended. A well-designed participatory environment does not simply ask visitors to contribute; it helps them understand how, when, and why they might do so.
This is where graphic systems become central. Visual hierarchy, interpretive prompts, interface design, and spatial cues all signal what kind of engagement is expected and how visitors can enter the experience. In museums where participation is framed as central to the mission, design becomes a way of making participation visible and accessible. Rather than treating the visitor as a passive recipient of information, graphic design can create the conditions in which visitors feel invited into an active relationship with content, space, and institution.
This is where graphic systems become central. Visual hierarchy, interpretive prompts, interface design, and spatial cues all signal what kind of engagement is expected and how visitors can enter the experience. In museums where participation is framed as central to the mission, design becomes a way of making participation visible and accessible. Rather than treating the visitor as a passive recipient of information, graphic design can create the conditions in which visitors feel invited into an active relationship with content, space, and institution.
Developed as a Master 2 final year project at ECV Paris, Zarbān (ضربان) serves as a commissioned creative campaign for the Victoria and Albert Museum (V&A) in London, UK. The project responds to the strategic vision outlined in the V&A’s 2024–2025 annual report, which emphasizes attracting a younger, more diverse audience, promoting inclusive cultural practices, and developing vibrant public programming to rebuild visitor numbers.
Developed as a Master 2 final year project at ECV Paris, Zarbān (ضربان) serves as a commissioned creative campaign for the Victoria and Albert Museum (V&A) in London, UK. The project responds to the strategic vision outlined in the V&A’s 2024–2025 annual report, which emphasizes attracting a younger, more diverse audience, promoting inclusive cultural practices, and developing vibrant public programming to rebuild visitor numbers.
A commissioned creative direction of a campaign by the Victoria & Albert Museum in London, UK, this project aims to showcase contemporary Iranian diaspora in a different light than usual media narratives and engage with a younger, more proactive audience. The campaign encompasses digital and physical activations through an online platform, a museum installation, cultural event, and social media takeover.
Zarbān, meaning ‘the beat of my heart’ and the tagline ‘feel the heartbeat of culture’ echoes the intensity and resilience of Iranian life, carrying the rhythms of a rich cultural history while tracing the lived experiences and dispersal of its diaspora.
A commissioned creative direction of a campaign by the Victoria & Albert Museum in London, UK, this project aims to showcase contemporary Iranian diaspora in a different light than usual media narratives and engage with a younger, more proactive audience. The campaign encompasses digital and physical activations through an online platform, a museum installation, cultural event, and social media takeover.
Zarbān, meaning ‘the beat of my heart’ and the tagline ‘feel the heartbeat of culture’ echoes the intensity and resilience of Iranian life, carrying the rhythms of a rich cultural history while tracing the lived experiences and dispersal of its diaspora.
PROJECT OUTLINE
PROJECT OUTLINE
GOALS & OBJECTIVES
GOALS & OBJECTIVES
CHAPTER 3 : Designing Experience
CHAPTER 3 :
Communication in Context
Theme: EXPERIENCE
Theme:
CONTEXTUALISATION
As public expectations shift toward participatory and emotionally resonant encounters, graphic design must transcend its historical role as a secondary, post-curatorial layer of decoration or signage. Instead, it must be deployed as a primary structural force—an architecture of understanding that deliberately choreographs human focus. The chapters below outline how this experiential framework transitions from macro institutional strategies to a localized, post-digital case study, answering how design can systematically defend meaningful attention against an increasingly fragmented visual culture.
As public expectations shift toward participatory and emotionally resonant encounters, graphic design must transcend its historical role as a secondary, post-curatorial layer of decoration or signage. Instead, it must be deployed as a primary structural force—an architecture of understanding that deliberately choreographs human focus. The chapters below outline how this experiential framework transitions from macro institutional strategies to a localized, post-digital case study, answering how design can systematically defend meaningful attention against an increasingly fragmented visual culture.
Zarbān directly tackles the underrepresentation of contemporary Iranian creatives within traditional global museum archives. A benchmark evaluation reveals a critical systemic gap: while the V&A database archives approximately 5,441 historical Iranian artifacts, it highlights only about 18 contemporary Iranian creatives, with a mere 2 based directly within Iran. This is due to several reasons including geopolitical tensions, bans on Iranian creatives to participate in residencies, and more. Traditional museum competitor exhibits—such as the MET's ordinary 2012 display or the Louvre's 2025–2026 textile exhibit—frequently fail to achieve deep user interactivity or accessibility. This campaign bypasses conventional, divisive geopolitical narratives to reflect the resilience and intensity of Iranian life, detailing the lived experiences of its diaspora through the curation of 10 pioneering contemporary artists spanning photography, sculpture, film, and multimedia art (including artists like Gohar Dashti, Farah Ossouli, Ghazal Foroutan, Hoda Afshar, Shadi Ghadirian, and Parviz Tanavoli).
Zarbān directly tackles the underrepresentation of contemporary Iranian creatives within traditional global museum archives. A benchmark evaluation reveals a critical systemic gap: while the V&A database archives approximately 5,441 historical Iranian artifacts, it highlights only about 18 contemporary Iranian creatives, with a mere 2 based directly within Iran. This is due to several reasons including geopolitical tensions, bans on Iranian creatives to participate in residencies, and more. Traditional museum competitor exhibits—such as the MET's ordinary 2012 display or the Louvre's 2025–2026 textile exhibit—frequently fail to achieve deep user interactivity or accessibility. This campaign bypasses conventional, divisive geopolitical narratives to reflect the resilience and intensity of Iranian life, detailing the lived experiences of its diaspora through the curation of 10 pioneering contemporary artists spanning photography, sculpture, film, and multimedia art (including artists like Gohar Dashti, Farah Ossouli, Ghazal Foroutan, Hoda Afshar, Shadi Ghadirian, and Parviz Tanavoli).
Curate and showcase contemporary Iranian talent in the spotlight: curation of 10 contemporary artists who represent different facets of Iranian creativity
Highlight underrepresented artists and their narratives: reposition museums as an ecosystem showing different facets of the world apart from media and geopolitical relations
Attract younger, more proactive audiences to drive change: create new ways of museum experiences more in tune with society leveraging digital platforms and techniques
These goals and objectives were drawn in synergy with the Official Strategic Vision of the V&A.
Curate and showcase contemporary Iranian talent in the spotlight: curation of 10 contemporary artists who represent different facets of Iranian creativity
Highlight underrepresented artists and their narratives: reposition museums as an ecosystem showing different facets of the world apart from media and geopolitical relations
Attract younger, more proactive audiences to drive change: create new ways of museum experiences more in tune with society leveraging digital platforms and techniques
These goals and objectives were drawn in synergy with the Official Strategic Vision of the V&A.
To successfully target the digital motivations and behavioural traits of Generation Z (ages 21–24), Zarbān deploys a coordinated, multidisciplinary production timeline spanning from curation to post-launch archiving.
While the conceptual framework of Zarbān targets the socio-behavioural and free desires of Generation Z, its physical execution must successfully negotiate the rigid legal infrastructures governing the UK cultural landscape. Design cannot exist in a vacuum; rather, creative strategy must convert legal boundaries—such as UK GDPR privacy requirements, WCAG 2.2 accessibility parameters, and ASA marketing codes—into primary architectural constraints that protect the visitor while maximizing open engagement.
To successfully target the digital motivations and behavioural traits of Generation Z (ages 21–24), Zarbān deploys a coordinated, multidisciplinary production timeline spanning from curation to post-launch archiving.
While the conceptual framework of Zarbān targets the socio-behavioural and free desires of Generation Z, its physical execution must successfully negotiate the rigid legal infrastructures governing the UK cultural landscape. Design cannot exist in a vacuum; rather, creative strategy must convert legal boundaries—such as UK GDPR privacy requirements, WCAG 2.2 accessibility parameters, and ASA marketing codes—into primary architectural constraints that protect the visitor while maximizing open engagement.
STRATEGIC EXECUTION & PHYGITAL ACTIVATIONS
STRATEGIC EXECUTION & PHYGITAL ACTIVATIONS
Guided by the author acting as creative director, head curator, and UI/UX designer, the campaign unfolds across a sequence of hyper-connected, accessible physical and digital touchpoints:
Interactive Online Platform (Launch: August 2026): interactive online exhibition/ archive platform to get more gen z visiting and being more culturally aware
Social Media Activations+ Advertising (July- September 2026): to advertise about the activation in accessible and meaningful ways which will guide/ attract gen z audience and rewire them to the online platform
Cultural Onsite Event (19-21 September 20026): interactive pop-up at the Victoria & Albert Museum during digital design weekend.
Guided by the author acting as creative director, head curator, and UI/UX designer, the campaign unfolds across a sequence of hyper-connected, accessible physical and digital touchpoints:
Interactive Online Platform (Launch: August 2026): interactive online exhibition/ archive platform to get more gen z visiting and being more culturally aware
Social Media Activations+ Advertising (July- September 2026): to advertise about the activation in accessible and meaningful ways which will guide/ attract gen z audience and rewire them to the online platform
Cultural Onsite Event (19-21 September 20026): interactive pop-up at the Victoria & Albert Museum during digital design weekend.