Section 1: Designing for Play Section 2: What is an Exhibit Master Plan? Section 3: Budget Planning Section 4: Glossary of Exhibit Terms

Designing for Play By Mary Sinker and Ian Russell (Text published in the Association of Children's Museums newsletter Hand to Hand, Summer 1998. All photos courtesy of Austin Children's Museum.) We've all walked into exhibits packed with busy children - children figuring out how this works and what can be done with that; learning what they can do with all those pieces; children playing alone and children playing together; children negotiating and sharing roles and spare parts with others: children at play. Yet, in the same museum we'll enter an exhibit that people pass through quickly. A child may buzz from one component to another; a parent may direct the child into activity, but the happy hum of play is missing. What's the difference? What is it that draws visitors of all ages to an area and elicits sustained playful activity? What are the deliberate judgements, choices, and decisions that help a designer create a play-filled environment? In a children's museum, carefully designed environments inspire children's learning through play. As we design exhibits, we tightly knit together two strands: an understanding of children's play behavior, and an understanding of how design influences behavior. Me Children's play from birth through the school years is inextricably woven into their growing sense of self. "Who am I?" "Who am I in relation to you?" "Who am I in relation to the environment?" All are developmental queries that occupy young children. As they play, children formulate answers to these most basic definitions of self, and, in environments that foster this inquiry, positive play experiences help provide answers. "Who am I when I'm driving the train? Ah, there's a mirror that lets me see how important I'm feeling." "Who am I when I'm dancing? That video capture is me!" People of all ages show special interest in exhibit components relating to their own faces, their appearance or their physical abilities. Frozen shadows, projected images, mirrors everywhere, places to record one's voice or faceóthe museum environment can provide many opportunities for the child to get to know herself again and again. My Life Making connections with what is already known is a fundamental aspect of play and learning. Children play what they know, and use their play as a springboard to newer, higher levels of thought - and of play. What children know best are themselves, the places and people in their immediate environment, and the natural world. In providing for children's play and playful learning, it is wise to begin where the child is and carefully ramp the play and learning from that strong base. Thus, exhibits must be designed to accommodate a wide developmental range, and indeed it is this kind of multi-level functionality that is a principal characteristic of hands-on exhibits. During the design development process, proposed components must continually be assessed to ensure that there are areas just right for a two or three year old who is experiencing things in a very sensory way; for four and five year olds who are problem solving; or for a school-age child who is intent on inquiry and experimentation. Me and You Sharing, cooperating, turn-taking, negotiating, learning to lead and to follow are all skills learned during play. Children's museums offer children unique opportunities for interaction with others. For school groups, the museum environment - so different from the classroom - invites new play patterns. For children arriving with their parents or caregivers, both the people they meet and the environment present challenges as they learn how to work toward common goals with strangers. The most well-rounded social play occurs between children who know one another well, but careful observation in children's museums suggests that perhaps it is the anonymity of other museum goers that encourages children to "try out" their emerging social skills with strangers. This merits further research. Certainly there is remarkably little conflict on the museum floor: children do a surprisingly good job of becoming friends for a brief encounter. While some museum activities, touch screens for example, are mainly used by one person, if there is room for over-the-shoulder viewers, this can become a group activity. Increasingly, museums deliberately design interactive experiences that won't work unless visitors collaborate and communicate with one another. Important details, like mounting table-top activities to a round table, help all participants feel they have equal access to materials and provide the means for people to feel part of the group. Page 1 > Page 2 > Page 3