Abstract
This paper presents a first-hand account of an immersive, interactive exhibition of Leonardo da Vinci’s works. Unlike traditional museum visits, this exhibit featured touch-sensitive walls and multi-sensory engagement, making it highly interactive and captivating. Alongside Da Vinci’s artworks, his design prototypes were displayed, offering a comprehensive view of his creativity. Visitors across age groups engaged enthusiastically, with children and young adults particularly drawn to the dynamic presentation. The author uses participatory observation method to study visitor behaviour, focusing on interactions, engagement, and interest levels. Findings suggest that such formats can serve as powerful pedagogical tools in Art and Design history education. By merging sensory interaction with historical content, immersive exhibitions not only enhance visitor engagement but also foster curiosity and deeper learning. This approach holds significant promise for making art and design history education more appealing and impactful for younger audiences.
Keywords
Immersive experience; Art history; Multisensory learning; Pedagogical tool
DOI
https://doi.org/10.21606/iasdr.2025.1082
Citation
Roy, S., Tewari, S.,and Shinde, R.(2025) Analysing Visitor Behaviour in Interactive Immersive Art Experiences and Exploring Their Potential in Art and Design History Education, in Chang, C.-Y., and Hsu, Y. (eds.), IASDR 2025: Design Next, 02-05 December, Taiwan. https://doi.org/10.21606/iasdr.2025.1082
Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Conference Track
Track 3 - Design, Art & Technology
Analysing Visitor Behaviour in Interactive Immersive Art Experiences and Exploring Their Potential in Art and Design History Education
This paper presents a first-hand account of an immersive, interactive exhibition of Leonardo da Vinci’s works. Unlike traditional museum visits, this exhibit featured touch-sensitive walls and multi-sensory engagement, making it highly interactive and captivating. Alongside Da Vinci’s artworks, his design prototypes were displayed, offering a comprehensive view of his creativity. Visitors across age groups engaged enthusiastically, with children and young adults particularly drawn to the dynamic presentation. The author uses participatory observation method to study visitor behaviour, focusing on interactions, engagement, and interest levels. Findings suggest that such formats can serve as powerful pedagogical tools in Art and Design history education. By merging sensory interaction with historical content, immersive exhibitions not only enhance visitor engagement but also foster curiosity and deeper learning. This approach holds significant promise for making art and design history education more appealing and impactful for younger audiences.