Highlights in Business, Economics and Management CMAM 2025

Volume 60 (2025)

Enhancing Museum Experiences Through Multisensory

Design: A Qualitative Study from Visitors’ and Curators’
Perspectives
Yun Zheng1, 2
1
Faculty of Humanities and Social Sciences, City University of Macau, Macau, 999078, China;
2
School of New Media and Arts, Dongguan City University, Dongguan, 523000, China.
[email protected]
Abstract. With the rise of digital technologies and evolving visitor expectations, multisensory design
has become a key factor in enhancing museum engagement. This qualitative study explores the
impact of multisensory design on museum experiences through semi-structured interviews with
twelve Generation Z visitors and one curator in China. Thematic analysis revealed that visitors are
primarily driven by knowledge-seeking and leisure motives. In terms of multisensory design, although
the visual experience is dominant, integrating multiple sensory channels can significantly enhance
visitors' immersion and memory. The study also reveals an intense desire among visitors for
interactive participation and emerging technologies, as well as the vital role of annotation quality and
logical narrative in the overall experience. These insights provide empirical support for optimizing
museum exhibition design, enhancing visitor experiences, and offering fresh perspectives for
museum management and strategy. The findings enrich museum-related research and provide
references for cultural institutions to meet public demands and enhance educational functions.
Keywords: Multisensory Design, Museum Experiences, Generation Z visitors, Thematic Analysis.

1. Introduction
Multisensory applications and research in museums have deep historical roots. From the openness
to touch and taste in the 17th–18th centuries (Classen, 2020) to the strict restrictions of the 19th
century (Leahy, 2016; Candlin, 2017), followed by gradual reopening in the 20th century, and up to
today's active exploration, this trajectory demonstrates the profound influence of social contextual
factors and the academic trend known as the "sensory turn" (Dudley, 2014). Many scholars have
presented the potential problems of relying solely on visual design in museums. Although visual
perception is the most basic and direct sensory experience and is also the starting point of the overall
museum experience (Weil, 2002), long-term reliance on vision alone can lead to visual fatigue and is
limited by visitors' physical conditions (Otter, 2008). Moreover, visitors generally have high
expectations for the amount of information conveyed by exhibits and their simple explanatory texts.
Traditional static, one-way modes of information transmission often fail to stimulate visitors' interest,
resulting in a poor sense of accomplishment and experience in the museum and causing issues such
as lack of concentration and reduced cognitive ability (Guo & Ai, 2018). Because it is challenging
for visitors to interpret exhibits independently, museums need to assume the responsibility of
interpretation and place greater emphasis on multisensory modes of cognition and expression,
extending beyond the visual. This can help visitors better understand the cultural connotations behind
the exhibits and employ appropriate technologies to enhance the narrative of exhibitions.
In recent years, younger visitors have become the mainstream audience in museums. According
to data released by the National Museum of China (2024), visitors under the age of 35 now account
for over 60% of museum attendees. It has become a pressing task and practical demand for museums
to innovate exhibition formats, explore the consumption patterns of Generation Z, and better meet
their needs. However, there is currently a lack of empirical research specifically focused on the
experiences of young, multisensory-oriented museum visitors. Studies in some European museums
indicate that young people are not the primary museum-going population, and research has primarily
focused on how to attract more young people to visit museums (Crowley et al., 2014; Diez, 2021;
492
Highlights in Business, Economics and Management CMAM 2025
Volume 60 (2025)

Komarac & Bešlić, 2021; Komarac & Ozretić, 2023), which does not align with the actual situation
in China. Therefore, this study conducted semi-structured interviews to gather first-hand data from
Generation Z consumers and employed thematic analysis to extract insights reflecting the visitation
patterns and selection factors of Generation Z museum visitors. The study also explored their
preferences for multisensory design, aiming to enrich research on multisensory experience design and
provide references for curators to serve young audiences in the contemporary context better.

2. Research Design
This study took into account different stakeholders by dividing interview participants into two
groups: Generation Z visitors and a curator. The purposes of the interview study include:
Clarifying the multisensory experiences from the visitors’ perspective versus the visitors’
experience feedback received by the curator.
Obtaining strategies and suggestions, from different stakeholder perspectives in the qualitative
research, for further enhancing multisensory museum experiences.
2.1. Interview Procedure
Semi-structured interviews were used for data collection. To ensure interview quality while
accommodating participants' schedules and geographic convenience, this study flexibly employed a
combination of face-to-face interviews and online interviews via Tencent Meeting. For sample
selection, a purposive sampling method was employed to contact potential participants in advance
and provide them with complete information about the interview time, location, and mode. Informed
consent was obtained from participants before the interview, and interviews were fully recorded.
During the interviews, the author listened attentively and took detailed notes on key information,
keeping each interview between 30 and 60 minutes in length.
2.2. Interview Sample Selection Criteria
This study used purposive sampling. The inclusion criteria for interviewees were: (1) members of
Generation Z (born 1995–2009); (2) participants had visited a museum within the past three months,
and (3) participants had good communication skills and could clearly express their views and
experiences. Based on the research questions and objectives, an interview framework was prepared
in advance, and a semi-structured interview outline was designed. The interview process remained
flexible; questions were adjusted in order and depth according to participants' responses to elicit more
valuable information. Ultimately, 12 participants were selected for interviews. The basic
characteristics of the interviewees are shown in Table 1.

493
Highlights in Business, Economics and Management CMAM 2025
Volume 60 (2025)

Table 1. Basic characteristics of interviewees (visitors).

ID Gender Birth Year Education Visit Frequency (per year)
V01 Male 1995 Master's 3-4
V02 Female 2005 Bachelor's 5-6
V03 Female 2000 Master's 12
V04 Female 1999 Ph.D. 3-4

V05 Female 2001 Master's 2

V06 Female 2001 Master's 3-4

V07 Female 1995 Bachelor's 3-4

V08 Male 1995 Master's 6-7

V09 Female 1995 Bachelor's 12

V10 Female 1995 Ph.D. 12

V11 Female 2002 Master's 12

V12 Male 2004 Bachelor's 1-2

In addition, guided by the research questions and approached from the perspective of practitioners,
one curator was also invited to participate in the interview. The basic characteristics of this curator
are shown in Table 2.
Table 2. Basic characteristics of the interviewee (curator).
ID Gender Age Years Employed Multisensory Exhibitions Responsible (approx)
C01 Female 35 3 9-10

2.3. Thematic Analysis

This study employed Braun and Clarke's (2006) six-phase thematic analysis for qualitative data
analysis. First, on the day each interview was completed, the original interview audio was transcribed
using a transcription tool, and the transcript was checked word-for-word, removing redundant content
unrelated to the research questions. In the end, a text corpus of over 73,000 characters of interview
transcripts was compiled. In this process, anonymization was performed concurrently: identifiable
personal information of the visitors was removed and replaced with uniform codes (visitors labeled
V01–V12, curator labeled C01), and any information that could reveal participants' identities was
masked—organization names were replaced with "a certain type of museum" (e.g., "a certain
provincial history museum"), and project-related information of the curator was disclosed with
permission.
Second, after repeatedly reading and familiarizing with the interview texts, keywords or phrases
related to the research questions were highlighted. An inductive coding approach was primarily used
to assign initial codes to these highlighted contents (such as "visit motivation" and "audience
preferences"), ensuring the codes remained faithful to the original meaning intended by participants.
The data analysis was done manually (Kelle, 2004). Third, the analysis of codes began, considering
how different codes could be combined to form overarching themes and mapping relationships among
494
Highlights in Business, Economics and Management CMAM 2025
Volume 60 (2025)

codes, themes, and subthemes. Fourth, the preliminary themes generated were checked for accuracy
in reflecting the data content and were optimized and adjusted as needed. Fifth, after all themes and
codes were organized, the themes were named. To enhance the clarity and interpretability of the
thematic coding, descriptive titles were added to each code. The complete thematic coding results
and their relationships are detailed in Table 3. Finally, arguments addressing the research questions
were proposed to summarize the study findings.
Table 3. Themes and codes.
Theme Subtheme Codes
Knowledge acquisition: learning new knowledge during
Visiting visits;
motivations Leisure and entertainment: visiting museums as a way to
Visiting relax and unwind.
motive Geographical location: proximity to the museum and
convenient transportation;
Selection factors
Scale and distinct features: large museum size, rich
exhibits, and distinctive characteristics.
Visual hegemony: vision as the primary sense in
exhibition design;
Interest-driven: interest-driven visitation leads to more
active and in-depth engagement;
Visiting experience
Deep immersion: multisensory experiences promote deep
immersion;
Environmental interference: negative effects of external
environmental factors on the experience.
Prior knowledge level: visitors’ prior knowledge affects
Multisensory
their understanding of exhibit content;
design
Understanding & Annotation quality: accuracy and richness of annotation
memory content;
Triggering associations: multisensory experiences
strengthen visitors’ ability to form associations.
Technology empowerment: using new technologies to
create diversified visiting experiences;
Audience Interactive participation: engaging through interaction in
preferences the construction of knowledge and experience;
Logical narrative: exhibits arranged according to thematic
or conceptual logic.

3. Analysis Results
3.1. Theme 1: Visiting Motives
3.1.1 Subtheme 1: Visiting Motivation
(1) Knowledge acquisition
Knowledge acquisition was the most frequently mentioned need in the interviews; almost all
respondents acknowledged the social learning function of museums. As a special interdisciplinary
platform for acquiring knowledge, museums allow learners to engage directly with exhibits,
interactive devices, and contextual designs, which stimulate their exploration of unknown fields. For
example, V04 recalled an experience visiting a science museum and a planetarium, noting that they
"provided knowledge that I rarely come across in everyday life, but which has a lot of practical value."

495
Highlights in Business, Economics and Management CMAM 2025
Volume 60 (2025)

At the same time, V07 believed that "visiting museum exhibitions uncovers many interesting fields
and knowledge that I had never known before."
Local museums present systematic historical narratives and exhibits, shaping a unique image of a
city and providing visitors with a framework for understanding the city's developmental trajectory.
They become the "first stop" for visitors to learn about the city's history and culture. This not only
stimulated their interest and curiosity about the city but also enhanced the cultural identity of visitors.
As a history enthusiast, V01 said, "Whenever I arrive in a city, whether for work or travel, I always
start with its history." V08 described how "the museum in a certain city has strong local color and
uniqueness; by visiting it, one can quickly understand the local historical development and get to
know this city's unique image and appearance." Among these exhibits were the "Terracotta Warriors"
(V05), "furniture, everyday objects, and clothing of people in the past" (V11), and "customs from
birth, adulthood to marriage, and finally aspects of life including rituals" (V12).
(2) Leisure and entertainment
Museums typically have a quiet atmosphere and carefully designed exhibition spaces, offering
visitors a brief respite from reality. This particular environment is favored by Generation Z students
and working professionals, becoming an important way for them to relieve stress and enjoy leisure
time. V04 believes that "a museum allows you to relax your body and mind away from studies, and
indoor touring also conserve energy." V06 visits museums to pass the time, saying, "Sometimes I feel
like I have not gone out for a long time, and there is nowhere else to go so that I will wander around
the museum for a bit."
At the same time, the uniqueness of museums lies in their ability to both satisfy the need for
personal solitude and provide rich opportunities for social interaction. "Exploring together" with
friends or family in a museum not only enhances the fun of the visit but also, through knowledge
sharing and emotional exchange, creates a deeper learning experience and emotional resonance. V02
mentioned that "my best friend will analyze the details of exhibit models very seriously; going to visit
with her is a very high-quality experience." V09 and some friends who are mothers enjoy taking their
children to museums, saying that "while learning and entertainment go hand in hand, it also burns off
the children's energy and saves a lot of effort for the parents."
3.1.2 Subtheme 2: Selection Factors
(1) Geographic location
In terms of museum choice, participants mentioned that geographical location and transportation
convenience are key factors influencing their decision. Museum “accessibility” is the primary
condition for attracting the public, especially audiences not familiar with museums, to enter.
Museums close to visitors are more easily integrated into visitors’ daily lives, increasing visitation
frequency and the quality of the experience. For example, V04 mentioned that “in a certain city, the
commuting distance within the city is quite long,” and V06 said that they would prefer to go to a
museum that is nearby, “if it is too far, sometimes I will just be a bit lazy.”
Moreover, linking a museum with nearby recreational projects can create a comprehensive cultural
travel experience. This not only enriches the itinerary by providing diverse cultural touchpoints and
interactive experiences, but can also further enhance the city’s appeal as a tourist destination. For
instance, as part of a key tourist destination, V03 said they “treat the museum as one of the attractions
and visit it along the way.” V01 shared an example of a private museum located in a large shopping
mall that also houses an aquarium and a cinema, noting that “there is food, drink, play and
entertainment all in one place; it makes the experience much richer.”
(2) Scale and distinctiveness
The scale of a museum directly affects the depth of the visitor's experience and satisfaction. Larger
museums can offer more diversified exhibition content and longer visiting times, satisfying visitors'
desire to explore. Respondents generally indicated a preference for national or provincial museums
because they are "large in scale" (V05), have "more scarce original artifacts" (V10), and have "larger
collections and better exhibit layouts" (V03).

496
Highlights in Business, Economics and Management CMAM 2025
Volume 60 (2025)

Additionally, the participants' descriptions reflect modern museum visitors' demand for diversity
in exhibition content and form: monotonous exhibition layouts can easily cause aesthetic fatigue,
while varied presentation methods can stimulate visitors' desire to explore. For example, V08 looked
forward to seeing content that is "personalized, interesting, and vivid"; V01 likes "new ways of
interaction"; V03 is more concerned with "blockbuster, internet-popular exhibitions."
3.2. Theme 2: Multisensory Design
3.2.1 Subtheme 1: Visiting Experience
(1) Visual hegemony
Most respondents viewed vision as the core entry point of the exhibition experience; this
prioritization of vision corresponds to the sensory habits that Generation Z has formed in a digital
media environment. As V01 stated, "Vision is the first sense, the most sensitive one." Notably, for
visually impaired individuals, the visual experience can still provide corresponding perceptions.
Curator C01 called for attention to the large group of people with low vision, saying, "They are not
completely blind; they have some perception of light and visual awareness... Some of the lighting in
museums can stimulate them and make them feel uncomfortable."
Although visual experiences can provide intuitive information and aesthetic enjoyment, they can
also cause visitors' attention to focus only on the surface. Currently, the expectations of Generation
Z for visual experiences are increasingly high, and enhancements through equipment and technology
have significantly amplified the appeal of visual experiences. For example, V09 stated that "in
situations with fewer crowds, a purely visual exhibition with reasonable curation can still create a
sense of immersion." When combined with technologies like VR and 3D printing, "being able to see
an exhibit 360 degrees... it will have a very strong visual impact" (V04), but "if the visuals are
relatively simple, visitors may just glance over it without giving it much attention" (V02).
(2) Interest-driven
Regardless of the sensory combination, interest determines the level of engagement. If the
exhibition content aligns with a visitor's personal interests or aesthetic preferences, they will engage
deeply; otherwise, they will merely browse superficially, making it difficult for them to form lasting
memories or emotional resonance. This characteristic is evident in the exhibits themselves, exhibit
design, and multimedia presentation formats. V05, V06, and V07 all agreed that for purely visual
exhibitions, it depends on whether the theme is interesting; if it is not very engaging, "there is no way
to fully appreciate some of the history and culture" (V05). V08 noted that "some preset storylines and
contexts in the curation limit visitors' freedom to explore." Therefore, only when the content of
exhibits, presentation format, and interactive design align with visitors' personal interests and
aesthetic preferences can their enthusiasm be effectively stimulated, thereby enhancing the exhibition
experience and its cultural impact.
(3) Deep immersion
The design of multisensory channels can break the limitations of traditional static exhibitions. By
simulating real scenarios or dynamic reenactments, multisensory design provides audiences with a
completely new interactive experience. This experience not only enriches audiences' perceptions but
also significantly enhances their intuitive understanding of the exhibits' context and cultural
connotations. Among the multisensory museum designs experienced by the respondents, V08
reported that "multisensory designs can restore the scene that needs to be presented, allowing people
to truly obtain the core information and deeply understand that piece of history." Exhibits such as
paintings are often combined with technologies like 3D and AI, and respondents said they are
"particularly vivid" (V07) and that "with added traditional-style music, the experience is quite good"
(V09).
Additionally, in a museum environment, the dense presentation of visual information can lead to
visual fatigue. By introducing other sensory channels, such as auditory, tactile, and olfactory, visual
overload can be alleviated, and information processing efficiency can be optimized. Through the
synergy of multiple senses, audiences feel as if they are immersed in a historical scene, allowing them

497
Highlights in Business, Economics and Management CMAM 2025
Volume 60 (2025)

to experience the stories and cultural values carried by the exhibits more vividly and three-
dimensionally. For example, V01 pointed out that some exhibitions were too long, causing "a bit of
visual fatigue," and V02 said that "if the exhibition included some sounds or interactive devices, it
would make people feel more relaxed and not so tired."
Although most respondents affirmed the appeal of multisensory elements, these need to fit the
exhibition theme and content. Overwhelming stacks of sensory stimuli can cause cognitive overload,
distracting attention and ultimately weakening the delivery of core information, thereby affecting the
quality of the experience. V02 shared that "adding sound along with some lighting special effects
together can make us more immersed in the whole scene. However, if vision, hearing, and touch are
combined, it may be too much to divert attention." When dealing with new knowledge, V05 hopes
that "when I am concentrating, I will not be disturbed by some loud sounds."
(4) Environmental interference
Respondents recalled that in past visits, unreasonable exhibition layouts and display designs were
particularly prominent problems. This indicates a disconnect between the curators' professional
perspective and the ordinary audience's needs. The traditional "artifact-centric" layout thinking
overlooks the visitor's behavior trajectory, forcing them to stoop, bend down, or look down to view
exhibits, which increases inconvenience. Participants reported common issues, such as "labels being
too small" (V09), "exhibit boards placed too low" (V03), and "barriers blocking the view from too
far away" (V01).
Secondly, respondents repeatedly mentioned unreasonable lighting design, which leads to a dark
overall environment or severe exhibit reflections. Furthermore, many museum spaces are rather
limited, and exhibition halls become crowded, lacking effective visitor flow guidance and
management, resulting in poor visitation experiences. For example, "glass reflections are severe with
many fingerprints" (V06), "dim lighting leads to confused traffic flow" (V03), and "when there are
many people, you have to wait a long time to take a photo" (V12).
3.2.2 Subtheme 2: Understanding & Memory
(1) Prior knowledge level
Some museum exhibitions face the challenge of conveying overly specialized knowledge that
exceeds the cognitive level of ordinary visitors. This leads to difficulties in understanding and
memory overload, especially when explanations are lacking that relate to everyday life, which
weakens visitors' interest in touring and learning. For example, V01 said that some information
"already surpassed my previous academic or professional level, making it difficult to remember."
In contrast, V04 stated that "I did not care much" about content that was difficult to digest.
Although many museums are now equipped with digital guide devices, the content is often too
brief and lacks sufficient background information. Visitors, unable to keep up with the exhibition's
narrative pace, are forced to interrupt their visit to search for supplementary information on their
own, thereby breaking the continuity of their experience. Some exhibits "require a certain
accumulation of basic knowledge" (V04), and "many small artifact did not be introduced" (V05).
Combined with the fact that "annotations contain limited information" (V10), many felt they "need
to search on their own to learn more" (V07).
(2) Annotation quality
One of the core functions of museums is education, and annotations are a crucial tool for achieving
this goal. Many exhibits, due to their physical characteristics or historical context, cannot convey
complete information directly. Annotations can compensate for these shortcomings by providing a
more comprehensive perspective. However, unclear expression, obscure language, and excessively
small text are common issues. V06 mentioned that "the font is too small; I need to use my phone to
take a photo and zoom in" and also encountered some "characters on the annotation that I do not
know." V09 pointed out that while some annotations have "a lot of text, I do not know what the author
is trying to convey; it is like an AI's mindless rambling." V08 emphasized that visitors have limited
time, and many existing annotations fail to meet the need to "get some core information in a short
time."
498
Highlights in Business, Economics and Management CMAM 2025
Volume 60 (2025)

(3) Triggering associations

Respondents described how multisensory experiences shape and integrate specific contexts. They
noted that by combining visitors' existing knowledge with the exhibition context, one can effectively
use contextual scaffolding to reinforce memory retention. V09 shared that certain melodies "can
remind me of war-themed movies I have seen, which helps me understand the artists' motivation for
creating these sculptures." V06 expressed appreciation for guided audio tours, saying they not only
help visitors distill key points of the exhibits but also "directly connect with some of my current
knowledge."
Tactile experiences can provide direct sensory feedback, enabling visitors to understand and
remember the characteristics of exhibits more vividly. Many museums now include tactile
descriptions in their exhibit labels, and visitors generally report that tactile cues can trigger relevant
associations, further enhancing cognition. V02 mentioned, "for example, when the description says a
trilobite has spikes, one can imagine that if my finger touches it, it would hurt." V06 said, "The
description of a rough texture can link the exhibit to sandstone; sandstone surfaces also have rough
textures and grains." For some abstract objects or those hard to touch in daily life, "for example, a
fossil has extremely subtle features and requires powerful observational ability; if there were a replica
model to touch, it would leave a much deeper impression than just a simple explanation" (V04).
3.2.3 Subtheme 3: Audience Preferences
(1) Technology empowerment
Respondents have high expectations for the use of emerging technologies (such as AR and VR) in
museum exhibition design. However, the actual effect of these technologies may fall short due to
design quality and insufficient content depth. V01 anticipated that "new technologies could break
through the old approach of just lightly tapping and using touch, taking it to another level." V08,
based on past experiences, considered that current technological presentations are not yet mature,
stating, "In terms of the quality of visuals, expressiveness, or the integration of sound and lighting,
there is room for improvement."
It is noteworthy that there is a risk of potential misuse of technology. In the more profound
transformation of museums through digital means, a blind pursuit of sensory stimulation may lead to
"form over content," deviating from the educational essence of exhibitions. V07 expressed
disappointment in technology: "A certain overseas museum used 3D and VR technology in its
exhibits, but it felt just like animation, with no real sense of three-dimensionality; taking photos with
AR or virtual images also feels very 'fake', as if they are just doing it for the sake of doing it." V03
also mentioned that "a VR-related exhibition turned some artifacts in the museum into cute cartoon
images and designed it as a game with stages, but I didn't know what its meaning was."
(2) Interactive participation
Modern exhibitions often limit tactile experiences, mostly allowing and encouraging them only in
special circumstances. Almost all participants expressed a strong interest and curiosity in touching
exhibits, and tactile experiences have become one of their favorite sensory experiences. This stems
from "a strong impulse to reach out and touch to see what it is like" (V06), and "touch is very scarce
and also very novel; it can leave a deeper, more unforgettable impression" (V08). However, some
museums provide tactile experiences only in certain areas or for specific audiences; for example, "a
certain museum has a section specifically for people with disabilities to experience touch, but other
areas basically do not allow it" (V03).
To meet the needs of diverse visitors, some museums have developed interactive designs that cater
to tactile experiences. Tactile experiences, through embodied cognition and emotional resonance,
enhance visitors' learning outcomes and memory retention. V07 shared a "calligraphy copying game
that uses a screen with a brush sensor to write calligraphy." V04 shared a planetarium experiment on
"how to simulate the generation of force; after experiencing it, the impression of this experiment is
deeper, and I understand its mechanism better." Curator C01 also shared a case from her planning
along with audience feedback: "The model of a certain feathered dinosaur (Konglong) itself has no

499
Highlights in Business, Economics and Management CMAM 2025
Volume 60 (2025)

warmth—it is made of rubber. I feel that when visitors touch it, they have an added subjective
sensation; they will tell me that it feels warm to them."
Furthermore, young groups are more inclined to shift from "viewing" to "participating" when
visiting museums; they are willing to make a memorable trip for novel experiences, and going to
exhibitions together seems to have become a part of maintaining their social connections. V04
observed that "my friends prefer to go to botanical museums because some plants can be touched in
some non-toxic conditions." V06 noted that "touch is something that feels immediately novel;
everyone is very interested. Maybe someday, when we have free time, we will all go see it together."
(3) Logical narrative
The narrative structure and logic of an exhibition are key factors in enhancing the visit experience,
helping visitors better understand and appreciate the exhibition content. Thematic exhibitions can
present history in a story-like manner by focusing on specific events, objects, or groups, thereby
enhancing the sense of immersion. For example, museums in some cities “comprehensively and
systematically outline the major historical events” (V04), and “the design of the exhibition halls has
a certain internal logic and narrative structure” (V08).
To effectively integrate narrative structure with multisensory design, it is also necessary to adjust
the visitor flow within the exhibition, highlight key content, and consider visitors’ pacing and needs.
V04 mentioned that some fixed storytelling processes were too rigid, causing “many parts where you
have to go back and revisit on your own.” To address this issue, C01 “will make adjustments to the
standard route in the exhibition hall… allowing visitors to have more time to touch, experience, and
feel.”

4. Conclusion
This study, through interviews with Generation Z museum visitors and a curator, revealed the
multidimensional mechanisms underlying the museum experience and its learning outcomes. The
findings show that the museum experiences of Generation Z visitors have shifted from traditional
knowledge acquisition to multisensory, interactive, and deep engagement. This shift not only reflects
changes in the cognitive habits of young people in the digital age but also poses new challenges and
opportunities for museum curation and operation.
First, the analysis of visit motivations indicates that Generation Z visitors not only regard museums
as platforms for knowledge acquisition but also view them as important places for leisure,
entertainment, and social interaction. This finding is consistent with situational learning theory (Falk
& Dierking, 2016), where visitors' motivations, emotions, and social interactions jointly shape their
museum experience. In this study, visitors shared knowledge and exchanged emotions with friends
and family through museum exhibits, which further deepened their understanding and memory of the
exhibition content. This kind of social interaction not only enhanced the enjoyment of the visit but
also boosted learning outcomes through emotional resonance. Moreover, the museum's geographic
location, scale, and distinctive features also became important factors influencing visit decisions, with
visitors' choices being shaped by both the external environment and personal preferences.
Second, the importance of multisensory design in the museum experience has been widely
acknowledged. Vision is often referred to as the "primary sense," as over 80% of external information
is acquired through it (Mayer, 2009). In museums, traditional exhibitions rely heavily on visual
displays. However, the introduction of multisensory elements significantly enhances visitors' sense
of immersion and memory retention, transforming abstract knowledge into concrete experiences
through embodied cognition. Diversified interactive participation and clear exhibition themes and
logic are highly valued in multisensory museum experiences. Additionally, the interviews also
revealed occasional over-reliance on technology, which may lead to the problem of "form over
content"; the core function of a museum is education, and any technological means should serve this
goal rather than dominating it.

500
Highlights in Business, Economics and Management CMAM 2025
Volume 60 (2025)

In summary, this study still has limitations. First, due to objective constraints, the respondents may
not have sufficient representativeness in key characteristics, and the sample size is relatively small.
The respondents were mostly frequent museum-goers and enthusiasts with a generally high level of
education. Future research can select research subjects more systematically, increase the sample size,
and further improve the accuracy of the results. Second, this study is exploratory; in subsequent
research, empirical studies can be employed to conduct confirmatory analyses of the identified
influencing factors, the extent of each factor's impact on experience, and the relationships among
different factors.
Moreover, the sample exhibited a gender imbalance, with females predominating. This may affect
the generalizability of the results, as the findings tend to reflect the experiences and demands of
female participants, making it difficult to fully cover the diverse perspectives of male and other gender
groups. Finally, most respondents were students with limited spending power, which constrains the
representativeness of the research subjects in contexts involving paid attractions, such as private
museums, special exhibitions, and wearable technology devices. Future research could use broader
recruitment channels, such as social media, interest groups, and themed events, to expand the sample,
balance the gender and occupational distribution of respondents, and thereby improve the
comprehensiveness and generalizability of the results.

References
[1] Braun, V., & Clarke, V. (2006). Using thematic analysis in psychology. Qualitative Research in
Psychology, 3(2), 77–101. https://doi.org/10.1191/1478088706qp063oa
[2] Candlin, F. (2017). Rehabilitating unauthorised touch or why museum visitors touch the exhibits. The
Senses and Society, 12(3), 251-266.
[3] Classen, C. (2020). Touch in the Museum. In The book of touch (pp. 275-288). Routledge.
[4] Crowley, K., Pierroux, P., & Knutson, K. (2014). Informal learning in museums. In R. K. Sawyer (Ed.),
The cambridge handbook of the learning sciences (2nd ed. ed., pp. 461–478). Cambridge University Press.
[5] Diez, A. S. (2021). Working to Create Value: Spanish Museums and the Challenge of Connecting with
Generation Z. Museum International, 73(3-4), 44-53.
[6] Dudley, S. H. (2014). What's in the Drawer? Surprise and Proprioceptivity in the Pitt Rivers Museum. The
Senses and Society, 9(3), 296-309.
[7] Falk, J. H., & Dierking, L. D. (2016). The museum experience revisited. Routledge.
[8] Kelle, U. (2004). Computer-assisted analysis of qualitative data. In U. Flick, E. von Kardorff & I.
Steinke (Eds.), A companion to qualitative research (pp. 276-283). London: Sage.
[9] Komarac, T., & Bešlić, S. (2021). Uvid u percepciju muzeja i mogućnosti poboljšanja usluge muzeja:
perspektiva studenata. Ekonomski pregled, 72(3), 358-376.
[10] Komarac, T., & Ozretić Došen, Đ. (2023). Understanding virtual museum visits: generation Z
experiences. Museum Management and Curatorship, 1-20.
[11] Leahy, H. R. (2016). Museum bodies: the politics and practices of visiting and viewing. Routledge.
[12] Mayer, R. (2009). The science of learning: determining how multimedia learning works. Multimedia
learning, 57-84.
[13] National Museum of China. (2024). National Museum of China Annual Data Report
(2023).https://www.chnmuseum.cn/gbgg/202401/t20240122_265842.shtml
[14] Otter, C. (2008). The Victorian eye: A political history of light and vision in Britain, 1800-1910.
University of Chicago Press.
[15] Ting Guo, & Xiaoqun Ai. (2018). The Research on User’s Sensory Quality and Behavior Model of AR
Museum Guided Application from the Perspective of Cognitive Load. Art & Design, (10), 94-97.
https://doi:10.16272/j.cnki.cn11-1392/j.2018.10.017. (in Chinese)
[16] Weil, S. (2012). Making museums matter. Smithsonian Institution.

501