The room had immersive environment that was occupied with interactive experiences which would enable the visitors talk about their 1960s stories, introduce their personal rock posters and explore the music and vibe of the olden days. It was really economical to construct because it did not need artifacts while the interactive integrated technology in a very low key in a magnificent way. The experience with the exhibit imposed a great challenge to the traditional forms of art museum exhibit design and was loved by a good number of visitors.
The immersive environment and the strategy of interactive mutually functioned efficiently to create a special space. The space had a strikingly low light which complemented the poor quality of some photos and creating a friendly environment in a clandestine space. The space in the Side Trip is occupied with groovy, periodic furniture and everything was touchable and open to stretch on or may be hang out. There are also intimate areas which smoothly enable sliding from the living room to the concert hall perhaps to record store to telephone booth without any form o disorientation. Signage in the exhibit is very informal and the glass door at the frontal includes a ripped piece of linen paper attached to it with instructions handwritten on a cardboard. There are also rolodexes full of cards that help in sharing experiences thus bringing the feeling of natural combination of the inclusiveness and expectation of the space. Actually there is harmonization of
the museum’s prescribed voice, cover as well as the visitors’ writing materials. it is undeniable that the space’s exciting retreat from the typical art gallery design gives it the significant fundamental feature of superlative interactive experiences. There is an absolute depth and creative participation driven by the intelligently thought out immersive space in Side Trip. the fact that visitors could make their own rock posters was evident in its primary interactive activity because there was minimal barrier to entry into the formidable world of art making. tables had some transparent clipboards and there were also many graphics , cut out reproductions and dry erase markers which could be used by visitors in tracing the graphics, enhance them and eventually add individual flairs before. Upon finishing the recombined poster by visitors, they would hand the work over to the staff member who would do a color copy and issuing to a visitor as the museum remains with another copy. Fortunately there was a starting point through the graphics and therefore an individual’s activity was tied to the artifacts provided. Many analogous ingenious interactive experiences were really available and the most amazing one was one called Light Show which was a huge wall that showed a gradually surging, multi colored projection moving by. There were two slide projectors that faced the wall which brought much fun when putting displays publicly. It was interesting to see colors intertwining on the wall without competition for colored water and providing a way of interacting with strangers even without interpersonal elements. Work Sheet 1. Modern & Contemporary Art 2. Five sets of collection were available and they included first-print set of the Bill Graham and Family Dog series (1965-1970); a first-print set of Russ Gibb/Grande (1966-1970); a set of Neon Rose (1966-1968); and a fifth set comprised of important miscellaneous posters and handbills from 1965-1973. There were collections of posters promoted dance, album covers, comics and other gatherings which represented the 1960s youth culture. It was intended to promote social revolution which celebrated