This thesis reconceptualizes how visitors engage with street art in the STRAAT Museum in Amsterdam by designing an experience tailored to ‘explorers’, a visitor segment characterised by curiosity and a desire for discovery, as defined by Falk's visitor identity theory. STRAAT, a museum dedicated to urban art, faces the challenge of translating the spontaneous and public nature of street art into a structured indoor environment, without sacrificing its cultural impact and accessibility. This project aims to address this challenge by creating an immersive experience that resonates with explorers seeking hands-on, interactive learning in unfamiliar environments.
The research integrates Falk's identity-based visitor segmentation with the Relevance by Play framework (Vermeeren and Calvi, 2019) to design an experience that increases engagement. Through a literature review, visitor studies and interactive design sessions, the project developed two distinct concepts: In the Shoes of a Street Artist, in which visitors personalise and reinterpret artworks to foster a sense of creative belonging, and Echoes of the Streets, which combines artworks with sensory elements and symbolic artefacts to deepen thematic connections. Both concepts encourage explorers to engage independently, making personal discoveries in line with STRAAT's mission and the immersive qualities of street art.
Initial evaluations indicate the potential of these concepts to position STRAAT as a street art curatorial model that fosters exploration, personalisation and cultural relevance. Limitations include logistical challenges in integrating interactive digital elements within the vast museum space. Recommendations for the future suggest further testing to refine these elements and extend the digital experience beyond the museum visit. This thesis thus provides a framework for curating urban art in museums through visitor-centred design, enabling STRAAT to become a dynamic cultural hub that engages and transforms visitors into ‘explorers’ of street art.

The Rotterdam Public Library (RPL) houses the largest collection of works by Erasmus, a renowned humanist and scholar of the European Renaissance. To honor his legacy, RPL established the "Erasmus Experience." However, after eight years, the Experience faces significant challenges: it has remained unchanged, its collections are inaccessible and non-interactive for visitors, and its presence is largely unknown to the public. In collaboration with RPL, I undertook a design project to address these challenges and align the Experience with the library's mission: fostering critical thinking among citizens.
To guide my design process, I employed the Double Diamond Model. Initially, I conducted a literature review, interviews, and observations to explore trends in library experiences and understand visitor demographics, ultimately identifying a target audience. Next, I performed field research to identify issues and opportunities within the current Erasmus Experience. This research led to the insight of focusing on a single book to stimulate critical thinking. I then carried out desktop research on similar book-based experiences and user engagement with historical texts, ensuring that each research stage addressed the core challenges identified at the outset.
From this research, I developed a design vision: using the contents of Erasmus's The Praise of Folly to inspire visitors to reflect on themselves. The final design is an interactive, "magical" old book that guides users through self-exploration, helping them discover the "fool" within themselves. After the experience, participants received a personalized poem from the book based on their responses. Throughout the interaction, users choose between two cards to receive questions, which are projected onto the book's pages. They respond verbally, and through touch, they receive their customized poem. The experience is designed to create a nostalgic, immersive environment that encourages critical self-reflection, while the personalized poem provides a unique, memorable takeaway that aligns with users' expectations. Furthermore, design elements and interactive guidance connect participants to the broader legacy of Erasmus.
Before finalizing the design, I conducted user tests with six participants. Their varied reflections indicated that the experience successfully stimulated critical thinking. The interaction flow and card-based design were well-received. I enhanced the final prototype using an antique-style book and projection technology to strengthen its nostalgic atmosphere. Nevertheless, further improvements could be made, such as testing the experience within a library setting for more realistic feedback and incorporating a replica of an actual Erasmus text to deepen the connection to his work.

This project is in collaboration with the Green Kids’ Museum Kenya, which will be the first interactive children museum in East Africa. The museum will become a place for children of age 6 to 14 to learn, inspire and explore, with sustainability at its core.

The purpose of the project is to propose an interactive design to playfully foster awareness around renewable energy at the Green Kids' Museum Kenya, in specific for children aged 9 to 11 living in the Nairobi metropolitan area.

An effective and engaging way to educate children is by providing a play-based learning experience as it capitalises on the motivational abilities and engagement of play. In order to provide such an experience the target group first needs to be triggered to engage with the installation. Once the children are interested in the installation they need to be able to playfully explore, experiment and reflect on the implementation of renewable energy. After which the children will leave the installation with a sense of pride, due to the gained learning experience.

To support the play-based learning journey and to ensure that an exhibition is engaging for children, 12 guidelines have been developed, based on a creative session with children, interviews with stakeholders, museum visits and literature review. Each guideline corresponds with an underlying need of children: support children with different interests, give children the feeling that they are in control, allow children to take a break to reflect on their experience, enable discovery, emphasise the feeling of fellowship, challenge the abilities of the children, provide a clear and simple introduction, allow children to take risks, trigger their senses, reflect everyday life within the installation, utilise humour and create an aesthetically pleasing experience.

The guidelines formed the basis for developing the design Geotricity. Geotricity consists of a table with an interactive landscape projected on it. The challenge for the children is to provide energy to the houses on the table. To accomplish this, the children can place elements that represent renewable energy power plants. Placing an element causes the projection to change accordingly. If a power plant is placed in a correct position, the lights in the corresponding houses are turned on. Through exploration, experimentation and reflection the child will learn about the implementation of the different renewable energy power plants.

Based on an evaluation test with Dutch children at the age of 10, it appears that the concept is experienced as engaging and provides children the opportunity to playfully explore and experiment with the applicability of power plants. Once they properly positioned an element and made a house light up, the children felt a sense of pride.

Further research needs to be conducted to establish if the design has the same impact on the target group of children aged 9 to 11 living in the Nairobi metropolitan area and to determine whether the experience has the desired educational impact.

Project goal

The goal of this project is to design an immersive interactive experience inside an electric truck for Museon for pop-up locations at schools aimed at preteenagers to inspire, activate, and make them care about nature and sustainability. The experience should be made accessible to children from disadvantaged neighbourhoods.

The project consists of 2 phases, a research phase and design phase.

Research phase

During the research phase, two user research has been done. The first a context mapping session is done to understand how preteenagers perceive sustainability. It was discovered that their focus is mostly on nature, and they know the basic principles if a behaviour is good or bad for the environment. Often when asked for reasoning it is missing or wrong. The second were expert interviews, with the goal to learn more about how to design for children in the museum setting. Museum educators at Museon were interviewed. Information transfer is important when designing for children, they should enjoy the experience and therefor the experience should be designed to fit their identity needs. A design framework consisting of design principles, personas, design goal, interaction vision, and creative vision has been made using the information of the user research.

Literature research has been conducted to understand how to educate children about sustainability. According to Janssen et al. (2019) an approach to educate children about wicked problems is providing them with the perspectives of different stakeholders which should improve their systematic thinking and is necessary to solve complex issues. Literature research also has been done to better understand how to design for museum experiences. According to Bär and Boshouwers (2018) it is essential to design a story which the visitors can go through. The 9 experience journey steps have been adopted as blueprints for the final design to create a good story.

Design phase

The second phase is the design phase, creative sessions has been done to design a theme, exhibits, camper layout, and thematic objects. The final concept is a campervan experience in which the visitors make a journey along the Rijn. The camper is relevant to preteenagers as it reminds them of holiday and adventure. The experience consists of introductions using iconic objects of traveling to immerse the visitor, exhibits designed to fit the identity needs of the different personas to make the experience enjoyable, and an educational message with the educational approach of Janssen et al. (2019) where the children make sustainable choices after every exhibit and revealing how this affected their environment in the end of the experience.

The design phase ends with an evaluation done with preteenagers visiting Museon. A paper prototype has been used to walk the visitors through the exhibition and using the PrEmo tool (2007) as a discussion tool to understand how they feel about the exhibits. The exhibits were rated positive, and the educational message was seen as insightful for the children. Making their own choices and seeing how it effects the environment made it easy to understand the bigger system connected to the chosen sustainable behaviour.

Death and the end of life as a conversational topic has a certain taboo surrounding it. This taboo is what the people at the Cube Design Museum are attempting to break by hosting the (Re)design Death exhibition. To aid Cube in reaching this goal, this thesis attempts to design a coherent experience that will facilitate reflection and stimulate conversation between exhibition visitors, regarding death and the end of life. Through the combination of a literature review and an interview, different visitor-types are identified. Also, three existing projects are analyzed using a four-stage interaction model, which leads to several useful insights that are integrated into the design process. By making use of a 3-phased research through design method, three separate generative group- sessions are held. From these, the first two are used to gather four key-insights about the problems surrounding death-related conversations and to generate a four-archetype model of the participants. The third session takes the form of a brainstorm to generate solutions to the previously found problems. The gathered insights from the base of the ideation process that ultimately leads to the conception of the New Death Tour, a web-based role-playing game in which the player is taken on an interactive journey through the afterlife based on the question whether he/she would want to be immortal. The design makes use of the previously mentioned 4-archetype model to structure different ideas concerning death and confronts the player with the opinions of other participants. Through two iterations of prototyping and testing, the concept is finalized and presented. Participants to the tests generally find that the tour helps to make end-of-life topics less taboo to talk about. Finally, the thesis is concluded with recommendations for further work, Such that the Cube Design Museum can make the most of the provided conceptual design.

This projectThe aim of this graduation project was to find out how to make the Mauritshuis, an art gallery museum in the city centre of The Hague, relevant to visiting families with children. Thereby the focus was on how to engage the families as soon as they enter the permanent exhibition of the museum and make the museum more relevant to them accordingly. The Relevance by Play Framework (Vermeeren & Calvi, 2019) was taken as reference. To understand the message and experience that the Mauritshuis wants to provide to its visitors (and mainly families with children) with the help of the permanent exhibition, the content of the permanent exhibition, the management mission / vision and museum employees are consulted. Additionally the strengths and weaknesses of the current family product in use are reviewed as reference. The scope is broadened by looking at how other museums approach families with children. Parallel to getting to know the core of the Mauritshuis, research has been conducted with families, both parents and children, with the aim to understand their motivations, roles and interests before –and during a visit to museums in general, or the Mauritshuis specifically. This was achieved through a literature review, observations, questionnaires, interviews and generative sessions. The project visionThe research outcomes resulted in an interaction vision:"I want that the Mauritshuis becomes like an exciting exploration of a goldmine. Corridor systems give confidence and guidance to curious families that decide to walk autonomously through the goldmine. When gold is discovered, it can be subtracted from the mine and taken home as a reminding reward to proudly share with others." The vision was used as base while generating product ideas. Through engaging employees of the Mauritshuis in the idea generation, a concept is developed that was assumed to be relevant to both the Mauritshuis and visiting families: the Mystery Game. The Mystery GameThe Mystery game is storytelling application on an iPad, which keeps the family together while travelling through the Mauritshuis. The family is helped to immerse in the stories behind the building: they can see a reconstruction of each room of the year 1704 when inside the rooms, with the use of animations, movies and augmented reality. The present is mixed with the past and the family is challenged to find the link between them through solving a mystery in each room. A prototype has been made of this concept as proof of concept and in order to test its relevance.

This project report describes the process of the development of an evaluation process for family exhibitions in the Maritime Museum Rotterdam. It is focusing on collecting qualitative feedback from families, consisting out of children between 8 and 12 years old and their parent or grandparents. The Maritime Museum Rotterdam has various interactive exhibitions which learn their visitors about the maritime world. The museum was looking for a way to get qualitative feedback from their visitors about these exhibitions. The museum wants to learn what contributes to or deducts a positive experience of their exhibitions, so they can create even more inspiring exhibitions in the future. The assignment for this project is to design a tool-box, containing all elements needed to conduct a successful qualitative evaluation of a family exhibition. The Sea monster exhibition in the Maritime Museum was chosen to be a test-case for this project. During the project, several methods for gaining feedback were explored. It was decided to build an evaluation process around the concept of a heat-map which shows what areas visitors do or don’t like. The method that was chosen to collect the data to create the heat-map is experience sampling. During the exhibition visit, visitors are asked to give a small sample of feedback. They can do this by pressing a smiley that indicates how much they like what they are doing or seeing at that moment on a special developed tracking device. This device also keeps track of the location of the visitors. A line, showing the route of the visitors and the given feedback samples will be created from this information. For this concept, a framework of the evaluation process was created. In this framework, two tracks were distinguished. One track, called version 1 in this project, collects the route and feedback samples of over a hundred visitors. An interactive stand will ask automated questions based on this data. The other track, called version 2 in this project, only involves five families. A heat-map is created for each family member and based on the heat-map an interview is held. A process poster was developed which shows all steps of both tracks. However, the focus during the project was on this last track, version 2. The tracking device (the tool), the interview, and the analysis and communication of version 2 were developed further. Several tests were done to find the characteristic the portable tracking device should meet to collect the right data to create a heat-map that can be used to structure the interview. In the final design, a working prototype of the tracking device was created. Besides that, an interview guide was developed containing all information needed to conduct an interview, based on the heat-map. Lastly, all steps of the analysis and communication were distinguished and finding-cards were designed To validate the concept, various tests were done to evaluate the evaluation process.

In 2018, both of Amsterdam’s academic hospitals(VUmc & AMC) officially merged into the Amsterdam UMC. As part of thismerger two neonatal Intensive care units (NICU) are merging as well. Thisproject aims to increase the job satisfaction of NICU nurses in thispost-merger department. TheNICU nurse
A neonatal intensive care unit nurse treats premature borninfants as young as 24 weeks after the pregnancy. Besides nursing they guideparents through this emotional and unstable first phase of parenthood. Largerproblem
There is a global nurse shortage and this is also noticed atboth NICU departments. Attending this issue is even more urgent now sincemergers are often associated with higher job dissatisfaction and higher staffturnover rates (Martin, 2008). 
Designproblem
Job satisfaction is globally considered to have a pivotalrole in nurse turnover and the quality of care for patients. (Lu, 2019). At this moment there is no active pursuit toincrease nurse job satisfaction at the Amsterdam UMC. This leads to thefollowing design problem:
Howcan design thinking (empathize,define, ideate, prototype and test) be used todefine and shape future employee experiences in order to improve jobsatisfaction in a post-merger NICU department? 
Design research (empathize)
A NICU nurse profileof ten work values isestablished. These values are then compared to the organizations core values.Furthermore the different work cultures of both NICU groups are explored. 
Design goal (define)
The value ‘rewards me’is fulfilled the least well while being perceived as relatively important bythe nurses. Therefore the designgoal is:
Improving the NICU nursing staff’s feeling of being rewarded for workrelated efforts in order to increase their overall job satisfaction.
A future experience map (ideate)
To define and shape future NICU nurse experiences, a future employee experience map is made. Promising solutions are also placed in theemployee experience map.
Boost (prototype)
One concept in the future experience mapis prototyped and tested. This concept is the ‘Boost’ concept which aims atimproving employees wellbeing by facilitating a short personal moment away fromall stimuli during a workday. At the VUmc the concept is prototyped. Walls andceilings are covered with blankets and a massage chair, exercise area andreading corner are created.
Promising results (test)
For three weeks the Boost concept is piloted in the VUmc. Compared to the zeromeasurement a small but positive increase is observed. This data combined withthe desirability of the conceptshows that the boost concept has the potential for increasing jobsatisfaction. 
Recommendation
Although more measurements are needed the Boost concept shows the potential toincrease job satisfaction. Many more ideas are mapped in the future experiencemap. This leads to the following final recommendation:
Combine the future employee experience map with a design thinking mindset (empathize,define, ideate, prototype, test) to realize many incremental gains in nurse jobsatisfaction in order to fight the nurse shortage issue.

An analysis of the declining use of cash within the Netherlands and the eurozone. Recommendations and a redesign are created to tackle the challenges of both a declining cash cycle and a society with limited cash use.

The graduation project is about personalizing the multimedia guide (abbreviated as MMT) of the Van Gogh Museum. The personalization goal is to facilitate future visitors to engage with the collection and maximize the meaning of visiting the museum based on visitors’ diverse concerns. A model is brought up during the project and can describe four popular concerns of the adult visitors at this museum, which are about “understanding Van Gogh”, “learning art techniques”, “enjoying an aesthetic experience”, and “finding out the landmarks”. The concern model contains two parts for each concern: the first part collects the typical minds-on behaviors and terms for each category, and can be used to identify each visitor’s concerns; while the second part contains the facilitation design principles and examples for each category, and can be used to inspire the new content designs for each concern type. It’s also found out that, the core of the personalized product/service system is to collect enough data from the visitors, identify their concern(s) with the help of a robust backend algorithm, and then present selected content to the visitors. A MMT can be called as a personalized MMT as long as it can collect data from visitors, and select one content out of many according to their data input, but with a premise that the content should be relevant to the identified concern. After several design iterations, 17 design principles were generated for guiding the data input and content output design. An embodiment design was made as a personalized MMT example. The final design requires visitors’ interested terms in their daily life and collects them through a concern quiz which will be presented to the visitors at the beginning of their visit; their input will be calculated by the backend Bayesian network, and then ten personal highlights and some personal activities will be selected for the visitors immediately; visitors can see their personal highlights on a digital map and use it for their actual visit; they will also receive invitations of some personal activities from their conversational MMT assistant during the break. All the interaction happens only on the MMT screen. The embodiment design was tested by eight participants from TUDelft who role-played four different charterers in the Van Gogh Museum and visited the permanent exhibition with a Wizard-of-Oz prototype. The evaluation result is positive, which means the final concept can achieve the personalization goal in the desired way.

This is the reporting of the master graduation assignment of Hester de Bliek, Design for Interaction, Industrial Design Engineering, TU Delft. The main goal of the assignment was to make visual art accessible to people with a visual impairment. This assignment arose from the PhD research of W.S. Elkhuizen about 3D printing and Fine Art Reproduction, in association with the Rijksmuseum, who are looking for ways to make the museum more accessible.

This report is constructed in three phases: Analysis of the user and the context, Ideation from the design brief towards the concept and Demonstration, where the concept is detailed and tested.

Analysis
The first part of the analysis covers the basic characteristics of the usergroup. Besides, the museum context is explored in order to understand why people visit museums in general, what is important for such visits and which experiences take place.
Then, the relation between the visually impaired visitor and the museum is researched through literature and in practice. Accessibility of art for visually impaired is covered based on the five different senses, from which audio and touch seem most relevant.
This lead to the design goal of making the image, story and expression of paintings intuitively accessible for both blind and ill sighted visitors during an independent museum visit.
The scope is defined, just as the requirements that the final concept should meet and the intended interactions in the interaction vision of unpackaging gifts.

Ideation
From this design goal, the ideation process is started, with help from several visitor scenarios. By doing a creative session with visually impaired and individual brainstorm sessions with multiple input sources, ideas are generated.
These ideas are evaluated and downsized in number, then assessed through PMI (Plus Minus Interesting) and clustered to create a morphological chart. By taking ideas from the different layers in this chart and merging them together, three concepts arose: ‘Take your Technique’, ‘Exploration Table’ and ‘Splitting the Art’. These are worked out into a design sketches and storyboards.

The three concepts are assessed by two experts from the field of visually impaired and two experts of the Rijksmuseum. This resulted into valuable feedback with strong and weak points per concept. On the basis of this feedback, the three concepts are revised and a fourth concept, ‘Portable Exploration Table‘ is created. All of them are assessed through a Harris profile based on the requirements and through the Interaction Vision. Eventually, a decision was made and the ‘Portable Exploration Table‘ was chosen which contains a relief of the artwork, an audio guide and several layers with specific information.
This concept is iterated upon to find the best way to guide someone through an artwork without human interference. Eventually this is done with use of vibration.

Demonstration
This last chapter explains the final concept in detail. Generally, the concept exists out of two main aspects: a basic relief to understand form and composition and layers on top of this to clarify other aspects of the work like materiality or lighting. The worked out prototype focusses on the first part.

The prototype guides people through the artwork in an independent way. It exists out of a relief of the artwork from which several parts can vibrate in order to guide and give feedback. It is accompanied auditory by narration. The vibration mechanism is explored both theoretically and practically through research and prototyping simultaneously. The relief is created through a heightmap. Last, the (background of) the guidelines for the accompanying story are outlined and the story is created . In between the story, complementary sounds are added, like bread and milk.

The prototype was tested by six participants with a visual impairment within the Rijksmuseum. The overall feedback was positive, participants expressed their with to extend this concept to other artwork as well. The possibility of touching is desired although the relief can be strengthened. The vibration was received well and it’s intended use understood. The narration was clear for most participants. It could use a rewind option. The intermediate sounds were received positive as well, for they added to the atmosphere. Scent was mentioned here as well.

In conclusion, the design goal was met fairly well, which is explained thoroughly, and the concept definitely has potential. The recommendations outline further detailing and testing upon the current prototype and the possibility of adding layers on top of the relief. Also the placement and accessibility within museums should be considered well.

This thesis describes a research and design in how to engage millennials around the collection of the Fotomuseum. For the Fotomuseum to shift from a traditional institution to an open and social environment, the public should be involved. Involving the public is necessary to create a high-quality visitor experience. Extensive literature and empirical studies were conducted in different domains; the Fotomuseum, millennials, participatory and engaging museum principles. The holistic approach resulted in a starting point for developing a framework for an overarching social museum activity. Within this framework, the four core-elements socialization, meaning-making, escapism and interaction are integrated on the  visitor museum experience. The resulting design framework for an overarching social museum activity consists of a model for designing open-ended activities encouraging social interactions and prolong the experience outside the museum’s walls. A narrative architecture presents six different narrative spaces to activate participation and engage millennials around the collection on-site. In addition to these two models, thirteen design principles were formulated. The formulated design goal accompanied by an experience vision functioned as a starting point for the design process. In addition to individual designing, different co-creation and evaluative sessions were organized resulting in a concept proposal for an overarching social museum activity: Photo Studio. Photo Studio offers millennials an active and memorable experience at the Fotomuseum, inviting them to explore and use the collection for developing one’s mini-exhibition. The platform allows visitors to explore co-produced exhibitions at home, which highlights the museum as an open, essential and social place. The activity supports and encourages individuals to collaborate in creative activities in a larger social experience. One could see the concept as a vehicle for maintaining social relationships as well as a process for personal meaning-making. Throughout the journey the link between photographers and millennials is addressed, allowing visitors to reflect the world as they see it and engage with each other around photos. Six different stages are described that moves the visitor towards developing one’s Photo Studio. With an application and three different interactive exhibits, visitors can select photos from the archive, edit them in the darkroom and construct their own visual story in the interactive exhibits space. Each interactive exhibit is designed with personal entry points and tools for creative expression to engage with each other socially. Finally, visitors can view their Photo Studio anytime, anywhere as the platform provides a replica in an interactive 360-view. The concept was tested with 16 participants in a simulated environment and seven different prototypes. Based on the insights, the overarching activity is presumably found to facilitate the desired engaging experience for millennials. All of the 16 participants positively reviewed Photo Studio. Each group developed discussions around photos, collaboratively discovering new perspectives. The activity was reviewed as fun, active and motivating.

In the current medialized world, it has become of great importance for citizens to know how to deal with the media accordingly. Understanding and having a critical attitude towards the media content that we “consume” and being able to work with media devices and platforms has become as important as learning to read and write. Sound and Vision, thé institute of media in the Netherlands therefore wants to offer a product for children in group 7/8 (Dutch education system, age 10-12) that can be used in the classroom, to make them more media literate. My context mapping research with several groups of children throughout the Netherlands, showed that children use many different media devices and are very active on social media. They are competent in accessing information and creating their own media content. Among these children, YouTube is the most popular platform on which countless hours of influencer videos are watched. However, children are very influenceable in this stage of their lives and take the information provided by the influencers often as the truth. The children have too little analytical skills and have to improve their ‘analyze’ competence: understanding a media message through textual and contextual analysis. Additionally, interviews with several teachers gave insights in appropriate teaching methods for this age group and in this context. In group 7/8, children learn best by doing and experimenting. They prefer to work together and with theme that is connected to their personal life. Based on these insights, the workshop ‘de media schatkist’ was designed. The workshop’s learning objective is ‘critical examination and viewing comprehension’. The children will take a better look at media content and think about missing or misleading information. In the workshop examples of earlier and recent influencer advertisement videos are used. These videos are short and easy to compare for the children because they always contain the same elements and structure. The elements serve as subthemes in the workshop: the setting, the sound and the actor in the advertisement. The children discover these themes in three parts. The first part contains analytical questions about the original audiovisual content from the Sound and Vision archive. In the second part, they discover the effects of content alteration of the original content. In the last part, the children are invited and supported to create media content themselves and to create a visual story. In the museum of Sound and Vision, the visitors are taken into a media world with all kinds of installations. To also bring this experience to the school, the classroom will be transformed into several small media environments. The children will receive boxes that through opening will create the environment, see figure 1. In the boxes, the children find products and attributes for their playfull active and coorperative media production assignment. Every theme has its own environment: a film set, a sound studio and the actors dressing room.

The aim of this graduation project is to research the current way youngsters, with a diverse migration background (age 18-30 and living in Amsterdam) experience the Van Gogh Museum Amsterdam (VGM) and to design an intervention that provides them with a relevant and enriching Van Gogh experience to thereby increase its inclusiveness. Over the last years, the VGM noticed they were not reaching a diverse group of youngsters even though our society is becoming more diverse so, to welcome everyone and be ready for the audience of the future, they felt the need to change their attitude. To create a concept that is successful and supported, the youngsters have been involved in every step of the user centred, loosely applied, Design Thinking framework. Literature shows that to change the museum into a place where inclusion is enhanced Sandell (1995) three cultural dimensions of inclusion are defined; representation (of a person’s cultural heritage), participation (opportunities in cultural production) and access (opportunities to enjoy cultural services). To gain insights on what the users need to find these three dimensions in culture, 6 interviews and 2 museum visits were carried out. It was concluded that in experiencing culture, youngsters find it important to be able to do their own meaning making, feel a personal connection and have a fun and exiting experience. Instead of the VGM feeling distant, not relevant and at times boring, which is currently the case. From these insights a new museum mindset is formulated, to help the VGM to communicate more in the ‘language’ of the youngsters. This means that their communication should focus more on identification, with Van Gogh, then adoration, communicate more evocative that informative, provide more guidance than autonomy and present themselves more boldly than conventional. In the ideation phase it emerged that the personal letters Vincent van Gogh wrote during his life to his friends and family could be a great source of inspiration for youngsters nowadays. This led to the development of the ‘Van Gogh, the other story’ concept, where youngsters with a migration background get acquainted Vincent van Gogh's personal life story in a meaningful way, find connections between his life and their own and create an artwork in cooperation with a professional artist. Based on his original letters, five modern letters have been written, and made into a booklet, with themes that are of interest to young people today. When implemented continuously, multiple exhibitions can be made with the newly made artworks and be presented in neighbourhoods like the Bijlmer or Nieuw-West, making them easy to access for everyone. This way the youngsters can tell their own story through art, something that Van Gogh did too. After testing the concept it became clear that the participants felt more connected with Vincent van Gogh, the letters provided personal insights for them and the creation of an artwork felt like an exciting adventure, showing the potential impact of the ‘Van Gogh, The other story’ concept on the tree cultural dimensions, representation, participation and access.