As tinkering and making spaces proliferate in museums, many researchers, practitioners, funders, and policy-makers seek to understand what constitutes learning-through-tinkering. To support discussion of tinkering-based learning, the Exploratorium sought to articulate and refine a valid, evidence-based definition of learning in its permanent on-floor Tinkering Studio. We studied and made videos of fifty learners and their companions in one of three tinkering activities in the Tinkering Studio. A team of researchers and practitioners used the videos to refine frameworks for learning and facilitation (initially developed in a prior project), leading to the identification of four Dimensions of Learning and three broad Facilitation Moves. We created a Tinkering Library of Exemplars that categorizes over one hundred video clips according to these frameworks. The Library may help articulate important aspects of learning and facilitation, give voice to practitioners' values in defining learning-through-tinkering, and lay a methodological foundation for gathering evidence for such learning.

Many museum professionals believe that immersive exhibits—those that surround visitors—provide more attractive, engaging and effective learning experiences than tabletop exhibits. We investigated this claim by comparing visitors’ experiences of the two exhibit types, using pairs of exhibits that differed in scale (immersive vs. tabletop), but shared the same content and similar visitor activity. We randomly selected, videotaped, interviewed, and sent follow‐up surveys to sixty families who experienced immersive exhibits and sixty families who experienced tabletop exhibits. We found that each design type had strengths. Learners at immersive exhibits more often returned to the exhibits mentioned the exhibits’ positive aspects, and saw themselves as part of the exhibits. Conversely, learners spent longer periods of time at tabletop exhibits, and engaged in more content‐related reasoning. Study results partially support the view that immersive exhibits may be more fun and engaging than tabletops. However, results also counter the expectations that being immersed in exhibit experiences will lead to greater physical and intellectual engagement.

We describe a study comparing the behavior of museum visitors at an interactive exhibit that used physical versus virtual objects to explore a large scientific dataset. The exhibit visualized the distribution of phytoplankton in the world's oceans on a multi-touch table. In one version, visitors used physical rings to look at the type and proportion of phytoplankton in different areas of the oceans, and in the other version they used virtual rings. The findings suggest that the physical rings better afforded touching and manipulations, which were prerequisites to further exploration, and attracted more groups, thereby providing opportunities for people to talk and share. However, the comparison did not detect any measurable differences in the thoroughness of visitors' interactions, the questions they asked, or on-topic talk with others at the exhibit. These results should help museum professionals and interaction designers better weigh the costs and benefits of tangible user interfaces.

This paper describes the development of a Female‐Responsive Design Framework for Informal Science Education (ISE). The FRD Framework translates ideas from Culturally Responsive Pedagogy to discover and recommend pedagogical strategies that apply to females and design. This paper describes our synthesis of prior research about females’ social, historical, and cultural practices in STEM learning from a variety of fields. The paper further details our process of developing the FRD Framework with the help of museum practitioners, female youth, researchers, and experts from the fields of design, gender, and museums. We discuss four female‐responsive strategies, and suggest multiple STEM exhibit design attributes that support each of these strategies. This framework contributes to a growing movement to more thoughtfully consider females when designing STEM exhibits. We hope that the museum field will expand, evolve, and deeply explore the FRD Framework.

This paper describes an NSF‐funded study which explored the relationship between female‐responsive exhibit designs and girls' engagement. Across three participating science centers, 906 museum visitors ages 8–13 were observed at 334 interactive physics, math, engineering, and perception exhibits. We measured girls' engagement based on whether they chose to use or return to the exhibits, opted to spend more time at them, or demonstrated deeper engagement behavior. Findings suggest that the design strategies identified in our previously developed Female‐Responsive Design Framework can inform exhibit designs that better engage girls. However, the specific design attributes that address the broader strategies are not all equal: we identified a subset of nine exhibit design attributes that were consistently strongly related to girls' engagement. Further, none of those nine design attributes were harmful to boys' engagement. In practice, we hope educators will help address gender disparities in museums by considering female‐responsive design when creating STEM exhibits: broadening their design approaches and choosing among the nine EDGE Design Attributes based on their appropriateness for a particular exhibit experience or set of exhibits.