PROOF OF GENIUS #03 — INCLUSION A museum you can feel and hear

At a Glance

Creator	Valentij van Harn, Communication & Multimedia Design (CMD) student
Education	Amsterdam University of Applied Sciences — specialization in UX Design & Research; graduation internship with the Responsible IT research group
The problem	Museums rely almost entirely on sight; blind and visually impaired visitors are excluded from the experience
The solution	Interaction through other senses: prototypes featuring haptic interaction and voice interfaces, tested with users in a museum
Recognition	Selected for the Golden Dot Awards—the annual showcase of the best CMD projects
Partner	Amsterdam University of Applied Sciences (Oddny partnership)

 

The problem: art that you have to be able to see

A visit to a museum relies almost entirely on a single sense: looking, reading, looking again. For those who are blind or visually impaired, little of the art experience remains; an audio tour, at best, merely describes what others see. Moreover, in the cultural sector, accessibility is often reduced to a ramp at the entrance, while the content itself remains inaccessible. That’s exactly where this project begins.

The approach: understand first, then build

“Good design doesn’t start in Figma, but with research,” says Valentijn van Harn. “If you skip that step, you might create something that looks sleek but doesn’t work at all for the people who use it.” His starting point is always the same question: what is the real problem, anyway?

For his graduation internship, he worked on a specialization project about interaction through different senses, and he continued this work with the Responsible IT research group at the Amsterdam University of Applied Sciences (HvA). No assumptions behind a screen: he developed prototypes centered on sensory experiences and tested them with users in a museum. Hitting roadblocks was part of the process—and that’s exactly the point: “Brainstorming, hitting roadblocks, starting over, and discovering unexpected ideas are all part of it. That’s often where the best designs emerge.” Theory provides a foundation: knowledge of color, design principles, and research helps make better choices.

The solution: feeling and hearing what you can’t see

The result: prototypes in which haptic interaction—sensation through touch—and voice interfaces replace or complement the museum’s visual layer. Visitors experience the artwork through their hands and ears, rather than through secondhand descriptions. “It was pretty complicated, but that’s exactly what made it even more fun.”

The Impact

The project was selected for the Golden Dot Awards, the annual showcase of the best CMD projects. “I really didn’t expect that at all.” The selection gave him a major confidence boost, confirmed that he’s on the right track, and brought a design question about inclusion to the forefront of a competition where the most visually stunning designs usually win. Just as important: the prototypes were tested with real users in a museum setting, within a research group (Responsible IT) dedicated to responsible technology.

 

“In 15 years of working with graduates, I’ve never seen such an impressive and well-thought-out project,” said Simone Droog.

The creator: the question behind the question

At CMD at the Amsterdam University of Applied Sciences (HvA), it’s about more than just pretty screens: critical thinking, conducting research, and designing things that truly make a difference—and that suits Valentijn perfectly. He finds it fascinating how design influences behavior: a button, a color, or a notification may seem like a minor detail, but it can subconsciously determine the choices someone makes. “You can steer behavior without people even realizing it.” That’s precisely why ethics is so important: he deliberately considers extreme scenarios—not because he expects malicious intent, but because good design must be resilient against such scenarios. “You suddenly start thinking very differently: who could abuse this, and how do you prevent that?”

He takes a level-headed view of AI: a smart assistant, not a replacement. “AI helps you work faster, but as soon as you stop talking to users or skip research because AI ‘knows’ the answer, you start designing based on assumptions. And that’s exactly where things go wrong.” When asked what designers have that AI doesn’t: “We have something AI will never have: intrinsic motivation. We create things because we believe they should exist—not because someone entered a prompt.”

He describes himself as curious and eager to learn; within CMD, he most closely identifies with the Homo Universalis—broadly interested, constantly acquiring new skills, and unafraid to step outside his comfort zone. “Making mistakes is part of the process. That’s exactly how you learn.” Alongside his studies, he works on 3D modeling, animation, and programming; he says feedback only makes him better. And what’s next? The City of Amsterdam (products used by millions of people), a smaller design agency (creativity and variety), and someday he’d love to combine that with freelancing. “Ultimately, it’s still people who decide what gets made and why.”

Why This Matters

This is what creatives do when faced with a social problem: they don’t start with the technology, but with the people who are being excluded, and then they redesign the experience itself. Inclusive design isn’t a side effect of the creative sector; it’s its economic and social core. Proof of Genius demonstrates this, case by case.

→ Read how a few seconds’ delay breaks through online hate — Proof of Genius #01.