International Journal of Contemporary Hospitality ManagementMeasuring total customer experience in museumsJennifer Rowley

Article information:To cite this document:Jennifer Rowley, (1999),"Measuring total customer experience in museums", International Journal of ContemporaryHospitality Management, Vol. 11 Iss 6 pp. 303 - 308Permanent link to this document:http://dx.doi.org/10.1108/09596119910281801

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Measuring total customer experience in museums

Jennifer RowleySchool of Management and Social Sciences, Edge Hill University College,Ormskirk, UK

Introduction

In the ever more competitive world of leisure

and tourist attractions, museums need to

focus sharply on customer satisfaction. Sa-

tisfied customers are returning customers.

Indeed there has been a significant focus on

customer care and customer service in mu-

seums in recent years. This has sharpened

the quality of the interaction between mu-

seum staff and the user or customer, but

customer service is only one component in

the total customer experience. Customer

satisfaction depends upon the total customer

experience from the moment that the custo-

mer seeks to park their car or make a

connection through the telephone network to

the moment the customer leaves the museum

with the appropriate information, or leisure

experience. The total customer experience

will probably be different for each customer.

Compared with some other service outlets

such as restaurants, hotels or banks, there is

potential for much greater diversity in the

customer experience, because the customer

may seek a wide variety of different services

or products from the museum.

This article seeks to explore aspects of the

total customer experience in museums, in-

itially through two simple case studies, and

subsequently by identifying some of the

factors that might influence the customer

experience. A methodology using walk-

through audits is proposed for monitoring

the total customer experience.

Customer experience and quality

The quality of a service has been defined

differently by different authors. All writers

on quality, however, are agreed that quality

is to be defined with reference to the custo-

mers' requirements. A `̀ quality service'' is a

service that fulfils the customers' expecta-

tions. Good quality products or services are

central to a successful business, and quality

will often form a central plank of an organi-

sation's marketing strategy. Customer ex-

perience and satisfaction is then,

inextricably linked with quality. A good

quality service is one that offers users an

experience with which they are satisfied.

One way of assessing quality is to focus on

customer satisfaction. There is, however, a

significant flaw in this approach. This defi-

nition of quality is conditioned by customers'

expectations. If customers have a low or

narrowly defined expectation of a service

then they may rate that service as being of

good quality despite the fact that other

competitive channels may be more attrac-

tive. To take a simple example, customers

may not expect to be able to participate in

traditional bread-making in a museum,

although they may expect to see examples of

bread-baking equipment such as ovens and

baking tins.

On the other hand, the opportunities for

involvement and active experience in mu-

seums have widened significantly in recent

years, such that static exhibits with a lot of

exploratory text are no longer acceptable to

many museum visitors. Nevertheless, the

museum is still expected to maintain and

manage a collection of such artefacts and to

provide appropriate information to more

serious students of history. In summary then,

perceived quality is determined by customer

expectations, and in a changing and ever

more competitive marketplace, it is impor-

tant to manage customer expectations so that

they match the service available. For exam-

ple, there is no value in offering new facilities

or special events if the target market is not

made aware of these facilities. The danger in

raising customer expectations is, however,

that this may adversely affect their percep-

tion of service quality.

Over the past decade there has been a

lively debate concerning the nature of

Research in brief

The current issue and full text archive of this journal is available at

http://www.emerald-library.com

[ 303 ]

International Journal ofContemporary HospitalityManagement11/6 [1999] 303±308

# MCB University Press[ISSN 0959-6119]

KeywordsMuseums, Quality,

Customer satisfaction

AbstractAgainst the changing perceptions

of the nature of the customer

experience in museums, this arti-

cle seeks to explore aspects of

the total customer experience in

museums, initially through two

simple case studies, and subse-

quently by identifying some of the

factors that might influence the

customer experience. A metho-

dology using walk-through audits

is proposed for monitoring the

total customer experience. This

methodology has the following

stages: building a typical custo-

mer profile, designing walk

through audit frames, executing

audit frames, analysing the data

from frames, introducing any re-

commended changes to the stra-

tegic plan, and modifying frames

to reflect changes. This metho-

dology offers an important ap-

proach to the evaluation of the

total customer experience, which

encompasses consideration of the

way in which the variety of indivi-

dual service exchanges come to-

gether to provide an integrated

experience.

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museums and the way in which they can be

expected to represent heritage; this debate

has not only impacted upon the nature of

customer experiences that museums have to

offer, but has also influenced customer

expectations. There is a tension between the

emphasis on creating a pleasurable experi-

ence and the preservation of significant

objects (Corner and Harvey, 1991). New

activity-based museums are becoming popu-

lar despite the rearguard actions being

mounted by the great collection based display

museums such as the British Museum, the

National Gallery, and The Victoria & Albert

to maintain the historical elitist approach of

minimum interpretation, and maximum ob-

jects (Gardom, 1996). Government policy of

encouraging museums to be more commer-

cial and thus finding ways of attracting more

customers, coupled with the independent

museums' approach of being entrepreneurial

in terms of external fundraising and trading

activities have been instrumental in chan-

ging the nature of the museum experience.

The demand for some kind of `̀ theme''

experience incorporating a `̀ whole day ex-

perience'' was seen as the catalyst in re-

shaping the nature of the museum experience

(Dexter-Lord, 1992). Against this backdrop it

is important to continue to re-assess the

customer experience.

Measures of the customerexperience

The customer experience is pervasive. If the

customer does not experience any aspect of a

museum service, stock or functions that

aspect is redundant. Since different users

access different museums in order to fulfil

very different needs it can be difficult to

identify a set of criteria that are appropriate

in every case. Tucker (1991a, 1991b) offers a

useful list of factors that contribute to the

customer experience and in which he asserts

that businesses must outperform their com-

petitors in order to achieve competitive

advantage. Here we list these and comment

briefly on the application of these criteria to

museums in turn:

1 Speed of service delivery. For museums the

emphasis is on access time. This will

depend upon the access channel, tele-

phone, personal visit or computer net-

work. For personal visits access time will

depend to some extent on location, and

also on access to services within the

museum.

2 Convenience. Convenience is often closely

associated with speed of delivery and, as

with speed of delivery, location may be a

significant factor in convenience. Conve-

nience is also reflected in how well the

service matches the requirements of the

user, and will be influenced by opening

times, range of services available from

one service point and the extent to which

specifically tailored services are offered

for specific groups of users.

3 Age waves are concerned with responding

to demographic changes. Museums may

be concerned about the need to offer

special services for children or the el-

derly and demands for these services will

vary as the age structure of the local

population changes.

4 Choice. Customers appreciate options ±

different products at different prices.

Museum managers possibly tend to be a

little too wary about choice, and there is

always a legitimate concern that by

offering choice the museum service is not

undermining the viability of another

service or product. Taking a wider per-

spective, the museum manager needs to

recognise that the museum may be one of

the leisure and information delivery

channels open to the user and must seek

to differentiate in marketing terms this

service from others.

5 Lifestyle. The lifestyle of customers is

important in assessing which products or

services they might appreciate. Is time

precious or is a leisurely experience

paramount? Where do customers spend

their time? What are their priorities?

These are just some of the questions that

might be considered.

6 Discounting. Discounting is common

practice in the wider marketplace as a

means of attracting new custom. Museum

services are not variable in their price

sensitivity. Some prices are low and some

services are free but others may be priced

at a level comparable with other tourist

attractions. As the marketplace in gener-

al becomes more competitive and pricing

becomes an even more pressing issue,

discounting is likely to need to be con-

sidered more widely.

7 Value adding. The definition of value

added service depends upon the initial

service. How can a museum add value to

its basic display and education services?

What would tailor these services more

appropriately to specific student groups?

8 Customer service. Customer service fo-

cuses on the interactions between users

and staff. Staff need to be pleasant and

helpful and need to be empowered to

respond positively to the range of re-

quests that they might receive.

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9 Technology. All businesses need to em-

brace the opportunities that technology

offers to improve the basic product or

service. Museums have made wide use of

videos and other techniques to bring

historical periods to life. They need to

continue to embrace developing multi-

media technology which has the potential

to simultaneously provide excitement,

information and interest.

10 Quality. Quality is sufficiently important

that the previous section singled it out for

separate treatment.

These ten factors embrace a multitude of

facets of the customer experience. Indeed,

they impinge on a number of aspects of the

marketing strategy of the organisation, in the

sense that they impact on the services offered

as well as the customer experience of that

service. Indeed customer experience and

marketing strategy are closely intertwined.

The customer experience ± twocases

The last section has reviewed some of the

factors that are necessary to address in

considering the customer experience. But

what is the customer experience of a mu-

seum? Clearly each customer has a different

experience and we return to the factors that

influence this experience in the next section.

An important facet of all of these access

experiences is that the person-to-person con-

tact may form a relatively minor component

of the customer experience. Indeed, they

demonstrate that the museum manager may,

in some instances, have less control over the

customer experience than they would like! To

offer a framework for considering the extent

and variety of the customer experience, two

case studies are offered below:

Case study 1: visitor to a small municipalmuseumMrs Brown is seeking a means to entertain

her two children during a wet day in the long

school summer vacation. She has spent the

morning attending to various aspects of

housework whilst simultaneously respond-

ing to requests for paint and water and other

entertainment activities. She has perused the

local What's On magazine to seek details of

local museums in an area to which she has

just moved.

First, Mrs Brown needs to locate the

museum. Armed with an A-to-Z and navigat-

ing in a strange town, she is relieved, after

only one additional circuit of the one way

system, to observe a sign to the chosen

museum. Eventually she locates a nearby

carpark, pays for the parking ticket and

walks with her children to the museum. She

enters the museum at 2.15 p.m. on a wet

Tuesday afternoon in August, accompanied

by her two school-age children aged 7 and 11.

Entrance to the museum is £2 for adults and

£1 for children which she duly pays. In

addition she purchases two quiz sheets for

10p each, one for each of the children. Next

she needs to dig in her handbag for two pens

or pencils and a squabble breaks out as the

two children disagree about who should have

which pen. They decide to follow the wall

guide which directs them around the mu-

seum. The children are eager to complete

their quiz sheets and charge through inter-

esting exhibits which do not feature on the

quiz sheet. The younger child requires

assistance in completing the quiz sheet,

which the elder child asserts gives them an

unfair advantage. The children are particu-

larly attracted by any buttons that they can

press. They linger for some while on a hand

flour milling device. After about an hour, the

children are declaring that they need a drink,

so they agree to visit the coffee shop. The

visit to the museum is completed with a visit

to the shop in which the children purchase

some pencils and notepads. They also return

their completed quiz sheets to be given a

badge in return (Figure 1).

Case study 2: a visit to a nationalspecialist museum complexMr and Mrs Green have family visitors

staying with them for the weekend. The

whole party, comprising four adults and five

children, decides to visit a specialist museum

complex that is 20 miles from Mr and Mrs

Green's home. They fill the two cars and set

off along the motorway travelling in convoy.

Figure 1A profile of customer experience described incase study 1 (Mrs Brown's profile)

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They locate the appropriate motorway exit

and the museum that they have selected is

clearly signposted from this position. They

park the cars in the attractions car park and

go to join the queue at the entrance. Signs

indicate that they can expect to queue for 15

minutes before entry. They join the queue at

11.00 a.m. After five minutes one of the

children needs to visit the toilet, so one adult

takes the child in search of toilets. When they

arrive at the admission booth they are faced

with an array of differing admission prices

for different size groups. They do their best to

select the cheapest option. On entry to the

museum complex, they have two hours to

wait before they can join the tour that is a

central attraction of the complex. They visit

some of the other components of the museum,

queuing for brief times as necessary. After

experiencing two attractions, the baby is

crying for a feed, so they decide to visit the

pub on the site for lunch. The pub has a good

range of fixed price meals and although it is

rather crowded, the party manages to meet

all of the requirements. They then go to see

whether their tour is to depart soon and note

that although there are 15 minutes to wait a

queue is already forming. They join this

queue. The tour is interesting and lively,

although the children become impatient with

certain parts where they are expected to

listen to lengthy explanations. After the tour,

the party split into two and visit a few other

attractions. At 5.30 p.m. they decide to leave

the museum complex, having explored all

areas.

These two case studies are designed to

demonstrate the range of customer experi-

ence within a museum. Often museums seek

to cater for a variety of different kinds of uses

and users within one service. This must lead

to compromises that will be more or less

successful. Customers seek a total experience

that may embrace leisure and recreation,

culture, education, space and social interac-

tion.

A methodology for measuringthe total customer experience ±walk-through audit

Any methodology for evaluating the total

customer experience (TCE) must accommo-

date the variety of experiences of different

customers. Although a general framework

may be a useful starting point, the metho-

dology will need to be tailored for a specific

environment. In broad terms, the TCE will be

influenced by the range of services offered

by the museum and the methodology adopted

by any specific museum to evaluate TCE

must accommodate the experience of these

services.

A walk-through audit is an audit that can

be conducted by managers in order to assess

customer experience. Typically such audits

comprise a number of questions to be an-

swered by managers, but which take the

manager through the customer experience

stage by stage. Walk-through audits have

been used in other areas to examine the

customer experience. For example,

Fitzsimmons et al. (1991) describes a walk-

through audit which consists of 42 questions

designed as a management tool for the

systematic evaluation of a customer's view of

the service provided by a restaurant. Ques-

tions were asked about issues such as wait-

ing lines, ambience and quality and speed of

service. The objective of such an audit is to

focus on the total customer experience,

rather than merely to frame a questionnaire

that focuses on specific issues. The total

experience, with sub-experiences in typical

sequences can be examined. Any service

outlet, such as a museum, would need to

design a series of walk-through audit frames

to reflect different typical customer experi-

ences. The exact design of these is not

generally critical, provided that they reflect

reasonably accurately typical customer ac-

tivity and cover all of the significant facilities

and services offered by the museum.

A walk-through audit must be implemen-

ted as a series of stages. These stages are

summarised in Figure 2, and we discuss each

of these in turn below, but first a few general

comments may be helpful. It is important

that a walk-through audit be fully integrated

into the monitoring and evaluation processes

of the museum. In particular, it should be

viewed as one of the tools that is used to

collect data for input to the strategic plan-

ning process. In this sense, walk through

audits should be conducted on a cyclical

basis, possibly in line with the annual cycle

of the strategic planning process. In the first

cycle it will, however, be necessary to design

the frames on the basis of data collected from

other monitoring and evaluation activities

such as counting, in-museum interviews, or

observation. Subsequently the frames can be

modified on the basis of experience with the

frames and to accommodate changes in the

strategic plan and new services that are

being implemented. Indeed, in some cases, a

special frame may be designed with a view to

focusing on such new services. The set of

frames will be improved as repeated cycles

are undertaken. It is assumed that in most

museums multiple frames will be necessary

in order to monitor different types of custo-

mer experience. The total number of frames

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required will depend upon the range of

activities and services and the distinct types

of customer experiences to be monitored.

Personnel for execution of a walk-through

audit deserves comment. It is important that

there is top management commitment to the

process and involvement of senior staff, in

the design of the frames possibly with the

support of consultants. The execution of the

frames is best in the hands of a disinterested

person, such as a new member of staff, a

junior member of staff or a student on

placement. The process should also act as a

staff development process for such indivi-

duals.

Stage 1: build typical customer profileAs indicated above, Stage 1 will be necessary

during the first cycle of the audit. The

purpose of stage 1 is to collect a profile of

typical customer experiences and services

that are to be monitored so that an appro-

priate focus can be developed for the audit.

The extent and nature of this stage will

depend upon the normal monitoring and

evaluation strategies adopted. The conclu-

sion of stage 1 should be profiles of some

typical customer experiences, in terms of the

activities that customers undertake in the

museum, in the sequence in which they are

undertaken. Note that such a profile only

identifies activities in sequence, and does not

attempt to evaluate the success of these

activities, or to monitor the outcome in terms

of customer satisfaction.

Stage 2: design framesA walk-through audit frame is a series of

questions which attempt to assess customer

experience. By moving through the series of

activities in a typical customer profile an

attempt is made to assess the total customer

experience. The frame is designed to be

carried around the museum and the ques-

tions answered as the activities are com-

pleted. These questions will monitor such

aspects as:. outcome;. the success of an activity;. waiting/queuing periods;. quality of customer service;. impact of environmental considerations.

Once a set of frames has been drafted a pilot

run should be executed in order to refine the

frames further, before the final frames are

ready for use.

Stage 3: execute framesThe execution of the frames involves actually

conducting a walk-through audit. This

should be executed at random moments

which have been pre-selected but which are

not known to the staff. It is important to

emphasise that the exercise is in no sense an

appraisal or an evaluation of individual

members of staff, but rather a methodology to

lend a view of the customer's experience of

the museum. Frames should be executed as

many times as is necessary to cater for the

possible values of appropriate variables, and

this number of times will depend upon the

individual museum. In general, however, it is

not envisaged that frames be executed more

than say ten times in each cycle since the

primary objective is to gather qualitative

rather than quantitative data.

Stage 4: analyse data from framesStage 4 is concerned with the analysis of the

data collected by using the frames in the

context of a walk-through audit. The main

focus is twofold:

1 Qualitative data, which is indicative and

may lead to further focused structured

investigation to collect quantitative data,

or, for instance the extent of use of

facilities such as toilets or seating.

2 Data on the sequencing of activities pur-

sued by customers with a typical custo-

mer profile. For example, it may become

evident that common sequences lead to

disruption for this customer and others,

and that approaches need to be adopted

Figure 2Stages in a walk-through audit

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which lead to a re-sequencing of activities

or attention needs to be focused on a

specific aspect of the customer experience.

Stage 5: introduce recommended changesto strategic planIt is important that the walk-through audit

process be fully integrated with the strategic

planning process for the museum. Any re-

commendations for change that emerge from

the walk-through audit must be reflected in

the strategic plan, for the shorter or longer

term, as appropriate and, subsequently be

implemented in accordance with an agreed

timetable.

Stage 6: modify framesAfter each cycle frames will be modified in

order to take into account two types of

change:

1 the need to monitor any changes intro-

duced via the planning process.

2 a recognition that different activities may

warrant further investigation and there-

fore that frames need to be re-focused.

Conclusions

This article seeks to explore aspects of the

total customer experience in museums, in-

itially through two simple case studies, and

subsequently by identifying some of the

factors that might influence the customer

experience. The total customer experience in

museums, as in a number of other leisure

environments, comprises a series of indivi-

dual transactions, and the experience is

different for different customer groups, de-

pending upon the individual transactions

that comprise their total service experience.

A methodology using walk-through audits is

proposed for monitoring the total customer

experience. This methodology has the fol-

lowing stages: building a typical customer

profile, designing walk-through audit frames,

executing audit frames, analysing the data

from frames, introducing any recommended

changes to the strategic plan, and modifying

frames to reflect changes. This methodology

offers an important approach to the

evaluation of the total customer experience,

which encompasses consideration of the way

in which the variety of individual service

exchanges come together to provide an

integrated experience.

This article has considered the methodol-

ogy from the perspective of two typical case

studies relating to the customer experience

in museums. There is considerable scope for

testing the concept and applicability of walk-

through audits in a number of other leisure

environments. From an applications per-

spective, further use of the walk-through

audit methodology would reveal issues con-

cerning the optimal operation of such a

technique in different environments. In par-

ticular, it would be useful to compare the

outcomes of this methodology with data

collected from other methods of service

evaluation, such as complaints procedures,

and evaluation questionnaires. On a more

theoretical level, exploitation of the metho-

dology in a range of different environments

would facilitate a further evaluation of the

stages in the methodology, and contribute to

the evolution of a methodology that might

have general applicability in a wide range of

different leisure environments.

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7. Mario Castellanos-Verdugo, M. Ángeles Oviedo-García, David Martín-Ruiz. 2011. Tourist Assessment of ArchaeologicalSites: The Case of The Archaeological Complex of Itálica (Seville, Spain). Visitor Studies 14:1, 100-112. [CrossRef]

8. David Martín-Ruiz, Mario Castellanos-Verdugo, Ma de los Ángeles Oviedo-García. 2010. A visitors' evaluation index for avisit to an archaeological site. Tourism Management 31:5, 590-596. [CrossRef]

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14. J GNOTHWaiting Time Effects on the Leisure Experience and Visitor Emotions 255-267. [CrossRef]15. Lesley‐Ann Wilson, Emily Boyle. 2004. Explaining the performance of a new public service visitor attraction shop.

International Journal of Contemporary Hospitality Management 16:5, 299-308. [Abstract] [Full Text] [PDF]16. Jessica Santos, Brian P. Mathews. 2001. Quality in religious services. International Journal of Nonprofit and Voluntary Sector

Marketing 6:3, 278-288. [CrossRef]17. Mitul Shukla, Marc Conrad, Nik BessisTowards a Bespoke Framework for Eliciting Consumer Satisfaction in Second Life

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