The Study of Social Interaction and Sense of Place in Private Art Museums of Eastern China from the Perspective of Cultural Sustainability

Abstract

This study investigates the social processes of place-making, sense of place, and place branding within the context of private art museums in Eastern China, highlighting their role in fostering social interaction and contributing to urban sustainability. By examining the relationship between exhibition design, interactive features, and audience engagement, the research demonstrates how these museums act as cultural spaces that not only display art but also facilitate dialog, community building, and cultural reflection. Using a mixed methods approach, including surveys and case studies, this study explores how private art museums employ place-making strategies to create immersive environments that blur the boundaries between art, architecture, and visitors. These museums enhance emotional engagement, promote cultural understanding, and support sustainable cultural identities within urban spaces. The findings reveal that through thoughtful design and community-centered programming, private art museums in Eastern China contribute to the social sustainability of urban areas by creating spaces that are both culturally and emotionally resonant. Furthermore, the place branding of these museums positions them as dynamic cultural landmarks, reinforcing their significance in the urban landscape and fostering ongoing social interaction.

1. Introduction

Contemporary art museums are undergoing profound functional transformations in the experience economy era, evolving from traditional venues for displaying artworks into active agents shaping urban cultural spaces [1]. This shift finds theoretical support in Lefebvre’s (1991) spatial production model [2], in which perceived space (physical design), conceived space (curatorial logic), and lived space (audience experience) interact to generate new social and cultural meanings. The practices of private art museums in Eastern China exemplify this model—through place-making strategies that integrate architecture and public programs, they have successfully expanded the boundaries and functions of traditional exhibition spaces [3].

Alongside this transformation, urban spaces are increasingly becoming platforms for sharing culture and ideas. The role of art spaces is no longer limited to art appreciation but extends to social interaction and the construction of cultural identity [4], significantly enhancing the socio-cultural value of surrounding areas [5]. Within this context, spatial production, sense of place, and brand building emerge as critical dimensions that collectively shape the composite form of art spaces, manifesting both as physical structures and as carriers of emotional and symbolic meaning [6].

The place-making of contemporary museums aims to create spatial experiences that foster a sense of belonging [7]. Unlike earlier exhibition models that separated art from the audience, today’s art institutions emphasize the integration of art, architecture, and the public, offering not only visual esthetic experiences but also encouraging interactive communication and participatory cultural practices. In Eastern China, institutions such as UCCA (Ullens Center for Contemporary Art) and White Box Art Museum have systematically applied this concept [8], using curatorial design and spatial intervention to facilitate multi-dimensional interaction between viewers and art, as well as among viewers themselves, thereby reinforcing the museum’s role as a cultural anchor in urban life.

As another key dimension, the sense of place pertains to the audience’s perception, memory, and identity construction within the space [9]. It goes beyond mere spatial orientation, incorporating narrative, identity, and emotional layers. When visitors enter a museum, they are no longer passive spectators but active co-creators of spatial meaning. Private art museums in Eastern China pay particular attention to creating exhibition environments that reflect both local cultural identity and global perspectives, enabling visitors to reflect on socio-political issues during their esthetic experience, thereby strengthening their emotional connection to art and community and deepening their social awareness.

Brand building, on the other hand, influences the museum’s urban positioning and cultural impact at a strategic level. Moving beyond traditional advertising, it seeks to construct a unique identity that appeals to both local and global audiences. Private museums in Eastern China employ branding strategies to highlight their distinctive spatial design, cultural production, and role in leading public discourse [10], allowing them to deeply engage in urban cultural narratives and shape public perception and visitor experience [11]. Thus, branding serves as an important medium through which museums manifest their identity as platforms for intellectual exchange and open dialog [12].

The synergistic effect of these three dimensions—spatial production, sense of place, and brand building—collectively elevates the art museum from a physical entity to a significant vehicle of urban culture [13]. It is important to note that the functional transformation of museums is not an isolated phenomenon, but should be examined within the broader spectrum of evolution in public cultural institutions. Museums are no longer the sole cultural venues offering experiences beyond mere spectatorship; correspondingly, libraries are also undergoing a profound transition from traditional repositories of books into hubs for community engagement, knowledge co-creation, and social connectivity [14]. Both respond to society’s growing need for “third spaces”—social environments beyond home and workplace that facilitate interaction, sharing, and meaning-making—and strive to dismantle the traditional “authority-audience” relationship in favor of a “platform-participant” model of interaction.

Within this comprehensive transformation, museums, libraries, community cultural centers, archives, and other institutions face a series of common challenges: how to shift from “supply-led” to “response-led” institutional models; how to transition from object-centered to human-centered approaches; and how to redefine their relationship with society through spatial, technological, and public programming interventions. Thus, the museum has become a key node within an expanding “public cultural network,” where it engages in mutual learning, collaboration, and complementarity with other cultural institutions, working collectively to shape the future landscape of societal spiritual life [15].

2. Methods

This research employs a mixed methods approach, combining quantitative and qualitative data collection to study public participation and cultural engagement in private art museums in Eastern China. The main goal is to examine how exhibition space design influences audience interaction, emotional engagement, and cultural understanding, particularly through the physical layout, interactive design, and symbolic expressions that shape place-making, sense of place, and place branding [16]. These core concepts have been thoroughly discussed in the Introduction, forming the theoretical framework of this study. Specifically, the research combines surveys and case studies to analyze how design elements in exhibition spaces influence emotional resonance and cultural identity through the place-making process, and how they shape visitors’ sense of place and perceptions of the museum’s brand. Additionally, statistical analyses are conducted to explore how different design features enhance place branding through interactivity and symbolic elements, offering new insights into this field of research.

2.1. Selection of Study Area: Private Art Museums in Eastern China

Eastern China was chosen as the study area for the following reasons:

• Economic Prosperity and Cultural Hub: The region is a cultural and economic center with a high concentration of private art museums. The growth of these museums has been closely linked to the region’s economic development [17].
• Diversity of Art Spaces: The variety in museum sizes, architectural styles, curatorial approaches, and exhibition practices across this region makes Eastern China ideal for studying how art spaces influence public engagement [18].

To analyze the relationship between private art museums and place-making, sense of place, and place branding, data was obtained from both primary and secondary sources. Secondary data was sourced from economic reports and provincial statistical yearbooks published by the National Bureau of Statistics of China [19]. This data provided information on GDP and economic prosperity across various provinces in Eastern China, which was used to analyze the socio-economic factors influencing museum development.

Against the backdrop of deep integration of digital technology and social development, the paradigm of human–computer interaction is undergoing a fundamental shift from interface manipulation to environmental intelligent perception. This transformation is markedly characterized by the rise in extended reality (XR) technology, whose core aim is to break down the boundaries between physical and digital spaces, constructing immersive and contextualized experience systems. Within this framework, virtual reality (VR) and augmented reality (AR), as two key technical pathways, share certain sensing and rendering foundations yet exhibit significant distinctions in design philosophy and application logic. VR utilizes head-mounted displays to create closed simulation environments, achieving complete takeover of the user’s vision and perception; whereas AR focuses on superimposing computer-generated virtual information with high precision into real-world scenes, expanding informational dimensions and interaction possibilities while preserving the context of reality. Currently, with continuous improvements in display resolution, tracking stability, and computational demands, VR/AR is accelerating from proof-of-concept to industrial integration, driving the emergence of innovative application scenarios across numerous fields such as education, healthcare, cultural tourism, and manufacturing.

Primary data was collected through museum websites, exhibition materials, and museum reports to examine how private art museums integrate interactive design elements such as VR, AR, and participatory exhibits [20]. Additionally, interviews and surveys were conducted with museum staff and visitors to gather insights on the visitor experience and the role of interactive features in emotional engagement and cultural understanding. This data was then analyzed to explore the relationship between economic factors, cultural policies, and museum design strategies, with a focus on how these elements contribute to the development of place-making practices and the creation of meaningful visitor experiences in the private art museums of Eastern China [21].

2.2. Data Collection Methods

2.2.1. Survey Methodology

To investigate the impact of exhibition design on audience engagement, we conducted a questionnaire survey among visitors from 235 private art museums in Eastern China. These museums are primarily established by entrepreneurs, collectors, and private institutions, with a mission not only to display private collections but also to enhance the founders’ social influence and corporate brand image through cultural exhibition. As an important form of private capital participation in cultural construction, these museums serve multiple functions, including art dissemination, social reputation building, and urban cultural enhancement. In terms of operational model, they generally do not prioritize direct profitability; instead, relying on corporate or individual funding, they focus on long-term cultural capital accumulation and social value return. Ticket prices typically range from tens to over one hundred RMB, with special exhibitions or renowned venues charging higher fees, yet remaining affordable for most urban middle-class and art enthusiasts. Furthermore, through student discounts, membership benefits, and other initiatives, these museums continuously expand their public accessibility and strengthen their social service function. The study aims to analyze how elements such as spatial construction, place perception, and brand building influence visitors’ emotional immersion and cognitive participation in the exhibition space.

Examine how exhibition design influences audience engagement, a survey was designed and administered to 235 participants from various private art museums in Eastern China. The survey aims to investigate how place-making, sense of place, and place branding contribute to emotional and cognitive engagement with the space.

The survey collected both qualitative and quantitative data on four major dimensions of engagement [22]:

• Visual Layout Impact: How the design and arrangement of the exhibition space influenced emotional engagement, and its role in place-making [23].
• Interactive Participation: The role of interactive design elements (e.g., VR, AR) in enhancing visitor immersion and fostering a sense of place [24].
• Metaphorical Expression: How symbolism and metaphors in the artworks shaped emotional resonance and cultural understanding, relating to absent participation in social critique [25].
• Cultural Understanding: How the exhibition space design facilitated a deeper understanding of cultural narratives and social issues, enhancing visitors’ sense of place and societal engagement [26].

The survey used a 7-point Likert scale (−3 = strongly disagree, +3 = strongly agree). We also collected demographic information to better understand the participant profile. The composition of visitors includes both local residents and non-local tourists, with significant differences in their interaction patterns with the exhibitions. Local visitors tend to prefer exhibitions related to regional culture, historical memory, or identity—such as shows dedicated to local artists or urban archives—viewing these spaces as sites for cultural identification and continuity. In contrast, non-local visitors are more attracted by international blockbuster exhibitions, architectural landmarks, or social media trends, resulting in more destination-oriented “cultural check-in” behaviors. This information is essential for analyzing how different audience groups engage with the exhibition space and how place branding influences their perceptions (see

Table 1. Participant Profile.

Attribute	Categories	Frequency (%)
Gender	Male	45%
	Female	55%
Age Range	18–24	20%
	25–34	35%
	35–44	25%
	45–60	15%
	60+	5%
Education Level	High School	5%
	Bachelor’s Degree	60%
	Master’s Degree	25%
	Doctoral Degree	10%
Art Appreciation Level	Beginner	10%
	Intermediate	40%
	Advanced	50%
Museum Visits per Year	1–2	15%
	3–5	40%
	6+	45%

).

2.2.2. Case Studies of Key Private Art Museums

In addition to the survey, case studies were conducted at prominent private art museums like UCCA Ullens Center for Contemporary Art and Sifang Contemporary Art Museum. These case studies provided qualitative insights into the design of these spaces and their social roles in the city.

The case studies involved:

• Observational Research: Observing how interactive elements and exhibition design influenced visitor behavior and engagement with the space, contributing to the place-making process.
• Interviews: Conducting in-depth interviews with curators, staff, and visitors to gain insights into curatorial practices and how these practices influenced visitor engagement and cultural reflection.

These case studies also explored how these art museums contribute to place branding through their architecture, programming, and interaction with the surrounding community. By focusing on physical space, curatorial decisions, and branding, the case studies provided a deeper understanding of how these factors shape the cultural identity of the museum and influence visitors’ sense of place.

2.3. Data Analysis Methods

2.3.1. Descriptive Statistical Analysis

Descriptive statistics were used to summarize the survey responses on various aspects of exhibition design and audience engagement. Mean scores, standard deviations, and frequencies of responses were calculated for each survey item to determine which exhibition features had the most significant impact on audience engagement, particularly in relation to interactive participation, emotional resonance, and cultural understanding.

2.3.2. Principal Component Analysis (PCA)

Principal Component Analysis (PCA) was conducted to reduce the dimensionality of the data and identify the most important factors influencing audience engagement, particularly focusing on place-making and interactive participation [27]. PCA helps identify the key components that explain the greatest variance in how exhibition space design affects audience engagement and emotional resonance.

The formula for PCA is as follows:

• Covariance Matrix Calculation:

  $$\Sigma ={\displaystyle \frac{1}{n-1}}{\left(X-\bar{X}\right)}^T\left(X-\bar{X}\right),$$

  (1)

In Equation (1), $X$ represents the data matrix where each row is a sample and each column represents a variable. The matrix $X$ is centered by subtracting the mean $\bar{X}$ from each variable. By calculating the covariance matrix $\Sigma$, we are measuring the correlation between different variables. The covariance matrix provides important information about how the variables in the dataset vary with respect to each other, which is critical for understanding the relationships between variables.

2.

Eigenvalue Decomposition:

$$\Sigma v=\lambda v,$$

(2)

In Equation (2), $\mathsf{\Sigma }$ is the covariance matrix calculated in Equation (1), and $v$ is the eigenvector. The eigenvalue $\lambda$ represents the variance explained by the corresponding eigenvector $v$. Eigenvalue decomposition is used to determine the principal components of the data, which are the directions in the data space that account for the greatest amount of variation. Larger eigenvalues ($\lambda$) indicate that the corresponding eigenvectors capture more of the variability in the data. This step is essential for identifying the most significant features of the data for dimensionality reduction.

3.

Data Transformation:

$$Y=XV,$$

(3)

In Equation (3), $Y$ is the transformed data matrix, $X$ is the original data matrix, and $V$ is the matrix of eigenvectors. By multiplying the original data matrix $X$ by the eigenvector matrix $V$, we project the data onto a new space defined by the principal components (the directions that capture the most variance). This transformation reduces the dimensionality of the data while retaining the most significant variance. The result is the new matrix $Y$, which represents the data in the reduced dimensional space defined by the principal components. This transformation makes the data easier to analyze, as it highlights the most important features and reduces the complexity of the original data.

2.3.3. Chi-Square Test

The Chi-square test was applied to evaluate whether the distribution of responses differed significantly across different levels of engagement, such as interactive participation and emotional resonance. This test helped determine if different levels of engagement, influenced by physical design or interactive features, were associated with different demographic groups or visitor profiles (e.g., art appreciation levels, frequency of museum visits). The formula for the Chi-square statistic is:

$$X^2=\sum {\displaystyle \frac{{\left(O_i-E_i\right)}^2}{E_i}},$$

(4)

In Equation (4), $O_i$ denotes the observed frequency for each category, and $E_i$ represents the expected frequency under the null hypothesis. The Chi-Square statistic is used to test the association between two categorical variables. It measures the discrepancy between the observed and expected frequencies in each category. If the observed frequencies are significantly different from the expected frequencies, the Chi-Square statistic will be large, suggesting that the variables are not independent. The sum is taken over all categories to compute the overall discrepancy across the entire dataset.

2.3.4. Significance Level, Effect Size, and Multiple Comparison Correction

• Significance Level: The significance level (α) for all statistical tests was set to 0.05.
• Effect Size: Cohen’s d was used to measure the effect size for significant findings, particularly to determine the strength of the impact of interactive participation and symbolic elements on emotional engagement. A medium effect size is considered as d = 0.5, and a large effect size as d = 0.8.
• Multiple Comparison Correction: Bonferroni correction was applied where appropriate to adjust the α level, ensuring that the overall Type I error rate remains controlled.

2.4. Data Integration and Visualization

Case studies of private art museums have been integrated to provide a qualitative context for the findings from the surveys and statistical analyses. Interviews with curators and museum staff provided deeper insights into how place-making and symbolism are employed in exhibitions to foster social critique and emotional resonance, and how these strategies influence visitor engagement.

To visually represent the relationship between key audience experience factors, a correlation heatmap was created to showcase the connections between cultural perception, visual engagement, and emotional empathy. Additionally, a Sankey diagram was employed to illustrate the interconnectedness between audience perception and interaction in exhibition spaces. This diagram clearly shows how interactive participation leads to greater emotional resonance and cultural understanding, reinforcing the dynamic relationship between perception, interaction, and emotional engagement.

3. Results

This section presents the findings of the study on place-making, sense of place, and place branding in Eastern China’s private art museums. Through survey data, case studies, and statistical analysis, the results highlight how these social processes influence audience interaction, emotional engagement, and cultural understanding. The findings emphasize how art museums function not just as display spaces, but as dynamic cultural and social agents, shaping both individual and collective identity within urban contexts.

3.1. Place-Making and Visitor Interaction

The study reveals that place-making strategies, as part of the broader social processes, are integral to shaping the visitor experience. Private art museums are not just designed to display art but also to foster social interactions and emotional participation. Museums like UCCA Ullens Center for Contemporary Art and the White Box Art Museum incorporate interactive features and participatory programs in their design. These strategies align with the concept of place-making as they actively involve visitors in the creation of meaning within the space, thus enhancing both engagement and emotional connection.

Blurring Boundaries Between Art, Architecture, and Audience

As demonstrated in

Table 2. Survey Data on the Relationship Between Economic Prosperity, Interactive Design, and Social Engagement in Private Art Museums Across Eastern China.

Province	Number of Museums	Percentage of Total	GDP Level *	Interactive Design Features	Social Engagement Initiatives
Fujian	23	21.50%	High (21.5% of total GDP in Eastern China)	Presence of interactive exhibitions, VR/AR technologies	Community-centered exhibitions, participatory events
Guangdong	15	14.02%	Very High (24.2% of total GDP in Eastern China)	Large-scale digital exhibits, interactive installations	Public engagement programs, art discussions
Zhejiang	16	14.95%	High (20.1% of total GDP in Eastern China)	Integrative design blending art and architecture	Interactive art workshops, community participation
Shanghai	12	11.21%	Very High (Highest GDP in Eastern China)	High-tech, immersive exhibits, interactive spaces	Social dialogs, artist talks
Jiangsu	14	13.08%	High (19.4% of total GDP in Eastern China)	Immersive exhibition environments	Collaborative projects with local communities
Beijing	9	8.41%	Very High (Capital, high GDP)	Interactive digital art, social media integration	Public art discussions, cultural workshops
Shandong	8	7.48%	Moderate (Lower GDP compared to other regions)	Basic interactive installations	Local artist showcases, public tours
Tianjin	6	5.61%	Moderate (Lower GDP compared to other regions)	Minimal interactive design	Educational tours, community outreach programs

* The GDP data is sourced from the National Bureau of Statistics of China, and the author derived it after statistical calculation based on the research content.

, the regional distribution of private art museums in Eastern China reflects the role of both economic prosperity and cultural policies in shaping place-making efforts. The audience’s experience of interactive design and social participation has moved beyond mere technological presentation to a deeper level of emotional resonance and meaning reconstruction. Interviews reveal that whether it is the immersive “Rain Room” at Shanghai’s Yuz Museum or the collectively created “City Memory Wall” by citizens in an art museum in Shandong, these initiatives have not only revolutionized the way exhibitions are viewed but have also reshaped the identity of visitors—shifting from passive observation to active presence, and from individual appreciation to collective co-creation. This sense of participation blurs the boundaries between art and life, transforming art museums into catalysts for social connection.

Furthermore, the true value of social participation programs lies in their ability to foster critical awareness and community identity. In community art workshops in Zhejiang and artist dialog sessions at OCAT Shenzhen, art transforms from a visual object into a medium for dialog, stimulating public reflection and empathy. It is noteworthy that while economic capital provides the material foundation for technology, it is not a sufficient condition for generating meaning. What truly triggers deep engagement are often those “lightweight” practices closely intertwined with local context and social issues.

Therefore, the contemporary mission of private art museums is not only to display art but also to create social spaces capable of carrying emotions, producing narratives, and fostering reflection. They must leverage technology to expand the dimensions of perception while relying on curatorial vision to turn physical spaces into open texts where the public can collectively inscribe meaning.

Figure 1, which is based on the data in Table 2, is a radial chart that offers a clear visual depiction of the number of private art museums in different provinces of Eastern China. The regional distribution of private art museums highlights the role of both economic prosperity and cultural policies in driving museum establishment. Fujian stands out with the highest number of museums, contributing 21.5% of the total, followed by Guangdong and Jiangsu, each representing a significant portion of the total (14.02% and 13.08%, respectively). Beijing, Shandong, and Tianjin show fewer establishments, indicating that museum development is concentrated in certain economically prosperous regions, particularly in the southeastern part of China. Museums in economically prosperous regions like Fujian, Zhejiang, and Guangdong prioritize interactive design, creating spaces where the boundaries between art, architecture, and the audience become less distinct. The place-making strategies in these regions emphasize not just the physical layout of museums but also the social engagement of visitors within the space.

Figure 2 illustrates the timeline of private art museum establishment in Eastern China, reflecting significant place-making trends. The rapid growth of museums between 2010 and 2018 was driven by favorable economic conditions and cultural policies, which not only facilitated the physical expansion of museums but also supported the creation of meaningful cultural spaces. During this period, museums became key sites for place-making, where efforts to foster a sense of place through design and programming contributed to the formation of unique identities within cities. The growth also highlights the role of place branding, as museums sought to position themselves as cultural landmarks, building distinct identities that resonated both locally and globally, attracting public engagement and contributing to urban regeneration.

3.2. Audience Engagement and Emotional Resonance

This section presents the findings of the survey and statistical analysis regarding the audience’s emotional and cognitive engagement with exhibition spaces, focusing particularly on interactive participation, symbolic expression, and cultural understanding. Through these elements, private art museums in Eastern China are not only fostering a sense of place but also promoting place branding by creating spaces that deeply resonate with visitors.

3.2.1. Survey Responses on Audience Experience

The results from the survey, shown in

Table 3. Survey Data on Exhibition Design Features and Audience Engagement.

Multiple Choice Questions	N (Count)	Popularity Rate (%)	Response Rate (%)	X2	p
Impact of Visual Layout on Viewing Experience	74	20.845	74.0	0.294	0.990
Diverse Visual Elements Stimulating Participation	68	19.155	68.0
Interaction Enhancing Immersion	75	21.127	75.0
Observer’s Identity in Appreciating Exhibit Content	69	19.437	69.0
Placement of Exhibits Affecting Content Understanding	69	19.437	69.0
Total	355	100%	355%

, reveal that interactive participation is the most powerful design feature in engaging visitors emotionally. The Impact of Visual Layout on Viewing Experience was ranked highly by 74 respondents (20.845% of the total), with a response rate of 74%. The layout and arrangement of exhibitions were found to play a significant role in influencing how visitors emotionally engaged with the space, contributing to the creation of a sense of place.

These findings suggest that what truly resonates with audiences may not be the most cutting-edge technology itself, but rather whether the design offers possibilities for “presence” and “resonance.” A sense of belonging may not arise from grand architecture alone, but from those subtle moments of “being seen and responded to”—whether through seeing one’s own creation become part of an exhibition via an AR interaction, or finally understanding the connection between an artwork and oneself under thoughtful lighting and label guidance.

The data collectively convey a clear message: visitors desire dialog rather than monolog, experience rather than instruction. They no longer wish to remain passive consumers of art; instead, they hope to find their own voice within cultural spaces through interaction and empathy, even creating resonance with others. In this sense, the success of a contemporary art museum lies not only in what it displays, but also in how it enables everyone who enters to become part of the story.

This corroborates the perspective of placemaking theory: by enabling deep visitor participation, cultural spaces can foster a stronger and more personalized sense of belonging [28]. Museums that adopt interactive technologies such as virtual reality (VR) and augmented reality (AR) can engage audiences on a deeper emotional level, providing immersive experiences that align seamlessly with the institution’s brand positioning [29].

Interview data from visitors provide strong empirical support for these conclusions. One respondent stated: “It wasn’t the VR technology itself that moved me, but the moment I saw my own sketch displayed alongside the artist’s work in augmented reality—I suddenly transformed from an onlooker into a participant.” Another interviewee emphasized the importance of an interpretive approach: “The label didn’t simply tell me about the artist’s intention—it asked me how the work resonated with my own experience of the city. That question completely changed the way I viewed the entire exhibition.”

These qualitative data indicate that the effectiveness of technology-mediated interaction lies in its ability to facilitate personalized meaning-making and emotional resonance. When digital technology is designed as a dialogic medium rather than a one-way transmission tool, visitors are able to shift from passive recipients to active co-creators. This transformation not only strengthens the emotional bond between the audience and the artwork but also turns the museum into a social space where meaning is continuously generated—a place where each individual’s experience and interpretation become an integral part of the exhibition narrative.

3.2.2. Symbolic Expression and Cultural Understanding

Figure 3 presents data on the emotional resonance and cultural understanding evoked by symbolic expression in exhibitions. The survey data showed that symbolic and metaphorical expressions in the artworks significantly impacted visitors’ emotional engagement and their understanding of cultural narratives.

Enhancing Emotional Experience was the most significant factor in visitors’ responses, followed closely by deeper emotional resonance and promoting cultural understanding behind the artwork.

This correlates with the findings of Kador (2025), who suggests that symbolic elements in exhibition design contribute significantly to emotional engagement, making them a powerful tool in place-making and enhancing cultural identity [30]. Museums that effectively integrate symbolism and metaphorical expression create a stronger sense of place, allowing visitors to emotionally connect with both the space and the artwork [31]. This, in turn, strengthens the place branding of the museum as a cultural hub that fosters not only esthetic appreciation but also social critique and cultural dialog.

3.2.3. The Role of Interactive Design in Place Branding

Symbolic elements in exhibitions help visitors feel connected. They support emotional engagement and cultural understanding. Interactive design plays a key role in how people see a museum. It helps build the museum’s identity and its image in the public eye.

Interactive tools like VR, AR, and hands-on exhibits do more than entertain. They let visitors take part in the experience [32]. This changes the museum from a quiet place to an active one. People do not just look at art. They move, touch, react, and think. These actions help them feel more involved. They start to form a sense of place.

Visitors remember what they did and felt, not just what they saw. When they understand the stories and culture behind the exhibits, they form a stronger bond with the space [33]. This emotional link makes the museum stand out. It becomes part of the local identity.

Interactive design also creates a sense of belonging. Visitors feel that the museum speaks to them. Museums with this kind of design are more than places to see art. They are places to talk, learn, and share ideas. This helps the museum grow its cultural value. It also draws both local and international attention.

3.3. Correlations Between Audience Engagement and Exhibition Design Features

3.3.1. Principal Component Analysis (PCA) Results

To gain a deeper understanding of how exhibition design elements affect audience emotional engagement, cultural understanding, and sense of place, Principal Component Analysis (PCA) was conducted. The analysis allowed us to extract several key components that explain the emotional responses and cultural experiences of visitors based on different exhibition design elements. The key findings from the PCA are as follows:

• Principal Component 1 (Visual Engagement) includes interactive design, visual layout, and the presentation of artworks. These factors collectively influence the level of visual engagement and immersion that visitors experience.
• Principal Component 2 (Emotional Resonance) emphasizes the role of metaphors and symbolic expressions in the exhibition, showing how these elements enhance emotional responses and resonance with the visitors.
• Principal Component 3 (Cultural Understanding) is related to cultural symbols, societal contexts, and cultural narratives embedded in the exhibition design. It demonstrates how cultural understanding fosters emotional resonance.

The table below (

Table 4. Principal Component Analysis Results of Exhibition Design Elements and Audience Engagement Factors.

Principal Component	Explained Variance	Correlation with Audience Engagement	Correlation with Emotional Resonance	Correlation with Cultural Understanding
Principal Component 1	0.45	Strong (related to interactive design, visual engagement, immersion)	Moderate (related to emotional resonance)	Weak (related to cultural understanding)
Principal Component 2	0.30	Moderate (related to visual engagement, artwork presentation)	Strong (related to metaphors, symbolic expressions, emotional resonance)	Moderate (related to cultural understanding)
Principal Component 3	0.25	Weak (related to visual layout)	Moderate (related to emotional resonance)	Strong (related to cultural symbols, societal contexts, cultural narratives)

) outlines the explained variance of each principal component and its correlations with audience engagement, emotional resonance, and cultural understanding.

The PCA results reveal significant insights into how different exhibition design elements contribute to audience engagement, emotional resonance, and cultural understanding. Principal Component 1 emphasizes the importance of visual engagement, where interactive design and the visual layout of exhibitions play a crucial role in immersing visitors and enhancing their emotional connection to the space. This finding aligns with the notion that museums employing immersive technologies, such as VR and AR, can deepen visitors’ interaction with the artworks. Principal Component 2, focusing on emotional resonance, highlights the strong role of symbolic and metaphorical elements in fostering a deeper emotional response from visitors, supporting the idea that museums using art as a vehicle for social critique can provoke stronger emotional engagement. Finally, Principal Component 3 underscores the critical role of cultural understanding, where exhibitions that incorporate rich cultural narratives and symbols encourage visitors to connect with the broader cultural context of the artwork. These findings collectively suggest that effective exhibition design in private art museums goes beyond esthetics, playing a vital role in creating an immersive, culturally rich experience that shapes the audience’s sense of place and strengthens the museum’s cultural identity.

3.3.2. Interconnected Dimensions of Audience Perception and Interaction

Figure 4a,b show the connections between cultural understanding, emotional empathy, visual engagement, and interactive design elements in exhibitions.

As shown in Figure 4a, the Cultural Understanding Factor is most strongly linked with Emotional Empathy (0.749) and Visual Engagement (0.791). This means that visitors’ emotional connections with the artwork depend on how much they understand the cultural narratives behind the exhibit. The strong link between Cultural Understanding and Emotional Empathy shows that exhibitions designed to help visitors learn about culture also increase emotional engagement, which makes the sense of place stronger.

Research emphasized that cultural understanding is important for emotional engagement. Other studies also argue that symbolic elements in exhibitions help visitors connect with cultural content, contributing to both place-making and place branding.

The Depth of Interaction and Visual Engagement factors focus on interactive features like VR, AR, and participatory exhibits. These features show strong links with the Cultural Perception Factor. This means that immersive, interactive features not only improve the visitor experience but also help create place-making by letting visitors connect deeply with the cultural content, helping make the museum a cultural landmark. Research has pointed out that interactive design helps create deeper connections with exhibitions, making museums more dynamic and contributing to place-making and place branding.

When looking at Figure 4a,b together, they show how different factors like cultural perception, emotional empathy, symbolic understanding, and engagement are connected.

Figure 4b shows how Cultural Understanding and Symbolic Understanding are closely related, indicating that visitors who connect with the symbolic elements of an exhibition also understand the cultural narratives better. The diagram further illustrates that interactive participation—such as through digital exhibits or participatory activities—helps increase emotional resonance, strengthens the sense of place, and leads to better emotional empathy and cultural understanding. These factors work together to improve the overall visitor experience, highlighting that interactive design is an important part of place branding. The flow lines in the figure also suggest that museums serve as places of social engagement and cultural dialog, as increased visitor engagement fosters a stronger connection to both the artwork and the space, thereby aiding the museum’s place-making and place branding efforts.

3.3.3. Place-Making and Social Engagement

The findings from both PCA and the Sankey diagram show that place-making is more than just about designing the space. It involves creating social interaction and building a culturally rich environment. Museums that add interactive design and symbolic expression can engage visitors better. Visitors then actively take part in creating meaning in the space. This interaction helps create their sense of place and strengthens the place branding of the museum as a cultural hub.

These results match place branding theory, which says that museums that use interactive design and symbolic elements create spaces that emotionally and intellectually connect with their visitors. These museums do not just offer esthetic experiences but also provide platforms for cultural dialog, social critique, and community engagement. This builds their identity as cultural landmarks and helps with urban regeneration.

4. Discussion

The findings from this study show that place-making, sense of place, and place branding are connected social processes that play a key role in shaping the visitor experience in private art museums in Eastern China. The results from the surveys and case studies show that private art museums are changing. These museums are not just spaces for displaying artworks. They are becoming active cultural environments. They help foster emotional engagement, interactive participation, and cultural understanding.

4.1. Place-Making as a Strategy for Social Engagement

The study shows that private art museums in Eastern China use place-making strategies to engage visitors. These museums mix architectural design, interactive elements, and community programs. They are not only spaces for viewing art but also places for social interaction and shared meaning-making. This finding matches with Qiang Tang et al. (2024), who argue that the design and symbolism of cultural spaces help shape public engagement and foster a sense of ownership [34].

The museums studied here utilize interactive design elements such as VR, AR, and participatory exhibits, enabling visitors to interact with artworks and one another. Through this interaction, visitors are able to create meaning within the space, strengthening their emotional connections and enhancing their sense of place. When individuals feel a personal involvement in a space, it fosters a stronger emotional bond, which in turn shapes their sense of identity and perception of the space. Moreover, these museums position themselves as cultural hubs in urban areas. The results underscore how economic prosperity and cultural policies bolster the growth of private art museums in Eastern China [35]. Museums in regions like Fujian and Guangdong focus on place-making by integrating architectural and curatorial strategies with community participation, as public engagement and social programs play a crucial role in making cultural spaces more relevant to the community [36].

4.2. Sense of Place and Cultural Understanding

The study also shows that a sense of place is important. Visitors’ emotional and cognitive connections with the museum space are central to their experience. The survey results show that interactive participation, symbolic expression, and cultural narratives in exhibitions strengthen the sense of place. This idea supports Li (2024), who argues that a sense of place is shaped by both the physical space and the social meanings attached to it [37].

Private art museums in Eastern China create spaces that are not only visually appealing but also emotionally impactful. Symbolic elements like metaphors and cultural references in exhibitions make visitors think about social issues. These elements let visitors connect with the cultural stories behind the artwork, strengthening their relationship with the space. Place is not just about where you are; it is about the emotional and personal meaning tied to the space. By linking visitors to broader cultural and political stories, these museums help visitors understand social issues better and build a stronger sense of place [38].

These findings can be further understood through anthropological theories of spatial meaning-making. The sense of place emerges not merely from physical attributes but through the dynamic interplay between architectural environments and the cultural frameworks through which they are interpreted [39].Museum spaces become meaningful when visitors engage with them as sites of cultural encounter, where physical forms interact with personal and collective memories [40]. This theoretical perspective helps explain how the symbolic and interactive elements in Eastern China’s private museums facilitate visitors’ emotional connections, transforming architectural spaces into culturally resonant places imbued with social significance [41]. The process of place-making thus involves both the material design of spaces and the interpretive practices through which visitors ascribe meaning to their experiences.

4.3. Place Branding and Museum Identity

The study also explores the role of place branding, noting that private art museums in Eastern China leverage place branding to define their urban identities. These museums establish unique identities through exhibitions and programs, helping them stand out in the cultural landscape. Cultural spaces can create distinctive identities that appeal to both local and global audiences [42].

Museums like UCCA Ullens Center for Contemporary Art and Sifang Contemporary Art Museum use place branding to position themselves as cultural landmarks. By incorporating interactive design features and symbolic elements, these museums attract visitors and contribute to urban development. Effective branding extends beyond marketing, focusing on creating authentic experiences that foster deep emotional connections with visitors.

Interactive design is pivotal in shaping these museums’ branding strategies [43]. Technologies such as VR, AR, and hands-on exhibits serve more than an entertainment purpose—they immerse visitors in the museum experience, encouraging active participation in exhibits. This transforms the museum from a passive art-viewing space into an interactive environment for engagement, reflection, and emotional resonance. Such an approach strengthens emotional connections, integrating the museum into local identity [44]. Museums that use interactive design and symbolism can create spaces that stimulate both intellectual and emotional involvement.

4.4. Future Research Directions

This study gives useful insights into place-making, sense of place, and place branding in private art museums in Eastern China. There are still many directions for future research. One area is to explore these ideas in other places, such as different regions of China or other countries. This can help see if the findings apply to other locations.

Another area for research is to study the long-term effects of interactive design and place branding on visitor engagement. This would give a better understanding of how these strategies work over time. It could also be useful to compare how public museums use place-making and branding compared to private museums. This could show differences in how these concepts are used in different types of museums.

5. Conclusions

This study shows the role of place-making, sense of place, and place branding in shaping the visitor experience in private art museums in Eastern China. These social processes are connected. They change art museums into more than just places to see art. They become active spaces that engage visitors. Place-making strategies help with interaction and involvement. Museums become places where people connect with art and each other. Interactive design elements, like VR and AR, help strengthen these connections. They engage visitors emotionally and intellectually. The sense of place is not only about the physical space. Cultural stories and symbolic expressions in exhibitions help visitors form emotional connections with the artwork. These elements also help them understand broader social and political issues. Place branding is important in how museums are seen in the city. By creating unique identities, private art museums add to the city’s cultural landscape. They are seen as centers for new ideas, social engagement, and cultural exchange. In conclusion, place-making, sense of place, and place branding are important to the visitor experience. These museums are not just places to see art. They are active cultural centers that engage visitors and add to the social and cultural life of the city. Through creative design and public programs, these museums change their role in urban life.