Member mobile app

About

Context

Maestro is the audience-experience platform for cultural institutions, connecting ticketing, membership, giving, communication and attendance into one patron journey. Tessitura is the CRM underneath it, not the product. It is multi-tenant: MoMA, the Met, New York City Ballet, the Boston Symphony, the New York Philharmonic and the Oregon Symphony sit alongside the Cincinnati Symphony, which is the test case here and why CSO appears on the event catalogue numbers.

The direction is Beyond the Seat: the seat is the brand’s foundational unit, one patron alone and an audience, a venue or a dataset when repeated. The promise is everything beyond the seat working together, which is the argument for showing a member’s several relationships at once rather than filing each behind its own tab.

This is the member side of that platform: the app a subscriber opens between buying a ticket and walking into the hall. Of the five domains the positioning names, it serves four. Giving has no surface in it at all, which is the largest gap between what Maestro says it is and what this prototype shows.

The brief set four goals. Strengthen the relationship between an attendee and the orchestra. Make the night itself better. Open a direct line for the things that actually change an evening, which is parking and weather and a program substitution. And make tickets, subscriptions and account details simple to manage.

Two membership programs run alongside each other and the app has to hold both: the season subscription, and Harmony Pass, a monthly membership that gives free tickets to selected shows. They renew on different clocks and mean different things, so they sit as separate cards rather than as tiers of one thing.

What it has to answer

Five questions, in the order a member asks them.

1. What am I attending next?
2. What do I need before I leave the house?
3. How do I get in?
4. What is included in each of my memberships?
5. What must I reserve, renew or use soon?

Every screen is answerable against that list. Home answers the first two, the access flow answers the third, the membership rail answers the fourth, and the fifth is why renewal and Harmony Pass claims surface without being asked for.

Audience

The subscriber

A subscriber, not a buyer. They renew every season, hold the same seats, and come to six or more performances a year. They were converted years ago, by the orchestra rather than by an app, and nothing on this surface needs to convert them again.

That removes the acquisition half of a ticketing app: no account creation, no conversion funnel, no persuading someone to care about an orchestra they already fund. It does not remove buying. A subscriber still adds single tickets outside their package, claims Harmony Pass shows, joins a presale and takes a waitlist place, which is why Events carries prices and an All events mode. The distinction is that the app sells to someone already inside the relationship rather than arguing them into one.

How they read it

Older than the median app user, often attending with a spouse or a household member, and reading in a low-lit lobby minutes before a downbeat. That sets the type size, the contrast floor, and the decision to put seat and section in monospace so they can be read aloud when a scanner fails.

Who the brief also names

Donors, students, first-time attendees and non-subscribers. Each carries its own job in the brief: verified student pricing, a first-download incentive, an upsell for people who do not hold a subscription yet. None of them are served by this prototype, which is scoped to the person who already pays. They sit on the navigation map as roadmap, labeled, rather than pretended at.

The team deciding what to build

The navigation map is drawn for them rather than for the subscriber, which is why unbuilt work sits on it, labeled, instead of quietly missing.

Output

Ten screens. Four destinations: Home, Events, Tickets and Profile. A navigation map of the whole surface, where thirty four of fifty three places are built and the other nineteen are drawn and marked as not built. Every node with a screen behind it opens that screen.

The brief proposed five tabs, with Membership as its own destination. It is a rail on Home instead: a patron holds more than one relationship with the orchestra, and a rail shows all of them at once where a tab would have shown one and hidden the rest. The bottom bar stays at four, which is what the execution register requires.

Alongside the app, an identity system and a design system: type, color, spacing, motion, components, voice, and the token layer under all of it.

Two things stay unfinished and say so on the page. The typefaces are trial and desktop licenses, so two strings fall back mid word. The member pass shows no scannable code, because there is no credential system to draw one from.

Counts here are read off the register and the map, not kept by hand. If they drift, the source moved.