A2​ ​Form​ ​for​ ​environments​ ​in​ ​context:​ ​hybrid​ ​exhibit​ ​environments: Steps 4, 5, 6 + Reflection

Step​ ​4

  1. Guests enter in a through a hallway that has a blue spotted carpet. This carpet is purposely coordinated with the blue marble behind the front desk so that there is a clear visual and physical destination for guests.
  2. Guests are greeted at the front desk, where the carpet purposely leads up to and ends. The front desk operator will provide all guests with wrist pieces that serve as motion sensors, location trackers and data storers.
  3. Because of the lifted marble structure, it is clear that guests must explore a side before they can make it to the ramp at the very back of the exhibit to climb up onto the lifted marble structure. The first side (which operators will direct guests to) has a large “touch screen” for guests to learn about Kusama’s life, work, etc. This was inspired by the sensors that Daphne brought in that can detect motion to perform actions. The action that the “touch screen” performs in association with the wrist pieces is triggering a new page. To elaborate, when a guest waves their wrist over a topic they’re interested in, more information will appear about that topic. It was decided that a full touch screen would be far too expensive and unfeasible.

4) When the guests make it to the ramp, there will be a promotional banner with one of Kusama’s infinity rooms.

5) Top view of space: shows clear “Y” shape path for guests to go through. Peter and Bori pointed out to me that people might walk directly to the back since the projection seating area was the main focus. I decided to put in a lifted balcony so that there was a physical barrier and direction for people to travel.

6) I decided to include bean bag chairs instead of regular museum benches. I wanted this to be an enjoyable experience where people could spend a solid amount of time enjoying the 360 projection without the discomfort of 1) sharing a bench 2) rigid seating. The bean bags are more casual, welcoming and portable.

7. When watching the projection, guests can use their wrist pieces to rotate the projection. I wanted to incorporate this because one of the biggest factors of Kusama’s infinity rooms is the 360 immersive experience.

8/9. This section includes a crowdsourced mural, something Kusama herself has done. There are dots available for guests to use and contribute to the mural with.

When people leave, they will return their write pieces to the front desk. Then, at a later time, Miller will send each visitor an e-mail entailing what they used the motion sensors for the most in the gallery (a.k.a. what they were most interested in/spent the most time/energy in) along with a reminder to visit the actual MF museum.

Step​ ​5 Prototype interactions in class. Using sensors, IFTTT, Hue and other available digital or physical prototyping tools. (deliverable)​ Documentation of in-class prototyping.

I really enjoyed learning about IFTTT. I think it’s interesting how complex codes are widely available for people to use in their everyday lives. I always love browsing the app store to find apps that might improve my life in some way or another, and IFTTT seems like it’s all about simplifying things, which I love!

I have been enjoying the weather e-mails that let me know when it’s going to rain the next day.

The sensors were what interested me the most. I wanted to use this technology for the wrist pieces. I thought it was interesting to see (in a world of touch sensors) that there was a motion sensor we could experiment with. I tried using it for photo taking, and it reminded me of the Wii where you take a photo by waving your arm. This is what gave me the idea to to the write pieces.

Step​ ​6 Develop final design of pop-up exhibition. Storyboard of a visitor’s experience, including digital or analog interactions.


I think my biggest takeaway from this project was intention. To elaborate, a huge part of our prompt was designing a space that people would understand how to interact with. Without intention in every detail, there is too much left for interpretation, which leaves ea/ guest with a different, often incomplete, experience.

I started out with a multi-room experience, because I wanted my guests to experience all the stages of Kasuma’s life in a very literal way. However, after realizing that it would be more true to the prompt to represent my artist in a more abstract way, I changed my entire layout to be a single-room experience, honed in on “owning the digital aspect” as Daphne suggested, and put a lot of thought into how I could arrange the space so that there would be a clear path for visitors.

At first, I was iffy about using such a huge digital element (the 360 projection), but Daphne assured me that if I wanted to do it, it was fine and that I should just go all out. That piece of advice really stuck with me. It’s not about how many elements you have, it’s about focusing on your best one and making it the best that you can.

I think one of my favorite elements from my exhibit is my raised platform. I thought it was efficient in two big ways:

  1. It makes it clear that the 360 projection viewing is the highlight of the exhibit. It is separated and elevated from the rest of the exhibit, which creates a very clear threshold.
  2. The platform also creates a clear “Y” path that forces visitors to explore the sides (“touch screen” interaction and crowdsourced mural) before they can make their way to the back and up the ramp. The direction is clear!

Branding design:

Overall, I really enjoyed learning about what it means to design a space. With each iteration, I was proud of the immense progress I made. I made sure to take each class’s feedback and improve my model as much as I could before each class. I paid attention to details, even making a graphic branding system. I wanted to get as much feedback as possible while improving my model with each iteration. I think I definitely accomplished that, as each time we met, my model was newer and improved.

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