The Show
15 NOV 2025
- Planned an interactive, expo-style booth where lifting a device would trigger contextual projection mapping.
- Due to space limits and production time, simplified the display to looping the design and 3D modelling videos.
- Key takeaway: finish prototypes earlier and prototype exhibition ideas sooner to act fast on-site.
Initial Exhibition Concept
In the early stages, I envisioned an interaction where, when a visitor lifted one of the devices, a projection of the locationin which the device would be used appeared on the screen. The aim was to give visitors the sense that they were experiencing the device within its intended context. To achieve this, I planned to install a trigger—such as a button—on the device stand and link it to responsive projection mapping.
I also considered designing the exhibition space to resemble a corporate booth at an expo, so that the devices would appear more like commercial products. This included creating a panel with a fictional company (project) name and attaching promotional posters for the devices.
The Actual Exhibition
However, in the actual LCC exhibition space, around half of the wall surface was already reserved for MAUX-related projections, leaving only the lower section available. Once the prototypes were installed, the remaining space felt visually full, making it difficult to attach anything further. From a curatorial standpoint, I was also advised to avoid overcrowding the display, so I followed that guidance.
As the prototype production took more time than expected, I did not have enough time to realise the original interactive concept. I attempted to at least loop simple backgrounds of theatre or tube environments, but during on-site testing, they did not produce the level of impact I intended. In the end, I chose to loop the device design video and the 3D modelling video created for the final stage of the project. Contextual footage of the locations was replaced with short clips.
As This Was My First Graduate Show
Following Al and Greg’s suggestion, a white paper was attached to the wall in my section so that the projection would appear clearer. This allowed me to map visuals directly onto the framed area. If I had made decisions earlier and focused on projection mapping instead of the theatre/tube interaction, I might have used the leftover acrylic parts from the device frames as wall elements and projected onto them. This could have created a stronger visual coherence between the acrylic materials, the curved forms of the devices, and the projection.
If I have the opportunity to take part in a similar exhibition again, I will explore ways to complete prototype production earlier and develop the exhibition design more thoroughly. Of course, even with a well-crafted plan, better ideas can always emerge on site. To act quickly in those moments, I realised that prior trial and error—and the experience gained from it—is essential. That was the key lesson from preparing for this exhibition.
Reference
- Baudrillard, J. 1998, The Consumer Society: Myths and Structures, SAGE Publications, London. Available at: https://doi.org/10.4135/9781526401502
- Dunne, A. & Raby, F. 2013, Speculative Everything: Design, Fiction, and Social Dreaming, MIT Press, Cambridge, MA.
- Greenfield, A. 2006, Everyware: The Dawning Age of Ubiquitous Computing, New Riders, Berkeley, CA.
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