Forms in Context

Hybrid Exhibit Environments

  • consider the transition(thresholds)
  • gaps=opportunity
  • physical vs. mental environ.
  • evoking emotion
  • reading text on the wall
  • examine the label or just consider the visual elements
  • user experience
  • Beverly Serrell — “microcopy”
  • tell a story through an exhibit but expect that people may only experience 50 percent of the exhibit or less
  • many labels start with the background, but start with specific and work to general info.
  • start with present and work to the past
  • last paragraph goes on the top
  • try an experiences by guiding someone through it who represents your target audience(who knows nothing about it)
  • ask for feedback(LISTEN)
  • popular items in sight line
  • comfortability
  • “What is the exhibit about?”
  • Van Gogh immersive experience: combination of visuals with an auditory experience — moving images inspired by his style of work and places to sit on the floor for visitors
  • Brian Ferell: wooden furniture w/ metal details(top pick so far)
  • Spacapan(glass blowing — references from show:blown away)

Pictures and Notes from CMOA:

  • use of natural light
  • lofted and curved ceiling to create a more open layout
  • texture of floor and change of colors per gallery
  • priority of text
  • interactive elements like touch screens to learn more about the photography
  • — Using the lights she designed to create a unique environment for her other work would help tie everything together and create a meaningful experience for the viewer.
  • Using his lighting and tableware as the main focus and then using his modern furniture design as places for people to enjoy his art could create a whole new experience for the audience.
  • Including the pieces that are at the intersection of architecture, art, and fabrication show the artist’s process and the difference between machine-made objects. Focusing on the process rather than the actual pieces shows that we should focus on growth rather than perfection. Integrating digital coding, custom tech, and clay creates an interesting experience where the viewers would be able to touch the artwork and learn from it.


After a lot of thought, I’ve decided to create an exhibit for Brian Peter’s work. His work as a whole really resonated with me and has a personal meaning to me. The combination of wall art and standing pieces creates a more interactive experience. With the lighting and use of space, I could really create a unique use of Miller ICA without making the space feel too crowded. For my first thoughts, I would add a few walls in the middle of the space. Therefore I could put his work on the surrounding walls and have a standing piece in the middle. I also want some harsh lighting to create some interesting contrast and make some unique shadows. As you walk in, I want there to be a label(50 words or less) with the title of the exhibition and a brief description of his work. If there is enough room, I would also like to have seating for viewers to admire the work. As you walk around to the different pieces, there are descriptions of his process to help people connect with the work. On the way out there is an interactive screen where they can write one word or phrase to sum up their experience or maybe even just put their name. I think music is also an important part of the experience so I would want to create a short playlist of songs that would tie the work together and help people feel more comfortable in the space. Sometimes it can feel awkward when you are standing in a museum because you feel like you need to be quiet but I want there to be conversation about the different pieces. Music in any scenario helps to break the ice and bring people together.

  • the use of biomimicry
  • color scheme
  • tension and texture
  • placement and angles
  • sketch out the space with considerations
  • storyboard interactions
  • create a few moodboards
  • go back to Miller ICA to be in the space
  • start writing up intro and labels

Interaction Ideas:

  • smart board to write reflecting thoughts
  • interactive table to create a module and draw your own designs
  • changes in lighting to create new shadows
  • lighting on the floor to guide your way through the exhibit
  • invitation to feel the texture of the pieces
  • 3D printer working on a module
  • table with tools used throughout the process
  • pre-recorded video with a brief introduction from the artist
  • artist’s contact info on the way out
  • employee desk with brochures and contact info for the artist
  • pedestal with a singular module
  • interactive table with digital pens

Sep. 7

Crit. Notes(Mihika):

  • how does it come together to form an environ?
  • growth rather than perfection
  • music breaks the ice and invites conversation
  • # of people through interaction
  • are there people waiting to use the interaction?
  • show his style outside to reel people in
  • scan QR code at end rather than beginning
  • stay off phone(takes you away from the experience)
  • add biomimicry into interaction
  • 3D printing might take too long
  • what do you want them to know about the artist?
  • purpose of the space(what will they remember?)
  • move past the digital table-instead use motion and gestures to create these shapes
  • think of people physically in your space
  • gestures to create forms
  • something to draw people into the space
  • same headspace(reflective aspects)
  • keep people off their phones
  • digital creation put on a wall(see what it looks like in your own home)
  • figure out some kind of takeaway
  • show central theme through the interactive elements
  • more research about the artist and process
  • interactive piece with the music
  • gestures/sensors, moving through space to trigger light, sound, smell
  • artist vs. my own work(needs to be a balance)
  • focus on 2–3 different ways to incorporate interactive technology
  • moving changes lighting/color of pieces

Sep. 9

Crit. Notes:

  • Tepper 3 wall VR experiences compared to headset VR
  • where does the entrance begin?
  • position of reception desk and path
  • Pittsburgh architecture tour
  • spaces to sit(3 wall experience)
  • brain coral texture with a continuous line on a complex shape
  • AR vs. VR
  • seeing yourself with the artwork compared to being inside the work
  • how can you interact with the space without physically touching it
  • face scanner-culture + nature linked to architectural styles

Interaction 1

Technical Drawing
  • I’ll use this interaction in the process room, so people can see touch individual modules. Sitting on the pedestal will be a 3D printed module with a light underneath. The light will get brighter when viewers get closer to the pedestal. When the user actually touches the module, a beam of light from the top will hit the 3D printed module.
  • I also might want to have some kinda of auditory experience when the viewer interacts with the piece.
  • add finishing touches to the hardwood floors
  • create labels for the descriptions
  • make a chair for the reception desk
  • write out an introductory statement
  • figure out how to draw people in with the signs/vestibule
  • create scale models of Brian Peter’s work(3D printed?)
  • pick up supplies from art store(transparent plastic sheets)
  • add bristol board to the walls
  • figure out the auditory part of the exhibit
  • create a more detail parti diagram

Sep. 15

general concept
  • door closes(circles light up on the floor for people to stand in)
  • circular light surrounds them and scans(they see themselves on the LED wall as a colorful silhouette; copies their motion)
  • organic patterns appear on the walls(biomimicry)
  • waving arms and moving through the space changes the flow/movement of the computer generated work
  • after enough participation and movement as a group, it begins to form these solids pieces
  • module begins 3D printing at large scale on the screens around them(wireframes)
  • user gets low and starts to raise up which builds the 3D module(hands rise up as a group; screen gives directions
  • 3D module turns from wireframe to solid piece; they create an unique color as a team and watch their module turn into an entire piece
  • they can change and add to the piece with gestures, and at the end of this experience they will have their own creation in Brian’s style
  • possibly go into some of Brian’s other outdoor pieces and maybe Pittsburgh architecture with the combination of biomimicry
  • digital copy of piece sent to their phones/email
  • reflect on the process, scan QR code, and share your creation on social media

Sep. 16


  • interview with the artist(video on wall in intro area maybe instead of having a piece of artwork)
  • think of children’s art museum-puppet room — gestural interactions
  • person shows up on LED wall as they stand on the bright white circle on the ground. scans there body and copies their movements
  • storyboard interaction — in depth of the experience(actions)
  • QR code appears at reception as you retrieve your phone from reception, scan and save image of your creation
  • how do people know the interactions? how do they move their hands?
  • outside — large piece on the cut(semi circle with organic pattern will draw a big audience)
  • set up an appointment for the exhibit because we are limited on space and don’t want anyone to feel crammed in the space and not have a good experience
  • close off weird wall next to the bathroom
  • include a small desk at the reflection stage for QR code and takeaways
  • smart board on the wall above for one word or phrase reflection
  • people drop personal items/phones off at reception
  • fill out card, scan in, and it shows up on the screen
  • work on storyboard
  • complete elevations(with labels)
  • plan presentation

Layouts + Elevations:

Script + Presentation:

Logo Design:

Physical Model:


At the end of the project, I had a little better understanding of environmental and interactive design. Considering how people will feel and think within the space is so important. What motivates you? What distracts you? What keeps you engaged? All these things are important to consider while designing for the human experience. Thinking about what motivates me, I’ve found that finding what peaks my curiosity helps keep me engaged. If I’m interested in the subject matter, I’m more eager to explore and research that topic. Also being able to use different resources like articles, videos, and images helps me to get a better understanding and tends to keep me more engaged. Having some constraints but also allowing some creative freedom keeps me motivated to explore my interests and incorporate them into my work. Overall, I now have a better understanding of environmental and interactive design and all the factors that play into it in order to create a meaningful experience for the audience.



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