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An abundance of hardships, suffering, and despair have been experienced, especially in the past five years. These years have caused emotions of hopelessness and sorrow, making it difficult for some to see beyond their troubles. With this being said, it should also be noted that because of these wrenched years, positive transformations have been seen in societies. A journey to find their niche, their purpose, and the meaning of their life, has pathed a thirst for well-being. The exploration of one's purpose or meaning in life in relation to the world around them can harness powerful insights.

In an experiential environment, the ultimate goal is to evoke a sense of awareness in the visitor that ends up being unique to the individual. No matter the topic, a visitor should be able to leave the environment having learned something as well as questioning the topic they've engaged in, yearning to know more. The purpose of this thesis to an experiential exhibition design execution followed this notion in its playful eagerness to remind those that their words have access to creating a whole world of magic, if one simply wishes to tap into their innate imagination.

This document is arranged in two sections. Part I explores my thesis theory where I discuss how and why music affects the brain both physiologically and emotionally. I also explore the concept of divergent thinking and its positively correlated relationship to the act of listening to music. Part II describes the application of the theory as an applied exhibition project. In this part, I describe a developed experiential design project I created in order to implement and demonstrate my theory. The project focuses on the phenomenon of music leading to an increase in divergent thinking in order to enable visitors to approach topics from new perspectives and unlock creative insights. The topic I chose to use as the subject of my exhibition was climate change due to the doomerism mindset that causes many people to feel stuck and uninspired. Feelings of hopelessness prevent creativity and innovation therefore it is important to shift people's mindsets and approach to the topic. This is why divergent thinking, facilitated by the incorporation of music, can be incredibly impactful on both individuals and society.

Immersive virtual experiences and games have been shown to build self-efficacy, perspective-taking, and empathy in participants through devices such as avatar-like embodied experiences and collaboration within the environment.

In this research, I explore how shared emotional experiences can be created in remote settings that effectively engage physically distant participants and foster interpersonal bonds. The document is organized into two parts:

This paper occurs in two parts. Part one contains theory and research, whereas part two synthesizes the theory and research into an applicatory museum exhibition design.

This thesis document consists of two parts. The first part explores my theory of using the senses to keep people mindful and staying in the present moment, through the inspiration of contemporary artist Marina Abramović to think about the connection between human senses and the environment and the self. Although the flow of emotions and mindfulness are invisible and difficult to quantify, the theory I propose includes case studies and secondary source validation about how sensors connect with human emotions, as well as primary source research in the form of interviews with Susye Greenwood and theoretical prototype testing. The research work supports my premise regarding the connection between senses and emotions and human well-being.

This thesis document is organized into two sections. The first section explores the strategies of Metacognition– the process of thinking about one's own thinking and learning– and how the study of the human mind helps us understand how we conceptualize climate change. As climate education becomes more crucial, finding new effective ways to educate and inculcate climate-conscious behavior is vital. With the rise of metaverse technologies, various studies in the field of education prove the effectiveness of virtual reality– a simulated 3D environment that enables users to explore and interact with virtual surroundings. This study will examine how these technologies can be integrated into physical experiences to educate visitors in anon-traditional informal learning experience. This study will then explore how these strategies can be adapted and applied to an exhibition environment to increase climate awareness, inculcate climate-conscious behavior and pave the path to a greener future.

Part one of this paper delves into the suggested idea for enhancing visitor experiences through physical environments in order to create a transformational experience. The idea investigates the multiverse's philosophy of parallel universes with infinite possibilities, and how this relationship may be used in the design industry to assist creating exciting experiences that are transformative for visitors through enhanced sensory experiences and altered perceptions. The paper begins with explaining the significance of each individual concept discussed in order to build the fundamental framework of each. Part one of the paper backs up and enhances the central notion offered by using three case examples. Part one lays the groundwork and research for the new suggested design theory.

With demand for multimedia experiences ever increasing, exhibitions must learn how to balance the use of technologies while integrating a path of interactions to engage visitors' capability of taking in information. This is done while challenging visitors to work and interact with the subject in many ways.

This document is divided into two sections. Part I explores the theory, while Part II shows the project in which the theory was applied.

This document is arranged in two sections. Part I explores research on Generation Z seeking forms of well-being, and the theory of the social media platform, TikTok, enabling individuals to safely find wellness practices that work for them. Through research, case studies, prototyping, and interviews, I focused on the aspect of community-driven wellness, which derives from the study of Tiktok's unique algorithm forming micro-communities across the world. In promoting human connection, social media platforms possess a connective power that transcends physical space; nevertheless, it is imperative that humanity continues to maintain a connection in the physical world in order to feel a sense of community and belonging. As intimidating as it is, every individual can find wellness within themselves and can find their personal community, the wellness journey begins.

This document is arranged in two sections. Part one explores theoretical research, and Part Two outlines the application of this theory in an applied project.

This document is comprised of two sections. Part One explores the theory, and Part Two outlines the application of this theory in an applied project.

Society is digitizing at immense speeds and scales. Whether one is prepared for the continuous next normal, amid the age of digitization and the corporatization of the Internet, data has now, in many ways, become the new form of currency. This thesis and exhibition project, therefore, explore the marketing and customer experience sector as it relates to hyper-personalized retail environments. Driven by the demand for privacy, this project's futurist approach forges new consumer-brand relationship tactics through transparent channels of how companies can ethically utilize customer personal data to provide hyper-personalized customer experiences.

This document is divided into two sections. Part One addresses theory and Part Two tests that theory through an exhibition design project. Part One examines memory as an artifact that can be viewed and explored in museums. The theory being explored is that of utilizing different collection methods within exhibition design to generate the same accessibility that comes from person-to-person storytelling. It looks at studies that display the fallibility of memory and its incredible subjectivity while also acknowledging the need for nuance while studying history.

This paper is comprised of two sections. Part I explores my theory. I dissect how the presence of public memory sites play an important role in how we relate to one another. Once we understand the needs of society and how monuments must evolve with those needs, we can then understand how to better design public memory sites that encourage dialogue and exchange, specifically within marginalized communities. I then delve deeper into how this framework can be applied to community-focused experience design, introducing interviews with experts, exploring case studies, and conducting primary prototype research.Part II of this paper is the applied project through which I implement the strategies discussed in my thesis argument. The project involves in-depth site and audience research, concept and content development, and an integrated 2D and 3D design development project.In my thesis argument, I explore how memory containers—such as monuments, memorials, and other dedicated public sites—perform many tasks. Within a social justice context, memory containers can be used as a form of restitution and reparation in service of marginalized communities. After assessing America's practices of memorialization and increased societal awareness of the lack of representation found in Black and Brown communities, we must reconceptualize monuments as an artistic medium that can be expressive of a group or directly address communities on current issues.For my applied project, I have designed a series of outdoor installations deployed across seven sites in central Harlem. Some sites are dedicated public memory sites and others are unassuming but hold great potential for community dialogue surrounding the meaning of the space. These installations will be a part of a four-month exhibition orchestrated through the Studio Museum in Harlem's inHarlem program—a program designed to directly interface with the community in Harlem to showcase public Black artwork and discuss a variety of themes within art and society. The subjects chosen for the exhibition are centered on several methods of reclaiming personal and collective narratives. Visitors will be prompted to respond to various prompts in order to provoke dialogue. The architecture of each installation is situational and exposes the visitor to several perspectives in response to the narrative. The guiding questions at each location leaves room for the audience—the community members of Harlem—to take control of the narrative by telling their own story as opposed to being told how to respond. The space for interpretation and dialogue drives each design decision.This thesis and exhibition project is grounded in audience, site, and theoretical research. It responds to many ongoing conversations such as the role of monuments and the stories they tell historically within our society as well as how museums might begin to forge deeper connections with the communities they occupy. My thesis explores how our memory landscape might be reconceptualized to become more expressive of collective narrative by dissecting the theories behind dialogue and conversing with art. The museum industry could benefit from understanding this framework in order to better exhibit and educate on complex issues like race, historical erasure, and representation.My exhibition project examines how an institution like the Studio Museum in Harlem could build upon their inHarlem community program by hosting a multi-site exhibit that focuses on allowing the community to engage in dialogue with each installation. The key content themes fall under two categories: (1) preserving identity and (2) trust and empathy. As viewers explore each concept installation, the overarching exhibit narrative reveals how all content themes reinforce a reclaiming of narrative that occurs with each exchange. By giving community members access to not only view artworks from local artists depicting Harlem but also see and interpret the underused spaces within the neighborhood, this exhibit gives space for the community to be stewards of their collective narrative and continually shape how it gets presented. Community narratives will be represented in a variety of media—such as audio storytelling on the exhibit website, in written form at several sites, and through publishing a biweekly zine—which will be tasked with elevating local perspectives and experts on each key concept area found in the exhibition. The use of experiential graphic design and the strategic choice of transparent materials reflects the interpretive approach aimed at providing ways of seeing and questioning. Each location is grounded in a leading question that may ask the viewer to reflect and lead them towards the exhibit content. Beyond the physical design of the exhibition, programming was also a major consideration because of the conversational and personal nature of the exhibit. Offering walking tours led by local volunteers is one way visitors can begin to develop authentic connections to the community. Additionally, by partnering with local organizations that can provide arts programming or other social services, this exhibition can also be a resource and a forum for residents who may need it. While reviewing my work with industry professionals, it became evident that this exhibition was valuable in creating a framework for outdoor exhibitions that could not only elevate and respond to community feedback, but also cultivate meaningful interaction and discourse.

This qualifying paper is composed of two parts. The first part of the paper encapsulates the explored design theory, which is the reshaping of smartphones in designed immersive experiences to enhance the activation of the setting in order to create a deeper sense of awareness and presence. The paper is structured around understanding the current uses of the smartphone and its place in current media culture as well as looking at the labeling of it as a device of a distractive nature. Then, the paper launches a set of arguments, case studies, a prototype, and interviews to prove how this notion can be changed by embedding more meaning into the modern-day smartphone's uses in immersive settings. It aims to enable the smartphone to become a powerful tool to help deliver content as well as facilitate it to in becoming a resource to capture the visitor's interest and attention in creating mnemonic memories.The second part of this paper investigates the design solution accompanying the set forth design theory, which considers customized smartphone applications and up-and-coming digital interface technologies to be utilized to transform the normative uses of the smartphone. The exhibition project is built from a combination of design intensive and narrative curation through the stages of concept development to design development, including schematics, 2D graphics, drawings, renderings, and 3D digital and physical models. The thesis's arguments explore audiences demand for the ability to chronicle immersive experiences, and therefore connect the reliance on smartphones to their responsibility in chronicling and preserving moments, especially in such settings. The set of arguments highlight the detaching quality of smartphones and their barrier-like role in the absorption of content, as well as their disruption of the audience's ability to be in sync with the moment and aware of their surroundings. Understanding this deep-rooted issue, the set of arguments shine light on the idea of repurposing the use of smartphones by expanding their definition in immersive settings, therefore indirectly shifting the behavior of the audience through these new applications as alternate solutions. The case studies that are in support of these arguments also underline the importance of the levels of immersion within the presented content and its impact in creating long-lasting and meaningful experiences for audiences. The case studies also illuminate how high levels of immersion are interconnected with presence in the moment and awareness of the surrounding setting. To initiate this chain of events, the case studies exemplify creating seamless, personalized integrations of smartphone technologies and flexible user interfaces which encourage enhanced immersion and intimate interactions, therefore leading to enjoyable and significant experiences that target the individual as well as the collective group in designed settings.In consideration of these viewpoints, the exhibition project consists of multiple partnerships between FIA (the head organization of F1 and Series), Apple (a smartphone technology company) and Adobe (a design software company). The exhibition project is set to travel between cities which hold significance to F1 Racing and motorsport history. These cities include Miami, Silverstone, Singapore and Abu Dhabi. The exhibition subject is the story of Csikszentmihalyi's flow experience, which is told through multigenerational voices of motorsport women. Flow is defined as a state of total immersion while participating in an activity that creates an optimal setting for the experiencer. In light of this, Flow, the exhibition, sets a stage to convey the enhanced future of female F1 racing and investigates the activities that are a part of motorsport racing that trigger flow state, as well as activities that impact the mind, the body, and the soul for a wholesome immersive experience. The exhibition project targets an audience ranging from young rising female athletes to young uninitiated women from different backgrounds and interests, encouraging them to become more involved in the subject of racing and potentially pursue it as a career or a hobby.The results of extensive explorations in defining and cultivating the project parameters, the thesis statement established the importance of thinking outside of the box for designing unusual and unique experiences while expanding the roles of the tools that are available to audiences. Therefore, the thesis statement has put forth the alteration in the definition of utilizing mobile phone technology. This allows it to become a tool for a deeper manifestation of immersion with the content, the environment and most importantly within and among other individuals. Current designed immersive settings most often lack the quality of delivering the complex narrative to audiences through smartphone technologies: they often remain on the surface by obtaining the profile of photo backdrops and referring to the needs of chronicling of audiences on social media platforms. However, the thesis research investigates ways of applications for transforming the current descriptions of interpretive spaces by enabling technological devices to work in versatile methods to create a deeper sense of awareness within and among audiences. The exhibition project tackles this argument point by allowing technology to become a gateway for achieving enhanced states of immersion. Thus, this puts a framework around the initial segment exhibition subject, flow state, which sets a foundation on understanding the methods and activities that initiate the temporary unique state of absolute focus and immersion. In continuation, the second segment of the exhibition pinpoints the subject of female motorsport racing: a subject that requires high levels of concentration and immersion to the present moment to complete. In order to achieve this goal, the exhibition project specifically targets clients and partners who emphasize on motivating creative thinking and constant innovation for providing the right methods and application tools for the right set of design problems. The decision for choosing Apple and Adobe as fellow partners in curating this project strongly validates the point of view in aiming towards innovative perspectives and expanding the known roles of what a smartphone and smartphone applications can be in immersive settings. As for the project's remaining partnership with FIA, the relationship with the other client companies makes sense in terms of creating a powerhouse for utilizing advanced technologies that extend beyond motorsport racing and making it accessible to individuals to experience and learn about. The project recognizes flow as a connecting medium from designed experiences to smartphone technology applications to motorsport racing. The development of the project's conceptual approach addresses the variety of these topics through 7 interconnected key concepts. This progression starts with an individual who experiences flow regularly and investigates the theme of women empowerment by letting flow become an agent for it. This is followed by a division of sub-concepts which weigh in on the spiritual, scientific and psychological perspectives of understanding and experiencing flow. Lastly, the divisions merge back into one key concept which covers the outcomes of experiencing flow state in the long run. The exhibition identifies each 7 concepts with the intensities of experiencing flow and translates into 7 unique multi-sensorial activities for audiences to experience. Flow, recognizes the current smartphone application technology that is referred to as "App Clip Codes" developed by Apple to scan and activate for transforming the use of the smartphone in multiple different ways. From a steering wheel to a magnifying mirror glass, the mobile device and its customized applications become an essential guide in activating the designed setting, the mobile device, drawing in the attention of the visitor and therefore enhancing the levels of audience immersion.

This document includes two parts. The first part is theoretical and focuses on the urgent need to engage young people in history museums and be inclusive of their perspectives on our cultural landscape. The theory discusses which categories of visitors comprise the youth visitor base and what motivates them to visit cultural institutions. In addition to enhancing our understanding of why we should focus on the values and needs of this generational cohort, this paper also looks at ways to break down the barriers of their visitation and suggests strategies to make history museums more relevant to this demographic.The second section is an applied project. It is a combination of concept development, graphic design, and exhibit elements that demonstrate how, through a historical exhibition, an audience can feel empowered and discover the strength of community to take collective action. Using the Woodstock festival of 1969 as an example of how history can serve as a pillar of hope for the future, the project reflects on the relevance of this festival today for young adults.

This document is arranged in two sections. Part One explores theory, and Part Two outlines the application of this theory in an applied project. Part One considers the opportunities in adaptive storytelling to achieve historical empathy in a history museum setting, allowing visitors to integrate historical knowledge into their perspectives on the present and future. The theory explores the affective and cognitive balance necessary to achieve historical empathy in an exhibition setting by examining several factors for the visitor. First, the paper establishes the importance of addressing a visitor's entrance narrative, defined as the internal story a visitor has in relationship to exhibition content, as a part of the learning process. It further explores the opportunity to develop empathy using a psychological gesture to mimic a historical figure. This gesture can also be used to maintain immersion in the exhibition while engaging with technology interactives. Finally, Part One outlines current applications of adaptive storytelling and proposes a new story authorship model by applying research from social psychology and Shared Reality Theory and the development of historical empathy. Part Two demonstrates the application of a holistically integrated adaptive storytelling system in a designed environment. The applied project includes all elements of exhibition content development; sourcing of historical artifacts; and the design of graphics, 3D spaces, audio visual elements, lighting, and fabrication detailing documentation. Adaptive storytelling (AS) in the exhibition setting is any form of storytelling that can be affected in real time by visitor decisions. Applications of AS range, but they are often employed as a layer on top of an existing exhibition to provide tailored content to a visitor. Studies have shown that while visitors broadly respond positively to AS, there is a need for stronger integration between the physical exhibition and the virtual adaptive storytelling moments.As the demand for active engagement in museums grows, AS provides an exciting opportunity for museums to create tailored moments for each visitor that utilize their active engagement in the exhibition setting to achieve historical empathy and integration of historical knowledge. Through AS, the narrative of an exhibition can follow the visitor instead of the visitor following a preset exhibition narrative that may not suit their interests, background, or learning style.The thesis theory outlines a framework for successful integration of AS by incorporating lessons from previous applications as well as new approaches rooted in social psychology and education research. Key takeaways include both content and design strategies to support the development of historical empathy. Historical empathy can be defined as "the reconstruction of people's perspectives through the acquisition of knowledge and understanding of the broader historical contexts in which figures have acted and analysis of the possible motives, beliefs, and emotions that guided their actions." Barriers to developing historical empathy can include a lack of emotional connection or a lack of contextual understanding about the subject area.The content strategies for developing historical empathy explored in the applied project include addressing the visitor's unique entrance narrative in the presentation of content and creating a story authorship system which presents both "bonding" content (related to the visitor's interests) and "challenge" content (designed to bring a new perspective on the subject matter to the visitor). Delivered content will be customized for each visitor as a give and take between the exhibition and the individual. Design strategies include holistic integration from the beginning of the design process, seamless integration between virtual and physical exhibition elements that allow the visitor to move freely through the space without additional devices, and the use of gesture to both introduce and activate technology while connecting the visitor to historical characters and developing empathy through mimicry. The applied project is an exhibition for the Autry Museum of the American West called SELDOM IS HEARD: Voices of the Cowgirl. This exhibition explores the history and legacy of the cowgirl in America, by exploring the cowgirl mindset and the forces that shape her identity. I selected this subject and museum because I wanted to apply the theory of my thesis in a setting steeped in historical nostalgia. Through the design of the exhibition, the application of the thesis theory creates a space that challenges visitors to examine their preconceptions about cowgirls while getting intimately familiar with the lives of individual women both past and present who have lived the cowgirl lifestyle. This summation reflects responses to the exhibition project and thesis from industry professionals following my capstone presentations on December 10, 2021. I received thoughtful comments from the judges that outline areas of success as well as feedback on ways to take the exploration of adaptive storytelling even further. The adaptive storytelling authorship model designed to incorporate a visitor's entrance narrative was well received by the industry judges, who felt it was "dynamic," "purposeful," and "creative." The gesture activation as a tool for both technology integration and support of historical empathy was also mentioned, with industry guests noting it was "nuanced" and "thoughtful." These design considerations were directly applied to my design project from the research in Part 1 of this paper. The participatory nature of the exhibition also received positive feedback, with industry judges particularly highlighting the effectiveness of the low-tech outdoor installation "In Her Shadow." Several judges who were included in my primary audience demographic indicated this is an exhibition they would attend with their family, confirming that the design and content approach was appropriate for my audience. Two areas of opportunity to tailor the experience even further for the visitor were noted by judges. First, there is an additional opportunity in the culmination of the adaptive story ("In the Room" interactive) to be more custom for the visitor. In my design, that moment had only three different endings. Incorporating a visitor's name or other parts of their story experience can take this one step further. Additionally, there may be more opportunity to spark conversation between visitors in the reflection space of the exhibition. Overall, I believe the thesis research, applied project, and feedback from industry professionals demonstrates the exciting potential in adaptive storytelling to support the development of historical empathy for museum visitors.

This thesis document is comprised of two sections. The first section explores the theory of how objects play a role in evoking emotions, empathizing, and connecting visitors with the past by revealing the story of the objects themselves. I then assert that telling a story with various objects can be applied to the science museum experience for young learners and prove the validity of this claim through multiple case studies and prototypes.The second section is the applied project. I enforce the strategies explored in the thesis argument and prove their capabilities with a designed environment. The section explores "Beyond the Visible: The Transformation of Electricity in Our Lives," an exhibition that takes place in the Liberty Science Center. It is an experience that allows school children and their parents to discover what life looked like in the 1880s.Objects are factors that explain, demonstrate, and visualize a situation and event. They are the connectors between ourselves, others, and the world around us because they can nonverbally communicate with people. Thus, objects can be used to clarify one specific circumstance to reflect its relevant background. The reason for the connection between people and objects is that objects enable them to trigger memory and imagination. Therefore, people can perceive one particular event by experiencing the objects themselves. Considering the power of objects, my thesis aims to explore how objects allow people to understand the emotional state of another person as it relates to a specific time and place.My applied project, "Beyond the Visible: The Transformation of Electricity in Our Lives," will focus on the mundane and domestic objects of the electricity revolution of the 1880s. The content presents the story of how the entire world changed with the discovery of electricity at this time. This exhibition at the Liberty Science Center will use theatrical techniques combined with object-driven experiences to enable visitors to explore how this momentous and dramatic time in world history. Ultimately, the exhibition is about connectivity, empathy, understanding, and creating a bridge to people in history. The content examines the struggle for life and survival in the 1880s, and how people did not give up through difficulties. Visitors will understand the psychology and emotions of people who lived at that time through the change that came with electricity.

Moments of mindfulness are essential for growth and well-being. Making connections and inspiring meaning making is what makes us human. In this designed experience, lighting is a driver working with the environment and content to achieve those desired moments of mindfulness and meaning-making. The environment is a gestalt creating a unified immersive space, built and designed for the viewer. Light has the capability to activate a series of feelings and emotions within the perceiver which contributes to the immersion and visitor experience. This thesis demonstrates the power of lighting and how it is useful for developing mindful attention to details which can be employed across a variety of designed environments. This design approach can be implemented in many other contexts not only as an experience for the American Museum of Natural History. The strength of this project comes from a combination of elements and at its core is research. The interplay of lighting, content and the designed environment proved itself to create a holistic design approach which produced a solid exhibition experience inspiring moments of mindfulness and outward and inward reflection. The information collected by judges was valuable and helped to understand how mindfulness can appeal to audiences on a broader range. Judges in "Catalyst: Made of Stars" were left intrigued and engaged and mentioned "ah-ha moments" referring to moments of realization and inspiration.

This document is comprised of two sections. The first section explores the theory of using kinesthetic empathy in experiential design to create brand-consumer connections within a retail environment. Kinesthetic empathy refers to an unconscious or automatic imitation of speech and movement resulting in the adoption of an emotional state. The theory proposes that experiential designers can rely on the creation of motion-based activities to influence visitors to act in a chain reaction of engagement.Through the course of my study, I have researched successful marketing campaigns by companies such as Puma, Smart, Coca-Cola, and Disney that use group movement-based activities to bring consumers together while fostering feelings of joy. When it comes to these brands, consumers expect to participate in joyful interactions as joy is a key component of the brand's identity and mission.Drawing inspiration from these successful case studies and applying them to a different type of retailer and consumer base, the second section of this document applies this thesis to a proposed exhibition taking place within the atrium of Montefiore Hospital in the Bronx, for cannabis retailer Houseplant.The target audience for this proposed project is women who struggle with chronic pain caused by underlying conditions and are seeking to learn about medical cannabis for this reason. Through experiential design, this audience can be benefitted from movement based interactions in a therapeutic way, become positively emotionally engaged, and feel a part of a brand community formed by peers whose situation they can identify with, and whom they can feel supported by.Through the development of my exhibition design, I am seeking to bring joy to a consumer audience going who is not anticipating joy as a key characteristic of their retail experience. This document explores the use of movement-based activities in a retail environment to positively influence a consumer's emotional engagement and foster feelings of joy, increasing brand awareness, brand community, leading to a deeper bond between retailer and consumer. Consumer alienation can be detrimental to the success of a brand. Many studies have shown that consumers desire a connection with retailers as they seek to become part of a community. When it comes to the cannabis retail industry, there is an expectation from consumers for their retailers to align to the existing core values of cannabis culture: love, community, and happiness.By exploring the use of kinesthetic experiences in a retail environment to improve retailer-shopper bonds while fostering feelings of joy, we can help consumers who can benefit from positive emotional engagement and become part of a growing brand community. Numerous case studies explored in this document showcase how joy filled connections between consumers and brands increase consumer engagement. The exploration of kinesthetic empathy in the first section of this document and the subsequent design project explores the creation of deep consumer-retailer bonds between cannabis retailer Houseplant, and the target audience of women between the ages of 30-60, who struggle with chronic pain.Houseplant, who in their mission statement, claims a commitment to cannabis education, can explore the creation of bonds with this audience through fostering feelings of happiness and joy. This can be done through implementing kinesthetic experiences visitors can take part in while learning about the medical properties of cannabis, cannabis methods of consumption, and additional information that will help them navigate their cannabis healing journey.While creating an experience that showcases the many ways medical cannabis consumption can be personalized according to user preference, visitors who participate in this exhibition will become empowered as patients as they discover the way they can gain agency over their healing journey. Using experiential design movement-based activities in an exhibition setting, visitors can leave the exhibition with the information they need to feel empowered, inspired, and knowledgeable about cannabis. Additionally, they can develop a deeper connection between brand and consumer leading to brand community growth, consumer loyalty, and brand trust leading to consumers to become advocates for the brand and its products.

This document is comprised of two sections. The first section explores the thesis of implementing intergenerational experiences in designed exhibitions to provide opportunities for socially isolated older adults to engage with others in ways that are accessible, personally meaningful, and inspiring. Through research, case studies, prototyping and interviews, I examine existing intergenerational program models and identify key strategies and best practices for developing mutually beneficial, highly engaging experiences. I then explore how these practices can be adapted and applied to an exhibition environment to promote various levels of social contact, accommodate the needs of all participants, and minimize the need for facilitator involvement.The second section describes a proposed project that applies the strategies explored in my thesis to the design of an innovative experience. Additional research of the target audience as well as the selection of a proposed subject, venue, and client allow for a deeper investigation of the thesis and demonstrates the use of designed exhibition elements. The proposed project validates the potential for intergenerational engagement in exhibitions to provide approachable opportunities for older and younger participants to freely engage with one another, leading older adults to discover a renewed sense of purpose, and ultimately reducing the negative impacts of social isolation on the aging population. Through the thesis and the proposed project, this paper identifies a design methodology for exhibitions to develop flexible and accessible shared spaces that foster intergenerational social interactions for isolated older audiences.

Thesis + Exhibition Project Document Introduction: This document is composed of two sections. The first section explains the thesis theory, how surprising tactile experiences can be an effective tool for engagement with the environment, products, and narrative through intensified emotions following surprise. Unexpected tactility in immersive environments can formulate impactful and memorable experiences for visitors since they trigger exploration and generate emotional responses. The second section presents Intersection, an exhibition project proposal for Moleskine, demonstrating how the thesis can be applied and formulated in a real-life project. The project is located at Madrid-Barajas Adolfo Suárez Airport as a temporary multisensory exhibition. The experience introduces unexpected tactile encounters through a narrative formed around the subject, "diaries." The visitors witness a story while interacting with brand products and tactile experiences in the exhibition. Thesis + Exhibition Project Overview: Handwritten diaries, where intimate thoughts are tangibly crafted with paper and pen, have been a part of people's lives as a tactile experience for millennia. They tell stories, secrets, and dreams and reveal the unexpected in various forms. The exhibition Intersection for the brand Moleskine is based upon a fictional narrative of two travelers meeting at the airport and reflecting upon their experiences through diary passages. The exhibition at Madrid-Barajas Adolfo Suárez Airport allows travelers to experience these journeys through a dual narrative tied to unexpected tactility. While the visitors walk within an environment resemblant of diary pages, they engage with a variety of objects and elements of design that combine the story, activities, and Moleskine products, with surprise in tactility, and intensify the visitor experience through emotions and exploration. Thesis + Exhibition Project Summation: The applied exhibition project, Intersection, demonstrates how elements of surprise and tactility are useful to the profession and effective tools for impactful experiences. The surprises tied to the story and products at key moments attract attention and boost visitor interaction; together, they strengthen the narrative and heighten visitor emotions. Exhibition encounters need to be engaging, relatable, and clear to be meaningful. Overall, the unexpected tactility interwoven into an immersive narrative enables memorable experiences for visitors.