FIT Institutional Repository

Domestic violence can have profound and lasting effects on individuals and affect almost every aspect of their lives. It can often create health and personal challenges making it easy for victims to be triggered in spaces. The stages of an abusive relationship can be difficult to recognize due to their layered complexities and subtleties. My thesis proposes "Voices of Strength" as an experiential exhibit for domestic violence survivors, a safe haven created through the principles of trauma informed design; where women can find a sense of community and foster empowerment through various reflecting activities in spaces intentionally designed to promote active healing and vulnerability.

Luxury is a subjective experience, varying widely across cultures, professions, and personal values. What may be a luxury for one person might not hold the same allure for another, highlighting the fluid nature of luxury and the evolution of its meaning. Historically associated with exclusivity, craftsmanship, and elite status, luxury today intersects with values like sustainability, accessibility, and innovation, reshaping its image to reflect contemporary ideals.

In this thesis, my objective is to highlight the areas within the exhibition design industry that could be improved through the study of dreams, as well as conceptualize and implement design interventions to fill in these gaps. Through this detailed theory and graphic documentation, I aim to help the intended audience learn what makes dreams and understanding the subconscious crucial tools for self-improvement and understanding of the world.

Spaces such as museums, cultural institutions, zoos, aquariums, and themed entertainment spaces are integral to the human experience and one's search for knowledge, growth, community, and well-being. These spaces encourage and nurture learning, creativity, empathy, and understanding of the world around us. However, what may be an engaging experience for some may be overstimulating and overwhelming for others, especially those with unapparent disabilities such as ADHD and autism. Museums are making great strides to address this problem by offering sensory-friendly hours, sensory kits, and sensory guides. These are helpful accommodations, but they are often implemented after spaces are completed and operational, when these accommodations could be integrated with a Universal Design process from the beginning. By expanding the principles of universal design, and centering this design on well-being for those with unapparent disabilities, designers can take steps to dismantle ableism and create more inclusive spaces for individuals with ADHD and Autism. These design choices can include low-stimulation environments, transitional spaces, "quiet spaces," predictable or familiar features, and "wayfinding." The following thesis and applied design project illustrates how it is possible to accommodate individuals with unapparent disabilities in a successful way that does not affect, and possibly even enriches the neurotypical experience.

Museums are increasingly interested in growing their outreach and social presence in their home communities and beyond. Traveling exhibits have long provided a way for museums to connect with diverse and distant audiences outside of their home communities, however many traveling exhibits are designed primarily with peer institutions in mind. There is an opportunity to grow engagement with potential host organizations outside of the typical museum hierarchy and introduce museum content into more facets of our social infrastructure. Locally engaged organizations such as community centers, non-profits, universities, and libraries have rich insights and networks in their home communities and can use traveling exhibitions as a catalyst for developing unique, place-based experiences that enhance the visiting content. By incorporating participatory design strategies and encouraging co-creation with traveling exhibit content, designers can adapt traveling exhibitions to be more impactful and accessible to diverse hosting organizations and their communities.

Inclining: Aging with Energy is a fun house of reimagining: connecting people with best practices for healthy aging in fun and unexpected ways, and engaging embodiment with humor and possibility. Getting old is also getting new. The challenges of embodiment are always and ever. What if we reimagine aging as a skill? What if we reimagine our visions of aging? What if we (re)encounter having fun in the body — what that might have been, what that could be? Why not grow into the playground, instead of out of it? Is our construct of aging fundamentally based on the flawed philosophy of the compartmentalized, disembodied concept of mind? Let's explore!

This document is written in order to qualify for graduation from the Exhibition and Experience Design Master of Art program at the Fashion Institute of Technology. This document is organized in two parts. The first part focuses on research around a topic in exhibitions and/or experiences. The second part is an application of the research in hypothetical practice.

This document is organized in two sections. Part One outlines the theory of use and intent with regards to wayside signage and interpretive trails in outdoor spaces, while Part Two implements this theory in an applied project.

This paper explores some of the necessary parameters, including concepts, physical structures, and strategy, for exhibition designers to consider as part of the co-creation process in local communities, with the goal of sustaining movements for broader social change. I will detail my research on the topic, and propose a solution on behalf of clients that operate on a grassroots level. Key principles of this research were outlined by members of Àrokò Cooperative, a design organization formed in 2020 that is dedicated to cultivating a future of Black Liberation, care, and well-being for Earth and all of her inhabitants. The Àrokò Cooperative Design to Divest manifesto states:

In the field of experience design, "immersive" has become a term applied to a wide range of projects with little clarity or definition. What does it mean to immerse? The literal definition is "to plunge, or to cover entirely."5 Immersive environments require that visitors are completely absorbed into the stories we as institutions are telling, and in order to embody these stories, visitors need context. Context is provided through multidimensional design that engages all five senses in an accessible and recognizable manner. This context, coming from the Latin "con texere" or "to weave together,"6 provides visitors the cues to craft the meaning of the space themselves, personalizing the experience. Through the provision of context, immersive design offers visitors an innate familiarity of the story, an invitation to participate, and a sense of inclusion.This thesis seeks to define what makes an experience immersive, explore cross-disciplinary techniques for providing context and demonstrate the memorable impact that immersive techniques can have within interpretive environments. Through a synthesis in design elements, immersive, interpretive environments have the opportunity to appeal to the whole person – intellectual, emotional, and physical – creating greater opportunities for lasting relationships with the content.

The first part of the paper delves into introversion by examining its influence across different environments, using case studies to highlight the specific challenges and disadvantages introverts face due to the pervasive Extrovert Ideal. This ideal promotes extroverted traits—like sociability, assertiveness, and public enthusiasm—as standards for success, often sidelining qualities associated with introversion.

Children's experiences are specially designed with sensory engagement at the forefront. Delving deeper into this theory, this paper helps educators and designers explore the perception of subject matter by children with ADHD through light, sound, touch, smell, and color. It also discusses the impact of ADHD on children's acumen and their ability to enjoy the designed experience with a focus on branded environments. Through the above mentioned sensory pathways, this study aims to help designers by providing baseline parameters for an inclusive space that welcomes and encourages all children to be intuitive and enjoy play.

In the intricate fabric of human understanding, color intertwines seamlessly with our feelings and perceptions. It acts as an influential means of expression, molding our emotional landscapes and connecting us intimately with our environment, while also shaping our artistic preferences. Take, for instance, an artist’s album release, where a distinct color palette becomes forever associated with the music, creating a lasting link for the fanbase. This illustrates the profound impact of color on our daily existence and its pivotal role in shaping cultural references. This thesis delves into the complex dynamics of human perception of color, emphasizing the need to improve accessibility to color experiences.

This paper is divided into two parts. Part One explores academic theory in connection to friendship and designed spaces. Part Two details the application of this theory in an applied project.
In Part One, I begin by sharing the current understanding of friendship from a sociological perspective, including the power of friendships for human well-being, how friendships are created, various types or definitions of friendships, and the barriers adults face making meaningful friendships today. The paper then expands into how friendship connects to museum exhibitions and designed experiences in a unique way, as individuals rarely attend these types of spaces alone and a visit to a location can change depending on your companions. Finally, the paper explores various ways designers can create spaces with the concept of friendship creation, maintenance, and strengthening in mind. These techniques fall into the following five categories: (1) design goal planning, (2) passive spatial design, (3) creating opportunities for connection, (4) empowering individual confidence, and (5) internal and external programming opportunities.
Part Two shows these theoretical applications in an immersive exhibition project called Sleep Factory. These techniques demonstrate the potential opportunities for exhibition designers to enhance the creation, maintenance, and strengthening of adult friendships. The applied project includes all elements of the exhibition content development and design with graphics, 3D spaces, audio-visual elements, objects, lighting, power-mapping, and detailed fabrication documentation.

This document is arranged in two sections. Part One explores theory, and Part Two outlines the application of this theory in a project.
Part One studies the issues affecting connectivity in the Queer community, and considers the opportunities dialogic exhibitions present in forging stronger bonds between Queer individuals and Queer social groups. The theory stems from research on gentrification, urban development, and psychology. The exhibition homes in on the power of feeling welcomed in a place, and how feeling welcomed impacts Queer people from several facets. Building awareness of the self and of the struggles of others, and then facing those struggles through interpersonal dialogue with other Queer people begins to wear away the generally false notion that some Queer people are not welcome in many Queer spaces. Fostering awareness in this manner builds on psychological research that shows how identifying the struggles of others and relating them to your own builds empathy for that individual or group. Creating opportunity for dialogue to take place and to continue creates new bonds and creates opportunity for them to be cemented.
Part Two demonstrates how social and emotional mechanisms can be deployed in dialogic exhibition, in an environment that openly welcomes all Queer people: first, by creating a welcoming environment that embraces all identities, and then by allowing visitors to explore their own Queerphobias, building a basis for them to overcome them. The next stage focuses on oppression and explores it from political, social, and economic perspectives, and how it relates to broader acceptance of Queer people. Following this, dialogue is activated between two individuals through a curated experience and continues to the final stage where more social conversation can take place, and where individuals will have the opportunity to reflect on their experiences. The applied project includes all elements of exhibition content development; sourcing of artifacts and objects relevant to the narrative, or facsimiles thereof; interior and spatial design; the design of graphics, audio visual elements, and fixtures; the specification of finishes, furnishings, and lighting; and fabrication detailing documentation.

This document is arranged in two sections. Part One explores theory, and Part Two outlines the application of this theory in an applied exhibition project.
Part One considers the opportunities in museum environments to foster prosocial behavior within communities, allowing visitors to tangibly work towards achieving societal wellness. The theory explores the use of ritual, social design goals and the group vs individual viewing balance necessary to achieve social cohesion in an exhibition setting by examining several factors for the visitor. First, the paper establishes the importance of a museum's role in a community as a place that utilizes social ritual to create feelings of belonging. It further explores the opportunity to further develop empathy and prosocial behavior by utilizing strategic viewing techniques from other methods of social gathering that have achieved great success in this area, such as theater and concerts. Finally, Part One proposes a new method of structuring design goals to include consideration of the social wellness that accompanies community representation and accessibility.
Part Two demonstrates the application of a community-centered design process that includes explicit goals of fostering prosocial behavior and community connection in a museum environment. The applied project includes all elements of exhibition content development and design including sourcing of historical artifacts, the design of graphics, 3D spaces, audio visual elements, lighting, and fabrication detailing documentation.

Light. It's how we see and perceive everything around us. Everything begins and ends with light, whether it's seeing different colors, or experiencing complete darkness. We come across different forms of light in our daily lives, and they impact us significantly. First came natural light, boasting the power of the sun and the moon. It is no surprise that sunlight is vital to all living beings. Think of that one day when you were without any sunlight. Do you remember feeling completely disoriented and dull?
Soon enough, sunlight turned into illumination through a flame. And then came artificial light, which was a revolutionary invention for the human race. Electricity running through filaments, producing light and illuminating a room—all in a single click. Ever since I was a kid, I felt something every time I saw certain forms and temperatures of lighting. Growing up, it was difficult to know what it was about lighting that made me feel this, but I knew I was extremely fascinated by it. Soon, I started dabbling with the thought that I may not be the only one that feels this way. Pursuing higher education in design helped me lean in on the concept and importance of lighting, and pursuing a masters in spatial design convinced me that lighting can absolutely transform a space and how the visitors feel in it.
The dynamic daylight and the controlled artificial lighting are able to affect not only distinct physical measurable conditions in a space, but also to instigate and provoke different visual experiences and moods. Due to the light, it is possible to perceive different atmospheres in the same physical environment. Fontenelle observes that "Light constitutes an element of fundamental relevance for the design of spaces and therefore it plays a significant role in the discussion of quality in architecture."
Lighting serves to highlight and mark objects, reveal spatial or symbolic pathways, direct or deflect the viewer's attention toward a particular artwork's detail, and reveal the symbolic strategy and meaning trajectories planned by the artist or light designer. Light and lighting also reveal spatial or symbolic paths. A significant correlation between lighting levels and light colors, psychophysiological responses, and emotional responses by the perceivers was actually established through research using light sources of different spectrums (from natural to artificial light). Generally, a higher intensity of light stimulation corresponds to a higher level of concentration/attention, which is linked to a greater emotional response by the subject.
I was 19 when I watched my first broadway show while on a trip to New York, and watching the dynamic sets and incredibly engaging lighting changed my world. I completed my undergraduate degree in India, and worked in set design where my love for lighting expanded. My fascination with this phenomenon of lighting led to this research, and that led me to another intriguing phenomenon—the circadian rhythm. Humans are light-seeking creatures. As a result of human evolution, we have come to rely on sunlight as the main signal that controls the master clock in our brains. All biological processes, including the creation of hormones in our bodies on a daily basis, are governed by this master clock. Circadian lighting is illumination that is intended to affect the human circadian system biologically. Circadian lighting transmits signals to our internal master clock, which controls the synthesis of several hormones and instructs our bodies on what to do and when to do anything during the day and even while we sleep at night. Strong light signals to the master clock encourage greater sleep, less weariness, and better attention, all of which improve our motivation.
In this thesis, I explore how and why lighting creates an emotional impact on the human brain, how it can positively influence our minds using circadian principles; and how we can best use it as exhibition designers to give visitors an optimal experience. This study and paper is broken down into two parts. The first part highlights the development of an original thesis pertaining to the use of light as a means to impact physical and emotional wellness. The second part focuses on the development of an applied design project that utilizes this theory.

This paper will be an exploration of how we can induce the feeling of awe in exhibitions to create engaging and memorable experiences.Part I will present research into Awe and Biophilic design, and through testing explore how these ideas can be used in the exhibition field. Awe is the feeling that we feel when we are faced with something that goes beyond our ordinary frame of reference. This feeling opens us up to new perspectives and thereby encourages learning. Feelings of awe are often associated with experiences in nature and biophilic design explores how elements from the natural world can be integrated in the built environment. I will look at how findings in these two related fields can be combined to create engaging experiences by supporting and emphasizing narrative exhibition structures where visitors can feel the content as well as take it in intellectually.
Part II details how the findings in the first section are utilized in my exhibition project, "The Wonderful Visit to Oz," which will be an interpretation of the book The Wonderful Wizard of Oz as a Hero's Journey and will be aimed at an intergenerational audience. The archetypal story structure of the Hero's Journey, with its themes of facing challenges and succeeding through collaboration, is applicable for any stage of life and matches the intended target audience of grandparents and grandchildren. The exhibition project will present an immersive environment built to facilitate collaboration and connection while guiding the visitors on a both metaphorical and physical adventure.

This document is organized in two sections. The first section is the thesis, "Exploratory Steps" which shows how visitors explore and orient themselves in exhibition environments, thus allowing intrinsic elements of the exhibition to alter the chosen path. The second section, through the topic of equine therapy, seeks to demonstrate human behavioral patterns related to circulation, and guidance and explores them through an open floor plan. Through the thesis and the proposed project, the paper suggests that designers can strategically position elements such as displays, artwork, and text to create a hierarchy to explore the potential for spatial attraction.

This exhibition will explore the complexities between humans and nature, uncovering the anatomical and emotional connections we share. There are rich similarities apparent from the mycelium network of fungal roots and the neurological networks within our bodies, each orchestrating a communication system for the organism to thrive in their environments. For instance, the mycelial energy centers referred to as "mother trees'; are older trees of the forest ground that have created the foundation of the rooted networks. Therefore, the mother tree can sense when there is a weakening within the rooted connection between younger trees of the forest to send nutrients through the mycelial to aid the ill trees back to health. The human body functions in a similar format, for instance, reaction to making contact with a hot surface, reflexes kick in, and the hand is pulled away or if a disease enters the body the immune system cell soldiers will fight against the foreign bacteria. These systems are significant to the function of life itself and align the thought that humans and nature act in synchronicity.
To ground is to align your mind, body and soul. This can be accomplished in many ways depending on the preference of the individual's connection to their sense of self and environment. Although, a universally sound rule of grounding is breath-work. Our breath taps into every part of our being and connects us to our surroundings, providing confidence in the present. Before we continue, pause and take a breath. And not the typical implicit breath, but an intentional full belly breath, in and out. This is an opportunity to root into the now and clear your mind. Through the art of breath, spaces optimal for grounding can be integrated into designed environments to elevate experiences of visitor engagement.
The Earth Within will combine the facets of expressive arts therapy, cymatics, and somatic breath all woven into the core value of grounding. These researched topics will be explored as methods to elevate the visitor experience through empathic design principles. In relation to the core of my thesis, my goal is to express the profound connection between human existence and nature which surrounds us. As we have drifted into modernized ways of life, with technology at the forefront of all communication, as I am using an electronic device to express myself at this moment, it is essential to reinforce that the essence of spirit resides not in the technology, but in the being using the instrument. These methods described above, expressive arts, cymatics, breathing, are all tools, electric or not, to connect with the human spirit and explain why it is that we have this innate connection to nature. With this information, join me on this journey to explore the Earth Within and how Art Opens Our Minds.

In this research I will explore how to make fine art exhibitions, particularly gallery spaces, more approachable, engaging, and able to better serve the communities in which they exist. This document is arranged in two sections. Part One explores theory, while part two demonstrates the use of said theory in an applied project. The first section looks at traditions of Exhibition Design in gallery settings: primarily The White Cube. I will also identify the myriad value models and motivations for appraising and engaging with contemporary art and art experiences. In my research I have found that the multifaceted value of art can be unlocked for Visitors and Collectors through not only acquisition, but also through access. The second half of the document is an exhibition proposal that takes this research into account to develop an inviting, engaging, and dynamic art experience that can be enjoyed by art lovers of all skill levels.

In this research, I investigate how to make the audience empathize with the color blind through a narrative method, as well as research several materials and lighting to create plenty of sensorial experiences in an exhibition. The document is organized into two parts:
The first section explores the thesis of how empathy-focusing design can be used to bring the audience into the world of color blindness, which provides a more inclusive environment for society. After the research, the application of the design helps the audience understand people with color blindness through shared experiences. It further explores the opportunity to develop empathy, suggesting that empathy is crucial in mitigating bias toward disability.
The second section outlines a proposed project that employs the strategies investigated in my thesis to unveil the daily experiences of individuals with color blindness. This applied project introduces an immersive interaction for the public, aiming to broaden their understanding of color blindness and urging the industry to adopt inclusive considerations in future design projects.

This paper is organized into two parts. The first part is the Exhibition Thesis which is a study on autism and neurodiversity as they relate to museum programming. The research explores the current practices of museums in welcoming neurodivergent audiences into their institutions. Through primary research consisting of an interview and two prototype testing iterations, as well as secondary research methods, it can be concluded that while museums are being inclusive by accommodating autistic and other neurodivergent visitors, there is still more that can be done to serve this growing segment.
The sensory sensitive programming that museums offer tends to address the factors that make these children "disabled." However, through the lens of neurodiversity, a positive approach can be the solution to being inclusive to visitors who think and learn differently from the neurotypical. Focusing on what children are good at can result in better engagement and healthier self-esteem.
The second part is the Exhibition Project which outlines the application of the findings from the thesis. Research for this part also revealed specific interest areas and abilities that became the key content for the exhibition. A thematic approach is utilized to bring together the different elements: graphics, spatial design, digital, and interactives.

This Master's thesis qualifying paper is a compilation of the thesis research and design application to spread public awareness of algorithmic injustice in facial recognition technology.Part one is the thesis research exploring facial recognition technology and reasons why the technology is biased. The inequality impedes civil rights, such as the right to be free from discrimination and the right to privacy. This section also discusses three case studies of facial recognition audits and how participatory museum techniques are used to encourage dialogue and promote empathy. Additionally, primary research was conducted in which expert interviews contributed to the understanding of technology as a system of power and ways to orchestrate workshop programming. Two iterations of prototype testing and a survey collected opinions on facial recognition technology.Part two of the thesis paper contains the concept and design development of the exhibition project. The exhibition used the participatory museum techniques researched in part one to encourage dialogue on algorithmic justice. The client, site, and audience were chosen based on the research in part one. The design development contains details of the spatial design and how the graphic system was applied to the environmental graphics. A study model of the exhibition space was constructed.

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.