FIT Institutional Repository

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.

This document consists of two parts. Part I is entitled "120 Beats per Minute: Music Pacing Exhibitions" and explores the thesis related to the use of music as a design tool to not only regulate the pace of visitors but also as an interpretive tool to add texture to the storyline. In Part II, I presented the integration of the thesis in a designed environment called "Traces: Story of a Nation," an exhibition that takes place in City Hall Park in Manhattan. This exhibition invites visitors to explore the history of American immigration through stories of immigrants and their descendants told through the display of personal objects that conform to a wider narrative. The use of music in the exhibition enhances the connection between the stories told and the visitor's personal experience looking for a greater emotional impact and a deeper engagement.In our over-stimulated society, creating meaningful connections in exhibitions has become a more challenging endeavor. What if we could solve this by using a ubiquitous language like music? This is what this thesis and exhibition investigated and promoted. Music has long been overlooked as an interpretive tool in the design of exhibitions, but it could certainly benefit the experience of the audience by slowing them down and fostering a deeper engagement with the content. I explored a more qualitative way to experience an exhibition on immigration that will spark appreciation and personal connections by influencing the pace of visitors and their emotional impact through the use of music.This thesis and exhibition project is grounded in the subject, audience, site, and client research. I analyzed how music affects the human perception of time, pace, and emotions, in the retail context and the film industry, and how the strategies used in these environments could be added in the museum context to engage the audience on a deeper level. Designers could use musical tempo as a design tool to enhance the visitor's experience by pacing them through the space and adding texture to the storyline of the exhibition. My exhibition project explores how the Tenement Museum could translate an online initiative to a public space to tell the stories of American immigration with accompanying music that would pace and engage visitors. The Tenement Museum is known for being an advocate for immigration and has a clear mission to value and embrace the role of immigrants in the country. Although the exhibitions in the museum are focused on the stories of immigrant families who lived in the tenements between 1870 and1970, I proposed an exhibition on immigration told through the personal stories of people from all over the country and their immigrant experience with the aim of providing a current survey of the topic and spreading the museum's mission outdoors. Considering music is a very intentional tool, it is important that it corresponds with the message the institution is trying to convey. This exhibition is a free and shared experience located in a public park, with accompanying music. I created a storyline based on the journey of the immigrant, from making the decision of moving to settle in a new country, through the use of personal objects that tell stories of individuals in each step of the way. All the stories I chose are archetypal stories that are relatable for everyone, even for those who don't have traces of immigration in their families. The experience is clearly divided into beginning, climax, and resolution, and the tempo of the accompanying music changes throughout these areas. The change in tempo purposely varies the pace of the visitors and the level of emotional engagement as desired. A slower pace in the beginning and the final areas for a reflective state from the visitor, and a faster pace in the climax for a more impactful reaction. During my thesis adjudication, industry professionals indicated the addition of music as a valuable asset and noted the need for a music expert to move forward with the application of this theory.

This document package contains two parts of study both associated with enhancing intergenerational communication via "intergenerational sympathy," which for the purpose of this study, I have defined as the common ground found between people born of different generations created through emotional bonding, reciprocal learning, and co-creation of the present moment. Part I discusses the thesis, that enhancing intergenerational sympathy between Generation Z and Baby Boomers via smartphone technology, which aims to discover the most effective communication method across both generations and how smartphones play a role in their lives. Part II proposes an exhibition for the client Generation United at the Chess Plaza in Washington Square Park to encourage people of all ages to share their beautiful milestones and invite them to experience "intergenerational sympathy" by using the subject of photography. Both parts of the study reveal the current communication gap between the two generations and examine effective ways of bridging the gap through thoughtful design.

Thesis + Exhibition Project Introduction: This document consists of two parts. The first part is the thesis that explores social media's influence on society and how it has become ingrained in our daily lives and affects our everyday decisions. This thesis will investigate new ways to initiate a social connection and provide a design framework intended to allow people to form meaningful connections in the physical world by understanding the fundamentals of their social media practices.The second part is the Exhibition Project, which applies the theory introduced in the first section. This section presents an exhibition entitled "#CONNECTED" that takes place in Bethesda Terrace in Central Park. The exhibition project takes visitors on a journey through the essential elements of social media practices, creating awareness of the visitors' unconscious behavior in the virtual world by translating this behavior into physical space.Thesis + Exhibition Project Overview: According to recent research, most people with a mobile internet connection have a presence on social media platforms. These platforms are an extension of our real world into a virtual space. Social media platforms have been continually evolving and changing the way we communicate by creating new tools for interpersonal connection. This thesis studies the demographic, Generation Z (aka Gen Z, iGen, or centennials) which refers to the generation born between 1996–2010, following millennials. Gen Z has been living in a hybrid world created by social media, and this has changed the way that social connections are formed. This thesis explores how social media technology has influenced this generation and studies desire to connect and harness this technology to become more conscious of our behavior in the virtual world, in order to form meaningful connections with one another in the physical world.The exhibition "#CONNECTED" focuses on a standard feature and tool shared across social media platforms: "hashtags." A hashtag is a label for content. It helps others who are interested in a specific topic quickly find content on that same topic. The exhibit presents the story of the hashtag and takes visitors through interactive and multisensory activities that create a sense of connection using the emotions of anticipation, nostalgia, and reflection to establish a link between activities in the virtual and physical world. A primary goal is to allow visitors to form connections consciously with their environment and others using the familiar social media device of hashtags in the exhibit. By experiencing this physical space based on online social media practices, visitors will have the opportunity to look closely and examine their actions on social media, in effect allowing for more meaningful social connections in the physical world.Thesis + Exhibition Project Summation: This thesis and exhibition project analyses the use of social media technology. In order to develop a design framework, I explored the ways in which the target audience, Generation Z, interacts with social media platforms like Instagram through the use of words and images. The framework is guided by how users engage in social media. This framework, further applied to exhibition design, can lead to the creation of spaces that allow people to become conscious of their actions online as well as offline. It also attempts to allow visitors to understand that these actions in this hybrid space have the potential to affect their lives and the way they fulfill their desire to connect in the physical world.The exhibition project "#CONNECTED" explores how the Client, Instagram could expand its reach through a physical space that expresses its mission, which is to foster connections, build communities, and provide equal opportunities. Using one of the most popular elements of social media, the hashtag, "#CONNECTED" is a physical experience that derived its visual language from Instagram's brand guidelines. The experience allows visitors to learn about the subject, hashtag. The exhibition experience uses the subject as a medium to implement the design framework outlined in this thesis and to allow people to reflect on the ways they use hashtag words, impacting both the physical and virtual space. Through this exhibition particular emotions were studied and utilized, for example, the emotion of nostalgia was explored and used as a design device by the use of retro phones and the simple play of light and shadow through hashtag word cutouts in the walkway ceiling of the exhibit space structure. My intention was to make the audience conscious of their online activities by translating the impact of hashtags through physical exhibits.Through the prototypes and the research, I found out that the way to bridge the divide between virtual and physical spaces is by utilizing four key familiar emotions of nostalgia, anticipation, curiosity, and empathy along with the use of familiar objects like retro phones. Overall, with this design project, I was able to tie all the design elements together to create a hybrid environment that tested my thesis. While reviewing the applied thesis work, industry professionals noted that the exhibit tackles a subject of profound importance to modern culture and was very well integrated with my thesis.

[Thesis + Exhibition Project Document Introduction] This thesis is arranged into two sections: research and design work. The first section explores the concept that sensory awareness and sensory experiences can trigger self-awareness. The second section presents design documentation for the "Waste Aware" project, which was developed with the approach explored in the thesis. Waste Aware is a two-month-long semi-permanent exhibition in a public space in New York City, which allows for social distancing. The design project shows the personal and societal relationship to the garbage disposal system in NYC. The paper's research supports the idea of the design project to show how the theory could apply to design. [Thesis + Exhibition Project Overview] There is a lot of research into the subjects of self-awareness and mindfulness, and they have become important subjects to consider in exhibition and experience design. This thesis proposes that sensory experiences are essential factors in gaining and building self-awareness. It deals with the importance of self-awareness as it connects to sensory awareness; this concept is applied as a design framework, which includes research and studies done around the topics. Based on the theory about sensory experiences and self-awareness, the applied exhibition design project deals with waste issues as a subject. People get a lot of information regarding recycling and sustainability and the exhibition illustrates different perspectives on the subject, focusing on tactile and sound senses as a design application to foster the visitors' ability to be in the moment and look at their personal roles and responsibilities objectively. [Thesis + Exhibition Project Summation] This summary discusses how this thesis is applied in an exhibition design. The exhibition is about waste, which is an essential topic for New York City. Having the exhibition located in the streetscape in New York City gives a compelling connection to the city and conveys the issues directly to the visitors. Being in a residential neighborhood can also encourage people to engage in the exhibition and have communal experiences. Hearing from others' perspectives causes the visitors to look at their thoughts and memories more clearly. Through physical interactions (hearing, seeing, and touching), visitors can focus on their experience, which leads them to gain self-awareness. The exhibition suggests a partnership with DSNY (New York City Sanitation Department). DSNY has many resources such as refashionNYC (clothing recycling), food composting, and ecycleNYC (recycling for electronic devices) that will amplify the exhibition. In a critical review of the work on December 11th, 2020, industry professionals identified a need for greater immersiveness in the applied design work. With more immersive sensory interactions, the exhibition will give visitors deeper self-awareness by helping them concentrate on sensory awareness.

This paper is comprised of two sections, the first being an exploration, followed by an applied design project. In part one, I explore the concept of how homestay travel can provide immersive experiences that inspire empathy and increase the audience's awareness to act in cases of humanitarian crises. I use the term empathy in its most basic form related to the psychology of human behavior. Case studies, interviews with experts, and prototype tests were utilized to determine how to foster empathy through the interpersonal relationship between the host and the guest. Concerning the physical exhibition, I employed a different approach by providing more cultural and background knowledge of homestay families to enhance people's personal connections. Designers can support and demonstrate empathetic behavior in the exhibitionenvironment through varying practices. These techniques could guide audiences to explore the homestay's stories with new perspectives and get a better understanding and emotional connection with the world's humanitarian crisis.Part two of my paper centers on the concept of homestay travel in a physical, mobile exhibition space. The experience serves to promote the homestay learning program from the Drishtee Immersion organization while encouraging target audiences to go live in the rural village and experience the local culture firsthand.The second client Airbnb is a global travel community in the United States that serves as the exhibition sponsor because to their experience-based learning programs and their brand's popularity with travelers. By connecting with the Drishtee Immersion's experiential program and Airbnb's popularity to establish some familiarity and intrigue with visitors. I plan to create a traveling exhibition space meant to replicate the immersive, homestay travel experience. In encouraging individuals who visit the exhibition to listen to the host families' stories, I hope to foster a sense of compassion amongst the viewers that will inspire them to act in a more empathetic, global mindset.

Thesis + Exhibition Project Document Introduction: This paper is comprised of two sections. The first section explores the thesis, using immersive role-play based on acting and gaming techniques as a tool for developing emotional intelligence. This includes the psychology behind role-play immersion and the mechanics of creating a safe environment for adults to experience moments of self-discovery. The second section examines the use of these methods in a proposed design project titled, "My Role: For Peace and Public Safety" at the Phoenix Convention Center. This design project revolves around creating an immersive learning experience to connect police officers and the local community. "My Role" allows these two communities to develop their emotional intelligence in a safe environment and become more understanding of one another.Thesis +Exhibition Project Overview: Emotional intelligence is a critical skill for all adults. It is comprised of motivation, self- awareness, self-regulation, social skills, and empathy. Though having a high level of emotional intelligence benefits almost anyone in any professional field, police work is an example of a high-stress job that can especially benefit from this type of self-learning. Some police training already incorporates this type of learning in their curriculum. The exhibition "My Role: For Peace and Public Safety" gives police officers a safe space to play and explore, important aspects of developing self-awareness. Using gamified challenges based on actual police training skills, visitors can explore their thoughts and feelings through the eyes of other characters. The character role they take on provides them with a different perspective in a safe, judgment-free environment. This type of environment will foster personal development with a focus on one's own emotions. To further create transparency and connection, the exhibition will be open to the local community. This way, off-duty officers and the local community can communicate and empathize with one another as they take the time to discover more about themselves.Thesis + Exhibition Project Summation: My past experiences in acting and theatre provided initial insight into the potential of role-play immersion as a tool for developing emotional intelligence. After further research into LARP, psychology, and emotional intelligence, I've concluded that there is, in fact, a great use for role-play techniques in creating immersive experiences that resonate with visitors. Beyond creating a meaningful experience, I discovered in my research that it has the opportunity to create connections between visitors as well. In the future, this could prove especially useful for audiences that may have very different perspectives. In my design project, allowing visitors to take on the roles of characters proved to be very successful in creating a psychological space for play and exploration. Basing the characters on the content of the exhibition further allowed visitors to immerse themselves in the world of emotional intelligence and, in effect, educate themselves. For this reason, the pre-experience check-in is crucial in establishing a foundation for visitors to understand how the experience will work. The post-experience is equally as important in creating a moment of connection and conclusion for the experience. Given the current tension between law enforcement officers and the community, it is a crucial time to implement such programs and experiences. Though this topic could have been taken as controversial, in review, exhibition and experience design industry professionals said it was a much-needed project. Using effective techniques to create an immersive role-play experience can be further explored to educate adults about their own emotional intelligence. By teaching valuable skills in self-discovery and self-awareness, it is my hope that this project could serve as a framework for promoting a positive change in law enforcement and the communities it serves.

This document is composed of two sections. The first part is the Exhibition Thesis, which proposes that the use of dialectic models of design and juxtaposition in curation and content can provide context, perspective, and deeper reflection in the visitor, activating well-informed and critical social engagement in controversies that are currently reshaping the messaging of our society. Highlighting information that is disruptive to contemporary dialogues can lead to deeper reflection and better critical thinking. The second part of this document is the Exhibition Project, which applies the theory introduced in the first section to a designed exhibit. The exhibition project is located at the New York Public Library entrance. The project unravels controversial pieces from the library's history, focusing on the lion statues Patience and Fortitude at the entry.

This thesis consists of two parts. The first part, titled You Can See Me, explores human catharsis and how an experience designer can create a more meaningful one-on-one interaction with a performer or storyteller. This is done by applying a carefully considered character journey to the content in question and then implementing John Herons' complementary conditions of human development to the experience. The second part of this document, titled Can I See You? demonstrates an exhibition that uses the framework outlined in part one to show how an experience can create a greater opportunity for a meaningful cathartic experience within the visitor.

This thesis document is comprised of two sections. The first section explores my theory. I look back to the revolutionary dancer and choreographer, Merce Cunningham, and how he began to break down elitism in dance. I attribute his success in the democratization of dance to two main philosophies: formalism and decentralization. I then put forth that Cunningham's framework can be applied to the modern art museum experience and prove its validity through various case studies, prototypes and interviews.The second section is the applied project. I implement the strategies explored in the thesis argument and prove their capabilities with a designed environment. The project encompasses everything from ideation and concept development, through to curation, and two-dimensional and three-dimensional graphic design, and culminates in the design development project stage where exhibit elements are detailed and drawn out.In my thesis argument, I explore how Cunningham broke down the historical elitism in dance (democratizing it) by using two methods: formalism and decentralization. He implemented decentralization by taking the dance performance outside of the traditional proscenium stage and bringing it into different spaces, ranging from theaters in the round to museum galleries. Cunningham democratized dance while still respecting its formalist or ideal qualities. He turned away from the choreography of traditional storytelling and instead used movement to convey emotion and showcase the raw beauty of a moving body. There was no longer a story to follow. Here, Cunningham explored the balance between the real and the ideal. The real looks at this idea of democratization and decentralization, while the ideal posits that the formalist notions of simplicity and beauty are also valid.Cunningham's framework of democratization and decentralization can be applied to the modern art museum experience in an effort to help increase diversity in audiences and artists, and promote accessibility and a sense of belonging. I suggest ways in which the museum world can benefit from democratization and decentralization. The modern art museum world can strive to become more accepting and welcoming (the real), and can do so without sacrificing their prestige, their aesthetic language, and their repository of treasures, scholarship, and knowledge (the ideal)—all things that make museums special. Essentially, the ideal and real can hold equal weight. The image of the modern art museum can become one of inclusivity rather than exclusivity, and diversity rather than uniformity.For my applied project, I have designed a collaboration between The Museum of Modern Art in New York City and Apple Inc. It is a satellite MoMA exhibit that travels between select SUNY Community Colleges in New York State. The exhibit focuses on the subject of identity politics. The satellite exhibit decentralizes the MoMA experience by bringing part of their collection directly into the paths of community college students, staff, and faculty. The subject of identity democratizes the experience, because having a sense of one's own personal identity, whatever it may be, is something we all have in common. This democratization is furthered by different designed access points, as well as by the range of contemporary artists I have chosen. The architecture, a nod to MoMA as a "white cube," alludes to the ideal, while the content represents the real. The audience, the community college population as well as non-museumgoers, drive each design decision and are the heart of this project.This thesis and exhibition project is grounded in historical, audience, site, and client research. I looked back to Merce Cunningham, a renowned dancer and choreographer, and was inspired by the way he reinvented and reimagined the dance world. My thesis explores how and why Cunningham's philosophy can be applied theoretically as a framework for the modern art museum, and my exhibition project proves more tangibly that it could work. The modern art museum could use the strategies that Merce Cunningham implemented in the dance world and apply them to the museum world to welcome in new audiences and be accessible to all. Modern art museums can expand both the depth of their reach and the range of their holdings to connect with diverse audiences as well as reflect those same audiences in their collections.My exhibition project explores what it would look like for MoMA to decentralize (expand beyond the physical museum into target communities) and democratize (create an inclusive environment). With the help of Apple and its commitment to community outreach, especially in educational environments, my project allows MoMA to decentralize its collection. MoMA can extend its reach to new audiences by placing a satellite exhibit into the everyday paths of the students of the SUNY community college campuses. The democratization of my exhibit project is multifold. First, I chose five artists that come from very diverse backgrounds, reflecting that of the target audiences. Next, the subject of the exhibit, "identity," is something that everyone can relate to on some level because we all have a sense of what our own identity is. I curated pieces from these artists that specifically explored identity through self portraiture to humanize the artists so audiences can better relate to them on a personal level, rather than just through their art. I categorized the art into five categories, all aspects of personal identity (pop culture, drugs, sexuality, humor, and nature). These five categories are relevant and relatable to the target audience and provide an access point. Instead of walking up to a painting with no baseline of understanding, the audience can now approach a work of art with some knowledge of the artist's intention. A new viewer can have confidence in their initial interaction with the art, and feel emboldened to explore in more depth. The concept of democratization is also implemented into my project with the different QR codes. Here, the visitor has a chance to engage further with both the material and other participants, and can browse through related content of personal interest. When reviewing my work, industry professionals noted not only the value of this concept as politically relevant in 2020, but also how my project thoroughly integrated my theory.

Thesis + Exhibition Project Document Introduction: This document contains two parts. The first explores the thesis of using narrativized design to deeply connect audiences of virtual exhibitions to the content. The second part of this document applies that thesis to a proposed satellite exhibition for the 9/11 Memorial and Museum honoring the 20th anniversary of the attacks which seeks to tell the story of 9/11 to the generation born afterwards. The proposed site is at Stuyvesant High School in New York City, located blocks from where the Towers once stood. Through the thesis and the applied project, this paper suggests that physical exhibitions need to be designed in tandem with a virtual counterpart in order to maximize their impact on a wider audience. The 9/11 Memorial and Museum was conceived not only as a space to share the story of that tragic day, but as a communal space to grieve and process what transpired. Through my applied exhibition, I strive to bring that same communal element to people participating virtually. A virtual design must have narrativized design elements which will result in the participant gaining a deeper connection and understanding of the content that will result in an experience as satisfying as an in-person visit to the museum. Thesis + Exhibition Project Overview: Narrativized design is a method that seeks to present or interpret something such as an experience or theory in the form of story1. Museums have traditionally served as a space to exhibit artifacts in a manner that generates a story to disseminate knowledge to the viewer. More recently, narrativized design has been successfully applied in physical exhibitions as a vehicle to more deeply engage viewers and connect them to the story presented. As the demand for virtual experiences has grown, museums have endeavored to translate their physical exhibitions to an online format to both reach a wider audience and, most recently, to maintain a connection with an audience hamstrung by a pandemic. It has proven challenging to create a virtual experience that mimics the depth of personal connection that occurs during a visit to a museum. Museums need to design their physical exhibits in tandem with their virtual counterparts, applying engaging and interactive design elements to both the physical and virtual experience. Through extensive research, I have identified and developed a number of effective design elements to achieve this goal. Specifically, the use of sensorial elements to engage people in a visceral way, both in the museum and at home, as well as the development of a guiding persona that makes each participant's experience unique and individualized. In honor of the 20th anniversary of the attacks on 9/11, the exhibition "My 9/11 Story", seeks to impart the story of 9/11 to the generation born since the tragedy. Recognizing the challenge of dealing with a subject as fraught with trauma and loss, the exhibit will include components that attempt to engage with a younger audience both emotionally and technologically. The exhibit will include sensorial elements as well as technological innovations that will engage the viewer completely. Likewise, the design of the virtual counterpart creates a seamless transition whereby a solitary virtual viewer will feel connected to the larger audience. This model of narrativized virtual design can be used as a model for future exhibitions that similarly seek to present content in meaningful ways to a wide ranging audience. Thesis + Exhibition Project Summation: Human beings are natural storytellers. We use narrative to impart complex information to each other. The goal of this applied exhibition project is to use narrativized design to impart a comprehensive understanding of the September 11, 2001 terrorist attacks to the first generation born post-event: Generation Z. Gen Z is technologically oriented. They have never known a time without the internet, the smartphone or social media. In order to satisfy and excite this audience, exhibitions need to incorporate digital elements that promote engagement. Moreover, physical exhibitions need to have meaningful online counterparts in order to adequately reach this audience. As a result of the COVID-19 pandemic, museums have had to close their doors and transition to a virtual platform making the need for online exhibitions even more imperative. In order to provide a digital experience that both satisfies and amplifies the physical exhibition, they need to be designed in tandem from the outset. Over several months time, I have developed and designed this exhibition which is rooted in extensive research. From the defining details of effective storytelling, to discovering the value of improvisational theatre in storytelling and meaning making, to participating in virtual museum programming via Zoom, I have taken in all aspects of what it takes to truly reach a wide audience, both in person and remotely, through a rich narrative. All this has led me to create with informed design decisions in my applied exhibition project, which will ultimately be used as a model for future exhibitions that similarly seek to present content in meaningful ways to a wide ranging audience.

THESIS AND EXHIBITION PROJECT DOCUMENT INTRODUCTION: This qualifying paper is comprised of two sections. First, a thesis, grounded in a body of primary and secondary source scholarship. The second is an empirical application of the thesis in the form of a designed experiential environment. In Part 1, I explore the psychological challenges faced by those with sleep disorders, and how health-related stigmas feed into a cycle of shame and self-isolation. This information is used to support my theory that helps people struggling with their sleep disorders become more in-tune with their bodies in order to manage their symptoms and negative side effects. In Part 2, I present a detailed documentation of the design approach to the thesis, an exhibition titled "The Broken Pattern." The exhibition consists of five tiny houses that travel together to college campuses around the country. The Broken Pattern is an exhibition experience that walks visitors through the complexities of sleep disorders, the misconceptions that often lead to shame, and the toll that it takes on individuals over time. This exhibition is guided by a sense of understanding and empathy for people with sleep disorders and the loved ones who support them. THESIS AND EXHIBITION PROJECT OVERVIEW: Sleep disorders and their various side effects are often overlooked by the general public and medical field. Without having an understanding of what sleep disorders are, it's easy to stigmatize and misunderstand the people who have them. For people that have sleep disorders, not properly understanding the intricacies of their own disorder can wreak havoc on their lives. My thesis creates on opportunity for these individuals to not only learn more about sleep disorders, but have a unique and entertaining – yet serious – experience that encourages discovery and growth. This exhibition, "The Broken Pattern," will classify sleep disorders into six main categories to inform people about what they are and the kinds of symptoms that are experienced. After providing information about sleep disorders, the exhibition will take a deeper look into the consequences that sleep disorders have on relationships and one's own mental health. Following the examination of the impacts to both interpersonal and intrapersonal relationships, the exhibition will focus on how this awareness can be utilized to mitigate those negative repercussions going forward. Casper, being a company that cares about sleep health and improving lives through quality rest, will bring information about sleep disorders and sleep hygiene to students when they may need it most. Visitors will be more cognizant of sleep disorders and be able to apply the knowledge they have gained to their own lives, improving their relationships with themselves and others. THESIS AND EXHIBITION PROJECT SUMMATION: This thesis is grounded in scientific, audience, site, and client research. I looked at the six primary categories of sleep disorders and the ways that each kind affect the body and mind. I then examined the groups of people who often suffer from these disorders to identify an age group that can most benefit from this knowledge. College students experience a huge transition that often leaves them susceptible to poor quality sleep and sleep disorders, which can spark lifelong patterns of disrupted sleep. By sharing this exhibition with young adults and students during this critical time period, they can use the knowledge gained to avoid some of the negative consequences of undiagnosed sleep disorders and related habits.My thesis explores how comfortable spaces can ease anxiety and increase confidence and social connection for those suffering from sleep disorders. Prior to my formal research, I interviewed several individuals with different sleep disorders to better understand the variety of experiences people have and identify similarities in their struggles. With this knowledge from firsthand accounts, I researched scholarly articles on the emotional and physical repercussions of having a sleep disorder, and the negative effects on social connections. Then, I examined and identified elements of physical comfort that can be applied to create a sense of support which, in turn, allows for new and more positive emotions in individuals. My exhibition project explores how a physical environment can be leveraged to establish a sense of comfort for visitors. Using five tiny homes that travel to college campuses across the country, my exhibition seeks to bring comfort to those who suffer from sleep disorders so that they can find new emotional space for confidence and social connection. This is achieved by the use of playful and consistent graphics inspired by the client, Casper, and leaving visitors with a message of hope and support. Through my research, interviews, and design development, The Broken Pattern exhibition is intended to spread knowledge and comfort those suffering from sleep disorders and enable personal growth. The exhibition aims to open a dialogue about sleep that has been overlooked thus far. In order to start the dialogue, the final design solutions that make The Broken Pattern transportable and accessible for many are key to the experience. When reviewing my project, industry professionals agreed that the exhibition has the potential to bring comfort to many, and the traveling aspect is particularly useful during the COVID-19 pandemic. They noted how helpful this exhibition would be for people not only suffering with sleep disorders, but also those who experience poor quality sleep as a consequence of another illness or poor habits. I agree with those judges and feel that a great strength of this exhibition is the use of tiny houses. I believe that some elements of the exhibition could be altered or added to in order to incorporate the thesis more completely. One way to achieve this goal is to add more objects to interact with and touch, and possibly even lay down on. Adding this would bring more comfort into the exhibition and further tie in tactility. Additionally, I would like to tie the city and home graphics in more seamlessly throughout the interiors and exteriors of the tiny houses. A bit more unity between the wall treatments and way finding devices could clear up confusion about the graphic differences. Overall, I feel that my project is unique and identifies a market that is fairly new and unexplored. The power of The Broken Pattern lies in the meaningful content and the transportation method that brings the exhibition to different colleges around the country.

This thesis includes two parts. Part I focuses on the ongoing shifts inside the exhibit industry during the Global COVID-19 pandemic and explores the thesis which involves synchronous communication and interaction to enhance visitor's social experience on virtual platforms. These transformations influence and lead to a tendency of cooperating with augmented reality(AR) technology to facilitate new forms of participation in museum exhibitions.The second half of the document explores "REFLECT - Masks in Mirror," an exhibition that takes place in the Metropolitan Museum of Art and the National Museum of Anthropology. The exhibition invites museum visitors to engage with other visitors through a series of AR interfaces, programming, and exhibition activities. With a specific focus on exploring the protection, creative expression, and social dynamics of masks, visitors are challenged to explore the backstory while showcasing the innovation of digital participatory engagement.