Team Coordination and Project Management

As team lead, I facilitated weekly design sprints, coordinated remote and hybrid collaboration, and aligned diverse skillsets across ideation, prototyping, and exhibition. I focused on user interaction, spatial flow, and multimodal storytelling.

By adopting a people-centered approach and navigating cultural differences between Singapore and Australia, I fostered trust, open communication, and team cohesion. Though AI-driven, the project’s success stemmed from prioritising humanness and connection.

Exhibition Layout Concept and Spatial Wireframes

While wireframing the main exhibition space, I considered Elizabeth Quay’s circular layout, tranquil ambience, and the goal of creating an informative yet memorable experience. A circular navigation system placed key attractions at each point, encouraging free-flow exploration. At the entrance, a motion graphic, campaign video, and takeaway stickers and postcards introduced the exhibit and reinforced its themes. A strategically placed speaker in a quieter corner ensured TouchDesigner-generated music filled the space, enhancing the atmosphere.

Concept Development and Low-fidelity Mockups for Hologram Box

Using the available hologram box and resources, I designed an interactive and informative display to showcase Elizabeth Quay’s four main icons: the Spanda, First Contact, Elizabeth Quay Bridge, and the Bell Tower. As users navigated through each hologram, a connected laptop displayed corresponding information, creating a cohesive and engaging experience. Later developments by our other UX designer meant that the hologram could also be interacted and viewed from angles.

TouchDesigner Projection

I produced the visuals and TouchDesigner file for the final projection—an interpretation of BHP’s Pinjah mosaic, retelling a Dreaming story of the Milky Way. Using Luma AI, I added a warped galaxy overlay to evoke the site's dreamy, water-like atmosphere. Together with a computer science teammate, we created ripple interactions reflecting Elizabeth Quay’s fluid essence. I also generated ambient, water-inspired music using Suno AI, which played throughout the exhibition for further sound immersion. Though initially planned as a floor projection, last-minute changes shifted it to a wall, prompting a quick but impactful fix: a 'wave your hands' cue to guide interaction.