Multidisciplinary Project II - Weekly Journal
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Week 1 (23/9/2025)
Today, we had a site visit at KLSCAH to learn how the gallery is set up and how the exhibition space is designed. During the visit, we observed how designers used spatial design to tell the story and history of Tan Kah Kee.
Key observations from the site visit include:
- How the projection mapping was set up
- The positioning of projectors to avoid shadows
- The placement of images and text within the space
- The use of colour tones and supporting design elements
We also gained a basic understanding of the technical backend, including wiring, devices used, and how the systems were connected.
In addition, we received a briefing on our final year project. The key takeaways are:
- The project should combine modules that we have learned, such as UI/UX with Spatial Design, Projection with Spatial Design, or Experiential Design with UI/UX
- Due to limitations in exhibition space, creating a full-scale installation may be challenging, so a prototype or presentation boards are acceptable outcomes
Using this site visit as inspiration, I began ideating ideas for my final year project. Since I am particularly interested in projection mapping, I plan to focus on concepts that combine projection mapping with spatial design.
My first proposal idea, inspired by the site visit, is titled One Canvas, Many Stories. It is an interactive installation that uses projection mapping and augmented reality to reinterpret Malaysian cultural heritage. In this concept, plain pottery objects such as plates, cups, and vases act as projection canvases. Traditional motifs from Malay, Chinese, Indian, and Indigenous cultures are projected onto the same objects in sequence, allowing audiences to observe the differences and connections between each culture.
The idea is to show how each culture has its own patterns and symbolism while sharing the same physical canvas, representing unity within diversity.
An accompanying AR mobile application allows users to scan the pottery objects to access additional information, such as the history, meaning, and cultural significance behind each motif. This approach aims to make cultural heritage more engaging and accessible, especially for younger audiences, by combining traditional elements with digital interaction.
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Week 2 (30/9/2025)
Today, we had a briefing on the module information and were introduced to key concepts related to spatial design and user experience (UX). We were shown several examples of well-executed spatial design projects, including case studies, site analysis, and UX documentation, to better understand how spatial design is approached in real projects.
During the consultation, several important points were highlighted:
- The final year project should include a clear spatial design component, but it does not need to be large-scale, such as designing an entire museum
- To differentiate our work from Creative Media students, the focus should be on spatial design and user experience rather than purely on content creation
- The overall space still needs to be designed, not just a single installation; the pottery projection can be one element within the larger spatial concept
- Case studies should focus more on how spaces are designed and experienced, and how these design approaches can be applied, rather than focusing mainly on cultural patterns or museum narratives
- It is acceptable to take on multiple elements in the project as long as they are manageable
After the briefing, I began looking for inspiration from real-world projects on Behance, focusing on how projection mapping can be integrated into spatial design.
My main objective is to use projection mapping as a digital medium to create an interactive spatial experience that encourages users to engage with the space and move beyond traditional viewing boundaries. In addition to projection mapping, I also plan to incorporate augmented reality (AR) as a complementary layer.
The intention is to create two layers of digital interaction within the space:
- Projection mapping provides an immersive visual experience within the physical environment
- AR acts as a digital overlay that extends and enhances the spatial experience
I also explored case studies that demonstrate how technology is integrated into traditional museum settings. The purpose of this research is to understand how these technologies improve user engagement and create more immersive and meaningful experiences.
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Week 3 (7/10/2025)
During the consultation, my project direction was approved. The final concept combines projection mapping with spatial design, supported by augmented reality (AR) and UI/UX design.
The expected deliverables for the final year project are as follows.
- For projection mapping, I am required to develop the full projection content and create a rendered mock-up of how the projection mapping will appear within a virtual space using Blender. For the final year exhibition, a smaller-scale version of the projection mapping will be presented to suit space limitations.
- For the AR component, I will develop an AR app that interacts with the projection mapping. The AR experience should be designed with clear UI/UX considerations to ensure usability and meaningful interaction.
It was also advised to narrow the cultural focus from three main cultures to a single culture to maintain depth and manageability. In addition, I am required to finalize the topic and prepare supporting research materials, including user research, user personas, and case study analysis.
After the consultation, I refined my project theme from three cultures to Baba Nyonya. Further research showed that Baba Nyonya cultural patterns, especially in porcelain art, are highly distinctive and rich in meaning, making them suitable for deeper exploration.
I looked for relevant installation case studies that align with my concept and identified two key references. Story of the Forest integrates projection mapping with an AR application to help users learn about flora and fauna in an engaging way. Gallery Invasion uses static physical objects as projection surfaces, making them appear animated and alive through projection mapping.
In addition, I conducted a literature review using academic research papers to understand the relationship between technology, museum experiences, and culture, particularly how projection mapping and AR influence user experience.
I also researched Baba Nyonya culture in more detail, focusing on porcelain art, patterns, their meanings, functions, and the stories behind them. Alongside this, I gathered references for art style, animation approaches, and AR interactions that align with the visual direction of the project.
Based on insights from the cultural research, case studies, and literature review, I refined my project proposal further.
The next steps include conducting a physical site visit in Malacca and carrying out user analysis through interviews and questionnaires to validate the project and ensure it addresses real user needs and pain points.
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Week 4 (14/10/2025)
It was suggested to interview native Baba Nyonya individuals to better understand their culture, as well as museum founders to learn about museum layout and design intentions. For the AR experience, scanning the porcelain itself was recommended instead of using stickers, to create a more engaging and integrated interaction.
Emphasis was placed on strengthening spatial design by exploring how structures can shape user experience. The importance of UX was highlighted to ensure the project is suitable and meaningful for public users.
During the online consultation, several ideas were discussed, including replacing a simple display table with a culturally inspired structure such as bamboo, integrating this structure into the visual narrative, exploring large-scale spatial ideas like a rotating auditorium, and adding a reward element at the end of the AR experience. The user persona should represent the identified target audience.
Based on the feedback, I refined my proposal and clarified the projection mapping content and AR concept. I developed a low-fidelity UI design for the AR app and proposed a larger-scale projection mapping prototype.
I conducted a site visit to Melaka, visiting the Baba Nyonya Heritage Museum and interviewing a Peranakan museum staff member. I also observed porcelain designs at a local shop and collected user data through questionnaires.
Using the research findings, I continued developing the spatial design to make the experience more immersive, focusing on how projection mapping and animation can be integrated into the space.
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Week 5 (21/10/2025)
During the in-class consultation, it was suggested that the rattan structure could be designed in a more creative and abstract way, without being restricted by realism or practicality. I was also advised to clearly explain the relevance of each analysis section, such as the questionnaire analysis, interviews, and literature review, and how each contributes to the project.
Mr. Zeon suggested applying knowledge from the Human-Computer Interaction module by integrating sensors into the project. One example discussed was using a light sensor to allow visitors to interact with the porcelain by lighting it up with a flashlight. It was also emphasized that the visual presentation should act as a summarized version of the written report.
Based on the feedback, I added design implementations for each analysis section and clarified their relevance to the project. I finalized the design analysis and concept proposal report, making it more detailed and convincing.
Although the report was completed, I was unable to conduct two additional interviews due to the specific target group required. I plan to continue searching for suitable interviewees. I also created presentation slides that can function as printable materials for the final year exhibition.
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Week 6 (28/10/2025)
Feedback was given on Assignment 1. Overall, the analysis and presentation slide design were well done. The main area for improvement is to refine the content sequence and formatting.
The recommended structure is as follows:
Front page design, followed by an introduction that includes the problem statement and objectives. This should be followed by the literature review and case studies, then the research methodology covering questionnaires and interviews. The justification for the proposed concept should include theme research, and the presentation should end with a clear conclusion.
For the presentation slides, it was suggested to add a conclusion section and include a spatial design moodboard, as the existing moodboard focuses mainly on art style.
Regarding user personas, two were presented, a young university student and an elderly Baba Nyonya individual. It was suggested to add one more persona based on insights from a museum staff interview.
Following the feedback, I completed and finalized all interviews. This includes an interview with Dr. Lee Su Kim, a well-known author who writes about Baba Nyonya stories, and Mr. Kelvin, the owner of the Malaqa Museum House, a Baba Nyonya heritage museum.
I finalized all user personas, including a young tourist, a museum staff member, and a Baba Nyonya individual. I also clearly listed how my design concept addresses the problem statements identified for each user group.
In terms of production, I created 3D models of three porcelain items, Kamcheng, Chupu, and Tiffin, which are ready for 3D printing. I developed storyboard and floor plan sketches to visualize the spatial layout and placement of the installation.
An additional moodboard was added to communicate the conceptual direction, covering the immersive room concept, AR UI design, and rattan structure design. I also used Blender to visualize the actual scale and layout of the spatial design.
During the in-class consultation, feedback was given on refining the user journey. It was emphasized that both user pain points and corresponding design solutions should be clearly identified. Pain points refer to challenges users may face when interacting with the space, while design solutions explain how these challenges are addressed.
It was noted that if the porcelain projection follows the actual scale, it may be too small for visitors to see clearly. Increasing the projection size was suggested to improve visibility. At the same time, to maintain authenticity, it was recommended to include a real porcelain piece, possibly placed at the center of the dome.
The space was observed to feel slightly empty, likely due to the lack of projection mapping renderings and rattan structure visualization at this stage.
Based on the feedback, I continued developing the spatial design and added a display table at the center of the dome to showcase the actual porcelain. The projection canvas was enlarged to improve visibility for visitors.
I used Blender to build a more complete spatial model, including the dome-shaped immersive room, rattan structure, and porcelain models, to better visualize scale and layout. The rattan structure was redesigned to symbolise both roots and eternity, represented through an endless loop form.
In addition, I created the UI design for the AR application using Figma, including layout designs and interactive prototypes. I also sketched the animation storyboard to plan the overall flow and key visual moments of the projection.
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Week 8 (11/11/25)
During the in-class consultation, feedback was given on both the spatial design and technical execution. It was suggested that the exterior of the dome should be designed carefully so that it does not resemble an igloo. For the MVP, a curved plane placed behind the porcelain, either using paper or 3D modelling, was recommended to demonstrate how projection mapping would work inside the dome.
It was also emphasized that animation scenes should transition smoothly to avoid sudden visual changes. User testing should be conducted on the AR application to ensure users understand how to use it and find it useful. In addition, low-fidelity wireframes should be presented in black and white without images. Documentation was mentioned as optional.
Following the consultation, I created the basic framework of the AR application in Unity, completing the necessary connections and logic. The visual design and user experience aspects will be refined further in later stages.
I sketched porcelain patterns for each porcelain piece and identified the overall creative direction, preferred art style, and drawing tools to be used. I also experimented with mapping these patterns onto the 3D porcelain models.
In addition, I researched references for the exterior architectural design of the dome. While the concept direction has been identified, the exterior model has not been built yet.
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Week 9 (18/11/25)
During the in-class consultation, feedback was given on the porcelain pattern design. It was suggested to fill in the empty spaces within the patterns to make them appear more complete and visually balanced. For the AR application, adding a mute button for the story card narration was recommended to improve user control. Other than these points, the overall progress was considered good.
Following the feedback, I used Adobe Illustrator to draw and refine the porcelain patterns for the three porcelain pieces. The completed patterns were then mapped onto the 3D models in Blender.
I added textures and rendered the interior of the dome to better visualize the spatial atmosphere. A draft projection mapping scene for the Kamcheng was created using Adobe Illustrator and imported into Blender to demonstrate how the projection mapping integrates with the spatial design.
In addition, I sketched initial ideas for the exterior design, focusing on curvy structures as the main visual element.
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Week 10 (25/11/25)
During the in-class consultation, it was suggested that the exterior design could incorporate more line-based structures, experimenting with curved lines and integrating Baba Nyonya elements into the form. The lantern colour should be adjusted to a yellowish tone so that it does not resemble Chinese funeral decorations.
Additional feedback was received via WhatsApp. It was suggested to add a frame around the dome to make the structure appear more solid rather than flat like paper. Seating could also be added to the outdoor area and designed to blend with the wooden structure.
Based on the feedback, I created a 3D model of the exterior design using the selected sketches and rendered it to visualize the outcome. I refined my work according to the consultation feedback and finalized the presentation slides for Assignment 2 submission. In addition, I refined the AR user flow and UI animations in Unity to improve clarity and interaction.
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Week 11 (2/12/25)
During the in-class consultation, feedback was given on improving the AR application and 3D modelling. For the AR app, it was suggested to add an animation that plays when users first scan the porcelain. Instead of using a purely minimalist UI, incorporating cultural design elements such as decorative borders on white panels was recommended to better reflect Baba Nyonya aesthetics.
For the dome structure, it was suggested to experiment with semi-transparent textures, such as lantern paper, so that the inner projection mapping can softly glow or reflect on the dome surface in a dark environment. Adding exterior environment and landscape elements was also recommended to strengthen the overall presentation.
Based on the feedback, I refined the AR UI by adding cultural borders and buttons inspired by Baba Nyonya design elements. I also imported the refined porcelain 3D models into Unity.
In addition, I polished the AR UI animations and visual feedback to improve clarity and user experience.
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Week 12 (9/12/25)
I kick-started the creation of illustration assets for the 2D animation of the Chupu. I further refined the 3D interior design by adding projection mapping illustrations onto all the porcelain pieces and placing a real porcelain piece at the center of the gallery. In addition, I created different porcelain styles for display, completing the overall interior design.
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Week 13 (16/12/25)
During the in-class consultation, feedback was given on multiple aspects of the project. For the AR UI design, it was suggested to make the buttons more decorative by incorporating cultural patterns. For the 3D modelling, adding decorative patterns to the rattan structure was recommended. For the projection mapping, I was advised to focus on the Chupu animation first and prioritize quality over quantity.
Following the feedback, I kick-started learning Adobe After Effects and created the assets needed for the animation. I refined the UI design by changing the buttons to a four-petal flower motif and enhanced the UI animations in Unity to make interactions more engaging rather than static.
I also updated the high-fidelity UI design in Figma to reflect all interactions and refinements made during development.
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Week 14 (23/12/25)
I created AR image targets for the three porcelain pieces and designed them as physical AR souvenir cards. I completed the 2D animation using Adobe After Effects and produced the accompanying audio using Adobe Audition. I refined the UI design and fixed potential bugs in Unity, while also further developing both the interior and exterior spatial design. I rendered images and short animations and refined them using Photoshop. In addition, I developed the business model for the project and refined the entire slide deck by adding necessary slides based on the brief. Finally, I tested the projection mapping using a projector.
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