Minor Project / Final Compilation & Reflection

25.04.2024 - 01.08.2024 (Week 1 ~ Week 15)
Ng Kar Yee / 0367743
Bachelor of Design (Honours) in Creative Media
Minor Project / Final Compilation & Reflection

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LECTURES

Week 1⇒ Introduction & Briefing

For our first week, Mr Mike gave us a brief introduction on the module and told us his expectation for the upcoming tasks. He gave us a brief introduction on the module information booklet and discussed about the overview of the course. Besides, we were also introduced to a new Ai Learning Assistant system, Noodle Factory where we are needed to complete quizzes in it. 

Week 2⇒ Introduction To Design Thinking

In the ever-evolving landscape of creativity and problem-solving, understanding the distinction between art and design is crucial, as each serves unique purposes in human expression and functionality. Design Thinking, a structured yet flexible approach to innovation, plays a significant role in addressing complex challenges by emphasizing user needs and iterative problem-solving. A key component of this process is the ability to differentiate between assumptions and empathy; while assumptions may lead to biases, empathy fosters deeper understanding and more effective solutions. By exploring real-world case studies, we can uncover how empathy-driven design leads to impactful and user-centred outcomes, reinforcing its value in both creative and strategic endeavours.

Design must begin with understanding how people see, feel, and experience the world. Without empathy, design lacks direction or meaning.

What is Design Thinking?

• It’s about creating meaningful, viable, and practical solutions by balancing:
• Desirability – What do people want?
• Feasibility – What is technologically possible?
• Viability – What is sustainable and profitable?

Key Principles of Design Thinking

• Solving problems based on human needs
• Emphasizes rapid prototyping and iteration
• Involves cross-disciplinary collaboration

Three Pillars of Design Innovation

• PillarFocusUsers’ Desirability Human needs and desires
• Tech’s Feasibility Engineering, programming, manufacturing
• Business’ Viability Finance, marketing, operations

Grouped into four main domains:

1. Technology & Engineering

• Engineering analysis, statics & dynamics
• Programming methodology
• Electronics & mechatronics
• Bioengineering, thermodynamics
• Materials & chemical engineering

2. Design & Interactivity

• Human-Computer Interaction (HCI)
• Design for sustainability
• Visual thinking
• Aesthetics & form
• Rapid prototyping

3. Human Values

• Psychology
• Anthropology, sociology
• Ethnography
• Need-finding

4. Business & Management

• Finance, accounting
• Marketing & strategy
• Entrepreneurship
• Human resources, teams, negotiation

Assumptions in Design

• Decisions based on internal biases rather than user research.
• Example: Microsoft Zune (2006–2011) failed because it assumed users wanted a Microsoft-branded MP3 player, ignoring iPod’s simplicity and ecosystem.

Empathy in Design

• Deeply understanding user emotions, behaviors, and pain points.
• Example: iPod’s success ("1,000 songs in your pocket") came from addressing real user frustrations with bulky CD players.

Methods to Build Empathy:

• User interviews, observation, journey mapping.
• Asking: "What do users actually need, not what we think they need?"

Empathy-Driven Design

Showcases real-world applications:

• Design Thinking in Rural India: Solving local problems through user-centered design.
• Embrace Infant Warmer: A low-cost solution for premature babies in remote areas, adapted to cultural and infrastructural constraints.

Human Connection in Healthcare

• Empathy improves patient care (e.g, redesigning surgical units for better user experience).

Key Takeaway

• Empathy leads to innovative, culturally adaptable solutions that address real user challenges.

Week 3⇒ User Research In Design Thinking

User research is a fundamental pillar of Design Thinking, ensuring that design solutions are user-centred, relevant, and effective. By deeply understanding users, their needs, behaviours, and pain points; designers can create experiences that truly resonate. A key component of this process is the development of user personas, which serve as realistic representations of target users and guide design decisions. Additionally, employing structured research methods, such as surveys and interviews, allows designers to gather valuable insights that inform and validate design choices. Mastering these research techniques is essential for crafting meaningful, user-driven solutions that enhance usability and engagement.

User Research Methods

• Quantitative: Surveys, data analysis (e.g., numbers, trends).
• Qualitative: Interviews, observations (e.g., understanding behaviors and motivations).

Research Process

• Planning, recruitment, data collection, and analysis.
• Example: Contextual research using secondary data (internet, journals).

Persona Creation

• Detailed profiles of target users (e.g., Jill Anderson, the "Frequent Flyer"; Foodie Millennial).
• Includes demographics, goals, frustrations, and preferred channels.

Purpose of Personas

• Humanize users to guide design decisions and avoid assumptions.

Key Takeaway

• Personas help designers focus on real user needs and behaviors.

Survey Design Tips

• Avoid Bias: Don’t ask, "Do you love our app?" (leading).
• Scale Questions: "Rate ease of use from 1 (hard) to 5 (easy)."
• Open-Ended: "What frustrates you about our service?"

Customer Satisfaction Metrics (Example Questions)

• Overall product quality?
• Purchase experience?
• Customer service rating?

Interviews vs. Surveys

• Interviews: Uncover why (e.g, "I leave because checkout is confusing").
• Surveys: Measure how many (e.g, "30% abandon at checkout").

Week 4⇒ Define Stage Of Design Thinking

In the Define stage of Design Thinking, insights play a crucial role in shaping the direction of the design process. These insights, derived from user research, surveys, and interviews, help identify key patterns, user needs, and pain points that inform problem-solving. Understanding the importance of insights allows designers to make data-driven decisions, as demonstrated in various case studies showcasing their impact on successful innovations. A well-crafted Problem Statement ensures clarity in addressing the right challenges, while How Might We (HMW) questions serve as a powerful tool for reframing problems into actionable opportunities. Mastering these elements is essential for translating user research into meaningful design solutions.

Why Insights Matter

• You start with an observation (something seen or noticed)
• You extract an insight (why it matters, deeper meaning)
• This forms the foundation for a design solution

Basic Example

• Observation: “Users don’t use all features of an app.”
• Insight: “Users feel overwhelmed by too many features, causing frustration and dropout.”
•  Now, you can design simpler, focused user experiences.

Key Design Takeaways

• Design assumptions often don’t match real-life behaviour

Great insights:

• Reveal invisible barriers
• Suggest tangible ways to improve adoption and impact
• Help tailor design to users’ needs, contexts, and beliefs

Data

• Raw numbers (e.g., 60% prefer mobile shopping).

Findings

• Interpreted data (e.g., mobile preference increased by 20%).

Insights

• Underlying reasons (e.g., convenience drives mobile shopping).

Key Takeaway

• Insights drive impactful design decisions by explaining "why" behind data.

Problem Statement Formula:

• "[User] needs [verb] because [insight]."

Example:

• "Busy professionals need quick workouts because unpredictable schedules disrupt routines."

Components:

• User: Specific demographic (e.g, "urban commuters").
• Need: Verb-focused (e.g, "to track expenses," not "an app").
• Insight: Deep motivation (e.g, "because cash transactions are hard to remember").

Bad vs. Good Examples:

• Bad: "We need a fitness app." (Solution-focused)
• Good: "New parents need to exercise at home because childcare limits gym time."

Key Takeaway:

• A strong problem statement aligns teams and prevents "solution jumping."

What is a “How Might We” (HMW) Question?

• A structured way to reframe a challenge into a creative prompt
• Encourages brainstorming multiple solutions
• Drives collaborative and open-ended thinking

Example – Local Café Challenge

• Problem: Café offers great service but struggles to get new customers
• Possible HMW Questions:
• How might we create a unique café experience that stands out?
• How might we use social media to attract new customers?
• How might we introduce loyalty programs to encourage return visits?

The HMW Formula

• How might we (intended action) for (primary user) so that (desired effect)?
• Elements:
• Intended Action: What you want to explore
• Primary Target User: Who you're solving for
• Desired Effect: What outcome you want to achieve

Why HMW Works

• Sparks divergent thinking (many solutions)
• Creates a starting point for ideation
• Ensures you’re solving for people with a clear goal in mind

Week 5⇒ Ideation Stage Of Design Thinking

Ideation is a core phase in Design Thinking that focuses on generating a wide range of creative solutions to address user needs and challenges. It plays a vital role in encouraging innovative thinking, allowing designers to explore multiple possibilities before narrowing down the best solutions. Various ideation techniques, such as brainstorming, mind mapping, and scamper, help teams generate diverse ideas and foster collaboration. Additionally, User or Customer Journey Maps are essential tools that visualize the end-to-end experience of users, highlighting pain points and opportunities for improvement. Understanding these techniques and tools enables designers to develop user-centred solutions that are both practical and impactful.

Brainstorming Rules:

• Quantity over quality
• Quantity > Quality: 100 ideas in 30 minutes.
• No Judgment: "Yes, and..." not "No, but..."
• Build on Ideas: Round-robin sharing.

SCAMPER Technique

• A structured brainstorming tool to innovate or improve existing products/services.

1. Substitute (S)

• Question: What can be replaced or swapped?
• Example: Replace backpack straps with ergonomic shoulder pads.
• Substitute plastic bottles with biodegradable materials.

2. Combine (C)

• Question: What can be merged or combined?
• Example: Combine a backpack with a built-in USB charger.
• Merge a café with a co-working space.

3. Adapt (A)

• Question: How can this be adapted for a new use?
• Example: Adapt a backpack as a travel pet carrier.
• Modify a phone app for senior-friendly interfaces.

4. Modify (M)

• Question: What can be modified or enhanced?
• Example: Add expandable compartments to a backpack.
• Modify a water bottle to track hydration levels.

5. Put to Another Use (P)

• Question: How can this be used differently?
• Example: Use a backpack as a portable desk (flattened base).
• Repurpose shipping containers as pop-up shops.

6. Eliminate (E)

• Question: What can be removed or simplified?
• Example: Eliminate unnecessary zippers to reduce weight.
• Remove login steps with face recognition.

7. Reverse/Rearrange (R)

• Question: What if the order or layout were reversed?
• Example: Design a backpack that opens from the side instead of the top.
• Rearrange a website menu to prioritize mobile users.

Crazy 8’s:

• Rapid sketching of 8 ideas in 8 minutes

Process:

• Fold paper into 8 sections.
• Sketch 1 idea per minute.
• Share and vote
• Example: 8 app homepage layouts in 8 minutes.

Components

• Steps: Awareness → Comparison → Onboarding → Advocacy.
• Elements: Actions, needs, pain points, emotions, touchpoints.

Mobile Banking App Example:

• Stage: Comparing
• Needs: "Trustworthy app with no hidden fees."
• Touchpoints: App Store reviews, YouTube comparisons.
• Emotion: "Anxious about choosing wrong."

Week 6⇒ A Design Presentation Proposal

A Design Proposal Presentation is a crucial tool for effectively communicating design ideas to clients, stakeholders, and teams. It serves as a bridge between creative concepts and real-world implementation, ensuring that design solutions are well understood and aligned with project goals. To deliver a compelling presentation, designers must employ key strategies such as storytelling, clarity, and audience engagement. Additionally, well-crafted presentation slides enhance the impact of the proposal by visually reinforcing key points, maintaining coherence, and keeping the audience engaged. Mastering these principles ensures that design ideas are not only presented persuasively but also gain the support needed for successful execution.

Proposal Components:

• Title Page: Project name, date.
• Problem Statement: From user research.
• Scope: What’s included (e.g., "3 logo options").
• Timeline: Milestones (e.g., "Research: Week 1–2").
• Costs: Transparent pricing.

2. Mid-Semester Deliverables:

• User personas, journey maps, mood boards.

3. Risk Management:

• Example Clause: "2 rounds of revisions included."

Pitch Structure

• Hook: Start with a user pain point (e.g., "Meet Jill, who wastes hours booking travel").
• Solution: Show designs as the hero.
• Proof: Testimonials or data (e.g., "70% faster checkout in tests").

Handling Objections

• Client: "This color is too bold."
• Response: "We chose it for accessibility—let’s A/B test alternatives."

Visuals

• Before/After: Contrast old vs. new UX.
• Prototypes: Interactive Figma demo.

Slide Rules:

• 1 Idea/Slide: No overcrowding.
• Visual Hierarchy: Bold headlines → body text → footnotes.
• Fonts: Max 2 families (e.g., Roboto Bold for headers, Lato for body).

Data Visualization:

Do’s:

• Use bar charts for comparisons.
• Highlight key numbers in color.

Don’ts:

• 3D pie charts (distorts proportions).

3. Animations:

• Subtle: Fades, slides.
• Avoid: Spinning text, flashy transitions.

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INTRODUCTION

PROJECT 1⇒ PROPOSE AN INNOVATIVE PROJECT PROPOSAL AS A GROUP    

For our first project, We are needed to work as mixed groups of multidisciplinary skills to present an innovative concept. We are also needed to conduct research on target audiences from a human-centered perspective to understand their needs to form insights into their actual problem. Empathy research with analysis reports on product or service functionality and effectiveness, technical innovations and challenges, aesthetics and design appreciation are required to support the new project proposal. The proposed solution must address the need that have discovered from the research on the target audience. All of this information will need to be presented as slide presentation and the printed proposal.

WEEK 1

After receiving a brief overview of the course from Mr. Mike, we proceeded to form our groups in Week 1. My friends and I, along with Zhen Xing and later Jia Jia, came together to form a team. We chose to work on the project offered by WarisanXR, as it caught our interest.

Figure 1.0 Group Forming 

After forming our group, we took the initiative to thoroughly read through the project brief as an early step. This helped us gain a clearer understanding of the project’s objectives, expectations, and potential outcomes. By doing so, we were able to align our ideas and begin brainstorming possible directions for our approach. It also gave us a better sense of the scope and challenges we might face throughout the project.

Figure 1.1 Project Brief

Figure 1.2 Project Brief

Figure 1.3 Project Brief

Figure 1.4 Project Brief

Figure 1.5 Project Brief

Figure 1.6 Project Brief

WEEK 2

In Week 2, we officially began our contextual research phase to build a solid foundation for our project direction. 

I was responsible for investigating several key areas relevant to our AR exhibition concept. These included Techniques For Using Audio In AR Exhibitions, which explored how sound can enhance immersion and guide user attention; Techniques For Characters And Guided Story Paths In AR Exhibitions, which looked at how narrative and character-driven storytelling can be effectively integrated into AR experiences; Visual And Spatial Design Strategies For Immersive Heritage Environments, which examined how spatial layout, visuals, and atmosphere can be designed to reflect cultural authenticity; and Behavioral Insights On How Visitors Interact With Immersive Cultural Content, which provided insight into user engagement and interaction patterns in cultural AR settings.

Most of the research I conducted came from online sources on AR exhibitions and immersive media. These findings helped deepen my understanding of the tools, techniques, and user expectations involved in designing engaging and meaningful AR cultural experiences.

Figure 1.7 My Part For Contextual Research

WEEK 3

In Week 3, we delved deeper into our contextual research, focusing more specifically on the location of our exhibition Muzium Negara as well as the company we were collaborating with, TrueXR. I was responsible for researching several key areas, including the Planned Exhibition Area – Istana Satu, its Floor Plan, the Learning Value/Identity from Istana Satu, and Cultural Demonstrations in National Museum Negara. This research helped us better understand the historical and cultural significance of the space we were working with, as well as how to design our AR content in a way that aligns with the museum’s educational goals and cultural narrative.

Figure 1.8 My Part For Contextual Research

Figure 1.9 My Part For Contextual Research

Figure 2.0 My Part For Contextual Research

Figure 2.1 My Part For Contextual Research

WEEK 4

In Week 4, we arranged a site visit to Muzium Negara with the intention of exploring Istana Satu, our planned exhibition location, to better understand the space and gather reference material for our design process. Unfortunately, Istana Satu was closed to the public at the time, which meant we couldn’t access or observe the area firsthand. Despite this setback, we made full use of the visit by exploring the main museum building and other galleries to gain a broader understanding of the overall environment and visitor flow.

A key goal of this visit was also to conduct field research for developing user personas. Our group leader, Winnie, along with several group members, took the initiative to approach and interview a variety of visitors around the museum. These interviews helped us gather valuable insights into different audience behaviors, expectations, and interests. In total, we were able to collect user persona data from four distinct groups: students, local museum visitors, tourists, and families. This information played an important role in shaping our understanding of the target audience and informed the design of our AR experience to ensure it would be engaging and accessible to a diverse range of users.

Figure 2.2 Group Photo At Museum Negara

WEEK 5

In Week 5, our focus shifted towards developing user personas and creating an empathy map to better understand our target audience. As part of our quantitative research, we also planned to conduct a survey. Together with Zhen Xing and Jia Jia, I concentrated on drafting the survey questions, while the rest of the team focused on refining the user personas and empathy map.

For the survey, my main contribution was formulating questions related to interaction design. To ensure the questions were relevant and well-informed, I conducted preliminary research on the Types of Augmented Reality (AR) Interaction. This helped me craft questions that could gather meaningful insights into user preferences and expectations regarding interactive AR experiences.

After completing the draft of our survey questions, we consulted with Mr. Mike for feedback. He advised us to ensure that our questions were neutral and not leading so that it avoid influencing the respondents' answers. Additionally, he suggested including a section on visitors’ preferred cultural themes and stories, which would help us make more informed decisions when curating content for the exhibition. Therefore, after refining the survey questions based on Mr. Mike’s feedback, I proceeded to transfer the draft into a finalized version using Google Forms, preparing it for distribution and data collection. Over the course of two weeks, we successfully gathered responses from a total of 75 participants.

Figure 2.3 Google Form Survey

PROJECT 2⇒ DEVISE AND PRODUCE DESIGN MANAGEMENT PROTOCOLS RELEVANT WITH INDUSTRY PRACTICE.

For our second project, We are needed to manage the design processes as a multidisciplinary group by creating a detailed production schedule that tracks all of the individual tasks, design processes, resources, and design iterations to meet deadlines as a group based on the slides presentation(s) and printed project proposal. Each individual group member needs to produce a detailed design and production plan for their individual tasks that contributes to the multidisciplinary group’s proposed total solution that involves 4IR technologies such as 3D printing, Augmented Reality or Virtual Reality, collaborative telepresence, Internet of Things (IOT), mobile internet, simulation and smart clothing. References from the industry on production management and scheduling either through primary or secondary research is required to support the finalization of the multidisciplinary group’s production management plan and schedule.

WEEK 6

In Week 6, Winnie, Yanny, Guo Ying, and I worked on analyzing the survey results. I was responsible for the section on AR Navigation & Interaction Preferences, which focused on user preferences related to interaction methods, navigation styles, and tutorial formats in AR experiences.

The analysis showed that most respondents preferred touchscreen interaction, reflecting their familiarity with tapping and swiping, while voice commands were the least favored, likely due to environmental noise and usability concerns. For navigation preferences, the majority preferred being guided by a virtual character or narrator, suggesting a desire for more immersive and emotionally engaging experiences. Step-by-step on-screen instructions were less popular, possibly due to their impact on immersion and potential visual clutter. When it came to tutorials, most participants favored a combination of on-screen and physical guidance, as this multi-platform approach was seen as more effective in helping users understand how to use the AR device. A short physical demo or briefing was the least preferred, likely because it felt less interactive and harder to retain.

Figure 2.4 Google Form Survey Analysis

In addition, we also worked on the insight discovery and developed our problem statement using the Point of View (POV) framework. This process helped us synthesize our research findings into meaningful insights, allowing us to better understand the needs, motivations, and challenges faced by our target users. From there, we crafted a clear and focused problem statement to guide our design direction moving forward. Mr. Mike suggested that everyone in the group should individually list out five insights based on our research findings. After that, we collectively reviewed all the insights and voted on the three most important ones to prioritize. This helped us align as a team and focus on the most relevant user needs and opportunities for our AR exhibition experience.

WEEK 7

In Week 7, our focus shifted towards the context design phase, where we began shaping the narrative and interactive elements of our AR experience. We developed a central story concept rooted in the fading of cultural memory. In this storyline, the Pohon Budi, a sacred tree symbolizing unity among Malaysians has withered. To restore it, visitors are invited to journey through five cultural realms, each representing a major heritage group in Malaysia. By collecting five cultural badges from each realm, the roots of unity are gradually revived, reinforcing the theme of reconnecting with heritage through immersive storytelling.

One of the core interactive features we designed was the Cultural Doorway Interaction Concept. Before entering each cultural showroom, users would encounter a unique stylized doorway representing that specific heritage. These doors not only serve as symbolic thresholds into each cultural world but also act as interactive transitions that deepen immersion.

I was responsible for the research and design concept of the Indian Heritage. The envisioned entrance features a vibrant temple archway, adorned with colorful kolam patterns and floral garlands, reflecting traditional Indian aesthetics. The interaction is initiated when the user taps to place a flower offering. In response, the archway softly glows and gracefully opens, creating a welcoming and culturally respectful experience that sets the tone for what lies ahead.

Figure 2.5 Indian Heritage Ideation & Context Design

Besides working on the Indian Heritage, I was also responsible for mapping the Indian Heritage segment to both the How Might We (HMW) questions and the user personas. This involved identifying how elements of Indian culture such as the act of flower offering, the symbolic archway, and traditional patterns could address user needs and design goals.

For the HMW connection, I focused on how this segment could provide an emotionally engaging and culturally meaningful experience for users, especially by tapping into storytelling, ritualistic gestures, and visual immersion. I ensured the Indian segment contributed to the overarching goal of reconnecting users to tradition through interactive AR methods that feel authentic yet accessible.

On the persona side, I analyzed how the Indian cultural elements would appeal to different user groups such as cultural tourists, students, and local families. I considered how to lower the learning curve while maintaining cultural depth. For example, using visual cues and intuitive interactions to appeal to those unfamiliar with the traditions, while also creating emotional resonance for those with cultural ties. This alignment helped us ensure that the Indian heritage experience was both inclusive and impactful.

Figure 2.5 Indian Heritage HMW & Personas

WEEK 8

In Week 8, we finally had the opportunity to meet our client, Mr. Justin from TrueXR, at Muzium Negara. The main purpose of this meeting was to establish direct communication with the client and gain a clearer understanding of their expectations and project vision. One of the key highlights was being able to visit and inspect the Istana Satu location, which had been off-limits during our previous site visit. This gave us a much better sense of the physical space we would be working with.

Additionally, Mr. Justin allowed us to try out the AR glasses firsthand. This experience was incredibly valuable, as it gave us a practical understanding of the technology’s capabilities and limitations. Being able to interact with AR content directly helped us visualize the potential outcome of our project more clearly and allowed us to start thinking more critically about how our designs could be implemented effectively in a real-world setting.

Figure 2.6 Mr Mike Briefing Us

Figure 2.7 Our Group Leader, Winnie Consulting With Client

WEEK 9

After having a discussion with the client, we decided to shift our concept direction. Initially focused on static historical heritage, we were inspired to explore a more performative and immersive route. The client encouraged us to consider more engaging, experience-based ideas, and from there, we took inspiration from Citrawarna Malaysia, a national cultural celebration that showcases the richness and diversity of Malaysian traditions. Held annually since 1999, Citrawarna is known for its vibrant performances, parades, and cultural displays that bring together the Malay, Chinese, Indian, and Indigenous communities in a festive, unified event.

We chose Citrawarna as our thematic inspiration because of its powerful symbolism in celebrating cultural unity through performance. Unlike traditional exhibitions that focus on static artifacts, Citrawarna emphasizes living heritage such as dance, music, storytelling, and rituals which aligns well with the immersive and interactive nature of AR. It also provided a strong narrative foundation to connect different cultural realms under one cohesive storyline.

This led us to reimagine our AR experience not just as an informative exhibit but as a narrative-driven journey. We proposed guiding users through four cultural “realms,” each representing a major ethnic group: Malay, Chinese, Indian, and Indigenous Borneo. In each space, visitors would encounter broken or lost performance elements that they can help restore such as repairing a shadow puppet, reigniting a temple lamp, or reviving a traditional dance. These interactions would trigger short AR performances unique to each culture, turning passive viewing into active cultural restoration.

Once all performance elements are collected, visitors enter a final room “Citrawarna Reunited.” Here, a grand AR fusion performance combining all four cultures is unveiled, symbolising harmony and unity. The space is transformed with projection visuals and an AR photobooth where visitors can capture themselves within the festive celebration. This new direction not only aligns better with our client’s vision but also brings more emotional engagement and cultural resonance to the project.

As it was a significant change to our project idea within a limited timeframe, our group leader, Winnie, reorganized our tasks to adapt quickly. We were required to redo the context design research to suit the new narrative direction centered around Citrawarna. I was paired with Melvin to work on the Indigenous stage, where I primarily focused on research while Melvin handled visual development and stage sketching.

The Indigenous stage centers around a forest setting infused with native symbolism and elements from the Orang Asli community. It features woven textures, earth-toned materials, and organic elements like leaves, vines, and animal motifs. The performance here draws inspiration from indigenous rituals, particularly storytelling through dance and drumming, echoing themes of connection to the land and ancestral memory.

Besides working on the research, we also aligned the stage with our project’s existing How Might We (HMW) questions and user personas. Since the HMW prompts and personas remained the same across all segments, we tailored the Indigenous experience to meaningfully respond to them, especially the need to create emotionally engaging, culturally respectful, and easily understandable interactions.

Figure 2.8 Indigenous Heritage Ideation & Context Design

Figure 2.9 Indian Heritage HMW & Personas

Furthermore, I was also paired with Melvin and Guo Ying to work on designing the exhibition floor plan that would meet the client's requirement of accommodating 15 visitors at a time without overcrowding or bottlenecks. The key objective was to ensure a continuous and intuitive visitor flow throughout the exhibition, allowing people to explore freely without the need to book specific time slots.

We began by observing the spatial limitations and discussing how users might naturally move through the environment. After our initial brainstorming session, we proposed three different layout plans that considered entrance and exit points, directional guidance, and pacing between each exhibition stage. Each plan aimed to maintain an immersive experience while avoiding visitor collision or stagnation.

After presenting our ideas to Mr. Mike, he gave constructive feedback regarding spacing, transition areas, and how to manage pacing between groups. With his input, we refined the layouts to better suit both the physical site and the interactive experience, ensuring a smoother and more engaging visitor journey.

Figure 3.0 3 Plans Of The Floorplan

Figure 3.1 Finalised Floor Plan

I also collaborated with a few of my groupmates to create the background visual mockup for the projection mapping segment of the exhibition. We worked together to ensure the visuals matched the thematic direction of our cultural concept while enhancing the immersive storytelling experience. In addition, I sketched several ideas for the AR photobooth, exploring how we could blend cultural symbols, interactive elements, and engaging visuals to create a memorable and shareable moment for visitors.

WEEK 10

In Week 10, we finally had our project proposal presentation. The entire group was incredibly nervous as it felt like a making or breaking moment where the outcome would determine whether we could move forward or had to scrap everything and start over. We had invested a lot of effort into reworking the concept, visuals, and interactions to better suit the client's brief, especially after the shift toward the Citrawarna theme.

Thankfully, the client responded with very positive feedback (Hooray!!!). They felt that our concept successfully captured the essence of Malaysia’s cultural richness while presenting it in a modern, immersive way through XR technology. They also appreciated how the art direction and user flow were designed to feel both educational and emotionally engaging for a diverse audience.

With the client’s approval, we were finally able to proceed with confidence. We began expanding the same approach both visually and interactively across the remaining cultural stages. Mr. Mike also advised us to start thinking about the marketing side of the exhibition early. He suggested we prepare materials like posters, social media content, and a promotional website to create public awareness and draw more visitors to the exhibition. His reminder helped us realize that beyond just the installation, we also had to consider how we communicated the experience to the public.

WEEK 11

In Week 11, we continued refining our project deliverables. I was paired with Jia Jia and Guo Ying to work on the navigation animation component. Jia Jia and I were responsible for illustrating the ribbon design that serves as a visual guide through the exhibition, while Guo Ying handled the animation and motion execution of the ribbon within the AR space.

For the illustration, I focused on the Malay and Chinese cultural stages, while Jia Jia worked on the Indian, Indigenous, and Final Unity stages. In designing the Malay and Chinese ribbons, I selected color schemes and motifs that strongly reflect their respective cultural identities. For the Malay ribbon, I used a palette of green and yellow, which are commonly associated with Malay heritage and tradition. The design incorporated the Bunga Bintang motif, a traditional element often found in Islamic geometric art and Malay wood carvings. This star-shaped pattern represents harmony, unity, and spiritual balance. Its symmetrical structure also made it ideal for digital adaptation, allowing for clean transitions and clarity in motion, perfect for animated overlays or ambient effects in AR.

For the Chinese ribbon, I chose red and yellow, colors deeply rooted in Chinese culture symbolizing luck, joy, and prosperity. The design centered around the Chinese dragon, an iconic creature that embodies power, wisdom, and good fortune. The dragon’s flowing, serpentine form brings a sense of movement and life, making it visually engaging for AR interaction and animation. Additionally, its traditional role as a bringer of rain and protector adds layers of symbolic meaning to the user’s journey, enhancing the narrative and immersive quality of the exhibition.

Figure 3.2 Malay & Chinese Stage Ribbon Navigation Design

WEEK 12

For this week, we began working on the merchandise design for the exhibition. I was tasked with designing the event wristband, which serves both as a keepsake and a functional item for visitors. For the wristband’s visual identity, I chose to use a Malaysian batik pattern as the background. Batik Malaysia is a traditional textile art form that symbolizes the nation’s cultural diversity, weaving together influences from Malay, Chinese, Indian, and Indigenous traditions. The design typically features floral, leaf, and natural motifs, as human and animal figures are traditionally avoided due to Islamic artistic sensibilities.

To make the wristband more cohesive with our overall exhibition theme, I selected a color palette of purple, blue, green, red, brown, and yellow as each color representing one of the five cultural stages in our project. This not only adds vibrancy but subtly reinforces the thematic unity of the entire experience. The font I used for the text is Yeseva One, which has a distinct yet elegant feel, balancing readability with aesthetic character.

Additionally, I incorporated a QR code element into the design, allowing visitors to conveniently scan it and access the Museum Negara directory map. This adds a layer of interactivity and practicality, aligning with the project's tech-enhanced goals while enhancing the user’s navigation and engagement with the physical space.

Figure 3.3 Final Wristband Design

Figure 3.4 QR Code Content (Directory Map)

WEEK 13

In Week 13, we were nearing the finalization stage of our project. Everyone began refining and completing their respective tasks based on the consultations and feedbacks provided by Mr. Mike. I was assigned to create visual mockups for our marketing materials, ensuring they effectively reflected the project’s theme and aligned with the overall design direction. These included mockups for posters, social media visuals, and banners that would help promote the exhibition to the public.

To make the mockups look more realistic and visually polished, I used Adobe Photoshop to fine-tune the lighting and add shadows, giving the visuals a more natural and grounded feel. These mockups served as important visual references for how our designs would appear in real-world promotional contexts, helping us ensure a strong, culturally engaging public presentation.

Figure 3.5 AR Photo Booth Mockup

Figure 3.6 AR Photo Booth Mockup

Figure 3.7 Signage Mockup

Figure 3.8 Wristband Mockup

Figure 3.9 AR Photo Booth Mockup

WEEK 14

In Week 14, everyone focused on finalizing their individual tasks and preparing for the final presentation. I was tasked with helping illustrate the storyboard based on the rough sketches we had previously developed for the proposal. My role was to refine these visuals into clearer, more polished frames that effectively communicated the user journey and overall narrative of the exhibition. This storyboard would later be included in our final deck and documentation to visually convey how visitors would experience each stage of the exhibition. 

I collaborated closely with Melvin, Winnie, Jia Jia, and Zhen Xing for this task, and we divided the storyboard scenes among ourselves to streamline the process. Melvin illustrated Scenes 1 to 4, which covered the initial experience flow from the entrance to the registration counter. I was responsible for Scenes 5 to 8, which detailed the process of online/offline ticket purchase, ticket redemption, and a short AR glass usage briefing. Winnie worked on all the AR point-of-view (POV) scenes, illustrating how users would see the cultural content through the AR glasses. Zhen Xing focused on the booth navigation scenes and the AR photobooth experience, visualizing how users interact at specific cultural zones. Jia Jia created the final scene illustrating the sharing of experiences, showing how users reflect or post about their visit at the end of the journey.

Figure 4.0 Scene 5 to 8 My Part In Illustrating

In addition to the storyboard, I was also responsible for creating the Gantt chart, which outlined our entire project timeline, from research and ideation to production and refinement. This helped ensure we had a clear overview of the team’s progress and milestones.

Lastly, our team was required to complete the Project Tracking Document, which documented our weekly contributions, tasks, and group progress. This served as a way to reflect on our workflow and responsibilities, as well as maintain transparency in how each member contributed to the success of the project.

PROJECT 3⇒ PRODUCE THE FINAL PRESENTATION OF THE PROPOSAL SOLUTION TO A PANEL OF REVIEWERS

For our third project, We are needed to demonstrates the effectiveness of the proposed design solution in addressing the identified targeted audiences’ needs, The focus will be on the attention to details and the successful execution of a wide range of design management conventions including organization, formatting of content presentation, product or service presentation aesthetics and style in solving the identified problem. The presentation is to a panel of academics and industry guests and must consist of a slide presentation that explains the project’s details with the proof-of-concept product or service artefact. Each member of the multidisciplinary group is expected to take part in the presentations.

WEEK 15

In Week 15, we finally reached our project’s final presentation. Everyone in the group felt quite nervous, as it was the culmination of weeks of hard work. I was in charge of presenting the user journey segment, and I was extremely anxious leading up to it. Fortunately, we have an overall of positive feedbacks and our design direction was consistent. Just have a few minor details that can be improve but ya it's finally over and it's a wrap! Yay!!

FINAL PROPOSAL

Minor Project by Winnie Ho

FINAL OUTCOME

Final Presentation by Winnie Ho

MIRO BOARD

Miro Board Link

https://miro.com/app/board/uXjVI78F7LU=/?share_link_id=693651892350

PROJECT TRACKING DOCUMENT

Google Drive Submission Link

https://drive.google.com/drive/folders/1oSL7x3Y9Pjl8nTk_zfMxJNgWZck5gxIj?usp=sharing

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FEEDBACK

WEEK 3

• The feedback was positive as the research covered a wide range of areas, including technologies used by TrueXR, case studies of other MR/AR museums, cultural elements of Malaysian heritage, and immersive design features. 
• The division of tasks among group members ensured efficiency and depth in findings. It was suggested that we start consolidating the research into a structured format for easier reference when designing the exhibition concept.

WEEK 4

• Mr. Mike reviewed our personas and provided valuable feedback. He suggested that we also look up online data and reports from the National Museum website to support our findings with more credible statistics on visitor demographics.
• One of his key recommendations was to adjust the local visitor persona to be more family-oriented, as local visitors often visit the museum with their families rather than individually. Our weekday visit may have limited our exposure to family groups, as families are more likely to visit on weekends.
• Mr. Mike confirmed that the student and foreign visitor personas are suitable and aligned well with our project goals.

WEEK 5

• Mr. Mike provided constructive feedback on the survey design. He emphasized that the questions should not be leading or directing users toward a specific answer, but instead remain neutral to avoid bias.
• He also advised that each question should provide specific value by aligning closely with the information we want to gather for our exhibition design decisions.
• Mr. Mike suggested adding a new section to ask visitors about the themes they are most interested in, which would help us identify the cultural stories and performances to prioritize in the MR experience.

WEEK 6

• Mr. Mike reviewed our analysis and praised the work for being detailed and thorough.
• He suggested that we integrate insights from the in-person interviews conducted at the museum earlier, so that our findings would be more holistic and supported by both quantitative and qualitative data.

WEEK 7

• Mr. Mike provided feedback that the chosen theme must clearly align with our main goal – to promote Malaysia’s cultural heritage in an engaging and meaningful way.
• He also reminded us to focus on designing and planning one cultural station first as a prototype before expanding to the other stages. This will help us validate our ideas and interaction flow early.
• He emphasized the importance of using a unified set of gestures (tap, swipe, rotate) across all stations. This consistency will reduce the learning curve for visitors, ensuring the experience is intuitive for all age groups.

WEEK 9

• The client provided positive feedback on the overall theme, concept, and art direction, expressing that the idea aligns well with promoting Malaysia’s cultural heritage in an immersive and engaging way.
• Mr. Mike reminded us that while the AR experience is the main feature, we also need to consider a marketing strategy to attract visitors to the exhibition.
• Mr. Mike suggested that we work on promotional materials such as posters, social media campaigns, websites, and other outreach methods to raise awareness about WarisanXR.

WEEK 10

• Mr. Mike commented that while the poster looked clean and professional, it appeared more like an official Ministry of Tourism poster rather than one promoting an AR/MR experience.
• He suggested that we emphasize the AR and immersive aspects more clearly through visuals, icons, or text that communicate interactivity and technology.

WEEK 11

• Mr. Mike suggested that our social media posters include more variations instead of sticking to a plain black background.
  
• Mr. Mike also recommended photoshopping the posters into realistic contexts, such as airports, MRT stations, or tourist hotspots, to visualize how they would appear in real-life promotional scenarios.
  
• For the microsite, Mr. Mike commented that the current design and layout are acceptable but can be further enhanced as we refine the overall branding.

WEEK 12

• The visuals and interactions for the Chinese Station were well-received, and Mr. Mike commented that the visual quality and flow were satisfactory.
• Mr. Mike reminded the team to maintain consistency across all cultural stations, ensuring that the art direction, interaction gestures, and onboarding style remain unified to reduce the learning curve for visitors.

WEEK 13

• Mr. Mike reviewed our progress and commented that the flow between stations was improving, but reminded us to polish minor visual inconsistencies and double-check that all cultural elements were accurately represented.
• Mr. Mike also encouraged us to prepare a cohesive presentation structure that highlights both the research journey and final product, as this would be essential for the final showcase.

WEEK 14

• Mr. Mike reviewed the completed materials and approved the final outputs, noting that the project effectively met its goal of promoting Malaysian cultural heritage in an interactive way.
• Mr. Mike also emphasized the importance of structuring the final presentation to clearly show the final deliverables for maximum impact.

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REFLECTION

EXPERIENCES

Working on the Minor Project was a deeply immersive and transformative experience. Guided throughout by Mr. Mike, I experienced a gradual but significant growth in both creative and technical aspects. The journey began with brainstorming and refining our project idea during the early weeks. I contributed to ideation sessions, proposal preparation, and later played a key role in asset creation, visual development, and documentation.

The process felt overwhelming at times, especially when juggling so many moving parts: direction research, documenting, AR integration, visual mockups, and marketing assets. It wasn’t just a technical challenge, it was also a test of design thinking, spatial awareness, and collaborative problem-solving. Thankfully, my teammates were there to support and tackle challenges along the way. 

OBSERVATIONS

This project taught me that immersive design is about more than just visuals. It’s about crafting a user journey that feels cohesive, intuitive, and engaging. I saw firsthand how important it is to build consistency across branding, UI, visual assets, and storytelling. Whether it was through a social media post or a storyboard panel, everything needed to reflect our core theme and tone.

Consultations with Mr. Mike pushed us to refine our design direction and focus more on narrative clarity. I learned the importance of iteration, as we often had to revise visuals, adjust placements, and rethink flows based on feedback. It reminded me that design is rarely final on the first try and that being open to change leads to stronger outcomes.

FINDINGS

One of the biggest takeaways from this Minor Project was the importance of communication and collaboration. We each had our roles, but the success of the project depended on how well we coordinated and supported one another. From dividing storyboard scenes to compiling documentation, every part of the process required trust and clear delegation.

I also found that working on visuals for AR and immersive design challenged me to think more about spatial awareness, interaction, and user engagement. Unlike traditional flat designs, these formats need to consider how people move, react, and interact with visuals in real-world spaces.

Despite the challenges and tight timelines, this project helped me gain confidence in visual storytelling, collaborative work, and project planning. I now feel more equipped to approach future immersive or interactive projects with both a creative and structured mindset.