Assignment 2: Concept Proposal & Early Prototyping
Introduction
WEEK 6
We had a group discussion in class, and our idea was to create an ice and snow effect, inspired by Elsa's ice magic in Frozen. Viewers simply need to extend and open their palms to see ice crystals, snowflakes, and light effects projected onto the screen.
EXAMPLE
In class, we drew a concept proposal sketch for our group.
Document
Afterwards, we shared our ideas with the teacher. The teacher said our ideas were good, but they lacked a storyline. She suggested we think about what our story would be and what we wanted to express.
After class, Shaiba posted a group assignment on WhatsApp. We needed to complete the second part of the introductory PDF—the supporting document. We could choose which part we wanted to work on; I chose the first part—Concept Development.
After that, I started thinking about the storyline. I came up with a suitable one: in countries like Malaysia and Southeast Asia, many people may not have personally experienced snow. So, I could use that as a storyline to create an interactive snow scene experience for viewers who have never seen snow.
WEEK 7
This week we told our teacher the idea we came up with, and she gave us feedback.
❄️ Group Project Feedback: Snow-Themed Interactive Installation
Our group introduced our concept to the teacher:
"To create an interactive 'snow scene experience' for Malaysian audiences who have never seen snow."
We plan to use TouchDesigner to create visual snowflake effects, triggering snowfall when viewers enter the frame. The teacher approved of our direction and offered several suggestions:
1. The concept is excellent; the theme is clear, emotionally resonant, and related to "experience" and "seasonal memories."
2. We were encouraged to increase playfulness, such as allowing viewers to "push" or "blow" the snow, rather than simply standing and watching it fall.
3. The current interaction method (entering the frame to trigger snow) is somewhat simplistic. We suggest trying depth sensing or skeleton tracking to allow the system to more accurately recognize viewer movements.
4. If a depth camera (such as Kinect) is not available, we could also try using MediaPipe to detect human contours (skeleton) to trigger the flow of snow.
5. In the prototype stage, focus can be placed on implementing the snow interaction in the software, without needing to build a physical installation;
Physical elements (snowy ground, lighting, decorations, etc.) can be added during the final exhibition stage to enhance the atmosphere.
6. The teacher reminded us to pay attention to equipment requirements—if we need to use a depth sensor, we can borrow one from the department or apply for it in advance.
Overall, the teacher believes our direction has potential; as long as we further strengthen the "depth and fun of the interactive experience," the work will be more complete.
We then decided on the name of our project—The Absent Winter
This name echoes our storyline, and we felt it had a deep meaning. In class, after our group discussion, we each completed our supporting documentation.
So after returning home, I completed the supporting document section, which was my responsibility.
Concept Development (250 - 300 words)
- Project title, concept statement and overall intent
- Expanded project description and conceptual rationale
WEEK 8
In class, we discussed Activities 1 and 2.
-Activity 1—Interaction Mapping Sprint
- Activity 2—Prototype Priority Setting
Document
We discussed our ideas with the teacher because we were a bit confused about how to project and capture the final image using a camera during class, so we wanted the teacher's help to clarify things.
The teacher gave some feedback:
The teacher provided crucial and directional feedback on our group project, *The Absent Winter*. He first affirmed the maturity of our overall visual style and moodboard, specifically noting that the work's atmosphere wasn't childish but rather possessed a serene, restrained, and emotionally charged winter feel, perfectly matching our target audience of university students. However, he also pointed out that our current concept still leaned towards "emotional fragments," lacking a core narrative to connect the overall content. In other words, we now had the atmosphere, the emotional direction, and the interactive logic designed, but lacked a text explaining "why it's winter," "why it's absent," and "what story the audience experienced in this space." This narrative will become the most critical "explanatory text" in the exhibition, helping viewers understand the metaphors and meanings behind the interactions.
Moodboard
The teacher also affirmed our technical execution. Especially regarding the issue of the projection potentially being blocked by viewers, he considered this a very normal and common challenge in installation art. Our proactive awareness of the problem itself demonstrates maturity. He suggested we further adjust the projector's angle, distance, or zoom to avoid obstruction. He believed these adjustments could be completely resolved through creative layout and wouldn't pose an obstacle. Regarding the prototype, the teacher encouraged us to start with a simple camera, without rushing to use Kinect. As long as it could perform basic detection and response, that was sufficient—upgrading the input method was feasible once the interaction was running smoothly. He also reminded us to clearly distinguish between immediate goals and stretch goals to avoid putting excessive pressure on ourselves in a short period.
Overall, the teacher believed our group's direction was correct and had potential. He liked the atmosphere and emotional quality of the work and felt the visual direction was solid; only the crucial element of "story" needed to be completed. If we could organize the conceptual narrative more coherently over the next week, clearly explaining the relationship between "winter," "absence," "memory," and "audience behavior," the work would become complete and profound. In other words, we didn't lack creativity, but rather a core sentence that could solidify all our ideas—once this part was formed, *The Absent Winter* would truly transform from an inspiration into a mature interactive installation.
Based on the teacher's feedback, I realized that I had written this after class in week 7, but we forgot to show it to the teacher. So, we showed it to the teacher again.
The teacher then gave us a second feedback:
Overall, the teacher felt our concept was clear, our worldview coherent, and our visual style distinct, allowing viewers to quickly grasp the winter fantasy space we had created. However, he also pointed out that the current presentation felt somewhat "safe," leaning too heavily towards a child-friendly approach. While this direction is well-suited for commercial presentations or parent-child interactions, the course could still be further developed in terms of creativity and depth. He encouraged us to continue reflecting: Why winter? Why snow? Do these elements carry certain emotions, memories, or symbolic meanings? Delving deeper into these dimensions of nostalgia, absence, and memory would make our work more unique and expressive. The teacher specifically noted that because our visual style and narrative world easily attract children, the interactivity must be more engaging and game-like, truly making the audience, especially children, want to "get involved." Therefore, interactive feedback needs to be stronger, more immediate, and more participatory, going beyond just visual changes. He also reminded us that since we are creating a complete winter world, we shouldn't focus solely on the projected images themselves, but rather on how to "arrange the space" to truly immerse the audience in the environment. For example, we can incorporate physical snow scene materials, white ground arrangements, ice and snow elements in landscaping, and even the design of the entrance flow. The projector can also be adjusted to a higher position to project downwards, reducing shadows, and partitions can be installed if necessary to avoid obstruction. The creation of the space will transform the overall experience from "watching a picture" to "entering a world." The teacher also explained that at this stage, we only need to complete the interactive prototype in TouchDesigner. For the final presentation, we can add changes to the set design, materials, or environment, as long as the current proposal logic is clear. Overall, he believes that our direction is correct and our performance is stable, but he hopes that we can further improve the depth of concept, the interactive fun, and the spatial immersion, so that the final presentation of "The Absent Winter" is not only beautiful and user-friendly, but also has experiential value and uniqueness.
After the teacher's second feedback, we had another discussion, mainly to deepen our understanding of the concepts.
We came up with two other different concepts and showed them to the teacher, who then gave us feedback：
The teacher said that snow doesn't need to be part of our main idea; it's just a visual element. We can start by focusing on emotions and building the backstory.
Based on the teacher's last feedback in class, we discussed it again. We came up with a concept, and after combining it with some other elements, we'll send it to the teacher and wait for his feedback.
Regarding the group division of labor, we have our presentation next week, week 9. We need to submit two parts. We've already written the supporting document, and next we'll start dividing up the content for the presentation PPT.
Shaiba assigned tasks on WhatsApp.I selected portions of pages one, eight, and nine.
- Slide 1: Concept Introduction > include inspiration & theme
- Slide 8: Sketches
- Slide 9: Final mockup (display planning & brief explanation)
Because we are still deepening our conceptual research and some content will need to be revised later, I chose to complete pages 8 and 9 first.
On Saturday of week 8, teacher Shaiba reviewed our new idea. She approved it. This new idea combines the ideas from Obata and Shinri, developing a completely new concept.
New idea document
Shaiba also updated the content of our group's supporting document.
This is the revised part that I was responsible for.
WEEK 9
I started working on the pre-presentation PPT for our Assignment 2; my part was.
Slide 1: Concept Introduction > include inspiration & theme
I shortened the relevant sections from the supporting document, incorporated them into the PowerPoint presentation, and formatted them accordingly.
Slide 8: Sketches and Slide 9: Final mockup
I've completed the sketches. These two sketches are my initial ideas for the spatial layout of our group's final project, used to help us organize the project logic.
These two sketches express the spatial circulation, technical layout, and user experience of the project. They help us determine where the user is, where they move, how the cameras capture them, how the screen displays information, and how the projection is projected onto the screen.
The ultimate goal of the entire design is to allow users to truly experience the concept of our project within this small space.
Our group gave a presentation in class, and the teacher gave us some feedback.
He acknowledged that our technical direction is strong and that we already have a clear understanding of the interaction flow and touch-based logic. The prototype successfully demonstrates the main interactions, showing that our foundation is solid. He also appreciated our awareness of space, lighting, and materials, especially considering that we are working within a small installation area. However, he reminded us that projection visuals may be weakened by bright lighting, so we need to carefully decide whether to prioritize projection or shift toward lighting-based visual expression. He suggested exploring DMX lighting, explaining that even small and affordable fixtures can create layered and atmospheric effects. Moving forward, he encouraged us to enhance our visual presentation, further evaluate the relationship between light and space, and refine our installation sketches. Overall, he believes our direction is right and that with stronger visual strategy and lighting design, the project will become even more compelling.
After the presentation, we discussed the final design and the effects we wanted to achieve in Touch Designer.
Can open the link to view the Final Assignment.
Concept Proposal Presentation Document
Supporting Document
Reflection
In Project 2, I truly experienced a journey from unfamiliarity to understanding, from being afraid to touch technology to actively trying it. When I first faced TouchDesigner, interactive logic, and embedded systems, I was completely lost, unable even to understand the most basic node relationships. At that time, I was terrified of technology. But precisely because I started from scratch, every small breakthrough made me feel like I was moving forward.
Our initial concept, while revolving around "winter," was actually very vague in its expression: Where does the interaction occur? How does space support emotion? How does technology serve the narrative? There were no answers to these questions. Through continuous discussion, revision, and rethinking, we gradually found our own direction—using seasonal changes to symbolize emotional shifts, making "the audience's touch" a key node in the narrative. At that moment, I felt for the first time that interactive installations are not about showcasing technology, but about using technology to tell emotions.
Today, the teacher's feedback had a significant impact on me. He affirmed our efforts in interactive logic, spatial planning, and tactile mechanisms, and also made me aware of my own blind spots. The reminders, especially regarding light, projection, and visual presentation, made me realize that installation design isn't just about making something "interactive," but about considering "what the audience sees and feels after the interaction." The teacher mentioned that bright light weakens projection effects and suggested we try DMX lighting, which made me truly realize that visual presentation and lighting strategies also influence the narrative ability of a work. Technology doesn't exist in isolation; it must collaborate with space and emotion.
From the teacher's feedback, I also began to reflect on my previous thinking: I was too focused on "making the technology work," neglecting "whether the experience of the work is complete." In the future, I will devote more time to light testing, creating visual atmosphere, researching material reflection, and more accurately presenting installation sketches, ensuring our work maintains consistency and professionalism across visual, spatial, and interactive levels.
The biggest gain this semester is that I'm finally no longer afraid of technology. From initially having no idea where to start, to now understanding the logic of nodes, daring to experiment with different parameters, and handling interaction mechanisms myself, I've seen real progress. More importantly, I've also learned how to integrate emotion, space, and technology into a complete experience, rather than treating them as separate entities.
Even though I encountered many difficulties along the way, each moment of confusion and failure served as a reminder that design is not something that can be achieved overnight, but rather a process of continuous practice, adjustment, and understanding of "why it should be done this way."
Looking back now, my most valuable gain wasn't technical skill, but rather learning how to think, how to solve problems, and how to make my work more meaningful. Even starting from scratch, as long as you keep moving forward, you will gradually find your own direction.
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