Virtual Reality Exhibition
The City that Grows
Client & Institution
Tin Sheds Gallery
The University of Sydney
My Deliverables
UX Research, 3D Design (modelling & rendering), Prototyping, Usability Testing, Motion Graphics, Voice Over and Video Editing
Tools
Unity, Rhino, Grasshopper, Figma, Procreate, Photoshop, Illustrator, Premiere Pro & After Effects
Timeline
10 weeks
Team
Me: UX Research & VR Design
Sherline: UX Research & Illustration
Susanna: UX Research & UI Design
(Architecture background)
Challenge
The Tin Sheds Gallery, established in 1969, has been a cornerstone of interdisciplinary experimentation and political engagement in Sydney for over five decades. Despite its rich legacy, the gallery faces declining visitor engagement in our digital age. The challenge lies in leveraging cutting-edge technology to revitalise interest, expand reach, and ensure the gallery's continued relevance in the 21st century.
"How might we leverage VR to revolutionise art gallery experiences, increasing accessibility and engagement through immersive UX design?"
My Role
As the lead 3D, projection, and spatial designer for VR, I spearheaded the creation of an immersive virtual exhibition space using Unity VR. My responsibilities encompassed:
  • Conducting in-depth research on the Tin Sheds Gallery's history and user needs
  • Conceptualising and implementing innovative VR design solutions
  • Collaborating with a cross-functional team to align the virtual experience with project goals
  • Performing iterative user testing to refine the immersive experience
  • Ensuring seamless integration of archival content within the virtual environment
Final Concept
Our solution, 'The City That Grows,' is a groundbreaking virtual reality exhibition that transcends geographical boundaries. This immersive, interactive experience was developed in close collaboration with Aboriginal and Indigenous artists, showcasing a dynamic Australian cityscape that evolves based on user interactions with the Tin Sheds Gallery (TSG) archives.
  • Key features include:
  • A responsive virtual environment that visualises the impact of human actions on Australia's future
  • An interactive controlled burning activity, educating users about traditional land management practices
  • A creative space for visitors to produce their own artwork within the virtual gallery
  • Seamless integration of TSG's rich archival content, bringing history to life in a digital realm
Impact
User Satisfaction

96

%

Our innovative design achieved near-universal approval, with 96% of user testing participants finding the final design both effective and easy to use, demonstrating exceptional user experience.
Engagement Boost

97

%

The immersive VR exhibition concept resonated strongly with our audience, with 97% of participants expressing willingness to visit, indicating a significant potential to revitalize visitor interest.
Educational Impact

79

%

Our design solution proved highly effective in raising awareness, increasing users' interest in indigenous cultures and climate change issues by an impressive 79%, showcasing the power of interactive design in education.
Accessibility Enhancement

98

%

An overwhelming 98% of participants believed the VR exhibition would improve accessibility, highlighting our success in creating an inclusive and user-friendly design that breaks down barriers to engagement.

Tin Sheds
Gallery

X
The City that Grows

"The City that Grows" isn't just an exhibition – it's a transformative experience that connects past, present, and future, challenging you to rethink your role in shaping a sustainable world. Are you ready to grow with the city?

*To pause or play, click the video as needed

The Archive Globes 01

Glimpse of a Fragile Future

"The seeds of tomorrow are planted in the choices of today."
As you enter the virtual space, mysterious Red Archive Globes float before you. Interact with them to unveil a stark vision of our city ravaged by environmental catastrophe. This powerful introduction sets the stage for your journey through time and possibility, challenging you to rewrite the future.

The Archive Globes 02

Wisdom Rekindled

"In the past lies the key to our future."
Touch the Archive Globes to uncover rich indigenous history, culture, and practices. As more visitors engage with the globes nestled in the trees, watch in awe as they transform from red to vibrant green. Witness the devastated cityscape heal and flourish, illustrating the profound impact of rediscovering ancient wisdom.

Controlled Burning

Fire as a Force of Renewal

"To protect the land, we must understand its rhythms."
Engage in a virtual controlled burning activity, an age-old indigenous practice. As you participate, witness Australia's biodiversity flourish before your eyes. Through interactive indigenous artworks, discover how this traditional knowledge is crucial for environmental preservation and sustainable land management.

Into Archive

Leaving Your Mark on History

"Every creation is a thread in the tapestry of our shared story."
Your artistic contributions become part of the Tin Sheds Gallery's living archive. Browse your creations and those of fellow participants on the gallery's website, forming a dynamic, ever-growing collection. This interactive feature transforms you from a mere observer to an active contributor, weaving your perspective into the rich fabric of the gallery's legacy and Australia's evolving cultural narrative.

DESIGN PROCESS

background research
01
Understanding The Problem
The Tin Sheds Gallery, located within the University of Sydney's School of Architecture, Design and Planning, faces unique challenges. These factors—restricted accessibility, space, and operating hours—hinder physical visitation. A VR exhibition emerges as an innovative solution to overcome these limitations, expanding the gallery's reach and engagement potential.

Location

While accessible from Central Station, it competes with several prominent nearby galleries.

Space Constraints

A compact rectangular room (14.7m x 16.3m x 31.2m) limits creative exhibition potential.

Limited Hours

Open weekdays 10 am - 4 pm, closed weekends.

How has its audience evolved?
Based on our research and interviews with project stakeholders, the Tin Sheds Gallery's audience has transformed since its 1969 inception:
  • 1960s-70s: Experimental artists, architects, writers, feminists, and anarchists
  • 1980s: Formalized institution teaching architecture and fine arts
  • 1990s: Shift towards research-focused activities
  • 2000s-present: Varied audience based on exhibition topics (architects, artists, students)
This evolution reflects the gallery's adaptability and diverse appeal over time.
Who are the future audiences of the gallery?
To figure out the potential audiences of Tin Sheds Gallery, we conducted additional research. With technological advancements, the Tin Sheds Gallery's future audience is global:
  • Increased tech investments in developing regions (e.g., Africa)
  • Rapid growth in tech startups worldwide
  • Widespread adoption of technology, even in remote areas
  • Ongoing urbanization and global interconnectivity
These trends suggest a vast, diverse, and technologically-savvy potential audience for the gallery's virtual exhibitions.
Investment in developing regions & remote areas
(US$ / Billion, Statista 2022)
Design Timescape
Our approach to leveraging the Tin Sheds Gallery archives:
  • Reviewed exhibitions from the 1960s to present
  • Identified key themes: social & environmental activism, human rights, Indigenous cultures
  • Categorised exhibitions by topic for enhanced accessibility
  • Aim: Enable global comprehension of exhibition histories
This strategy transforms the archives into a valuable resource for future engagement and education.
Design futuring
02
Double Variable: Choosing Topics For Exhibition
The Tin Sheds Gallery recognises the historical injustices faced by Aboriginal and Torres Strait Islander peoples in Australia. They actively showcase artwork that sparks dialogue on the relationship between white Australians and the First Nations. This commitment to addressing the tensions and promoting self-determination has positioned Aboriginal culture as a crucial driver for the gallery's future.
‍
Additionally, the global issue of climate change aligns with the strong connection Indigenous peoples have with the land, creating a powerful synergy between local and global drivers of change. While implementing sustainability practices poses challenges, the gallery's growth presents an opportunity to differentiate itself and maintain its activist roots.
Steeple Analysis: Future Scenario
To holistically understand external factors in our design decisions, we conducted a STEEPLE analysis. This analysis allowed us to go beyond traditional UX considerations and view a wide range of factors, identifying potential design opportunities and challenges. By anticipating future trends and imaginable changes, we were able to create a design solution that could be future-proof and adaptable to evolving needs.
insight 1/5
social
For the last two decades, Australia’s Indigenous communities have grown exponentially. The country has seen great success in closing the social gap between Indigenous communities and the broader population, which has resulted in the dominance of Aboriginal and Torres Strait Islander peoples in society. The government has worked closely with Indigenous Elders to develop an inclusive, future-proof social justice framework. This framework has given rise to a broad range of Indigenous community programs and services in urban, rural, and remote areas (Morley, 2015). Through these community programs, Indigenous communities are sharing their knowledge about backburning, deep listening, art practices, food preparation, and many more. There is a huge appreciation, and cultural competency to respond to the cultural skills and knowledge of Indigenous communities (Calma, 2008). For instance, Australia’s motivation to combat climate change has reached its all time high, with Indigenous communities leading and educating the society on land management practices and how to care for Country.
This has caused an increasing pressure for the Tin Sheds Gallery to re-assess their strategic plan and re-introduce the Tin Sheds workshops. More and more people are showing deep interests in Indigenous histories, cultural practices, art, and music. With Tin Sheds’ history as an informal art workshop, they could leverage this opportunity to provide spaces not only for Indigenous artists, but also for the broader Australian community.
insight 2/5
Technological
Australia has significantly advanced its commitment to green energy, achieving a milestone where 90% of the nation’s energy now derives from renewable sources such as solar and wind power (Clean Energy Council, 2022). This transition has been accompanied by the adoption of sustainable smart infrastructure in major cities like Sydney and Melbourne, integrating AI-driven technologies and clean energy solutions. Meanwhile, automation is reshaping industries across Sydney, leading to efficiencies and innovations in various sectors (Solar Power Nation & Economist, 2021). Indigenous youth in Australia are actively engaged in preserving their cultural heritage and leveraging traditional knowledge to address pressing environmental issues, including the management of gamba grass and prevention of bushfires. Their efforts are supported by advancements in AI and drone technologies developed by skilled technicians and engineers, which are pivotal in monitoring and responding to fire risks based on indigenous wisdom (Land Care Australia, 2017).
At the Tin Sheds Gallery (TSG), cutting-edge AI systems oversee climate control for sensitive historical artifacts and artworks, dynamically adjusting lighting to complement exhibition themes. The gallery operates entirely on solar energy, reflecting its commitment to sustainability. In response to shifting visitor trends, TSG has innovatively introduced a Virtual Reality experience and online platform, offering global audiences immersive access to its rich archival collections. For those preferring an in-person visit, a Robot Curator enhances the physical gallery experience, facilitating easy donations that have garnered widespread international support. This global recognition has not only elevated TSG’s profile but also fostered greater appreciation for Aboriginal cultures and traditions worldwide.
insight 3/5
environmental
As the global climate worsened, environmentalists and conservationists had advocated for Aboriginal and Indigenous practices in land management. A 2020 survey administered by the Ministry of the Environment, reveals the support for long-term strategies that considered the "respect and harness the knowledge of Indigenous Australians to better inform how the environment is managed" (World Economic Forum, 2022). Now, Aboriginal cultural practices are at the forefront of land management. The Aboriginal and Indigenous community have heavily contributed and assisted in their knowledge of the country and environment, as their teachings have grown to become common knowledge across the globe. As a result, Australia’s native flora has flourished and fire-activated seeds have had the opportunity to germinate and grow. The controlled burning has encouraged and promoted biodiversity, with an increased variety of fauna being found in various habitats after burning (Commonwealth of Australia, 2020). Bushfires, fuel load, and carbon emissions have been decreased, with carbon dioxide having been reduced by 100,000 tonnes per year in Australia (Tan, 2016). The effects climate change has slowed down and the earth is starting to re-heal itself.
This has resulted in an increase of Aboriginal and Indigenous exhibitions in the Tin Sheds Gallery, focusing on their traditional and cultural burning practices. The exhibitions dive into the methods, reasons, and environmental and cultural significance, allowing visitors to gain knowledge on the topic and promote further action against climate change.
insight 4/5
political
The government has now put in continuous effort to promote Aboriginal and Indigenous culture and practices to combat climate change. More Aboriginal and Indigenous Australians are holding positions of power within the government. Aboriginal and Indigenous organisations, such as Firesticks, have grown exponentially and receive government funding to support their communities and traditions, hosting several workshops and conferences to spread their knowledge and stories about cultural burning. Due to the successful result and the emergence of young Aboriginal intellectuals, the Australian government gave them autonomy in decision-making related to environment-friendly and sustainable development policies, for instance, where to install wind or solar power plants and how the society effectively utilises the energy within the smart cities with new technology.The Indigenous-designed and led Empowered Communities initiative have successfully amplified the voices of Indigenous communities, putting Indigenous culture and participation at the forefront of government policy-making and working together on regional agendas that address social, economic and cultural development (National Indigenous Australians Agency, n.d.).
TSG continues to be a place where artists can voice their opinions, share their stories, and document change. As such, political and social events can influence what is shown in exhibitions, for example, the 1988 Australia You’re Still Standing in It exhibition highlighting the Bicentenary Protests opposing the celebration of the First Fleet that resulted in the displacement, injustice, and discrimination against the Aboriginal people. The shift in political power and structure has encouraged Aboriginal and Indigenous Australians to hold exhibitions and amplify their voice. There are exhibitions focusing on their history, culture and role in politics, with annual observances, similar to Black History Month, to pay respects to influential figures.
insight 5/5
ethical
The Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) has unfailingly realised their vision to create “a world in which Aboriginal and Torres Strait Islander knowledge and cultures are recognised, respected, celebrated and valued” (AIATSIS, 2022). The initial release of the Code of Ethics for Aboriginal and Torres Strait Islander Research in 2020 has been renewed multiple times and is now at the forefront of research ethics, ranging from educational, scientific, cultural, societal, to corporate research. With the current focus on Aboriginal land management practices to combat climate change, the AIATSIS Code of Ethics guides scientists, environmentalists, and researchers on conducting their work with integrity and respect for Country, as well as Indigenous self-determination and Indigenous leadership (AIATSIS, 2022).
The Tin Sheds Gallery is now a part of the Australian Museums and Galleries Association (AMaGA), who have long been advocating for Indigenous people’s rights to their cultural heritage through ICIP (Indigenous Cultural and Intellectual Property). Tin Sheds and AMaGA have successfully achieved the last milestone in their 10-year Indigenous Roadmap for Change, increasing the participation of Indigenous communities in the gallery (Marsden, 2019). ICIP is held with utmost importance at the Tin Sheds Gallery, whereby Aboriginal and Torres Strait Islander people have complete control to access, maintain and share their cultural heritage. The increase in First Nations employees at the Tin Sheds Gallery have also welcomed more Indigenous artists and curators to share their knowledge and work at the gallery, and has resulted in a valuable and culturally appropriate relationship building with the broader gallery staff, partners and collaborators.
Reframing The Future Scenario
After analysing the Tin Sheds Gallery's archive and deriving key insights from previous Design Thinking activities, we formulated How Might We Statements to steer our design process and generate more effective solutions for our topic. This reframing of the future scenario enabled us to concentrate on addressing specific challenges and seizing opportunities.
Concept development & Evaluation
03
Prototyping & Testing
We employed diverse design thinking methods, including Crazy 8, Brainwriting and Storyboarding to generate numerous ideas stemming from the previous activities. Afterwards, we utilised Decision Matrices to select the most promising design solution. Subsequently, we developed the chosen concept by creating a series of prototypes and conducted user testing sessions with university participants. These sessions provided valuable feedback and observations from users, enabling us to gain a deeper understanding of their preferences and requirements.
First Iteration: mid-fi prototypes
Second Iteration: hi-fi prototypes
User testing
To comprehensively analyse the collected data from the user testing sessions, we employed effective Design Thinking techniques, such as Affinity Diagramming and Thematic Analysis. These methods facilitated the extraction of genuine user needs, ensuring that our final design solution is thoughtfully tailored to address their specific expectations and enhance their overall experience.
Affinity diagramming : defining user needs
thematic analysis : what do we need to improve?
implementing the insights in final design
Before
Although some users liked the tree design, many users found it awkward to interact. The lighting of the trees also distracted users from where to focus.
after
The tree design has been replaced with the literal concept, and the lighting has been eliminated. So users can focus on the spheres better.
Before
Some users said the space appeared empty in the Unity game scene, and the water on the ceiling might be unnecessary.
after
Four archive trees have been placed in the main space with five balls each, and the water on the ceiling has been removed so the users do not get confused.
Before
The information zone lacked usability, and the user interaction of the stump zone was not cooperative.
after
The information zone has been removed, and collaborative user interactions have been executed on the interactive screen on the big table.
Before
Many users were hesitant or confused about how to interact with an archive ball.
after
The touch icon is embedded in the sphere so users can recognise its interaction method immediately.
Before
Some users were concerned that people with short heights could interact with the archive balls.
after
The archive spheres now have different heights considering people with short heights, so anyone visiting the exhibition can play with the interaction.
Before
The old prototype did not have specific cooperative user interactions with the spheres.
after
Users need to collaborate with others to change the colour of the balls and dystopian city image into a utopian future on the screen.

FINAL DESIGN

Prototyping
Inspired by the Tin Sheds Gallery's archival exhibitions such as Eurobla: Restoring an Aboriginal Carved Tree (1988), TerraRock (1992), and Finding Country: Radical Practice (2019), audiences have the opportunity to explore the significance of indigenous culture and practices. Through interacting with the Archive Trees and the Controlled Burning activity, visitors can learn about the impact of these practices on our future climate and environment, including the benefits of controlled burnings and fires for our planet.
Interaction points
Controlled Burning Activity Zone
This activity zone is completely redesigned as a response to the insights from the formal user test. The Controlled Burning interaction provides a collaborative user experience with other audiences learning about the effects of controlled burning. The flowers created from this activity will be added to the TSG website and become a part of the living archives.
Archival Trees & Globes Zone
The first zone audiences encounter entering Tin Sheds Gallery. Audiences are prompted to interact with archival globes hung from the tree. This user interaction provides an opportunity to learn about the correlation between indigenous culture and climate change: how indigenous culture and practices have contributed to our environment in the past and present and how paying attention to them would benefit our future environment.
archival tree: user flows
01
Tin Sheds Gallery holds an exhibition, "The City that Grows", about the correlation between Climate Change and Indigenous People & Culture. Aboriginal curator welcomes audiences.
02
As soon as the audience enters the exhibition space, they can see the Exhibition Brief and what archives from Tin Sheds inspired the exhibition.
03
Audiences also can see the aboriginal waterways animated on the floor and archive balls with red colours connecting to the tree with electrical cords.
04
Audiences are prompted to interact with the spheres by the text on the screen showing a dystopian climate future, "Interact with the Archive Balls to see how celebrating Indigenous Cultures and Practices can protect our environment from Climate Change".
05
The touch icon prompting the audience to interact with the ball is also on the sphere. A capacitive sensor embedded in the globe detects human touch, so audiences are not confused with its user interaction method.
06
The red archive balls show the Indigenous people's history or the past Indigenous-related exhibitions held in Tin Sheds Gallery. Each sphere demonstrates a different story.
07
Audiences can learn how European settlers have treated Indigenous people in the past, how it has been changed, and how their culture and practices have benefitted our environment by interacting with the archive globes.
08
As the audience interacts with the archive globes, they change their colours from red to green.
09
Once every sphere turns green by audiences interacting with them, the screen starts showing a utopian climate future.
10
The green archive sphere starts showing how indigenous knowledge and wisdom have contributed to our environment and how they could be used in the future.
11
Audiences can also activate TSG’s past photographic archives: TerraRock by Helen Kundicevic (1992) that show the impact of white culture on Uluru. This tangible interaction with the globes corresponds with white Australians’ actions towards the environment and Aboriginal communities.
12
Once the interaction is completed, the screen shows the message, "Move to the next stage inside and please do not forget to keep paying attention to our environment and indigenous people". So audiences do not get confused about what to do after the interaction.
Controlled burning: Table
01
The interactive table greets users with a brief description of controlled burning as an Aboriginal land management practice.
02
After 20 seconds, the UI automatically proceeds to the next screen, providing instructions to users.
03
Users collaborate tocombine small flameson the centreof the interactive table.When one flame getsclose to another flame,they grow larger; untilthey eventually fill upthe circle. This representsthe idea of ‘controlled’burning.
04
Users can draw on either side of the interactive table. Aboriginal icons are presented in a spinning wheel to let users learn each of its meanings. Icons cannot be interacted with.
05
First Nations artist(s), curator(s) or Elder(s) will lead and guide users in drawing the Aboriginal icons.
06
The art-making process will be conducted like a workshop session, so users can learn from First Nations people directly.
07
Once finished, the flowers will appear on the projection, referencing the regrowth of plants after the controlled burning activity.
Controlled burning: wall
01
By dragging the flames to the centre of the screen on the interactive table, the landscape projection will simultaneously regenerate wildlife. When one flame gets close to another flame, they grow larger; until they eventually fill up the circle.
02
Controlled fire will start to emerge on the projection when users interact with the interactive table.
03
After the fire, rain will fall to allow plant-life to regrow.
04
When enough people join together on the activity and the flame capacity has been reached, the projection will change into a flourishing landscape and the interactive table will change to the flower making activity interface.
05
During this stage, First Nations people will lead a workshop session that teaches users about Aboriginal art and iconography, and guide users in drawing their very own unique Aboriginal flower.
06
Once users finish their artwork, flowers and greens will grow on the projection.
07
The flowers created by the users will also start to grow and appear on the projection.
08
The newly created flowers will be added to the Tin Sheds gallery website and become a part of the living archives.
Tin sheds Archive
01
The exhibition website with an introductory text and preview of the Visitors’ Artworks.
02
User can tap on the arrow to view all the artworks created by the visitors.
03
Tapping on an artwork shows the full view with a description. These flower artworks are also seen on the projection.
Final Video Presentation
To showcase the VR exhibition, we crafted a video presentation that captures the essence of "The City That Grows." We recorded immersive footage using Unity VR, designed UI elements with Figma, and seamlessly blended it all together through editing in Premiere Pro and After Effects.
Reflection
07
What I learned

01 Technical Innovation in Virtual Spaces

Bridging reality and virtuality through cutting-edge design
  • Mastered 3D, projection, and spatial design for virtual exhibitions
  • Leveraged Unity to create interactive real-time environments
  • Utilised VR class knowledge and Unity community resources to overcome challenges

02 Historical Context Integration

Weaving legacy into immersive experiences
  • Researched and incorporated Tin Sheds Gallery's rich interdisciplinary history
  • Balanced historical significance with modern interactive elements
  • Translated the gallery's political and experimental legacy into engaging virtual content

03 Engagement Through Immersion

Reigniting visitor interest via participatory design
  • Addressed diminishing visitor engagement through interactive experiences
  • Created opportunities for hands-on exploration of environmental narratives
  • Designed activities demonstrating the impact of individual actions on climate change

04 Cultural & Environmental Stewardship

Amplifying Indigenous wisdom in the fight against climate change
  • Highlighted the connection between Indigenous practices and environmental conservation
  • Integrated Indigenous knowledge into the exhibition's narrative
  • Promoted broader recognition of Indigenous contributions to land management
Nhi Nguyen
· Environmental Scientist
"
The final design beautifully intertwines art and environmental awareness. It’s an eye-opening experience that highlights crucial connections between climate change and Indigenous practices
Jo Brown
· Indigenous Rights Activist
"
As a half Indigenous person, seeing our culture represented in such an interactive way is empowering. This exhibition fosters understanding and respect for our traditions
Song Kim
· Educator
"
The virtual tour is a fantastic educational tool. It would engage students in exploring environmental issues through art, making learning meaningful and memorable
David Thompson
· Student
"
Exploring ‘The City That Grows’ virtually opens up new possibilities for urban planning discussions. It sparks ideas about sustainable development and community engagement
Jia Roberts
· Data Analyst
"
Even from my living room, I felt immersed in the creativity and vision behind each artwork. It’s like being at the gallery without leaving home
Lucas Johnson
· Accessibility Advocate
"
As someone with mobility challenges, this VR exhibition is a game-changer. It would allow me to enjoy cultural experiences that are otherwise difficult to access physically
Nhi Nguyen
· Environmental Scientist
"
The final design beautifully intertwines art and environmental awareness. It’s an eye-opening experience that highlights crucial connections between climate change and Indigenous practices
Jo Brown
· Indigenous Rights Activist
"
As a half Indigenous person, seeing our culture represented in such an interactive way is empowering. This exhibition fosters understanding and respect for our traditions
Song Kim
· Educator
"
The virtual tour is a fantastic educational tool. It would engage students in exploring environmental issues through art, making learning meaningful and memorable
David Thompson
· Student
"
Exploring ‘The City That Grows’ virtually opens up new possibilities for urban planning discussions. It sparks ideas about sustainable development and community engagement
Jia Roberts
· Data Analyst
"
Even from my living room, I felt immersed in the creativity and vision behind each artwork. It’s like being at the gallery without leaving home
Lucas Johnson
· Accessibility Advocate
"
As someone with mobility challenges, this VR exhibition is a game-changer. It would allow me to enjoy cultural experiences that are otherwise difficult to access physically
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