The experience was designed as a spatial descent through time, where history unfolds as visitors move through the Rotunda. Rather than relying on explicit interfaces, interaction is embedded into the environment itself, using movement, presence, and proximity as the primary inputs. An interactive floor responds to visitors in real time, reinforcing the idea that history here is something you walk through.

Visitor progression and narrative moments are coordinated using a combination of RFID triggers and BLE-based companion tracking. RFID provides reliable activation points for key states and transitions, while BLE allows the system to understand user positions and pacing across the space without requiring direct user action.

Visually, the installation blends real-time graphics with pre-rendered cinematic sequences. Real-time content enables responsiveness and continuity as visitors move freely, while pre-rendered moments deliver visual density and emotional impact where precision and scale are critical. Playback is synchronised across the Rotunda using nDisplay clustered rendering to ensure frame-accurate alignment across large-format surfaces.

From a systems perspective, the installation was built for long-term public operation. State management, automated resets, and fault tolerance were designed in from the outset, allowing the experience to run continuously while remaining flexible for iteration and maintenance. The technology is intentionally quiet, supporting the narrative and spatial choreography rather than drawing attention to itself.

Working on Singapore Odyssea clarified for me what it means to design interaction at architectural scale. The challenge was not inventing individual moments, but holding space, story, and system together as a single authored experience. It reinforced my belief that when interaction is embedded into movement, timing, and environment, technology can support presence without demanding attention. This project shaped how I think about leading complex interactive systems, where coherence matters more than any single effect.

The most difficult phase came at the very end, when ideas had to survive contact with real hardware, real space, and real constraints. As the final link in the delivery chain, it fell on us to integrate the interactive systems with the on-site infrastructure and ensure everything worked together as intended. This last mile was daunting. Many assumptions had to be re-evaluated, unexpected issues surfaced, and solutions often had to be found on the spot.

What carried the project through was a combination of strong partners and deep in-house problem solving. The process demanded calm decision-making, technical flexibility, and a willingness to adapt without compromising the core intent of the experience. Seeing the system finally come together in its full form was deeply affirming, not because it worked, but because it proved that complex ideas can be realised when design, engineering, and trust in the team are held in balance.

At the entrance, Project Citizens functions as an invitation rather than an explanation. A large-format video wall presents interviews with individuals of multicultural backgrounds, conducted by students, allowing visitors to choose who to listen to and in which language. Directional audio delivered via overhead sound showers creates an intimate listening experience despite the scale of the display.

At the conclusion of the exhibition, Pledge shifts the visitor from observer to participant. Visitors select a word from the Singapore Pledge that resonates personally, then interpret it through movement. Using multiple Orbbec depth cameras, the system captures motion and transforms it into abstracted silhouettes, preserving anonymity while foregrounding expression.

These two experiences intentionally bookend the exhibition, which includes several intermediate sections designed by our partners. Rather than replicating content, our interactions focus on framing the journey, setting an emotional entry point and a collective closing moment that visually gathers individual participation into a shared presence.

This experience, specifically the Pledge interaction, went through seven distinct iterations before it arrived at its final form. Each version solved something, but also exposed a new weakness or unanswered question. What I learned through that process is that ideas rarely arrive complete. They need to be tested in the real world, challenged by constraints, and allowed to fail in small, useful ways. I also learned the value of restraint. Some earlier versions of Pledge were louder, more explicit, or more technically ambitious, but they distracted from what the interaction was really meant to do. Over time, it became quieter and more focused, not because less effort went into it, but because we understood better what to remove. Most importantly, working through these iterations reinforced my belief that meaningful interactive experiences are shaped through patience and listening. When you stay with a problem long enough and observe how people actually respond, the work begins to guide its own refinement, and something more honest and lasting has a chance to emerge.

We designed SPace as a fully multiplayer 3D environment accessible via mobile and desktop browsers, allowing prospective students to explore a shared virtual campus together. Rather than relying on static pages, information was embedded into space, encouraging discovery through movement and exploration.

The experience was conceived as a hybrid system. Remote users could attend the open house entirely within the virtual campus, while on-site visitors engaged with SPace through a digital treasure hunt that connected real-world locations with their virtual counterparts. This allowed the digital and physical experiences to reinforce each other rather than exist in parallel.

From a technical perspective, the system balanced real-time multiplayer behaviour with the constraints of browser-based 3D. Performance, stability, and clarity were prioritised so the environment felt alive and social without overwhelming users or requiring specialised hardware.

SPace reinforced my belief that digital environments work best when they are treated as places rather than platforms. Designing a shared virtual campus that could function independently while also augmenting a physical event required a careful balance between ambition and accessibility. The experience needed to feel alive and social without assuming any prior familiarity with virtual worlds.

A significant part of the challenge sat beneath the surface. To support a large, explorable space within the constraints of mobile and browser-based devices, we designed a bespoke memory management system that allowed areas to load seamlessly without increasing runtime memory. This made it possible for users to move fluidly through the environment without interruptions, even on lower-spec hardware.

We also relied on a range of rendering and optimisation techniques to achieve visual richness while maintaining smooth performance. Careful control over lighting, asset complexity, and draw calls allowed the experience to run at up to 60fps on weaker devices. This project reaffirmed for me that technical rigour and experiential quality are not opposing forces, but partners in creating spaces that feel both accessible and convincing.

We framed the interaction as a simple authorship model: visitors choose exactly three icons from eight lifestyle themes to define their "T5 of the future." The interface is built around a clear, constrained decision set that stays approachable for all ages, while the underlying system remains deterministic and production-safe.

Selections are visualised in a 3D character-led scene, where chosen icons populate dynamic mini-bubbles in real time. After selection, the kiosk reveals a popularity view that scales all icons by live percentages, using collision-based layout behaviour so the data feels animated and alive rather than static.

To extend the experience beyond the kiosk, we designed a clean handoff to the large screen system via TCP messaging. The payload includes the three selected category IDs and kiosk identity, allowing the installation to react contextually while keeping the kiosk interaction fast and self-contained.

For the optional photo moment, we implemented an end-to-end capture and compositing pipeline. A timed capture feeds a segmentation stage using YOLO with SAM2 to extract the visitor cleanly, then an off-screen camera generates a set of 4:3 outputs including one personalised composition driven by a lookup table, plus three curated defaults. All images upload via API to a microsite that returns a QR code for immediate download and sharing, followed by an automated reset and session control to maintain throughput.

This proved that public-facing interactivity can be both expressive and operationally robust. By keeping the front-end interaction simple and the back-end pipeline deliberate, visitors get a sense of authorship, the installation stays stable under real throughput, and the experience carries forward through a shareable artifact. The result is an interaction that feels personal on the surface, while remaining carefully engineered underneath.

The experience was structured around a simulated operating system, where players investigate by navigating virtual desktops, reading emails, analysing files, and communicating through text-based interfaces. Every interaction serves both narrative and mechanical purposes, allowing the story to emerge organically through player discovery rather than scripted exposition.

Puzzles were designed to feel grounded and legible rather than technically complex. Mechanics such as the tunnelling mini-game were simple to implement, but refined through iteration to ensure they communicated clearly and felt fair. Difficulty tuning focused on improving understanding and flow, treating player confusion as a design problem rather than a challenge to be overcome.

The project was developed entirely solo, with design, programming, narrative structure, UI, puzzle systems, and audio all built as a single cohesive practice. Scope was intentionally constrained from the outset, prioritising coherence and intent over scale, and ensuring that every system justified its presence within the experience.

Greyhat was a formative project for me. Working solo forced a deep focus on intent, communication, and restraint, and clarified how strongly mechanics can carry narrative when treated as expressive tools rather than technical layers. It reinforced my belief that interactivity is most powerful when players are given space to think, interpret, and discover for themselves, a perspective that continues to shape how I approach interactive work today.

We built the experience around Becky Bunny and a journey through Bunny Town. A clear character-led storyline gave children an emotional way into each lesson, with situations and choices showing how family values appear in everyday actions.

Short games and activities broke the journey into approachable moments suited to younger attention spans. Progress came through participation and discovery, keeping the experience encouraging while allowing each value to be reinforced in more than one form.

The game was delivered as a safe, ad-free browser experience, making it easy for families to begin playing together. The design treated the accompanying adult as part of the experience, using story moments to prompt discussion rather than positioning the screen as a substitute for it.

Bunny Town Adventure showed that educational play works best when the lesson is embedded in character, action, and conversation. The goal was not to reward children for repeating the right phrase, but to give families a shared story through which those values could be recognised and discussed.

The offline game places children in the bright, reassuring world of Garden Town. Across three chapters and six mini-games, familiar plant characters guide players through body ownership, recognising unsafe actions, saying no and moving away, and identifying trusted adults who can help.

Interactions turn each principle into something a child can practise. The experience reinforces a simple protective sequence—say no, move away, and tell someone you trust—while helping children recognise discomfort and understand that unsafe secrets should be shared.

Solo and guided-play modes allow the same material to work in different settings. Prompts and supporting resources help parents, educators, and caregivers pause the game for meaningful conversations, so learning can continue beyond the screen.

This project required restraint, clarity, and close attention to tone. The strongest design decisions were the ones that made difficult ideas easier to name without oversimplifying them, giving children practical actions and giving protective adults a gentler way to begin an important conversation.

Players join Saba the otter after she discovers an interdimensional being in the Singapore River. Equipped with the Panoptik, Saba and the player must locate and seal unstable Time Rifts before they threaten reality. This central device gives every location, collectible, and AR encounter a clear place in the story.

A playful interactive map becomes the main navigation layer. Players move Saba between recognisable Singapore locations, including ION Orchard and Science Centre Singapore, and discover Place icons, Lost Artefacts, and partner-specific Mega Rifts. The experience is delivered through the mobile web and can be entered through the campaign site, QR-coded standees, and social media.

Lost Artefacts connect the fiction to Singapore's past and possible future, pairing collection mechanics with short educational stories. Location-based AR effects, hints from Saba, an Artefact Bag, and a Voucher Wallet turn exploration into a readable progression loop while keeping the interface approachable for casual players.

The platform was also designed to accommodate partners. Custom landmarks and Mega Rift mini-maps could bring visitors to specific destinations, while branded AR effects and retail rewards gave each activation a practical campaign role. Optional registration allowed players to retain progress and vouchers without blocking access to the core experience.

The project demonstrates how an original character and a flexible quest system can turn separate destinations into one coherent world. Delivering the experience through the mobile web lowered the barrier to entry, while the map, narrative, collectibles, and rewards created enough structure for the platform to expand with new places and partners.