In this project I took a hands on approach across research, writing, experience design, graphic design, production and facilitation on the day.

The experience ran as a one day, four hour journey across six locations, intentionally moving from the familiar to the unknown so the emotional stakes could build as the story reached further back in time. I guided the participants through the route and paced the story reveal through a mix of spoken narration and physical materials delivered at specific moments. Participants received envelopes, prompt cards, old photographs, newspaper cutouts, infographic timelines, and reproduced archival documents, including records that had been top secret and later declassified. Some prompts were reflective, others were puzzle like and collaborative, for example decoding a handwritten document to identify what tattoos a great-great grandfather had, then drawing them onto a silhouette template.

At the end, participants received a custom designed book that brought the full story together through text and images, combining a tactile scrapbook aesthetic with a minimalist editorial layout. It was designed as a keepsake they could return to and share beyond the day.

This project shows how genealogy can be presented as more than dry data, how it can be shaped into a living story that reveals something personal and deeply emotional when it is translated into place, active participation and shared experience. In their feedback, participants said it felt like an adventure, like solving a puzzle or a quest, and that they left feeling more connected to their roots, which were the exact emotions I was designing for.

The Inner Child Party experience was designed to create a dreamlike atmosphere through sensory shifts and simple interaction mechanics, exploring how adults might behave when a space gives them permission to be less composed, more creative, and slightly strange.

Staged over one evening in an open-plan studio, the experience was built as a sequence of thresholds, cues, and interaction points rather than a fixed program. Guests arrived dressed as younger versions of themselves, crossed a ritualised entry sequence, and moved into a landscape of self-directed experiences combining flavour experimentation, collaborative making, conversation prompts, secret tasks, and social games.

The overall design used threshold moments, ambiguous objects, and low-pressure prompts to make the social space feel both slightly unreal and easy to inhabit, allowing interaction to emerge between participants rather than be formally directed.

In this self-directed project, I led the experience end to end, covering concept development, experience design, creative direction, interaction design, graphic design, set design, prop making, and facilitation. I took a circular approach to the set design, sourcing decoration materials from Sydney’s Reverse Garbage (a creative reuse centre that diverts commercial and industrial waste from landfill) and donating the materials back after the event.

The architectural firm’s website design highlights the uniqueness of its projects and the company’s minimalist style, creating a visually striking yet user-friendly interface. The focus is on showcasing architectural works through large visuals, clean lines, and a well-structured presentation of information.