Date of Award

Spring 6-4-2022

Document Type


Degree Name

Master in Interior Architecture


Interior Architecture

First Advisor

Yaminay Chaudhri

Second Advisor

Markus Berger


The collections of most museums are comprised of two-dimensional artworks—paintings, drawings, prints, and photography—and are generally presented within a white cube gallery platform. Within this restricted static view, displays rarely consider multisensory engagement and immersion that reveals the accumulated time and effort of creation. Yet for many artists, the process is as important as the finished product.

My impetus for this design initiative began by questioning traditional methods of display. Is it possible to reveal the hidden depth embodied in two-dimensional artworks, allowing audiences to participate with all their senses in the journey of an artist’s experience? In other words, is it possible to make two-dimensional artworks more immersive where the hierarchy between the process and the output is reframed?

Every artist has unique habits of making and for many, the process is neither linear nor even sequential. Assuming an approach based on Wallas’ four-stage model of the creative process, this thesis proposes an exhibition that will allow visitors to experience the artistic process as if they are inside of the artist’s brain and soul, acknowledging the steps Wallas identifies, but not a specific order. Thereby, visitors will become active participants rather than passive observers by navigating four different pavilions comprised of the four keywords: Preparation, Incubation, Illumination, and Verification.

At its core, this thesis proposes a new exhibition design model, called the ‘process-driven immersive exhibition design model’ in connection with Gardener’s Multiple Intelligence Theory. These ideas are directly applicable and adaptable to current art museum practices. I am using my painting as a case study to showcase how this system will be applied to the real world. This system will benefit both art administrators and museum visitors. Specifically, it will be a guideline for artists, exhibition designers, and curators to collaborate and communicate, and thus make for an engaging exhibition and it will encompass a wider range of audiences by facilitating multiple senses, learning styles, and embodied experiences.


View exhibition online: Mooa Seongah Kang: Unfolding Embodied Experience



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