Interactive & Immersive Experiences

When a museum, cultural institution or company is building something people physically encounter: a new permanent or temporary exhibition, an interactive gallery, a projection or video-mapped piece, a public installation, a visitor centre, a spatial or XR experience.

The right moment is while the content and the space are still being argued about. Once the screens are specified, the interesting decisions are already gone.

Two failures are common. In the first, the technology becomes the exhibit: an impressive system that visitors use once, photograph, and learn nothing from. In the second, rigorous content is simply transcribed onto screens, and the subject — which is genuinely interesting — reads as homework.

The work is to find the form in which the material becomes something a visitor wants to explore, and then to make the technology disappear behind it.

• The experience concept — what a visitor does, in what order, and what they leave with
• The visual language: illustration, graphic design, animation, 3D and the environment it all lives in
• Art direction across every surface — projection, touchscreen, sound-guided space, physical graphics
• Work with curators, content experts and scientific advisers so the material stays accurate while it becomes accessible
• Direction of technology partners and developers, so the interaction serves the story rather than demonstrating itself
• Adaptation of the design to the architecture, its light, its acoustics and its constraints

Installed experiences are multidisciplinary by definition. Depending on the piece, that has meant illustrators, designers, animators, 3D artists, developers, technology and integration partners, curators and subject-matter experts working in parallel. I lead the concept and visual language and direct the disciplines against it; where a project already has a technical integrator or an exhibition designer, I work into that structure rather than replacing it.

Tower of David Jerusalem's history as exhibitions you walk through — projection, touch and sound inside a historic landmark. Museum of Natural History Environmental science turned into something visitors explore hands-on, built with a multidisciplinary team. Taormina Sicily Greek mythology projected onto a Sicilian landmark, mapped to the building's exact contours.

Also relevant: National Library of Israel, Community Lights and the Kan 11 interactive election broadcast.

Buying production for an exhibition gets you screens that work. Buying direction decides what should be on them — and, more usefully, what should not be a screen at all.

Installed work is unforgiving in a way campaigns are not: it runs for years, in public, in front of visitors who did not choose to look. That is exactly why the concept has to be settled before the hardware is.

Independent engagements typically begin at ₪30,000. Full exhibition and installation projects, where a multidisciplinary team and technology partners are assembled around the work, are scoped separately. Related reading: what museums get wrong about technology.