This studio really changed the way I understand design. I used to think of it mostly in terms of visual aesthetics—how things look on a page or screen. But now, I see design as something much more layered. It’s a process that involves thinking, feeling, collaborating, and experimenting. Methods like design thinking, cross-disciplinary teamwork, and multimedia storytelling have given me new tools and fresh perspectives to work with.

One of the biggest takeaways for me was learning that the process matters more than just getting to a polished result. Through constant testing, sharing ideas, and revising based on feedback, I realized that mistakes are actually really valuable—they help push the work to a deeper level. In future projects, especially those involving interactive or narrative-driven content, I want to focus more on early-stage experiments and testing ideas with others.

Working on the exhibition and developing my own video piece helped me discover something else: I’m really interested in how design can create an emotional connection with an audience—not just through visuals, but through sound, movement, and even physical space. This got me curious about interactive and digital media design. While it’s not my primary focus right now, I’m excited to keep exploring it further. The Tate (2024) describes digital art as work made or presented using digital technologies—and I’m starting to see how rich and expressive this field can be, especially when it comes to combining different sensory elements.

I’m particularly drawn to ideas like audience participation, responsive experiences, and multisensory storytelling. As Filipe Nzongo (2025) puts it, interaction design isn’t just about visual creativity—it’s about understanding people and designing with empathy and intention. That really resonated with me, and it’s something I want to explore more deeply.

Collaborating with students from other countries also left a big impression on me. It challenged me to explain my ideas clearly across different languages and cultural perspectives. That experience made me more confident about communicating in international settings—and it’s strengthened my interest in future exchange and working in global design environments.

Going forward, I want to keep using video and sound as expressive tools—especially to tell stories or communicate abstract emotions. I see a lot of potential in combining these elements to create designs that not only look good, but also feel meaningful.

In the end, this studio shifted how I see my own practice. It helped me move beyond static visuals and start thinking about how people interact, respond, and connect with design. My goal is to create work that’s not just “nice to look at,” but invites curiosity, reflection, and emotional eng.

—— (2024) Digital art – Art Term, Tate, https://www.tate.org.uk/art/art-terms/d/digital-art.

Filipe Nzongo (2025) Interaction design demands more than visual creativity, Medium, https://uxdesign.cc/interaction-design-demands-more-than-visual-creativity-aa0092b84ab1.

Studio pictures (Play the white buoy😄）

Freya