SUARA: Ripples in the Ocean of Silence

Immersive Exhibition Design: UNSW Master of Design Capstone Project

Curatorial Premise

SUARA was inspired by the deafening sound of being underwater and the anxiety of relying solely on sight and touch for navigation. These sensations mirror the lived experience of many deaf individuals, whose world is shaped by the absence of sound and a heightened reliance on other senses. Knowing that most able-bodied people may never fully understand what it means to live without hearing, SUARA uses immersive soundscapes to simulate varying levels of hearing loss.

Through this multi-sensory journey, visitors are encouraged to explore the nuanced challenges and resilience of the deaf community. By gradually stripping away auditory input, the exhibition compels visitors to rely on their tactile and visual abilities to connect with the world around them, cultivating an appreciation for the diverse ways humans experience life.

The idea is to ingrain a sense of empathy and understanding in a way that’s both intrusive and effective. I want visitors to leave SUARA as changed individuals; people who find advocating for deaf voices as natural as the waves in the ocean.

Why SUARA?

Indonesia is the fourth most populated country in the world (WHO, 2023) with an estimate of 9 million among them being deaf, hard of hearing (HoH), or having varying levels of hearing impairments (Rohmah, 2022). Despite the large number, the stigmatisation of deaf communities are still rampant today. This lack of public awareness has led to unequal opportunities, economic fragility, and low quality of life for deaf and HoH people.

Young generations in Indonesia have a growing interest in the arts (Bajraghosa, 2017), which makes a good entry point for an artistic intervention that can stimulate meaningful discussions. Interactive exhibitions have been popular in urban cities such as Jakarta, Yogyakarta, and Bandung, but none have explicitly implemented total immersivity.

The word ‘Suara’ in Indonesian directly means ‘sound’ and ‘voice’, but it also means ‘ripples’. ‘Ripples in the Ocean of Silence’ is an analogy of how this exhibition is a small yet impactful ripple in a still and indifferent ocean of abled-bodies.

The exhibition takes on a ‘water’ theme, not just because of its name, but also referring to how water can be a sound conduit, visualisation of vibrations, and symbol of adaptability and resilience.

Institution Identity:

Museum MACAN, Jakarta

I chose Museum MACAN as the location because of the institution's advocacy for education through modern and contemporary art. Museum MACAN’s main mission is “...to be an art institution that is dedicated to interdisciplinary education and cultural exchange.” They actively collaborate with schools and educational institutions, offering workshops, excursions, and materials relating to their exhibition and programs. This aligns with SUARA’s mission: to educate the general public on the lives and aspirations of deaf and disabled communities in a non-linear, unprecedented way.

The museum is also highly accessible in terms of transportation and disability assistance. Because SUARA is an accessibility-first exhibition, these amenities are vital to the exhibition's delivery and fulfills the very basic needs of people with all abilities.

Lastly, Museum MACAN’s popularity is part of the exhibition’s marketing strategy. The museum is well known not just among Jakartans, but also art lovers across the country. Their reputation will help boost deaf artists’ influence, which is one of the expected outcomes of this exhibition.

Exhibition Objectives

Educational

The exhibition should educate and enlighten, not amuse.

Co-design and Collaboration

The exhibition should involve deaf and disability communities in all aspects and stages.

Multi-sensory Engagement

The immersivity involves lower levels of hearing and heightened senses.

Accessible and Inclusive

All aspects of the exhibition should be accessible for all audiences with varying needs.

Target Demographic

School and University Students

Working Class Millennials

Educators and Teachers

Social Workers

Conceptual Framework

Logo Exploration

Since this exhibition showcases disability and emphasises accessibility, I aimed to create branding that feels both sophisticated and inclusive, while maintaining a welcoming tone. To achieve this, I explored hand-drawn elements to give the design a grounded, approachable quality.

For typography, I carefully selected fonts that are dyslexia-friendly, focusing on legibility. This included experimenting with typefaces that addressed common challenges in recognising letters like 'I,' 'O,' 'E,' and 'A' for individuals with dyslexia.

The colour palette was centred around blue to align with the exhibition's theme, complemented by accent colours to add depth and vibrancy.

For the logo, I wanted a fresh perspective and asked my partner to sketch shapes that he felt represented 'SUARA.' The final design draws inspiration from his sketches, incorporating the letter 'S' and a concave shape that represents ears. I refined the concept using a paint stroke texture to emphasise the artistic nature of the exhibition.

Final Logo Design

Exhibition Poster Concept

Exhibition Branding

Brand Imagery

Flyer Design

Soundscapes

SUARA’s main proposition is to offer a hearing loss simulation in the form of soundscapes related to bodies of water. As visitors enter the exhibition, they are provided with headphones that play light water sounds, and as they go deeper in, the sounds will slowly grow into that of a ‘deafening’ submersion into a vast ocean.

The soundscapes will change at trigger points throughout the exhibition, located at the entryways of each section.

While it is encouraged to use the museum-provided headphones (as it offers comfort for long-time use and proper noise-cancellation), visitors are welcomed to use their own listening devices by scanning the QR code provided on the exhibition flyer.

Click here to listen to the soundscapes.

Narrative Strategy and Storyline

The exhibition is divided into four main sections called ‘phases’:

Phase 1: The Shallow Stream (hearing loss simulation at 25%)

Visitors are welcomed by the soothing sound of a trickling stream, symbolising the ‘opening’ of the body of water (i.e. the exhibition). The Conjugation Room is located in this section, where visitors can verbally communicate with one another, both with or without the headphones.

Phase 2: The River Bend (hearing loss simulation at 50%)

As the ambient sound is slowly shutting down, visitors are encouraged to use their tactile abilities to interact with the artwork. This section highlights the importance of touch for deaf people as they navigate the world.

Phase 3: Stormy Seas (hearing loss simulation at 75%)

In this section, visitors will hear the sound of waves crashing in the ocean during a thunderstorm. The uncomfortable and somewhat jarring sound should increase visitor’s alertness to their surroundings. Because of that, this section requires users to use a mix of their sight and touch to navigate through the final legs of the exhibition.

Phase 4: The Ocean Deep (hearing loss simulation at 100%)

At the final stage, visitors will completely lose reliance on their hearing and lean towards their other senses as they navigate through immersive and interactive experiences.

Floor Plan and Visitor Flow

Featured Artists and Installation Concepts

In addition to designing the exhibition, I took on the curatorial role by consulting organisations like BISINDO and collaborating with deaf and hard-of-hearing individuals to authentically represent their experiences.

Indira Natalia

Indonesia

Sudah di Ambang Sebentar Lagi Lepas

2024

Moving picture

Immersive projections show people singing in sign language, with one hidden screen displaying subtitles. An analogy of ‘reverse’ accessibility for non-deaf people.

Polina Gerasimova & Various Artists

Bulgaria

A Look Inside

2024

Multi-sensory installation, mixed media

Inspired by the Van Gogh Alive house, deaf artists recreate their life-size ideal homes that cater to their needs through visual, tactile and scented elements.

Es Devlin & Anugrah Fadly Kreato

England & Indonesia

Reflection

2024

Interactive installation (mirrors, mixed media)

Inspired by Yayoi Kusama’s Infinity Mirror Room, this immersive room invites visitors to reflect on their disability advocacy.

Trailer Video

The Annual:

UNSW School of Art & Design Graduate Exhibition

SUARA: Ripples in the Ocean of Silence was featured at The Annual, UNSW School of Art & Design Graduate Exhibition at the Paddington Campus, Sydney. The display included flyers, an exhibition booklet, and immersive soundscapes accessible via headphones, offering visitors a glimpse into the envisioned full-scale experience.

Click here to see SUARA on The Annual's official website.

Posters for The Annual

SUARA: Ripples in the Ocean of Silence at The Annual

Ethical Statement and Considerations

As a privileged, able-bodied person, I understand it is my responsibility to amplify deaf and disabled communities’ voices while not speaking for or over them. I employed a semi co-design method where I did secondary research as much as I could on how exhibitions respectfully showcase disability artworks, as well as mini user research with deaf advocates, friends and acquaintances with deafness or hearing impairments, and an audiologist to ensure the accuracy and relevancy of each element of the exhibition. Furthermore, I tried my best to not pour my own bias into the making of this exhibition; all the design work was inspired by relevant users and stakeholders.

Moreover, the curatorial activity itself involved accessibility considerations. For example, I chose Museum MACAN for the exhibition location, as it is a highly accessible museum in the heart of Jakarta. Headphones are chosen over in-ear earphones because of their comfort and how they can soothe cognitive load. If visitors feel uncomfortable using the museum’s headphones, a link is provided to listen to the soundscape on their own devices. These are attempts I did to ensure the exhibition is as accessible as possible. However, I am always open to criticism, changes and improvements should one or more individuals feel incorrectly represented.

I believe that design has the power to highlight social disparity and create meaningful experiences. As a UX and Graphic Designer, I position myself as the liaison between able-bodied audiences and the deaf community. My role in this project is the facilitator that does not just create the exhibition concept, but also solutions that are rooted from real and authentic experiences of the deaf community.

Looking at the future of design, I believe that designers have a big responsibility in developing products, services and experiences that are not just aesthetically stimulating, but also inclusive and sustainable. The world continuously evolves; challenges such as social inequalities, technological disruptions and climate change require designers that can respond with empathetic and relevant solutions. Thus, I am committed to continuously use my skills and expertise in designing a future that is more humane, just and inclusive.

References

Bajraghosa, T. (2017). ARTJOG: FROM JOGJA TO ARTWORLD. Goethe-Institut Indonesien; Goethe-Institut Indonesien. https://www.goethe.de/ins/id/en/kul/mag/21031617.htmlRohmah, A. (2022, April 4). This outlet in Indonesia reports for deaf and hard of hearing audiences. International Journalists’ Network. https://ijnet.org/en/story/outlet-indonesia-reports-deaf-and-hard-hearing-audiencesWHO. (2023). Indonesia data | World Health Organization. Data.who.int. https://data.who.int/countries/360Images found in the Target Demographic, Brand Imagery, and on the posters are sourced from Pexel.com.

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