Using a multi-method approach, combining observation, cultural probes, context mapping, and auto-ethnography, this research reveals that individuals with sensory processing sensitivity (SPS) aspire to participate in society, although the fear of overstimulation often leads them to withdraw and remain at home (figure 2). While this strategy may provide short-term relief, it also reduces overall sensory engagement, reinforcing avoidance behaviors and increasing long-term risks [1,2]. Prolonged sensory deprivation can lead to negative neuroplasticity, which has been linked to cognitive decline [1,2].

Fortunately, this process can be reversed through positive neuroplasticity [3]. Research show that interventions aimed to break the cycle are most effective when they incorporate intensive, continuously changing, challenging, and rewarding experiences [1,4] within an enriched —one that integrates motor, cognitive, sensory, and social stimulation [5]. This project explores museums as enriched environments for people with Sensory Processing Sensitivity (SPS).

The introduction of sensory friendly (SF) museum experiences through Stichting Onbeperk Genieten (SOG) has been a significant first step in creating inclusive cultural spaces for individuals with SPS. By focusing on minimizing sensory input during SF visits, SOG has enabled many individuals to enjoy museum visits in a way that was previously inaccessible to them. However, as insights into neuroplasticity and sensory sensitivity evolve, it points to an opportunity to better address the needs of individuals with SPS. Current sensory friendly offerings often lack the intensive, dynamic, challenging and enriching elements necessary to support positive neuroplasticity and encourage individuals to expand their comfort zones.

For some individuals with SPS, SF visits serve as a safe starting point. Yet, the transition from sensory-friendly to standard museum experiences often feels insurmountable, a gap that presents a clear opportunity for a design intervention. By integrating principles of positive neuroplasticity, the cultural sector can create experiences that are not only inclusive but also empowering.

Design Goal and Concept Development
Based on these insights, I formulated the following design goal: To support (potential) museum visitors with sensory processing sensitivity (SPS) in taking small steps outside their comfort zone to build confidence while feeling safe.

To achieve this, I chose an online platform as the design medium, offering flexibility, personalization, and broad reach. Unlike fixed physical interventions, a digital platform allows for ongoing engagement and tailored recommendations.

During the design phase, I developed a framework for the platform’s Minimum Viable Product (MVP), which served as the foundation for ideation. Drawing on this framework, I generated ideas both individually and in collaboration with members of the target. These ideas were translated into three distinct design concepts, each of which was tested with participants from the target group. Based on their feedback, the most valued features were synthesized into a final prototype: UITJE SCHILD.
Final Concept: UITJE SCHILD

Uitje Schild (figure 4) is a web-based platform that serves as a personal guide for sensory-sensitive individuals. It supports users in expanding their comfort zones step by step by recommending museum visits that match their unique sensory profiles. These matches are generated through a combination of user-input preferences and museum sensory data.

A central feature of the platform is PODA, a friendly chatbot in the form of a tortoise, who offers tailored advice and emotional support. PODA helps users plan suitable outings and reflects with them afterward, focusing on the users Win’s. Over time, the chatbot’s recommendations become increasingly accurate and personalized through AI-driven learning.

Evaluation and Outcomes
To assess whether the design goal was achieved, and
to evaluate the concept’s desirability, feasibility, and viability, I conducted a prototype walkthrough with members of the target group. Feedback indicated
that users perceived the platform as a tool for building confidence and expanding their comfort zones. The findings suggest that ‘expanding one's comfort zone’ may be a relevant yet underexplored motivation for visiting museums, as one participant noted the app could help them “live more and more.”

This project provides a strong foundation for developing an inclusive digital platform that supports individuals with SPS in taking safe, supported steps outside their comfort zones. While the current concept is desirable and feasible, further iterations are needed to enhance personalization, test safety in real-life settings, and foster long-term trust and engagement.

In addition, the project consolidates key insights from the design process into practical guidelines to support future designers working with- and for- individuals with SPS.

Venipuncture is a common medical procedure that can cause significant stress and anxiety in children, often intensifying their perception of pain. Virtual Reality (VR) has been explored as a distraction method, but its fully immersive nature can lead to a loss of control, as children are disconnected from their surroundings. This project investigates Augmented Reality (AR) as an alternative distraction tool, allowing children to remain aware of their environment while still engaging in an immersive experience.

The research aimed to answer the question:
How can an AR experience be designed for venipuncture procedures to effectively distract children aged 6–12, reducing their perception of pain and anxiety while maintaining their sense of control?

A combination of theoretical research, patient journey mapping, and co-creation with children was conducted to gain insights into effective distraction strategies. Three child archetypes were identified—The Monitor, The Curious, and The Blunter—each representing different coping styles during venipuncture. Next to that, to enhance the AR experience, pre- and post-procedure experiences are crucial to address.
Based on these insights, the FireFly Forest was developed: an experience that transforms mandatory procedure steps into rewarding challenges. The design includes interactive fireflies, a guided breathing exercise, and positive reinforcement elements to support children throughout the procedure. To evaluate the effectiveness of the design, an AR prototype was built in Unreal Engine and tested in a simulated, non-medical venipuncture setting with children aged 9–11. The results indicated that the experience was engaging, intuitive, and effective in shifting focus away from the procedure. Children described the experience as calming and enjoyable.

Beyond the AR experience itself, the project explored pre- and post-procedure interventions to enhance effectiveness. Two additional concepts were developed: Lumi’s Portal, a waiting room interaction to introduce the AR experience before the procedure, and Lumi’s Adventure Booklet, a sticker-based reward system reinforcing positive associations with medical visits.

While initial testing showed promising results, further research is needed to validate the effectiveness of AR distraction in a real medical setting. Testing in hospitals will provide insights into engagement under real-world conditions, the influence of external stressors, and practical integration into clinical workflows. Additionally, long-term engagement strategies, such as theme variations or gamification, should be explored to ensure engagement for frequent hospital visitors.

This project, in collaboration with the TU Delft Library, aims to design an interactive experience to engage students with the academic heritage collections, specifically to encourage visits to the Collection Wall. Although the library houses an extensive collection of academic heritage objects, many students are unaware of them due to limited visibility and accessibility, as the collections are stored in the basement. The goal of this project is to address this by creating a playful learning experience with academic heritage, engaging students during a study break to initiate interest in the Collection Wall.

The project’s design process followed the Double Diamond method, including the phases of discover, define, develop, and deliver. In the discovery phase, museum studies were explored to understand engagement strategies and the use of digital technology in cultural institutions to inform the design of interactive experiences. A context mapping study revealed students’ needs, behaviors, and attitudes toward the current facilities at the TU Delft Library, their study breaks, and the academic heritage collections. Key findings were captured in user personas and storyboards, identifying the “Determined Socializer” persona as the target group. This group seeks a mode-shifting experience characterized by: social engagement (encouraging discussion through the sharing of perspectives), playful interaction (free-choice learning through discovery), energizing activities (intuitive interaction with minimal cognitive load), attractive design (spontaneous and time-flexible engagement in the break area), and hands-on experiences (active engagement through tangible interaction). This target group expressed an interest in academic heritage content related to past student life.

Based on this research, the concept Storytiles was developed for the Exhibition Cabinet, featuring Delft Blue tiles with embedded technology. These tiles allow students to engage images and news articles, specifically provocative content related to past student life. The outcome of the activity is the creation of a digital collage displayed at the Collection Wall. The stencil machine, sourced from the museum collection, was integrated as a smart-related object. By creating a collage of old student news articles and images and turning the handle of the stencil machine, students metaphorically share opinions on ongoing student life topics, sparking relevant discussions.

The design process involved co-creation sessions and several iterations of prototyping. Feedback from these sessions was used to refine the Storytile concept and ensure it delivered the interaction qualities of a mode-shifting experience. The final design was then evaluated through user testing with students at the TU Delft Library, which showed that tangible interaction and provocative content were effective in engaging students with academic heritage during a study break. It also highlighted areas for improvement, such as enhancing the concept’s attractiveness for spontaneous interaction in the break environment. Future recommendations should focus on refining these aspects and further developing the showcase at the Collection Wall

In conclusion, this project demonstrates the potential of using interactive and tangible design interventions to engage students with the academic heritage collections at the TU Delft Library. It contributes to the knowledge on how a participatory approach can incorporate students’ perspectives in designing heritage-related experiences.

In daily life, we are constantly using our hands to do everything that is important to us. The thumbs play a critical role in this and losing stability of your thumb leads to a reduced Quality of Life. There are numerous conditions that can lead to joint problems in the thumb that negatively affect its stability, like rheumatoid arthritis, osteoarthritis, hypermobility, and dislocation injuries.
In this graduation project, a personalized thumb splint is developed which improves the stability of the metacarpophalangeal (MCP1) joint of thumb. Creating personalized products is not easily viable, so the design workflow for Ultra Personalized Products and Service Systems is used. In this project, that means making use of patient specific 3D scans to create a modifiable design template of a thumb splint. The template needs to be parametrically adjustable to facilitate the production through digital fabrication methods, like 3D printing.
The thumb splint is intended for patients who have mild joint laxity symptoms, meaning that the splint must prevent hyperextension of the MCP1 joint, but allow as many other movements of the hand as possible. This optimizes the patient’s hand function. An elaborate exploration of the current thumb splinting market reveals deficiencies in existing solutions such as the splint slipping off too easily, causing painful pressure, being too bulky or too limiting. In this project, steps are taken to standardize a thumb splint design and create a data-driven workflow, allowing the evaluation and improvement the product performance.
Different scanning positions and additive manufacturing methods were used to produce over 100 thumb splinting prototypes. Each one provides new insights to improve the fit, comfort, effectiveness, security, and appearance of the splint. This led to a final splint design where all the research and prototyping insights are combined.
The result is a splint made of Multi Jet Fusion printed PA12 (nylon). It is modelled on a scan in a new position: a thumb in opposition. It features a hinge which allows more flexion of the thumb, extension to a specified maximum and makes sure the splint stays snugly in place on the skin. It is well secured to the hand, does not cause painful pressure points, and facilitates almost all thumb movements except for (hyper-)extension of the MCP1 joint beyond 180°. Parametric design rules were formulated to adjust the fit to any user, based on their 3D scan, wherein the thumb is in an opposed position.
Potential users were involved in the design process at four different moments to gain insights about criteria priorities and finally evaluate the ergonomics and performance of the splint. The final evaluation revealed that the splint functions as intended and has promising value. The viability of the new design was also evaluated with different orthopedic and fabrication experts. While there is room for further detailing and optimization before implementation, the proposed thumb splinting architecture shows a promising step in the standardization of a solution for people who suffer joint laxity in the MCP1 joint.

Museums are places where the objects displayed are on a pedestal, often quite literally. These objects are found to be of such importance to be selected and displayed for thousands of people, tourists or purists, to see.
This experience of visiting an institution, viewing an almost sacred object you cannot touch, and reading the supplementary text, only goes so far. It is a long shot for trying to communicate the artefacts’ deep backstories, to the visitors.
Could it be possible for this to still be achieved? By appreciating the institute’s wants, respecting the artefact, but not sacrificing depth and interaction with the artefacts. What if a novel technology, Augmented Reality, was implemented, could that create that change?
This train of thought formed the conception of this project.


This graduation project explored the use of Augmented Reality in relatino to Design Heritage artefacts. Ultimately for visitors to be inspired and learned from their stories.
This project was in collaboration with the Henri Baudet Institute, of the Industrial Design Engineering(IDE) faculty. The institute has a collection of classic product design objects for students to learn about and be inspired by.

For this project the context was set to the IDE faculty, and its students from all levels as the target group.

An important other element for this project was the aim to find and strike a balance between real-world interactions and digital ones.

Multiple research methods to get a better understanding of learning and AR were used. Also User studies to uncover the users' wants, needs and dreams.

A iterative process of ideation, prototyping and small scale user tests were performed to effectively improve the concepts and prototypes.

The final outcome is ARchive:
ARchive is an interactive museum experience that brings artefacts to life in an engaging and educational manner. Through the power AR technology and visitors’ smart devices, the now normally hidden stories of these objects can be unlocked. The concept offers a multisensory experience where visitors can interact with, and learn about the artefacts in a casual way, all from devices familiar to them.

This research project departs from two novel concepts, 3D printing fluid, and
fluidic interfaces.

With polyjet 3D printing, micro-droplets of different resin materials are ejected in layers and hardened instantly. Through this technology, complex 3D
parts can be manufactured with up to 8 different materials, including flexible and rigid materials. This project departs from a research study in which
a non-curing resin is used for the first time as one of the printed materials
(McCurdy, 2016), which allows for 3D printed fluid geometries to be designed
inside solid parts. However, the effect of fluid printing on the printed part
quality is not mentioned beyond a list of design guidelines.
Fluidic interfaces is a novel concept, in which fluid is visibly displaced
through small channels, as a result of deforming the flexible structure in
which fluid is placed.

The main objective of this project is to discover whether combining the concepts of fluidic interfaces and the opportunity of 3D printing three-dimensional fluid structures, will create new forms of human-product interactions.
Therefore, these two fields are researched, resulting in a haptic controlled
with 3D printed fluid mechanisms.

Fluidic system structure research
Through low fidelity fluidic system prototypes, made from silicone it is
researched how 3D fluidic systems need to be structured for creating new
human-product interaction forms. From this, it is acknowledged that the
design structure opportunities are based on an input (force), displacing the
fluid, and an output (intended result) which can be visual, physical, or the
combination of both.
With the different structure opportunities, a literature exploration is performed into existing developmental research prototypes within the established opportunities achievable with a fluidic system. With these findings,
generated fluidic system ideas are rated in terms of viability, selecting dynamic textures as the idea to be developed into a concept, and demonstrate
the design opportunities of 3D printed fluidic systems.

3D printing with fluid research
During the development of a dynamic texture concept, fluidic samples are
3D printed to observe the impact fluid has on the structural result. The effect
of this is significant, as fluid spills between printed layers (during the print
process), and severely weakens solid structures. In addition, flexible material
printed in contact with fluid will deform greatly. Thus, solutions are exposed
regarding the part printing alignment and the use of support structures to
manufacture successful 3D fluidic structures.
It is anticipated that 3D printed fluidic parts are to be integrated into a concept, based on the deformation resulting from hydraulic pressure. Therefore
an explorative analysis is carried out comparing finite element predictions to
actual test results, creating a model for further mechanism predictions.

Concept design
Dynamic textures is chosen as the idea to be developed into a concept, thus
the visual and tactile elements of texture are researched. As a result, 4 elements can be dynamically altered with a 3D printed fluidic system: surface
colour, surface height, curvature and hardness. With this opportunity, a
haptic feedback controller is selected as the idea to be developed into a final
concept.
Human tactile variables play the role in receiving information from surface
textures, from which fluidic mechanisms are designed. The mechanisms
(roughness sensor and texture actuator), vary the perceivable surface
roughness and height, with the use of deforming flexible membranes. These
mechanisms are tested on three participants to obtain the design guidelines for optimal texture perception.
The final concept is based on the communication between the user and
a product, through varying surface textures. This is tested with a proof of
concept, on three participants concluding that the product opportunities
of this concept lie in the implementation into immersiveness, or creating a
new tactile language, however a longer testing duration will be needed for
this validation.

Venously printed contributes to the field of HCI and digital manufacturing by exploring the scope and possibilities for programmable and responsive fluidic interfaces, using multi-material 3D printing as a manufacturing technique. Novel meta-materials and computational composites have proven to open up new design paradigms and continue to expand the design space for HCI and material design with unprecedented I/O configurations and material experiences. By encoding the computational logic of dynamic and responsive behaviour into the material’s structure and properties, these materials allow shifting away from typical 2D (digital) interfaces towards embedded responsive 3D objects and materials without the need for external logical operators or controllers.

A novel concept within this field is fluidic interfaces, which utilise liquid flow as a medium to drive dynamic appearance triggered by mechanical deformation input such as pressure, twisting or bending. Within this research, multi-material 3D printing is explored as a manufacturing tool for such fluidic interfaces to allow for more complex 3D geometries, dynamic visual output and encoded computational logic. A set of demonstrators are developed with programmable dynamic appearance, showcasing the capabilities of this manufacturing workflow and the possibility of being tuned for specific material experiences or temporal form in interaction design.

To allow for the fabrication of these interfaces Venously printed presents a fabrication pipeline, including a computational design and simulation tool for designers to validate the responsive behaviour and iterate on their design before going into manufacturing. Additionally, a voxel-based support structure for 3D printing complex internal cavities is developed to provide better printing quality as opposed to available workflows whilst still being able to be removed from complex internal structures. Finally, a first step for the characterisation of the experiential qualities of fluidic interfaces has been performed via a set of interviews. This led to promising future applications and material experiences which can be explored in future work.