Museum of Memory: Pink

Pink can be remembered in completely different ways depending on the era and culture. Our group focused on the idea that pink can act as a cue that brings memories to the surface, and designed an experience that archives private, personal memories within a ‘public museum’. What kind of pink is your memory?

A Colour That Remembers

By working with the qualities of pink that can support reminiscence, we aimed to draw out memorable experiences. We then visualised those experiences through a creative toolkit using clay, and collected and recorded the stories that emerged. Our intent was to design an archiving experience that translates private memories into a form that can be held and shared as a public museum.

Tuning Pink, Tuning Memory

We researched the historical, regional, and cultural meanings of pink, and focused on its potential connection to reminiscence. We ran a workshop where participants created their own ‘personal pink’ using LED lighting, then visualised that experience through clay and sketching. By collecting story cards, we gathered different pink-related memories and developed a direction for archiving personal recollections in the form of a public museum.

Colour can act as a fast, intuitive cue for personal memory, and that the flow of ‘colour experience → creative toolkit → story collection’ was well suited to archiving.

The Museum You Make

We invite you into a museum filled with our pink experiences.

Each artefact was covered with a cloth. Visitors lifted it themselves – turning passive viewing into an act of uncovering. There was no prescribed order: any object could be chosen at any point, and a corresponding animation and narration would play for whichever memory was revealed.

We chose to prototype this in Keynote rather than build a live-triggered system: each artefact mapped to a slide, triggered by an operator in real time. Getting the emotional logic of the interaction right came before the technical build.

What the Archive Revealed

The decision to prioritise experience over technical build paid off in the critique. Even when technical constraints are anticipated, this process built my confidence that it is still possible to prototype and communicate an experience fully.

One suggestion from the critique shifted how I think about spatial immersion: even in an exhibition prototype, placing multiple objects along the journey to the space could help design immersion before the core experience begins.