Our method focuses on active public participation: poetics, aesthetics, and technology work to emotionally engage the spectator.

The masterpiece is the itinerary:  the technology is invisible, evoking wonder and emotion, working towards the goals of the installation, which change case by case, according to the client’s needs and in line with the possibilities of the space and effects available. In all of auoraMeccanica’s site-specific installations and interactive museum displays, we work to “hint at the invisible”; today, museums aren’t just the material places of culture, but they are ever more really and truly cultural habitats; essentially places, where, not only the electronic apparatus comes together with the virtual and physical spaces, but also the subject matter and the experience of the visitor are involved.

Fabricating museum spaces isn’t just about optimizing the space for hosting the objects: it moves from the object to the story around the object, to give more space to the relationship that the visitor establishes with the object itself.

Multimedia technology has the capacity to evoke otherwise impossible narratives and contexts. The use of multimedia enhances the contexts that surround the finds at their origin, it emphasizes the actions that accompany its story, it recomposes a story around which the object can be contextualized, and it forces the object out of its immovable sacredness. The evocative and emotional value of multimedia amplifies the didactic value of museum itineraries. Entering a museum in this way is like entering a story, you not only read and see it, but you live the museum.

Multimedia Methodology

• Active and Participative Role of the Spectator

The works become experiences, being themselves the containers within which the spectator becomes involved. The museum’s collection becomes a story where the spectator is called to an active role; co-protagonist of a system that amplifies and harnesses the cognitive and sensorial potential of the collection.

• Socializing and Ritualistic Dimensions

The design of the environment and staging of the pieces are a better fit for collective rather than individual use. A place where choices are the results of the experiences of more people. The story proceeds due to collective decisions so that next to the relationship between human and technology, we also experience the person to person relationship. 

• Technological Devices are not shown

In the design of exhibition spaces, the technological devices are not the focus of the exhibit; however, they make their effects felt. The visual presence of the machines is decreased to enhance the delicacy of the environment creating conditions of normality and familiarity.

• Natural Interfaces

We research and test interactive devices that react without the use of technological prostheses (mouse, keyboards, etc.), but through the use of traditional modes of communication like the use of touch, voice, or a gesture, to create greater familiarity in the use of the multimedia contents.