Mediatory Architectures in Immersive Exhibition Design: Structuring Perception, Emotion, and Knowledge
Research Article
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Mediatory Architectures in Immersive Exhibition Design: Structuring Perception, Emotion, and Knowledge

Zhineng Ding 1*
1 Northeast Normal University
*Corresponding author: 2024101681@nenu.edu.cn
Published on 11 November 2025
Journal Cover
CHR Vol.96
ISSN (Print): 2753-7072
ISSN (Online): 2753-7064
ISBN (Print): 978-1-80590-523-3
ISBN (Online): 978-1-80590-524-0
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Abstract

This paper theorizes immersive exhibition design as a form of mediatory architecture—a space that choreographs perceptual, emotional, and epistemic experience. Grounded in cognitive aesthetics, spatial theory, and media studies, the model offers an integrative approach to understanding how immersive environments structure meaning. It names four central mechanisms - Frame (spatial structure), Flow (emotional sequencing), Focus (interactive attention), and Feedback (embodied response) - as structural pillars of immersive experience, and offers a structurally rigorous model for exhibitions as knowledge-producing environments to replace spectacle-based readings of immersive art discourse. The research requires empirical validation in the form of space-syntax mapping, eye-tracking, and presence measurement, and directs attention to the ethical responsibility of designing cognitively and culturally meaningful experiences. Moving beyond spectacle-related interpretations, this integrative approach provides a formal model of exhibitions as epistemic environments.

Keywords:

Mediatory Architectures, Immersive Exhibition Design, Cognitive–Epistemic Framework, Spatial Mediation, Presence&Embodied Feedback

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Ding,Z. (2025). Mediatory Architectures in Immersive Exhibition Design: Structuring Perception, Emotion, and Knowledge. Communications in Humanities Research,96,42-52.

References

[1]. Lawhead, E. (2023, April). Continuity: sharing space in teamLab’s digital ecosystems. In Arts (Vol. 12, No. 2, p. 74). MDPI. https: //doi.org/10.3390/arts12020074

[2]. Grau, O. (2004). Virtual Art: from illusion to immersion. MIT Press.

[3]. Wolf, W., Bernhart, W., & Mahler, A. (Eds.). (2013). Immersion and Distance.: Aesthetic Illusion in Literature and Other Media (Vol. 6). Rodopi.

[4]. Qi, Y., & Wang, Y. (2025). A Framework for Designing, Developing, and Evaluating Immersive and Collaborative Interactive Exhibitions in Cultural Heritage. Cognitive Science & Interactive Art Systems, 1(1). https: //doi.org/10.37420/J.csias.2025.002

[5]. Chen, S. X., Wu, H. C., & Huang, X. (2023). Immersive experiences in digital exhibitions: The application and extension of the service theater model. Journal of Hospitality and Tourism Management, 54, 128-138. https: //doi.org/10.1016/j.jhtm.2022.12.008

[6]. Mondloch, K. (2022, September). The influencers: van Gogh immersive experiences and the attention-experience economy. In Arts (Vol. 11, No. 5, p. 90). MDPI. https: //doi.org/10.3390/arts11050090

[7]. Wei, Z., Liao, J., Lee, L. H., Qu, H., & Xu, X. (2025). Towards Enhanced Learning through Presence: A Systematic Review of Presence in Virtual Reality Across Tasks and Disciplines. arXiv preprint arXiv: 2504.13845.https: //doi.org/10.48550/arXiv.2504.13845

[8]. Ahn, S. J. G., Nowak, K. L., & Bailenson, J. N. (2022). Unintended consequences of spatial presence on learning in virtual reality. Computers & Education, 186, 104532. https: //doi.org/10.1016/j.compedu.2022.104532

[9]. Thorp, S. O., Rimol, L. M., Lervik, S., Evensmoen, H. R., & Grassini, S. (2024). Comparative analysis of spatial ability in immersive and non-immersive virtual reality: The role of sense of presence, simulation sickness and cognitive load. Frontiers in Virtual Reality, 5, 1343872.https: //doi.org/10.3389/frvir.2024.1343872

[10]. Langer, S. K., &. Langer. (1953). Feeling and form (Vol. 3). London: Routledge and Kegan Paul.

[11]. Hillier, B. (2007). Space is the machine: a configurational theory of architecture. Space Syntax. https: //discovery.ucl.ac.uk/id/eprint/3881

[12]. Freitag, F., Molter, C., Mücke, L. K., Rapp, H., Schlarb, D. B., Sommerlad, E., ... & Zerhoch, D. (2020). Immersivity: An interdisciplinary approach to spaces of immersion. Ambiances. Environnement sensible, architecture et espace urbain.https: //doi.org/10.4000/ambiances.3233

[13]. Pine, B. J., & Gilmore, J. H. (2011). The experience economy. Harvard Business Press.

[14]. Grove, S. J., & Fisk, R. P. (1992). The Service Experience as Theater. Advances in consumer research, 19(1).

[15]. López-Rodríguez, M., Rodríguez-Pérez, V., & Rodríguez, A. F. L. (2024). Immersive and virtual exhibitions: A reflection on… art?. Arts & Communication, 3(1), 3688.

[16]. Bruno, G. (2002). Atlas of emotion: Journeys in art, architecture, and film. Verso.

[17]. The Rise of Immersive Art. Analysis of global immersive exhibitions. 2022. Available from: https: //www.newyorker.com/news/letter-from-silicon-valley/the-rise-and-rise-of-immersive-art

[18]. Grassi, J. (2022). TeamLab borderless: The role of play in immersive, interactive installations (Doctoral dissertation, Concordia University).

[19]. Koch, H. (2019). Rain Room interview. ACMI Talks. Retrieved from turn0search3.

[20]. Random International. Rain Room. 2012. Available from: https: //www.moma.org/calendar/exhibitions/1352

[21]. Haslem, W. (2020). Teamlab borderless: Bridging borders in simulated ecologies. MAST: The Journal of Media Arts Study and Theory, 1(2), 242-263.

[22]. Noë, A.(2004).Action in Perception. MIT Press. https: //doi.or/10.7551/mitpress/10319.001.0001

[23]. Random International. Rain Room updates and exhibitions. 2025. Available from: https: //random-int

[24]. ACMI. Rain Room exhibition overview. 2019. Available from: https: //www.acmi.net.au/stories-and-ideas/recorded-talks-hannes-koch-rain-room/

[25]. Dourish, P. (2001). Where the Action Is: The Foundations of Embodied Interaction. MIT Press. https: //doi.org/10.7551/mitpress/7221.001.0001

[26]. MoMA. (2022). Garden lobby LED display [Refik Anadol Unsupervised]. Museum of Modern Art.https: //www.moma.org/calendar/exhibitions/5535

[27]. Cummings, J. J., & Bailenson, J. N. (2016). How immersive is enough? A meta-analysis of the effect of immersive technology on user presence. Media psychology, 19(2), 272-309. https: //doi.org/10.1080/15213269.2015.1015740

References

[1]. Lawhead, E. (2023, April). Continuity: sharing space in teamLab’s digital ecosystems. In Arts (Vol. 12, No. 2, p. 74). MDPI. https: //doi.org/10.3390/arts12020074

[2]. Grau, O. (2004). Virtual Art: from illusion to immersion. MIT Press.

[3]. Wolf, W., Bernhart, W., & Mahler, A. (Eds.). (2013). Immersion and Distance.: Aesthetic Illusion in Literature and Other Media (Vol. 6). Rodopi.

[4]. Qi, Y., & Wang, Y. (2025). A Framework for Designing, Developing, and Evaluating Immersive and Collaborative Interactive Exhibitions in Cultural Heritage. Cognitive Science & Interactive Art Systems, 1(1). https: //doi.org/10.37420/J.csias.2025.002

[5]. Chen, S. X., Wu, H. C., & Huang, X. (2023). Immersive experiences in digital exhibitions: The application and extension of the service theater model. Journal of Hospitality and Tourism Management, 54, 128-138. https: //doi.org/10.1016/j.jhtm.2022.12.008

[6]. Mondloch, K. (2022, September). The influencers: van Gogh immersive experiences and the attention-experience economy. In Arts (Vol. 11, No. 5, p. 90). MDPI. https: //doi.org/10.3390/arts11050090

[7]. Wei, Z., Liao, J., Lee, L. H., Qu, H., & Xu, X. (2025). Towards Enhanced Learning through Presence: A Systematic Review of Presence in Virtual Reality Across Tasks and Disciplines. arXiv preprint arXiv: 2504.13845.https: //doi.org/10.48550/arXiv.2504.13845

[8]. Ahn, S. J. G., Nowak, K. L., & Bailenson, J. N. (2022). Unintended consequences of spatial presence on learning in virtual reality. Computers & Education, 186, 104532. https: //doi.org/10.1016/j.compedu.2022.104532

[9]. Thorp, S. O., Rimol, L. M., Lervik, S., Evensmoen, H. R., & Grassini, S. (2024). Comparative analysis of spatial ability in immersive and non-immersive virtual reality: The role of sense of presence, simulation sickness and cognitive load. Frontiers in Virtual Reality, 5, 1343872.https: //doi.org/10.3389/frvir.2024.1343872

[10]. Langer, S. K., &. Langer. (1953). Feeling and form (Vol. 3). London: Routledge and Kegan Paul.

[11]. Hillier, B. (2007). Space is the machine: a configurational theory of architecture. Space Syntax. https: //discovery.ucl.ac.uk/id/eprint/3881

[12]. Freitag, F., Molter, C., Mücke, L. K., Rapp, H., Schlarb, D. B., Sommerlad, E., ... & Zerhoch, D. (2020). Immersivity: An interdisciplinary approach to spaces of immersion. Ambiances. Environnement sensible, architecture et espace urbain.https: //doi.org/10.4000/ambiances.3233

[13]. Pine, B. J., & Gilmore, J. H. (2011). The experience economy. Harvard Business Press.

[14]. Grove, S. J., & Fisk, R. P. (1992). The Service Experience as Theater. Advances in consumer research, 19(1).

[15]. López-Rodríguez, M., Rodríguez-Pérez, V., & Rodríguez, A. F. L. (2024). Immersive and virtual exhibitions: A reflection on… art?. Arts & Communication, 3(1), 3688.

[16]. Bruno, G. (2002). Atlas of emotion: Journeys in art, architecture, and film. Verso.

[17]. The Rise of Immersive Art. Analysis of global immersive exhibitions. 2022. Available from: https: //www.newyorker.com/news/letter-from-silicon-valley/the-rise-and-rise-of-immersive-art

[18]. Grassi, J. (2022). TeamLab borderless: The role of play in immersive, interactive installations (Doctoral dissertation, Concordia University).

[19]. Koch, H. (2019). Rain Room interview. ACMI Talks. Retrieved from turn0search3.

[20]. Random International. Rain Room. 2012. Available from: https: //www.moma.org/calendar/exhibitions/1352

[21]. Haslem, W. (2020). Teamlab borderless: Bridging borders in simulated ecologies. MAST: The Journal of Media Arts Study and Theory, 1(2), 242-263.

[22]. Noë, A.(2004).Action in Perception. MIT Press. https: //doi.or/10.7551/mitpress/10319.001.0001

[23]. Random International. Rain Room updates and exhibitions. 2025. Available from: https: //random-int

[24]. ACMI. Rain Room exhibition overview. 2019. Available from: https: //www.acmi.net.au/stories-and-ideas/recorded-talks-hannes-koch-rain-room/

[25]. Dourish, P. (2001). Where the Action Is: The Foundations of Embodied Interaction. MIT Press. https: //doi.org/10.7551/mitpress/7221.001.0001

[26]. MoMA. (2022). Garden lobby LED display [Refik Anadol Unsupervised]. Museum of Modern Art.https: //www.moma.org/calendar/exhibitions/5535

[27]. Cummings, J. J., & Bailenson, J. N. (2016). How immersive is enough? A meta-analysis of the effect of immersive technology on user presence. Media psychology, 19(2), 272-309. https: //doi.org/10.1080/15213269.2015.1015740

Cite this article

Ding,Z. (2025). Mediatory Architectures in Immersive Exhibition Design: Structuring Perception, Emotion, and Knowledge. Communications in Humanities Research,96,42-52.

Data availability

The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

About volume

Volume title: Proceedings of ICADSS 2025 Symposium: Consciousness and Cognition in Language Acquisition and Literary Interpretation

ISBN: 978-1-80590-523-3(Print) / 978-1-80590-524-0(Online)
Editor: Yanhua Qin
Conference website: https://2025.icadss.org/Beijing.html
Conference date: 20 October 2025
Series: Communications in Humanities Research
Volume number: Vol.96
ISSN: 2753-7064(Print) / 2753-7072(Online)

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