Selected projects combining sound, technology and physical design
I hold a bachelor’s degree in Media Technology from Blekinge Institute of Technology (2025), where I focused on exhibition technology and interactive sound installations.
My work spans the whole process from early concept to finished installation. I combine spatial audio, interaction design and hands-on prototyping, working with everything from CAD and 3D-printing to woodworking, metalwork and textiles. I have solid experience with Arduino-based microelectronics, and I build interactive systems using Pure Data, Max MSP and Pixilab Blocks for logic, playback and control.
My role is to turn ideas into physical experiences that spark curiosity and engagement. If you’re working with exhibitions, design or creative technology, feel free to get in touch!
In this project I explored how an immersive and interactive sound installation can enhance the visitor experience inside a submarine placed at a Museum. I worked directly inside the real environment and created three different iterations in the engine room, the control room and the torpedo room. Each space had its own challenges and possibilities, so every iteration focused on different ideas for sound design, interaction and speaker setups.
A lot of the work went into understanding what is possible and accurate for a multimedia installation in a listed museum object. I interviewed technicians, conservators and educators to learn what visitors want, what the museum expects, and what limitations I had to follow. This shaped the installation technically as well, since it needed to run automatically on the museum’s hardware, be easy to adjust, and never require extra work from the staff.
The iterations grew step by step: a 4.1 system in the engine room, a larger 6.1 system in the control room, and finally physical interaction in the torpedo room with a 3D-printed lever for the torpedo, and movement sensors triggering sonar and radio sounds. Through this process I learned how sensitive narrow rooms are to speaker placement, how important on-site mixing is, and how strong spatial audio can be when designed for real visitors. The final result of my work is a complete concept for an interactive sound installation covering all three rooms, scalable and realistic for a museum context, and the installation in the control room was fully built and installed.
Sound designer, interaction prototyper
Pure Data, Fusion 360, Teensy
Spatialized sound, micro-electronics
The sound playback, mechanics and interactive elements are programmed in Pure Data.
Some parts for the interactive elements were constructed in Fusion 360 and 3D-printed.
Video in Swedish covering my design and thoughts on my first iteration.
Video in Swedish covering my design and thoughts on my second iteration.
Video in Swedish covering my design and thoughts on my third iteration.
Interaction, prototype and sound- designer
Pure data, Fusion 360, Teensy
3D-print, micro-electronics
Kraanig-Simulator is a sound-based crane simulator built without any visual elements. Your task is to move an object from point A to B, guided only by spoken instructions from your “colleague” who sees the playfield. The whole game is built in Pure Data, using spatial sound, vibration and custom 3D-printed joysticks. The project explores how gameplay can work when sound and interaction are the only feedback, and how clear a system must be for the player to build a mental map of the world.
The idea for the simulator came from watching crane operators on site. Their work is based heavily on instructions, signals and trust, often more than visuals. We wanted to explore if that type of communication could be turned into a game, and what happens when the whole experience is built only on sound, spoken prompts and simple interactions. A big part of the experience comes from the sound design itself. Most of the sounds were recorded directly on the construction site, capturing the real machinery, metal movements and ambient noise from the cranes. These recordings were then shaped and modulated inside Pure Data to create movement, distance, speed changes and a sense of physical weight. The goal was to make the world feel realistic enough for the player to navigate it using nothing but sound.
The entire game runs in Pure Data, which might not be the best suited engine for this kind of gameplay mechanic but it became a part of the fun. The patch grew quickly, movement logic, collision checks, voice prompts and ambience sound playback all had to be built from scratch. It turned into a much more advanced system than expected, and showed how flexible PD can be when pushed outside its comfort zone.
The joystick was designed in CAD and 3D-printed. It holds sensors for movement, buttons for interaction and a Teensy microcontroller that communicates with Pure Data over MIDI. This part of the process combined mechanical design with electronics and fast iteration, which made it possible to adjust the shape and feel until it matched the game mechanics.
With the joysticks assembled the system came together; physical controls, game logic, sound and vibration. The project became a complete sound-only simulator where the player builds a mental map of the world through audio cues and instructions. A simple setup, but surprisingly immersive.
Product designer
Fusion 360
Laser cutting, 3D-printing, woodworking
The Immersive Egg takes its inspiration from two places. One is Eero Aarnio’s “Ball Chair Audio”, where the classic ball chair is turned into an isolated listening space with built-in speakers, letting you create a focused audio experience without disturbing the room outside. The other inspiration comes from modern dome cinemas, where moving images fill your whole field of view and the sound surrounds you completely. The Egg Chair is a mix of these two ideas; a full scale dome experience but in the shape of a single chair.
One of the biggest challenges when working with sound in exhibition environments is sound leakage. Ball Chair Audio solves this on a stereo level by isolating the listener, without disturbing the room around it. Combined with the idea of dome cinemas filling the viewer’s whole field of vision, the Immersive Egg merges these two approaches into one compact concept.
The curved screen was one of the most complex shapes in the whole project, but designing it in CAD made it possible to build. Once the frame was laser-cut, I could assemble the skeleton and start testing the form in full scale, which early on helped reveal how unforgiving the dome is for projection mapping.
The chair structure needed to be strong, stable and comfortable, which required both mechanical planning in CAD and hands-on craftsmanship in the workshop. Working with thicker plywood gave more freedom for shaping and ergonomics.
The limited space inside the chair made the audio design difficult, especially the subwoofer. I built a custom dual-chamber subwoofer that works both as a seat and subwoofer, which gave a strong low-end experience considering the small volume. This part of the project connected woodworking, CAD and sound design in a very practical way.
The 7.1.4 setup was placed around the user to create full spatial coverage, with Dolby Atmos standard placements. Soft foam and spray insulation were used as a first proof-of-concept for isolating sound from outside and preventing sound leakage. It worked well enough for testing, but higher-quality materials would make a major difference in a final version.
The projection system became one of the hardest parts of the build. We tested different setups; from a small internal projector to a bigger projector mounted outside using a curved mirror, but none of them were stable enough or gave a large enough image. The best result came from two external projectors crossing their images over each shoulder, which worked with the opening screen and gave a usable picture. The projection mapping on the curved surface was still tricky, and good enough for a proof of concept, but not for a final product.
I designed a simple bearing-based mechanism for opening and closing the screen, which was 3D-printed along with self designed speaker mounts.
To finish the prototype, I sewed cushions for the seat and added a textile outer layer. The legs were painted and cables for audio and video were hidden.
The final prototype is a working mini dome cinema, a small, self-contained AV environment with a domed screen and a 12 speaker Dolby Atmos setup. The project showed what works well in this format and what needs refinement, especially in projection mapping and acoustic isolation. With better materials and budget, the concept can become a strong standalone installation.
360 Zombie Shooter is a sound-based arcade experience built around spatial perception. The player is trapped in a pitch-black room where the only way to survive is to listen, while zombies move around in all directions and get closer step by step. You have a weapon to protect yourself, and you have to locate the zombies only by their sound and shoot in the right direction.
The game logic is built in Pure Data, calculating mechanics like zombie positions, score and player health in real time. Max 8 handles the audio playback, where spat.5 controls the spatialisation based on the speaker setup and the zombies’ position in the room. The weapon is a 3D-printed prototype with a smartphone mounted inside, sending its orientation to Pure Data and showing information such as score and cooldown.
Most of the development first went into getting the basic mechanics working, like aiming, spawn timing and how the zombies should behave. After that the real challenge started: finding a way to communicate the whole game only through sound. I wanted a traditional game-style sound design to set the mood, but it still had to be clear and simple enough for players to navigate the game with just their ears.
The project showed that spatial audio can be strong enough to carry the whole experience on its own. It was also interesting to see how differently players reacted, and what challenges appear when someone tries a game with a completely new setup. Things that felt obvious to me as the designer, like that there’s no screen to look at and no fixed “front”, were not obvious at all for some players.
Game, interaction and sound-designer
Pure Data, Max, Fusion 360
3D-Print, micro- electronics
The spat.5 plugin in Max 8 is central in the sound production. It calculates the positioning and modulation of the sound based on the source position (green numbers) and the 8.1.2 speaker setup (black numbers).
Max 8 receives OSC-data from Pure Data, and handles the audio playback.
Game menu in Pure Data.
Zombie spawn mechanics in Pure Data.
The weapon is designed in Fusion 360 and 3D-printed.
Visualization of the weapon parts in KeyShot.
It holds place for a smartphone. Later painted green.
MobMuPlat is used for sending magnetometer data from the smartphone to Pure Data, and receiving basic game information.
A day-by-day vlog in Swedish from the full design process.
Mechatronic designer, sound designer
Fusion 360, Unreal Engine, Teensy
Micro-electronics, 3D-print, laser-cutting
How can haptic feedback enhance the sense of presence in VR? In this project we developed a tank simulator, and I was responsible for creating the controllers that both steer the vehicle and physically react to in-game events such as collisions and recoil. Combined with the Next Level Racing motion seat, the haptic response from the controllers strengthens the physical experience and gives the user a clearer, embodied dimension of immersion.
The controllers were modeled in CAD to enable a functional construction, fast iterations and precise tolerance adjustments.
To efficiently test the strength and character of the haptic response, a modular gearbox became central to the design. This allowed easy experimentation with different gear ratios.
The controllers were assembled using a mix of laser-cut parts, 3D-printed components and off-the-shelf hardware to achieve high precision and short iteration cycles.
Pixilab Blocks is widely used in exhibition environments as a network-based control system for both media playback and interactions with hardware. However, it is rarely used for multi-channel, interactive sound installations, something that I wanted to evaluate. I have a background in systems like Max and Pure Data and I wanted to test whether Blocks could support a more flexible, scalable workflow for spatial and non-linear sound in a museum context.
I designed and built a complete interactive sound installation using Blocks as the central control system. I explored how well Blocks handled spatial audio, interactive sensors, networked microcontrollers and timeline-based logic through several iterations, and the conclusion is that Blocks is extremely strong for interaction, modularity and remote service but limited when it comes to sound processing, channel routing and generative workflows. In my most successful setup, Blocks acted as the interaction engine while Max handled the multi-channel audio playback.
Sound design, system development
Pixilab Blocks, Max, Teensy
Programming, Micro-electronics, 3D-Print
I began by researching and exploring how Blocks is being used in exhibition environments, mapping out its strengths and limitations. Early on it became clear that its main advantages are its network-based workflow and its ability to communicate with external hardware and software.
I built quick prototypes to test interaction concepts. Here, a miniature scene with a “spy in a phone booth” who reacts when a visitor approaches. Communicating wirelessly with Blocks via an ESP32.
I tested out different interaction mechanics to increase engagement and enhance a visitor's curiosity. Here using a phone booth and RFID-tagged letters and parcels which were used to trigger different sound-events and behaviours inside Blocks.