Today we meet Allison Crank, UX designer and researcher whose work in immersive technologies (the most recent with IMPULSE: PLAYING WITH REALITY, currently at the Venice Film Festival) teaches us how the language of user interaction connects to the core content of a story to bring out its deeper meanings.
An attentive audience listener and a former performance artist herself Allison is now involved with DiverSsiTy a startup offering personalised digital therapy and medical tools for neurodevelopmental disorders using spatial computing and AI.
Let’s find out more about the interactive design work, so crucial to the success of an immersive experience.
Discovering a new world where creativity is always the focus
ALLISON CRANK – As a child, I was a theatre kid and training to be an opera singer, obsessed with the magic of storytelling and the allure of immersive worlds. When I started university, I decided to explore a new creative avenue – architecture. Suddenly, public spaces had my full attention. I majored in contextual design, diving deep into researching the social and performative dynamics of shopping malls.
In Pennsylvania, where I grew up, malls were the beating heart of the community, filled with the scent of cinnamon buns and the awkward charm of first dates. But then, these malls began to crumble, overtaken by the unstoppable rise of e-commerce and digital marketplaces. Meanwhile, a new kind of public space was emerging online and in video games, buzzing with possibilities.
During my studies, I got my hands on a Rift DK-1, and that was it- I was hooked. The potential for creating new communal spaces, blending architecture, music, theatre, and storytelling, was just too thrilling to ignore. I became fascinated by the concept of agency, especially as I was adjusting to no longer performing on stage – a place I loved. VR became this incredible tool to break down the barrier between performer and audience, offering endless creative possibilities that I couldn’t resist exploring.
So, I pivoted. I taught myself Unity, graduated, and landed a research position at the EPFL+ECAL Lab, where I studied design for digital innovation, focusing on immersive experiences for digital heritage.
XR is a perfect blend of my passions – architecture, music, and performance – and I feel incredibly fortunate to work in a field where the possibilities keep expanding, just like the virtual worlds I love.
Finding your method and the most interesting design solutions
A. C. – In my work, I lean on a structured approach, drawing from Imagineering and user-centred design principles. It’s all about making sure the project zeroes in on the user experience and the real-world outcomes. I always ask, “When they take the headset off, what’s the first thing you want them to do? Not what they feel, not what they say, but what action do you want them to take?” That question becomes the anchor for the entire project, ensuring every creative choice we make supports that one clear goal.
I’m a big believer in the concept of “scarcity”, stripping away anything that doesn’t serve the creative intention. It’s about honing in on the essentials, making sure nothing competes with or dilutes the core idea. And I find that collaboration and a bit of experimentation are where the magic happens. The process is always richer when there’s room to discover something unexpected along the way with others you can learn from.
An interaction that enhances the focus of the story
A.C. – The main interaction should always serve the central idea of the story. It should enhance the narrative, not pull focus from it. In some cases, the best interaction is none at all, especially if it risks interfering with the intimate flow of the story.
I’m constantly in dialogue with directors to get a clear understanding of the experience’s focus and goals. This collaboration helps pinpoint when and how to introduce user interactions, making sure they’re intuitive and truly add value.
While it’s tempting to layer in different levels of interaction, I’m a firm believer that less is often more. You don’t need a thousand different interactions in a single piece—leave that to other mediums. In immersive work, it’s crucial to identify your core mechanics. You can ask yourself, does this interaction help the person remember the story better? Does it deepen their emotional connection or enhance their perception? If the answer is no, then it’s probably a good idea to cut it.
It’s not just your own story
A.C. – When I teach spatial design at the HSLU or tutor for the Biennale College, I push teams to think critically about the medium they’re working with – asking if it’s really the best fit for the message they want to convey. An immersive experience isn’t just about your vision; it’s about the people you’re representing. That means involving them in the creative process and giving proper weight to their perspectives.
Then, an experience is never just what you’ve built. The user brings their own life, their own story, and everything they’ve been through up to that point. All of that interacts with your creation, shaping its impact in ways you might not have anticipated. It’s vital to leave space for their engagement, for your story to become personal to them. That’s when you move beyond just preaching and start creating a design framework that can truly resonate with the audience.
Testing with the audience from the very beginning
A.C. – My experience in psychology made one thing clear: you can’t create meaningful interactions without understanding your audience. At the lab, we analyzed everything from user engagement to galvanic skin responses, all to measure how people truly react to what we’re designing. That’s why, in my work as an interactive designer, testing with the audience isn’t just a box to tick at the end- it’s where the process starts.
Audience feedback is invaluable. Their responses, shaped by their personal experiences, aren’t just reactions; they’re insights. If something isn’t working, it’s often because it’s too complex or not communicated effectively. That’s why testing early and often is essential. It allows you to refine your approach, ensuring the final product or experience resonates deeply and clearly with the user.
The goal is to make sure your story isn’t just told- it’s felt. Early testing helps you shape the narrative in a way that truly connects with the audience, simplifying the design process and making sure your message lands right from the start.
IMPULSE, a mixed reality experience about ADHD
A. C. – I collaborated with Anagram on IMPULSE, a mixed reality project that’s part of their Playing With Reality collection. This series attempts to translate the reality of mental health conditions into immersive experiences, with Impulse focusing specifically on ADHD. The project draws on real-life stories from people with severe ADHD to illustrate how the condition shapes their thoughts, actions, and interactions with the world.
One feature is a fast-paced game that maps your mind onto your own room, simulating the overwhelming mental chaos that those with ADHD often experience. It’s both engaging and intense, capturing the challenges of trying to think clearly amidst the noise.
Our aim with IMPULSE is to highlight the subtle yet pervasive symptoms of ADHD, which are often misunderstood or dismissed as ‘something everyone goes through.’ We want to foster greater understanding and empathy for those living with this condition.
DiverSsiTy, a new initiative to support adolescents with autism
A. C. – DiverSsiTy SA, a startup based in Switzerland, focuses on mixed-reality gaming for adolescents with autism. We translate therapeutic exercises into engaging activities that help manage social anxiety and task overload. Working with therapists and doctors, we’ve designed exercises validated by professionals to make our tools effective for young people with autism. While we can’t cure autism, we aim to equip these individuals with skills to ease their daily lives.
As the creative director and UX overseer, I work closely with a talented team, including my friend and great narrative designer, Pénélope Biessy. We’ve just finished the vertical slice and are aiming to publish the game later next year. This project is about more than just creating a game; it’s about providing real, practical tools that can make a tangible difference in the daily lives of adolescents with autism.
A work at the intersection of multiple worlds
Collaborating with institutions like MIT and companies such as Anagram, Albyon and Atlas V, has been an incredibly rewarding experience. These partnerships have not only provided me with valuable insights but also the chance to contribute to projects that truly matter. What excites me most is the opportunity to merge cutting-edge research with commercial product development, bringing innovative ideas to life in ways that can make a real impact.
A. C. – What I love most about my job is the diversity of roles I get to play. Whether I’m diving into creative coding, teaching, or working on innovation projects like AI and digital twins, there’s always something new to explore. Operating across different mediums—especially in XR and technology—keeps me constantly challenged and inspired.
But the real reward comes from collaboration. Working with talented individuals from various fields allows me to continuously learn, grow, and push the boundaries of what’s possible. It’s this dynamic blend of creativity, technology, and teamwork that makes my work so fulfilling. As I continue to evolve in this space, I’m excited about the endless possibilities and the incredible people I’ll meet along the way that lie ahead.
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