InDec
A speculative device that provides users with a holographic interior decorating experience, while also addressing a core need in a world beyond fast furniture.

Overview
“Every year, 1.7 million tons of furniture products reach the end of their lives, about 26 kg per capita.” — We Design Green

In a dystopian future, furniture production has all but ceased due to the EII (Environmental Impact Initiative) to stop global destruction. Citizens of society inhabit sterile concrete dwellings, and are only allowed a bed, a table, and a set of chairs. A room without color or personal flare makes for a sad existence. How might we design an interior decorating experience for a society who no longer has access to physical decorative products?

Scope
Product Concept

Timeline
12 Weeks

Role
Lead Designer

Team
Solo Project

RESEARCHA real problem in a fictional scenario.
I had frequently heard the tearm “fast fashion”, but was introduced to the concept of “fast furniture” through my environmental sustainability course. Fast furniture is cheap, mass-produced, and made to break—ending up in landfills not long after it’s bought. The environmental damage it causes is part of a harmful cycle that affects us all. Learning the scale of fast furniture waste helped me frame a problem to solve.
The future is digital.In my hypothetical dystopian future, physical decor is out of the picture; the only options left would be virtual or augmented reality decor. VR would require everyone in the space to have a headset, but with hologram-based AR/MR, all of the users in the room can see and interact with the decor with only one device is needed.
Who is InDec for, exactly?While InDec can technically be for anyone, it primarily targets the average middle class citizen. It’s no secret that even in the future, high-class citizens will have more access to physical product and decor items, unlike those who can’t afford to bypass societal rules.

IDEATIONA visual language.
InDec’s design was shaped by sci-fi media references, where holographic interfaces often use neon blue, green, or white to keep the UI clean and visually unobstructed. Inspired by Apple and Huawei, I chose a simple matte aesthetic to blend into home environments. The cylindrical form was selected after researching ergonomic and spatial benefits, supported by insights from packaging company Triana. Functionally, I applied Sarah Kay Miller’s film-based UI philosophy, designing modular features on the dashboard using traditional UX/UI methodologies.

PHYSICALThe console.
The main console consists of the hologram-lens on top, five lights that represent charge-level, an on/off button, and a USB port for charging. Beneath that are 3 discs, that attach to the main console via magnetization. Each disc has a hologram lens on top and are powered via the magnetization. They are controlled through the console alone, and do not have any interface controls of their own.

DIGITALThe dashboard.
The holographic dashboard operates within three sections. The floater on the left hosts the navigation, the middle will display a list of the items that are in the room at present, and the window on the right will showcase the selected item and allow the user to rearrange that selection or clear the disc.

Takeaways.
InDec taught me the value of over-visualizing (can never have too many visuals), humbled me to prioritize UX over aesthetics (get rid of the USB charging port!), and inspired me to embrace new tools. Learning Blender boosted my confidence and opened the door to tackling more advanced 3D software.

I’m Taylor— an interdisciplinary designer and strategist, weaving threads between design, story and the future.