Role: UX Designer
Responsibilities: Conducting interviews, creating low and high-fidelity prototypes, developing a public intervention, performing usability studies, ensuring accessibility, iterating on designs, and documenting the process through film photography.
Value proposition: Liminal narratives is a public intervention to evoke curiosity and empathy as audiences discover alternative narratives about the lives of the five women murdered by Jack the Ripper in Whitechapel.
Tools: Adobe Illustrator, Adobe InDesign, Laser Cutter, Photography
Overview
“Liminal narratives” is based on Michel Foucault’s and Neumann and Temple’s understandings that liminal spaces are moments in time between what is and what will happen next (Neumann and Temple, 2022); instances concurrently existing with another (Foucault, 1984). Additionally, this project connects two seemingly separated moments, the 1800s and 2024, thereby fulfilling Foucault’s description that liminal or transitional spaces are often connected to moments in time.
This project utilises liminal spaces in the form of public interventions, curating an area in East London where individuals and groups engage with an installation designed to present an alternative narrative of one of the five women who were murdered by the unidentified murderer, Jack the Ripper, in the 1800s. Each artefact was designed in collaboration with and directs audiences to support Beyond the Streets, a charity that offers alternative Jack the Ripper tours focusing on the five women’s lives, as well as, running an outreach program to help support women facing similar needs to the five women in the Whitechapel area today.
This project utilises liminal spaces in the form of public interventions, curating an area in East London where individuals and groups engage with an installation designed to present an alternative narrative of one of the five women who were murdered by the unidentified murderer, Jack the Ripper, in the 1800s. Each artefact was designed in collaboration with and directs audiences to support Beyond the Streets, a charity that offers alternative Jack the Ripper tours focusing on the five women’s lives, as well as, running an outreach program to help support women facing similar needs to the five women in the Whitechapel area today.
Aims
By conducting an interview with a volunteer at Beyond the Streets and investigating other examples of public art installations aimed at raising awareness and changing public views on women in the sex industry, I’ve decided to create an installation that compliments Beyond the Streets’ in-person tour and supports their work for the Spitalfields and Whitechapel community.
Research Summary
Research also highlighted the need to raise awareness about the safety of women, specifically those in the sex industry, in the Whitechapel area today. This is crucial due to incidents like the obsessive behaviour of individuals, which in 2007, led to a Jack the Ripper copycat who murdered 2 women in Whitechapel (Adetunji, 2008).
Unique selling proposition
While researching Rubehold’s book, I discovered plans to erect a permanent Whitechapel women’s mural in late 2019 to early 2020. However, this was not realised, leaving a gap in the market for a permanent installation that challenges people’s perspectives of the women’s narratives.
Additionally, both the Jack the Ripper tours and Beyond the Streets’ alternative tours lack permanent physical artefacts of the women. Instead, laminated images of the area in the 1800s, the women faces or their brutal murders are held up by the guides and passed between people.
Later in this project, and after discussions with Beyond the Streets via email, I learned about a plaque that the charity has commissioned. However, Beyond the Streets, the local council and Tower Hamlet’s police have yet to decide where it should be installed. Furthermore, after I created and shared the high fidelity mockups of the final artefact with Beyond the Streets, they expressed interest in continuing this project and installing all five artefacts. Discussions are still underway, but Liminal narratives has support to be fully realised to help support and lead audiences to the chairty’s plaque once it is made public.
Additionally, both the Jack the Ripper tours and Beyond the Streets’ alternative tours lack permanent physical artefacts of the women. Instead, laminated images of the area in the 1800s, the women faces or their brutal murders are held up by the guides and passed between people.
Later in this project, and after discussions with Beyond the Streets via email, I learned about a plaque that the charity has commissioned. However, Beyond the Streets, the local council and Tower Hamlet’s police have yet to decide where it should be installed. Furthermore, after I created and shared the high fidelity mockups of the final artefact with Beyond the Streets, they expressed interest in continuing this project and installing all five artefacts. Discussions are still underway, but Liminal narratives has support to be fully realised to help support and lead audiences to the chairty’s plaque once it is made public.
Target Audience
I created three user personas and journeys who will be curious, engage with and empathise with the women’s lives: a Beyond the Streets volunteer, a Jack the Ripper and history enthusiast, and a London tourist.
An essential aim of Liminal narratives is to offer alternative narratives on the five women’s lives, specifically focusing on Jack the Ripper tourists. The artefact will need to be eye catching to encourage engagement and empathy, informing viewers that each of these women had lives, struggles, and loved ones.
Although these user personas help identify the types of audiences and potential users of the installation, the user journeys don’t contribute to the artefact's development. Therefore, I will focus on potential pain points of the installation.
Although these user personas help identify the types of audiences and potential users of the installation, the user journeys don’t contribute to the artefact's development. Therefore, I will focus on potential pain points of the installation.
Pain Points
Liminal narratives is an embodiment experience rather than a digital journey. Therefore, potential pain points will be identified to visualise the various scenarios individuals or groups might face and to explore how the final design addresses and resolves those potential negative experiences.
Text/Font pain points
- The text size is too small
- Text doesn’t make sense and/or is unclear how it links to Jack the Ripper
- Audience can’t read text at night
- Is there enough context for people who have little, or no knowledge of the five women and/or Jack the Ripper
Placement of the artefact
- Artefact is placed too high or too low
- Size of the artefact is too big or too small (affecting its placement)
Brick Lane as a location of the artefact
- Brick lane is a high load environment, lots of sensory stimuli, so how does the artefact contrast this?
- What visual elements of the artefact will catch audiences attention? How is it different to what is currently around Brick Lane?
Next steps after interacting with the artefact
- Audience are unclear what to do with this information now
- How to effectively link the artefact to Beyond the Streets?
- The text size is too small
- Text doesn’t make sense and/or is unclear how it links to Jack the Ripper
- Audience can’t read text at night
- Is there enough context for people who have little, or no knowledge of the five women and/or Jack the Ripper
Placement of the artefact
- Artefact is placed too high or too low
- Size of the artefact is too big or too small (affecting its placement)
Brick Lane as a location of the artefact
- Brick lane is a high load environment, lots of sensory stimuli, so how does the artefact contrast this?
- What visual elements of the artefact will catch audiences attention? How is it different to what is currently around Brick Lane?
Next steps after interacting with the artefact
- Audience are unclear what to do with this information now
- How to effectively link the artefact to Beyond the Streets?
Low fidelity sketches
In addition to building on previous designs and mockups of reflective and layered artifacts, Design 3 and Design 4 utilise illustrations from artist Tammy Miller, found on the Beyond the Streets website, to create silhouette cutouts. These silhouette serve as windows for audiences to look into and discover who these women were. I intend to place an artefact of each women at the locations of where Jack the Ripper tours stop to discuss them. This aims to encourage Jack the Ripper tourists to engage with text that highlights each women’s life and their impact within the area.
Location
Annie, one of the five victims, was murdered near 29 Hanbury Street, just off Brick Lane. Therefore, my first realisation for this project will focus on Annie and will be placed near the Jack the Ripper tour’s stop site. Upon scouting the area, I found that, like Brick Lane, Hanbury Street is a high load environment. Consequently, the final design needs to be noticeable and contrast with its surrounding to stand out, increase curiosity, and thereby enhance engagement.
After scoping Hanbury Street, I decided that the installation will be set up on the pillar nearest to where the Jack the Ripper tours stop to spark curiosity in tourists and encourage them to read about Annie’s life.
Despite intending to have these artefacts up permanently, I will initially temporarily install them. Graffitiing or vandalism is considered antisocial behaviour (GOV.UK), and since I am working with an established business, I don’t want to jeopardise Beyond the Streets’ reputation by placing artefacts with their name and referencing their work without proper authorisation.
Low fidelity prototype
The first low fidelity prototype of this artefact design was made from 3mm plywood. All prototypes are cut to A5 size (148.5mm x 210mm) to minimise material waste and cost.
This prototype was created to test stacking layers of material to create depth, determine how to separate the layers, and understand the process of cutting and scoring with a laser cutter.
I received extremely positive feedback from the Beyond the Streets volunteer and peers, one comment being “Great project, love the idea!”.
This prototype was created to test stacking layers of material to create depth, determine how to separate the layers, and understand the process of cutting and scoring with a laser cutter.
I received extremely positive feedback from the Beyond the Streets volunteer and peers, one comment being “Great project, love the idea!”.
Collaboration
After creating the first prototype, I sent a description of Liminal narratives, my aims, the next steps and a disclaimer that I will be paying for the cost of materials to Victoria, the Grants Manager at Beyond the Streets.
Victoria replied, commenting that it is “so great that you are looking to include us in your final project” and “we’re so happy that you’re looking to support our work”.
By collaborating with Beyond the Streets on Liminal narratives, I will use language in the text of the artefact that aligns with their ethics and values. This is essential because, as explored in ‘Victimized Female Sex Worker Representation in the UK News Media’ (Mindedal et al., 2022), language significantly effects public perception of women in the sex industry. Moreover, victim blaming and labelling have a harmful impact on these women, so how the artefact discusses this topic is crucial.
Victoria replied, commenting that it is “so great that you are looking to include us in your final project” and “we’re so happy that you’re looking to support our work”.
By collaborating with Beyond the Streets on Liminal narratives, I will use language in the text of the artefact that aligns with their ethics and values. This is essential because, as explored in ‘Victimized Female Sex Worker Representation in the UK News Media’ (Mindedal et al., 2022), language significantly effects public perception of women in the sex industry. Moreover, victim blaming and labelling have a harmful impact on these women, so how the artefact discusses this topic is crucial.
Final Design
This is the final iteration of the artefact’s design, with an added layer to increase depth and encourage interaction. This designs remains A2 (420mm x 600mm).
All materials used are cost-effective, affordable and replaceable if the artefact is stolen or defaced beyond recognition. The mirrored first layer intends to evoke introspective questions such as “What if it was me?”, bridging the gap between the past and present and increases engagement by contrasting with the graffitied wall on Hanbury Street.
The middle layer contains the introduction, conclusion and information on supporting Beyond the Streets, setting expectations and highlighting what audiences can learn. I chose clear acrylic for this layer to keep the final layer visible.
I will engrave the main text onto frosted acrylic for the final layer, allowing the wall behind to show through and suggesting these narratives are part of the area’s history.
Text
The question ‘Who was Annie?’ was used on the first layer to spark curiosity and guide people to seek answers within the artefact. To enhance legibility and accessibility, the cut-out question was replaced with an engraving, as the letters “a” and “o” were difficult to read, even when supports were added.
An introduction provides context about Annie, highlighting her as a victim of the Jack the Ripper murders. The phrase ‘unidentified murderer’ is language used by Beyond the Streets, further connecting the artefact to the charity.
The main body of text was created using my extensive notes on Rubehold’s ‘THE FIVE: the untold lives of the women killed by Jack the Ripper’ (2020). To keep the text concise, I focused on: the women’s birth, education, marital status, children, and struggles they faced.
The conclusion directs the audience to the charity’s website via a URL, offering more information and encouraging support for women facing similar support needs in the Whitechapel area today.
An introduction provides context about Annie, highlighting her as a victim of the Jack the Ripper murders. The phrase ‘unidentified murderer’ is language used by Beyond the Streets, further connecting the artefact to the charity.
The main body of text was created using my extensive notes on Rubehold’s ‘THE FIVE: the untold lives of the women killed by Jack the Ripper’ (2020). To keep the text concise, I focused on: the women’s birth, education, marital status, children, and struggles they faced.
The conclusion directs the audience to the charity’s website via a URL, offering more information and encouraging support for women facing similar support needs in the Whitechapel area today.
Annie was one of 5 victims of the unidentified murderer, Jack the Ripper.
Annie Eliza Smith, born in September 1841, endured a turbulent upbringing in military barracks, marked by the loss of siblings to scarlet fever and typhus. Annie married John Chapman in 1869; their union promised a secure and comfortable life. However, Annie, suffered from alcoholism which intensified after the loss of her first-born child to meningitis, despite attempts by friends and family to aid her.
Her situation worsened after John's death in 1882. Despite receiving an education in childhood, this was to be no protection from the societal systems that failed vulnerable women at the time. Annie was experiencing addiction, poverty, homelessness, and ill health when she was murdered while having to sleep outside on Hanbury street.
To hear more about Annie’s story, and to help support women facing similar support needs in the Whitechapel area today, visit beyondthestreets.org.uk
Image derived from artwork by Tammy Miller
Annie Eliza Smith, born in September 1841, endured a turbulent upbringing in military barracks, marked by the loss of siblings to scarlet fever and typhus. Annie married John Chapman in 1869; their union promised a secure and comfortable life. However, Annie, suffered from alcoholism which intensified after the loss of her first-born child to meningitis, despite attempts by friends and family to aid her.
Her situation worsened after John's death in 1882. Despite receiving an education in childhood, this was to be no protection from the societal systems that failed vulnerable women at the time. Annie was experiencing addiction, poverty, homelessness, and ill health when she was murdered while having to sleep outside on Hanbury street.
To hear more about Annie’s story, and to help support women facing similar support needs in the Whitechapel area today, visit beyondthestreets.org.uk
Image derived from artwork by Tammy Miller
Placement
The 95th percentile of the average British women’s eye height (1615mm) as per the Metric Handbook: Planning and Design Data (Wienand, 2015), was used to install the artefact.
I acknowledge the limitations of placing artefacts at the average British women’s eye level, as this does not accommodate everyone such as children or those in wheelchairs. Therefore, the photography book produced as part of Liminal narratives serves as an alternative medium, offering a view of the final design and insights into the development process.
I acknowledge the limitations of placing artefacts at the average British women’s eye level, as this does not accommodate everyone such as children or those in wheelchairs. Therefore, the photography book produced as part of Liminal narratives serves as an alternative medium, offering a view of the final design and insights into the development process.
Final Installation
I’m currently in communication with Beyond the Streets about permanently installing this artefact. As I don’t have permission from the local council, police or building owner, the installation celebrating and informing audiences about Annie’s life was temporarily displayed for an hour using command strips to hold up the 1.74kg artefact.
After photographing friends interacting with the installation, it quickly attracted attention from two tourists and a Jack the Ripper group. The tour guide positively acknowledged the installation, encouraging group members to take photographs.
This was very encouraging, as it provided evidence of all three user personas interacting positively with the installation. Although I cannot track if users visited the Beyond the Streets website, monitoring online traffic could be a future area of focus.
After photographing friends interacting with the installation, it quickly attracted attention from two tourists and a Jack the Ripper group. The tour guide positively acknowledged the installation, encouraging group members to take photographs.
This was very encouraging, as it provided evidence of all three user personas interacting positively with the installation. Although I cannot track if users visited the Beyond the Streets website, monitoring online traffic could be a future area of focus.
Photography book
Over seven months, I documented the process of Liminal narratives using black and white film photography, shot on a Chinon CE-4s and a Canon Sure Shot Ace. This approach was inspired by La Jetée (1962), a key source in my proposal that sparked my interest in documenting liminal and transitional spaces with this medium.
The photography book was created using Adobe InDesign (2024) and printed via the online book publishing platform, Blurb (2014).
This book serves as an alternative medium to engage with the installation and it’s process. It provides a view of the final design for those who may have limited access when the artefact is placed at the average British women’s eye height.
The photography book was created using Adobe InDesign (2024) and printed via the online book publishing platform, Blurb (2014).
This book serves as an alternative medium to engage with the installation and it’s process. It provides a view of the final design for those who may have limited access when the artefact is placed at the average British women’s eye height.
Takeaways
The main objective of Liminal narratives was to evoke curiosity and empathy as audiences discover alternative narratives about the lives of the five women murdered by Jack the Ripper in Whitechapel. The documentation of the temporary installation of the final artefact showed that Beyond the Streets supporters, London tourists and a Jack the Ripper tour interacted with the installation; providing evidence that Liminal narratives effectively engages different user personas.
Collaborating with Beyond the Streets on this project provided valuable insight and ensured the language used in the artefact aligned with their values. This collaboration avoided victim-blaming phrases and reinforced a support narrative not only for the five women but also for women in the Whitechapel area today who face similar support needs.
Collaborating with Beyond the Streets on this project provided valuable insight and ensured the language used in the artefact aligned with their values. This collaboration avoided victim-blaming phrases and reinforced a support narrative not only for the five women but also for women in the Whitechapel area today who face similar support needs.
Next Steps
I am fortunate to continue collaborating with Beyond the Streets on Liminal narratives, aiming to create the remaining four artefacts for Polly, Elizabeth, Catherine and Mary Jane. These will be placed at locations where the Jack the Ripper tours stop to discuss their murders. As previously mentioned, Beyond the Streets are in discussions with the local council and police about placing their plaque to celebrate the lives of the five women. Victoria informed me via phone and email that they would love to use my installations as a trail leading audiences to their plaque.
Excitingly, Beyond the Streets have also indicated the possibility of having all five installations filmed by a television crew working on an episode of their second season, which focuses on the lives of the five women. This media coverage would significantly raise awareness of the alternative narratives of the five women and increase support for the women that Beyond the Streets assists in the Whitechapel area today.
The designs of the other four artefacts are ready, but I’m currently waiting to hear back from Beyond the Streets. Like Annie’s text, they are checking if the language used in the first draft of the text aligns with their ethics and values.
The designs of the other four artefacts are ready, but I’m currently waiting to hear back from Beyond the Streets. Like Annie’s text, they are checking if the language used in the first draft of the text aligns with their ethics and values.
End of case study.
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