In contemporary design of visual communications, the term “friction” ceases to be an obstacle to be removed and becomes a strategic tool for achieving deeper user engagement. While traditional design strives for a flawless experience without effort (eng. seamless design), in order to enable the user to save time and understand current and future procedures more easily, the intentional introduction of friction encourages critical reflection and interrupts the passive consumption of content.

The design approach with friction is based on the concept of “Slow Technology”, which was introduced by Hallnäs and Redström (2001) with the aim of presenting technology in a way that makes people think. Building on that, “slow design” (eng. Slow Design) (Grosse-Herin et al., 2013) seeks to intentionally and purposefully slow down the processes of production and consumption, promoting ecological and social sustainability against the speed dominated by consumerism and which encourages reckless shopping.

The intentional introduction of friction or distraction is defined as a method that helps to bring awareness to the background aspects of the experience. This allows the user to make a conscious choice instead of an impulsive reaction.

Friction in design can be applied in several forms.

1. Cognitive friction, by using unexpected visual elements or complex typography, forces the brain to try to decipher the message.

2. Emotional friction causes discomfort or shock to break through the armor of indifference and trigger an emotional response.

3. Interactional friction intentionally makes the purchase process more difficult to slow down the buyer and leave room for rational thought.

In the context of maximalism, the accumulation of information and intentional complexity do not serve to confuse but create a barrier that prevents reckless consumption. Thus, maximalist design forces the individual to take on the role of an informed and responsible user in an overloaded environment.

However, the strategic use of friction has a dangerous side in the digital landscape: dark patterns. While ethical friction aims to empower the user through awareness, dark patterns (or deceptive patterns) subvert these principles to exploit human psychology. As defined by Harry Brignull in his book Deceptive Patterns, they are UI/UX choices carefully crafted to trick users into making decisions that serve the company’s interests rather than their own. Unlike the “slow design” philosophy that introduces friction to curb impulsiveness, dark patterns often work by removing friction where it should be—like the overly simple “one-click” purchase—while simultaneously introducing extreme friction to prevent users from exercising their rights.

A prime example is “Roach Motel,” where signing up for a subscription is seamless, but canceling requires navigating a maze of interactional friction. Similarly, “Confirmshaming” exploits emotional friction; Instead of provoking thought, it uses guilt to manipulate the user (e.g., a button that says “No thanks, I don’t want to save money”). The difference between the two lies in transparency and intent. While maximalism uses complexity to demand informed presence, dark patterns use “deception” or “trick questions” to exploit cognitive fatigue. According to the Federal Trade Commission (FTC), these tactics are increasingly regulated because they circumvent the “conscious choice” that ethical friction is supposed to protect. Ultimately, while friction can be a tool for awareness, in the form of dark patterns it becomes a weapon of manipulation.

Disclaimer: AI used

Benedetti, A., & Mauri, M. (2023). Design for friction: An inquiry to position friction as a method for reflection in design interventions. Convergences – Journal of Research and Arts Education, 16(31), 139. doi.org

Krug, S. (2014). Don’t make me think, revisited: A common sense approach to Web usability (3. izd.). New Riders. https://dn790002.ca.archive.org/0/items/SteveKrugDontMakeMeThink/Steve_Krug_Don%E2%80%99t_Make_Me_Think%2C.pdf

Lauritzsen, S. (2022, 23. ožujka). Five types of design friction and why they’re awesome. Medium. https://medium.com/@syverlauritz/five-types-of-design-friction-and-why-theyre-awesome-11f850072b8f

Maximalism in design is characterized by layering, complexity, abundance, and decorativeness. The use of rich and vibrant colors, intricate patterns, textures, strong and expressive typography, filled space, and layered elements creates a sense of depth and visual interest. Maximalist design often features multiple layers of graphics, textures, and elements, resulting in a dense and immersive visual experience that is purposeful and impactful.

Maximalism is a powerful tool for personal expression. It is an emotional response to the sterility and sleekness of the minimal design style. Maximalism celebrates individuality and breaks the rules without being uncontrolled or imprecise. It allows individual tastes, narratives, and histories to shine through the design. The guiding principle of maximalism is “more is more.” It is about embracing complexity and rejecting the idea of ​​”less is more.”

Among the authors who have rejected modernist purity, David Carson, Paula Scher, and Stefan Sagmeister stand out, using visual complexity as a tool to attract attention in a saturated media space.

David Carson introduces intentional “friction” through the deconstruction of typography in Ray Gun magazine. His work suggests that in a world overloaded with information, a message must resist to be noticed.

Paula Scher uses maximalism through monumental, layered typography. Her work does not shy away from overload but she is using it to create a strong identity that can survive in noisy competition with other market messages.

Stefan Sagmeister brings emotion and tactility, often using a density of detail. His designs are not for quick consumption but require time for observation, thus directly opposing the culture of impulsive and irresponsible shopping.

The analysis of these authors shows that maximalism in contemporary design serves as a weapon for communication. He uses aesthetic overload to break through the barrier of passive consumption, proving that in the era of hyper-consumerism, form does not only follow function, but also the intensity of the market struggle for the attention of the individual.

With its complexity, layering, and visual power, the maximalist style, if not thought out, can appear visually inaccessible and inconsistent, but the abundance of details can also visually overload the user. This characteristic can be studied from the perspective of a tool for presenting themes such as consumerism and excessive consumption to be visually presented in a credible way. Inaccessibility is not a flaw, but rather intentional communication noise that encourages the user to stop, think, and concentrate on the displayed content and its connotation. This approach to the form follows function argument, seeing consumerism as function, and maximalism as its form. Function does not always have to be ease of use or cleanliness but can be a credible representation of the social state (the chaos of consumerism). If the theme is chaos, then the design must be chaotic to be functional in its communication.

Design4Retail. (2023, 19. lipnja). Maximalism in graphic design. https://www.design4retail.co.uk/news-blog/maximalism-in-graphic-design/

David Carson Design. (n.d.). Ray Gun. https://www.davidcarsondesign.com/t/tag/raygun/

Iakovlev, Y. (n.d.). Maximalism in graphic design. Zeka Design. https://www.zekagraphic.com/maximalism-in-graphic-design/

Invoxico Technologies. (2024, 22. kolovoza). Maximalism in graphic and web design. https://www.invoxico.com/maximalism-in-graphic-and-web-design/

Sejpal, K. (2025, 6. studenoga). Maximalism is the new minimalism, atleast for now. Medium. https://medium.com/write-a-catalyst/maximalism-is-the-new-minimalism-atleast-for-now-735f8e344fb0

Vermeulen, S. (n.d.). Revival of maximalism in graphic design. Vermeulen Design. https://www.vermeulen-design.com/blog/revival-of-maximalism-in-graphic-design

A consumer society is one in which the level of consumption is at a high level due to the influence of modern technology, high productivity, marketing policy and the growth of living standards. Although it is created from positive influences, the negative tendencies of such a society are the development of dependence on imposed and often unnecessary forms of consumption and the encouragement of passive consumption in favor of high profits of producers.

From irrational consumer behavior, an excessive desire of an individual to consume goods and services and their possession appears. Consumerism is described in professional and scientific literature as a social phenomenon, or a way of life and an expression, while consumption itself is an act and does not have a negative connotation, but rather denotes the use of goods and services to satisfy needs. Modern consumer culture is considered unsustainable (Bodley, 2001, 71) and insatiable (Campbell, 2005, 37). Because excess consumption is no longer driven by need, but by lust (Bauman, 2012). When consumption crosses the border of need, it turns into consumerism and consumption out of lust. Collin Campbell identifies “longing” as a characteristic cultural state of a consumer society. Longing is manifested through daydreaming, advertising, marketing, the design of the products we buy, and the places we buy and consume.

Consumer literacy is essential for informed, responsible, and conscientious purchasing from an economic, health, and ethical perspective. It is defined as the set of knowledge and skills that enable consumers to make informed purchasing decisions, understand their rights and obligations, and critically evaluate marketing messages. By understanding consumer culture more deeply, consumers understand the importance of actively gathering and analyzing product information (composition, origin, price, environmental impact) before making a purchase, thus resisting impulsive marketing pressures.

Impulse buying is an unplanned, spontaneous purchase that results from exposure to stimuli and is decided upon at the time of purchase. Impulse buying accounts for a significant portion of a consumer’s total purchase and can be triggered by the introduction of a new product, a brand, or a product offering on special offer. Impulsive buying can be triggered by internal factors such as the emotional state and characteristics of the buyer, and external factors such as the space and layout of the store.

Previous research has shown that impulsive buying, considered an unplanned form of shopping, occurs in 90% of people. It is estimated that in the USA, around 1/3 of all purchases made during sales are impulse purchases annually.

Although most consumers describe themselves as rationally and responsibly planning their purchases, they are still prone to impulse buying, especially in situations involving special offers. Men find prices ending in 9 more attractive and cheaper than women and are more likely to round them down. Older age groups and less educated respondents show greater sensitivity to psychological prices, while younger respondents value product design and brand more.

Some of my literature links are on my language (Croatian) since I recognized importance of understanding the topic locally but can also be found on English.

Jönsson, E., & Ölund, R. (2021). Oops! I Did It Again… : Exploring consumers’ post-purchase emotions in regards to impulsive shopping and product returns online. (Dissertation). Retrieved from https://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-52686

Mihić, M. i Kursan, I. (2010). Utjecaj demografskih i individualnih čimbenika na impulzivnu kupovinu. Market-Tržište, 22 (1), 7-28. Preuzeto s https://hrcak.srce.hr/62108

Buzov, L. (2017). Utjecaj osobnih čimbenika (kupca) i karakteristika prodajnog mjesta na impulzivno ponašanje u kupnji [Diplomski rad, Sveučilište u Splitu]. Repozitorij Ekonomskog fakulteta u Splitu. https://repozitorij.efst.unist.hr/object/efst:1738

Čolić, S. (Ur.). (2013). Potrošačka kultura i konzumerizam. Institut društvenih znanosti Ivo Pilar.

Grgić, M. (2017, 21. studenoga). Psihologija potrošača: Tko su zapravo impulzivni kupci? Istraži me. https://www.istrazime.com/psihologija-potrosaca/impulzivni-kupci/

Maximalism, as an aesthetic, attracted me because I see it as structured chaos, which provides an opportunity for deeper expression and study of complex themes. During 2025 and early 2026, the aesthetics of maximalism emerged as a dominant direction in design with a rich and expressive visual language.

I got the idea of working with and not against maksimalism during the Erasmus semester class “Creation and Conception” where I worked on an project on the topic of “Growth”, which inspired me to think about the issues of the growth of consumerism and excessive consumption. The consumerism in itself is excessive, overpowering and loud as is maximalism. But it is often presented in a minimalist and stuctured way, which is an opposite of its visual reality.

The topic of informed and conscientious consumption is current and relevant globally, and with the emergence of inflation, changing values ​​and uninformed financial habits of Croatian consumers, I believe that it is particularly relevant and necessary for local application.

I was inspired by existing solutions such as the Commons App, which is not adapted to the local market, but as I previously mentioned I believe that the core of consumerism is not communicated through minimalist and structured or easily readable visual language.

My vision is to create a visual language for communicating about problems of consumerism and excessive buying that is visually visually engaging, loud and „extra“ as well as maximalism is. But as well motivating and informative to prove that the aesthetics of maximalism and the use of diverse materials and sources can more effectively visually communicate the problem of impulsive and irresponsible buying in world of consumeristic practice.

For my project for class Creation and Conception, and with help of my professor and mentor Daniela Gruber, I designed series of posters and visualizations that represent consumerism and at the end produced the final poster.

Fast into my research for poster design, I realized the topic of consumerism in real life practice has much to do with persuading consumers to buy faster and more internet culture and dark patterns. Based on that I focused on internet culture, photography, ads, memes, stickers, icons, emoticons, apps and websites for Temu and AliExpress and other visuals that are associated with consumerist culture and internet culture (which is the source of many consumer habits). In my final poster I found and used real information, symbols and tags found on products from the cosmetics, fashion industry and food packaging and included then in design to contribute to a realistic rather than idealistic portrayal of consumerism.

That were the first steps of my research where I tested if my theory and known information to explore how maximalist aesthetics can used to communicate the topic of consumerism, impulsive buying and uninformed consumers. My further research will go more into explanations of consumerism, esthetics of maximalism and local problems created by consumeristic society in Croatia and world. Also finding relevant projects that support or dismiss my theory that maximalism can be used to communicate such topic.

I already played with the thought of including a statue or something “live” in the exhibition before, but I never knew what exactly. I kept thinking about my celery experiment. I could place one right in front of the entrance, or hide it somewhere in the space like a tiny secret for the people who actually pay attention.

But this week I got inspired again by the KING Paulus Goerden. He had the brilliant idea to capture his everyday installations but not through a photograph. He actually REBUILT THEM IN MINIATURE VERSIONS.

And I have to say: this is genius.

Because it adds a whole new layer to the act of documenting. A photograph is still a translation, but it’s a very common one. Everyone takes photos. Everyone documents. Especially in the age of Instagram, photographing something “interesting” is almost the default reaction. It’s quick, it’s effortless, and it often stays on the surface.

Rebuilding an installation is different. It’s slower. It forces you to make decisions. You suddenly have to look at the scene like a designer, not just like a photographer. What exactly makes the arrangement work? Is it the proportions? The materials? The awkward tension between objects? The exact angle of something leaning? The fact that it looks accidental but somehow perfectly balanced?

I immediately noticed things I would normally overlook. For example: it’s not just “two palettes leaning somewhere.” It’s the surface underneath, the texture of the street, the way the metal barrier frames it, the little gap between the objects, and the fact that the whole thing looks like it could collapse at any second.

A reconstruction turns the installation into something you can’t just consume visually. You have to understand it structurally.

And it also shifts the question of authorship in a really interesting way. When I photograph an everyday installation, I’m still only the observer. I didn’t create it, I “just” framed it. But when I rebuild it, I’m suddenly much closer to becoming part of it. I’m recreating something that originally had no artist. I’m taking a random street moment and turning it into an object with intention.

Which feels slightly illegal. Oopsie

I also like the idea because it makes the exhibition more physical. Photography exhibitions can sometimes feel distant. But if there are small reconstructed installations in the space, the whole thing becomes more immersive. It could make people slow down. It could make them compare. It could make them question what’s “real” and what’s “recreated.”

So right now I’m seriously considering building a mini version myself. Like: the photograph shows the found moment, and the miniature shows the act of re-seeing it.

Because in the end, this thesis isn’t only about what is out there in the city. It’s also about what happens when I decide that something is worth noticing.

Paulus Goerden. “Ein Versuch es einzufangen” Instagram video, January 11, 2026. Screenshot. Accessed January 13, 2026. https://www.instagram.com/paulusgoerdon/

Let me know in the comments what you think of his interpretation of this everyday installation.

Now that I have a few possible exhibition spaces in mind, I started thinking more seriously about what it would actually mean to present my photographs in a room. The more I read and plan, the more I realize how many decisions are involved and how strongly these decisions influence the meaning of the work.

Right now, I’m thinking more consciously about the curatorial idea behind the show. I don’t want it to become a random wall of images. If I exhibit my everyday installation photographs, I need to decide what story I’m actually telling: Is it about urban loneliness? About consumption? About visual coincidence? And I also need to think about the relationship between text and image. Do I want short captions? Longer explanations? Or no text at all, to keep the “found” feeling intact? Setting a clear theme and a guiding idea seems like the first real step into exhibition design.

Wissenschaftliche Sammlungen. Handreichung: Ausstellungen in der Lehre. Accessed December 10th, 2026. https://wissenschaftliche-sammlungen.de/files/3814/0023/0529/Handreichung_Ausstellungen_in_der_Lehre.pdf.

Another thing one shouldn’t underestimated is how much the room itself influences the reading. Visitors should be guided intuitively through the exhibition, even if there are no arrows. That includes the architecture of the space, the entry point, where people naturally pause, how light falls through windows, and what the room “suggests” as a path. With our Overlays exhibition I already got a bit of a feeling what is important while doing the floorplan.

Kemsies, Martina. Ausstellungen barrierefrei planen und gestalten. Landschaftsverband Rheinland (LVR). Accessed December 19th, 2026. https://www.lvr.de/media/wwwlvrde/kultur/berdasdezernat_1/publizieren_und_informieren/dokumente_44/15_1332_barrierefreiePDF_Kemsies_3.pdf.

When it comes to the hanging itself, I’m trying to stay practical. I like the idea of grouping photographs either thematically or through visual connections, because everyday installations work a lot through rhythm: similar shapes, similar object types, similar absurdity levels. I also researched that there are basic standards for hanging height (around eye level, roughly 155 cm). That sounds obvious, but I for example did not know the exact number. The more you know, right?

Museum Victoria. “Exhibition Basics.” Accessed December 16th, 2026. https://museumsvictoria.com.au/education/small-object-big-story/5-exhibition-basics/.

Text is another sensitive point. I know from my interviews and from my own experience that text can completely dominate the reading of an image. I don’t want the exhibition to become a lecture. So I’m currently leaning toward short, accessible texts that support the photographs without explaining them to death.

Museumskulturen. “10 Tipps für publikumsorientierte Ausstellungstexte.” October 15, 2022. https://www.museumskulturen.de/blog/2022/10/15/10-tipps-fr-publikumsorientierte-ausstellungstexte.

Lighting is also something I can’t ignore. Light changes everything. It can make photographs feel expensive, intimate, cold or dramatic. How I want to proceed with this I am not sure. Will find out during the process.

Kemsies, Martina. Ausstellungen barrierefrei planen und gestalten. Landschaftsverband Rheinland (LVR). Accessed December 19th, 2026. https://www.lvr.de/media/wwwlvrde/kultur/berdasdezernat_1/publizieren_und_informieren/dokumente_44/15_1332_barrierefreiePDF_Kemsies_3.pdf.

Finally, I keep coming back to the question of audience. One of the main themes of my thesis is how different people interpret everyday installations differently (insiders vs outsiders, design students vs random passersby). So it would be a missed opportunity if I designed an exhibition that only works for people who already speak “art language.” I want the texts to be understandable, and I want the exhibition to feel welcoming to everyone

Museumskulturen. “10 Tipps für publikumsorientierte Ausstellungstexte.” October 15, 2022. https://www.museumskulturen.de/blog/2022/10/15/10-tipps-fr-publikumsorientierte-ausstellungstexte.

Right now I’m still at the beginning of this process. But I already see how much exhibition planning connects back to my thesis topic. Because an exhibition is not just a place where photos hang. It becomes part of the work. It becomes the frame.

Lately I’ve been thinking about where I could actually show it. Because as exciting as the idea of an exhibition sounds in theory, the reality is: space is not neutral. Space is a decision. It changes how photographs are read, how serious the work feels, and who even considers walking in. So this week I started researching possible exhibition spaces and what it would realistically cost budget-wise.

Rotor

The first space I contacted was Rotor (Volksgartenstraße 6a, 8020 Graz). I contacted them, but so far I haven’t received an answer. Still, Rotor feels like a very interesting option in Graz for my topic, because it sits right between art, city and public discourse. Even just reaching out already feels like a small step from “student project” into something more real.

ESC Medien Kunst Labor

A much more concrete option is the ESC Medien Kunst Labor (Bürgergasse 5, 8010 Graz). I already spoke with Reni there. The best part: she offered to give me the space for two days for free, which honestly feels like winning the lottery in exhibition terms. It’s a space that makes sense for my work because it is not overly polished, but still has a lot of character.

Galerie GRILL 

In the same street there is also Galerie GRILL (Bürgergasse 5, 8010 Graz). This one is still a question mark. From what I’ve seen, it looks very high-end and curated in a way that probably makes it completely unaffordable for a student project. But I still want to go there privately and ask, because even if the chance is small, I think it’s important to understand what different “levels” of exhibition spaces exist and how strongly the atmosphere of a space can already frame the work before anyone even sees a single photo.

Freiraum Ausstellungsraum

As i will move to Vienna in June 2026 I also considered doing my exhibition there. Of course I also take into account that I don’t have any contact there, which already brought me a save option in Graz (Esc with Reni).I found a space called Freiraum Ausstellungsraum (Gumpendorferstraße 23, 1060 Wien). Their pricing is actually very transparent: Monday to Wednesday, three days cost 450€. I like that because it makes the whole exhibition location very measurable. It’s not cheap, but it’s also not impossible. And having clear numbers helps a lot when I try to plan realistically, instead of just fantasizing about a perfect white cube.

vinzenzwien

Another Vienna option I recently found is vinzenzwien (Vinzenzgasse 24, 1180 Vienna). On Instagram they describe themselves as a “NEW ART AND CULTURE SPACE for exhibitions, workshops and readings.” I didn’t contact them yet, but I actually got this recommendation through a friend. It’s basically a “friends of friends of friends” situation. You never know when Vitamin B will help you hehe. I will give it a try!

If you have any other recommendations for exhibition spaces and also know someone who knows someone bla bla you know the game -> pleeeease hit me up

Dankii

In the last blogpost I collected a list of AI tools that can support thesis research. But even the best tools are useless if the input is unclear. The quality of literature research depends heavily on the search terms you use. And because my topic sits between several disciplines, I can’t rely on one single keyword to find relevant sources.

So today I’m building a keyword landscape. The goal is simple: create a vocabulary for my thesis topic that works across different research databases and fields. Instead of searching only for “everyday installations,” I’m collecting neighboring terms that describe the same phenomena from different perspectives.

Here’s my growing keyword map:

Core topic words

• everyday installations
• accidental compositions
• unintentional art / unintentional aesthetics
• found arrangements
• urban still life
• mundane objects / everyday objects as art

Communication design / perception / meaning

• visual communication
• meaning-making / construction of meaning
• semiotics (sign, signifier, signified)
• visual literacy
• attention / salience / noticing
• framing / context effects
• interpretation / audience reception

Space / public environment

• public space
• urban intervention
• spatial storytelling
• informal design
• street culture / everyday urbanism
• place-making

Photography / documentation

• documentary photography
• typology photography
• photographic framing
• archive / visual archive
• cataloguing / classification systems

Institution / legitimacy

• artworld theory
• institutional critique
• museum framing
• authority signals / credibility cues
• curation vs. discovery

Just building these clusters already helps to structure the topic more clearly. It also makes it easier to connect practical work (photography and observation) with theory (semiotics, perception, institutional framing).

The next step is combining these keywords into stronger search phrases, depending on what I need: theory, methodology, or case studies. 

Examples:

• “semiotics everyday objects public space”
• “context effects perception contemporary art”
• “visual framing photography meaning-making”
• “institutional critique Duchamp everyday object”

This keyword map is not a final list. It will grow over time as I read more and discover new terms. But it already functions as a working system. It gives my research a structure and makes literature search more targeted, instead of random.