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Exhibition & Installation Interactive Design

Projects by: Msc Rron Bexheti

 

The following two projects exemplify an innovative approach to interaction design, where the focus extends beyond traditional interactive experiences to design immersive spatial narratives. These projects integrate artistic and interactive qualities to create a multidimensional journey that stimulates the senses and provokes thought. By blending elements of time, history, space, and travel, they transform environments into dynamic, engaging experiences that invite users to explore and connect in a meaningful way. These works are not merely spaces to interact with but are carefully choreographed artistic journeys that challenge perceptions and evoke emotional resonance.

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Project 01_Kosovo on Tracks

 

A revived public space, on tracks travelling through time and space

Proposal for Kosovar Pavilion at the International  Architecture Biennale in Venice, 2025 

​At the Venice Architecture Biennale 2025 we invite you to an insightful journey that suggests an alternative future for the Republic of Kosovo, focusing on the architecture of train infrastructure as a force for social, economic and environmental development. Kosovo on Track envisions an interactive experience set within the framework of a train carriage - a public space on wheels, moving through time and space, capturing the essence of individual and collective journeys. The train symbolizes the country of Kosovo and its possible future, yet it proposes a reconnection with itself and its neighbours too. 
Trains in Kosovo were functional and interconnected during the former SFRY, with few railway lines passing through Kosovo, connected with other republics in the former Yugoslavia and further to Europe. Train infrastructure in Kosovo is currently operating only with a few lines under a slow, long-term reconstruction process, and its future is uncertain. The lack of mobility has a negative impact on Kosovo’s population, limiting personal freedom of movement to bus services and private cars for those who can afford them. Efforts have been made to rehabilitate and upgrade rail lines as part of regional connectivity initiatives. The European Union and other international partners have supported these projects to improve the speed, safety, and efficiency of rail transport. 


Our proposal directs attention to this issue, highlighting the need for the mobility of people and goods in a developing country struggling to connect itself to the European community. The train carriage is a metaphor for the Kosovo’s transition from an oppressive, authoritarian and socialist system toward a liberal market democracy, or, as we suggest, a society in balance with its resources. It is also a symbol of the potential to create new connections, meaningful public spaces and mobility, both literally and metaphorically. 

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The Past

Train Station in Peja, Kosovo. 

The train station in Peja, Kosovo, is a significant cultural and architectural landmark. It was part of the broader ex Yugoslav railway network expansion. The station’s design and construction were influenced by styles from the mid-20th century, a period when rail infrastructure across the region saw substantial investment. Train Station style was adopted by the stations in France and planned and built by Soviet engineers.

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Archival photo taken of a train in 
Fushe Kosova station, Kosovo.

Ex Yugoslavia

Archival photo taken of a train in 
Prizren station, Kosovo

Ex Yugoslavia

Photo of mass deportation of Kosovo Albanians during the 1996.

Kosovo, Ex Yugoslavia

The Present

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New Born Square & The Palace of Youth and Sports, Prishtina

An urban scenario in central Prishtina which consists of an artistic landmark framing a large scale building which is constructed in 1977. The Palace of Youth and Sports is a remarkable structure – a symbol for the city of Prishtina – where many activities are held throughout the year. The complex meeting spot, and a place for promoting talents as well as a site that shapes the identity of Prishtina.

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Present state of train station of Prishtina.

Present state of train station in Fushe Kosove.

Central area of city of Gjilan, south of Kosovo.

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The Future?

The aim of the exhibition is to open up a dialogue about what role train infrastructure can play in developing Kosovo as a nation interconnected with Europe. What kind of possibilities lie in such a long-term investment? How will the young population of Kosovo benefit from a publicly accessible mobility within and outside the country?

Similar to a train travelling through time, the pavilion moves visitors between past and future, across cultural and political boundaries. The structure of the carriage mirrors the collective experience of travel, uniting individuals within a shared space yet allowing personal reflections through the view out each window. As Kosovo seeks closer ties with neighbouring countries and Europe, this pavilion envisions the country on track, literally and metaphorically, toward a democratic and cohesive, integrated future.

 

In this interactive space, visitors are invited to sit down and engage as they would in a public forum, observing, reflecting, conversing, and envisioning. The moving images evoke a sense of travel, progress, and disconnection, inviting dialogue on Kosovo’s aspirations, limitations, and the possible paths to a future of reinvigorated public spaces, democratic mobility, and deeper connections to the region and Europe.

Similar to a train travelling through time, the pavilion in an innovative and interactive way moves visitors between past and future, across cultural and political boundaries. The structure of the carriage mirrors the collective experience of travel, uniting individuals within a shared space yet allowing personal reflections through the view out each window. As Kosovo seeks closer ties with neighbouring countries and Europe, this pavilion envisions the country on track, literally and metaphorically, toward a democratic, cohesive, and integrated future.


The train’s journey evokes Kosovo’s potential to reconnect with its Balkan neighbours and wider Europe. It also poses questions about what it means to have limited mobility, both within and beyond the Kosovo borders, while reflecting on democratic ideals of freedom, access, connectivity and participation.
 

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Upon entering the pavilion, visitors are drawn into a holistic and interactive experience. As the projections move across the walls, visitors are invited to sit, observe, interact and participate in dialogue sessions. The non-linear narrative encourages them to reflect on questions about connectivity, mobility, and Kosovo’s role in the broader European landscape. The experience is designed to foster both introspection and discourse. The proposal will include a program of events to take place within the pavilion during the biennale exhibition. We will invite architects, artists, experts and politicians to participate in themed discussions on different topics about the train, its history, infrastructure and architecture. 


In addition to the visual elements, the pavilion is filled with subtle ambient sounds, a mix of traditional Kosovar music, and the sounds of train and city ambient noises enhancing the interactive experience. The soundscape transitions to live or recorded voices of Kosovar youth, artists, and activists, which are played in the background, sharing their aspirations, frustrations, and visions. The auditory layer enhances the sense of being part of a community dialogue. Visitors might also encounter written messages or poems from Kosovars displayed within the train car, revealing personal stories, hopes, and reflections on the barriers they face.

This proposal enables the Republic of Kosovo to embark on a poignant and powerful journey at the Venice Biennale, presenting a pavilion that is as much an invitation as it is a provocation. Kosovo on Tracks envisions a symbolic yet tangible experience set within the framework of a train carriage - a public space on wheels, moving through time and space, capturing the essence of both individual and collective journeys.

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Project 02_Project Bunker

Interactive and immersive exhibition

 

Rethinking the relation of Albanian bunkers with the landscape and the society by aiming to reinvigorate the meaning of the bunkers and Albanians’ collective memory. Tirana, Albania & Malmö, Sweden 

Under the regime of Enver Hoxha, the Albanian people lived in constant fear and paranoia. Hoxha’s isolationist policies culminated in the “bunkerization project” the construction of over 700.000 bunkers all over the country. A great financial and human cost to the nation. Today Albanians are living with the complicated and painful legacy of the regime, surrounded by bunkers. Struggling to make a transition from the painful and difficult traces of its past communist regime, today Albanians are finding new ways of co-existing and reusing the 700.000 bunkers which dot the whole landscape. 

This project focuses on the collective memory of Albanians and investigates their relation to the bunkers. How do Albanians relate to the bunkers? What meaning do they carry and how did that change overtime? How do Albanians co-exist with these structures? And most importantly can these bunkers become a mediator or a metaphor of Albanians traumatic past and a possible brighter future, in coexistence with the bunkers?

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As part of the Southern Sweden Design Days, the Project Bunker exhibition at Mitt Möllan Gallery in Malmö invites visitors into an interactive experience of exploration of place, memory, and transformation. Rooted in the architectural research and the film project, this exhibition bridges the realms of history, art, and speculative design. Central to the experience is the screening of the Project Bunker film, an interactive narrative that breathes life into Albania’s haunting yet striking bunker landscapes.


The film features a rich and dynamic soundscape, blending the haunting beauty of traditional Albanian folklore with detailly crafted sound design, immersive sound effects, and contemporary compositions. The music is composed to evoke profound reflection and foster a deeply interactive experience for the audience. 

Parts of the score are brought to life through the collaboration with the Philharmonic Orchestra of Kosovo, adding a powerful orchestral dimension to the sensorial journey.

Around it, an evocative collection of photographs, sketches, artistic interpretations, and site analyses forms a visual and emotional dialogue with the audience. Each piece offers a lens into the tension between permanence and impermanence, inviting reflection on the role of architecture in shaping collective memory.

The exhibition is arranged around twelve carefully designed boards, their physicality echoing the layered histories they represent. The inner boards, rendered in stark black and white, convey the raw essence of the sites: the atmosphere, textures, and emotional weight of these enduring structures. These serve as intimate, personal interpretations, snapshots of what it feels like to stand among these remnants of history.



 

Exhibition Interaction Design Spatial design and Layout

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Floor Plan

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Isonometric 

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Isonometric projection of exhibition space

The exhibition is arranged around twelve carefully designed boards, their physicality echoing the layered histories they represent. The inner boards, rendered in stark black and white, convey the raw essence of the sites: the atmosphere, textures, and emotional weight of these enduring structures. These serve as intimate, personal interpretations, snapshots of what it feels like to stand among these remnants of history.

In contrast, the outer boards shift perspective outward, offering context and grounding. Here, viewers discover the geographic locations of the bunkers, their classifications, and visions for intervention and repurposing. These elements gesture toward a reimagined future for these storied spaces, a reflection on resilience and reinvention. Through its multi-sensory narrative and layered presentation, the Project Bunker exhibition invites viewers to not just observe but to feel, question, interact and envision. It transforms the gallery into a liminal space, where past and future collide and architecture becomes a mirror for human experience which offers a multi sensory interactive experience.

Installation Boards

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Inner Illustration Boards

Black & White

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Outer Illustration Boards, Possible Interventions and reflections

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Photos of each visited location

Exhibition Space

Installation 

Exhibition Space 

Interactive Space including illustration boards, physical model, film screening 

Curational and Interactive Design

Exhibition Design

Illustration and Drawing

Lighting and Sound

Furniture and Stand Design and Production

by Rron Bexheti

Film and Interview

Video 01_Film

Video 02_Interview

Project Bunker Film 

Available on YouTube

Interview given by Rron Bexheti with Jon Liander Ankarcrona as moderator for Lund Architecture Film Festival

Enjoy this interview where Rron Bexheti delves into his fascinating journey of researching the bunkers of Albania. He shares his personal experiences, reflections from study trips, and the meticulous strategy behind crafting the compelling film that serves as the centerpiece of his thesis. Through this discussion, Rron sheds light on his creative process and the intricate connection between architecture, history, and collective memory.

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