This week we made an Ouija board!! All our work is documented on the Architecture section page. See an image below:
As part of the cursor design subteam, I contributed to both the aesthetic direction and the functional engineering of the planchette. We began by examining a commercial Ouija planchette we purchased as a reference point. I helped the team measure and analyze the proportions and viewing geometry, and we discussed how the cursor should sit on the board and how the pointer should register with the letters. This process informed our sketching and motif development—my focus was ensuring that the decorative linework matched the visual language of the board Adin/Alex and team designed. Rodrigo translated these sketches into vector linework that could be engraved onto the top surface of the cursor.
During CAD modeling in Rhino, we integrated functional requirements into the aesthetic form. This included shaping the outer profile, adding legs underneath the cursor to house permanent magnets, and making sure the magnet pockets were well-aligned with the stepper-magnet system that would drive motion from below the board. I also participated in sizing the through-hole for the convex lens, which acts as the viewing window when the cursor points to letters. Once we finalized the design, I was involved in preparing and finishing the 3D print: sanding the raw PLA to soften layer lines, painting the engraved artwork black while leaving the surrounding surfaces lightly sanded for a vintage grey look, and finally inserting the magnets and lens. I also helped test the cursor on the full machine to ensure it moved smoothly and coupled correctly to the electromagnets beneath the board.
In addition to working on the cursor, I helped build the structural platform beneath the table that houses the gantry and end-effector magnets. Our original plan was to suspend the motion system from above, but after Tyler flagged stability and alignment issues, we pivoted to constructing a rigid internal platform instead. I helped measure and position the plywood supports, glue them to the underside edges of the table, and ensure they formed a level frame for the gantry to sit in. Using the bandsaw, I trimmed and sanded the pieces so they were flush and properly dimensioned, and then drilled pilot holes and screwed the support rails in place for stability. This platform ended up being key to keeping the motors square, the magnets aligned, and the cursor motion smooth across the board surface.
This week, I led our section’s video and documentation efforts, drawing on my background in theater and storytelling to shape how we presented our Ouija machine to the world. For our documentary-style video, I proposed a structure that wove together both the technical and narrative motivations behind our project—why a Ouija board, how each subsystem (gantry, end effector, electronics, cursor) worked, and how they all came together into a spooky, fully functional machine. I coordinated interviews with key contributors from each subteam and made sure that the TA perspective was included as well, capturing not only what we built but how we collaborated. Working closely with Rodrigo, our cameraperson and co-director, we filmed, organized, and assembled footage into a cohesive short film that balanced clarity, humor, and atmospheric storytelling.
For the second video, I had the chance to take far more creative liberties. We produced a full music-video-style narrative imagining how our Ouija board might be used by a lonely, misunderstood girl who finds love in the spirit world—only to vanish into it at the end. I wrote the parody story and lyrics, mapped out the scene-by-scene structure, cast section members, and directed the performances on camera. I also acted as the protagonist, pulling the emotional thread through the whole video. This piece was loosely inspired by early 2010s Taylor Swift videos, complete with dramatic lighting, exaggerated longing, and a slightly ominous twist.
After filming wrapped, I edited both videos, stitching together the narrative beats, pacing, and tone we wanted. To elevate the aesthetic, I used Suno and other AI music tools to generate two custom musical scores that matched the emotional arc of each film. Huge thanks to Rodrigo and Vittorio for their creative contributions behind the camera, and to Alex and Qilmeg for joining the cast. Together, we produced two videos that captured not just the mechanics of our machine, but the spirit—both literal and figurative—of the week.
You can see the whole videos on the Arch Section page. Hope you love it!