Through a circular bronze visor: a giant forest of another world, and two machine arms covered in moss and vines.

Immersive Environments

Places.That answer back.

Large-format environments where the space listens, reacts and remembers — at visitor scale.

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A wall that answers is no longer a wall.

A place that remembers becomes a destination.

We build large-format immersive environments — stone, canvas, sound stage — driven by proprietary interactive technology. You don't visit our sets: you take part in them.

A child carried on shoulders lays her hands on the glowing stone, the crowd pressing palms around her.

What we sell

Not a set.A moment.

The projects

Nine environments. Nine ways of answering.

Every set rests on the same principle: the visitor makes a gesture, and the place answers — live, at scale, without ever showing a screen.

In front of the magical library — a giant open storybook, a red book-house, candy-cane lampposts — a mother and daughter read the giant pages while the boy raises his phone toward the set.

01Vaughan Mills — Ontario

Built for Studio Artefact

The Great Book of Imagination Quest

Nine characters have escaped their stories and are hiding across the whole mall. The set is the starting point — and the reward.

A magical library built in the heart of the concourse: a giant open storybook, a house made of books, a street of monumental spines. But nine characters have slipped out of the pages and are hiding across the entire mall. Map in hand, families set out to find them; through proprietary interactive technology, the phone reveals each lost character around the bend of a corridor — one gesture, and it goes home. Back at the library, the great frame comes alive and shows the characters returning to their story. Between rescues, book-lectern stations each carry a game. And the final reward fits in the parents' pocket: the family photo nobody will believe.

In a mall corridor, a crouching boy aims his phone at a small turquoise yeti on skates, sad and lost, reflected in the polished floor.

At nightfall, the VéhiCube coach parked in a schoolyard; a line of pupils waits at the door, cyan light spilling out of it.

02Elementary schools — touring installation

Built for Le Grand Défi Pierre Lavoie

Le VéhiCube Spatial

A space station parks in the schoolyard. Inside, you learn to eat like an astronaut.

A coach and its trailer turned into a spacecraft, touring elementary schools across Quebec. Four stations on board. Pupils first cross the pantry — a wall where you pick a food with your hand and slide it into its group — then reach the galley table: four tokens laid in the plate, and the meal appears at full size in front of the viewport, Earth behind it. Nobody explains balanced eating to them: they watch it land on the plate.

A hand lays a token printed with blueberries into the metal plate; behind it, the full breakfast appears at real size.

In a shopping concourse, a forest of giant lit pines and tall columns of light; visitors hold phones up, pointing at different parts of the set.

03CrossIron Mills — Alberta

Built for Studio Artefact

Snowscape Adventure

A winter forest planted inside the mall. Visitors go looking for a whole province, and the set answers back.

Six-metre pines, columns of light and a carved stone arch, built in the middle of the shopping concourse. Markers scattered through the forest each carry a region of Alberta: a visitor scans one and lands inside it, turning on the spot to find the winter sports hidden in the landscape. Every region found unlocks something real — held up to a trunk or under the arch, the set lights up in the colours of the territory just explored. Between quests, snowflake stations gather the youngest around a game. The reward is never a score on a screen: it is the forest itself, changing.

A family looks up at a column of light turned coral, covered in snow-capped rock spires, while the child holds her phone out in front of her.

In a lit shopping arcade, a family of three stands before the tall red postbox whose screen shows a snowbound village under an aurora.

04Shopping centres — Canada, USA, Mexico

Built for Studio Artefact

The North Pole postbox

The child draws a letter to Santa, presses send — and watches it cross the world.

A lacquered cast-iron pillar standing in a shopping centre concourse, and behind its glass, a machine. The child picks a crayon, draws a letter with a fingertip, then lays a palm on the send button: two brass arms take hold of the sheet and carry it away. Then comes the journey — a valley of confectionery, an ocean, a kingdom of ice — all the way to the village and the workshop, where the drawing is pinned to the wall alongside the others. The next morning it lands in the parents' inbox. The experience does not end when the child leaves the mall.

A child lays her palm on the send button; behind the glass, two brass arms take hold of her drawing and carry it into the machine.

A child lays a stroke of blue paint onto a canvas, while a painted craftsman comments on the gesture.

The interactive

The moment the placeanswers back.

A stone portal standing in a departure hall, open onto a live tropical destination, travellers all around.

05Airports

The destination portal

The boarding gate opens onto the arrival airport — live.

A stone monolith in the middle of the departure hall. Its opening is not a screen: it's your flight's arrival hall, at one-to-one scale, right now, with the people waiting for someone. When a hand on each side lands on the same spot, palm to palm, the whole rim lights up — on both sides of the planet.

Two hands, one on each side of the stone, aligned palm to palm — the brass rim glowing between them.

A gallery room lined with gilded frames, where a painted figure leans out of his canvas toward the visitors.

06Museums & heritage venues

The living portrait gallery

Nineteenth-century portraits that talk, listen to each other — and teach.

Some twenty authentic gilded frames. The painted figures answer visitors, and the whole wall listens: when one canvas strikes up a conversation, its neighbours turn to watch. A child can lay a real stroke of cobalt into the work — and at the end of the visit, an oil portrait of the visitor resolves in the frame that stayed empty.

A crowd presses palms against a tall dark stone slab where luminous gold and blue handprints bloom.

07Stations & civic halls

Two stones linked across the world

What a hand traces here appears over there — where it's night.

One hour a day, the slab wakes under the palms. The prints made here glow gold; the ones arriving from the other city glow blue — some too high for anyone here to have reached. No moving parts, no symbols: only hands, at real size, crossing the planet.

The twin slab in a night-time station on the other side of the world: nobody touches it, yet it's covered in blue prints.

A warm sound stage facing a rainy black-and-white street that continues without edge or seam.

08Cultural & entertainment venues

The set that casts its visitors

A film has been shooting here since morning. The missing actor is you.

A permanent sound stage: a nine-metre seamless image wall, a floor that carries the scene on under your feet. Whoever steps into the scene turns black and white, like the film; whoever watches stays in colour, like the room. At night, the day's film is screened for forty strangers who see themselves in it — then it vanishes within twenty-four hours.

At floor level, on the stage line: a visitor crosses into the scene and turns black and white, while the room stays in colour.

A circular hall of six pale ceramic stations, under a dome where six worlds slowly turn.

09Science centres & exhibitions

The relay hall of six worlds

Six distant machines. Your hands are their hands.

Six stations in a circle, facing outward: forehead in the visor, hands on the grips — and light-years away, a machine takes your exact gesture. Nobody sees what their neighbour sees: you have to turn around and call across the hall to finish. Two strangers become the only link between two worlds.

Through the circular visor: a giant forest of another world, and two machine arms carrying eight hundred years of moss and vines.

Projects carrying a client name have been built and deployed. The others are original studio concepts, shown for demonstration: your visitors, your venue, your story.

On the sound stage, visitors face a rainy black-and-white street that continues without edge or seam.

At human scale

The set begins wherethe screen disappears.

Where it works

Anywhere people pass through, wait, or come back.

What this list has in common: volume, time to inhabit, and a place that gains from becoming a story.

Airports

Museums

Train stations

Shopping centres

Science centres

Hotels & resorts

Theme parks

Cruise ships

Zoos & aquariums

Libraries & civic venues

Corporate lobbies

Trade shows & events

The stone portal standing in the departure hall, open onto a live destination.

Your venue

Every place has a doorwaiting to be opened.

Your venue

Show us your space.

A floor plan, an intention — we come back with the set that answers it.

Talk about your project Write to us

Creative Drops — immersive environments, previsualisation and interactive systems. Montreal, Quebec.