Enter
Four rooms, seven works. Scroll to walk from one room to the next.
This is a small museum about one thing: the design of interfaces and the experiences behind them. Every object in it was made by a single designer, and the rooms are arranged by the context a piece was made in rather than by what kind of thing it is.
Each room opens with a panel explaining what you are looking at, and every work carries a wall label giving its medium, its year, and who it was made for. Admission is free and the galleries never close.
Room 01 / 04
Work designed for clients, shown with its live links.
Commissioned work begins with a problem that belongs to someone else. The designer does not choose the subject; she chooses how to understand it — whom to ask, what to measure, and what to decide not to build.
What hangs in this room is only the visible layer: the interface that reached people. The decisions underneath it remain, as most design does, invisible.
2 works in the collection
Room 02 / 04
Work under NDA — the labels are shown, the internals are not.
Museums sometimes show objects on conditions: no photography, no closer approach, no naming of the lender. This room follows the same kind of condition.
The work here sits under non-disclosure agreements. The labels are shown in full — medium, year, role — but what lies behind the interface is not. The restriction is part of the professional trust, not a gap in the work.
2 works in the collection
Room 03 / 04
Work that began from personal curiosity rather than a brief.
Nobody asked for this work. It began from a question or from curiosity, which makes it the place where ideas are tested before they are ever carried to a client.
Personal work in design plays the role that preparatory drawings play for painters: rarely hung, but often the explanation for what is.
1 works in the collection
MA-2025-005
A personal project that began from curiosity rather than a brief; it has no public link yet.
View workRoom 04 / 04
Work given freely to communities and initiatives.
This work was given without payment, to communities and initiatives with no design budget.
It deserves its own room because its constraints are different: less time, slower review, and far more freedom in the decisions. Those constraints leave their mark on the result, as constraints always do.
2 works in the collection
The History Room
How this profession came about, and where Mariyyah Aziz Aljahdali stands in it. Walk the wall from left to right.
The fieldHer practice
The field
In his MIT thesis Ivan Sutherland presented Sketchpad, which for the first time let a person draw directly on a screen with a light pen. The idea that a human might point at a computer rather than only type at it begins here.
1963
The field
On 9 December, in San Francisco, Douglas Engelbart demonstrated the mouse, windows, hypertext and remote collaborative editing — in a single sitting. Most of what we still use was present in that ninety minutes.
1968
The field
The first personal computer built around a graphical interface with windows, icons and a mouse. It was never sold commercially, yet it set the shape that personal computing took a decade later.
1973
The field
The first commercially successful personal computer with a graphical interface. The interface moved from the laboratory into the home, and with it came a new obligation: to design for someone who has not read the manual.
1984
The field
Jakob Nielsen and Rolf Molich published a set of general rules for evaluating interfaces, later refined by Nielsen into ten. They turned interface critique into something teachable and repeatable rather than a matter of taste.
1990
The field
Donald Norman joined Apple with the title User Experience Architect. He chose the term, he later explained, because "interface" and "usability" were both too narrow to cover everything a person goes through with a product.
1993
The field
In an article for A List Apart, Ethan Marcotte proposed that a page should adapt to the screen rather than a separate mobile site be built for it. The unit of design changed from a fixed page to a continuous range.
2010
The field
Figma opened to the public, bringing design into the browser with several people in the same file at the same time. The design file stopped being a document that gets sent and became a place people meet.
2016
Her practice
Rakaya · Part-time
Undated
Her practice
Rakaya · Internship
Undated
Her practice
Awontech · Volunteer
Undated
Her practice
Awontech · Volunteer
Undated
Her practice
Knowledgex · Internship
Undated
The Tool Room
Four objects in their cases: the tools every work in this museum was made with.
MA-T-001
Figma
MA-T-002
HTML
MA-T-003
CSS
MA-T-004
JavaScript
The Practice Room
Five stages, in the order they happen. Each skill is listed at the stage it is used, because "collaboration" on its own is a word — collaboration after the interface exists and before it reaches anyone is a job.
01
Before anything is drawn
Every piece begins by listening: who will use this, what are they trying to get done, and where do they stumble today. The answer comes from asking and watching, not from assuming.
02
Naming the right problem
The hard part is not solving the problem but working out which problem is worth solving. This is where information gets ordered, priorities get set, and what will not be built gets decided.
03
Thinking with a pencil
The first drawings are grey on purpose. Colour pulls the conversation toward taste, and at this stage it needs to be about order and priority.
04
Where an idea becomes a surface
Decisions become an interface: a colour system, a type scale, components that repeat. A design system is not merely a component library — it is an agreement about how the next decision gets made.
05
The work does not end at the file
A design that never gets built is not finished. This stage is about clarity: documenting decisions, reviewing what gets implemented, and working alongside engineers until the thing actually reaches people.
