This project investigates the significance of art as an effective channel to tell stories of immigration and represents how artists, with challenging migrational backgrounds are deeply affected by this in the way they make their art. In the main body of the building my mixed media immersive installations present contextual narratives of the four selected artists of distinct backgrounds within defined galleries, each representing their memories and the impact of migration. The route of the exhibition is self-determined, yet curated entrance and exit sequences ensure that the visitors complete their journey with a renewed realisation and inspiration of artists' migrational experiences.
Exhibition-goers don't often realise the emotional depth behind celebrated art works, many of which heavily influenced by their migrational experiences, whether they are traumatic, nostalgic, liberating, or miserable. This important element is often discussed in the categorisation of ethnicity, as if migrational experiences are only race-induced. This approach fails to recognise migration as a deeply universal experience and is detrimental to an international, culturally-rich city like London. During my years interacting with street artists in New York, I came to a realisation that they are not merely art makers, but true humans with voices and stories to tell, and this exhibition aims to do just that.
By transforming the artists' inspiration of their works - their migration stories - into immersive experiences in the form of mixed media installations, my design draws attention away from the aesthetics and materiality of their works to them as migrants in London. The designed experiences act as a time machine that leads visitors through the artists' displacement processes and evokes an emotional journeys corresponding to each artists' unique history. After the exhibition, visitors will gain a new tool to rethink and re-appreciate art work and artists from various backgrounds, while questioning the norm of categorising migrants with colours.
Temporary art gallery for young British artists
Giraffe Sheds, 25 Eccleston Pl, Belgravia, London
The BUILDING as a collection of neighborhoods.
The vitality of the city usually stops at your front door. In order to create a more social building, we need to extend that energy inside. How do we do this? By looking to the structure and principals of great urban space to inform the organization and spatial characteristics of the building.
The city’s vitality is, in large part, due to its: density, self-organizing nature, and ad hoc aggregation of disparate components/interests. The sum effect, is what we call DISRUPTIVE SPACE. The potential for chance encounters, taking you out of your routines/habits/patterns and delivering you back into the now - the city invites you, urges you to engage.
Mission: Promote smaller footprint lifestyles to help our members realize happiness, wellness & fulfillment in everyday life.
Great Design / Social Interaction / Services & Benefits / Amazing Amenities / Digitally Enhanced / Community / Ethical & Sustainable Way Of Life
• Commons Not Commune
• Of the City not In the City • Develop The Species • Both Landing Pad & Launching Pad • Keep It Easy; Take It Simple • Do Better
Varna Garden Library
The design seeks to strategically bring together the offsite storage facilities and reading rooms under one roof providing the utmost convenience for visitors. The main idea is to create a library that is accessible to and usable for everyone while simultaneously proposing familiarity between the layout of the building and the city street.
Upon looking at the library, visitors encounter terraces that encircle around the exterior of the building. These terraces, when unraveled, resemble an elongated street with different sections that offer a multitude of flexible programs. The library program is organized on a spectrum that starts with playful programs, and spiral up to more focused study area, eventually leading up to the park on the roof. While terraces offer vibrant outdoor spots that foster social interactions, windows work as framings that connect the interior to the agreeable exterior generating a direct visual contact with the courtyard.
Reestablishing the role of the library as a cultural playground, the library is not an object to admire from theoutside but an interactive area that intellectually stimulates its users encouraging them to make cross connections between knowledge and experience.
The Dream Division
My mission and goal is to create a display showroom for future driverless car in a dynamic space with many different areas where people can easily test cars in a fast way and enjoy using high technology systems such as Robotics.
The idea of linear have the form of resembling a line and creates a narrow and elongated. A linear creates long and narrow, with nearly parallel sides that makes a step by step into a logical manner. The curvilinear is a formed, bounded, and characterized by curved line. The curvilinear form is sympathetic to the body, mind and spirit.
Other showrooms have test driving outside of the showroom. What if the test driving happened in the showroom? Since this showroom is for a car that drives itself, this is highlighted and put on display. The ramp for the cars becomes the unifying element that determines the shape of the building and the layout of the spaces inside.It becomes part of the experience of the space; there is no barrier between what the showroom is displaying and the potential customers, as they are allowed to look and, even test a car right in the same space.
When entering the building, the first notion will be the test car ramp start area. The ramp itself will bring customers to drive in the ground level to the outside of exteriors into 2nd Floor. While driving through the ground level, customers get the views of car display areas and bar & lounge.
When test car arrives at 2nd leel, customers concludes with experience in the car and get off to move to the next step of experience which are material & spec displays. Customers can walk around from 2nd Level to ground level by their own feet.
Wine Tasting Pavilion
The “Vine to Wine” concept is very important in the grape-growing process to produce an exceptional quality of wine. The goal of this project was to design a Wine Tasting Pavilion that welcomes people to taste the best wine of Pindar Vineyard in Piconic, New York.
The Wine Tasting Pavilion was designed to capture natural light and create strong straight shafts of light. Because of the differing positive and negative shapes in the building, as the sun moves across it many different varieties of shadows and forms are cast, creating a dynamic space. While tasting wine, people can have a unique visual experience that changes with time.
“A symbol of our continued commitment to sustainable agriculture and renewable energy”
“Let these deep draughts of enchanted wine and lift me soaring high and far”
alexa chung temporary studio
Temporary fashion studio for Alexa Chung Team
Car Garage Park, 25 Eccleston Pl, Belgravia, London
eccleston yards signages
External Signage Competition
25 Eccleston Place, London
Derek Lee | Lina Lee | Minju Lee | Nahye Han
The vitality of a newly established hub often lies within its yards. In order to render Eccleston Yards an iconic landmark, such energy has to reach beyond the yards to its exteriors. By looking into the the yard’s visual languages and forms, the signages are designed to inform the public of the organization and spatial characteristics of the yards.
Our focus is to design progressive signages that determine the path from Victoria station to the landscaped courtyard. By using pipes and the colour green, the signages connect the experience within through this unique journey - one that encapsulates the yards’ own open and thriving characteristics as a new hub of enterprise and innovation in the West End.
The overall signages capture existing elements from the yards - its pipes and plants - and are reinterpreted into different visual effects through the journey. The first two signages stem from the letter “Y” in “Yard” to emphasise the symbolic meaning of the place. These signages simultaneously act as visual cues for way finding while manifesting the place’s identity.
The pipes on third signage, displayed at the main entrance, are continual of the horizontal pipes coming from the second signage, indicating a fluidity of passage. An entrance sign with the words “The Yards” is outlined by the continuously running pipes of the wall on one side, as simple information of the merchants in the yard is being displayed with foliage hanging on the pipes on the other. With additional lighting system, this entrance itself is eye catching and drives attention from the street.
Finally, constructed with the same core element in this design, the language of green pipes, the last signage aims to bring Eccleston Yards’ fun and inspiring messages to the visitors as a community. Extending from top of the walls, these pipes unceasingly form the letters of the messages.
The Solomon R. Guggenheim Foundation is internationally recognized for its critically acclaimed exhibitions and architectural achievement in museum buildings.
An increasingly popular visitor destination, Helsinki serves as a standard bearer for Finland and a model for cities around the world, benefiting from an exceptional education system, entrepreneurial spirit, and appetite for innovation.
Outstanding, engaging, original design Potential to become a landmark and a symbol of Helsinki Sensitivity to historic waterfront setting Sustainable placemaking from an economic, social, and environmental perspective
New renovation design for Citrix's new headquarter site