Meet Mingfei Liu | Spatial Designer & Travel lover

Chencong Zhang, an interior designer and spatial experience designer, embarked on her creative journey driven by a deep desire to create spaces that evoke a sense of belonging. Her personal experience of longing for comfort and familiarity, stemming from being away from her family since the age of 11 and being unable to see them for over 4.5 years due to the pandemic, fueled this aspiration. Initially, Zhang pursued civil engineering as an undergraduate, a popular field in China at the time. However, after two years, she realized it was not her true calling and took a gap year to explore modern arts, design, and other creative avenues. This period ignited an urge to pursue work that resonated emotionally and could impact others' feelings positively. Her first significant step into interior design came in 2015 when she had the opportunity to work on a 7000 sq ft office in Shanghai. The project's goal was to create a comfortable, communicative working environment that seamlessly integrated with its spacious outdoor terrace. Zhang's creative input, particularly her use of colors and materials in material boards and Photoshop renderings, was highly praised. She also collaborated on designing and installing a ceiling installation made of stone and wood, a challenging but rewarding experience that solidified her passion for design. In 2016, Zhang officially began her interior design education at RISD (Rhode Island School of Design). There, she learned about transforming old spaces, gaining inspiration from successful case studies, and connecting with like-minded peers and professors. A pivotal experience was a 2018 visit to Morocco with the Architecture and Ceramics department, where she immersed herself in Islamic art, rich colors, and intricate patterns. This trip, and the subsequent creation of pieces reflecting cross-cultural exchange, broadened her perspective and reinforced the impact of cultural fusion in design. Zhang views storytelling as the core magic behind creating distinctive and tailored spaces. She emphasizes that interior design is about imbuing spaces with personality and crafting a journey for occupants. Her process involves extensive research and imaginative exploration of possibilities. She cites a hotel rooftop design project in Miami, where she integrated elements inspired by the local subtropical climate, lush landscapes, and Bahamian murals, resulting in a bold and unique space that garnered positive online reviews. Zhang attributes her ability to be a good storyteller of spaces to her sensitive nature, which allows her to deeply feel and, in turn, enable others to feel. Her time at RISD, interacting with artists from various disciplines like digital art, glassmaking, furniture design, and textiles, further enriched her understanding of different media and their application in expressing a space's personality. While acknowledging the challenges of bringing creative designs to fruition, including time, cost, and durability, Zhang highlights the importance of problem-solving. Her experience leading the construction administration for a 200-key, $50 million hotel renovation project taught her invaluable lessons in collaboration with consultants, contractors, and clients, and in making informed compromises to deliver high-quality results. She defines her role as a designer as helping clients realize their dreams, emphasizing listening to their needs, offering options, and respecting their perspectives. Zhang's personal journey underscores the message of following one's heart to discover one's true self and purpose. #InteriorDesign #SpatialExperienceDesign #CreativeJourney #StorytellingInDesign #RISDAlumni #CulturalExchange #ProjectManagement #DesignPhilosophy #Entrepreneurship

Architect Mariam Issoufou discusses her design philosophy and recent projects, including the Rolex Pavilion at the Venice Architecture Biennale and the upcoming Bët-bi museum in Senegal. Issoufou, founder of Mariam Issoufou Architecture and a professor of architecture heritage and sustainability at ETH Zurich, emphasizes a research-led approach that prioritizes local contexts, craftsmanship, and sustainable practices. Her work spans various regions, with a notable focus on projects within the African continent and Europe. The Rolex Pavilion, commissioned for the Venice Architecture Biennale, was designed to reflect Rolex's identity while addressing Carlo Ratti's 2025 theme of adaptation to climate change. Issoufou's design for the pavilion showcases a commitment to local materials and artisan collaboration. The facade is constructed from recycled wooden beams sourced locally, and the interior features a translucent colored ceiling crafted by Murano glassmakers, which creates dynamic light effects. The terrazzo flooring incorporates recycled Cottisso crushed glass. Issoufou aimed to honor Venice's heritage of making and to demonstrate how recycled and local materials can be used effectively in high-profile projects, similar to her work in Africa where materials like recycled metal, earth, and cement are commonly employed. Her design process for the Rolex Pavilion began by considering the unique shape of Venice, a city divided by the Grand Canal, which inspired the form and exhibition spaces of the structure. The project also focused on collaboration across different intelligences and showcased resource efficiency. Issoufou expressed pride in seeing the pavilion come together through the work of local glass, metal, and woodworkers, highlighting the successful integration of traditional Venetian artistry with contemporary sustainable design principles. Issoufou’s practice is characterized by a consistent research-led methodology across all her projects. Instead of imposing a design, she first investigates the architectural history, climate, and vulnerabilities of a specific location. Following this, she identifies and engages with local makers and their existing knowledge and skills. This collaborative and context-driven research then informs the design process, ensuring that each project is uniquely tailored to its environment and community. This approach allows the questions she asks in her projects to remain consistent, while the solutions and outcomes vary based on the specific research findings. Sustainability, for Issoufou, is an intersectional concept that extends beyond mere ecological considerations. She integrates green standards with social, cultural, and economic upliftment for the communities involved in her projects. This holistic view ensures that her architectural interventions contribute positively to the broader well-being of people and places, preserving cultural heritage and fostering economic opportunities. Beyond the Rolex Pavilion, Issoufou is currently focused on the construction phases of two significant projects: the Bët-bi museum in Senegal and the Ellen Johnson Sirleaf Presidential Center in Monrovia, Liberia. The Bët-bi museum, commissioned by the Josef and Anni Albers Foundation and Le Korsa, will be a 1,000-square-meter center for contemporary and historic African art, also serving as a temporary home for repatriated objects. Its triangular form is inspired by the Indigenous Serer people's belief system, symbolizing the relationship between elements, the living, and the dead. The museum will be built into the landscape using sustainable, traditional materials with the help of local artisans, reflecting Issoufou’s commitment to culturally resonant and environmentally responsible design. The Ellen Johnson Sirleaf Presidential Center, where Issoufou is the lead architect, involves collaborations with Sumayya Vally and Karen Richards Barnes, further exemplifying her collaborative and community-focused design ethos. These ongoing projects underscore her dedication to creating spaces that are deeply rooted in their cultural and environmental contexts while promoting sustainability and community engagement. #Architecture #SustainableDesign #VeniceArchitectureBiennale #RolexPavilion #MariamIssoufou #CulturalHeritage #CommunityEngagement #AfricanArchitecture #LocalCraftsmanship

Philip Oloo, an Architectural Designer, Virtual Reality (VR) for Architecture specialist, and Licensed General Contractor, discusses his journey into entrepreneurship, the unique aspects of his design firm SPACIALISTS, and the lessons learned along the way. His decision to start his own business was driven by a combination of frustration with traditional employment, dissatisfaction with his work, and a desire for personal growth and recognition. Influenced by his entrepreneurial father and supported by his wife, he embarked on this path to overcome career stagnation. SPACIALISTS stands out in the architectural industry by integrating virtual reality for architectural design. The firm creates immersive visual experiences and handles comprehensive construction documents and plan submissions to Building and Safety departments. A key innovation is enabling real-time reviews of buildings, allowing for immediate design adjustments. This approach has fostered collaborations with architectural firms across the United States. Oloo's success is attributed to continuous learning, practice, and the mastery of tools like Unreal Engine, which led him to connect with talented game designers globally. He emphasizes that achieving mastery is a gradual process, akin to compound interest, requiring daily dedication over several years. Oloo highlights that many struggles arise from a lack of solutions, advocating for continuous learning, experimentation, and questioning to cultivate innovation. SPACIALISTS' philosophy centers on constant improvement and a proactive adoption of AI in architecture, aiming to simplify clients' lives, ensure sound design decisions, and promote sustainable and innovative solutions that benefit both projects and the environment. Beyond his professional life, Oloo shares some of his favorite local spots and travel ideas, including a scenic drive along Highway 1 from Santa Barbara to San Francisco, a visit to Redwood National Park, and the vibrant atmosphere of Las Vegas. He also expresses appreciation for authentic Mexican cuisine from local establishments. He concludes by acknowledging the significant role of his family—his wife Jen, children Zuri, Amani, and Jaidyn—and his parents, Portash and Heddah, for their unwavering support and inspiration. He also thanks his brother for encouraging a Kaizen mindset of continuous, incremental growth and credits 'The Great Courses' for broadening his understanding of human nature and achievement. #ArchitecturalDesign #VirtualReality #GeneralContractor #Entrepreneurship #SPACIALISTS #UnrealEngine #BusinessInnovation #AIinArchitecture #SustainableDesign

The Youkong Living Room, a project designed by Wutopia Lab for Vanke Midwest, completed its construction in Chengdu's Go Mall in February 2019. This project addresses the common issue in Chinese residential districts, known as "Xiao Qu," where highly similar spatial layouts result in a lack of communal spaces and hinder community building among residents. The design by Wutopia Lab aims to transform this conventional living model by introducing a dynamic and interactive communal hub that fosters social interaction and a sense of belonging. The project covers an area of 345 square meters and was photographed by CreatAR Images. The architectural design was led by Principle Architect Ting Yu and Project Architect Liran Sun, with support from the design team including Haoyang Li. The decoration design was handled by Qianmo Interior Design, specifically Baomo Zeng. The light counseling was provided by Chloe Zhang. The owner of the project is Chengdu Vanke, and it is located in Chengdu, Sichuan, China. The primary materials used in the construction include glass, steel, and concrete, which contribute to its modern aesthetic and structural integrity. Wutopia Lab's approach to the Youkong Living Room challenges the traditional enclosed residential district model, which often isolates residents despite their close proximity. The design seeks to create a vibrant public space that encourages residents to gather, interact, and build a stronger community. This initiative reflects a growing recognition of the importance of social infrastructure within urban residential developments, aiming to counteract the anonymity often found in high-density living environments. The communal living room is envisioned as a flexible and adaptable space, capable of accommodating various activities and events. Its interior design elements, including furniture and shelving, are likely chosen to support a range of social functions, from casual meetings to organized community events. The use of specific materials like glass, steel, and concrete suggests a contemporary and durable design, emphasizing both functionality and aesthetic appeal. The project's location within a mall also implies an intention to integrate community life with urban commercial activity, making it easily accessible to a wider public while serving the immediate residential area. Overall, the Blue Heart - Youkong Living Room project represents an innovative solution to the challenges of modern urban living in China. By prioritizing communal space and fostering social interaction, Wutopia Lab aims to redefine the living experience within residential districts, creating a more connected and engaged community.

Loop.pH, an international design studio, has created an interactive light installation called VelO2 for Taipei. The installation, which was commissioned by Shin Kong Life to celebrate Velo-City Global 2016, highlights the connection between active living and healthy urban environments. Loop.pH, founded by Rachel Wingfield and Mathias Gmachl in 2003 and based in London, explains that VelO2 celebrates human potential and an inner light. The form of the installation is inspired by the human lungs and the circulation of air. A double track within the installation mimics the flow of air in the lungs, with a branching structure resembling trees and lung airways growing from it. The installation's design draws upon the principles of aerodynamics, which is the study of air in motion. This reflects the dynamic and boundless nature of the Earth's delicate atmosphere. Air pollution is a significant concern in many modern cities, including Taipei, which is recognized as this year's World Design Capital. VelO2 addresses this issue by making the invisible visible through the use of light as a 'silent communicator.' The outdoor track allows two participants to race simultaneously on bicycles provided by event partner Giant. The speed of the cyclists and the local air quality influence the activation of the peripheral lighting, introducing a competitive element. Participants also have the option to share their lap speeds on Twitter. Following its initial display in Taipei, the VelO2 installation is intended to tour Taiwan before moving to Europe. This expansion aims to continue Loop.pH's collaboration with Change London, a campaign group that supplied the advanced air sensor used in the installation. The project's interactive nature and focus on air quality underscore its broader message about urban health and environmental awareness. The installation is a continuation of Loop.pH's successful previous work, such as 'The Chronarium Sleep Labs,' demonstrating their consistent approach to combining art, technology, and social commentary. #InteractiveInstallation #UrbanDesign #LightArt #PublicArt #AirQuality #Taipei #LoopPH #VeloCityGlobal #EnvironmentalAwareness

Femo Wong, founder of Femo Design Studio, shares his insights into the evolution of the Chinese design community and his design philosophy. Wong's extensive background in design, stemming from the 1990s, includes training under notable figures like Professor Yu Lizhan and Chinese designer Chi Wing Lo. His studio, based in Shenzhen, specializes in furniture, lighting, and lifestyle products for both domestic and international markets, demonstrating a deep understanding of modern design aesthetics and production technology. Wong has garnered over 130 professional design awards, including the Germany Red Dot Award and IF Design Award, and his work has been featured in over 40 exhibitions worldwide, such as the Milan Furniture Fair and Design Shanghai. Femo Wong emphasizes a design philosophy rooted in "less is more," heavily influenced by Bauhaus principles. He advocates for minimalist designs that prioritize functionality and eschew unnecessary embellishments. A crucial aspect of his approach is a profound respect for the inherent characteristics of materials. Wong believes that true innovation comes from understanding the unique properties of each material, whether it be metal, wood, plywood, or plastic. He illustrates this by contrasting the use of bamboo laminated lumber with traditional Chinese bamboo furniture, which optimally leverages bamboo's natural toughness and flexibility. For Wong, the quality of design is paramount, not the costliness of the materials. Wong actively seeks inspiration from renowned international designers such as Patricia Urquiola, Ronan & Erwan Bouroullec, Konstantin Grcic, nendo, and Jasper Morrison. He aspires to collaborate with prestigious brands known for their commitment to excellence, like Vitra, Cassina, and Flos. A significant part of his creative process involves diligent research, which includes gathering exhibitor lists from major design events, exploring brands' official websites, and studying over 10,000 brands over 14 years. This comprehensive immersion provides a macro perspective of the design discipline, fostering a deeper understanding of historical works and paving the way for future advancements. Wong also underscores the importance of hands-on, experiential learning, stressing that merely perusing product images cannot replace the practical insights gained from tackling real-world challenges and firsthand experience with materials and quality standards. Research is an essential component of Wong's design process. When embarking on new projects, he begins by immersing himself in information about the brand and visiting factories to observe production processes directly. This hands-on approach provides invaluable insights that inform his design concepts. He collaborates closely with factory engineers to develop prototypes, leveraging their expertise to refine designs. Wong asserts that without meticulous preliminary research, design concepts often remain theoretical and fail to translate into innovative realities. His current focus extends beyond furniture and lighting to industrial products like taps and luggage, demonstrating his commitment to continuous exploration. From Wong's perspective, the Chinese design community is moving away from simply imitating traditional styles or prioritizing aesthetics over functionality. Instead, contemporary Chinese designers are increasingly adopting modern design principles, influenced by the Bauhaus movement and minimalism, with a strong focus on functionality and human-centered design. He highlights how cultural influences, such as Hans J. Wegner drawing inspiration from Chinese Ming furniture, transcend borders and enrich both local and global design narratives. Wong believes design is a universal language shaped by cultural customs and upbringing, and his own work reflects traditional Chinese culture while maintaining simplicity, precision, functionality, and sustainability. Beyond the design world, he finds profound inspiration in nature, with elements like shells, plants, and flowers, as well as animal shapes, influencing his organic forms and natural motifs in designs such as the ‘Duck Table Lamp’ and ‘Toucan Lamp'. #ChineseDesign #FemoWong #FemoDesignStudio #BauhausInfluence #MinimalistDesign #MaterialityInDesign #FurnitureDesign #LightingDesign #DesignPhilosophy

Maya Newlin, the driving force behind KAMO Studio, shares her entrepreneurial journey, detailing the motivations and experiences that led her to establish her own interior design business. From a young age, Newlin harbored aspirations of entrepreneurship, often sketching floor plans and envisioning room transformations. Her passion for design was nurtured through a childhood fascination with a Victorian dollhouse, which served as an early outlet for her creativity in curating and storytelling within spaces. Prior to founding KAMO Studio, Newlin pursued a career as a national competitive figure skater, a background that instilled in her ambition and a strong-willed approach. Her professional path included a significant role as an Imagineer for Walt Disney Imagineering. While initially perceived as a dream job, the large-scale, impersonal nature of designing for global audiences at Disney led her to realize a longing for more intimate, one-on-one creative problem-solving. This experience, though valuable for fostering creativity, reinforced her desire to work independently, leading her to pursue a Master's degree in Interior Architecture, complemented by business courses, to equip her for launching her own venture. KAMO Studio, co-founded with business partner Jasmine, specializes in residential and boutique hospitality projects. The studio's philosophy centers on creating personalized spaces that genuinely reflect their clients' personalities and life stories. They emphasize incorporating unique elements like vintage finds and generational heirlooms into contemporary designs, aiming to celebrate everyday moments and evoke specific emotions within a space. The focus is on achieving an effortless aesthetic that also boasts hidden functionality, a skill KAMO Studio has refined and prides itself on. Newlin highlights the matchmaking aspect of design, where understanding and translating a client's often unarticulated desires into a tangible design is paramount. The studio guides clients beyond transient trends, encouraging them to trust their instincts and create spaces that resonate deeply with their individual needs. Newlin also provides a detailed, week-long itinerary for experiencing Los Angeles, offering a glimpse into her personal preferences and local favorites. The itinerary covers a range of activities, from active pursuits like rollerblading from Venice to Malibu and hiking in the Vicente Bluffs Reserve, to cultural experiences such as visiting art exhibitions at Hauser & Wirth. Dining recommendations span various cuisines and atmospheres, including Gjusta for baked goods, Ospi Venice for handmade pasta, Blueys Santa Monica for brunch, Le Great Outdoor for farm-to-table fare, Manuela or Bavel in the Arts District, and Broad Street Oyster Company for seafood. The itinerary also includes shopping excursions at Abbot Kinney and ROW DTLA, a nightcap at the DTLA Proper hotel, exploring Culver City's Citizen Public Market, and a day in Malibu with a visit to Cielo Farms for wine tasting. Sundays are reserved for the Brentwood farmers market and Jon & Vinny's for Italian food, showcasing a balance of local exploration, culinary delights, and relaxation. Finally, Newlin dedicates a "shoutout" to her mother, Kathy, acknowledging her as a primary source of inspiration and support. Her mother's pioneering career as one of the first female scientists in STEM, despite facing challenges, serves as a powerful role model for Newlin as a female entrepreneur. This recognition underscores the personal influences that have shaped Newlin's drive and resilience in building her business. #InteriorDesign #SmallBusinessOwner #Entrepreneurship #KAMOStudio #WaltDisneyImagineering #LosAngelesTravel #DesignPhilosophy #FemaleEntrepreneur #BusinessJourney

Feri Feryal Turker, an interior designer, began her professional journey five years ago, building on her craftsmanship in furniture, murals, and charcoal painting. Her venture was inspired by her son's encouragement to pursue formal education in interior design and supported by her husband's expertise in consulting engineering. Feri Designs is a family-run company that started with minimal capital but grew through their collective experience and dedication. The company specializes in designing and implementing interior projects for luxury condos, single-family homes, and commercial spaces, working with a team of professional licensed contractors. Feri Turker emphasizes that her unique background, originating from Turkey—a country bridging Europe and Asia—allows her to infuse her designs with contemporary orientalist influences. This distinctive approach differentiates Feri Designs from other firms. Her design philosophy prioritizes reflecting clients' tastes and wishes while subtly incorporating her personal touches, aiming to create living spaces that bring joy and a sense of identity to her clients. She believes that a designer's role is to create happiness through their work. Her personal journey into interior design began at the age of 53, a challenging endeavor given the language barrier in a new country. Despite these obstacles, Feri pursued her education with discipline and dedication, successfully establishing her own business. This experience solidified her belief that perseverance can overcome any objective. When asked about recommendations for visitors, Feri and her husband often suggest St. Augustine, one of the oldest cities in the USA, for its historical significance. They also recommend visiting the NASA Kennedy Space Center for a unique global perspective. For leisure and culinary experiences, the Florida Keys are highlighted for their vibrant life and traditional food culture. In Delray Beach Downtown, their preferred dining spots include La Sorelle, an Italian restaurant known for its cuisine and wines, and Amar Mediterranean Bistro, celebrated for its Middle Eastern dishes and respectful service. For a quiet drink and live music, the Colonial Hotel Bar with its outdoor seating on Atlantic Avenue is a favored choice. Feri credits her husband for imparting foundational knowledge in measurement and construction, and her son for his unwavering support. She also acknowledges the crucial role of friends in Turkey who never ceased to support her aspirations. Furthermore, she expresses gratitude for the recognition and interest shown by publications like Shoutout Miami, which have contributed to the success and visibility of Feri Designs. #FeriFeryalTurker #InteriorDesign #FeriDesigns #Entrepreneurship #DesignPhilosophy #MiamiBusiness #TurkishInfluence

Zhongshuge bookstore, located on the second floor of an atrium mall in an office tower in Suzhou's new central business district, offers a unique and innovative approach to bookstore design, diverging significantly from traditional, static models. Shanghainese design studios Wutopia Lab and ArchUnits, responsible for the project, have transformed the space into a dynamic and engaging environment, aptly named 'love book pavilion,' which also subtly references the owner's daughter. This project challenges conventional norms of bookstore aesthetics and integrates with its unconventional location by employing creative design solutions. To manage the extensive area, the designers utilized perforated aluminum panels suspended from the ceiling, shaping them into fluid, wavy forms. These panels are colored in soft pastel shades, including pink, red, and green, with each color serving to delineate specific functional zones within the bookstore. From a street-level perspective, this ceiling installation creates the striking visual effect of a metallic rainbow, drawing attention to the store's distinctive interior. The layout of the bookstore features low-rise, white-coated bookshelves that are arranged to form a 'bibliographic valley.' This valley gradually ascends through a series of shallow, platformed steps, which are themselves integrated with books. The design culminates in long, dark-stained shelves that encircle the central core of the space. This tiered arrangement not only adds visual interest but also creates varied levels for exploration and discovery within the bookstore. For comfortable reading and browsing, the space is furnished with thin-legged reading tables and low-slung chairs, strategically placed to offer convenient perches for visitors. A dedicated children's zone is a particularly imaginative feature, comprising three-dimensional cut-outs designed to resemble residential porches. These playful structures are clustered around a dark dome overhead, which is illuminated with optical fibers, creating an illusion of a starry night sky. This whimsical area provides an enchanting experience for younger visitors, fostering a love for reading in an inspiring setting. The overall design ethos of Zhongshuge bookstore is a departure from the typical bookstore experience, which often consists of uniform rows of books and standard lighting. Instead, Wutopia Lab and ArchUnits have crafted a vibrant and interactive space that not only houses books but also serves as an architectural destination, encouraging visitors to engage with literature in a creatively designed environment. #bookstoreDesign #architecturalInnovation #interiorDesign #Suzhou #WutopiaLab #ArchUnits #retailDesign #culturalSpace #experientialDesign

One House Design, led by Fang Lei, has conceptualized the Shanghai Techstorm Exhibition Hall as an immersive and eco-centric experience, drawing inspiration from the Daoist philosophy of 'Dao giving birth to all things'. This design approach aims to establish a harmonious relationship between human interaction, product display, and the natural environment. The firm integrates artistic construction with logical design coordination to highlight the interconnectedness of people, products, space, and nature. This philosophy is further reinforced by Techstorm's commitment to sustainable materials, aligning the exhibition's material science narrative with natural evolution. The design effectively utilizes the building's architectural features and varied ceiling heights to weave in brand values and provide an engaging visitor experience. The exhibition hall's layout is structured to guide visitors through a series of curated 'boxes' that showcase Techstorm's products and innovations in material science and sustainable energy solutions. These spaces are interconnected by flowing routes, facilitating immersive and interactive encounters that allow visitors to engage deeply with the brand's pioneering efforts. The design incorporates a bold, cantilevered structure at its entrance, featuring geometric forms and perforated surfaces that create a dynamic interplay of light, color, and composition. The dominant use of red throughout the space is intended to evoke warmth and encourage immersion, emphasizing the relationship between objects, materials, and the surrounding environment. Display shelves within the exhibition serve a dual purpose, functioning as both practical exhibit carriers and decorative elements that inject energy and spatial dynamism into the overall design. A key feature of the eco-inspired design is a carbon-neutral courtyard, enclosed within the building, which enhances the connection between the interior space and nature through the concept of 'borrowed scenery'. The exhibition units feature minimalist geometric forms, creating layers and textures that contribute to a sense of both order and exploration, inviting visitors to partake in interactive spatial experiences. The flexible layout supports both dynamic engagement and contemplative moments with the brand's offerings. From the second floor, visitors gain insights into Techstorm’s research initiatives, establishing visual links that underscore the brand’s mission. The various 'boxes' are linked by covered bridges, ensuring a smooth spatial flow. Glass and metal mesh used in handrails balance transparency with structural integrity, contributing to visual coherence. The second-floor exhibition area is enhanced by a mirrored ceiling, which generates a kaleidoscope-like effect, expanding the perceived space while subtly integrating recessed lighting. Vertical metal strips along the walls provide structural support and visually unify the design, highlighting continuity and functionality. A balcony on the second floor further extends the sense of openness, fostering contemplation and relaxation. The visitor journey culminates with sculptural installations within the stairwells, which serve as a distinctive design element reflecting Techstorm’s circular and eco-conscious philosophy. The thoughtful variations in openings, forms, and colors guide visitors through a curated sequence of intimate and expansive spaces. Strategic lighting and contrasting shapes contribute to a fluid rhythm within the enclosed layout. Ultimately, the Shanghai Techstorm Exhibition Hall, through One House Design’s vision, embodies a blend of spatial fluidity, compelling brand narrative, and ecological harmony, bringing together nature, art, and sustainable design within a single, cohesive experience. The project encompasses an area of 400 sqm in Shanghai, China, led by Fang Lei with design team members Meng Chengpeng and Xu Lei, and documented by photographer Zhang Jing. #OneHouseDesign #ShanghaiArchitecture #TechstormExhibition #DaoistPhilosophy #SustainableDesign #ExhibitionHall #ImmersiveExperience #ArchitecturalDesign #MaterialScience

Digital artist Andrés Reisinger has unveiled his latest NFT project, "Winter House," a virtual residence designed in collaboration with architect Alba de la Fuente. This project is a significant step in Reisinger's ambition to establish a metaverse architecture company and broader goal of digitizing real estate and interior design. The "Winter House" is characterized by a clean, minimalist aesthetic inspired by Dieter Rams' 1960s designs, rendered in soothing pastel hues, evoking the serene and frosty quality of a winter day. The collaboration between Reisinger and de la Fuente integrates their respective architectural and creative perspectives to explore new ways of perceiving space. Reisinger's distinctive dream-like aesthetic is evident in the soft, sorbet-like color palette, which transforms the virtual location into a key design element. The architectural layout emphasizes a seamless integration of the indoor and outdoor environments, primarily achieved through extensive use of glass walls that allow natural light to permeate the interior. Throughout the design, thoughtful juxtapositions create a unique sense of balance. The structure, though composed of concrete, appears to float effortlessly above its foundations, conveying a sense of lightness. Similarly, an open-plan layout manages to maintain an intimate atmosphere. The interior styling focuses on creating a cozy ambiance through a harmonious blend of pink tones, some custom-developed by Reisinger himself. These warm hues provide a tranquil counterpoint to the more rigid natural materials such as concrete, glass, and steel used in the construction. For Reisinger, "Winter House" serves as an opportunity to merge his expertise in both the art and design realms, creating a unique hybrid that combines digital and physical production methods. The project reflects his diverse inspirations, culminating in a virtual sanctuary that embodies the stillness of winter. Reisinger explains that the vision was to translate the feelings of quietness, stillness, and comfort associated with the cold season into a residential form within the metaverse. This project thus not only pushes the boundaries of digital architecture but also redefines how we might experience and interact with residential spaces in virtual environments. #AndresReisinger #NFT #MetaverseArchitecture #DigitalArt #VirtualRealEstate #AlbaDeLaFuente #MinimalistDesign #PastelColors #InteriorDesign #FutureOfDesign

Greater Dog Architects has transformed an existing office building into the Li City Study, a government-sponsored public welfare project situated in the Tianmu Lake Resort of Liyang City, China. This renovated facility offers a 24-hour public cultural space where citizens and tourists can access books for free. The architectural team undertook extensive research into the original structure, focusing on its history and adapting it to its new function while prioritizing sustainability. The renovation aimed to create a cultural venue within a limited innovation framework, respecting the existing building's surroundings, construction methods, and rhythmic framing. The Li City Study complex comprises three above-ground levels and one underground floor. The design incorporates a semi-outdoor entrance set back from the main building and an extended circular traffic flow, effectively separating the interior from the bustling street. During the renovation, the architects removed the exterior walls, exposing the original beams and columns. They also strategically cut the existing floor slabs and integrated new setback circular structural beams on the main facade. This design choice emphasizes the modern aesthetic of the original framework, establishing a harmonious dialogue between the old and new elements throughout both the facade and interiors. Window openings were reconfigured to feature frameless inner curved floor-to-ceiling glass, creating a striking contrast with the solid framed structure and accentuating the building's precise architectural contours. Additional viewing angles to the exterior were incorporated around a curved wall, fostering a connection between the renovated space and the natural scenery of Tianmu Lake. The facade's outward-curving arc mirrors the inner curved beams, resulting in a unique exterior appearance that also provides varied and private reading environments indoors. A slender skylight at the apex of the outward-curving arc further enhances the connection to the outdoors, allowing visitors to observe the movement of light and clouds. Internal circulation was significantly improved by introducing spiral staircases within a cylindrical space, linking the main areas of each floor. A circular skylight at the top of the stairwell maximizes natural light penetration, strengthening the relationship between the building's interior and its external environment. The distinct cylindrical outline is visible on the facade, integrated within the original beam and column framework. Gray wooden tiles, created from re-dyed and pressed recycled wood, contribute natural texture and warmth. The exposed beam and column structure are painted in a reddish-brown hue, which is reflected by the glass, subtly blurring the interior's outline and highlighting the natural texture of the wooden shingles. The minimalist interiors are designed to showcase book displays and arrangements, creating a tranquil reading atmosphere. A sloping roof design facilitates connections between floors and accommodates multiple functions, seamlessly blending a coffee counter with book displays. Bookshelves are designed with smaller, cantilevered sections that discreetly incorporate lighting. A comfortable reading corner is defined by glazed ceramic bricks and reddish-brown floor bricks, complementing the building's exterior. In addition to aesthetic and functional upgrades, the renovation included structural enhancements to improve load-bearing capacity and modernization of HVAC, fire safety, and lighting systems. Seismic requirements were also addressed through structural modifications, extending the building's lifespan. While possessing a unique character within the Tianmu Lake area, the Li City Study maintains a balanced proportion, integrating with its urban surroundings while significantly enhancing the local cultural amenities. #LiCityStudy #GreaterDogArchitects #TianmuLakeResort #LiyangCity #ChinaArchitecture #ArchitecturalRenovation #PublicLibrary #SustainableDesign #InteriorDesign #CulturalSpace

The article discusses the evolution of biophilic architecture from a niche concept to a mainstream design approach, emphasizing its benefits and challenges. Biophilia, defined by Edward O. Wilson in 1984, posits that humans have an innate need to connect with nature. Incorporating natural elements into built environments has been shown to improve human well-being, including lower blood pressure, reduced stress, enhanced attentiveness, and increased happiness and creativity. Beyond human benefits, biophilic design also contributes to environmental health by fostering biodiversity, decreasing energy consumption, reducing carbon emissions, and purifying polluted air. Richard Hassell, co-founder of WOHA, a Singaporean architectural firm, notes the shift in perception where developers, initially skeptical, now actively embrace biophilic principles. However, he cautions against the reduction of biophilia to a mere marketing buzzword, stressing the importance of thoughtful and effective implementation rather than just adding plants. The success of biophilic design hinges on how deeply it integrates natural elements and functions, moving beyond superficial aesthetics. MK Leung, director of sustainable design at Ronald Lu & Partners (RLP) in Hong Kong, highlights the need to quantify the quality of biophilic interventions. RLP utilizes a custom script within Rhinoceros with Grasshopper to evaluate projects based on biophilic elements a user would experience, such as views of greenery, natural sounds, scents, and sensations. This ensures that biophilic principles are consistently applied and sustained throughout a project. Examples like RLP's Garden Crescent, a residential tower with vertically linked gardens, and Echo House, a modular residential development integrating biophilic elements to soften its manufactured feel, demonstrate this commitment. Despite Hong Kong's challenging hyper-dense urban landscape and rigid building codes, biophilic design has found fertile ground. The E-Co Village, a recreational space on a former landfill site designed by AOS Architecture, exemplifies this by offering a natural environment for learning about sustainability, powered by solar energy. Corrin Chan of AOS Architecture drew inspiration from Thich Nhat Hanh's "Zen and the Art of Saving the Planet," emphasizing that humans are integral to the environment. Swire Properties' redevelopment of Taikoo Place further illustrates this trend, incorporating 6,500 square meters of public open space, inspired by traditional feng shui woods, to connect urban areas with natural ecosystems and enhance biodiversity. Richard Hassell underscores the importance of designing not only for human-centric biophilia but also for biodiversity, suggesting that a garden rich in butterflies and birds offers a more profound biophilic experience. WOHA's upcoming Faber House in Singapore, for instance, features interconnected vertical gardens and a 15-story waterfall, designed to create interconnected ecosystems. The article also addresses the critical question of environmental sustainability in biophilic design. Leung emphasizes that biophilic designs must not consume more energy than conventional designs to be truly beneficial. Hassell acknowledges the complexity of this calculation, noting that while a poorly designed green wall might be unsustainable, the wellness and mental health benefits, along with improved air quality, often justify the investment when executed thoughtfully. Ultimately, biophilic design aims to harmonize environmental support with human wellness, representing a convergence of these critical objectives. The article also mentions several other biophilic projects in Asia, including Central Park in Vietnam, which integrates engineered 'trees' for rainwater collection and solar power generation; Heatherwick Studio's 1000 Trees in China, resembling a cliffside forest; Kai Yufuin Ryokan in Japan, a hot springs resort designed with terraces inspired by rice fields; and WOHA's Pan Pacific Orchard in Singapore, known for its lush greenery and open-air spaces in a vertical setting. These projects collectively showcase the diverse applications and growing acceptance of biophilic principles in contemporary architecture across the region. #BiophilicArchitecture #SustainableDesign #UrbanPlanning #EnvironmentalSustainability #HumanWellbeing #ArchitecturalInnovation #HongKongArchitecture #SingaporeArchitecture #GreenBuildings

Kimley-Horn, a consulting firm, organized the Kimley-Horn/FIU Design Collab, an all-day landscape architecture design workshop for students at Florida International University (FIU). The initiative aimed to provide students with practical experience that simulates real-world industry processes and parameters. The event was orchestrated by five Kimley-Horn employees: Gregory González, PLA; Michelle Latte, PLA; Sami Trinchetto; George Puig, PLA; and Maggie Giraldo, PE. To further enhance the realism of the workshop, representatives from various governmental entities were invited, including two members from the City of Miami Environmental Resources group, one member from the Miami-Dade County Planning Department, and one member from the Miami-Dade County Transportation Department. This multidisciplinary collaboration allowed students to engage with diverse experts, mirroring the complexities of actual professional projects. The workshop commenced with a detailed presentation outlining the project, which was based on an authentic design criteria package developed by the Kimley-Horn team in 2022. This initial phase established the project's scope, expectations, and deadlines for the student participants. A notable aspect of the workshop was a hand-drawing session, where the team instructed students on the use of bases, overlays, and paper for manual design creation. This was a unique learning opportunity for the students, as their academic training predominantly involved digital design tools. Following the introductory and instructional segments, the twelve participating students were divided into three groups to begin developing their designs. Throughout this design phase, Kimley-Horn's landscape architects and other invited design experts circulated among the groups, offering personalized guidance and insights. These one-on-one discussions emphasized critical considerations such as civil engineering, environmental impact assessments, and urban planning issues. The experts provided practical tools and tips, helping students integrate these diverse elements into their designs. This mentorship aimed to broaden the students' understanding beyond purely aesthetic landscape design to include the practical and regulatory aspects of the profession. The culmination of the workshop involved each student team presenting their designs to the panel of multidisciplinary experts. During these presentations, the judges posed questions and highlighted potential challenges associated with the proposed designs. This required students to articulate and defend their creative and technical decisions, an experience that directly mirrored the real-world review processes for landscape architecture projects. The objective was to prepare students for the rigorous scrutiny and collaborative problem-solving inherent in professional practice. At the conclusion of the presentations, an $800 prize was awarded to the winning team, recognizing their exemplary design and presentation skills. The event concluded with a networking dinner, allowing all participating students to interact informally with the judges and other industry professionals. Gregory González, PLA, commented on the workshop's efficacy, stating that it provided students with a comprehensive understanding of what it means to be a landscape architect in professional practice, moving beyond theoretical knowledge. The initiative represented a significant investment in the professional development of aspiring landscape architects, offering them invaluable hands-on experience, direct connections with professionals, and the opportunity to work on a relevant, real-world project. #LandscapeArchitecture #StudentWorkshop #RealWorldDesign #FIUStudents #KimleyHorn #DesignCollaboration #ProfessionalDevelopment #EnvironmentalPlanning

Sofia Simioni, an architect and interior designer, shares her journey and creative philosophy. She describes creativity as an essential tool for personal evolution and self-exploration. Driven by a lifelong passion for art and a restless imagination, Simioni pursued architecture, finding it to be the ideal field to unleash her potential. Her career path led her from Rosario, Argentina, to Barcelona eight years ago, a city she chose for its rich artistic and architectural heritage. In Barcelona, she integrates art into every project, creating spaces that reflect her clients' personalities. Simioni faced the challenge of establishing herself as an architect in Barcelona, a city with a high concentration of design professionals. Before moving, she co-founded "Para vos todo el amor del mundo" with her sister Connie, designing travel diaries and notebooks. This venture gained quick recognition, enabling them to move to Barcelona together and continue their artistic pursuits. Simioni gained extensive experience working in architectural firms across Argentina, Brazil, Norway, and Spain. These international experiences and collaborations with diverse professionals significantly contributed to her knowledge of architecture and life, forming the foundation for her own studio. Two years prior to this interview, Simioni opened Estudio 08013 in Barcelona's Sagrada Familia neighborhood. She views her studio as an atelier where she collaborates closely with clients to design homes that embody their souls and life perceptions. She emphasizes that each house possesses its own soul and story, and she acts as a conduit for its expression. Her approach focuses on creating homes that resonate deeply with their occupants, reflecting their connection to life and people. Beyond her professional life, Simioni offers a tour of Barcelona, starting with the iconic Sagrada Familia, visible from her home. The itinerary includes a walk along Avenida Marina to the Olympic Port for breakfast, followed by a boat tour to admire the city's skyline. They would then disembark in Barceloneta, walk along the beach, and have lunch at Surf House Barcelona. The tour continues through the medieval streets of the Gothic Quarter, exploring historical sites like the Cathedral of the Sea, and tracing the city's history to Plaza Catalunya. From Plaza Catalunya, the tour proceeds along Paseo de Gracia, known for its modernist buildings and luxury shops. A highlight is a visit to "Nacional," an old industrial warehouse transformed into a food court with impressive interior design, offering tapas and seafood. The journey then shifts to Plaza España and the walk to Montjuic, where Simioni would discuss modernist architecture and the 1929 Barcelona Universal Exhibition. The panoramic view of the city from the National Art Museum of Catalonia, overlooking Tibidabo mountain and its monastery, is a key stop. The tour encompasses the Olympic stadiums and various parks, concluding at Salts, a bar atop the Olympic diving pools, for tapas, vermouth, and a sunset view. The day ends with the Magic Fountain show at Plaza España, a musical and aquatic display recounting Barcelona's history. Simioni expresses gratitude to her family for their unwavering support, to individuals who have guided her personal growth, to the sea and boating for passion and enjoyment, and to Barcelona for making her feel at home. She also acknowledges her commitment to her intuition throughout her life. She provides her Instagram (@studio08013), LinkedIn (Sofía Simioni), Facebook (Sofía Simioni), and email ([email protected]) for connection. Jordi Miralles Fotografía and Studio byPablo are credited for the image. The article concludes with an invitation for community nominations for ShoutoutMiami, aiming to recognize hidden gems in various fields. #SofiaSimioni #Architect #InteriorDesigner #Barcelona #CreativeCareer #Estudio08013 #Entrepreneurship #TravelGuide #BarcelonaArchitecture

Christine Lin, founder and principal of Form + Field, an interior design firm based in San Francisco, shares insights into her work, inspirations, and projects. Lin's background includes studies in architecture and mechanical engineering at MIT, where she also delved into furniture and product design and art history. This diverse academic foundation, combined with rigorous training in corporate and startup tech environments and an MBA from UC Berkeley, equipped her with expert management and execution skills. Her keen eye for design has been further honed through extensive study and global travel, seeking out new art, design, and architecture. Form + Field's design philosophy centers on integration and longevity, aiming to create holistic, enduring environments that promote joy and well-being. The firm intentionally crafts spaces tailored to individual needs, whether residential or commercial. Lin describes her style aesthetic as 'eclectic modernism with an emphasis on contemporary art and architectural detailing.' The design process at Form + Field is highly client-centric. It begins with a comprehensive discovery phase, including extensive questionnaires, to deeply understand clients' personal interests, preferences, and cherished memories of interiors. This information serves as a foundation for crafting a unique space. Lin likens the design process to a Venn diagram, where one circle represents the client's desires and functional requirements, and the other encompasses Form + Field's design principles. The 'overlap' between these two circles, which varies with each client, is where the firm identifies the magical and personalized aspects of a project. Lin finds inspiration primarily through conversations with passionate individuals across various crafts and arts, transferring that energy into her design work. One of her most inspiring projects to date is the Martis Camp project in Tahoe, a collaboration with Faulkner Architects, set to conclude in 2024. This project stands out for its ambitious scope, extensive custom design integrated with interior architecture, and the exploration of new vendors, fabrication processes, and color applications. Her dream project involves designing a small boutique hotel that offers a unique guest experience, deeply rooted in the surrounding culture and context of its location. Form + Field's ideal clients are described as kind, well-traveled, cultured individuals who value quality, invest in good design, appreciate architecture, and collect art. These clients are typically open to exploration, new ideas, and unexpected design solutions. Lin identifies Form + Field's 'design superpower' as their ability to interpret clients' needs and desires through their distinct lens, translating them into elevated, unique designs. The firm prides itself on creating spaces where each project possesses a distinct personality, clearly reflecting the occupants. Her design heroes include architect Rem Koolhaas/OMA, whose conceptual approach, focus on ideas over a singular aesthetic, and willingness to take risks are deeply inspiring. Looking ahead, Form + Field is embarking on a large, new-construction generational home project in Kauai, collaborating with Zak Architecture. This endeavor represents an exciting opportunity to create a holistic vision for a dream vacation home, building on an established trust with the clients, for whom this is their third project with the firm. #InteriorDesign #ChristineLin #FormAndField #DesignPhilosophy #EclecticModernism #ClientCentricDesign #ArchitecturalDetailing #DesignInspiration #CustomDesign

The Muli Muli house, designed by DFJ Architects, serves as an example of how design constraints, particularly a tight budget and challenging site conditions, can lead to innovative and refined architectural solutions. Located in a small coastal hamlet north of Byron Bay, this residential project demonstrates a reductive approach to holiday home design, prioritizing small-footprint simplicity as an antidote to urban living. The primary constraint for the Muli Muli house was a limited budget, which Dominic Finlay-Jones of DFJ Architects viewed as a clear parameter that streamlined decision-making. This financial boundary, coupled with the desire to create a functional yet compact dwelling, led to a design exercise focused on reduction. The sandy, near-level site also presented its own set of challenges, including flood and bushfire overlays, the need to preserve significant vegetation, and the prospect of two-story townhouses being built on an adjacent northern lot, close to the boundary. To address these site-specific challenges, a strategic approach to orientation and placement was adopted. Instead of the typical northern orientation, the house was sited to face south, hard up against potential future neighbors, to maximize views of the protected remnant littoral rainforest and coastal swamp sclerophyll forest. This positioning not only captures private, internal views through the garden but also creates a crucial buffer against potential bushfire threats. Furthermore, the building was elevated half a meter above flood level using a waffle pod foundation, allowing it to integrate with the landscape while remaining protected. The house's functions are distributed across three distinct pavilions: living/eating, sleeping/ablutions, and carport/storage. These pavilions are arranged in a U-shape around a central courtyard featuring a circular plunge pool and lush subtropical gardens. The living pavilion, oriented eastward towards the trees, achieves a sense of spaciousness despite its compact footprint, thanks to a cranked ceiling plane of spotted gum ply and extensive floor-to-ceiling glazing. A triangular, covered deck extends the living area, reinforcing the connection to the outdoors. The sleeping pavilion, positioned behind the living area, accommodates three bedrooms and two bathrooms, while the carport completes the U-shaped arrangement. An outdoor covered walkway, equipped with sliding mesh screens, connects the three pavilions. This design choice intentionally encourages occupants to interact with the external environment as they move between spaces, offering a distinct break from the enclosed nature of city life. The extensive use of tropical plantings around the pavilions, including giant alocasia, cordylines, heliconias, and gingers, filters sunlight and provides privacy from a nearby shared beach access track. Operable glazed walls in each bedroom and bathroom open onto private gardens, drawing the landscape into the interior spaces and enhancing the overall sense of volume. The interior aesthetic emphasizes a moody, calm quality, designed to help the owners disconnect from their busy urban routines. The material palette is intentionally limited to burnished concrete, raw block brick, battened fibro, and dark plywood. This reductive approach not only helped to control the budget, especially during a period of rising material costs, but also created a shaded, protective retreat from the intense Northern Rivers light. Despite budget challenges, the project maintained its affordability, attracting significant interest from younger staff at DFJ Architects, who saw it as a model for achieving architectural quality within financial constraints in an expensive postcode. The Muli Muli house exemplifies how thoughtful design, even under restrictive conditions, can yield architecturally significant and highly functional outcomes. #ResidentialArchitecture #CoastalLiving #SustainableDesign #SmallFootprint #BudgetFriendly #ArchitecturalInnovation #SubtropicalGardens #DFJArchitects #HolidayHome

Alberto Caiola designed a distinctive exhibition booth for Herman Miller's retailer Van Collection at Design Shanghai 2021, China's premier showcase for international design brands, architects, and interior designers. The booth's design was inspired by Herman Miller’s brand heritage, incorporating a quote from Gilbert Rhode, the firm’s first design director, which states: 'The most important thing in the room is not the furniture – it’s the people.' This quote was prominently displayed on the back wall and served as a central theme for the exhibition. Caiola's design reflects on how the COVID-19 pandemic has significantly altered perceptions and functions of the home, leading to new demands for flexible living spaces. The booth ingeniously uses perspective and light to present Herman Miller's furniture as practical solutions for these evolving needs. A notable feature of the design is its unconventional lighting approach. Breaking from traditional exhibition lighting, which typically spotlights products from above, Caiola opted to illuminate the displayed furniture entirely from below using illuminated floor tiles. This technique not only visually reinforced the theme of seeing the home in a 'different light' but also subtly emphasized the central quote by drawing attention to the people interacting with the space rather than just the furniture itself. The underfoot lighting created a unique, almost ethereal atmosphere, providing visitors with an extraordinary sensory experience. An intriguing consequence of the bottom-up lighting was the absence of shadows cast by visitors as they moved through the exhibit. This cinematic and somewhat surreal effect was intended to allude to the disorienting experience of the pandemic, where the passage of time and daily routines blurred, similar to how the absence of shadows can obscure temporal cues. The design aimed to evoke the listlessness and urgency that many experienced during periods of lockdown. The booth was structured into four distinct areas, or 'rooms,' delineated by gridded partitions. These areas were configured to represent various domestic settings: a living area, a gaming space, a home office, and a dining room. The intended function of each space was communicated through a carefully selected arrangement of freestanding furniture. The gridded walls served a dual purpose, simultaneously opening up and obscuring the booth's layout. The depth of these partitions meant that visitors' views into adjacent rooms varied depending on their position and angle of observation. Similarly, the central quote on the booth’s backdrop, positioned behind one of these fiber-reinforced paneled walls, was only fully visible from specific perspectives. This design element subtly referenced a common experience during the pandemic: the fragmented glimpses into others' work-life spaces shared through video calls and the new hybrid work-from-home conditions. The entire setup, comprising freestanding pieces within a fully modular system, was intentionally designed for reusability. Both the illuminated floor tiles and the partition walls can be reconfigured to adapt to different dimensions required for future furniture fairs, underscoring a commitment to flexibility and sustainability in exhibition design. #HermanMiller #AlbertoCaiola #DesignShanghai #ExhibitionDesign #IlluminatedTiles #GriddedPanels #FlexibleLiving #PostPandemicDesign #ModularDesign