Engaging with current debates on privacy and consent, the project questions surveillance and facial recognition technologies through a series of speculative provocations. How would we navigate our cities differently if the surveillance-scape was visualized for all to see? What does it mean to withdraw consent from surveillance, when these very technologies form part of the modern day social contract? These issues are explored in the form of a film – where family relationships in the context of surveillance are depicted as an analogy of state power and control.
Tom (Adult): Tristan Beney
Tom (Child): Freddie McDonnell
Tom’s Mum: Lizzie Wofford
Pub Owner: Kim Koskinen
Student Society Leader: Ted Claxton
Student Society Member: Sonny Spearing
Pub Customer: Jan Zalabak
Extras: Maria Bessarabova, Erik Hoffmann, Jack Isles, Mark Wu, Selina Zhang, Karim Fouad-Hefny
Producer: Lingge Yang
Cinematography: Xueqi Zhang
Drone Operator: Lingge Yang
Gaffer & Assistant Camera: Sam Tang Ngai Hung, Haohang Shi, Shijie Zhang
Sound Recordist & Boom Operator: Zhenyan Li
Production Designer: Lingge Yang
Script Supervisor: Lizzie Wofford, Shijie Zhang
Assistant Director: Kasey Yuanhao Song, Vera Haotong Xue
Music Composer & Sound Mixer: Zhenyan Li
Editor: Shijie Zhang, Lingge Yang
VFX: Lingge Yang
Pianist: Zhenyan Li
The project is about exploring the scripts governing space and their power structures and how people behave within certain places. It aims to reverse power structures by using architectural intervention as a tool to catalyse change. The proposal was tested in Rio de Janeiro by looking at the condition on the boundary of favela. It’s about subverting the scripts that divides the favela from the formal city in Rio de Janeiro. Architect appears to be building for the government, but surreptitiously is really creating opportunities for favela inhabitants by hijacking the existing infrastructural system. Rather than creating a perfect utopian world to solve the problem, it’s more about how to disrupt rules and provide opportunities by understanding the scripts of the existing conditions of favela and the surrounding city.
This kinetic installation aims to interpret the theme of Beyond Borders by empowering autonomy. People are able to define and divide borders by themselves as there are no impassable barriers within this autonomous realm. Sliding panels and red cloth can be manipulated by occupiers to create their own semi-public spaces. The idea was using the installation as an agent to encourage the public to think about and reflect the shared boundaries by involving them into this procedure of making space. The installation was designed to provide a multifunctional communal space with its five-level-high adaptable frame, which could be used for seating, chatting, having lunch, drinking coffee, meeting each other, etc.
The project is to design a place for well-being in Barnsley. Considering Barnsley’s social problems of the unemployment rate, obesity record, and traditional industry decline, urban farming was chosen as an interpretation of this topic. Including vertical farms, a restaurant, a workshop, a communal space, and a market, the building performs as a community complex providing fresh food and promoting healthy lifestyle.
Located in South Yorkshire, England, Barnsley has a great and proud history of coal mining and related industries, but now it is known for its run-down town centre and low employment. The council recently planned to redevelop the now vacant town centre.
The programme is composed of three main elements of producing, consuming and decomposing, which completes a food chain within this scheme. Using a mixed symbiotic system with Hydroponics, Fungiculture, and Aquaponics, the building is proposed to achieve an ecological balance by itself.
The project is to design a poetry archive to house Edith Sitwell’s collection of work. The building is proposed to metaphorically interpret Edith Sitwell’s work and life though the spatial atmosphere. Locally sourced materials are used to manifest the town’s identity and also express a sense of nostalgia as Scarborough was Sitwell’s hometown.
Located on the North Sea coast of North Yorkshire, Scarborough is considered to be the largest holiday resort on the Yorkshire coast with the beautiful coastline, myriad casinos, and tearooms. The site is located along a mediaeval path named ‘Bolts’.
The design concept takes inspirations from Edith Sitwell’s work and tries to metaphorically interpret her life through the movement and the atmosphere inside the building.
The building is about taking the invisible to visible by exposing the archive to the public as a part of the Edith Sitwell exhibition. From dark to bright, protective to open, intimate to public, the building is intended to use atmospheric contrast to express Edith’s feelings and her desire of the world.
This two-week course in Bartlett started from a merman mummy displayed in the Horniman Museum. The project focused on creating synergy with special meanings from mundane elements. It was about using human intervention to trigger a sparkle of innovation from the tedious and ordinary life. This idea was developed through the model-making process and consequently turned out to be an outcome of building a fake archaeology scene to convince people that the merman does exist by planting in relevant evidence of his occupation.
The final model was built upon a plan of a Merman House, with the scale of 1 to 10. The house is divided into some basic living spaces, including threshold, living room, bedroom, dressing room, toilet, kitchen, and dining room. Taking the habits of monkey and fish into consideration, I designed the house with a canal and scaffolds as circulations. Origami technique was employed to create ‘evidence’ showing the merman’s occupation, such as beds, table, and cutlery in yellow.