DESIGN
SPATIAL DESIGN
DESIGN PRODUCTION DESIGN SKILLS
SKILLS
Teal-painted door frames
This project employs neutral tones of gray, black, and white as the base, complemented by a primary color of teal. Teal not only resonates with the brand's essence of "youthfulness" but also connects to the collective memory of Taiwan. Early Taiwanese architecture often featured teal-painted door frames and iron windows, making teal a representative color in Taiwan's spatial memory. The design concept begins with "framed scenery," created using modern Oriental ink painting techniques. Through the interplay of negative space, reality and illusion, and light and shadow, this project becomes a vivid canvas where designers blends and spreads the ink and colours.
During my time in the architect studio, I am responsible for crafting compelling concept proposals, designing site plans, and holding client meetings. My duties also encompass finalising material boards, managing budgets, customising bespoke furniture, and producing 3D renderings. Furthermore, I excel in detailed drawing, project management, space planning, colour theory.
Restaurant, Taipei, 2020
The Wang, a high-end steakhouse, exudes luxury and sophistication with its meticulously designed interior. The space features a harmonious blend of modern elegance and opulent materials, creating an inviting yet exclusive atmosphere. The focal point of the restaurant is the intricate wall treatments, showcasing a combination of textured metallic panels and sleek stone surfaces. These materials are arranged in geometric patterns, adding depth and dimension to the space. The use of mirrored elements amplifies the sense of space, reflecting the ambient lighting and adding a touch of glamour.
The seating area is thoughtfully arranged with plush, high-backed chairs and semi-circular booths that provide both comfort and privacy. The upholstery, in neutral tones with subtle patterns, complements the overall color palette of the restaurant, which is dominated by shades of gold, silver, and black. The tables are adorned with minimalist decor, allowing the focus to remain on the architectural details and the culinary experience.
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AIRPORT LOUNGE PROPOSAL
Photoshop & illustrator, Taipei, 2020
KISS
A devised musical, London, 2022
The performance invites us into a world where Love can be taken as a pill. What if we could administer a Love pill to couples in need to rekindle their relationship? What if we could treat perpetrators of hate crimes with this pill? And what if we summoned the UN to consider a Love bomb replacing the A-bomb ?
With some funky, jazzy and sexy tunes, this show celebrates our aching need for more love and the values that bring us closer.
Concept and practice
Coming from an interior design background, this is my first project collaborating with director, actors, musicians and creative designers.
We began by tracing the marks of the movement that actors left on the floor, creating a gradient burgundy red and granular textured background. The initial idea of the set comes from picturing the feeling of a burst of excitement, a beating heart, and a passion for love.
The burgundy red floor and glossy black lines, which were sketched and splattered following the trace of the
Steel decks are stacked up against the short sides of the space. With the translucent 0.5mm polycarbonate board on the front side, it creates a dance pool with a lightbox effect.
Challenges
Moving towards the final act, when the love bombs/balloons are dropped onto the stage, were able to experiment with the material of the set.
We chose to add UV paint to the painted floor in order to create a surprising effect for the audience. The UV paint allowed us to potentially reveal a secret pattern/image based on the scene. The painting would be triggered by the UV light when there was only UV bulbs lit, and some regular spectrum light surrounded it. It allowed us to change the space and the set radically and create a surprise effect for the audience.
HUH?! : The GOF
Immersive installation, London, 2024
Welcome to the HUH?! : The GOF, an immersive installation about a sentient fog.
The GOF was created over a three-day workshop process, a collaboration between Boundless Theatre, Produced Moon and Jesper Pedersen with a group of young artists from Boundless Youth Collective: Michael Sookhan, Umar Kamara, Purity Godwin-Malife, Kathryn Webb, Katie Penfold, working with designer Min-Chien Feng.
Concept and development
In 1977 NASA launched the Voyager space probe and onboard was a Golden Record. The Golden Record is a 12-inch plated copper disc full of songs, images, diagrams and greetings intended to communicate a story of our world to the extraterrestrials who might find it. Voyager (and the Golden Record) are currently in the constellation of Ophiuchus, at a distance of 24,334,725,554 kilometres from Earth.
Over our three-day development, we imagined an alien civilisation receiving the Golden Record and created the GOF. We considered how the GOF might respond to our sounds and images from Earth. We asked - ‘‘what this community of extraterrestrials might want to say to us?’ ‘How might they want to share their lives? Their world?’
Ideas and prophetic shapes of GOF
Who are the GOF? Initial ideas and models of GOF during the three-day workshop.
InInstallation
This scratch installation is the result: a message from an alien civilisation, in response to our own Golden Record. Step inside to meet the GOF, and hear what they have to say.
The GOF is an early stage of development for HUH?!, an international collaboration about alien communication and understanding.
HUH?! will be a piece of concept touring, a new lower-carbon approach to international collaboration where ideas and objects move, but people don’t. In HUH?! An egg appears in a room: it is a message from outer space, a communication from an alien civilisation. Audiences will be invited to collaborate, play, and puzzle together, to explore and understand what is being said to them, and what they might want to say back.
The space and design
Imagine the space as a playground where the GOF appeared and left three objects to communicate with us. The three objects represent light, sound and touch which create a dynamic and sensory engagement for you, our visitors. The concept of using senses as a means of design language is straightforward. Using senses as communication channels invites a stimulating, multi-sensory experience, accessible for different audiences to engage with in different ways. We used recycled newspaper as the key material for the objects, embedding creative sustainability in the project and exploring the role media plays in delivering messages. Hidden messages are woven into the tapestry, window and door, adding an element of mystery and intrigue, inviting a deeper engagement with the installation. Engage your creativity, decode the messages and discover the space, immersing yourself in the interactive world of the GOF.
Watch interview on Ypoutube
Click and watch the interview on youtube
Credits for The GOF
Concept & Direction
Boundless Theatre, Jesper Pedersen & Produced Moon
Producer - Molly Jennings, Stanley Arts
Technical manager - Nicolas Petersen-Gyongyosi
Documentary editor - Gorga M’llaurie
Documentary film maker - Alex Ryland-Jones
Designer - Min-Chien Feng
Artists from Boundless Youth Collective:
Michael Sookhan
Umar Kamara
Purity Godwin-Malife
Kathryn Webb
Katie Penfold
The Manikins: a work in progress
Collaborate with Jack Aldisert
The Manikins: a work in progress is a 1-1 interactive play aimed to immerse the audience through intimate interactions and dialogue. This practice is a collaboration with a director from MFA Advanced theatre practice.
The challenge of this production lies in constructing a space that creates illusions and switches between different scenarios in a short time, leaving participants uncertain of what is truly happening. The play incorporates two scenarios that oscillate back and forth, further adding to the confusion. The actors switch roles, intentionally causing disorientation and challenging the participants' perception. Engaging in a conversational cat and mouse game with the actors, the audience is continuously immersed in a perplexing journey where the lines between truth and illusion are intentionally blurred.
In short, The Manikins explores how audience members react and engage with the challenges of an interactive scenario, while making them feel like the main protagonist. The physical environment designed through scenography, mirrored the psychological or emotional states of the characters - further blurring the lines between reality and illusion. Throughout the play, scenography created a sense of disorientation, uncertainty, multiple viewpoints, thereby heightening the audience's engagement and cognitive involvement.
Concept of the set
In order to create a space which blurs the boundaries between reality and dreams, while representing the ambiguity and highly uncontrollable/ improvised characteristic of the play, scenography plays a vital role in creating an atmosphere that simultaneously provides comfort and discomfort to both performers and audience members.
There are some requirements that are non-negotiable in this production:
• How will we switch scenes and the space in an instant to create the illusion?
• How do the participants differentiate dreams from reality when the rooms are identical?
Back to asking the participant to imagine the space through given instruction, can take an e pt space and call it a bare stage A an walks across this e pt space whilst so eone else is watching hi and this is all that is needed or an act o theatre to be engaged The e pt space rook
Drawing upon the concepts presented in Peter Brook's ‘The pt pace that theatre exists within the audience's mind, the original concept of the set for our performance revolves around the creation of two identical rooms. This design choice serves to emphasise the intriguing question of whether the audience is experiencing their imagination manifested in reality or if they are immersed in a dreamlike state of illusion. By embracing the idea that theatre is a conceptual art form, the set will aim to provoke thought and blur the boundaries between perception and imagination, encouraging the audience to engage with the ambiguity of the performance space.
Why red curtains
he ina scene o ‘Twin eaks takes place in what appears to be a theatre, with an audience seated in front of red curtains. The curtains then part to reveal a stage, where the show's protagonist, Agent Dale Cooper, is engaged in a strange and surreal conversation with a character known as "The Fireman". The use of the red curtains in this scene creates a sense of uncertainty about the nature of reality and the boundaries in between. It is often associated with surrealism, the subconscious, and the supernatural - and becomes symbolic of the veil between the physical world and the supernatural realm.
The ambience that the director, David Lynch, is trying to deliver in this scene is one of disorientation, surrealism, and mystery. Thus, by using the red curtains and other symbolic imagery, Lynch creates a sense of ambiguity and uncertainty that challenges the audience's perception of reality. The scene also highlights the importance of storytelling
Back to the primitive idea of red curtains, theatre curtains serve the purpose of hiding equipment, gear, rigging and technical hardware that is present from the audience's view. While it creates the sense of ambiguity and uncertainty, audience members are left wondering whether they are witnessing a dream, a supernatural event, or a performance. This ambiguity is further reinforced by the use of non-linear storytelling, improvisation and surreal imagery throughout the play.
Theatre exists to allow the unsaid to breathe and to sense a quality of existence that provides the never-ending fight a purpose. When there are no physical sets or walls present, a new kind of ambiguity arises. The vagueness of why using scenography to create ambiguity in space if one can just use actors, brings my understanding of scenography and the contradiction with other professions to the next level.
Using scenography and actors are both valuable means for creating ambiguity in different ways. Whether semantic, visual, or cognitive differences, etc. While actors can certainly contribute to ambiguity through their performances, scenography provides a different opportunity to enhance and deepen the sense of it at a theatrical level. By this, scenography allows for the creation of immersive and evocative environments that set the tone and atmosphere of the performance. Through the careful selection of props, lighting, set design, and spatial arrangement, scenography can establish a sense of ambiguity from the very moment the audience enters the space. It helps create a visual and sensory context that supports the narrative and thematic elements of the performance. Not counting the arrangement of props, the incorporation of symbolic elements, and metaphors - these visual elements all work in perfect harmony with the actors' performances to add depth and nuance to the storytelling, allowing audiences to engage in active interpretation and speculation.
In summary, while actors play a crucial role in embodying and expressing ambiguity through their performances, scenography adds another layer of complexity and richness to the overall experience. It provides a visual, spatial, and symbolic framework that enhances the ambiguity within the narrative, engages the audience's senses, and deepens their interpretation of the performance. Hence, combining both scenography and performance allows for a more comprehensive exploration and expression of ambiguity in theatrical productions.
