Prohibited Area Series
Conceived and realized the project from its initial concept through execution
This project transforms architecture into a living canvas, using dynamic nighttime projections of light, motion, and sound to create an immersive sensory experience. The installation demonstrates how design can extend beyond physical structures to engage audiences through storytelling and atmosphere, turning buildings into active participants in the urban environment.
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The work also investigates the balance between safety and exploration — how boundaries both protect and restrict. By projecting a moving self-portrait onto the narrow façade of a column-like structure, the piece visualizes constraint and the desire to push beyond it. Through this translation of narrative into spatial form, the project highlights my approach to design: integrating technology, spatial composition, and human experience to create environments that both provoke thought and invite participation.
Construction vs. Deconstruction
Construction vs. Destruction explores how opposing actions communicate powerfully without words. By staging the acts of building and dismantling, the project transforms the site into both stage and medium, revealing the tension between creation and collapse. This duality mirrors the internal struggles of confronting — and breaking through — the boundaries we impose on ourselves. By presenting construction and destruction not as opposites but as interdependent forces, the work prompts reflection on resilience, transformation, and the evolving nature of personal limits.
Tension vs. Harmony
Tension vs. Harmony examines conflict and complement as dual forces, transforming the site into a stage where actions continuously unfold. The project reveals how creation and collapse generate not only tension but also harmony, framing their coexistence as central to the design. This balance reflects a broader approach: boundaries, whether physical or psychological, are never fixed but constantly negotiated, broken, and redefined. Viewed through this lens, transformation emerges as an active dialogue between resilience and release.
Visible Invisibility: Claiming the Right to Be Invisible
Now, this project explores the blurred boundaries between inside and outside, private and public, and the conflicts that arise between openness and closeness. These tensions expand into the realm of public versus private, where visibility itself can become a disadvantage. For those who must sustain their lives on the street, being seen is directly tied to survival—and at times, the most vulnerable may choose invisibility as a form of protection. In certain contexts, individuals deeply embedded in a community or contributing to shared narratives may resist being remembered, seeking instead the right to remain unseen. Just as society has debated the “right to be remembered,” we must also recognize the equally vital right to be forgotten—or to remain invisible—whether temporarily or permanently.
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Grounded in observations of street life and public participation in Brattle Square, the project sets an ultimate goal: to represent landless women struggling to survive in public spaces. Although directly inspired by homeless women in Brattle Square, the work aspires to speak more broadly for women everywhere who seek safety and respect. Because the “landless” are forced to exist in public, denied privacy, the project seeks to blur the boundaries between interior and exterior, private and public, in how it is introduced and experienced.
To embody these tensions, I created two parallel personas: one acutely aware of the dangers of street life, and another who asserts the right to invisibility and safety in public. By presenting both figures simultaneously, the project constructs an invisible barrier between the public and these two vulnerable presences—making absence itself a form of resistance.
