MEMBRANE
Column
2025
5 X 3 X 120
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Custom LED Lighting System
Industrial Design, Structural Engineering & Fabrication
Designed and developed a bespoke LED lighting system for a multi-purpose event venue, including the complete exterior housing, mounting structure, and technical integration. The project focused on balancing visual aesthetics, durability, ease of maintenance, and installation efficiency within a live-event environment.
Features
Custom-designed luminaire housing
Bespoke mounting and support structure
Integrated power and cable management
Venue-specific installation solution
Fabrication-ready mechanical design
On-site assembly and commissioning
Custom Power Junction Box
Electrical Enclosure Design & Fabrication
Designed and fabricated custom power distribution junction boxes to support venue-wide technical infrastructure. The enclosure system was developed to improve cable organization, deployment efficiency, operational safety, and maintenance accessibility.
Features
Custom enclosure design
Modular power distribution architecture
Organized cable management
Serviceable and maintenance-friendly layout
Robust construction for event operations
Integrated venue infrastructure solution
Mirror
2022
Digital
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Mirror began with an observation about observation. The work takes the form of a clock, but its true subject is the gaze: what it means to watch, to be watched, and how the simple act of looking might alter the thing being looked at.
At the dark centre of the face—where the form recalls the geometry of a black hole—sits a concealed sensor that continuously tracks the eyes of everyone in the room. When it registers a viewer looking directly at the clock, time stops; the hands hold perfectly still for as long as the gaze remains. The instant no one is watching, the clock leaps back to the correct time, as though it had been moving freely all along and was merely caught in the act of standing still. A viewer can therefore never witness the clock running—only ever its stillness, and never the truth of the time it keeps while unobserved.
In this way Mirror gives physical form to the observer effect: the principle, drawn from physics, that the act of measurement is never neutral, and that to observe a system is already to change it. Suspended between psychology and physics, between watching and being watched, the piece asks who holds the power in that exchange—and quietly insists that the truth a clock keeps may be precisely the one no one is ever allowed to see.
?
2022
Digital
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"?" originated as a typographic experiment. While arranging the words uncertainty and speculation as a rough brainstorming sketch, I noticed that the two share a curious coincidence: their letters fall into almost the same positions. Rather than dismiss it, I pursued the accident—through visualisation, three-dimensional modelling and lighting experiments—until it developed into an immersive work that questions the conventional progression from sketch to finished outcome.
Rather than fabricate the piece at full scale, I chose to realise it through augmented reality. A viewer simply scans a code with their phone; the experience downloads directly to the device and opens in place, with no app or specialist equipment required. On screen, the object appears deliberately oversized and overlaid onto the surrounding space, so that its purpose cannot be grasped at a glance. As the viewer moves the phone around the form, light travels across its surface and casts a shadow that resolves, only from certain angles, into legible words. Because the image emerges on the far side of the object, the audience must physically reposition themselves to make the text take shape. The act of looking—tentative, speculative, never quite certain—becomes the experience itself, while augmented reality dissolves the boundary between the digital object and the real space it inhabits.
Rather than fabricate the piece at full scale, I chose to realise it through augmented reality. Viewed on screen, the object appears deliberately oversized and overlaid onto the surrounding space, so that its purpose cannot be grasped at a glance. As the viewer moves around it, light travels across its surface and casts a shadow that resolves, only from certain angles, into legible words. Because the image emerges on the far side of the form, the audience must physically reposition themselves to make the text take shape. The act of looking—tentative, speculative, never quite certain—becomes the experience itself, while augmented reality dissolves the boundary between the digital object and the real space it inhabits.
Chumair
2013
Installation
33 X 11 X 29
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Chumair began as a group project briefed to design a piece of furniture genuinely intended for use, and it grew into an enquiry into self-identity and the relationships between people. Our team brought together both Taiwanese and Chinese designers; rather than smooth over the political tension implicit in that pairing, we chose to make it the subject of the work.
The structure carries the idea without explanation. Its angled legs echo the form of the Chinese character 人—"person"—while the elongated seat, ample enough for one, asks its occupants to share, so that proximity, distance and the quiet negotiation between people are built into the object itself. The material extends the argument: each year, factories in our region discard some eight tonnes of pallet wood, and it was this discarded timber that we adopted as our medium, recasting it into a new and quietly contemporary form. What results is a seat that holds a difficult question—about who we are, and about how we sit alongside one another—within something deliberately, disarmingly ordinary.
IXL-Bag
2016
Product
11X27 X 7
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IXL-BAG emerged directly from my five years as a paramedic. On scene, time is the one factor that governs everything else: a responder must read the situation, take control and deliver the correct treatment within moments, and in an out-of-hospital cardiac arrest there is simply no margin to hesitate before beginning resuscitation. The equipment paramedics carry, however, is seldom designed for that urgency—and it was precisely this gap that the project set out to close.
The bag consolidates a paramedic's full oxygen-therapy kit—oxygen bottle, bag-valve mask, simple face mask, partial and non-rebreather masks, Venturi mask and cannula—within a single, clearly organised unit. A set of simple buckles allows it to transform from a backpack worn in transit into a front- or side-mounted bag the instant treatment begins, so that every accessory remains within reach and both hands stay free for the patient. Each decision serves the same intention: to strip friction from the scene, accelerate the response and, ultimately, help save lives.
Mousband
2012
Digital
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Möbiusband takes its name and its logic from the Möbius strip—a band possessing only one side, on which a line drawn across the surface continues indefinitely and never closes. A clock, by contrast, is conventionally a tool for dividing time into fixed, measurable points. The project sets these two ideas against one another, asking what a clock might become if it expressed continuity rather than division.
The result reads time through the gradual rotation of light and shadow rather than through hands and numerals. As the day advances, a dark field sweeps across the face to mark the shift from day to night and back again, so that the hours are felt as an unbroken, rotating whole. The form is pared down to three quiet components—a recessed ring, a pale disc and a dark overlay—resolving into a piece restrained enough to sit naturally on a wall, while carrying a larger proposition: that time, like the surface of a Möbius strip, has no true beginning and no end, only a continuous return.