Interior

Excess is often perceived as indulgence. Here, it becomes a deliberate method. The design treats space not as something to be resolved, but as a condition to be activated. It challenges the expectation that interiors must be calm, resolved, or even coherent. Instead, it proposes that intensity when carefully orchestrated can foster a more engaging mode of inhabitation. Function is not the primary driver; possibility is. By dissolving fixed boundaries and hierarchies, the space remains open to interpretation. It does not prescribe use, but establishes conditions where multiple readings and occupations can coexist. Within this framework, various furnishings and decorative objects sourced from second-hand markets and revived collections are introduced, carrying traces of their past even as their origins remain ambiguous. At its core lies the idea of collision. Differences are not muted but sustained, producing an ongoing negotiation between elements. This friction becomes generative, shaping an atmosphere that is both dynamic and contemplative. There is also a conscious rejection of perfection. Irregularity is embraced not as a flaw, but as a strategy to keep the experience unfinished and responsive. Nothing is fully resolved, allowing the space to evolve alongside its users. In this sense, the project is less an interior than a framework one that privileges experience over resolution, and transformation over stability.

Like a kaleidoscope, this interior resists a fixed reading. It is conceived not as a static composition, but as a shifting field of perception where alignment, reflection, and movement continuously reshape experience. The project avoids singularity. Instead, it operates through fragments: planes that echo, distort, and subtly misalign, producing a spatial condition that feels both cohesive and unsettled. This logic extends to the furnishings, where various pieces and decorative objects discovered in second-hand markets and revived collections carry traces of their past, even if their origins remain ambiguous. Together, they reinforce a layered condition in which elements are assembled rather than composed. There is no dominant viewpoint; the interior reveals itself in parts, changing with movement. What defines the space is not form, but relationship. Light, surface, and perspective converge to construct moments that are fleeting yet deliberate. Familiar elements are repeated and reinterpreted, building depth without reliance on ornament. This is not an interior that performs instantly. It asks for engagement, rewarding attention with quiet shifts and layered readings. In doing so, it challenges the expectation of interiors as resolved environments, offering instead a controlled multiplicity one that remains in constant, subtle transformation.

This small scale temporary installation was conceived for an exhibition. The spaces were conceptualized as fluid forms with planes flowing into each other using computer aided parametric instructions. The series of HDF panels were designed to seamlessly form wall, ceiling and furniture as required within the limits of the event space as a singular designed unit.

The intent while designing the office space was to create a distinctive space that would also be a productive work environment. This was done by adopting a minimal approach in design with spaces arranged in the form of concentric zones. The parabolic free-form meeting area was envisioned as the central focus that gives the office both its appeal and identity. The circulation loop around it connects to individual work spaces tucked in around the edges. A white monochromatic palate was used to mitigate the lack of natural light in the space.

A weekend retreat that was inspired by industrial style exposed services and ceilings, the interior partition walls have been removed where possible to create a larger living space to emphasize a relaxed free-flowing lifestyle. The neutral colour-palette provides a backdrop for contrasting cosy-comfortable furniture and design elements.