Rooted in the Reggio Emilia pedagogy, this project is organised around the concept of "Nature as the Third Teacher," a principle in which the environment itself is understood as an active agent in children's learning. Nature operates as a direct stimulus that provokes curiosity and empowers children to initiate their own inquiry-driven projects.

This philosophy extends beyond direct contact with the natural world to inform the architectural conception of the school as a whole. The project could be conceived as a permeable membrane, one that continuously absorbs and mediates between interior life and exterior conditions. In this sense, the school transcends its role as a simple facilitator of nature interaction and becomes a microcosm of the world, generating a diverse range of spatial experiences that mirror the complexity and richness of the environment beyond its boundaries.

Situated between a forest and the sea, the main openings are oriented in response to the prevailing wind direction and the dense treeline, while the gradient from quiet to active spaces follows the transition from the sheltered forest edge to the open seafront.

The central piazza serves as the spatial and social heart of the scheme, functioning as the essential communal gathering place that is central to Reggio Emilia pedagogy. From this nucleus, a gradient of spatial conditions unfolds, where the articulation of walls mediates between the public and the private, the active and the quiet, establishing a hierarchy of spaces that supports both collective engagement and individual reflection.

As children move through the space, the walls operate not merely as visual boundaries but as active generators of circulation. Navigating the intervals between them, children encounter a continuous experience of wandering and discovery, where architecture itself becomes part of the environment from which curiosity is drawn. The spatial sequence remains deliberately ambiguous, and in doing so, the project itself poses a question:

What is a wall? What is a room? What is the difference between enclosed and open?

Columnar basalt forms through the slow, top-down cooling of basaltic lava, producing hexagonal columns whose repetition and scale generate an inherent ambiguity between projection and recess. This instability establishes the basis of the project's representational and spatial framework. In the axonometric drawing, the geology's vertical structure is recast as a dispersed system of orthogonal and diagonal lines, where nested foldings destabilize the reading of figure and aggregation.

Series of experiments culminates in a pavilion sited at Giant's Causeway, conceived as a semi-transparent vertical vessel that reframes the geology's monumentality, allowing the visitors to perceive surrounding basalts in changing heights and perspectives. The corner-based folding logic explored in the wood models is translated directly into the spatial element of L-shaped modules. With a changing scale and dimensions, the family of L-modules is assigned with different spatial functionalities, such as columns, seatings, enclosure, etc. Circulation begins at the upper entry aligned with the top of the natural columns, the path folds and rotates downward to the gallery through shifting frames of view, compressing around the auditorium before releasing toward a luminous sea-level viewing platform where the water, horizon, and distant basalt converge into a single perceptual field.

The wood model studies that represent the translation to the formal qualities of columnar basalt: each block is organized by perpendicular datums, corner incisions, and fine-scale slits, while a diagonal cutting system introduces shifts in depth across plan and elevation. When stacked according to a controlled sequence, these modules produce a rotational, elevating force that mirrors the upward pressure suggested by basalt clusters in situ.

The recreation of a mechanical object, using both 2d drawings and 3d modelling as generative tools.

Mycelium (pl. mycelia): the root like network of fungi, composed of branching, thread like hyphae. It grows through and alongside other species, operating primarily as a decomposer that breaks down organic matter and redistributes nutrients within an ecosystem. Defined by continuous division and expansion, mycelium adapts readily to new environments, reshaping itself through growth rather than replacement.

Within architecture's unsustainable cycle of demolition and reconstruction, a decomposer like logic becomes necessary. Mycelium proposes an alternative model: a materially disposable and recyclable structure capable of being broken down into smaller modules. A series of material experiments using mycelium based substrates investigates its growth behavior, with patterns mapped to analyze strategies of expansion, connection, and resilience.

These biological logics are translated into spatial systems using Grasshopper. Structured as a matrix, the resulting architecture is not fixed in scale or form. It can expand or contract indefinitely, allowing the system to grow into human life at multiple scales and functions. The final installation is exhibited in the "Genetically Similar" art exhibition.

How can a narrative be more fully and affectively articulated across multiple media? In Daybreak, a multidisciplinary charity fashion performance, dance, spatial installations, and fashion design are interwoven to construct a shared audiovisual language. Together, they examine how love and art may, to a certain extent, resist the nihilism that emerges when specific traditional borderlines are rejected.

Bamboo installation that exhibited in Yuz Museum in Shanghai.

Conversion of the architectural language of precedents into speculative drawings and conceptual models.

This study examines the spatial and material configurations of traditional African roundhouses through a systematic series of architectural drawings, including elevations, sections, and plans. By comparing the vernacular roundhouse with a modern architectural precedent, Alison and Peter Smithson's House of the Future, it develops analytical diagrams that reveal their shared essences in circulation structure, formal composition, spatial density, and part-to-whole relationships.

The digital transformation process of compounded curves, using devices of scaling, distortion, reflection, and translation.

The analog series of elevational, sectional, planar, and axonometric observation and transcription of a mechanical object.

The abstraction process of 4 Pepper sections using compounded curves.

The transformation process of compounded curves, using devices of scaling, distortion, reflection, and translation.

In the contemporary age, we are engulfed in a culture of visual spectacle, bombarded by advertisements, logos, and propaganda. This sensory overload often dulls non-visual perceptions, distancing us from the richer textures and subtleties of the world. This work seeks to challenge this phenomenon by juxtaposing two seemingly disparate spectacles: the vibrant cityscape of traditional Chinese urban life and the expansive, untamed wilderness. This contrast highlights the absurdity of our modern era, where the structured environment of cities confronts with the primal essence of nature.