Project 1 The Oracle of Wall Street
The Oracle of Wall Street is a hybrid candlestick fortune-roller that draws on the principles of geomancy divination techniques, but is repurposed to predict the price direction of the stock market. By replacing the original 16 geomancy figure spindle dice with candlesticks, the tool encourages the user to engage in algorithmic superstition - the same fallacy that a lot of traders sometimes commit with their candlestick interpretations.
Project 2Global Climate Mancer
GCM (Global Climate Mancer) for the climate scientist, as a fusion of climate model variables from the General circulation model with the dowsing method of the pendulum. As the pendulum swings, it interacts with the model, channelling the energies of the planet and revealing glimpses of potential changes in the climate of Antarctica's future. Project 3 The Orb of Fortune
The Orb of Fortune offers a new more scientific approach to scrying for the fortune-teller. Removed from its original purpose in weather monitoring, the heliograph’s stripes are now modified with new variables, inspired by tarot symbols. Now instead of measuring the sunshine during the day, the sun will burn through the symbolically infused imprints, revealing the fate of the user.
Project 4Urban Green Gap
In Urban Green Gap, language becomes terrain. 3D-printed letters, designed as urban artefacts, host small fragments of living growth—plants emerging through the cracks of synthetic surfaces. The work speculates on the spaces where technology and ecology intersect, where control systems fracture and new forms of belief take root. Between code and soil, it asks how nature reclaims the architectures of language and the rituals of modern cities.
Project 5Moonlit Sink
In this project, I explore how design can bridge the gap between the ordinary and the extraordinary. I aim to challenge grand narratives and manifest the sublime in everyday life, using real nature as a design material, not just a symbolic representation.
The project, situated at the intersection of public installation, furniture design, and social practice, seeks to create a dislocating yet contemplative experience. By reflecting moonlight without digital manipulation, the installation plays with effort and the tension between pursuit, anticipation, and waiting.
Using materials like metal, wood, and mirrors, the installation captures the essence of moonlight. It invites individuals and groups to participate, encouraging inclusivity and introspection. Drawing on the concepts of Sisyphean efforts and "Fishing for the moon in the water," the project questions the futility of certain endeavors.
This project not only aims to evoke poetic dislocation and contemplation in daily life but also to integrate nature into domestic contexts poetically, provoking thought and deepening our understanding of our place in the world.
As I embark on this journey, I continue to cultivate the courage to face challenges, navigate relationships, and seek a higher purpose. The moon symbolizes this heroism, inspiring me with its celestial beauty.
Project 6Post-Consumer Communion
Post-Consumer Communion reimagines the ritual of nourishment in an age of decay. Using bread — a sacred and everyday material — the work stages a quiet rebellion of growth: seeds sprouting through burnt crusts, life emerging from the leftovers of excess. Set within metallic trays and artificial grounds, it questions how faith, ecology, and consumption coexist in the aftermath of modern production. Project 7Bread Project
This project explores the absurdity of long-distance food delivery by imagining a future where takeaway is transported via airline systems. To question the logic of such transport, the designer undertook a delivery journey across England wearing bread slippers—only to be stopped at the airport and forced to explain they weren’t prohibited food.
Inspired by Walter Benjamin’s idea that mechanical reproductions lack the original “Aura,” the designer argues that takeaway food loses more than just taste in transit—it loses its emotional and cultural context. Food, as an evocative object, carries personal memories and meaning that can’t be reproduced.
The project humorously reimagines food not as cargo, but as material—turning it into wearable gear for takeaway workers. This ‘food wear’ provokes questions about security systems, design limits, and whether such absurd designs could serve to protect the body, like packaging protects a parcel.
Ultimately, the work critiques the practicality and emotional disconnection of hyper-mobile food culture, blending satire with critical design.