@THE INTER[SECTION] _Our Perspectives of Experiencing the World Around Us

The design process unfolded through successive phases of spatial observation, material experimentation, and iterative reflection. Initial investigations focused on capturing subtle interactions within public environments and translating these into analogue models and spatial studies.

Designing and making occurred simultaneously—enabling intuitive responses, serendipitous discoveries, and emergent formal expressions guided by a sustained curiosity about spatial and temporal phenomena. With ongoing observation and critical thinking embedded in the process, each phase informed and redefined the next through continuous documentation and reinterpretation. Unexpected outcomes were embraced as conceptual catalysts, often redirecting the project into unforeseen directions. The methodology intentionally blurred and interwove the boundaries between thinking, making, and observing—prioritising process over predetermined outcomes.

The work remained fluid and process-driven throughout, allowing ideas to evolve through reflection, feedback, and collaborative exchange. Conversations and critique became integral, offering opportunities of moments of shared time and space, and context with others, enriching the project through collective insight.

As the work developed, physical explorations expanded into digital and conceptual domains—bridging real-world phenomena with speculative techniques. Diverse mediums and tools were used to prototype ideas, each informing the others in an interwoven collection of phases, scales, and perspectives.

This layered approach allowed the project to be seen not as isolated moments, but as a holistic system of interconnected inquiries. This created a cohesive yet layered body of work, rich with possibility and interconnected meaning.  Bilingual thought structures and subjective encounters further informed a reflective lens of urban interiority, through which temporal fragments, spatial overlays, and lived experiences were analysed, interpreted and expressed and explored using diverse design tools.

The evolving body of work invites reconsideration of how time and space are perceived, navigated, and internalised—positioning design as a system of emergence rather than resolution.

The project embraces open-ended practice, interactivity, and human-centered exploration. Conceived as an evolving system, the final collection spans analogue and digital mediums—visual, spatial, and virtual—inviting interpretation, dialogue, and participation through embodied encounters. This approach redefines good design as a reflective, adaptive, and participatory process. Through multi-sensory, multi-scalar methodology—including physical models, film, mapping, and spatial invitations—the project is both functional and immersive, prompting audiences to observe, engage, and reflect.

User experience is embedded from the outset. Audiences are not passive viewers but co-navigators, encountering the work through layered, open-ended moments that foster curiosity and shared meaning-making. The design accommodates varied perceptual modes, ensuring inclusivity and resonance across disciplines and backgrounds. Even photographic documentation shifts with angle and perspective, reinforcing the notion that meaning is shaped through experience.

Each interaction becomes an opportunity to unfold new perspectives. Through conversations, presentations, and spatial invitations, the project bridges the speculative with the everyday, translating abstract ideas about time, space, and narrative into tangible, relatable form. It reflects the entanglement of individual perception and collective experience, revealing subtle relationships between self, place, and shared temporality. The process was grounded in curiosity and creative risk, allowing unexpected outcomes to shape the design language. Exploration across varied scales, techniques, and media enabled emergent ideas to guide the work’s evolution.

The collection remains open and iterative, continually refined to enhance visual clarity, accessibility, and communicative impact—through fabrication, translation, and real-world spatial testing. At its core, the project affirms that no two encounters are alike. Variations are embraced as meaningful—signals rather than noise. In this way, the design becomes a living, participatory field of understanding.

The project offers a research-led, inclusive model of practice that bridges individual insight with shared engagement—positioning design as a tool for deep connection, dialogue, and evolving reflection.

This project operates across three key dimensions: methodological, scalar, and processual.  Methodologically, it adopts an open-ended approach grounded in emergent mechanisms, embodied cognition, and iterative systems thinking—constructing individualised design structures that evolve through continual exploration and reflexive engagement.

The project evolves as a self-generating system, where the designer is simultaneously subject and observer—engaging with lived urban contexts through ongoing cycles of making, reflecting, and reconfiguring. This methodology privileges curiosity over certainty, and emergence over resolution—allowing meanings, forms, and insights to surface. It not only fulfils the expectations of exploratory design, but propose a model in which cognition, environment, and creativity are deeply interwoven. Innovation also unfolds through shifts in scale.

From hand-crafted prototypes to installations, the work moves fluidly between the intimate and the collective—bridging personal perception with wider social and urban systems. These spatial translations invite interaction and critical reflection on how environments are perceived, internalised, and co-constructed. This scalar adaptability supports a multi-sensory, user-centered experience that is engaging, and conceptually accessible. Processually, the project integrates digital tools—such as virtual modelling and rendering—with material experimentation, enabling a speculative, adaptive process that evolves as knowledge accumulates. Its originality lies in its conceptual architecture: a responsive design ecosystem that invites layered interpretation and grows through feedback, context, and interaction. It exemplifies a research-led practice that is reflective, iterative, and temporally expansive.

Ultimately, the project reframes design not as the delivery of fixed solutions, but as a generative process—one that continuously produces new ways of thinking, expressing, and relating. It provides tools for mapping complexity, navigating uncertainty, and cultivating deeper connections between people, place, and time. In doing so, the project establishes a benchmark for how design can evolve, adapt, and meaningfully respond to the shifting realities of contemporary life.

_Curiosity-driven memory & time perception _Entropy, finitude, and the preciousness of presence _Design as a tool to model, render, connect, and regenerate The lasting impact of this project lies in its ability to shift across perceptual and temporal scales—bridging the deeply personal with planetary consciousness. It begins with a deceptively simple question: How do we follow curiosity and make sense of fragmented, nonlinear experiences that shape our understanding of time, space, and self? Despite our fluid memories and perception of time, we carry an unfolding inner narrative—stretching across past, present, and future—that quietly structures our interior world and links us to something larger. Zooming outwards, the project reflects on the brevity and significance of human existence within vast temporal and ecological framework.

If Earth’s lifespan were compressed into 24 hours, human civilization would occupy just the final second. In such a universe governed by entropy, design becomes a way to generate local coherence, imagine continuity, and build social and ecological systems capable of renewal. Through modelling, fabrication, and immersive spatial presentation, this project positions design as both process and interface—a way of perceiving, and constructing meaning in an increasingly complex world. Its methods are both representational and speculative, inviting dialogue and expanding perception. The project contributes to a progressive, research-led design practice grounded in awareness, systems thinking, and shared imagination—bridging conceptual rigour with human-centred engagement. By linking embodied experience with planetary timescales, it frames design as a living inquiry into how we dwell—both in space and in time.

Ultimately, the project proposes a broader role for design—not just as problem-solving, but as sense-making, future-building, and relational living. Its value lies not in fixed outcomes, but in its ability to shift perception and open new ways of seeing, connecting, and belonging in uncertain times.

This project approaches circular design as a process-driven, iterative practice—looping continuously between observation, reflection, and creation. Rather than advancing linearly toward a fixed endpoint, the work unfolds through adaptive cycles of inquiry. Each phase generates insights that recontextualise earlier stages and inform future directions, forming a responsive, living ecosystem of design.

Sustainability in this context is not limited to material efficiency; it is embedded in the cultivation of long-term relevance, emotional resonance, and systemic responsiveness. the project proposes that design itself—when grounded in attention, curiosity, and adaptation—can be a sustainable act.

Reflection is not a postscript but an active condition within every stage, transforming complexity and uncertainty into generative tools within the design language. This approach mirrors principles of circularity and regeneration found in ecological systems and contemporary co-design methodologies. Each iteration builds relational value—inviting feedback, reinterpretation, and return.

The methodology is process-led, and human-centred, offering a model that is adaptable across social, and systemic applications. While the project emerges from a personal, intuitive inquiry into space and time, it gradually extends outward—considering how others perceive, interpret, and co-inhabit shared environments. In doing so, it shifts from solitary authorship toward participatory navigation, opening space for co-designed outcomes rooted in shared presence, layered meaning, and collective agency.

Culturally and socially, the project addresses urgent contemporary questions: How do we dwell within non-linear time? How can design support spatial justice, empathy, and the right to reimagine our environments? By bridging internal cognition with outward-facing communication, the work fosters new modes of dialogue—between individuals and systems, memory and environment, self and collective.

Circular design is framed as a cognitive and cultural framework—capable of evolving alongside our shifting ecological, social, and epistemological realities. It advocates for design as a regenerative force: reflective, inclusive, and always in motion.