For me, interior design is a subject goes beyond functionality, offering emotional support to spaces. In my Master study, I’d like to explore the existing places and the emotions they evoke. I seek to elevate spaces beyond the physical, infusing them with resonating emotions and memories. My journey is driven by unraveling the soul of spaces and understanding their profound impact on the human experience.
In my study of stage 3, I want to design a play space related to dialects, where people use body movements as perceptual tools to explore and interact in order to rethink the homogenization of junk spaces.In this project I want to explore how to use space – both spatial composition and materials apply, extracting abstract forms to form space, how to convey a message to the body to move through the space, to understand and engage with invisible consciousness and ideas, and thus to perceive the dialect and the culture and stories it contains.
What is ‘Junkspace’ ?
Junkspace is not the abandoned, unused space in the city.
‘Junkspace’ is a term used against the constructed environment of the new twenty-first century.
For example airports, highway systems, shopping centres, office buildings, and apartment blocks. But these spaces also show the homogenisation, commercialisation, and lack of identity prevalent in modern architecture and urban design.
Dialect theory as the guiding principle for my spatial design, it contains two main aspects: nonverbal accents and dialects. Nonverbal accents aspect is focused on non-textual such as sound, tone. So I refer to image, language visualisation, facial expression and other cases to help me with spatial shape and composition.Dialect is mainly about the culture and story behind the slang. I refer to theories and cases about performing artists to extract the people’s movement from the background, and detail the space and material application.
In addition to the spatial design, I introduced the game of the dialect.
The ‘ginger’ game
Taking back old ginger bottles for cash was “a way of life” for youngsters in the city. In the 1930s and 40s, and even later on, returning glass bottles and glass jars was still a way of life for youngsters.
I was inspired by ‘Ginger bottles’ and wanted to combine the game in the space to become a new kind of ‘Ginger bottles’ game that carries memories of the past.