Inspired by the transformative experience of hypnosis, a practice made popular in the 19th Century, Mesmer is an oil lamp designed to fixate one’s gaze on a single flame.
phenolic, glass vial, metal burner, cotton wick, silver leaf.
28L x 16W x 28H cm
Exhibited at Rossana Orlandi Gallery
Design de Mobile 2016, Milan, Italy
Time/Space Opportunities for the Urban Retail
The rise in homogeneous brand identities has shaped retail architecture as a standard tool for effective communication to consumers. Brands continuously reconfigure strategies through retail experiences to sync with contemporary culture, adopting new methodologies to reach clientèle. E-commerce retailing, which caters to the current shift in consumer behavior, has become a revolutionary channel in today’s consumption culture. It has allowed businesses, small and large, to reach consumers on a global scale. Similarly, small brick-and-mortar businesses use online-retailing as an alternative to the economical pressures of operating a physical retail space, by limiting their physical presence or completely transferring their businesses to the online platform. On the contrary, successful brands who have established their business exclusively through e-commerce are now opening up limited physical retail spaces in dense urban areas as a competitive strategy to satisfy the contemporary consumers’ demand for experience-based consumption. This recent approach in retailing has led to the phenomenon of temporary physical retail spaces, also known as “pop-ups.” Once an opportunistic approach for startups and small-scale boutique retailers, the swift adoption of the spectacle of the pop-up among the giants has made it harder to stay competitive, both economically and geographically.
Hatch responds to this condition by implementing a system, both at the level of architectural design and at the level of typical retail operations, refocusing the pop-up around opportunities of time and space while staying true to contemporary consumption behaviors of the typical consumer.
Sofitel Gardens is a prototype of a luxury resort hotel located on the narrow isthmus between the city of Lima and its peninsula of La Punta, Peru. Specifically, the site is centered at the geographical bottle neck, providing an optimal branding opportunity for this major resort. This led to the decision of retaining the intersection that cuts through, utilizing it as a secondary source for land and water transportation between the site which activates the resort complex throughout the day. As a result, the resort is split into quadrants, each consisting of suites and different programs that are shared amongst the guests and visitors at the resort.
The most common names used to describe Lima is “the city of balconies,” which became the force behind the design concept for the 300 guest room resort, encapsulated by ocean and city vistas. Each volumetric suite is excavated, staggered, and grouped to provide private balcony gardens for the rooms, specifically curated for sensorial experiences made possible by collaborating with Peruvian artists.
‘Something in the Air’ is a proposal for installations of monitoring-pavilions throughout the city of Chicago, effectively communicating air pollution levels of local neighborhoods and major cities around the world. Its objective is to instigate discussion, comparisons, and correlation with other statistical data relating to neighborhoods and cities, all achieved by communicating information through dramatization. Each pavilion communicates real-time pollution levels of the location it is situated in through “smog” simulations. As the pollution levels fluctuate, the exterior façade responds by expanding and contracting the span and intensity of its cloud as well as changing colours to indicate a general idea of good, satisfactory, and poor air quality. Internally, the pavilion responds to local and global levels of air pollution, where users can control the conditions, simulating pollution levels across different cities. ‘Something in the Air’ intrigues and stimulates people into action in questioning and challenging the city for better air quality for it communities.
Form Follows Signage is a result of a three-day intensive workshop project for the 2015-2016 Bi-City Biennale of Urbanism and Architecture for Shenzhen and Hong Kong. “Re-Living the city” being the theme for the Biennale, the illustration/photo-collage challenges how architecture can co-exist with signage and advertisement by literally designing around it.
“The whole is greater than the sum of its parts.” The painting highlights the importance of emergence and the way complex system arise from the simple interactions. Each hexagonal shape is individually painted with acrylic and assembled to represent honeybee colonies.
acrylic on canvas board
54” x 96"
Signage and solicitation played a prominent role in characterizing Chicago’s Maxwell Street Market’s identity and attraction during its prosperous years. Comparing it to its current forms of business-to-consumer communication strategies, Maxwell Village is derived from the concept of how architecture can be shaped through marketing and advertisement, both from vendors and through the Maxwell Organization. To maximize its exposure to the greater public, the market is relocated to the unused spaces of the UIC-Halsted Blue line station, allowing better accessibility, convenience, and most importantly noticeability. The Village consists of ten themed structures categorized based on the goods sold, each designed around signage visibility and exposure. However, the market’s spectacle is heavily promoted through the satellite division of the Maxwell Village, which consists of recreating the market on the transit system itself. Each car on the Maxwell Village Train corresponds to a theme from the market, which includes satellite vendors to sell their goods to users who ride this train for their regular commute. These marketing strategies are the building blocks that have driven the design of the market, as a way of restoring its unique identity to contemporary competitive standards.
Disposition is a process of identifying an individual's fundamental personality type based off of the proto-psychological theory of the four temperaments. The test borrows a process from Rorschach Ink Blot method, where a subject's preceptions of the images are recorded and analyzed using psychological interpretation to identify their dominant personality trait. This psychological analysis uses the convention of architectural language in a transdisciplinary manner to expose the subconscious mind.
USPS On-demand is a revitalization of the current United States Postal Service, a partnership with Uber for a service in express local-delivery of packages and goods. Currently occupying Mies van der Rohe’s Federal Plaza building in Chicago, USPS On-demand reutilizes the space to improve and accommodate this additional service for USPS and Uber employees. Using Mies' 1921 Friedrichstrasse Skyscraperconcept, the design is derived by reversing the utilization of maximized transparency for greater exposure of interiors. Heavy cubic forms within the building divide the space into its sub-programs, achieved by using glass as masonry with different opacities. The goal is to achieve the appearance of constant transformation of space as different combinations of the subdivided glass offices, units, etc. come into ones line of vision, constantly changing in opacity and transparency depending on the relocation of ones viewpoint within the building that result in public and private spaces.
An interactive installation that enables the observer to become the artist. As he/she positions themselves throughout the room, it permits the visual rearrangement of the suspended rectangular prisms, creating new optical compositions of the skeletal forms.
cedar, acrylic paint, fishing wire
172” x 360” x 144”
A painting inspired by the process of human chromosome replication, where the twenty three individual pieces in this painting symbolize the genetic coding through symmetry of the forms and the geometric linear markings. Error and mutation are denoted by the asymmetrical nature of chromosomal imagery.
acrylic on canvas board
54" x 96"