How
it gets
made.

Identity

I strive to embody my work through shared human experience, maintaining a steadfast focus on interaction and fluidity. Design is a passport, not a pedestal. It is an opportunity to unlock doors, existing in a constant, ever-changing state of flux.

As Marcel Duchamp quoted "Art is a game between all people of all periods.", what was considered the echelons of functional utilitarian industrial design by Dieter Rams and associates in the 1970s might now be regarded as rather boring and tasteless, tastes changes, cultures change, design changes.

My background is multifaceted, perhaps even perplexing. I believe my culture is entirely my own; I define what I value as my cultural norm. Having lived in nearly eight countries, I have absorbed different cultures through each chapter of my life. This journey has resulted in a unique cultural concoction that can only be defined by my lived experiences.

Consequently, I believe my design practice must also be fluid and ever-changing—marked by the friction of diverse perspectives and the necessary scars of unlearning my own biases. To me, being a designer means having the courage to be uncomfortable, the stamina to wander into unfamiliar territories, and the vulnerability to let those experiences rewrite my creative DNA.

I do not seek to impose a singular, recognizable "hand" onto the world; instead, I aim to be a fluid translator. My identity is found in the transition itself—in the ability to move between cultures, disciplines, and ideologies without the weight of ego. I am a builder of bridges, understanding that a bridge is only as strong as its connection to the banks it joins.

My most profound solutions are discovered in liminal spaces—areas that are intangible yet demand exploration through rigorous research and first-hand experimentation. My process requires living within and throughout the context, driven by genuine experience and interaction. Ultimately, I want to imbue my work with real impact. I achieve this through initial contextual understanding, followed by the experimentation of form explicitly linked to human interaction. The final result is a function that exceeds previous explorations, proving that innovation is the very fuel that sparks creativity.

Vision

Design, for me, has never been a fixed discipline. My vision is to become a design leader who transcends conventional boundaries by fusing intercultural insights with technological advancements. I aspire to establish a creative studio where innovation and tradition coexist, fostering designs that make a meaningful impact on society and optimise efficiency for utility. I want to specialise in understanding and implementing cultural insights for a greater good.

As everyone may well know by now, a Mini Cooper has a very distinct British look with sleek yet quirky silhouette, whereas a Japanese Nissan Cube is strikingly Japanese, with its boxy look and rounded rectangular edges, these design choices reflect upon a culture's design language and their preferences, environment, history and people.

Nissan Cube Z12 — Nissan Heritage

As the world continues to globalise I want to delve deeper into how to create systems of design inclusivity through a supply chain and design modularity perspective, for example how should a laotian or peruvian automobiles look? How should other technologies like household appliances look to properly adhere to their cultures and preferences? This is a topic I want to look into and study for a potential Bachelor End Thesis and would ideally be interested in exploring starting a venture specialising within this field and perspective.