the institue for the advancement of art
This architectural pavilion proposal is the next phase of my ongoing project exploring the cultural complexities of graffiti and the politics of urban expression. Building upon my earlier installation and surveillance-inspired video—where I followed graffiti artists across Brick Lane and recreated the presence of security through stylized glitch visuals—this design offers a permanent, immersive space that invites both artists and the public to rethink how street art can be experienced, preserved, and shared.
At its core, this proposal envisions an inclusive, collaborative environment where people from all backgrounds are welcomed to create, interact, and experiment. Designed as a one-storey structure composed of multiple overlapping domes, the pavilion merges the functions of a gallery, classroom, exhibition space, and creative lab. Its architectural form intentionally diverges from traditional institutional buildings, taking on an organic, alien-like presence that piques curiosity and invites participation. The domes are constructed using hempcrete for the walls—a sustainable, carbon-negative material—paired with lightweight timber trusses and translucent polycarbonate panels that allow natural daylight to filter into the interiors. This structural system not only supports the curves of the building but also creates a luminous, breathable space that feels open and adaptable.
Three arched, semi-open entrances connect the inside to the surrounding urban fabric, guiding pedestrians naturally into the building and encouraging spontaneous visits. Visitors begin their experience in dark, quiet transitional rooms designed to create a moment of pause before entering the main interactive space. Inside, guests encounter a wide range of emerging creative technologies: laser painting tools, UV wall printers, digital wall-through archives, and 3D printing machines for producing custom stencils. The pavilion is not only a space for making—it is also a space for learning. Staff are positioned at various counters to assist visitors in navigating these technologies, ensuring accessibility regardless of technical background.
A key component of the pavilion is its commitment to preserving ephemeral work. Any graffiti or artwork created within the space can be scanned and saved into a growing digital archive. Visitors can return to their pieces at any time through a walk-through digital environment or relive their contributions in virtual reality. This approach offers a meaningful solution to one of graffiti culture’s most pressing issues: the constant threat of being painted over or erased.
To complement the interior spaces, a paintball art field is situated just outside the main structure. This playful addition is built from reused materials—specifically the temporary walling that once closed off the original site. These movable barriers now become part of an ever-changing paintable terrain, creating opportunities for spontaneous, exercise-driven mark-making. Even the most unintentional splashes of color in this area can be preserved and transformed into digital memories through 3D scanning and archiving.
This pavilion is both a response and a proposition. It responds to a long-standing tension between graffiti as vandalism and graffiti as cultural expression. At the same time, it proposes a new kind of institution—one that is open, participatory, and constantly evolving through the people who use it. By combining physical craft, architectural experimentation, and digital innovation, this project reimagines how we can support and sustain street art without compromising its spirit.
Through this body of work, I demonstrate not only research-based design thinking but also hands-on building experience, material knowledge, and an ability to develop spatial environments that serve real communities. Whether applied in urban design or within the creative industries such as film and exhibition, the project reflects my broader goal: to create spaces that challenge perception, invite dialogue, and foster genuine interaction between people and art.