Ningbo, China

29.740148° N, 121.073169° E

Urban Planning | Architecture | Interior Design | Sculpture Design ( 30,000 sq. m )

2022

Preface 序言

建筑经过时间的洗礼后会发生沉淀,在岁月的流 逝下,希望把是次改造计劃能够把艺术加入四明山 以配合其历史背景及特色重新的走入各人的眼球。

第一阶段主要在于如何运用现有的历史建筑及场景进行改造:

在尽可能保护原有建筑(必须保护其建筑结构)的前提下进行改造,不追求把建筑还原,因为被破坏(不论天灾还是人祸)也是一种洗礼,一种艺术。其不能修复的部分将会採用留白的方式让来宾感受其过去的事迹。

然而一些被破坏而留落于地上的牆体, 结构或材料则会根据其价值, 物理因素等考虑下利用起来。除了可以化作剧场上的台阶外,也可以搬移到其他地方作为过渡/冥想空间。

基于是次改造计划并非作为私人用途,所以功能上建议加入过渡/冥想空间、艺术家创作及住宅处、剧场/演讲台、餐厅/咖啡厅、辦公及会议室和公共卫生间等。

过渡/冥想空间将会以散落的方式在场所各合适的位置出现,剧场/演讲台会是一个独立的建筑并于阳光、风景最优美的地方出现,餐厅/咖啡厅则依靠于原建筑上。

Shanghai, China

31.243336° N, 121.467894° E

Workplace Interior Design ( 690 sq. m )

2023

Shanghai, China

Branding Identity

2023

Shanghai, China

31.223364° N, 121.441617° E

Interior Design | Product Design ( 4,000 sq. m )

2024

China

28.228209° N, 112.938812° E

Sculpture Design ( 530 sq. m )

2022

Shanghai, China

31.236827° N, 121.460224° E

Exhibition Design

2022

是次展出作品分為二階段進行: 第一階段於上海靜安國際雕塑展展出, 第二階段則於武定菜市場展出.

雕塑藝術展一般給予人一種小眾, 寧靜, 很有距離感的感覺. 因為大多數的藝術展作品都是價格高昂, 反之菜市場則是很大眾化, 比較髒亂, “接地氣”的場所. 所以是次靈感來源主要來自於菜市場, 并以蔬菜運輸塑料框為主題. 把塑料框疊高放大後就像現代社會的房子, 承載著不同的內部功能和活動. 同時在第一,二階段的藝術展結束後, 這些塑料框又會被運到不同的地方, 以作其原有之用途.

The work are divided into two stages: the first stage is exhibited at the Shanghai Jing'an International Sculpture Exhibition, and the second stage is exhibited at the Wuding Vegetable Market.

Sculpture art exhibitions generally give people a sense of niche, tranquility, and a sense of distance. Because most of the artworks are expensive, on the contrary, the vegetable market is a very popular, messy, and "down to earth" place. Therefore, the inspiration for this time mainly comes from the vegetable market, and the theme is the plastic frame for transporting vegetables. The plastic frame is stacked and enlarged to resemble a house in modern society, carrying different internal functions and activities. At the same time, after the art exhibition is over, those plastic frames are transported to different places for their original purposes.

LEGO EXHIBITION

Shanghai, China

31.169434° N, 121.459359° E

Exhibition Design ( 320 sq.m )

2023

Shanghai, China

31°24′65″N, 121°45′24″E

Interior design ( 30 sq. m )

2022

Shanghai, China

31.2089806° N, 121.46435557° E

Exhibition Design

2022

展覽主題以非拍賣方式供賓客觀賞明,清朝為主的中國古玩, 并以不同主題情景將當代傢俱和古玩融入其中. 與策展人商議後, 我們決定以WABI-SABI 為主題, 同時在該展出埸地- 別墅住宅裡再築起一個個盒子, 每個盒子都會適當地升起, 并在其中放置一件古玩及不同主題時期的傢俱.

在是次展覽中, 我們刻意保留了神秘感. 在展廳外看起是一個密封的盒子, 并以不同的方式在牆面上開洞. 展廳區域將以廊道連貫著以達到空間上的貫穿, 卻沒有讓視覺上的缺失, 以保留區域之間的神秘感.

Wuhu, China

31.320443° N, 118.375962° E

Food and Beverage Design

2022

Wuhu, China

Conceptual Design of Wuhu Art Zone ( Master-planning, Facade Design, Interior Design )

2021

Shanghai, China

31.230412° N, 121.435185° E

Residential Design

2022

Kowloon, Hong Kong

22.320697° N, 114.204194° E

Interior Design ( 32 sq. m )

2020

香港，作為國際大都會，其生活指數一直處於全球三甲，然而大多數住所的面積為人均15平米，為全球最小，是次為甲方設計的單位實用面積為32平方米。

如何在小空間下發揮最大的功能一直為香港住宅的問題，所以我們在這個項目中為一對新婚夫婦加入了一些新的功能區域，包括運動區和工作閱讀間等，同時盡可能保留原有功能分區的空間感。是次設計的最大特點是以2米為主題：2米長的衣櫃，2米長的書桌，2米長的梳化及2米x2米的特大雙人床。同時為了將來的小孩長大，閱讀間將會變為第二間睡房。而設計元素以木為主調，配以2級樓梯的升高地臺，以合乎甲方要求的溫暖及開陽之家。

Shanghai, China

31°24′65″N, 121°45′24″E

Interior design ( 86 sq. m )

2021

Over-on Party Studio (Oops!) was commissioned by the all day restaurant, Empty Jar, serves Mediterranean fusion cuisine featured on Chinese ingredients inside the Marie’s Art Zone on 850 XiKang Road, Shanghai, China.

“Empty” implies infinite, “The Middle Way” is neither emptiness nor existence. “Empty” is not meant to be nothing, but a radical transformation ( out of nothing at all), said by the founder Rico Fang.

In doing so, Over-on Party Studio reconsidered the meaning of “Empty” for the design, creating fragmented layerings.

The overall space is characterised by concise and simplistic design language. Succulent plants, natural materials and pale tone are all found inside the restaurant. Over-on Party Studio aim to offer a tranquil and cozy environment that evokes a complete sense of calm which focusing on the culinary delights rather than the “photo spot” restaurant all over social media.

The restaurant’s layout follows the sunken platform, organised around the L-shaped dining tables for 2-4 guests. “In particular, Over-on Party Studio ensured that the sunken dining area located in the centre would be comfortable for customers, no matter the size of the groups of guests can be seating around, from children to elderly, from daytime to nighttime, so that the space would feel welcoming to everyone.

Over-on Party Studio took the notion of “cozy” and created the space minimal but not simple. Dismantle the connection between the wall to the ceiling by adding a radius with the diffused lighting and also trying to gave all “ right angle” of the wall in the restaurant a radius.

The level of the bar is higher than the sunken area, emphasising the communication between the guests and bartender. The bar itself features a marble countertop and an old washed reddish brick frontage with hairline stainless steel bar foot rail kits.

All seating is upholstered in grey canvas, while matching the colour of the grey terrazzo floor tiles.

“We feel that the design of Empty Jar has a real sense of calm and cozy, which really feels right for these times, especially during the period of COVID-19” said by Willson Douglas Iu, Director of Over-on Party Studio.

Empty Jar was founded as a fine dining community in Shanghai, China by Rico Fang in 2020, and has since aiming to grown into a chain of restaurant and bar across the Shanghai.

The ONYON PARTI STUDIO team members played crucial roles in designing 2O2O during our employment spells at EDGE DESIGN INSTITUTE LTD.

China

31.335071° N, 118.372094° E

Interior Design ( 24 sq. m )

2021

“銀海生花” 為是次項目之設計主題，主要希望利用銀色系的材質以襯托出酒瓶的美。除了牆面滿貼錫紙外，天花也吊了鋼絲網以做出有如置身於閃爍浮雲般的感覺。因為設計以銀色（銀海生花）為主題，所有傢具也會以拉絲不鏽鋼為主，置酒架使用了易拆除式的貨架，一來以便隨時為空間動線變更同時根據酒的數量和高矮大小以作調整，並在層板上貼上錫紙和貨架的背板也使用了鋼絲網以防酒瓶掉落。至於一些特調外賣雞尾酒或主推酒會放置於不鏽鋼洗手盆。

外立面則以紫藍系列的炫彩玻璃貼並加上全白LED燈條作為招牌，以吸引客人眼球，並在背景牆加上鏡子作為延伸為窄長的空間提供優化的平衡感更增添一份神秘。

Shanghai, China

31.2230185° N, 121.4468326° E

Interior Design ( 285 sq.m )

2020

Shanghai, China

31.237208° N, 121.458935° E

Exhibition Design

2022

隨著人類文明的發展, 綠地被不斷開墾, 越來越多的綠地被高樓大廈侵占, 此藝術裝置通過三個階段, 以互動的形式, 展現自然與城市不斷對抗的過程.

• 第一階段: 世間萬物為大自然統治時期, 整個世界都是綠地的延展

• First Stage: when nature ruled the world, the whole world was an extension of green space

• 第二階段: 人類文明伊始, 土地被翻開, 房屋與基礎設置建起

• Second Stage: at the beginning of human civilization, land was continuously used, houses and infrastructure began to be built

• 第三階段: 建築以高耸的柱狀群展現, 象徵著高度城市化的今天, 人類在幾乎要開墾完的綠地之後, 慾望只能伸向頭頂的天空

• Third Stage: Under the highly urbanization, buildings are shown as the columnar group nowadays. Human desires can only reach the sky after the lack of the green space which is almost about to be reclaimed.

Chengdu, China

30°39′25″N, 104°03′58″E

Interior design ( 500 sq. m )

2017-18

這不僅是一間餐廳，更是一間藝廊。位於成都的泰廊餐廳，著重歷史文化與生活美學。藝廊內放置賞心悅目且富有東南亞色彩的藝術品、工藝品與畫作，讓食客在飽嚐美食的同時，感受美食與美學兩者的交融，享用一場華美的宮廷盛宴。全區分為榻榻米區及半包區，給食客不同的氛圍。

泰廊的設計核心思想圍繞泰國文化特色並且結合中西文化。硬裝方面，參考東南亞宮廷元素，以皇宮的金碧輝煌作主色，濃厚飽和的東方色系為輔，貫徹於整個方案。設計細部上重新詮釋東南亞傳統工藝，內部的天花以傳統織藤技術編成。在半開放貴賓包廂，活動式的牆身可根據不同場合要求改變，繼而深化空間之用途，使包箱變成靈活可變的多功能空間。牆身上並裝置上四個不同主題的東南亞壁畫，再次將藝術元素柔和地注入設計中，令食客不知不覺地感受、置身美學。至於廁所的牆壁，則用上中式瓦磚，即使是不一樣的紫色，接近的飽和度同樣能無縫地轉接上。中庭的無邊際水池以金磚排列成波浪的形態，形成潺潺流動的水波。

The ONYON PARTI STUDIO team members played crucial roles in designing THAI GALLERY at UPARK during our employment spells at EDGE DESIGN INSTITUTE LTD.

Chengdu, China

30.5728° N, 104.0668° E

Interior Design ( 680 sq.m )

2018

泰廊熔洞，位於成都高新區仁和新城購物中心四樓的泰式火鍋店。沒有一般商店顯眼的門面，卻在牆身砌了白色鐘乳石，猶如一個山洞的外圍，卻在中間鑿了一個深不見底的洞，成為入口。洞口向餐廳內部空間延展，形似時光隧道，將餐廳跟商場清楚分隔開來，形成強烈對比，也帶有神秘感，引領食客經由隧道進入另一世界。

餐廳的設計靈感來自東南亞姆魯國家公園的鹿洞，前往用餐的動線迂迴曲折, 就像是從入口位置延伸的隧道。弧形的桌椅嵌入了凹凸不平的沙裡，與環境融為一體，貫徹洞穴概念。

每一桌之間沒有刻意的隔斷，卻通過了不同的座向，保證了用餐的私密和愜意，同時也為每一桌客人帶來不同的觀感，保持新鮮感和趣味。天花有著變幻的燈光并配合了往復的穹頂，從入口處起伏有致，一直不規律而自然地延伸至未端，把山洞的感覺完全的呈現出來。吧檯的背景牆是一整面的燈箱，從紅酒的擺放位置變化，營造光影對比，有如一幅幅不經意的藝術品。

Thai Gallery - a Thai Hotpot Restaurant locating at 4/F Renhe Spring International Plaza, Chengdu.

Unlike conventional showy front shops, the restaurant resembles outer shell of a cave with the white stalactite as the rugged wall, enclosing in the middle a deeply-drilled hole, which serves as the entrance. The opening of the hole extends into the interior space of the restaurant, as if it was a time tunnel between the restaurant and the mall. The front shop makes a vivid contrast with the exterior and hints a sense of mystery, leading the customers into another world.

The design is inspired by the Deer Cave of the Gunung Mulu National Park. The entrance extends with the twists and turns in the circulation towards the dining space. Curved tables and seating are embedded in the sand, blending with the environment with a single concept – the cave.

No sharp-cut barriers are placed in between each table, yet, with varied orientations, privacy and comfort are guaranteed. Meanwhile, various views and perceptions are brought to different customers, exciting them every second.

The designed changing lighting acts in concert with the wavy ceiling, which extends all the way from the entrance towards the end. The ambience of a cave is emerged through.

Shanghai, China

31.2089806° N, 121.46435557° E

Exhibition Design

2021

設計背景：

回歸到人最開始的生活，人類之最初：

家是一個人生活所需。隨着家的發展，不同的公共空間得以衍生，學校，醫院，商場，辦公大樓，政府場所，體育館等等的出現以完善家的配套。這些公共空間的出現卻導致家被”私有化”，人能夠喘息的空間變的越來越少，所以讓我們去反思何為公和私，他們之間的關係又是什麼？

設計理念：

是次展覽概念是一條以公共空間（MAO SPACE 畫廊）及家為時間線的軸身從公/私各自出發並找尋中間點為主。在這樣的語意下，我們將此次展覽場地視作公共空間，與作為私人空間的「家」互換角色，六位藝術家的作品分別置於展廳中代表不同寓意的「書房」、「客廳」、「餐廳」，同一屋檐下特定的場域內每位藝術家作品被賦予新的寓意。

展覽材料主要為回收紅磚及草垛，展覽中以傢具的方式重新呈現於觀眾眼前，希望人家在觀看展品的同時通過回收紅磚及草垛進行反思被消失的家。同時由於是次展覽是一條公/私的時間軸，所以隨著展覽日期的流逝，磚與磚之間的水泥會變為白色，綠葉枯萎，有如被推倒的家一樣。

Mao Space展覽對話連接: https://mp.weixin.qq.com/s/mzXuAN97R_J0FdlWLAIFqQ

Keywords | plastic water tube, PVC, translucent, structure, funnel, hourglass, interaction, cycle of impact, collectors, journey, plastic waste, focal point, variations

Through an impactful interactive journey, this installation, "Recurrence 8", carries symbolic meaning that raises public awareness towards the overuse of unncessary plastic products.

The journey is experienced by seeing and connecting the two complementary parts of the installation, which resembles the form of an hourglass when put together. The main of the installation is the upper part of the funnel. With a body composed of solid plastic tube bone and translucent skin, centrically hung by a cross-like structure. It conveys several layers of meaning.

First, the main component of the frame/structure of the funnel symbolizes the essentiality of durable plastic, while the skin represents the disposable plastic that is used once and thrown away. We do not consider plastic as our enemy but instead its overuse and misuse.

The type of plastic used most commonly varies across the globe and so does the component of the translucent skin. More importantly, the lower part of the funnel is duplicated and put strategically around the exhibiting city. People are welcomed to dispose used plastic products into its body. The component is thus an activator for the installation. With these collectors being filled up, the plastic products inside will be transferred into the main upper part of the funnel and fill it up instead. The type of plastic waste also varies according to the habit of citizens from different areas. As we use disposable plastic daily, it is hard to be aware of the amount of unnecessary plastic used. The main part therefore serves as a focal point, which demonstrates the amount of plastic created daily. By entereing the funnel and being surrounded by all the plastic collected in the city, visitors will experience the impact.

Standing in the centre of the installation also symbolizes how we, humans, are a part of the cycle. As we dispose plastic mindlessly out into the collectors and consider the action irrelevant, the impact will go back to us in an even more intensified manner, just not immediately. Like an hourglass, the process of collection of sand (plastic in this case) is almost unnoticed yet the result should not be ignored. It is hoped that visitors are influenced by the visualized impact and have more awareness of the "plastic problem", bringing positive impact back to the environment.

The size of the installation can also vary depending on the site, allowing single to multiple people to enter at the same time.

Nottingham, United Kingdom

Architecture

2012

The concept of the design comes from tree ring. Tree rings tell the story of trees as they “record” the growth status.

On top of the history, they also let us understand the present and forecast the future. Going back to the design, the first part of the journey shows the history of Clifton (past). Afterward visitors would have to pass through different spaces where they could see people frolic on the lawn, listen to bird sound, see squirrels, and they could also glimpse part of community kitchen. I put the meeting space and community kitchen at the end of journey (present). After this part represents the “future” as people could gain something from the events being held there. For example, if there is a talk, people can get knowledge; if there is a wedding parties, the newlywed will start a new future there.

Hangzhou, China

30.237157° N, 120.241997° E

Interior Design ( 135 sq.m )

2020

Design Concept:

This design proposal is conceived as a picture of the landscape of thousand hills that representing the city of Kigali, Rwanda.

The dental centre as the starting point, to help, to train and to educate the people, as the utlimate goal of this project by His Hands On Africa (HHOA).

Approach:

By giving the meaning to maximize the views of the greenery into the design, a series of simple rectangular form of the buildings enters into a relationship with the city fabric by shifting themselves depending on the contour of the Kigali site and perceived differently on the observer’s vantage point by maximize the view of landscape.

The result of this structural ingenuity, then, is not only an iconic roof-line that provides natural light, but a highly flexible interior space that accommodates offices, warehouse, and gallery space under a single envelope. The roof is detached from the slabs and walls, giving rise to a numbers of small hills.

The heart of the Building 1 creates distinctive open courtyard, a large central communal space ( approx. 320 sq.m ), that it’s experienced not only as a courtyard, but also as a meditation, a natural gathering point across by connecting different functions. The fences is linked up to connect the three buildings with openings allowing a look through the wall to the outside and the courtyard formed gives people the feeling of being sheltered in a cozy village.

Culture:

The Stacked local bricks cover the facade on all sides, highlighting the modules and to accentuate the traditional artisan pattern of Imigongo as the art of Rwanda.

Construction Method:

The 5m grid modular system is applied on the short side of the site that aim to attests to the same concrete structure designed to meet the mixed programmatic needs and budgeted construction that gives a more efficient works and shorten the project schedule.

Lanzhou, China

36.063511° N, 103.864992° E

Interior Design ( 150 sq.m )

2018

Nottingham, United Kingdom

Architecture ( 1.785 sq.m )

2014

City is formed by community by stitching together people and place through civic and social innovation, tactics and design. Arts, when developed from a particular origin, they usually reflect the existing environment or the culture of that society. Art commuity in a city is NOT ONLY for local community because art is worldwide. Therefore, the Community Art Workshop is not only for local artists and the citizens; also give the city a chance to communicate, to work with different artisits from other nations.

- WILLSON IU

Personal Brief

The main purpose of the Community Art Workshop is to encourage collaboration between the artists and the citizens. There will be a gallery to display their works, and different size workshop spaces, where people would tend to stay and spend time working on any kinds of arts. The Workshop will link up with other galleries and workshops in Nottingham to promote the art in the city. Eventually to achieve the aim of more people can play, enjoy and learn art.

Location

This project going to design a Community Art Workshop in the site adjacent to the Nottingham train station. Working in conjunction with the local artists and citizens, the Workshop will invite international artists to introduce their works, and to collaborate with local artists for special events. Locating in the city centre allows invited artists to explore the culture and the scenic environments of Nottingham. By providing accommodation facilities in the Workshop, it is convenient for the artists to work, to be inspired, and to enjoy the process of artworks production; which would be benefited to both the local and the foreign art communities. Citizens are welcome to visit, to learn and to participate in different projects in a team with local and international artists. Being in close proximity to the train station and the car park, people from other parts of the nation can easily access the Workshop and share the enjoyment of production of different arts, eg. drawing, painting, crafts.

Background

Arts, when developed from a particular origin, they usually reflect the existing environment or the culture of that society. Going through them now will be like reading the history of that area without words. And it became one of the most influential things to people over the world. For example, Vincent van Gogh, lived more than 120 years ago, and yet his artwork is still altering the way mankind views beauty, persona, individuality, and style in art. And his unique life has inspired millions to become active in art.

Nottingham Contemporary, Nottingham Visual Artists Group, TAO Nottingham and the Nottingham Workshop etc. are some local art communities in Nottingham. However, after a thorough research and observation, I realized there is a lack of interactions between the people and the passion engaging with this city, local artists are either working or teaching the technical skills on painting, making sculpture and crafting, or even only exhibiting some works in a gallery. I would therefore like to propose a more interactive workshop that allow the participation from the citizens, local and international artists, and be influenced by the environment and the culture of Nottingham.

Purpose of the building

City is formed by community by stitching together people and place through civic and social innovation, tactics and design. As I mentioned above, there are many different type galleries and workshops in Nottingham. But it is lack of interaction with each other. Art community in a city is not only for local community because art is worldwide. Therefore the Community Art Workshop is not only for local artists and the citizens; also give the city a chance to communicate, to work with different artists from other nations. There is no particular art in the Workshop. Those invited artists from other nations will be various.

The main purpose of the Community Art Workshop is to encourage collaboration between the artists and the citizens. There will be a gallery to display their works, and different size calm, friendly, green workshop spaces, where people would tend to stay and spend time working on any kinds of arts. The Workshop will link up with other galleries and workshops in Nottingham to promote the art in the city. Eventually to achieve the aim of more people can play, enjoy and learn art.

Both invited international and local artists are allowed to stay in different terms in the specially designed accommodation within the Workshop for their convenience and concentration.

The proposed building will be socially sustainable via peoples’ participation, environmentally sustainable via green features throughout the site, and economically sustainable via promoting and selling of artworks and self-made souvenirs. The building will include the following spaces:

3 nos. Large Workshops accommodating 8-10 people – for citizens, local artists to work together. Sometime international artists may be work with them as well.

3-5 nos. Medium Workshops accommodating 2-4 people – for local artists and international artists to work together for sharing their thoughts and ideas

5 nos. Small individual Workshops without disturbance – for local artists or international artists to work independently so no one would be disturb them

Souvenir Shop – for promoting and selling artworks and self-made products like postcard, small boutiques, masks from above

3-5 nos. Accommodation Rooms – for international artist to stay here for a least a month to a year to get inspiration from Nottingham and work with other people

A Gallery – to show the artworks that people produced here. It may not be a room, it can be showing the art works through circulation or atrium

A Café – for both visitors and people who working in the building to relax, enjoy the environment, and to socialize

A Gallery Office – to provide staffs who working in the workshops a working space

Reading Area – for both visitors and people a leisure spaces

A Seminar/ Multimedia Room – for international/ local artists to discuss or have a talk to visitors

Storages – especially for painting, drawing stationeries

Toilets – for use in conjunction with the above spaces

Nottingham, United Kingdom

Architecture ( 13.260 sq.m )

2014

When a people die, he/she can’t bring everything out from the earth. But the spirit of them left to other people. For me, cemetery is not a place for people to memorize their relatives/ friends only. I also hope that people can learn something from death people by experiencing the journey they walk or awake them from the past about what they did wrong. Eventually, people may change their value set of their mind or relief to what they regretted.

I found out something similar in water and spirit. When a water drop (a people) onto a pool, it will trigger the wave from it and move outwards. My idea is drived from the water droplet. I am interested in the interference by the water droplet. I used each water droplet to represent as a human unit. And we are actually affecting by the others during different ages, for example, we will affected our dreams and personalities by teachers when we are child; affected by friends when we are teenagers; affected by colleagues about the value set of money and how to treat the others when we are working and affected by family when we get married. So there are many small and invisible affects to us everyday.