This project is an elderly school in Berlin, which aims to help the elderly enjoy their happy life by enhancing their sense of self-achievement through knowledge sharing with other people. This elderly school floats on top of Fennpfuhl Lake in the park, and the elderly could also enjoy poetic scenery while teaching and learning. It includes age-friendly design, participatory design, and multi-sensory design, aiming to help the elderly gain a sense of self-achievement through cross-age communication. The elderly school allows people to meet and talk, using classrooms, in-between spaces, and gardens to provide formal and random learning and communication opportunities. It also improves the self-satisfaction of the elderly in different aspects. The classroom is a teaching space that provides fixed courses where the elderly can gain a sense of self-achievement when teaching and acquiring knowledge. The in-between space is a space for people to communicate and rest, where random learning opportunities can be triggered. The indoor garden is separated by exhibition shelves, where the elderly carefully maintain the plants, and they will also feel happy in this planting space.

The graduation project “music bunker, commemorative space” adopts the adaptive reuse of a bunker to design a contemporary performing art center. This project will focus on the logistics of designing a commemorative public space and a functional auditorium in a performing art center, which can make people participate better in live music performances in their daily lives.

This contribution—the design of a fur farm sited in Berlin’s southwestern rural landscape—reimagines a fur farm that alters the notion of fur farming to restore the unrivaled luxury, warmth and longevity of fur as a responsible product in the fashion industry. The captive industrial farming and preventative culling of minks following the COVID-19 outbreak and the mass-production of fur leading to decentralized efficiencies, lack of animal welfare, and poor labor practices probes the unrestrained extraction of animal-origin virgin materials for the production of fashion goods. This contribution argues that in the world of fast fashion, where duration and sustainability are symbiotic, the dignified status of fur—due to its biodegradability, longevity, and sourcing transparency—must be restored so that it can emerge as a responsible commodity in the fashion industry.

A bank with the hair collecting system to deal with hair waste, cooperating with local hair salons and barbershops and bi-products to fill up the hair cycle from maintenance consumption to post-consumer offer.

This contribution is part of Fashion House, a collective project on the spatial implications of a decentralized and more tightly regulated fashion industry across Europe that reimagines the function and design for a fashion house.
The Unmentionables envisions a new clinic that substitutes surgical procedures with non-permanent and risk-free body enhancements, that allow for periodic modifications of the body. Therefore, this contribution positions the consumer’s body as the product and the clinic as a space of Fashion retail.

Fashion is technological, since the first clothing worn by early humans, the garments have been developed radically to become efficient and comfortable (quick dry, highly warm, extremely light) to match weatherability.
Up until the last decade, fiber technology and materials science was limited to specialists. Since then, textile and clothing brands decided to invest in research and development. The lower costs of cutting-edge technology made it possible for independent designers as well as medium and larger companies to create concepts using innovative products. Additionally, there is a new consumer profile opting for environmentally responsible products that reflect their digital lifestyle.
The Try It Out contribution - sited in the Andermatt, a village in the Swiss Alps - proposes a facility for the development of prototyping and testing of the textile
performance.
Material research becomes increasingly paramount, as material innovation is one of the main drivers for the fashion industry to tackle environmental challenges. Improving the lifespan of fabrics (duration), creating better-performing garments (higher value), and revolutionizing production processes (production), will change how fashion is consumed (consumption).

This contribution is part of Fashion House, a collective project on the spatial implications of a decentralized and more tightly regulated fashion industry across Europe that reimagines the function and design for a fashion house.

This contribution is part of Fashion House, a collective architecture project that anticipates an alternative future for the fashion industry in five emerging European fashion centers in and around Berlin, Marseille, Rotterdam, Valencia, and Zurich, creating a pan-European cooperative and regulatory body that intensifies regional production and increases conscientious consumption patterns by granting product certifications, providing industry services, and offering brand consultancy.
Aporia envisions a generalized curriculum fashion atelier for students from regions without crafts heritage. This fashion atelier directly adjoins Fashion House Berlin, near Alexanderplatz, in the German capital of Berlin.
Aporia proposes a fashion atelier in Haus D of the DDR government Haus der Statistik in Berlin. This atelier offers a generalized curriculum teaching multidisciplinary skills competency. Atelier workers train in at least five of forty-four Red Thread artisanal disciplines, from wool artistry to patternmaking. These disciplines occupy enfilade studios under one roof, with minimized spatial and organizational hierarchies, altogether facilitating interdisciplinary knowledge exchange.
An increasingly regionalized fashion industry intrinsically entails the proliferation of skills and knowledge to support regional manufacturing. Regional artisanal manufacturing declined as a result of brain drains to centralized Taylorist production—which strives for peak productivity via production process atomization—emblematic of the previous fashion paradigm. Specialized workers of this previous paradigm are susceptible to economic volatility, and to a self-deceptive conflation of specialized knowledge mastery with growth.
Generalist ateliers fill that knowledge gap as centralized sites of education and knowledge exchange. Workers learn and share knowhow through collaboration and mentorship, all within shared work and evaluative spaces. Mastery is traded for inexperience each time the worker begins a new discipline, dispelling self-deceptive overvaluing of mere knowledge.
These atelier workers become professionally autonomous generalist artisans—certified “Know it All”, or proficient in at least five fashion artisanal disciplines—upholding geographically and organizationally decentralized manufacturing required for the regionalized fashion industry.