A short film depicting a woman's experience in her apartment's backyard. The film deals with the emotions that the space provokes, memories that emerge, and the limitations of any architecture- even if intentionally inclusive.

An intergenerational design research project that brings virtual reality and video gaming technologies to local communities in public housing as design communication tools. During a series of interactive and engaging co-design activities, youth and older adults are taken as co-researchers to critically reflect on public spaces and give agency to everyday knowledge. Participants are empowered with techniques of digital tools that help them to generate shared expressions of spatial needs and develop a mutual understanding of community interests. The participatory tools and processes are evaluated and published as open-source educational materials, together with the analysed co-design outcome.

The film is about the toxic chaikhana culture of Baku. A chaikhana is a space where men come together to drink tea mainly in the company of domino and gossip. Many building complexes (particularly old ones from the soviet era) has an inner public spot for parking, playground, shops, and other businesses such as chaikhahas. Not only these places are very precarious for many to pass by, but also such facilities create a significant inconvenience for housewives. Sometimes the game and the chat last almost until early morning in the summer and the noise disturbs the citizens of the buildings very much. The film addresses the challenges of a housewife due to the situation and also, highlights the irresponsibility of public institutions regarding the issue.

The architect without qualities is a personal story about the controversies of contemporary architectural practices –especially the ones working on an international level– and the clash of their activities with an architect’s personal ethical values. The author reports its own experience of working on a massive masterplan development in Tirana and seeing the subsequent real-estate development. The experience brought him to question his role in the construction industry and more in general the role of the contemporary architects in the wellbeing of the citizens. Through an exploration of its own project the author tries to shift from a tormented egocentric intellectual posture to one based on listening and direct contacts with the others.

The other path that Shin presents us with in Acrobat (2021) is one that draws us in from outside the stage. This is not the sort of route we find on a navigation device, which guides us toward our destination based on measurements and calculations. This route is a long way away from recorded data volumes and efficiency. It guides us into a place where years of dust drift, a place that exudes the characteristic damp odors we find underground. In Acrobat, Shin proposes ways of interpreting space through the senses. Both videos are set around intake stations, which were used in the past to store water but are no longer employed today. Dried up and (seemingly) fated to remain unvisited by anyone, they call to mind enormous time capsules that remain sealed past their scheduled opening date, their whereabouts unclear. They also resemble stones that were raised to commemorate something in the past that no one visits anymore. Inside this discontinued intake station is a person – a person who feels, measures, and seeks. There is no defined route. Yet he moves nimbly and constantly, keenly sensing the floors, the walls, and the structure. In the world in which he perceives, the once-solid order of the “named” takes on a flexible quality. In a sense, the staircase is not a staircase to him. Named things are reinterpreted like, length of stride, body width, and grip strength: a tread-board for the feet, and a railing to stop the body from falling. These experiments suggest that with his physically based explorations, Shin Jungkyun sought to open up new structures and paths as he diluted the meaning of each individual element. The Acrobat suggests a more roundabout path to those of us who firmly believe that we are already predicting the path toward tomorrow, or who balance between anxiety and helplessness as we wonder how valid the paths we have established will remain. It also poses a question for us: what should we be latching on to as we proceed toward the future? The bright light of a lamp that whites out whatever clue we’ve managed to find? Or a finger capable of sensing all the roughness and quivering of a surface? Sometimes, the things that we view as the most obviously reliable are the ones that lead us to ambiguous places. It is in this context that Shin Jungkyun reactivates the expired time capsule, entreating us to move along its length, width, and depth – setting today in motion in the process. Most of all, he asks us to be awake in this place where no path to the future can be found.

A short film created as a spontaneous action of inclusion of a local taxi driver into the conversation of foreign passengers, three friends. Although we didn’t speak the same language as him, in this short moment in time we let the music he likes become our way of silent communication with him. The simultaneous scenes of walking along the labyrinth of meander lines, drawn on the floor of Rruga Sermedin Said Toptani, symbolize the complex paths of interpersonal relations between strangers. While I was staying in Tirana I had a strong feeling of empathy towards older, local people. I saw that often they don’t speak any foreign languages, while at the same time, because of economic challenges Albanian people face, they are “forced to” work with tourists. As Tirana is rapidly growing and changing, the city center is full of foreigners, both investors and tourists. Local people don’t take a taxi — they take a bus or they drive a taxi. Local people often don’t go out to eat in restaurants — the eat at home or they work in restaurants. Economic differences between local people and foreigners are felt in all areas of life. In Tirana, I had a strong feeling that local people from Tirana often feel as second-grade citizens in their own city, “occupied” by English-speaking foreigners, surrounded by fancy shops, cars and restaurants, which they, local people — can’t afford. This short film is a documentation of one humble effort of trying to make a local taxi driver feel he’s at home in his own city, by a simple act of showing an interest in his culture via his own personal — music playlist.

A short film about the add-on shelf on Copenhagen's public trash bins, for people to collect cans. This film highlights the inclusivity of the design and its impact on the users.

Conversation with the city' explores the process of welcoming in Copenhagen, through the stories of two strangers at different times. The Norrebro neighborhood has become the place where both of them belong: its diversities shaped the area in a welcoming architecture. Actually, it is a process, that starts from Norreport Station and continues until Superkilen Park. It has to be a process of care for humans, for their perceptions, and for places as well: in that sense, it is similar to the first conversations we make in order to feel welcomed in a new city.

Amend walls with recycled wine bottles and homemade bio-cement, cultivate community garden and terraces, clean and decorate domestic spaces… This project is rooted in an anonymous building in Mexico City, and seeks an alternative to redefine the beginning and the end of architectural design. It is an attempt to learn from people, from the quotidian, and to provide an alternative literacy for architectural authorship that lives in the acts of otherwise unnoticed, 'everyday' care. This design agency is then captured and transcribed with a series of tools such as photogrammetry, data processing, 3d printing and plotting, etc.

We are living in an age of Political Correctness. We share and respect values from different point of views, such as LGBT, BLM and feminism. Diversity is the innovation of humanity but I have a concern about a world with JUSTICE ONLY. “Leftard” is a movie about harassment. There are 50+ kinds of harassments in Japan. I suggest an idea of “A strong opinion of justice is a kind of violence” and the story is the outcome I can foresee. We cannot define the problem objectively but only the subjective judgement of the victims. Overreaction is poison and over-justice is ruining our freedom of speech.

The film is about a woman who tries to seek help from her friend during her menstrual cycle. On her way to the doctor, she faces the challenges of a poorly planned road plan, and the poor conditions of the public transport she is taking add up to her struggles. Many conservative families are against women becoming intimate with men before marriage. The situation brings a lot of shame and struggles for women when they try to seek help from gynecologists. Also, the film addresses the challenges women face in public transport and public spaces during menstruation.