Seasonally, street sleepers in Kwun Tong Public Pier need to move out like the tide falls during the pier clearance by authorities, and move back to the pier like the tide rises afterwards. A mobile unit prototype is built with street sleepers themselves to deal with the seasonal clearance. It attempts to save construction materials without destroying the settlements in each clearance, which save energy for street sleepers rebuilding shelter and authorise to dump the construction waste respectively. By enhancing the efficiency of moving in and out, the project hope to stretch the tension between authorities, public and street sleepers on the usage of Kwun Tong Public Pier. The team will continue to document the intervention and situation of the pier in the upcoming clearance.

This hidden place is enclosed by skyscrapers and the continuous transformations of Tirana. We had the honour of being part of Dashira’s daily routine for a week. Her Gjelltore became for us a way to explore the identity of the neighbourhood: the needs, the hopes and the preoccupations of its citizens. Her dedication to keeping this place open to serve workers, passersby and old acquaintances restores a precise sense of belonging against the fast pace of the city. Every day, tiny spontaneous gestures of care turn this small canteen into a gentle place of resistance. We learned from Dashira’s Gjelltore how to grasp the mechanism of relationships and place-making. This is a shared space, where you are able to count on a warm meal, a point of reference open seven days a week: in one word a recipe for community building. Gjelltor-ism is our method to interact with the urban environment - a new tool to trigger alternative futures for sensible city planning.

Lynetteholm is an artificial island off the coast of copenhagen planned to be finished in 50 years. The project is yet another example of anthropocentric architectural expansion. I expanded it upon the lens of ecofeminism, by putting into question this human urge to colonize the landscape and species living in it. I used essay film as the medium; sometimes footage from Copenhagen zoo, symbolizing the colonial history and human supremacy, blends in with actual footage from the construction site. As the voice-over, I asked a friend of mine, to answer a question: "what would you put on an island if you had an island"?

Chance encounter with the residents of Baratashvili bridge, who are transforming a very public traffic node into an art space.

The project of improvement of the residential area of the favela in Brasilia is made in the form of a three-dimensional layout using the following materials. The project provides layouts of public toilets. They are painted with white, brown and pink acrylic paint. Next to the toilets, trees -birches, maples - are planted at a distance of 5-7 meters. These trees pull up to 200 liters of water out of the ground in 24 hours. This solution significantly reduces sewage waste water. Drinking taps should be provided on the streets of favelas.

MOVE is an experimental short film that explores the influence of architecture to human psyche. The experimental short film emphasizes the physical exploration of the “Plattenbau” - an architecture of prefabricated concrete block flats that was typical of East Germany. It questions the relationship between body and space.

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.

The short film "PATCH" focuses on homeless people around the world who suffer from a lack of shelter For those who are trying to create their own space in the street or side road with a piece of cloth, home is different for everyone; when you don't have one, you'll come to realize the difficulties. Patch is for those who are always trying to patch something for shelter

Mother Arkah A Filmic Allegory on the Rise and Fall of Ideologies ‘Mother Arkah’ is an 18-minute animated short film exploring a speculative climate-apocalypse scenario and the hypothesis of the posthumanist ideology ‘Bio-Technoism’. The project investigates concepts on prohibiting the ‘religion of growth’, future power structures shaped within the ‘Posthuman Convergence’, AI-driven symbiogenetic evolution and autopoietic architectures. The film serves as an allegory on mechanisms behind political belief systems, while posing questions about how deep the ‘urge for innovation’ is rooted within us humans and therefore how much humanness our planet can take. The virtual film production is executed in Unreal Engine 5. Media: Film, Sculpture, Publication — Info: for this competition I'm submitting the 1-Minute version to the whole film.

The film aims to portrait The New Bazaar: a modern public space; a lively scene with many happenings; inclusive for the people; a space that makes no seggregation between those who visit. But as you look at it, the design itself has no link with the Old Bazaar: the booming point of the whole city of Tirana, that has existed for over 300 years, and was demolished in 1959. As you walk around, the glass structure reflects the old mosque, an element that recalls the fact that before the new buildings composed this space, less than a hundred years ago, other buildings, another bazaar lived there, and they shaped the collective memory of the habitants. But there is no other sign. No translation of the history into the design itself. The film tends to implicate the fact that the new bazaar as a public space has proven to be successful in terms of inclusivity for the people. But it is just as important for the design to represent the history of the old bazaar, which people cared about and remember with nostalgia, but risks to be just a vague memory, and for which new generations 100 years from now will have no idea about.

Hong Kong was claimed to be one of the most energetic cities in the globe with the vase varieties of building environments to meet its dynamic demands of cultural, ethical and demographic diversity. The ever changing city is currently experiencing gradual gentrification. More and more historical buildings were revamped into commercial purposes, while some were converted to cultural grounds. The film discusses the juxtaposition of the development and conservation through a journey of the everyday working class that eventually discovers the disappearance of heritage around the cities. The hybrid management model seeks the balance and solutions of conservation and maintenance. This model making conservation projects works well as 'purikura'- a great selfie machine, but inevitably deprived the core values of local culture. As stakeholders contributing the society, we shall all consider what was “left behind” the revitalization.