Yellow


Photography & Art Direction: November Wong
Model: Ling Li & Elaine Chow

Assistant Photographer : Tom Fichtner


This series focuses on the body in its purest form with infinite tenderness. The bodies are placed in an art gallery, meant to be regarded as artwork. The pedestal from the Qing dynasty has not changed its form, supporting the weight of the living beings. The antique and the contemporary coexist, raw and undisguised.

The space in between the bodies contains their emotional flow from one to the other. They rely upon, lean on, repel, gaze, caress...the tension is left alone in an empty space. The air is only filled with their breath and temperature.

Yellow, is the colour that amplifies the warmth. vitality and will.







Carry On, Turn Me On


Photography & Art Direction: November Wong
Model: Chiung & November

Assistant Photographer : Tom Fichtner


It was a rainy summer afternoon, the two models met in the black floored basement.
Lights off, clothes off. The purple ultraviolet light filled up the space where strange objects were left off. The disassembled mannequin heads and body parts became part of the canvas, along with the warm models. Smudged prints and blurry vision, they danced like they were fireflies.

“Touch me, feel me”
“Take me and love me”

“Carry on, turn me on”...
“Carry on, Turn me on” by Space







In Light of Shadows


Photography & Art Direction: November Wong
Model: anonymous


The works were result of the revelation that came with facing darker thoughts and not judging them.
They represent inner struggles that intensify by our daily experiences. Emotions are neutral product of our environment, yet some
of them are labelled as negative or undesirable. The objective was to express those feelings in a way that invites the viewer to question their perception of them, to even feel beauty and hope in those dark visuals. Two dancers who never met each other were to engage in a contact improv and were requested to imagine that they are one, as an inseparable frequency. Pastels were applied with fingers after images were printed on fine art paper.




Numbed
Pastel on paper, 40.5 x 27.5cm


Light
Pastel on paper, 40.5 x 27.5 cm

Melted
Pastel on paper, 40.5 x 27.5 cm
Pushed
Pastel on paper, 40.5 x 27.5 cm

Followed
Pastel on paper, 40.5 x 27.5cm

Fragmented
Pastel on paper, 40.5 x 27.5cm

Fogged
Pastel on paper, 40.5 x 27.5cm
Attached
Pastel on paper, 40.5 x 27.5cm
Ignited
Pastel on paper, 40.5 x 27.5cm

Transformed
Pastel on paper, 40.5 x 27.5cm


Attached
Pastel on paper, 40.5 x 27.5cm


Withdrawed
Pastel on paper, 40.5 x 27.5cm
Lifted
Pastel on paper, 40.5 x 27.5cm

Neverland


Photography & Art Direction: November Wong
Model: Chi Jan Farn
     
Installation Artist: Alice Wu

Assistant Photographer : Tom Fichtner

The location was taken place at the artist Alice Wu’s installation exhibition.  
The artist granted permission of interpreting her installation as I wish. The installation evokes the dramatic effect of solitude, and the spirit of being calm and self-reflective. The light beams from above cast flickering shadows on the skin, ephemeral memories as we all shared.








Hér


Model & Art Direction: November Wong
Photography: Chih Yu Wong

Location: Iceland 

“hér“ in Icelandic means here, the series focuses on exploring what it means to have the mind and body to be fully present, and to engage with the otherworldly landscape of Iceland.

Not the attendance of stones,
nor the applauding wind,
shall let you know
you have arrived,
not the sea that celebrates
only departures,
nor the mountains,
nor the dying cities.
Nothing will tell you
where you are.
Each moment is a place
you’ve never been.


-An excerpt from Black Maps by Mark Strand



















Hotel Commission


Paintings: November Wong
Location:  Dianthus Medical Group, Taipei


Dianthus Medical Group commissioned November to create total of 68 art works for their 11 storeys new postpartum care center. The scope of the work including 14 oil paintings to be displayed in elevator hallways, 54 limited edition prints on canvas for all the rooms, plus two origianl wall sticker designs for the hallways. 


受禾馨醫療之邀為士林產後護理中心創作共68幅藝術作品, 其中包括置於公共空間的14幅油畫, 每間客房一幅共54幅四種原創油畫限量輸出, 以及兩層走廊壁貼設計。禾馨希望此獨棟式的月子中心能藉由藝術增添生活中的美感, 讓入住的家庭被溫柔的氣氛包圍著。

油畫均以抽象的形式創作, 以活潑明亮的顏色和構圖為空間點綴。一樓電梯大廳的150號畫作"The Rite of Spring" 春之祭, 意為每個新的開始都是充滿著顏色斑斕的生命力在空氣中恣意的流動。用色和筆法都受到莫內畫風的影響, 但畫中描述的不是在水中靜躺的睡蓮而是像蒲公英般自由的種子。房間共四種油畫創作, 以不同大小和色調的圓弧組成不同的視覺旋律, 筆觸的交錯隱喻著緣分的相遇和驚喜。另外九幅30號畫作為半抽象的景色, 像是夢境中的看到顏色, 醒來後回想起來畫的。




璇  "The Rite of Spring"
oil on canvas, 2019 
227 x 182cm
一樓電梯大廳


Harmony
oil on canvas, 120 x 60cm

Joy
oil on canvas, 120 x 60cm


Inner Strength
oil on canvas, 120 x 60cm

Birth
oil on canvas, 80 x 80cm

3-11F共 54 間客房
囘  "Eternity"
oil on canvas, 91 x 65cm
映  "Blue Mirror"
oil on canvas, 91 x 65cm

醞  "Fermented"
oil on canvas, 91 x 65cm

藏  "Jiuzhaigou"
oil on canvas, 91 x 65cm

濛  "Mist"
oil on canvas, 91 x 65cm

熒  "Serenity"
oil on canvas, 91 x 65cm
若  "If"
oil on canvas, 91 x 65cm


霂  "Cloudburst"
oil on canvas, 91 x 65cm


岸  "Access"
oil on canvas, 91 x 65cm


2-11F 各層電梯大廳牆面

尋  "Wonder"
oil on canvas, 80 x 60cm
屸 "Hone"
oil on canvas, 80 x 60cm

3 & 5F 育嬰房走廊牆面

Paintings 


Paintings: November Wong
Location:  Vancouver, Montreal, Rome, NYC, Taipei

year: 2005-2015

The selection shows an evolution of the abstract paintings that were influenced by the thought of going somewhere far away. The color resembles imaginary landscapes that are sometimes soft, dramatic, romantic, with scent that draws one to find out.


Nu
Oil on 40" x 68" Canvas

2016

Venus & Mars
Oil on 48'' x 72'' Canvas

2015

Waterfall
Oil on 48" x 72" Canvas

2015


This Safe Place
Oil on 18" x 36" Canvas

2016



Primavera
Mixed Media on three 18" x 30" Canvas

2015

Moving Maps A series of Mixed media on small to medium wooden panels.
The idea was inspired by the desire of flying over the planet, discover the dynamic of the changing texture.





Simple Feelings
Oil on two 48" x 48" Canvas

2013



Desire
Two 40" x 66" Oil on Canvas
2013



Je suis en feu
Oil on two 40" x 60" Canvas

2013



Itchy
Oil on 40" x 60" Canvas

2013

Empty Air
Oil on 25" x 50" Canvas

2013



Dissolving
Oil on 40" x 60" Canvas

2013


Before Sunrise
Oil on 30" x 42" Canvas

2013


Rain Forest
Mixed Media on two 1.5m x 1m Canvas

2011



Burst
Twenty 70cm x 80 cm oil on Canvas

2012



Sea of Lavender
Oil on two 1m x 1.5m Canvas

2012



Inevitable Clouds
oil on two 36" x 36" canvas

2010


Your Hair
Oil on 36" x 48" canvas

2008

Pears
Oil on 30" x 48" canvas

2008


Dive In
oil on 30" x 40" plywood
2007

Reflections
Oil on 36" x 36" canvas

2007



Skipping Notes
Acrylic on 12cm x 15xm wooden panel
2005


Captured
Mixed media on 30" x 42" canvas

2009


Icing on Top
Mixed media on 30" x 48" canvas
2008



Fragility
Mixed media on 1m x 1.5m canvas

2005
Ignite
mixed media on 1m x 1.5m canvas

2006




A Tail's Tale
Graphite on 35cm x 50cm paper

2005
Vegan
Graphite on A2 size paper

2005


Shine
graphite on A4 size paper

2005




Blue Eyes
acrylic on 12" x 20" canvas

2005


Fins
oil on 18" x 12" canvas

2007


Fireworks
oil 40" x 40" canvas

2007



Purity
acrylic on 12" x 12" canvas

2007


Skeleton Trilogy
ink & acrylic on A2 size paper each

2005


Day Dreaming
Acrylic on 12” x 18” paper

2005

Drawings


time: 10-20 min

The sketching on the spot is a skill and habit that was cultivated during the study at McGill University. The idea is to capture not only my state of mind at the very moment but also the condition in which I created them. 

Places,  People & Conversations
New York City New Jersey Boston Montreal Quebec City Toronto Ottawa Vancouver Seattle California Berlin Paris Lessac Barcelona Reykjavik Prague Amsterdam Copenhagen Athens Santorini Rome Milan Venice Genoa Capri Salerno Naples Florence Orvieto Vatican Taipei Beijing Shanghai Hangzhou Suzhou Hong Kong Maucau Xi an Tokyo Kyoto Hokkaido Huangshan Bologna Cinque Terre Aegena










I lead a weekly urban sketch group in NYC from 2013 to 2015.






Magazine Collage


Hand cut collage
The inspirations are drawn from everywhere including specific techniques, daily events, emotion influences and social changes. Personal humor and interest are heavily expressed throught this particular art form.

Themes are explored whitin definitions and relationships.

of colors,
of feelings,
or compositions,
of female and male,
of character and viewers,
of desires and expressions,
of harmony and dissonance,
of background and foreground.



Reconstructing Memories
8.5x11”


Embrace
To own your unknown
8.5x11”


GirlGang
22.9x17.8cm

Make Me a Kaleidoscope 
16.1cm x 10.6cm

Fleeting Romance 
28" x 10 3/4"


Rumors
22.5x27.5cm

About Last Night
21.5x27cm
True Color
22x27.5cm


Hollow Hearts
18x30cm





Shame
12x20”





Oh My G
30x48cm

Two Thoughts at Once
 

...then we stopped wanting
11.5x7”

Hide and Seek
15x30cm

Men & Women
18.5x11.5”

#TFWGucci


Meme design: November Wong
Commissioned by: GUCCI

30 international artists were commissioned to create instagram memes featuring the new Le Marché des Merveilles collection of watches. The images were displayed at Baselworld in March, 2017. November was invited to the Gucci Wooster NYC Store opening in May, 2018. read more here






Art for Gucci


Original works for Alessandro Michele’s collections
Design: November Wong

The selected works were inspired by the vision of the creative director of Gucci Alessandro Michele. in 2016, I came across a fashion film by him when he was first appointed for the role at Gucci. I was mesmerized by the ultra-feminine, nostalgic and mysterious aesthetic that he presented to the world. I wanted to work with him so much that I sent a 3 page handwritten letter along with my art portfolio to the headquarter in Italy, and watched numerous interviews. No news was received but that didn’t stop me from creating.

Outside of my full time job at the architecture firm I’d create these digital collages in my free time to post on Instagram. Months after this self-initiate project, I got an email from the brand directly and was commissioned to design a meme for their official instagram account, featuring their watch. The collaboration connected me with other professionals in the industry and a few doors opened to new adventures. A year after the commission I was invited to Gucci’s opening party in Soho, NYC. At the party, I talked with Alessandro, looking into his eyes and hearin his voice made me felt like anything else in life is possible.



Wild Child


Art Direction & Text: November Wong 
Photography: Ezra Cafe  
Model: Alice First (Elite NY)
Stylist: Jessy Cain (The Wall Group)
Make-up Artist: Dillon Pena (The Only Agency)
Hair Stylist: Sara Tintari


Once upon a time, we all have a wild inner child that cannot resist the temptation of taking on an adventure all by oneself. As time passes, the appetite to explore and to experience slowly dies off as we grew emotional attachment to Mondays, Fridays, and social labels. This series of collage and compositions represents what feminine spirit can mean beyond the changing bodies and minds.

It is not just the youth that reserves the privilege to be carefree and adventurous, once in a while we all need to release the self imposed constraints and see the world with fresh eyes. Venturing out alone is not lonely.  It is precious to have more time to notice the signs and to ignore the noise. To be mindful is to understand what makes a woman independent, optimistic, mysterious, naive, erotic, stubborn, and sof

We are islands, we grow our own plants and sometimes share the same current. We are dreamers, magicians, light, mirror, and our own window. Feminity is versatile, we are who we can vision. We stare with hopes and whisper with warmth. Some of us wander off beyond what is seem to be out of touch but longing to be reconnected to our desire to feel our own presence while taking risks.
Brave women embrace their wild side, taking leaps in the face of fear yet knowing on the other side of fear awaits freedom. Let go, and let in.




Composition 












VOGUE Italia


Digital editing: November Wong

Selected works were featured in Vogue Italia print issue, website and the official Instagram account. The rest were extra submissions.


dasdjoasdasda Original Cover
Featured Post Production



Additional submissions





La Fête de Boisbuchet


Location: Lessac, France
Fete de Boisbuchet is an independent project resulting from a week long workshop at Domaine de Boisbuchet. The workshop was partially sponsored by the Ministry of Culture of Taiwan as an artist grant.

Participants and staff are from all over the world. Several events were organized through out the week including a costume party, yoga classes and tours. When not working in the studio, participants were free to swim in the lake, play ping pong or simply enjoy the surroundings in the farm.



A presentation was held at the end of the week to share each participant's discovery and final works. Domaine de Boisbuchet provide a lovely working environment in addition to the interesting networking opportunities.






The workshop "Material Behavior" was led by Dutch designer Lex Pott. Participants were encouraged to experiment with different material from the studio and around the farm.
The initial explorations including oxidizing brass and copper; creating patterns on leaves with the process of photosynthesis; mixing different kind of clay and play dough and putting slides of wood into a sand blasting machine









An interest was focus on creating objects that tells the unique experience of living in Domaine de Boisbuchet. Branches of cork were collected on site, then combined with some rods of aluminum, brass sheet and metal wire.

The finished pieces resembles organic forms such as plants, sea anemones and bones & muscles. Everyday each meal was served with warm atmosphere and unexpected deliciously combination.
The idea of displaying the final works in an edible way to remember the wonderful dining experience came to mind.

For the final presentation, a large meeting room was selected for the display of the pieces. Large plates and utensils were borrowed to accompany the seemingly "edible" works. Such arrangement suggest the viewers to perceive those delicate objects as food which was humorous with a hidden metaphor.






Installations


Selected projects at M. Arch, McGill University

The Depth of Comfort

Group project by a team of 7 in 1.5 months
Instructors | Manon Asselin + Katsushiro Yamazaki, Sinisha Brdar


The project is a constant play of transitions, between the seen and unseen, darkness and illumination, transparency and opacity, private and public. It identifies comfort as a general sense of well-being, a comfortable space, here, being one for introspection, reflection and self-healing. There is comfort in the feeling of calmness and serenity that exists in the glow of the first moments of wakefulness.

Spatially, comfort subsists in the private enclosure and the ability to perceive, through the materiality, the indistinct presence of others beyond; to be alone without being alone. Thus, the project creates a personal sense of place that fosters self-contentment as well as an intimate connection to others. This is achieved through a language of hierarchies, wherein the same unit that generates the plan also divides the spaces.


This language links the spatial model in a continuous ensuite assembly separated by clustered units whose faceted geometry allows the play of materiality to achieve a variation of effects that enhances the overall feeling of the space.















Medusa

Group project by a team of 6 in 2 months
Instructors | Maria Mingallon


The Challenge
The project consists on the design and fabrication of a sunscreen aimed to prevent the entrance of excessive sunlight through the windows of the first year studios. Situated on the first floor of the Macdonald-Harrington building, this studio room is oriented southwest and thus, suffers from excessive sun radiance from early afternoon until sunset. 

During the winter months while the sun is at a lower incidence angle, glare and excessive light is the main concern. However, from April onwards, students suffer as well from excessive heat from the sunrays entering the room through the clear glass.




Design Concept

The concept arose in the digital fabrication of a sunscreen that provides users with local control and freedom over their exposure to sun, glares, heat, and shade at any given time. 

Glare and its causal effects (mainly heat) are the main issues in the studio at the Macdonald-Harrington building as it disrupts vision, comfort, and an overall learning environment. The design opted to reduce glare instead of blocking out the sun altogether. The sunscreen was envisioned as multiple local light fixtures based on a single design concept.

We opted to use a fabric with enough translucency to diffuse the light in the space. The user, through a simple act of pushing and pulling, stretches the fabric to various degrees in order to allow for a different concentration of light and shade. When opened, the fabric stretches in a radial direction and protrudes toward the user, as if the light fixture was blossoming. 
The structural grid produces a parallax effect and the depth creates varying conditions in light and heat. The device becomes an object that resembles a jellyfish, stretching over a curved surface to diffuse light in multiple directions.

Our sunscreen can easily be expanded to various site conditions. Each fixture is fabricated separately, and each individual fixture adheres to the same design concept. The design can be modulated by extending the rails to add more fixtures, allowing the sunscreen to cover virtually any surface size. 

This means of fabrication allowed us to explore the future of digital parametric design to further push the limits of the material and uncover the potential for advanced fabrication. For these reasons, our sunscreen seeks to blur the boundaries between a functional shading device and an art installation.




Forces The tensile strength of steel can withstand approximately 17,000 PSI. The strength of acrylic is 10,000 PSI in tension and 11,000 PSI in compression. The tensile strength for wood ranges from 175 PSI up to 1,400 PSI and anywhere between 3,900 PSI to 1,0500 PSI in compression.
Rails
The rails are an undulating pattern of peaks and valleys we have compression and tension acting on different points along the structure. The forces acting on the valleys are the reverse of the forces acting on the peaks. (fig.1)
Arms
The arms provide the structure for the membrane (fabric). By adding a ‘stabilizer’ to the arms of the jelly, the force exerted by the user to push the rod forces the arms inward, while pulling the rod forces the arms outward. Simultaneously, the rails guide the arms of the jelly upwards. (fig.2)












Structure Material

Steel was chosen for its compressive and tensile strength, its high strength to weight ratio, and its ability to reduce friction when opening and closing the jelly. We tested plexiglass in our prototype but quickly realized that the smaller connections would break and the rails would deflect with ease.

We opted for steel instead of pursuing a hard wood or a different type of plastic because by using the plasma cutter, the machine allowed us to fabricate our sunscreen without changing too much of the design details.

For the rods, we opted for a 1/4” thick acrylic rod that wouldn’t need to sustain much deflection since they weren’t supporting much and the movement was primarily in one axial direction. The fabric was chosen based on its aesthetic and functional qualities since it was not a structural element.





Architecture Professional Works


Year:  2011 - 2016


Experiences
The field of architecture requires team members who understand the time sensitive objective as well as being able to come up with creative solution under constant pressure.

The most valuable experiences come from self taught skills and learning from peers, international networking opportunities and understand the joy and obstacles of designing different scales and types of projects. Most offices were led by principals that embodied the mind of an artist, and those environments and ways of seeing indirectly influenced my own artistic career.
Responsibilities The levels of involvement depends on the type and the scale of the projects. There are two types of projects : International competitions and built projects.

Responsibilities including: translating competition brief, researching site and history, participating schematic design, making scaled physical model, creating design development drawings, 3D modeling and rendering, applying zoning & egress code and regulations, attending meetings with local contractors, developers and engineers, graphic design and preparing presentations for client meetings. Please see official websites for complete list of credits for each project.



Studio Fuksas
Rome

MAD Architects
Beijing

Handel Architects
New York

Champalimaud Design
New York


Studio Fuksas

Beijing, China
Shenzhen Bao'an International Airport Terminal 3

The concept of the plan for Terminal 3 of Shenzhen Bao’an international airport evokes the image of a manta ray, a fish that breathes and changes its own shape, undergoes variations, turns into a bird to celebrate the emotion and fantasy of a flight.  The structure of T3 - an approximately 1,5-km-long tunnel – seems to be modeled by the wind and is reminiscent of the image of an organic-shaped sculpture. The profile of the roofing is characterized by variations in height alluding to the natural landscape. The symbolic element of the plan is the internal and external double “skin” honeycomb motif that wraps up the structure. Through its double-layering, the “skin” allows natural light in, thus creating light effects within the internal spaces. The cladding is made of alveolus-shaped metal and glass panels of different size that can be partially opened. Shop boxes, facing one another, reproduce the alveolus design on a larger scale and recur in different articulations along the concourse.


Milano Box contains several retail stores in the Bao’an airport which are located alone the axis of the boarding hall. 


Studio Fuksas

Tbilisi, Georgia
Rhike Park

The project site is located inside the green area called Rhike Park, in Tbilisi, Georgia. The building consists of two different soft shaped elements that are connected as a unique body at the retaining wall. Every shapes has his own function: The Musical Theatre and the Exhibition Hall. The north part of the building contains the Musical Theatre Hall (566 seats), the foyer and several facilities, together with technical spaces for theatre machinery and various storages. The Exhibition Hall opens his great entrance with a ramp that brings visitors from the street level. The Music Theatre Hall, on the contrary, soars from the ground and allows the users staying in the foyer and in the cafeteria to have a view to the river and the skyline of the city. It is a periscope to the city and looks towards the river framing the historic core of the Old Tbilisi.





Studio Fuksas

Tbilisi, Georgia
House of Justice

The Tbilisi Public Service Hall is situated in the central area of the city and it overlooks the Kura river. The building is made up of 7 volumes that contain offices (each volume is made up of 4 floors located on different levels). These volumes are placed around a "central public square", which is the core of the project,  where there is the front office services. Offices are connected to each other by internal footbridges that stretches on different levels.

Volumes and the central public space are towered above by 11 big "petals" that are independent both formally and structurally from the rest of the building. Three of those big petals covers the central space. The petals, different for their geometry and dimension, reaches almost 35 meters and they are supported by a structure of steel pillars with a tree shape, visible, as well as the petals, externally and internally from the building.

Among the petals, that are at different levels, are the glass facades. The main characteristic of these facades is that these have been released completely from the structure of the petals, allowing relative movements between the facade and the spatial network structure of coverage. This decision was taken to prevent that any movement of the cover, mainly due to oscillations for snow loads, wind or thermal expansion, can lead to the crisis of the glass.




Studio Fuksas

Rome, Italy
MAXXI Exhibition: VERSO EST. Chinese Architectural Landscapes

The exhibition VERSO EST. Chinese Architectural Landscapes reflects the physiognomy of China’s architectural landscapes from the past decade. The MAXXI presents architects and artists who have developed and matured at the same speed as the processes of national growth, with projects that speak about the primary aspects of Chinese society and the life of the Chinese people. 33 architects for 40 projects recounted through models, animations, photographs, macro installations, videos, large-format digital prints and printed matter. The team designed the installation arrangement and I had the privilege to work to the Chinese curator Fang Zhenning and translated the catalog for Studio Fuksas. MAD architects' projects were part of the exhibition as well and subsequently I was working for them after my time in Rome.




MAD Architects

Beijing, China
China Wood Sculpture Museum

The museum mainly houses local wood sculptures as well as paintings depicting the ice and snow of the regional scenery. In the context of the large-scale modern urban setting, the museum itself serves as a new interpretation of nature. The surreal interaction between the museum and the city breaks through the tedium of the urban shell, revitalizing the surroundings with a new cultural feature.


Conrad Hotel This platinum five-star hotel sits at a busy corner at the east 3rd ring road of Beijing’s CBD, the city’s most modernized district. The exterior facade is a neural network that reacts to the interior grid structure, moving sinuously as it reaches towards the sky. MAD’s design represents the subtle invasion of nature into our built landscape, softening the rigidity of efficient and anonymous structures. To the south of the hotel lies a rare piece of serene nature, the Tuanjiehu Park. The Conrad Hotel serves as a transition between this natural paradise and an otherwise urban terrain. The mutation of the form breaks the monotony of the city, adding fresh energy and raising the expectation of what one can hope for urbanity. My task was to document while it was under construction and report any problem that needs to be solved regarding its facade. 




Abitare MAD City
A collective effort to design and produce an image with all the projects by MAD for Abitare magazine to be featured. 

Handel Architects

NYC, US
The House at Cornell Tech

Handel Architects’ residential tower for Cornell University’s new Roosevelt Island Campus includes 350 residences for students, staff and faculty. The 26-story building, called The House, is part of Cornell's 2.1 million square foot technology campus in New York City, a partnership between Cornell and Technion – Israel Institute of Technology. The building is being developed by Hudson Companies, the Related Companies, and Cornell University.






The building is being designed with a focus on sustainability and energy performance, and when complete will help Cornell achieve its goal of a net-zero campus. My tasks include physical scale model building, help to finalize facade design proposal and presentation illustrations.



Champalimaud Design

NYC, US
Okinawa Inbu Beach Resort

The team together produces interior schematic designs, material and furniture selections, presentation for clients in Japan and collaboration with local Japanese architects. Different configuration were proposed upon client's needs and preferences.






Architectural Projects


Selected Projects at M.Arch, McGill University

The Crystallized Mountain


Team project completed with Eloise Choquette
Instructors | Aaron Sprecher + Elisabeth Bouchard






Living in the North implies numerous adaptations: the cold, the loneliness, the desertion, and the darkness. Indeed, for almost four months, the sun does not shine above the 82th parallel.

Thus, since the sun is so terribly absent, how do you crystallize its shine for the long months it disappears south? How do you celebrate its journey when it is invisible?
Based on scientific data, the form of Crystallized Mountain is derived from the maximal sun angles that the sun reaches during the 227 days it shines.
In the same way, data encountered in a nearby weather station showed that the prevailing winds were mostly coming from northeast to northwest.

In order to deal with both the sun and wind constraints, a mountain-shape structure was chosen, as a mean to incorporate the scientific station in the landscape in a way that takes into account the climate of Alert, NU.
As for materiality, a stainless steel structure, combined with EPFE panels and shallow foundations was retained, in order to maximize the total assembling efficiency of the station.
For the same reasons, containers are used to enclose the program, and are pre-fab. Thus, once shipped, the users only need opening them to inhabit them.

The program is divided in five large containers and nine smaller ones. They are color coded according to their uses and stacked one on top of the other to form a pyramid-like assembly that follows the shape of the exterior structure.

Three categories of usage (private spaces, services and storage) employ respectively white, red and grey colors.








The Loop


Team project completed with Josiane Crampe
Instructors | Manon Asselin, Katsushiro Yamazaki + Sinisha Brdar

The site is mainly used by pedestrians and its neighborhood to circulate between specific destination points: metro, place des arts, UQAM and other services.

The mapping of the pedestrian circulation paths shows that there is a potential to create a new focal point, a place where one can travel along the loop as he / she discovers the activities.



While the concept was to create a link that define a common denominator within this artistic neighborhood, the form was designed to bring the crowd from the metro exists towards place-des-arts and St. Catherine street and vice versa, a circulation in a continuous motion.
The programs were placed according to accessibility and conditions such as noise level, visibility, usage, privacy and structural requirements. These considerations were taken into account how the form of the strip folds onto itself.
The design of the perforated facade can reveal certain degree of privacy from the inside; it provides natural light during the day and adds aesthetic value to the site during the night.








Objects XS, S, M


Smaller project prior to designing architectural experiences
M.Arch, McGiill

A collections of objects were created for personal reasons and school assignments. The passion of learning from making things by hand has been an important way of understanding how thing works and the beauty of serendipity.


The Drawing Machine


The Urn


Cage of Shadows


Floater Frames


Sculpting Time 





The Drawing Machine


Project for Architecture History class
The drawing machine was created using rhino modeling, laser cutter, screws, luck and patience. The machine was used to produce line drawings which evoke a sense of rhythm and a crafty quality from the imperfection of the mechanism. It is a combination of gear; operates like a pantograph and a spirograph, but with a sense of freedom and unpredictability. Two dimensional images contain a capacity for spatial illusion and this perspective of abstract art is related to architectural design.


Abstraction comes from the world. The interesting aspect of creating an abstract art is that the user controls the image but not the reaction from it. “Composition, harmony, proportion, light, color, line texture, mass, and motion are all part of the vocabulary of sight, we tap this vocabulary, and the pattern that go with it. When we compose or frame images the commonality that allow us to respond to images, even abstract ones, is rooted in our ability to recognize infinite manifestation of the physical world and the mental constructs to which they correspond.”
– Kit White



Red, Grey and Black
Pen on 51cm x 60cm paper
Sandstorm in pieces
Pen on 55.5cm x 76.5cm paper


The Urn


McGill University
Team: Amalie Lambert, Mark Lien, N. Wong



Each team member select an object and gives it life by identify its character which may or may not relate to its physical property and usage. A photo collage is then created to demonstrate the internal conflict or struggle that each character might hold.

After each character is assigned, all three characters will play a role in a metaphorical narrative written by the team. 


After the photo collage and the story were completed, a short film was created to celebrate their death by dismantling the objects, which leads to the creation of an urn for their memory.

The urn was created individually. The steamer was chosen as a symbol of illusion and hope, it's reflective and acoustic quality were taken to generate the next project, the light instrument.

by Amalie Lambert
by Mark Lien
by N. Wong


The Story

We had decided to take the night train. We had been running for days, now, and had become tired and worn. I no longer knew your thoughts (which had come so naturally before), and you seemed thoroughly uninterested in mine.

Thankfully, the rumble of the train proved soothing. Countless warm, odorous bodies pressed against us in a reassuring cadence of breath. We curled, two fragile sides of the same coin. Forgetting our troubles for a moment, we slept.

It was the clinking that woke me.

Across from us sat a woman, voluminous and metallic. Her coat clanked and shimmered over the seat. You shivered, but slept on.

She smiled.

Suddenly, the train screeched to a stop. The scream of the brakes was terrifying, and I grabbed you by the coat, wondering if we were going to go o the rails. Outside, the landscape slowed gradually, looking wild and wholly unfamiliar.

Finally, the noise stopped. I tried to catch my breath. The woman kept her eyes on us, but seemed sublimely unconcerned.
Gradually, the pinpoints of light coming from her dress grew blinding. Everywhere I looked, light ashed. I felt you finally awake, and gasp.

“You have travelled far,” It was barely more than a whisper. Thin, but rich with colour (black/red/yellow/white/green), the voice was mesmerizing. Light danced through the compartment.

“We cannot give you what you want,” Her coat rustled. “But perhaps…”
We watched her uncertainly, and then, an astonishing thing occurred. From the folds of her coat, a small round man was uncurling. He clasped her offered hand and carefully climbed onto the seat.

“Perhaps we can help.”

He reached out for our aching eyes, and closed them. (She steadied his trembling arm) “Do not be afraid. Even apart, you are whole, and two of one.”

When we opened our eyes, we were apart. I could no longer reach for you, but a thin, taught metallic strand bridged the gap.




The Cage of Shadow


The box is designed to contain 8 special pebbles.
The shadow reads as the 8 pebbles are connected and penetrated by the "space divider".

Pieces of cherry wood were drilled with holes that allow suede laces pass from one side to the other. The box is structured with wooden dowels, tighten with the tension of the one long suede lace layering back and forth horizontally and vertically.

Knots were tided on each end as the lace reaches the outer side of the box. On the surface, thin copper sheets were oxidized with nitric acid which turn them into green weathered texture.





The Floater Frame


A personal project on building customized floater frames for art works.







Sculpting Time


An exercise which to exam a particular physical property of a fruit or vegetable. Bell peppers were sliced, illuminated, peeled, dissected, dried and finally cast with plaster. A focus was placed on the inner surface by capturing the negative and positive movement that alternates from the cell structure.





Tote Bags


New York
Oil painted on 18" x 18" canvas bags. 

Spectrum Above


Concept/ Artistic Director: November Wong
Performance by November Wong & Maria Forqué
Photo by Ralf Graebner

Location: NYC

The reflective film was laid on the rooftop as if the sky was the background and the two dancers spread pigments and paints with their bodies layer by layer, until the rainbow was painted and rolled all over the canvas of sky.





Primavera


A Site-Specific Dance Performance design & curated by November Wong
Movement Coordination by Justin Conte and Lukas van der Fecht
The Vazquez Building facilitated by No Home Gallery

Location: NYC

The immersive painting performance/ installation "Primavera" introduces dance as a medium to translate a narrative into an improvisational, collective dance, in which the performers express their sensuality and spirituality through their movements and imagination.




The setting is designed to invite the viewers and other collaborative artists to embrace their own vulnerability and creative confidence using their most primitive and child-like instincts. The performance speaks of transcendence and enlightenment through its discourse. 

The narrative starts with three "spirits" entering a lifeless room with sleeping "seeds" waiting to be awakened. The spirits emerge and ignite the souls of the seeds, as the seeds seek each others existence, they blossom together and eventually grow apart. 

The room was wrapped with paper prior to the arrival of the performers in the morning, the story was briefly described to the performers and the rest of the emotions/ movements were performed impromptu and improvised by the performers to construct the world they experience.





























Performers (left to right): Sebastian Milla, Ryan Scails, Victoria Manganiello, Nova Zef, Anastasia Voron, Lukas van der Fecht, November Wong, Justin Conte, Lily Manganiello, Daniela Tenhamm-Tejos



Three paintings were created on site after the performance by the artist, using the same tone, to evoke a sense of rhythm and movement. see more about the exhibition here

de la Mer


Concept/ Text / Performance: November Wong
Photo by Ralf Graebner

Location: NYC
A to E

This is how you compose a song
maybe you don't get a song in the end
but you get an expression out of this
new found belief.

first, select a piece of inspiration
extrapolating what
makes you smile
raises your heart rate
makes you want to share with your friends

second, spot patterns that could be a theme throughout
subtract the rest

last, put them in order that make sense
to you.

repeat, repeat and repeat
The essence of your subconscious will appear in all you do.




Art Direction


Art Direction: November Wong
Model: Maria Forqué & November Wong

Location: NYC

Projects were directed and prepared by me and collaborate with different artist and photographers.
Each story evokes a particular desire in our daily life, yet waiting to be taken a few steps further.


Intimacy Therapy
Indigo Children
Colorblind
Opia
Chasing Rhymes 




Intimacy Therapy


Concept/ Artistic Director: November Wong
Photo by Francesco Mosto

This is you.

raw and bare, a new found island formed a moment ago,
quietly you breathe,
are you asleep still?
before you know it seeds of soul will be planted all over you,

like now or never,
the colors of lives run freely in various temperatures,
finding their comfort zone with gravity,

like the only time that,
the pigments of taste learn to slide and walk on the surface,
our memories start recording,

my emotions are animated,
to watch you come alive and grow,
to see those textures of feelings inhabit on this new form of canvas,
and I need to be part of this growth

with melted trust,
you made me part of the landscape,
we follow,
leading with each other’s instincts

a dream later,
you are no longer a foreign land,
a place that host restless lives,
and I am no longer a distant creator,
the monochrome relationship is now a glow in hues

This is u
An exploration of a intimate relationship and the hierarchy between creator and creation using medium which are emotionally associated with warmth, comfort and innocence: melted chocolate and candies.






Indigo Children


Concept: November Wong & Maria Forqué

Photo by JIll McDermid & Jamie Morgan
Rosekill Performance Farm with Grace Exhibition Space





Colorblind


Concept: November Wong & Maria Forqué
Performance by November Wong & Maria Forqué

Photo by J. Labaziewicz







Opia


Concept/ Artistic Director: November Wong  
Performance by November Wong & Maria Forqué
Photo by Francesco Mosto




Chasing Rhymes


Concept/ Artistic Director: November Wong
Performance by November Wong
Photo by Francesco Mosto


The Poetics of Movement


Mitte, Berlin


Intro
The space was designed to host an interactive installation which consisted of a piece of hanging installation, a grass like area for movement sessions and a paper-covered area to draw using the released energy from the sessions.  Inspired by the art’s previous project “Hér” made in Iceland, the place was transformed from a event space/conference room into a safe space where viewers were invited to join a guided session, then translating those new learned physical vocabulary onto paper.




Part I: Installation 
An installation was created in two days using hundreds of ziptie to create several concave surfaces which resembles the breathing skin. The hanging mobile occupied the space below the skylights which soften the atmosphere above the green carpet. Participants were encouraged to interact with the installation while moving around the space.





Part II: Movement Sessions
Body language by definition is “the conscious and unconscious movements and postures by which attitudes and feelings are communicated.”

How our bodies move in daily life is mostly functional according to our habits. Much like the words we use to communicate, a comfort zone is created and the lack of exploration limits our imagination.

The guided movement sessions awakens participants’ consciousness towards their movement of each body part. Once the awareness is established, the exercises emphasize on paying more attention to the relationship between the body and the surroundings, like a conversation between people and even within oneself.

The collective movement is not quite like a dance as it was meant to be experimenting something new physically and to trust one’s intuition. It’s a process of learning to use unfamiliar words to write poems without hesitation.







Part III: Drawings
The movers translate what they’ve learned in the three dimensional space onto two dimensional surface, yet the conversation continues.

The fluidity of the movement travels across the paper and overwrites what came before. The instructor sometimes give cues to break the rhymes such as claps her hands and asks the participants to write down any word that come to their minds.


A sense of freedom and relaxation is often experienced by the participants. Letting go of worries to perform help them to focus on being in the preset thus allowing their energy to flow.






Duo movement: November Wong & Thais De Almeida Prado
Special thanks to: Melissa Pische, Bonan Zhu, Marcela Fae, Thais De Almeida Prado, Caroline Chaves & Timm Hammer Sponsor: Donnerstag/ Clubmate Taiwan
Music(top left to bottom right): Before and After by Collectress, Feel Good Inc by Gorilla, Blue Paint by Kevin MacLeod, Rosegold by Entro Senestr, Closer by Nauges, Mes by Murcof, Wen uuu by Shlohmo, These Semi Feelings They Are Everywhere by dné, Comptine d'un autre été by Yann Tierse, Hypnos by Daemonia Nymphe.

Eclectic Dreams


New York City
A solo pop-up painting exhibition at a private venue, featuring paintings that were produced for during the 3 years in NYC.



Primavera


A Site-Specific Dance Performance design & curated by November Wong
Movement Coordination by Justin Conte and Lukas van der Fecht
The Vazquez Building facilitated by No Home Gallery

Location: New York City
Three site-specific paintings were created dedicated to the energy of the dance performance "Primavera". See more of the performance go here.




























Yesterday's Color


Solo Exhibition at Associazione Culturale "Il Labotatorio"
Trastevere, Rome
More than 150 watercolor paintings with Moleskine watercolor album (A3 & A4) were created in a course of 3 months and visit over 11 cities on weekends while working at Studio Fuksas full time. 























Ripple Of The Elapsed Time


Solo Exhibition at Associazione Culturale "Il Labotatorio"
Trastevere, Rome
A series of sketches & paintings were produced while travelling in Italy, Barcelona, Paris and Berlin.
A collection of oil paintings were also exhibited base on imaginary landscape.































About

This is how I do magic, more stories on IG 
Education

B.Sc. in Architecture, McGill University
Master in Architecture, McGill University

CV here






Selected Press & Awards

2021        Guest Lecturer for China Cross-Strait Academy Ltd 
2020       Guest Lecturer for Nanxi Academy
2020       Feature in Unvæl’s first collection

2019        Invited to “China Wenzhou Private Enterprise Talents Week”, Wenzhou, China 2017        Traveling Grant for the emerging creative to Domaine de Boisbuchet. Awarded by Taiwan’s Ministry of Culture
2017        Harper’s BAZAAR Korea Interview. Published in December 2017 Issue, Italy.
2017        Gucci #TFWGUCCI IG Campaign
2017        Photoshopped cover published on Vogue Italia’s IG, magazine & website. Also on print in August Issue
2016        Performance photo “hér” in Iceland published on The Creator Project
2016        Hand-cut collages published in “Making The Cut Vol.1” by Crooks Press

2013        Wilfred Onions Memorial Prize. The best single work in sketching school, McGill University
2013        Canadian Center for Architecture Charrette. Awarded with Prix du Public,  McGill University
2009       Habitat’67 Design Competition. Honorable Mention



Selected Solo Exhibitions

2018        From Why to Why Not?, Fashion Taipei, Taipei
2017        The Poetics of Movement, Generator, Berlin
2016        Eclectic Dreams, Il Giardino Immaginario, NYC
2015        Primavera, The Vasquez Building facilitated by No Home Gallery, NYC
2012        Ripples of the Elapsed Time, Associazione Culturale “Il Laboratorio”, Rome
2011         Yesterday’s Color, Associazione Culturale “Il Laboratorio”, Rome




Selected Group Exhibitions

2015        Shangri-la, The Factory, NYC
2014        2014? Bye Felicia!, BHQFU, NYC
2013        Your Techne, McGill University, Montreal
2013        d3 Sketch, Center Gallery at Fordham University, NYC
2012        Embodiments, Fridge Door Gallery, Montreal
2011        Invisibili, Galleria Artidec, Rome
2009      Art Shift, Fridge Door Gallery, Montreal
2008      Some of Their Parts, Fridge Door Gallery, Montreal
2008      The Dutch Mixter, Private space- former Bank of Montreal, Montreal
2007       Land(e)scape, Fridge Door Gallery, Montreal



Selected Performances

2019        Interdisciplinary Art and Design Practices, Beitou Times, Taipei
2018        Senses and Pleasure, The Hudson Gallery, NYC
2016        de la Mer, Red Hook, NYC
2016        I Had to Watch Them Bleed, Pulsar Performance, NYC
2015        Intimacy Therapy, Il Giardino Immaginario, NYC
2015        Spectrum Above, Red Hook, NYC
2015        A Midsummer’s Dream, Rosekill, NYC
2015        Primavera, No Home Gallery, NYC








Arch. Firms I Worked

Studio Fuksas
MAD Architects
Asymptote Architect
Handel Architect
Champalimaud Design
MODU
...etc
Cities Lived

Taipei
Vancouver
Montreal
Boston
Rome
Beijing
New York City
Contact

chihying.wong@gmail.com
Currently in Taipei, Taiwan