Frederick Kiesler considered his organic architecture as a “sensual body that one desires to inhabit.” Dynamic correlations exist between space, objects, and human experiences.

Carl Jung’s dream of a multistorey house inspired his idea of the collective unconscious as a container of the most primal collective symbols.

When we move from one house to another, “unconsciously”, we look for spaces that are familiar to our remembrance. We place furniture, frames, and decorations in fragmented spaces that resonate nostalgic memories from previous houses we inhabited. We seek our new dwellings to resemble the best of our past, travel recollections, meaningful moments, and objects or recordings of houses from ancestors we never met, but with whom we are genetically connected.

I intend to reconcile the modern tradition with dreams or images associated with space. Beyond phenomenology, sensorial experiences that are derived from nostalgic attachments.

The design statement is intended to follow a personal narrative derived from nostalgia.

As in the proscenium of a theatrical play, in my work, light and materials stage those narratives. The attention to detail is paramount to my design intentions.

We tend to memorize nooks, corners, framed portions, or fragments of the overall space.

My job as a Designer is to process specific narratives and to abstract them.

The intention is to design abstract spaces that unconsciously connect to the dweller’s insights. Closer to what Robert Morris defined as “minimalism,” finding the relationship between Object-Space-Dweller.

IA technology may be utilized as a tool to aid in understanding those narratives and maybe create them.

Not a postdigital exercise, nor a minimalist idea of emptiness, nor a radical contextualism, nor a neo-vernacular, or neo-modern fashion statement.

On a larger scale, the site also stages the narrative. A thorough reading of the site and its environment is crucial for a responsible design.

Construction is the most desirable moment. It is when those memories come back, materialized with a new language.

Specific materials selection, attention to details as a means of resemblance. Crafts made with new technologies, responsible decisions in the building process, reusing, re-adapting, and the inclusion of sustainable practices with reduced carbon emissions are all core to the building process.

A building under construction is an open book; it is when bones and guts are exposed, showing us a new world of possibilities.

The process elicits an experiment towards creating future memories.

Coziness is defined by comfort and life experiences that happen in individual spaces. “The favorite warm nook where we, or our pets, love getting a nap”.

The understanding that the dwelling changes with aging and/or specific life events of its inhabitants will be tested, and rephrased if needed.

If the house gets a new owner, the process repeats, with different memories that personalize the space.

Flexibility is always part of the program. Spaces morph accordingly through time.

“In the large-scale work Nest/s, Suh has stitched together a series of in-between spaces and rooms from buildings in Seoul, New York, London and Berlin. He connects them to form one continuous, impossible architecture. Suh calls these works, made using traditional Korean sewing techniques, ‘fabric architectures’. Through this process, Suh can pack up and transport spaces, fulfilling his desire to ‘fit my childhood home into a suitcase’. You are invited to enter the work and consider your own journeys through different spaces, types of architecture, cities and neighborhoods”.

@Tate Gallery London, UK, 2025.

https://www.tate.org.uk/whats-on/tate-modern/the-genesis-exhibition-do-ho-suh/exhibition-guide