The work examines the vulnerabilities of marginalized communities during crises, questioning historical continuity and societal divides.
The City Built by Euclase
*(Integrated Design), (Editorial Design)
This work draws inspiration from the concept of future archaeology, exploring the well-being of environmental design from past actions.
As the mainstream narrative was constructed, marginalized groups were frequently disregarded and deemed expendable. This piece is practiced with the design structure and visual pattern that critically examines how the grand narrative of history often omits the communities, giving a historical record of the people who were ignored.
Design for the critic, create for the unseen community.
*(Typeface Design), (Exhibition Design)
Echoing the time of its creation during the pandemic, this typeface and exhibition design reflects a period when the designer was confined at home without access to a professional printing system. However, this limitation became a catalyst for deeper reflection on the essence of visual design—what it represents, and the narratives it conveys.
Pixels, as the fundamental units of images, resemble individuals within a community. Just as pixels must resonate and collaborate to form a cohesive image, individuals must come together to shape a broader context, a trend, or a powerful movement. In this spirit, Lingyi discovered her grandfather’s electrical tape in the garage and used it to give visual form to her concept.
Much like Helvetica, which was designed with a systematic approach, The Ash sans-serif series emerges as a manifesto. It reflects a shared narrative: "We are the ash of Euclase City, building our city from our ashes." This typeface embodies the strength found in collective effort and the resilience born from collaboration.
UUAD: In Conversation: Lingyi Kong, On the Myth and the Code
©️Lingyi Kong 2024