Selected XD and Work Studies: Architecture, Website Ecology, Electronica and Graffiti
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ARCHITECTURE
Inspired by the innovative sculptor Henry Moore, climate-adaptable vacation architecture installed on post-industrial coastal plots and decommissioned military airstrips
What if Henry Moore designed climate-adaptable architecture?
Introducing VO|D™ – ecological installations for the overlooked landscapes of Britain. Conceptualised by A—HUMAN and first advised by MADOR environmental architects, VO|D™ reframes how marginal or damaged land is valued — offering something rare: brutal beauty with long-term purpose.
At the edges of Britain — on decommissioned airstrips, coastal industrial waste grounds, and seasonal floodplains — VO|D™ proposes sculptural architecture that adapts to climate, supports research, and invites a deeper, more personal kind of escape. Inspired by the regenerative cultural value of the Turner Contemporary, and the sculptural integrity of Henry Moore, VO|D™ delivers.
This concept is shared not as a curiosity piece, but as a proof of approach. Replicating these principles across underdeveloped brands — where overlooked potential and invisible value often go unacknowledged — can create the same effect: regeneration, relevance, and emotional return.
Responsibility:
Creative Direction / Conceptual Artist / Branding —UK Trademark No. 00003525876
Project—VO|D™
All Rights Reserved 2025
WEB DESIGN
Website architecture designed for guidance, feat. a UK zero-waste photography studio, and a leading energy-from-waste consultancy getting 4.3m clicks a year
Street Studios and Monksleigh present two parallel exercises in website architecture — built with the similar UX strategies and wireframe systems, yet responding to entirely different audiences. One serves advertising, film & the wider creative industries, the other, energy from waste expertise.
What unites them is an intentional quietness: interfaces that do not get drawn in to what the clients knows, but what they must make others see, a system familiar with art galleries.
A—HUMAN digitally framed Street Studios through a monochromatic lens — a direct nod to black-and-white photography, but also to the clarity that this large studio space provides. The use of Suisse font and bold spatial breaks give it an editorial edge, allowing content to breathe without competing for attention. Monksleigh, meanwhile, applies the same structural logic to a technical resource platform. The tone is minimal, but not sterile — functional design with room for curiosity. Both sites were mapped in Figma, with additional spatial logic for Street Studios modelled in SketchUp — so clients can project map within a space in advance. The same movement, across downloadable specifications and reports, was translated into flows and layout systems to prioritise ease of use without impacting other resources.
In both cases, the outcome isn’t just minimalist design. It’s a study in how restraint, hierarchy, and patience can make digital environments feel trustworthy — even generous—only designed to assist.
Responsibility:
Creative Direction / Site UX & Wireframe Design / Brand Refresh
Project—Street Studios / Monksleigh
All Rights Reserved 2025
PUBLISHING
Pivotal experimental artists and creatives reveal the MACHINE they most want to be
Electronic Edition is a specialist art magazine that merges electronic culture with sustainable print — featuring exclusive work by Mercury Prize nominee Hannah Peel, actor, artist and poet Scroobius Pip, and electronica DJ and artist Michailo, who — while imprisoned for possession during Georgia’s mass-sentencing era — distributed his music using USB sticks.
This unique collection of artworks from A—HUMAN also features collaborations with visionary musicians and artists including Portishead, Scanner, Test Dept, Graffiti Pig, Northern Kind, gaming institution EA DICE, and the concept electronic project Eccentronic Research Council, led by BAFTA-nominated actor Maxine Peake.
The best way to explain EE is to reimagine electronic technology as a kind of optical 3D sequence — something closer to abstract futurism. Each of the 86 staple-free pages has been pre-perforated, allowing readers to remove and frame the work — as if walking through a temporary gallery and curating a personal collection. This playful interaction sustains both the lifespan of the artwork and reduces the environmental impact of print.
Printed on large-format, FSC-approved A3 paper, Electronic Edition invites you to tear it out, stare at it, and pretend to understand it — just like in a real gallery.
Responsibility:
Art Direction / XD / Product Designer / Branding
Project—ELECTRONIC EDITION
All Rights Reserved 2025
PUBLISHING
The art of instructional graffiti, social anthropology, free pamphleteering and guerilla marketing
New SUBS published work including, the new ‘Social Anthropology’ gallery pamphlets and international fanzine ‘Instructional Graffiti’ — each designed to reframe what it means to create and consume public art.
In a world where digital platforms dominate discourse, an unsanctioned scribble remains defiantly analogue — proving that sometimes, the most authentic statements are the ones written in permanent marker on a bus stop.
Unauthorised guidance — whether crude, poetic, or absurd — exists to label, inform, or declare, often without artistic ambition. A toilet wall scrawl of a phallus captioned simply “penis” is both redundant and profoundly human. A discarded mattress tagged with ‘VACANCIES’ is practical, yet quietly poetic.
Guerrilla marketing isn’t always big. In this latest work, ‘Instructional Graffiti’ capture the raw, unfiltered voices that exist outside traditional commercial spaces — unbranded, unfiltered, and with absolutely nothing to hide.
Responsibility:
Creative Direction / XD / Product Designer
Project—Various
All Rights Reserved 2025
MUSIC
MODERN works of art for recording artists and collectors—Labels are back in business.’
After working with labels and navigating a digital-first industry, the return to product feels like reclaiming a lost part of the process. Streaming might serve an obvious purpose, but it doesn’t offer the same intimacy.
People buy into labels like Factory, Warp, or Mute. Vinyl, cassette and CD’s are for many addictively collectable; this about being part of that story.
As a past owner of the iconic em:t label responsible for publishing 6 x em:t albums, you learn to follow a strict set of design rules: Each title required a four-digit catalogue number—the last two digits indicating the year; the first two marking the release order, and every CD-only release published with a unique natural design (The Designers Republic / db|design / Oxford Scientific), and a consistent minimal layout.
As recorded works press back into culture as physical products, the opportunity to commission original artwork is opening up again—for reissues, new artists, and collectors who value the full package. For new Cambridge band IONASKY, vinyl concepts were conceptualised even before they were signed. Certain rules applied early can future-proof a band, so—if and when a label deal comes—the design framework already forms part of the brand narrative.
Responsibility:
Art Direction / XD / Merchandise / Branding
Project—em:t / Ionasky
All Rights Reserved 2025
ICONS OF MASS PRODUCTION
£30.00
ICONS OF MASS PRODUCTION
£30.00
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