Selected Work Studies: ‘ Architecture, Ecology, Electronica and Graffiti’
Architecture
‘Inspired by the sculptor Henry Moore, Climate-adaptable vacation architecture curated on post-industrial coastal plots and decommissioned military airstrips.’
Project—VO|D™
Why do people buy Modernist architecture? According to The Modern House agency, design is a powerful force for good – from personal factors such as investment and wellbeing to more macro themes; innovation, technology and social responsibility.
At the edge of society, VO|D™ delivers an even landscape of linear10 Cat.1 modernist architectural installations, each with individualistic shape-shifting interiors, and a place of almost absolute privacy and perception for vacation and research. Designed by A—HUMAN, this ecological experiment is guided on by an experienced advisory board, overseen by environmental architectural practice MADOR.
Taking inspiration for localised-regeneration from the Turner Contemporary Gallery, Margate and the sculpture of British artist Henry Moore, the creation of climate-adaptable vacation architecture on post-industrial coastal plots and decommissioned airstrips may change the way we view the British coastline, forever.
Responsibility:
Creative Direction—Conceptualism—Branding
All Rights Reserved 2025
Web UI/UX
‘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’
Project—Street Studios & Monksleigh Consultancy
Street Studios and Monksleigh present two parallel exercises in digital architecture — built with the same UX workshops and wireframe systems, yet responding to entirely different audiences. One serves sustainable media & creative industries; the other, energy from waste expertise. What unites them is an intentional quietness: interfaces that don’t over-perform, but instead get out of the way.
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 — enabling clients to see within each studio space. That movement, across downloadable specifications and reports, was translated into flows and layout systems that prioritise ease of use.
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—and designed to assist.
Responsibility
Creative Direction—Site UX & Wireframes—Brand Assets
All Rights Reserved 2025
Specialist Publishing
‘Pivotal experimental artists reveal the MACHINE they most want to be.’
Project—ELECTRONIC EDITION
Electronic Edition is a compelling 84-page ‘Book of Posters’ 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 via smuggled 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. But the best way to explain EE is to reimagine electronic technology as a kind of optical 3D dream sequence — something closer to abstract futurism, existing in spatial-synthesizer perpetuity. 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—Conceptualist—Brand Designer
All Rights Reserved 2025
Concept Publishing
‘The Art of Instructional Graffiti, pamphleteering and guerilla marketing.’
Project—Various
New SUBS published work includes The ART of Social Anthropology gallery pamphlets and 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.
Curated by A—HUMAN, 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, ‘The Art of’ and ‘Instructional Graffiti’ capture the raw, unfiltered voices that exist outside traditional commercial spaces — unbranded, unfiltered, and with nothing to hide.
Responsibility
Art Direction—Designer
All Rights Reserved 2025
Product Design
‘MODERN works of art for recording artists and collectors—Product is back in business.’
Project—em:t records & Ionasky
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 its purpose, but it doesn’t offer the same intimacy. People still buy into labels like Factory, Warp, or Mute because—like certain art in a gallery—vinyl, cassette and even CD can be addictively collectable; this about being part of the story.
Visually, the iconic em:t label followed a strict set of aesthetic rules. Each album title was simply a four-digit catalogue number (the last two digits indicating the year; the first two marking the release order). Every release was CD-only, known for intelligent design (The Designers Republic / db|design), vivid cover photography (Oxford Scientific), and a consistent, minimal layout. For new Cambridge band IONASKY, A—HUMAN conceived vinyl concepts even before they were signed. Certain rules were applied early, so that—if and when a label deal comes—the design framework already forms part of their brand narrative.
Responsible for publishing six new em:t albums in the 2000s, A—HUMAN is midway into a new gallery project: a temporary, minimalist installation and listening room in Cambridge curated around the mesmerising artwork surrounding the em:t record label. 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.
Responsibility
Art Direction—Conceptualist—Brand Designer
All Rights Reserved 2025
ICONS OF MASS PRODUCTION
£30.00
ICONS OF MASS PRODUCTION
£30.00
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