The SCARPLATE began as a study for an architectural competition exploring parametric structures. By a twist of fate, the miniature “building models” were later exhibited in a Beijing design shop—reimagined not as architecture, but as plates.

Each piece was individually spray-painted by hand, translating the language of facades into patterns of shadows and apertures, echoing the windows and light studies of the original proposal. I produced ten of these curious objects—what I once called my “strange plates,” uncertain whether they were design experiments or simply playful anomalies.

Yet design often moves fluidly between disciplines. Architecture becomes product; scale becomes narrative. What was once conceived as a building now exists as a domestic object. Though the competition was never won, the plates found a quieter destiny—resting on a table somewhere, perhaps holding nothing more ambitious than an apple and an orange.