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EVEY KWONG

@evey___k

Design researcher and tutor exploring socio-cultural approach to unfold the value for tradition and the process of making • Berlin • Malaysia
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Impressions from »Swamp Things! The Liveliness of Peatland Plants« Exhibition: 8–20 July 2025 Tue–Sun: 12:00–8:00 pm BHROX bauhaus reuse Ernst-Reuter-Platz, Berlin • With Contributions by: @janne_ebel , @swantjefurtak , Wulf Hein, Daniel Hengst @danielhengst_jitterhorse , Cholena de Koningh @feisty.forager , Evey Kwong @evey___k and Jasmin Martinez @jasma.studio Curation, Design and Research: Charlett Wenig @charlett_wenig and Lucy Norris @lucynorrisberlin Research Assistance: Kira Becker @kirakaethebecker and Alena Stuhr @aviviaan Research Collaboration: Ralf Pecenka Project Management: Sophia Gräfe Production Execution: Julia Blumenthal Production Assistance: Mareen Baumeister, Marco Bott, Nick Geipel, Nicholas Plunkett, Tobias Schmidt, Jan von Szada-Borryszkowski, Tonja Wetzel and Laura Zoretto Texts: Lucy Norris and Charlett Wenig Graphics: Nicholas Plunkett Illustrations: Florian Weisz Team BHROX bauhaus reuse: Robert K. Huber, Peter Winter, Adelina Nicolăescu and Jiří Ferenc »Swamp Things!« is a collaboration of @zukunftsgeraeusche with @mattersofactivity , @mpici_potsdam , the Leibniz-Institut für Agrartechnik und Bioökonomie and @kunsthochschuleberlin , as part of the _matter Festival 2025. With kind support from the Petri family, Moorhofer Grünlandhof in Kremmen. Photo: Evey Kwong and Stephan Fallucchi • #SwampThings #DesignResearch #MaterialScience #Paludiculture #NewMaterials #WeavingExperimentation #BioDesign #matterfestival2025 #Ecosystem #Swamps #Peatland #berlin #Pinkpipes #Grass #Future #Fenlands
287 8
10 months ago
Finally managed to take time to visit my latest group show PLANT FEVER 🌱(@plant__fever ) at the Kunstgewerbemuseum Dresden (@kunstgewerbemuseum.skd ). Thank you very much to duo curators @we_are_dots for their efforts, and for being such inspiring figures. Though my exhibit is a small project, it has help paved the path in the #MoreThanHuman design research theme. 💫 If you’re interested to read more on this project, please find my previous posts on the feed. Plant Fever. Towards a Phyto-centred Design. 📍Schloss & Park Pillnitz, Germany 27.04.–03.11.2024 • The multi-year research and exhibition project PLANT FEVER addresses current debates on the topic of sustainability, the relationship between humans and plants, and our use of resources. The exhibition argues for a profound rethinking of our relationship with the vegetal world and opens up a space to link art, science and ecology. Pillnitz Palace & Park offers a unique complement to this approach due to the horticultural tradition that has historically grown in Pillnitz. Ranging from products and fashion items to material research, open-source devices and emerging technologies, and my work, “Chita’ Anyaman. Braiding Tales” will be featured alongside 50+ projects, representing the work of creatives from more than 20 countries. Follow the plant. Follow the fever. 🌿 • Concept & curation: @we_are_dots (Laura Drouet, Olivier Lacrouts) Visual identity: Matthieu Visentin Scenography: Benoît Deneufbourg Production: @cidgrandhornu • #PlantFever #TowardsAPhytoCentredDesign #FollowTheFever #FollowThePlant #DesignExhibition #DesignResearch #OtherThanHuman #MoreThanHuman #EcologicalGrief #OrangAsli #designcampusdresden #kunstgewerbemuseumdresden
216 5
1 year ago
Countercurrent / À contre-courant Research & production residency Boisbuchet & Rochefort, FR My role • My practice to date has been informed by transnational and transcultural experiences; seeking into the origin and at the same time staying open to the culture of others. By learning about others, cultural exchange takes place. Cultural diversity could open new doors as an alternative way of working and it is also a condition which we can no longer avoid: the socio-political (migrations) and environmental change. Yet, working endemically will actually mean we will finally learn to be open-minded and adapt to other’s culture of where we are situated, in a way not as a form of integration but transcultural exchange. It is also a freedom set for ourselves away from the fear of the unknown. In order to symbolically deconstruct the vessel, we worked solely with materials traditionally used for the construction of sailing ships; locally sourced hemp ropes, linen textiles and wood (oak and pine). The local material culture, landscapes and histories helped to navigate and define our ideas to create the connection to the stork. During the residency, I learned to weave the maritime way, and transferred my knowledge of traditional weaving into the creation. As a collective, we researched and created scenarios with folklores, ritual ceremony and the stork’s behavior. Our intent was to create an anticipation tale which embodies the human and stork co-existence. • Project team: @polly_moss @wendyowusu_ @evey___k @danipar__ @venathadrien @sendomejunje @jasminsisti • Countercurrent is conceived by @we_are_dots , and organised in the frame of @mondes_nouveaux , a grant programme financed by the French Ministry of Culture (@culture_gouv ). Production support by @agence_eva_albarran . Partners: @conservatoiredulittoral@lpo_officiel . Residency hosted by @boisbuchet . With the participation of @anne_lise_capelle@tristan_plot , Nicolas Gendre (LPO Charente Maritime). Image 08 by @danipar__ and all other images by Olly Cruise #Countercurrent #Research #Curation #Design #SpeculativeDesign #AnticipationDesign
315 0
3 years ago
Clay, River, Material Memory Clay in Karakalpakstan was shaped long before it became architecture. For centuries, the seasonal flooding of the Amu Darya carried silt across the delta, forming a landscape of mud, reeds and shifting ground. From this terrain emerged a material culture deeply tied to movement, climate and survival. Earth, straw and reed were not simply available resources, but materials understood through generations of lived experience — cooling homes during extreme summers, insulating against severe winters, and adapting to the unstable conditions of the Aral Sea region. Today, as concrete construction increasingly replaces vernacular building practices, clay is often treated as an undervalued material associated with rurality and poverty. Yet clay architecture is seeing renewed relevance for precisely the qualities industrial materials struggle to provide in arid climates. Returning to clay not as a material rendered inferior by modern development narratives, but as a living medium carrying bioclimatic adaptation, craft, and cultural memory. Project team: Evey Kwong (@evey___k ), Akhmed Kaipbergenov (@akhmed.kb ), Kamila Sobirova (@auroraborealis37 ), Maxim Velli (@maxim.velli ) for @aral.school #regenerativedesign #bioregion #rethinkingmaterial #vernaculararchitecture Image credit: 01 - Construction of an adobe house. First tier. Uzbekistan, 1914. 28670170, Zakhar Vinogradov, State Historical Museum 04 - Жданко Т.А. Каракалпаки Хорезмского оазиса (Материалы полевых исследований Каракалпакского этнографического отряда Хорезмской экспедиции АН СССР 1945-1948 гг.) // Труды Хорезмской археолого-этнографической экспедиции. Т. I. М., 1952bio
170 1
9 days ago
Revisiting some of the coiling samples I made late last year. Some of these are reshapeable and can shift their form in response to touch. I’m looking forward to continuing these explorations later this year, working with more repurposed and natural materials, and pushing how different physical qualities these structures can become. 📸 @s.fallucchi #materialintervention #surfacedesign #coiling #aufwickeln #materialmemory
368 5
24 days ago
We met Miywash Apa and her workshop the first time when we accompanied @uzbekistanmdw in their research for the entrance piece at the Milan Design Week. That visit transformed our perception of many fragmentations we tend to assume as universal. Her workshop is in her home. Eight women work there: the youngest is 14 and the oldest is over 60. Children and grandchildren run among the looms, collective forms of making where work and care happen at the same time. Many of these women are neighbors seeking economic stability; together, seated on the floor, they choreograph precise, fast, rhythmic, and demanding movements. There is an understanding and a presence in space where bodies blur and boundaries dissolve: the hand does not end at the hand, it extends into the loom. It feels like magic to watch how two bodies move and, through that movement, something emerges: a wool band with patterns, territorial witnesses, water flowers, goose necks. Its use is to tie the yurts. Aesthetics live within the everyday and are also ritual: how do we give thanks to that which holds the roof? Today, many of these bands are made with wool sourced from elsewhere and dyed using synthetic processes, homogenizing colors across regions and folklorizing cultures. Dyeing is a language of the land. Using waste from the bazaar, onion and pomegranate skins, and materials gathered from water systems, licorice and willow, we decided to dye locally spun wool that was gifted to us. Through these materials, we commissioned a band that would function as a library of color and territory. Its patterns respond to aquatic elements, guardians of the territorial transformations that this region has undergone. Thank you for all of your trust and warmth Miywash Apa Thank you Fatima the Aqsaqal of the Mahalla Thank you for the wool @aysanem_nukus
305 4
1 month ago
Already in my twelfth week, I find myself on the edge of Uzbekistan—in Nukus, in the arid expanse of Karakalpakstan, where the Aral Sea catastrophe began unfolding more than sixty years ago. Working here as part of a team of 22 international and local experts focused on water and food systems, we look not only at what has been lost, but also at the adaptive ways of living that continue to emerge. In our first weeks, we witnessed the aftermath firsthand: a landscape marked not by the simple absence of water, but by its diversion, its instability, and the gradual unraveling of the systems that once sustained life around it. As we spent more time in the region, our questions shifted. What happens to a place when water no longer arrives as it once did? What unravels, and what adapts in response? From there, the questions became more pointed. Who decides how water is used, and for whose benefit? Which systems hold, and which ones extract until there is nothing left? What stands in the way of organizing life at the scale of the landscape itself? Although the catastrophe is decades old, its effects remain uneven. There are stark sociocultural and economic disparities between regions—especially between the northwest, where desiccation has devastated livelihoods, health, and local economies, and the more stable northeastern parts of the country. At the @aral.school , these realities are not abstract. The further we move into rural areas, the more inseparable land, people, and livelihood become. Here, life follows the conditions of the land. Yet this region is not only a site of loss; it is also a repository of knowledge. For centuries, communities around the Aral Sea adapted to shifting river courses, fluctuating water levels, and an unpredictable climate, developing livelihoods rooted in semi-nomadism, seasonality, and close ecological awareness. The question, then, is not simply how to respond to crisis, but how to translate these ways of living into a bioregional strategy—one that works with, rather than against, the rhythms and limits of the landscape. The programme is supported by @acdfuz . #Bioregioning #RegenerativeDesign #DesignResearch #AralSea
102 4
1 month ago
ARAL SEA PROJECT Interdisciplinary Programme for Ecocultural Regeneration 19.01.–30.06.2026 Nukus, Uzbekistan • Humbled to be awarded a bioregional research-based project, I will be collaborating with international and local experts—including designers, architects, ecologists, economists, policymakers, and community builders from Uzbekistan and Karakalpakstan in the Aral Sea region. Bringing my expertise as a design researcher with a bioregional, craft and material focus, the project works closely with local communities and stakeholders to co-create new approaches to cultural and ecological regeneration, responding to the Aral Sea disaster. • The climate crisis is leaving an indelible mark on ecosystems and bioregions, forcing us to rethink our interdependencies and alliances. North Uzbekistan and the Karakalpakstan region were once home to the Aral Sea, for most of the 20th century the world’s fourth-largest saline lake. Over the past fifty years, the lake has dramatically dried up, with a sharp increase in salinisation caused primarily by unsustainable irrigation practices linked to large-scale cotton cultivation. This process has irreversibly altered the bioregion, leading to the collapse of an ecosystem and deeply affecting local communities, ecology, economy, culture, and public health. • The Aral School (@aral.school ) is a funded programme by the Uzbekistan Art and Culture Development Foundation (@acdfuz ), and led by curator and bioregional designer Jan Boelen (@boelenjan ). Image credit: The remains of the Aral Sea on August 19, 2024. NASA. #aralschool #aralsea #regenerativepractice #bioregionality #designresearch
0 6
4 months ago
“Hybrid Craft. Basketry between the Analog and the Digital” is a semester-long project part of the Textile and Material Design Department’s curriculum at Weißensee Kunsthochschule Berlin. The project analyses how craftsmanship, material culture, ecological thinking, and computational tools inform contemporary design. As part of the project, we hosted the workshop: “Coiling to Tooling” by Evey Kwong (@evey___k ), which explored coiling techniques with various materials. The project is supervised by Nayeli Vega (@yokoikilab kilab), Maja Avnat, Jörg Hugo (@joerg_hugo _hugo), Yolanda Leask and Kim Cordes (@kim.cordes ) Thanks to Alexandra Chrampanis support. Participating students: @annabel.hett @majafuspok @_1lumiere_ @jacob.a.salomon @jooriyu @helenaxlara @xiaoru_xu @jacob.a.salomon @jooriyu @majafuspok @_hanako_berlin @damond_429 @jia_tang_ @yupanquiramos @intruso_art
58 1
5 months ago
Impressions from the workshop “How to make a broom (and unlearn it)” led by @evey___k , at Karlsruhe University of Arts and Design (@hfg_ka ) During the workshop, students dived into the craft of traditional broom-making. Together with the @biodesignlab_hfgk workshop, we reshaped what a cleaning tool can be – treating brooms as metaphors, exploring embodied knowledge through making, and letting found materials steer unexpected directions. Each piece that emerged speaks its own language about “cleaning” and what the act might mean today. More impressions to follow. I had the chance to share insights from my design-research practice in craft – always a joy. A warm thank-you to @lisa_errtel , @janniszell , and fellow participants who took part. It was a great pleasure. Photo credit: Jannis Zell, Lisa Ertel and Daniel Unkel @hfg_karlsruhe_pd @hfg_karlsruhe_kd #exploringmetaphors #cleaning #maintaining #broommaking #order #gesture #actofcare #ritual #interdisciplinarylearning #making #crafting #craftasmethod #designresearch #workshop #germany
1,803 19
5 months ago
»Matters of Activity: Material Agency and Interdisciplinary Knowledge« Lecture Series by Charlett Wenig and Evey Kwong: Designing with Biomaterial Intelligence for Sustainable Futures 📅 05.11.2025 at 10am 📍 @humboldt.uni The lecture series, organized by Claudia Mareis and Léa Perraudin, together with Senta Bannick and Antonia Giebner, is dedicated to the diverse interdisciplinary research of the Cluster of Excellence »Matters of Activity.« Based at Humboldt-Universität zu Berlin since 2019, the research network examines the effects of materials from an active perspective. This fundamentally changes the established understanding of materials as passive, ahistorical substances. According to this view, materials are not dead substances, but a living part of our environment. They connect human and nonhuman actors, different times and places, and carry their own dynamics and implicit memory. »Matters of Activity« brings together different areas of expertise from the humanities, natural sciences, and design disciplines to enable a new perspective on materiality in light of the human-made climate crisis and to point out ways to a sustainable material culture. With lectures by Karin Krauthausen & Michael Friedman, Charlett Wenig & Evey Kwong, Peter Fratzl & Wolfgang Schäffner, Maxime Le Calvé & Thomas Picht, Regine Hengge & Laurence Douny, Michaela Büsse & Alwin Cubasch, Heidi Jalkh & Gisela Pozzetti, Igor M. Sauer & Moritz Queisner, Iva Resetar & Alice Jarry, Rasa Weber & Julia Lohmann, Rahel Kesselring & Maja Avnat, Yoonha Kim & Natalija Miodragovic. The lecture series will be held in German and English at the main building of Humboldt-Universität zu Berlin, Unter den Linden, Lecture Hall 3075. For a detailed program with contributors and abstracts, see the link in the bio. Image: José I. Hernández Lobato and Regine Hegge #lectureseries #interdisciplinary #research #agency #knowledge #materialscience #environment #humanities #design #materiality #crisis #sustainability #materialculture #culturalhistory #weaving #filtering #cutting #biomaterials #collaboration
37 0
6 months ago
RRR2025 – Renewable Resources from Wet and Rewetted Peatlands 🌾 Exhibition 
24.09.2025, 5:30–9:00 pm
Greifswald, Germany
 • How can peatland rewetting and innovative land-use concepts be combined for an effective contribution to climate change mitigation? What are innovative examples for creating and strengthening regional value chains? What strategies can overcome barriers and challenges to enable a just transition to sustainable peatland use? 

Rewetting supports the nurturing of species of reeds, sedges, and cattails that once flourished in these liquid landscapes, and the sustainable harvesting of crops that thrive in wet peatlands to support human livelihoods (known as “paludiculture”) My recent project, “Swamp Things!”, will be exhibited during the conference. The work explores the vibrant potential of peatland plants as sensuous, living materials through basketry techniques. In collaboration with material scientist @charlett_wenig , we merged design research, materials science and basketry techniques to reimagine these new and restored biomaterials. This material-driven approach focuses on the whole plant – valuing the active properties of these grasses in their intact form rather than reducing them to shredded biomass. The goal is to extend the life and usefulness of their fibres, opening up new possibilities for working with them to their fullest potential. • The RRR2025 conference on Renewable Resources from Wet and Rewetted Peatlands is taking place from September 23-26, 2025 in Greifswald. It offers a platform to explore current questions on rewetting and paludiculture and many others, fostering dialogue between science and practice. By bringing together diverse stakeholders, the event aims to encourage knowledge exchange, build networks, and develop and strengthen practical, forward-looking solutions. Co-organized by Greifswald Moor Centre (@greifswaldmoor ), Johann Heinrich von Thünen-Institut (@thuenen_institut ) and funded by Deutsche Forschungsgemeinschaft @dfg__public Image credit 03: Kira Becker #RRR2025 #RenewableResources #Greifswald #Paludiculture #ClimateProtection #Exhibition #DesignResearch #MaterialDesign #SpeculativeDesign #Basketry
102 2
7 months ago