Jeremy Hu Luxury Real Estate Agent Trust: The Key to Jeremy Hu’s Success in NYC’s Luxury Real Estate In many Asian societies, trust is the bedrock of personal and business relationships, fostering long-term connections, collective harmony, and respect. Jeremy Hu, a standout luxury realtor in New York City, personifies this value. “Trust is number one in any industry, in any deal-making,” Jeremy asserts. Jeremy’s multicultural background has significantly shaped his career. Born in Taiwan, he moved to Singapore at 14, then attended a boarding school in England. He graduated from Central St. Martins College of Arts and Design in London, focusing on advertising and graphic design. During his time in London, Jeremy’s modeling career took off after being discovered for a Pepsi TV commercial. He appeared in numerous TV commercials, print ads, music videos, and runway shows, including modeling women’s clothing for Alexander McQueen. “I had an absolutely exhilarating time, feeling inspired by the incredible people I met, the stunning places I explored, and the unforgettable, vibrant parties I attended. It was a truly uplifting and memorable experience,” Jeremy recalls. Modeling women’s wear on the runway was a unique experience for Jeremy. “I was confused,” he admits about being asked to wear a dress. His slender figure and long hair made him ideal for the role. Unlike today’s generation, which has more outlets for expressing diverse gender identities, Jeremy felt more constrained by traditional expectations. “I think that’s great,” he says of the younger generation’s freedom. Despite societal constraints, Jeremy grew up feeling authentically himself, nurtured by loving parents and a talent for socializing. A summer visit to New York City during his time in London marked a turning point for Jeremy. “The moment I arrived, I knew this is my home,” he recalls. Despite his parents’ preference for him to return to Taiwan, Jeremy was determined to move to NYC. After graduating from college, he was eager to start his professional life in the big city. Although working in London was challenging for a foreign graduate, the opportunities in NYC suited his educational background perfectly. Jeremy’s early career in New York began with an internship at an advertising company representing brands like Calvin Klein. This led to a work visa sponsorship. Simultaneously, he helped establish a new fashion store in the Lower East Side, making the neighborhood trendy. “I didn’t sleep much having two jobs, but the excitement kept me going,” Jeremy recalls. Jeremy's keen creative eye, artistic background, and extensive training allowed him to excel in his early career endeavors. He thrived in the advertising industry for many years, utilizing his experiences and connections from his time in London and his modeling profession. Moreover, he successfully operated his own art gallery as a dealer before making a transition into real estate. Today, Jeremy is synonymous with luxury real estate in NYC. His personable nature, practical mindset, and positive approach—key characteristics of his Asian background—have earned him the trust of his clients. He is a founding member of LEVEN Real Estate, where he and his team of experienced agents focus on the ultra-luxury market while catering to a wide range of clients. His dedication and hard work have resulted in several record-breaking deals. The diverse team at his company, fluent in over 17 languages, has successfully served clients from more than 51 countries. Fluent in Mandarin and deeply understanding Asian societies and business practices, Jeremy has carved out a niche by expanding his services to potential Asian clients. Many of his clients are parents of foreign students attending NYC universities, finding it more suitable to buy than rent. Jeremy returns to Taiwan annually, maintaining his cultural roots and personal connections. One memorable real estate experience stands out to Jeremy. “Whatever you think, we are fine. We trust you, we listen to you,” a high-profile client once told him. This trust motivates Jeremy to deliver his work with ease and professionalism. When asked about challenges in his field, Jeremy responds, “I don’t see any challenge as a challenge because I will try to look at the brighter side. It is not something I would even consider dwelling on.” For him, focusing on solutions rather than problems is key. Describing the NYC luxury real estate market as vibrant and highly desirable, Jeremy notes, “The city boasts an incredible lifestyle with world-class entertainment, dining, education, and being the financial capital of the world. The whole package itself is enticing.” Despite his success in the complex world of luxury real estate and a hectic NYC lifestyle, Jeremy remains warm and grounded, truly loving what he does. His morning meditation routine provides balance, and he enjoys spending time with friends in the city. “Everything I do is very much tied to the business. I do not have much distinction between personal and professional life.” Jeremy’s lifestyle and outlook are exceptional, finding harmony between loving what he does and using his calm nature to set his own standards in dealing with people in such a demanding city. Reflecting on his journey and offering insights for the younger generation, Jeremy’s advice is clear: “Dream big. Have the biggest ambition possible because the journey to get there requires the same time and energy as a smaller goal. If you aim high, you can achieve anything below that easily. When there’s no choice, you need to act as if your life depends on it. That gives you the urgency and motivation to succeed.” Photo credit: Provided by Jeremy Hu

Dayat Sutisno Indonesia Dayat Sutisno.jpg Dayat Sutisno.jpg 1/1 Photo credit: Dayat Sutisno His photography captures profound stories in a single frame, making words almost unnecessary. Dayat Sutisno is an Indonesian photographer known for capturing compelling images that often reflect the rich cultural and natural landscapes of Indonesia. His work typically emphasizes the vibrant life, traditions, and scenic beauty of the country, bringing to light aspects of Indonesian society and environment that might otherwise go unnoticed. Sutisno's photography is noted for its vivid use of color and composition, which creates a powerful visual narrative.

Previous Next Michael Cho Elegance in Form: Michael Cho at Amsale Images provided by Michael Cho A gown is more than a garment—it is a masterpiece of art, a wearable image that reflects the person for whom it was created. In each fold of silk, satin, tulle, or lace, and every meticulously placed bead, lies an intimate conversation: a reflection of their life, their character, and a quiet dream waiting to be revealed. It becomes a love letter from the visionary who transforms momentary thoughts into a tangible, breathtaking reality—one that endures, expressing a vision that complements both creator and muse. Michael Cho, Design Director of bridal and evening gowns at the acclaimed New York City fashion house Amsale, is a true visionary in modern couture. His work elevates clothing into meticulously crafted dreams for discerning brides and those attending life’s most formal occasions. To meet and collaborate with him is to enter a realm of refined artistry—where imagination, technique, and intention converge to create garments that leave a lasting impression. THE ARCHITECTURE OF COUTURE An important influence on Cho’s design process is the close relationship between architecture and fashion. “We use different materials,” he explains, “but ultimately we both use texture and shapes to tell our ‘stories.’ Understanding construction to properly execute a design is paramount in both.” He points to the challenge of creating a single seam gown as an example, noting it requires profound technical knowledge of how fabric drapes on the body. “Having the technical knowledge to manipulate fabric and appropriately construct a garment is what really separates the masters from amateurs.” EMOTION AT THE HEART OF DESIGN For Cho, design is rooted in storytelling, particularly through emotion. When facing creative blocks, he returns to the basics, asking himself, “What am I trying to convey?” His ultimate goal is to create work with an emotional core: “Without an emotional core, I find that the story lacks depth and meaning and thereby becomes just another empty ‘pretty’ piece.” The word “incandescent” embodies this approach—moments of gentle glow and enchanting warmth that his work aims to capture and share. Born in Atlanta, Georgia, and raised primarily in New York City, Cho is a Korean American whose family background plays a significant role in his perspective. “My parents are originally from South Korea,” he shares, “and I am the youngest of three children.” His cultural heritage, combined with New York City’s diverse atmosphere, shaped his outlook and artistic sensibility. ROOTS AND INFLUENCES His interest in fashion began early. “I first started experimenting with fashion design as far back as middle school,” he recalls. “I loved to mix and match different clothing items with accessories to make unique looks.” In high school, he explored garment deconstruction, creating “avant-garde” pieces that fueled both inspiration and fun. After graduating from Parsons School of Design with a Bachelor of Fine Arts, majoring in fashion design, Cho entered the industry but soon found the corporate environment limiting. “That moment came when I realized I was no longer on the path I once yearned for,” he reflects. Taking a risk, Cho left to pursue his artistic voice, resulting in his first two personal collections: The Black Iris and The Leucite’s Copse. These works combined couture techniques with fantastical, story-driven design and solidified his future in evening and bridal wear. A COSMOPOLITAN PHILOSOPHY: INSPIRATIONS FROM AROUND THE WORLD Cho’s design philosophy is deeply influenced by the cultural melting pot that is New York City. “There is a freedom here to explore varied facets of numerous cultures,” he explains. This cosmopolitan spirit pairs with the city’s modern elegance in what he calls “modern fantasticism.” Additionally, his admiration for Japanese and Icelandic aesthetics further informs his work. Japanese design is defined by minimalism, precision, and respect for form—traits that echo in Cho’s preference for clean lines and meticulous detail. The Japanese value of monozukuri, or craftsmanship with soul, resonates deeply with his couture philosophy. Meanwhile, Iceland’s raw, ethereal beauty—its volcanic terrain, glassy fjords, and quiet isolation—inspires a kind of emotional clarity. “The sweeping landscapes and quiet remote locations I visited were incredibly moving,” he says. “You could say my time in Iceland was truly ‘incandescent.’” THE MEANING OF THE BRIDAL GOWN Within bridal fashion, Cho challenges common misconceptions. “Many believe all bridal gowns are ‘the same’ or ‘lesser than’ evening gowns because they’re primarily white,” he says. In reality, a bridal gown is never just a garment—it carries profound symbolic weight. Across both Asian and Western cultures, the wedding dress is a vessel for memory and meaning. It does not merely signify the ceremony, but also the years, decisions, and shared experiences that have led a couple to that singular moment. The gown becomes a deeply personal artifact—one that speaks to family, cultural tradition, and the emotional arc of a relationship. Cho emphasizes that designing for such a moment demands precision, respect, and emotional awareness. Because bridal design offers no camouflage in bold color or embellishment, its craftsmanship must be exacting. He encourages brides to slow down, reject the pressure of instant gratification, and honor the significance of the dress by investing in a thoughtfully made, custom-fitted piece that will reflect the depth of their commitment. PERSONAL TOUCHES: HONORING STORIES THROUGH DESIGN Cho’s sensitivity to personal stories is evident in his work. He recalls a client who wanted to honor her late father on her wedding day. “I incorporated a small pocket on the left chest, near the heart, to hold a locket pendant with her father’s picture,” he says. “It allowed her to keep him close to her heart on her special day.” Though technology plays a role in fashion today, Cho approaches it with measured respect. “Technology is just another tool in the toolbox,” he says. “I am still a supporter of analog tools, which may be considered ‘old fashioned’ by some.” He warns against over reliance on technology, as valuable craftsmanship knowledge risks being lost with younger designers depending too much on digital methods. ADVICE FOR ASPIRING DESIGNERS To aspiring designers, Cho offers practical and heartfelt advice: “You are surrounded by a deluge of content and opinions, which can be overwhelming. It’s easy to become burnt out or stray from your vision.” He urges young creatives to focus on their unique voice rather than chasing trends or external pressures. “Keep your ego in check, recognize your weaknesses, and strive to better yourself. Never stop creating and pushing boundaries.” As Cho continues to blend tradition and innovation, structure and softness, his work serves as a quiet but powerful reminder: in an industry often fixated on spectacle, it is the emotional core—the story behind the gown—that truly endures. Michael Cho.jpeg Michael Cho.jpeg Michael Cho.jpeg Michael Cho.jpeg 1/5 Images provided by Michael Cho

Veejay Floresca Trans-woman Couturier Championing Diversity and Innovation: The Inspirational Journey of Veejay Floresca in Fashion The fashion industry's evolving demand for diversity is ushering in a new era, rooted in inclusivity and gender fluidity. Leading this revolution is the inspiring Veejay Floresca, whose creative brilliance as a transwoman couturier in San Francisco, California, stands as a testament to her success. Raised in the vibrant urban landscape of Pasay City in Metro Manila, Veejay Floresca's early aspirations were influenced by her father's legal career. The city's rich cultural heritage, highlighted by the prestigious Cultural Center of the Philippines, added depth to her upbringing. However, Veejay's path took a significant turn when her father passed away before she could complete high school. Navigating the challenges of competitive college admissions and financial constraints, Veejay found herself at De La Salle-College of Saint Benilde. During her admission interview, she tearfully recounted her father's passing and the ensuing financial hardships, which made college seem unattainable. Touched by her story, the college awarded her a full scholarship. While the institution lacked a pre-law program, it unveiled an unexpected opportunity in fashion design. Embracing this new direction, Veejay excelled, ultimately graduating summa cum laude. Reflecting on her journey, she remarked, "Destiny led me to fashion design. Like in a beauty pageant, if a crown isn't meant for you, then it's not, regardless of how many times you compete." Determined and goal-oriented, Veejay embarked on her entrepreneurial journey by founding her own business. With savings in hand, she journeyed to London for a six-month bridal wear program before pursuing a master's degree in fashion design at the Academy of Art University in San Francisco, where she chose to settle. When asked about the industry's challenges, Veejay candidly replied, "You really need financial backing. It's tough, especially in the U.S." Juggling multiple roles in her one-woman enterprise, she serves as designer, pattern-maker, delivery person, and social media manager. Recalling an early success during her college years, Veejay shared her experience of participating in a prestigious design competition in the Philippines. Selected for Team Philippines in Paris, she faced a daunting obstacle: lack of funds for the trip. "I couldn't afford Paris, so I cried," Veejay confessed. Fortunately, a co-designer stepped in, ensuring her creation graced the international stage. "Fashion is an art, a business, and a platform for social activism," Veejay asserted. While runways once exclusively featured size 0 models, inclusivity now reigns, showcasing diversity in age, body type, and identity. Raised in a country rich in cultural diversity, Veejay promotes her heritage by infusing Filipino design elements, such as pineapple textiles and traditional butterfly sleeves, into her creations. "I'm a proud Filipina designer, embracing my roots," she affirmed. Veejay's latest endeavor champions sustainability through upcycling. "As a transwoman, my clothes reflect who I am," she noted. Deconstructing men's attire to suit women, Veejay finds joy in the science of upcycling. Reflecting on her scholarship-supported journey, Veejay emphasizes the importance of giving back. Through The Veejay Floresca Foundation Grant, she sponsors four aspiring fashion designers in the Philippines, including transgender and LGBTQ+ individuals. "Their success is my accomplishment," Veejay concluded. A pillar of strength in her own narrative, Veejay Floresca fearlessly opens up about her journey through past and present obstacles, undeterred by setbacks but rather fueled by the promise of her future success. She's truly a rising phoenix, embodying resilience and determination that deeply resonates with us all. Photo credit: Provided by Veejay Floresca

Dayat Sutisno Indonesia Dayat Sutisno.jpg Dayat Sutisno.jpg 1/1 Photo credit: Dayat Sutisno His photography captures profound stories in a single frame, making words almost unnecessary. Dayat Sutisno is an Indonesian photographer known for capturing compelling images that often reflect the rich cultural and natural landscapes of Indonesia. His work typically emphasizes the vibrant life, traditions, and scenic beauty of the country, bringing to light aspects of Indonesian society and environment that might otherwise go unnoticed. Sutisno's photography is noted for its vivid use of color and composition, which creates a powerful visual narrative.

Fluid Gold Journal is an online journal publication, featuring dynamic substance and engaging lives from Filipinos and Asian communities across the globe. Incandescent Creatives Roman Zaragoza Actor, Director, Producer Sybil Wa Architect Michael Cho Design Director for Bridal & Evening Wear Elizabeth Clenci Miss Grand Philippines 2017, Musician Health Advocate Taylor Yasui Cellist & Real Estate Professional Actor, Director, Producer ART GALLERY Biligt Enkhtaivan Nancy Qin Herminio Tan Niyamat Mehta Travel & Lifestyle Diary La Maison des Crêpes, Paris France DISCOVER

Nguyễn Tiến Truyển The Tapestry of Dreams: Nguyễn Tiến Truyển weaves thread into divine creations Nguyễn Tiến Truyển’s journey in fashion is akin to crafting an extraordinary dress, where every ambition is a stitch that transforms simple fabric into a masterpiece. His story reflects not only his personal dreams, but also the vision of his mother, creating a rich tapestry of shared aspirations. FROM HO CHI MINH CITY TO GLOBAL RECOGNITION Nguyễn Tiến Truyển, the celebrated Vietnamese fashion designer behind the brand 'Nguyen Tien Truyen,' gained international acclaim after winning *Project Runway Vietnam* in 2015. Born in the vibrant city of Ho Chi Minh City, his designs capture the city's dynamism and cultural blend of Vietnamese, Chinese, Khmer, French, and American influences. Ho Chi Minh City, Vietnam’s largest metropolis, brims with energy and an eclectic mix of traditions, embodied in its welcoming people and their lively way of life. A CHILDHOOD STEEPED IN FASHION Nguyễn’s fashion journey began well before his television success. His foundation was laid in childhood, inspired by his mother, a seamstress with her own dreams of sewing. Despite challenges, she sparked a profound passion in him. Nguyễn reflects: "Having inherited the enthusiasm from when I was still in my mother's womb, I showed my sewing abilities at a very early age. As I grew up, that passion grew stronger and stronger, and this is when I thought that it was my calling to continue writing the dream on behalf of my mother." His formal education at Hoa Sen University in Ho Chi Minh City, affiliated with the French Modern Art Fashion Academy, honed his skills for the global stage. AVANT-GARDE VISIONARY Nguyễn’s style, under the brand 'Nguyen Tien Truyen,' is a captivating blend of contemporary and traditional elements. He describes his approach: "My design style is rooted in the avant-garde, a realm where imagination knows no limits and innovation thrives. My designs are a dance between the past and the future, where traditional Vietnamese elements seamlessly blend with contemporary innovation, creating timeless yet modern pieces." His creations often channel divine inspiration, with garments fit for goddesses. For instance, 'The Black Athena,' an evening gown for CEO Duong Thu Huang at Cannes 2023, draws on the strength and elegance of the Greek goddess Athena, merging the sacred with the sublime. INSPIRATIONS AND ASPIRATIONS Nguyễn’s influences are as bold as his designs. He reveals: "Alexander McQueen has always been my greatest source of inspiration. His fearless creativity and groundbreaking designs have fueled my fashion dreams since I was young. I would love to design for Lady Gaga; she embodies the spirit of avant-garde fashion and isn't afraid to push boundaries, much like myself." This inspiration is evident in the evening gown worn by beauty queen Andrea Aguilera (Miss Supranational 2023) at the Miss Supranational pageant 2024 in Poland. The gown, inspired by burning fire, transforms the wearer into a mesmerizing flame, as if channeling the power of a goddess. SUSTAINABLE FASHION PIONEER Nguyễn is also a leader in sustainable fashion. In 2022 at the Vietnam International Fashion Week, Nguyễn along with other designers showcased upcycled fabrics made from coffee fiber, oyster shells, and recycled plastic bottles, demonstrating his commitment to eco-friendly practices and environmental responsibility. CULTURAL STEWARDSHIP THROUGH VIETNAMESE SILK Nguyễn’s use of Vietnamese silk honors his country’s cultural heritage. This luxurious fabric, once reserved for royalty, symbolizes tradition and craftsmanship. His intricate designs merge this silk heritage with avant-garde fashion, creating pieces that are both culturally significant and modern. OVERCOMING CHALLENGES Establishing 'Nguyen Tien Truyen' came with challenges. Nguyễn reflects on his biggest hurdle: "Communicating a deeply personal and unique vision in an industry that was not yet ready to embrace such distinctiveness. It was like introducing a new dialect in a familiar language." Though avant-garde fashion is gaining traction among younger, urban Vietnamese, more conservative regions still emphasize modesty. Nguyễn continues to broaden his international presence, steadily achieving his goal. ADVICE FOR ASPIRING DESIGNERS Nguyễn Tiến Truyển offers this wisdom to aspiring designers: "Be true to yourself and your vision. Understand your unique style and let it shine through your work." His journey from Ho Chi Minh City to the global fashion stage is a testament to the transformative power of dreams and the significance of cultural heritage. Nguyễn’s avant-garde designs, blending Vietnamese tradition with modern innovation, continually reshape the fashion landscape. By channeling divine inspiration into his creations and honoring his mother’s dreams, Nguyễn crafts garments worthy of goddesses, making each piece a profound statement of identity and purpose. In a world driven by fleeting trends, Nguyễn Tiến Truyển and his brand ''Nguyen Tien Truyen' stand as beacons of authenticity and vision. His dedication to sustainability and cultural preservation not only elevates his work beyond art but also ensures he will continue to stun the global community with his undeniable divine creations. As his influence grows, Nguyễn inspires others to turn their dreams into reality, showing that with passion and diligence, one can craft a legacy that is both timeless and profoundly impactful. 1/4 Images provided by: Nguyễn Tiền Truyền

Fluid Gold Journal is an online journal publication, featuring dynamic substance and engaging lives from Filipinos and Asian communities across the globe. In Focus: Creative's Introspection Nguyễn Manh Lan Vietnamese Model & Actor, Mr. Vietnam 2024, 1st Runner-up Mr. International 2024 Mirjan Hipolito Filipina Beauty Queen & Travel Writer Shaira Ventura Tausug Fashion Model Arman Nurmukhanbetov Kazahk Cultural Historian & Shaman James Ramsey Korean American Architect & Inventor Charlie Le Grice Maori Multidisciplinary Professional ART GALLERY KATRINA PALLON Filipina Artist MEGAN FOO SINGAPOREAN ARTIST MARIO MERCADO AN HOMAGE TO A FILIPINO ARTIST 1938-2021 Travel & Lifestyle Diary Studio Bumi Studio Bumi Studio Bumi Studio Bumi 1/5 Studio Bumi: Indonesian Communal Dining in Brooklyn NY by: Bagus Ruswandi | Indonesia How It All Began For as long as I can remember, I’ve tied my self-worth to being useful to others. Now, at 32, I’m rewriting that narrative—I don’t want to be useful; instead, I want to add value. Studio Bumi began in my studio apartment in Park Slope in the fall of 2023. I had moved to the US in the summer of 2021 for grad school, leaving behind a legal career in Indonesia. I was navigating life in New York City, balancing new opportunities with the challenges of starting over in a new country. By the fall of 2023, I was laid off from my job at a law firm—a moment that left me grappling with uncertainty but also gave me space to reimagine what I wanted my life to be. The transition was daunting, but I reminded myself how lucky I was to uproot my life at 29, fly halfway across the world, and build something new—not just to make a living but to create a life. Cooking for Others for the First Time After I got laid off, I suddenly had all the time in the world. Between bouts of anxiety, I turned to cooking as a creative outlet. I binge-watched TikTok and YouTube tutorials, bought way too many kitchen gadgets, and threw myself into experimenting in the kitchen. I wouldn’t call myself a natural chef, but I’d always been comfortable in the kitchen—helping my family prep meals or clean up after dinner. That familiarity gave me the confidence to start. I began inviting friends over for lunch, serving dishes that I’d learned or improvised. Those lunches quickly became the highlight of my week (I hope they felt the same). For me, the meals weren’t just about food—they were about slowing down, creating something, and fostering a sense of connection. Week by week, I became more confident in the kitchen and more energized by the idea of creating a space for others to share a meal. How It Became a Communal Dining Project A few months after going full-time with Studio Bumi, I crossed paths with Monica and Jackson from ThirdSpace NYC. They were building this beautiful project in Bushwick—in a loft dedicated to reimagining public spaces and fostering intentional community events through financially accessible programs and collaborations with other local communities. It felt like the perfect sign. Every Friday, I’d show up at ThirdSpace, post the menu online, and cook. At first, there were five guests. Soon, it grew to a steady 15 people every week for the next nine months. It was surreal. From every person I cooked with and shared stories with, celebrating my 32nd birthday, learning how to give "chef's remarks," meeting some of the first volunteers for the studio, even becoming the co-founder of the project itself, connecting with new friends I know will be in my life for a long time, and making connections that will last me a lifetime. This chapter of my life was like living a dream while wide awake. From these community lunches, I started hearing stories from people who felt isolated in the city. New York can be overwhelming and lonely. Those conversations inspired me to create something more intentional: a space where people could come together over a meal, not just to eat but to connect meaningfully. A New Kind of Pop-Up: Guided Conversations Over Dinner At Studio Bumi, the food is just the gateway. What truly sets our communal dining apart is the element of guided conversation—an intentional effort to help my guests connect on a deeper level, or at least close to it. Unlike regular pop-ups, where strangers may sit side by side without ever exchanging a word, I am always adamant about inviting my guests to share something about themselves. Before dinner, I let them know they’ll be part of a guided conversation, with questions like, “Can you share your name and one good thing that happened to you this week?” This simple prompt often becomes a thread for the evening. Guests pick up on each other’s stories, and conversations ripple across the table—even reaching those sitting all the way on the other side. By the end of the night, many guests find themselves still talking about the good things they shared. During the dinner, while I have my partners and volunteers prep the food, I try to work the room. I support guests who may look a little lost, help them connect with their neighbors, and encourage the conversation to flow organically from one part of the table to another. It’s about creating a space where everyone feels seen and heard. The Connection Continues Post-Dinner The communal dining doesn’t just stop at dinner. After each event, guests receive a link where they can submit short blurbs about themselves—anything they’d like to share. These submissions are then compiled and shared with the other attendees, creating a space for conversations to continue or even new ones to begin. Whether it’s connecting over shared interests or revisiting an unfinished dinner conversation, this follow-up allows the community to grow beyond the table. It’s a way to bridge the gaps in the room and ensure no connection is left unexplored. Rooted in Home I chose to focus on Indonesian food for two reasons. First, because it felt close to home—and honestly, I’m my own toughest critic. Second, because I wanted to reconnect with a part of myself I had spent the past two years trying to detach from: home. I was so focused on trying to “make it in New York City” that I was already forgetting where I came from, what my stories meant, and what values I could add. This is why the communal dining experience is rooted in the Indonesian tradition of family-style meals. These events aim to bring strangers together in a meaningful way. For me, every event is more than just a meal—it’s an opportunity to connect, share thoughtful conversations, and build lasting relationships. The key is creating a consistent space where connections can start to flourish and doing it over and over again. Where We Are Today One year later, Studio Bumi has served over 300 clients through its Indonesian lunch sets, hosted five communal dining events with more than 150 dinner guests, held 30 community lunches at ThirdSpace, and made some occasional corporate appearances. Most notably, our last communal dining was hosted at the Indonesian Consulate—at their invitation! It was surreal to imagine, and honestly, everything felt like a blur. Looking ahead, we want to continue making our dining experiences more accessible—whether through increased frequency, regularity, or financial accessibility. This December, we’re excited to host our first restaurant pop-up at Rodeo in Crown Heights in collaboration with our friends at Off-Menu Magazine and Fellows Collective, and in the new year, we plan to expand our communal dining events and introduce even more exciting offerings. I never imagined I’d be able to start a business that’s also a labor of love—let alone in this city. Every single day is an opportunity to learn, and I feel incredibly lucky to do this. The food is just the beginning. It’s the people who make Studio Bumi what it is, and I’m endlessly grateful for every single person who has joined me at the table. Images provided by: Bagus Ruswandi, Founder

< Back Ron Yuan A Life Like a Serenade: Ron Yuan and the Integrity of Transformation Images Provided by Ron Yuan A life like a serenade does not unfold in a straight line, and neither has Ron Yuan’s — especially as an Asian American actor coming of age when faces like his were rare on screen. His career has never been a sprint toward celebrity, but a slow, stubborn composing of a life in the arts: a boy slipping off to rehearsals in New York, a working actor forcing open space in rooms that were not built with him in mind, a performer who disappears so completely into each role that audiences often do not realize they have been watching the same man. Along the way, he has been soldier and prince, doctor and gangster, weapons engineer and emperor — and, in The Mongol Khan, Archug Khan, a ruler whose power is measured not only in conquest but in conscience. Through it all, Yuan keeps his focus on the work itself: craft over noise, integrity over image, each performance another quiet note in a serenade that has lasted a lifetime. When Ron Yuan arrived in Mongolia to prepare for Mongol Khan, he was stepping into one of the production’s central roles: Archug Khan, the ruler he would go on to portray in the Singapore staging of the play in 2024. What he encountered was a production of extraordinary scale, one he later described as “like Cirque du Soleil meets Shakespeare.” It was not simply a return to the stage after years of screen work, but a return to a part of himself — the New York theater child who had first learned to love performance as a living, physical act of commitment. At the center of that experience was Yuan’s performance as Archug Khan — a leader burdened by duty, betrayal, and the painful consequences of power. In Yuan’s telling, Archug was not only a monarch but a moral study: a man trying to lead honorably while navigating incomplete truths, emotional wounds, and the consequences of trust. That tension makes the role a fitting entry point into Yuan’s broader artistic life, one defined not by spectacle alone, but by discipline, humility, and a rare fidelity to craft. What emerges in conversation is not simply the portrait of a veteran actor, but of a genuine artist — one whose career has been built on integrity rather than self-display, and on a willingness to disappear completely into the demands of the work. The Heart of Power In Mongol Khan, Yuan played Archug Khan, a ruler whose authority is tested by deception, loyalty, and the moral consequences of judgment. Yuan was drawn to the role not because it offered grandeur, but because it offered contradiction. “I found it very exciting,” he says. “For me, a chance to, like, provide more layers for a character.” Rather than flattening the ruler into an emblem of authority, he sought to reveal the emotional currents underneath the crown. “I think by grounding yourself in the true emotions makes him naturally more sympathetic,” Yuan explains. “He has done certain things for love. He has done certain things that he felt were righteous for his nation.” In his hands, Archug becomes a man whose failings are inseparable from his conscience. His errors do not come from indifference, but from the tragic vulnerability of someone trying to act justly in a world shaped by betrayal. That inner code is what most interested Yuan. “He rules from the heart,” he says. It is a phrase that resonates beyond the role itself, because it also describes the values Yuan continues to return to in his own life and work. “If we had leaders that try to rule righteously from the heart and not with alternative motives of greed and other stuff in power,” he reflects, “I think we would all be in a better place globally.” There is nothing cynical in the way he says this. Even while acknowledging that such leadership would still be imperfect, Yuan remains deeply invested in the possibility that strength and sincerity can coexist. That belief gives Archug Khan its emotional force, and it gives Yuan’s performance its quiet gravity. From Invisibility to Presence Yuan’s understanding of power is inseparable from the landscape in which he grew up. As an Asian American kid in Manhattan, he came of age in a media culture where faces like his were scarce. “Yeah. It absolutely fueled me. Absolutely, without a doubt,” he says of that absence. Bruce Lee was one of the first figures to make a profound impression on him, though not simply for martial arts. Yuan speaks of Lee’s presence, his magnetism, and the revelation that he, too, had once been a child actor. He also looked elsewhere for models of dignity and command. “Who was mine? Sidney Poitier,” Yuan says, recalling how many Asian American performers of his generation looked to Black actors as early examples of what centrality on screen could look like. Today, younger generations inherit a different cultural landscape — one with more Asian protagonists, more international crossover, and more visible forms of representation. Yet Yuan remains careful to distinguish visibility from artistic depth. “Don’t ever forget the craft,” he says. For him, the danger is not simply underrepresentation, but a culture that prizes exposure over substance. “The craft is the star, not us,” he says. “So we have to keep feeding it.” The line feels central to his philosophy. In an era increasingly driven by metrics, followers, and image, Yuan continues to insist on the harder, slower work of becoming — not merely appearing. The Work Behind the Image One of the most striking things about Ron Yuan’s body of work is how fully he vanishes into it. With each new role, he does not simply arrive as a recognizable star carrying the same mannerisms from one project to the next. He transforms. The face, the posture, the rhythm, the energy — each becomes so specific to the character that viewers often do not realize they are watching the same actor. Yuan himself acknowledges this pattern with a mixture of humor and acceptance. “A lot of people [say], I didn’t realize that was you,” he says. He adds that he has “always wanted to just be different, look different, do different stuff,” and that this instinct has been so strong that even agents have urged him to keep a more consistent appearance so audiences would recognize him more easily. That is precisely what makes his work so unusual. There are performers who remain fundamentally the same in every role, preserving a familiar persona that travels from project to project. Yuan is not that kind of actor. His gift is transformation, and the record of his screen work makes that plain. He played Master Sgt. Qiang in Disney’s Mulan; Prince Nayan in Netflix’s Marco Polo; Quon Zhang in The Blacklist; Ryu Tom in Sons of Anarchy; Lt. Peter Kang in CBS’s Golden Boy; Dr. Evan Zao in CSI: NY; Yeong, the main weapons engineer, in Independence Day: Resurgence; and David Park in Fast & Furious. Seen together, those roles reveal the scale of his range. He can move from imperial command in Mulan to political intensity in Marco Polo, from procedural sharpness in CSI: NY to menace and unpredictability in Sons of Anarchy, without ever seeming to repeat himself. From the audience’s point of view, that is no small feat. It is an actor’s actor skill: the ability to reshape not only appearance, but presence. That ability is not cosmetic. It reflects rigor, imagination, and a profound respect for character as something to be built from the inside out. The same seriousness shapes his work in action and directing. He speaks of being “very physical” from an early age, combining dramatic performance with dance, stage combat, and choreography. Later, when acting work for Asian American performers remained limited, he designed action sequences to support himself, and in doing so sharpened his understanding of camera, movement, and visual storytelling. “It really educated me on how to shoot,” he says. That education became part of a larger artistic identity. Yuan did not approach choreography as an accessory to performance, but as another dimension of storytelling. He studied framing, learned the language of cinematography, and developed the visual instincts that would help lead him toward directing. What stands out is the continuity of purpose: whether acting, choreographing, or directing, he speaks always from the same place — a commitment to doing the work truthfully and well. That commitment is still visible in his present-day work. In May 2026, Yuan and his brother Roger were featured by the Directors Guild of America’s Asian American Committee in “Filming the Impossible: A Celebration of Asian Action Filmmakers,” where they spoke about best practices for directing action and presented a live demonstration. The moment feels less like a side note than a continuation of everything the interview reveals: the actor who studied movement, the choreographer who learned framing, and the director who now helps articulate the craft for others. That integrity also extends to the way he talks about Mulan. “We were honored. All of us were honored… to be a part of that project,” he says. He remembers the sense of possibility surrounding the film and the hope that it might mark a cultural turning point. Even when discussing the uneven pace of change in Hollywood, his emphasis remains on continued effort, collective responsibility, and the need to keep creating work of substance. Family, Roots, and the Long Song If Yuan’s public life is defined by transformation, its roots lie in a private struggle for permission. “My family didn’t want me to be an actor, so I couldn’t go to school for it,” he says. Instead, he built his path quietly, taking classes and rehearsing while telling his family he was staying late for schoolwork. His grandparents had envisioned a more traditional future for him — “doctor, politician, architect” — but Yuan already knew, very early, what called to him. “I knew that I wanted to act, since I was really, really young,” he says. That conviction remained intact even when it had to be carried in secret. His reflections on his brother Roger are especially moving. Though both eventually found their way into the industry, Yuan describes a long period in which the two moved through life with a certain emotional distance, shaped by a demanding upbringing and by personal experiences they only later began to share with one another. Only later, in midlife, did that distance begin to dissolve. “We’re closer now than we’ve ever been,” he says. There is a generosity in the way Yuan tells this part of the story. He does not frame family in bitterness, but in complexity — as a place of duty, silence, love, expectation, and eventual recognition. He speaks tenderly of his parents, and of the way his father, especially later in life, became freer to express pride in what his sons had built. “After they left, that was when you could see that my father was happier to freely express… that he was proud of us and what we did.” And then there is the word that hovers over the whole arc of his life: serenade. Yuan reaches for Cyrano de Bergerac when asked what the word means to him. For readers unfamiliar with the story, Edmond Rostand’s classic play centers on Cyrano, a brilliant, eloquent, deeply sensitive man who loves Roxane but believes himself too outwardly unattractive to win her openly. Instead, he lends his words to the handsome but inarticulate Christian, helping another man speak the love Cyrano himself cannot claim. That is why the story moves Yuan so deeply. “Although Cyrano was in love with her, and was in so much pain, but he wanted her to be happy,” he says. For him, that act of giving — of offering language, beauty, and feeling without needing recognition for it — is a form of serenade. The comparison feels unexpectedly exact. So much of Yuan’s career has carried that same quality: a long devotion to the work itself, often without the full recognition that should accompany it, and yet never reduced by that fact. “Was it frustrating on that journey? Oh, hell yeah,” he says with candor. But he does not leave the thought there. “I think it made me stronger. I think it gave me more colors, not just… in my journey of the characters I play, but also in my life.” That may be the clearest way to understand Ron Yuan — not simply as a working actor, or even as a symbol of endurance, but as an artist of uncommon integrity. He transforms without vanity, persists without bitterness, and returns again and again to the values that first shaped him: humility, discipline, depth, and heart. In an industry often drawn to surfaces, that kind of artistry does more than endure. It sings. Ron Yuan for Mulan.JPG Ron Yuan for Ronin.JPG Ron Yuan for Mongol Khan.JPG Ron Yuan for Mulan.JPG 1/8 Images Provided by Ron Yuan Previous Next

Artist Inna Yadne Work.jpg Inna Yadne Work.jpeg Inna Yadne Work.jpeg Inna Yadne Work.jpg 1/3 Images Provided by Inna Yadne Inna Yadne is a master of artistic bone carving, who has been working in a creative tandem with her husband, Viktor Yadne, for many years. The artist's work includes three-dimensional miniature sculptures, thematic compositions, elements of traditional national costume – men's belts, knives insheaths, as well as a wide range of jewelry – pendants, women's bone earrings, and keychains. The artist's three-dimensional works – sculptural images of the people of the North – demonstrate a careful transmission not only of the images of the indigenous inhabitants of Yamal, but also of the peculiarities of their material and spiritual culture. Each character, made of bone, tells a whole story about who this person is, what they do now, what they value in life, what they believe in... If the work depicts inhabitants of the natural world, the viewer learns about the habits of animals, their role in human life, and in nature as a whole. It is worth noting separately such a feature of Inna Yadne's creative works as the meticulous attention to detail: each character in the three-dimensional sculpture has very finely crafted details of the traditional national costume – female or male, hunting equipment, and traditional tools. When creating national belts, each bone plate of the belt practically becomes a separate work of art with exquisitely executed carving. National knives, made with relief carving, depict entire narrative scenes from the life of the northern peoples and the world of wildlife. The artist skillfully and tastefully uses traditional ornaments that emphasize the overall compositional completeness of the works or serve as their central element. The creative works of the craftswoman possess a characteristic feature of the works of Yamal carvers – a sense of space in front and around the object, which is often created by the precisely calibrated ratio of figures and the base, and the distribution of the lines of movement of the depicted figures on the base. Each of the craftswoman's works emphasizes the author's desire to highlight the advantages of the material used, be it its color, texture, shape, size, or density. This is especially noticeable in the series of pendants made of mammoth ivory and bone, where the use of the material's color is most vividly displayed, as well as the transformation of some seemingly "defects" of the bone into the decor of the product, into its original component. Inna Yadne perfectly masters the techniques of volumetric and relief carving, engraving, and inlay, combining materials such as mammoth ivory and bone, deer and elk antlers, metal, leather, and wood in her works. At the same time, she very accurately, precisely, and tastefully mounts the elements of the product, which also testifies to the author's great experience and skill. The theme of the work, its artistic design, presentation, and the finest elaboration of all the details – all this in a single harmonious composition becomes a uniquecreation that can captivate the viewer's attention for a long time. The process of getting acquainted with the craftswoman's work is both an educational process, an aesthetic pleasure, and an astonishment at the skillful carving from beautiful material, and admiration for the interesting images created with the smallest details – all that art serves. The original works of the master Inna Iadne, as highly artistic works of bone carving art, are a vivid example of the creativity of Yamal masters – bone carvers, and serve to strengthen and popularize Yamal art in general. For Inna Iadne, artistic bone carving is her main creative activity, a way of life, and her primary source of income. In addition to artistic bone carving, Inna also masters the technique of making traditional national clothing and beadwork. She is a participant in city, district, interregional, all-Russian, and international exhibitions of decorative and applied arts. She has repeatedly received certificates, diplomas, and letters of appreciation. The creative works of Inna Yadne, many of which were created jointly with Viktor Yadne, are in the private collections of well-known figures in culture and politics of the Yamalo-Nenets Autonomous District, Russia, and abroad. In 2009, she joined the All-Russian creative public organization "Union of Artists of Russia". In 2014, she joined the International Association of Decorative and Applied Arts. Participation of Inna Iadne in exhibitions: 2003 – International exhibition "United Land..." (Finland) 2011 – VI International exhibition-fair "Treasures of the North", 2nd place in the competition "Best work of national folk art", VVC, Moscow 2011 – VI All-Russian festival of song and dance creativity of indigenous small- numbered peoples of the North, Siberia and the Far East "Nomadic North", 3rd place in the nomination "Mistress of the Hearth" for a traditional women's costume, VVC, Moscow 2012 - Interregional exhibition-fair "Cold Steel. Traditions and Modernity", Salekhard 2012 2012 – VI Interregional Exhibition of Bone Carving Art "Soul of the North", Salekhard 2014 – District exhibition-competition "Yamal Souvenir", Salekhard 2014 – VII Interregional Exhibition of Bone Carving Art "Soul of the North", Salekhard 2015 – X International Exhibition-Fair "Treasures of the North", 3rd place in the competition "Best work of national art", VVC, Moscow 2015 -Participation in the First International Circum-Arctic Art Show in Reykjavik, Iceland 2015 - XXI Exhibition-Fair of Russian Folk Art Crafts "Ladya. Winter's Tale" 2016 - Participation in the Circum-Arctic Forum, Reykjavik, Iceland 2016 - Festival "Soul of the Tundra" of artistic crafts, Salekhard 2016 - VI All-Russian Festival "Bone Carving Art of the Peoples of Russia", Magadan 2016 - VIII Interregional Exhibition of Artistic Bone Carving Art "Soul of the North", Salekhard. 2017 - Exhibition at Arctic Fine ARTS Austria. Vienna. 2017 - XII International Exhibition-Fair "Treasures of the North. Masters and Artists of Russia 2017". "Best work of national folk art" in the nomination "National jewelry". Moscow. 2017 - Reporting exhibition "Union of Artists of Russia, Salekhard. 2017 - Craftsmen's Fair "Ivan-da-Marya", Yekaterinburg. 2018: XIII International Exhibition-Fair "Treasures of the North. Masters and Artists of Russia 2018". Recognition of the master for a significant contribution to the preservation and development of the traditional culture of the indigenous peoples of the North. Laureate in the competition "Best work of national folk art" in the nomination "Artistic processing of bone and horn", Moscow. 2018: 3rd International Festival of Folk Art "Young Arctic", Moscow. For winning at the youth festival. 2018: International Festival "Talents of the Arctic. Children", Anapa. 2019: XIV International Exhibition-Fair "Treasures of the North. Masters and Artists of Russia 2019", 2nd place "Best work of national folk art" in the nomination "National jewelry", Moscow. 2019: I Interregional Exhibition of Traditional Sewing of the Peoples of the North, Salekhard. 2019: Federation Council. International cultural and educational project "Talents of the Arctic. Children", Moscow. 2019: Expert in the International cultural and educational project "Talents of the Arctic. Children", Anapa. 2019: Participation in the exhibition of the Yamalo-Nenets branch of the All- Russian creative public organization "Union of Artists of Russia", Salekhard. 2019: Participation in the International festival "Riddu-Riddu", Norway. 2019: Participation in the International Forum "Arctic Circle", Reykjavik, Iceland. 2020: Participation in the V International Exhibition-Fair of achievements in the field of culture and traditional economic activities of the indigenous small- numbered peoples of the North of the Murmansk region. Murmansk. 2021 - Festival of National Creativity of Indigenous Peoples of the North, Siberia and the Far East of the Russian Federation "Inspiration of the Arctic". St.Petersburg. 2022 - Participation in a project and exhibition in Bern, Switzerland. 2024-2025 - Exhibition "Voices of the Arctic" at the Art Museum, New Bedford, Massachusetts, USA 2025-2026 - Exhibition "Earth; Connections", Queens Museum, New York, NY. Previous Next

James Ramsey Building a Future through Symbiotic Opposition: James Ramsey's Lowline and the Harmony of Urban Nature Architecture thrives with symbiotic opposition, and New York City exemplifies this dynamic contrast, balancing innovation with preservation, and nature with urbanity. As the city that never sleeps, it continuously evolves to confront challenges such as urban density, climate change, and sustainability, all while maintaining its historical and cultural identity. At the forefront of this evolution is James Ramsey, an architect, inventor, and founder of RAAD Studio. His visionary Lowline project—an underground park currently in development—reimagines the potential of subterranean spaces and addresses urban sustainability in unprecedented ways. Vision and Innovative Approach Unlike other urban projects that merely adapt existing frameworks, Ramsey's approach is distinctly innovative. He perceives the Lowline not just as a park but as an urban archaeology initiative that invites exploration and discovery. This perspective sets Ramsey apart from his contemporaries, as he integrates elements of history and technology to create a space that fosters community engagement and environmental awareness. His work resonates with global urban innovation trends yet remains unique in its execution and philosophy. The Lowline stands as a reflection of his commitment to transforming neglected spaces into vibrant public realms, challenging the status quo of urban design and inspiring future generations of architects to think beyond conventional boundaries. Born in New York City to Korean and American parents, James Ramsey, a Yale University alumnus and avid origami enthusiast, recalls his first profound architectural experience during his youth while visiting relatives in France. "A little 12-year-old me walked into a cathedral, and I was just blown away by the power of that space," Ramsey shared. Immersing himself in the intricacies of Gothic architecture, he became fascinated by how structures built with heavy stone, adorned with extravagant buttresses and columns, could evoke a sense of lightness. "It just gave me such a profound shift in perspective—that is something I brought with me for years," he added. Journey Through NASA Ramsey began his NASA career at the remarkable age of 19, taking on a pivotal role in the Pluto Fast Flyby project and contributing to the development of the Cassini mission to study Saturn, which successfully launched in 1997. Reflecting on the trust placed in him, he remarked, "It is kind of startling to me that they would give so much responsibility to someone so inexperienced and young." Despite his youth, Ramsey's brilliance was evident as he developed an infrared spectrometer for the Pluto Fast Flyby mission. "A spectrometer which allows you to see through a piece of optics at the surface of Pluto," he explained. This technology aimed to analyze the planet's surface by identifying its substances and elements. While the Pluto Fast Flyby mission was ultimately shelved, its concept was later revived with newer technology as part of the successful New Horizons spacecraft, which launched in 2006 and reached Pluto in 2015. Reflecting on his early career at NASA, Ramsey remarked, "Combining engineering with craft to create a design effect is something that has pervaded my understanding of architecture," a philosophy that underscores his innovative approach to design. The Lowline Project As the visionary behind the Lowline, James Ramsey has developed innovative "remote skylight" technology that demonstrates how forgotten subterranean spaces can be transformed into vibrant, sustainable environments. This groundbreaking system channels natural sunlight underground to address the loss of above-ground green spaces. It captures sunlight via a rooftop collector, amplifies it with parabolic concentrators, and directs it through fiber optic cables into the underground park. The 2015 Lowline Lab prototype validated the technology's success, enabling over 100 plant species, including edible varieties, to thrive in an underground ecosystem. At its core, the project aims to revitalize the historic Williamsburg Bridge Trolley Terminal—a 60,000-square-foot space abandoned since 1948. Ramsey's vision extends beyond New York City. During the 2017 Seoul Biennale of Architecture and Urbanism, he presented his solo art installation, Invasive Regeneration , which brought light into a dark, abandoned space, demonstrating the emotional resonance of his technology. Reflecting on the experience, Ramsey shared, "It was one of my favorite things that we've ever built." This installation not only underscored the profound relationship between light and space but also stood as a powerful metaphor: bringing light into darkness is not just a physical transformation but a declaration of optimism, a reminder that even in the bleakest moments, renewal and hope can emerge. Highlighting his extensive work in Korea, he noted, "I ended up having a lot of professional connections to Korea and a lot of reasons to travel there for work. And it ended up for me being something that allowed me to reclaim my heritage and connect with it." During these visits, he also cherished the time spent with his late grandmother, describing his connection with her as a profoundly meaningful experience that deepened his ties to his heritage. Invasive Regeneration poetically illustrated Ramsey's unwavering belief in illuminating the darkest corners of urban landscapes, literally and metaphorically, echoing the profound impact he experienced as a child when first stepping into a Gothic cathedral in France, where the interplay of light and space left an indelible mark on his architectural sensibilities. Facing Challenges Despite significant fundraising challenges—"We are in a place where there is a pretty significant fundraising hurdle"—Ramsey remains steadfast in his vision. His persistence in directing light into forgotten spaces reflects a deep-seated grit and belief in the power of innovation to overcome seemingly insurmountable obstacles. Situated in a diverse, immigrant-rich neighborhood on Manhattan's Lower East Side, the Lowline underscores the complexities of urban revitalization, blending innovation with cultural preservation. The Lowline's potential extends beyond mere aesthetics, promising to reshape community interactions and improve mental health by providing much-needed green space in dense urban environments while also addressing issues of environmental justice in underserved neighborhoods. As cities worldwide grapple with increasing population density and diminishing green spaces, projects like the Lowline represent a crucial step towards sustainable urban design, aligning with broader global efforts to create livable cities for the future. The Importance of Craftsmanship While discussing ancient structural innovations in countries like China, Japan, and India, James Ramsey highlighted the enduring importance of craftsmanship in architecture. "There is such a heavy emphasis on craftsmanship—touching material, shaping it, and understanding how it fits together has been a focus of the work that we do in my studio," Ramsey explained. This reflection is particularly relevant today, as many contemporary architectural practices prioritize cost efficiency over the true value of craftsmanship, often favoring mass production over thoughtful design. Ramsey emphasized that understanding localized materials—and how they are thoughtfully assembled—is critical to creating sustainable, durable structures. This approach not only honors the cultural and environmental context but also fosters innovation rooted in tradition. Japan, in particular, holds personal and professional significance for Ramsey; his parents lived there briefly during his infancy, and he has since returned to study its architecture and landscape design. These visits allowed him to immerse himself in traditional wood joinery and engineering techniques, which maximize the potential of native materials by prioritizing how they interlock and function together. Such methods produce structures resilient to extreme climates while embodying timeless craftsmanship. Conclusion: Meaning and Reconnection By reflecting on these traditional practices, Ramsey underscores the importance of reintroducing careful material understanding and assembly into modern architectural practices, ensuring that innovation does not come at the expense of durability or cultural integrity. Reminiscent of Louis Kahn's famous words, "We are born of light. The seasons are felt through light. We only know the world as it is evoked by light," Ramsey's work embodies a philosophy where light not only sustains life but also transforms neglected spaces into symbols of connection and renewal. Amidst the challenges of urban change, Ramsey's design principles and vision offer a path to making a dynamic city like New York more defined, resilient, and attuned to the deeper needs for meaning and reconnection in a rapidly evolving world. 1/3 Images provided by: James Ramsey

Herminio Tan Herminio Tan.jpg Herminio Tan.jpeg Herminio Tan.jpg Herminio Tan.jpg 1/6 Images provided by Herminio Tan Born on Nov 15, 1991, Herminio Tan embarked on his artistic journey in 2013, crafting wearable artworks, usually made of bones and resins, that ignited the fashion industry, art photography, and film. Over the years, his artistic evolution has embraced a diverse range of mediums, including porcelain and Japanese clay, resin, wood, and brass. Herminio's whimsical, experimental, and mythological creations evoke sweet nostalgia, illustrating humanity's profound connection with the inner self, nature and beyond. Specializing in customized works, Herminio Tan tailors his art to individual visions. With a diverse clientele spanning various industries, he remains a dynamic artist, continuously pushing the boundaries of his craft through ever-changing styles and innovative expressions.