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Interior Design — Open-Plan Family Space
Interior design project focused on creating an integrated family space. A wall was removed to connect the kitchen with the living room and children’s play area, creating a more spacious, functional, and connected environment. The design allows each space to remain functional while maintaining visual continuity and a warm, welcoming atmosphere throughout the home.
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A warm contemporary residential interior that combines natural wood, soft neutral tones, elegant decorative elements, and carefully selected lighting. The design focuses on creating a comfortable and cohesive atmosphere while maintaining a modern and refined aesthetic, presented through realistic 3D visualization.
Real-time interactive orb built for a smart home landing page concept. Cursor-based movement, hover-triggered status panel, tuned lighting to match warm golden-hour ambient scene. No baked animation everything driven by live interaction.
So cool man. Love the animation
TOTEM — The Gate (bonus piece — my main entry is here 👇)
Main submission TOTEM: https://contra.com/community/Y6nZXmUy-totem-flora-museum-challenge-submission — that's the one to upvote for the challenge.
This piece is a side visual from the same project TOTEM.
Traditionally, welcome poles stood at the edge of a Northwest Coast village to greet visitors, and every totem pole carried a clan's lineage and history in its carved figures — a record of memory, not an idol.
In TOTEM, three separate pole models — Tlingit (1820–40, wood), Haida (1875–85, wood, pigment), and one carved in argillite around 1890 by Charles Edenshaw — are reimagined not as three separate standing poles, but fused into a single arch at the shrine's threshold, keeping that same essence: they carry clan memory and greet whoever arrives.
One gate instead of three poles, reforged in metal instead of wood and stone.
The Met's own records don't specify what each carved figure on these three poles depicts, so the imagery in TOTEM's version is my own extrapolation — grounded in the real, documented purpose of welcome poles and clan-crest carving, not a literal reading of these specific figures.
Model poles like these first appeared in the Pacific Northwest in the 1860s, once full-sized totem poles were no longer being carved at the same scale — smaller versions became the way carvers, including Edenshaw, kept the same imagery and tradition alive for the next generation. In the post-collapse world of TOTEM, that same tradition is deliberately amplified: several poles are merged into a single arch, scaled up to a monumental size, and carved in a far more durable material — metal instead of wood and stone — so that it reminds everyone who passes through of the history of the lineage it carries.
Totem Pole Model — Tlingit, 1820–40 — wood
https://www.metmuseum.org/art/collection/search/319073
Totem Pole Model — Haida, 1875–85 — wood, pigment
https://www.metmuseum.org/art/collection/search/319081
Totem Pole Model — Charles Edenshaw, ca. 1890 — argillite (carved stone)
https://www.metmuseum.org/art/collection/search/319092
👉 Full story TOTEM: https://contra.com/community/Y6nZXmUy-totem-flora-museum-challenge-submission
#floramuseumchallenge #flora #metmuseum #generativedesign #FLORAMuseum
Perfect!