In the rapidly evolving landscape of cities and societies, architecture is often understood as a product of functionality and efficiency—it responds to population growth, land scarcity, and technological progress. Yet, the works of architect and artist Hengmo Hu offer a perspective that space is not merely a container; it can also influence human perception, emotion, and memory.
Hu holds a Master of Architecture from the University of California, Berkeley, and has practiced architecture and design in London, San Francisco, Beijing, and Shanghai. He has collaborated with internationally renowned firms including Zaha Hadid Architects, Dumican Mosey Architects, Xing Design, and the Beijing Institute of Architectural Design. These cross-cultural and cross-regional experiences have helped shape his distinctive artistic language—one that blends architectural logic with artistic metaphor.
Hu’s practice spans architecture, visual art, and technology, with exhibitions in London, San Francisco, and Beijing. His recent series, The Age of Silence, employs architectural sections and layered drawings as narrative tools, turning spatial constructs into expressions of social memory that reflect the intersections of history, class, and personal emotion. As Hu notes: “My training as an architect allows me to understand the logic of space and structure, while my identity as an artist gives me the freedom to explore metaphor and emotion. The interplay between the two is what fuels my creative process.”
This approach to spatial storytelling can be traced back to Hu’s early academic work. In his thesis project at UC Berkeley, “Alzheimer Village,” he focused on patients with Alzheimer’s disease, designing a “spatial village” guided by familiar circulation patterns and natural light. The project aimed to address issues of dignity and belonging for individuals living with cognitive impairments. Over time, this concept of “space as narrative” has evolved, ultimately contributing to the body of work Hu presents today.
In his international practice, Hengmo Hu has not only gained valuable professional experience in London, San Francisco, and Beijing, but has also contributed to notable public projects in Shanghai. As a key member of the design team, he worked on the interior and spatial installations of Yuyuan Station on Shanghai Metro Line 14. The project features a sculptural structure resembling a “winged heart,” complemented by an undulating ceiling of rippling curves that symbolize the grandeur of the Huangpu River—bringing the city’s landscape above ground into the underground space. These rhythmic “waves” gently cascade onto the columns, creating a dynamic cadence. If the metro system is the artery of Shanghai, then in its deepest station at Yuyuan, one can nearly sense the heartbeat of the city itself.
Hu’s international professional experience has significantly shaped his artistic direction. In London, he encountered the fluid boundaries between architecture and art; in Beijing, he absorbed the significance of urban memory; and in San Francisco, he reflected on the changing relationship between technology and design. This cross-cultural accumulation allows him to seamlessly incorporate social issues, historical metaphors, and personal memories into his work.
This year, Hengmo Hu’s exhibition Chronicles of Silence – Architectural Works 2015–2025 was selected for the London Design Festival, presenting a decade-long retrospective of his ongoing exploration of time, memory, and space. At the same time, he is preparing a solo exhibition in Seattle that will showcase The Age of Silence series in a more complete narrative form. Additionally, he is planning a publication project focused on “memory and space,” combining images and texts to explore architecture as both a cultural and psychological extension.
“Through architecture and art, I aim to transform space into a narrative form—one that not only serves a functional purpose, but also records time, memory, and human experience,” Hu reflects on his artistic journey.
Through his dual practice in architecture and art, he is building a narrative system that transcends geography and context—an exploration of space that also acts as a vessel for culture and memory.
