Interview about We Belong Here Corporate Identity, winner of the A' Graphics, Illustration and Visual Communication Design Award 2023
We Belong Here is an interactive exhibition branding concept for Otis Design Week that encourages cross-cultural collaboration. Through customized tops, students can express their identities, foster communication, and build a community that transcends language and cultural barriers. This tool promotes inclusivity and equality, making it a valuable addition to any educational program.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsThis design was created for Otis Design Week, a program welcoming new MFA Graphic Design students from diverse backgrounds. At the time, it was everyone’s first encounter with one another, and we were asked to quickly create an exhibition using elements from our personal backgrounds. I thought it would be great to turn this into an opportunity for ice breaking, and I began thinking about how to make the experience fun and engaging.That was when the idea of turning a self-introduction tool into a game came to mind. The spinning top felt like the perfect object. It is playful, interactive, and free of bias. Later in my research, I discovered that spinning tops are part of many cultures around the world, which reinforced the idea.Each top carried basic personal information, such as country of origin, current location, gender, and personality traits, and participants were encouraged to customize their designs. When spun, the graphics on the top would blur and merge, symbolizing how everyone’s unique background comes together and mixes in motion. This was intended to be a metaphor for creating one’s own color through interaction, a way to express individuality while connecting with others.I believed that the act of spinning a top, bringing people together, sharing stories, and letting various identities interact could serve as a powerful and joyful metaphor for cross-cultural connection.
The color palette for We Belong Here was inspired by the Olympic colors. I was drawn to the idea that the Olympic rings represent the union of different continents and symbolize global unity. I wanted the colors to carry that same inclusive spirit—something that could resonate universally without favoring any specific culture or region.By referencing the Olympic palette, I was able to create a set of colors that are bold, balanced, and instantly recognizable, yet neutral enough to transcend cultural bias. The goal was to make every participant feel represented and included, regardless of their background. The palette needed to be both inviting and flexible, able to hold multiple meanings while maintaining a cohesive visual language.
Although this project was developed before I formally began my experience at Otis, the school’s environment and its location in Los Angeles had a strong influence on my approach. As someone who came from South Korea, I wasn’t very familiar with the concept of pronouns as part of personal identity. One of the most striking moments during orientation was how everyone introduced themselves by also sharing their pronouns.That simple act highlighted the school’s emphasis on inclusivity, self-definition, and respect for difference. It made me think more deeply about how identity can be expressed and shared in open, supportive spaces. This awareness inspired me to design an ice-breaking experience that wasn’t just about getting to know one another, but about honoring the diverse ways we define ourselves. The spinning top became a tool for that—an interactive way to let each person express their identity and see it blend with others in motion.
The top-making kit was conceived as both a symbolic and participatory medium for cross-cultural exchange. Each interchangeable component, including its forms, materials, and color palette, was informed by visual references from different cultural crafts and traditions. By allowing users to assemble and spin their own tops, the kit transforms a simple act of play into a shared language of balance, curiosity, and belonging, fostering dialogue that transcends words.
Translating the motion of spinning tops into a static identity was one of the biggest challenges. The project’s core message, unity in diversity, is rooted in rhythm and balance, concepts that are inherently dynamic. To express this visually, I avoided depicting rotation literally and instead used circular compositions and patterns that suggest motion. The typography was shaped by the trajectories of spinning tops, capturing a sense of energy and connection even within stillness.
When I first arrived at Otis, I noticed the phrase “You Belong Here” displayed throughout the campus. It left a strong impression on me and made me reflect on the idea of belonging, especially as someone coming from South Korea. In Korean culture, we often use the word “we” instead of “I” to express shared experience and community. I thought this cultural nuance could add depth to the project and also help explain my background.By emphasizing the word “We,” I wanted to shift the focus from the individual to the collective, reflecting the shared journey of all the new students just entering the program. Having the spinning tops come together to form the word “We” served as a metaphor for how diverse individuals can come together and create a sense of unity and belonging—both visually and conceptually.
The educational framework of We Belong Here was designed to be adaptable beyond a single institution. While it originated at Otis College of Art and Design, the system emphasizes participatory learning and cultural exchange rather than fixed outcomes, allowing it to scale across different educational contexts. The modular nature of the top-making kit and its accompanying visual language can be customized to reflect local crafts, colors, and narratives. In community workshops, for example, the kit can serve as a shared starting point for dialogue about identity and belonging. Ultimately, the goal is for each institution to reinterpret the system through its own cultural lens while maintaining the spirit of collective creation and empathy.
The tight Design Week schedule pushed me to make fast, intentional decisions. It encouraged collaboration, simplicity, and focus on clarity. The time pressure led to a system that felt cohesive, energetic, and true to the project’s message of unity in motion.
I focused on keeping the visuals approachable yet respectful. Playful elements like color and motion invited engagement, while clean typography and structure grounded the system. The balance came from treating inclusion not as decoration but as the foundation, so every playful choice supported that core message.
I hope to expand the concept into a more interactive framework that encourages cultural exchange through participation. The next step is exploring how motion, language, and shared creative play can bridge differences in global classrooms, keeping inclusion as both the process and the outcome of design.
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