Guanyu (Gerry) Tao is an architectural designer and artist based in Los Angeles. He graduated with a Master of Architecture from the Southern California Institute of Architecture (SCI-Arc) in 2022. Gerry’s work merges the fields of architecture and art, focusing on themes like pure formal spaces and architectural fantasies that push beyond conventional boundaries. He frequently utilizes digital and immersive medium to express his ideas. Committed to design in his professional career, Gerry is emphasizing the synergy and interaction between artificial constructs and the nature.
His installation “Poché” was showcased in the “De-Elemental” exhibition in Berlin and at the 4C Gallery Exhibition in the fourth quarter of 2024. His team’s project “Crevice” received a Golden Mention at the Young Architect Competition, and won a Gold award at the Muse Design Awards and a Silver at the London Design Awards. His piece “META-KEYSMITH” was honored with a Silver Muse Design Award and a Bronze IDA award.
Thank you for joining us, Gerry. Can you tell us a little about yourself?
Thank you for inviting me to this interview. My name is Guanyu (Gerry) Tao, and I am an architect and artist based in Los Angeles, originally from Shenzhen, China. Before becoming an architectural designer, I graduated with a Master of Architecture from the Southern California Institution of Architecture (SCI-Arc) in 2022 and am currently a designer at Gensler for architecture design, a major international architectural firm. Beyond my professional work, creating art is my hobby. My art is based on my multidisciplinary background, leading me to explore a variety of research topics and forms of expression. These studies include exploring pure formal spaces, blurring the scales between architecture and objects, and architectural fantasies that transcend structural limitations. I grew up in a city filled with construction, was excellentin STEM subjects, and loved visiting science museums. My childhood cultivated my rational approach to creativity. Most of my life was spent in Shenzhen, and starting my career in Los Angeles, the stark differences in urban scale and local cultures between these two cities serve as one of my most important inspirations. I have a natural inclination towards technology, which profoundly influences the way I express my work. Within my professional role, I have come to realizethe significant responsibilities architecture has in environmental conservation. Knowing that I cannot change everything alone, I use my art to promote my environmental values. All of these elements combine into the series of works I create today.
What is your process like? How do you plan anything in advance?
This is a very interesting topic for me; I always plan everything. This applies to my life, my work, and my art. As an architectural designer, I am trained to be an efficient planner and executor. I take the time to deeply consider why I create art, how I create it, what I want to express, and the intended effects before anything materializes. Many of my artworks first form as concepts in my mind, then appear as sketches, undergo countless revisions, and finally materialize into their final forms. I enjoy experimental artistic creation, but everything is controlled, from precise measurements to controlled variable methods. Each creation process is a learning experience—an exploration of the field, a thought process, and software learning. I keep a OneNote notebook with notes on the software I learn – commands, shortcuts, etc. My artistic creations are sometimes also purposeful; they are deliberate explorations of areas of interest or intentional representations and promotions of certain values. This isn’t about mass-producing artworks; it’s about my nature as a planner and executor.
How has your work evolved over the last few years?
In my career, I have primarily focused on exploring areas such as pure formal spaces, blurring the scale between architecture and objects, and architectural fantasies that transcend structural limitations. Methodologically, my creations mainly rely on computers, including 3D modeling, rendering, animation, digital sculpting, and 3D printing. In earlier years, I concentrated more on exploring architectural forms, influenced both by the academic training at the architecture school I attended and as a springboard into broader topics. Over time, I expanded from architecture to other art forms. For instance, in Festival Architecture, a work of mine, while exploring vertical architectural forms, I also explored the possibilities of showcasing architectural works using Low-Poly expression techniques. In META-KEYSMITH, I practiced immersive art forms with a VR headset; it is a bold trial of metaverse architecture. Architectural design is my profession, and I advocate and practice green, environmentally friendly approaches in my career path. Many of my personal and team architectural projects feature green building elements, exemplifying how I use my artwork to advocate for my personal orientations. For example, my work with a team of four, Crevice, discussed the interaction of architectural environment, nature, and local culture in its design, and the previously mentioned META-KEYSMITH discussed the potential interaction between human beings and “artificial nature” in metaverse space, while Festival Architecture reinterprets vernacular architecture, rural revival, and architectural resilience.
Are you involved in any collaborative or self-organized projects?
As an architectural designer, many projects offer opportunities for team collaboration. For instance, the previously mentioned project, Crevice, was completed with a team of four members and earned accolades such as the Golden mention from the Young Architects Competition, a Gold award from the Muse Design Award, and a Silver award from the London Design Award. Teamwork was key to our success; each member contributed their expertise, such as proposing design ideas, drafting plans, creating visualizations, and skillfully articulating the design intentions through text.
Conversely, individual projects occupy a larger territory in my design practice, and it must be said that some of my design languages and ideas are not widely accepted, meaning they can only grow with personal effort. In personal projects, I have the freedom to express creativity. This often appears in my imaginative designs and works, like my recent art piece, Poche, which was challenging for my peers to understand and was exhibited in Berlin and Los Angeles regarding its concept. Another example is META-KEYSMITH, a VR piece that won a Silver Muse Design Award and a Bronze IDA Award, accomplished through boundless imagination and rigorous technical demands. If these were team projects, I believe the full expression of individual creativity might be compromised. In short, team projects can produce larger and more comprehensive designs, while individual works showcase my wildest imaginations.
What does “community” mean to you? Does community, art-related or otherwise, influence your work?
As an artist and professional in the design industry, I believe that community is extremely important. My understanding of community is broad; it can be an organization like Li Tang, a creative environment at a school like SCI-Arc, or a group of like-minded individuals on the internet. Such communities can foster outstanding works and ideas. The mutual encouragement and support are essential for the growth of artists and designers. At SCI-Arc, our teachers had diverse design philosophies and languages. In such an environment, we learned from our teachers and also influenced them. The mutual encouragement and support when creating, such as building architectural models, is one of the reasons why SCI-Arc is known for its excellence. I have always believed that SCI-Arc offers one of the best creative environments, and my works have been influenced by and have left an impact there to some extent. Some of my works remain on SCI-Arc’s Instagram, becoming part of the school’s record. Knowing that these works might influence future students excites me immensely. This is also why I hope to leave my mark and influence in more community-oriented groups.
Do you have any advice that you would offer to others?
Always maintain curiosity and continually strive to try new things. Avoid working mechanically and producing art without passion. Be smart in your approach, ensuring that each creation reflects thoughtfulness and innovation. Embrace challenges as opportunities to learn and grow, and let your work be a reflection of your evolving journey as an artist and designer. Stay hungry and stay foolish.
text & photo courtesy of Gerry Tao
- Website: https://gerrytao.com
- Instagram: @taoguanyu
