Inside Another Mouth

Inside Another Mouth began with an interest in the gap between bodily perception and external form. Starting from dentistry, casting and sculpture, I used the mouth as a first site of spatial research. Through dental casting and hand-modelled teeth made from tongue memory, I discovered that the body does not perceive space accurately. What we remember through touch is enlarged, softened and distorted. This mismatch became the foundation of the project.

The research then expanded from oral tactility to spatial memory. I drew remembered rooms, homes and working spaces until memory began to disappear. These drawings revealed that memory is not a complete map, but a collection of anchors, fragments and blank areas. Through collage, folding and layering, these incomplete memories became physical spatial systems, suggesting a form of architecture that is only partially known from the outside and gradually discovered through movement.

The egg prototype developed this idea into an inhabitable object. It created a private interior where the body could withdraw from the public city while still observing the outside through limited openings. When tested in public space, the egg produced a contradiction: from inside, it felt protective and hidden; from outside, it became highly visible and exposed. This tension between protection and display shaped the later architectural proposal.

Face casting introduced another form of inside–outside difference. The mould recorded the surface of the body through direct contact, but the result felt both familiar and strangely distant. During this process, bread held inside the mouth became a temporary mediator between the inner body and the external mould. This moment led to the idea of “ectoplasm” — a material condition that appears between inside and outside, between body, surface and space.

Through watercolour plans, wax tests, press-formed glass, foaming ceramic and slip-cast ceramic rooms, I explored how ectoplasm could become architectural. It is not simply a wall or room, but a leaking, filtering and thickening presence that gathers in gaps, thresholds and surfaces. The final model brings these studies together as a building made of cavities, fragments, translucent layers and uncertain boundaries.

The final proposal is a dental clinic in Camden Town that combines clinical treatment, archive, exhibition, workshop and quiet public space. Patients, visitors and passers-by enter through different routes and experience different degrees of privacy, exposure and sensory control. Rather than hiding dentistry behind a purely functional programme, the project turns dental care into a spatial, tactile and public experience. It asks how architecture can hold the difference between the visible surface and the hidden cavity, between medical function and bodily memory, between the space we expect and the space we actually feel.

Concept Drawing of Ectoplasm
The image uses a cinematic perspective to narrate an imaginative story of ectoplasm leaking out from the building, entering the city, flowing into a car park, and overturning cars. People gradually discover that they can interact and play with the ectoplasm. It presents a fantastical narrative about architecture, landscape, and urban encounter.

Ectoplasm Corridor within the Building
In the model, dried loofah was soaked in ceramic slip and fired at 1240°C. Its hollow structure was preserved through the firing process, becoming an intriguing corridor within the architecture.

Furniture
The furniture is designed as a small-scale conceptual interpretation of the architecture.

1:50 Building Exterior
Under the contrast between cool and warm lighting, the outline and shadows of the building are revealed. The model allows the architecture in Camden Town to be read through light, form and atmosphere.

1:50 Building Top View
Part of the external shell is removed to reveal the interior layout more clearly. Through different entrances, visitors enter the building and experience different functional themes.