No. I · A Cabinet of Curiosities
KK Xiang
项翊鸣 · a personal cabinet
Est. 二零二六 · 上海 · 纽约
An Introduction

KK Xiang 项翊鸣

A cabinet of curiosities — games, escape rooms, immersive spaces, the long roads I have walked, and the music I keep going back to. Please open whichever drawer interests you.

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The Collection

Pick a drawer.

Five chambers of work and obsession. Each opens onto its own small room — go in, look around, take your time.

i. — Drawer One

游戏

Games & Interactive Narrative

Game design, jubensha scripts, and the kinds of small interactive pieces meant to be played in one sitting, with someone you like, on a rainy afternoon.

Enter  → ii. — Drawer Two

密室

Escape Rooms

Custom-built escape rooms — narrative arc, set, puzzle architecture, and live ops, all designed end-to-end. Built for operators who want a signature, not a kit.

Enter  → iii. — Drawer Three

沉浸式空间

Immersive Space Design

Walk-in installations and theatrical sets. Sealed environments, a sequence of cues, and a visitor who becomes the work’s final element rather than its audience.

Enter  → iv. — Drawer Four

旅行

Travel Notes

Photographs and field notes from the cities and small towns that keep finding their way back into the work — Shanghai, Kyoto, Lisbon, New York, London.

Enter  → v. — Drawer Five

音乐

Music

Pieces I have written or played, scores from theater work, late-night listening lists, and the small library of records I cannot bring myself to leave behind.

Enter  → vi. — The Trophy Case

奖杯

A Life in Trophies

A small, slightly embarrassed shelf — prizes, honors, the moments that startled me by happening. Kept here so I remember to thank the people who made each one possible.

Enter  →

i. — About the AuthorA few honest sentences.

My name is KK Xiang — 项翊鸣 — and I make work that asks to be walked through rather than looked at. I am graduating from the School of Visual Arts in New York and will continue in Information Experience Design at the Royal College of Art in London this autumn. Before all of that, I trained in theater — which is to say, I was taught very early that the audience is the last collaborator on every piece.

“I would rather build a room that a stranger walks through
than a painting they glance at on their way somewhere else.”
Correspondence

If something here speaks to you,
please do write.

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