At Commencement 2024, NYSID's Office of Academic Affairs awarded Jason Win ‘24 (MFA1) with the Robert Herring Travel Prize.

The prize recognizes exceptional design and presentation skills and must be used within 10 months following graduation, for a program of travel proposed by the recipient. The award is named in memory of beloved NYSID instructor Robert Herring, who was an advocate for the importance of travel in the development of young designers. Every Herring Prize winner writes a first-person account of their journey. 

Soon after graduation in May, Win, who is now a junior designer at Gensler, traveled across Europe, including stops in Barcelona, Istanbul, Athens, Santorini, Rome, Venice, and London. Here is Win’s essay about how his journey through iconic cities and historic landmarks profoundly shaped his design philosophy.

Reflections on a Transformative Journey: The 2024 Robert Herring Travel Prize Experience 

As I write this reflection, I feel incredibly grateful for the amazing opportunity provided by the 2024 Herring Prize. Traveling across Europe's cities and capitals has been a dream come true and has greatly influenced my perspective as an emerging interior designer. I have built a strong foundation that will influence my design philosophy and practice going forward thanks to the experiences, sights, and knowledge I have learned throughout this once-in-a-lifetime journey.

Spain marked the beginning of my architectural journey, where the fascinating interplay of Catalan modernism and Moorish influences created a captivating architectural landscape. In Barcelona, Antoni Gaudí's legacy permanently altered my creative mind. I was swept away into a magical world where architecture and landscape blended together thanks to Park Güell's organic forms and nature-inspired features. Casa Batlló's curved façade, with its skeletal elements and colorful trencadí mosaics, perfectly captured Gaudí's mastery of form and light manipulation to create places that are both intensely spiritual and functional. My ideas about the distinctions between architecture and interior design were challenged by Gaudí's ability to combine decorative elements and structural aspects, which motivated me to create spaces with a more comprehensive mindset.

Following Spain, I traveled to Istanbul, Turkey where the Grand Bazaar's palatal arches and elaborate mosaics provided a captivating introduction to Turkish design. Above all, the two buildings that most exemplified the transcendent power of design were the magnificent Hagia Sophia and the Blue Mosque. I was astonished, as I stood solemnly beneath Hagia Sophia's enormous dome, by the clever use of pendentives to sustain the enormous weight above—a tribute to the brilliance of Byzantine engineering. The way the light spilled through the windows produced an almost ethereal ambiance and taught me how important natural lighting is for large-scale interior design. Iznik tiles, which showcased the Ottomans' mastery of artistic skill and architectural order, adorned the Blue Mosque's magnificent cascade of domes and semi-domes. These interactions confirmed the profound impact that finely designed environments can have on people.

Athens was a key stop on my journey, helping me connect what I learned in school with real-world examples. As I walked up the Acropolis, I could sense the history all around me. The Parthenon, with its subtle entases and clever visual tricks, showed how dedicated the ancient Greeks were to making things look just right. I was really impressed by how they played with perspective to make everything look balanced—that is something I want to try in my own interior design work. The Erechtheion's famous porch with the Caryatids was a great example of how sculpture and architecture can work together. At the Acropolis Museum, I was mesmerized by all the ancient artifacts they have kept safe, from detailed friezes to graceful Kouroi. Each piece taught me something about the design ideas that have influenced Western art and architecture for thousands of years.

The stark simplicity of Santorini's architecture provided a refreshing counterpoint to the ornate styles I encountered in Athens. The cubic forms, whitewashed walls, and vibrant blue domes of Oia created a striking interplay of light and shadow against the backdrop of the Aegean Sea. This simpler approach to design really struck a chord with me, showing how careful use of shape and color can make places that are both beautiful and practical. I was particularly impressed by how the island's buildings dealt with the hot Mediterranean climate, with thick walls keeping things cool and small windows blocking out heat. These smart design choices taught me a lot about eco-friendly building, and I am excited to try out similar ideas in my own design.

Italy, the next chapter in my architectural odyssey, revealed a wealth of design marvels that built upon my experiences in Greece. Wandering through the streets of Pompeii was an emotional journey through time, where the remnants of atrium houses and public buildings offered glimpses into ancient Roman domestic and civic life. The frescoes and mosaics, remarkably preserved, spoke volumes about the importance of visual storytelling in interior spaces—a principle I am eager to incorporate into my future designs. I was particularly fascinated by the Roman use of the impluvium and compluvium system in atrium houses, which demonstrated an ingenious approach to rainwater collection and natural cooling, reminding me of the importance of integrating functional systems with aesthetic design.

Rome's architectural masterpieces were truly impressive. The Colosseum exemplified Roman mastery of public architecture, while Vatican City left a profound impact. Bernini's elliptical colonnades created a sense of embrace, leading to St. Peter's Basilica where light and ornamentation evoked divine transcendence. The seamless integration of architecture, sculpture, and painting was particularly noteworthy, as were the intricate marble inlays and gilt decorations. This Roman experience, following Greece and Pompeii, offered a comprehensive view of Western architectural evolution. From the Parthenon's classical proportions to Santorini's minimalism, and now Rome's grandeur, each site provided insights into the interplay of form, function, and cultural context. This journey has not only expanded my understanding of architectural history but also inspired ideas for incorporating these principles into contemporary design.

Moving from Rome to Venice revealed a new dimension of architectural ingenuity. Venice's unique urban fabric, adapted to its aquatic environment, was evident in the palazzi designs with water-level loggias and upper-story piano nobile. This emphasized the crucial link between architecture and context, a principle I will apply in future site-specific designs. With its pointed arches and elaborate tracery, the Venetian Gothic style exemplified how local variations arise from more general architectural tendencies. Continuing from my travels in Greece and Rome, this trip to Venice has expanded my knowledge of how architectural design changes to accommodate particular environmental and cultural needs.

An unexpected stop in London concluded my architectural journey. The Houses of Parliament's gothic revival style and Buckingham Palace's neoclassical design offered a snapshot of England's architectural evolution, connecting many elements I had seen in my travels. The interiors of these buildings showed how design can reflect and shape national identity, emphasizing the importance of a holistic approach to interior design. This final experience tied together the diverse architectural styles I had encountered across Europe, from ancient Greece to Renaissance Italy, reinforcing my understanding of how architecture adapts to cultural and historical contexts.

Reflecting on this architectural journey, I am struck by how much my understanding has grown. As I had hoped, my grasp of historical and cultural influences on design has deepened considerably. Seeing firsthand how design evolved across different cultures and eras has given me insight into how society, technology, and artistic movements shape our built environment. This knowledge will help me create more contextually appropriate interiors in my future work. My appreciation for traditional craftsmanship has also grown significantly. From the intricate tilework of the Alhambra to the Sistine Chapel's frescoes, I have gained respect for the skill behind enduring beauty. This will influence my material choices and detailing in future projects, as I aim to incorporate elements of timeless craft into contemporary designs. More importantly, this journey has begun a process of blending my Asian design roots with the European traditions I have experienced. I find myself comparing Santorini's minimalism with Ottoman patterns or St. Peter's grandeur with Zen garden serenity. These cross-cultural design connections are sparking ideas for spaces that feel global yet culturally authentic.

Building on these insights, my journey has also reinforced the emotional power of design. Experiencing these iconic spaces firsthand has strengthened my belief in design's ability to evoke feelings, narrate stories, and enhance how we live. Intent on creating interiors that go beyond simple functionality and strive to create deep relationships between spaces and their occupants, I am returning to my practice with a renewed sense of devotion. I have witnessed the profound effect that excellent design can have on our mental and emotional states, whether it is through the comfort of a well-designed home or the wonder of a cathedral's lofty nave.

This trip has also highlighted the crucial role of context in design. Observing Santorini's climate-adapted architecture and Venice's water-oriented urban planning has shown me how successful designs are deeply connected to their environment, culture, and history. Moving forward, I will approach each project with a strong focus on its unique setting and needs, avoiding generic design solutions. This awareness of context will be key in creating spaces that are both functional and meaningful. I am incredibly appreciative of the Herring Prize committee as I reflect on my voyage. Your assistance has allowed me to witness and engage in experiences that have fundamentally altered the way I think about design. I have discovered so much new information and inspiration in unexpected places. I cannot wait to apply these fresh concepts to my next projects so that I can design areas that not only function well but also engage people on a deeper level.

I am eternally grateful.

Travel Transforms Designers

“Interior designers need to understand other cultures, histories, and definitions of beauty to reach their potential,” says NYSID’s Dean and Vice President for Academic Affairs, Ellen Fisher.

If you are a NYSID student, in your final year, eager to experience different cultures and architectural styles, the Robert Herring Travel Prize could be the key to unlocking your full creative potential. Learn more about this opportunity.

NYSID believes studying abroad is essential to design education. Learn about NYSID’s extensive Travel Study program, which allows students to explore design education in locations around the globe and provides travel scholarships to students with financial need to make this amazing opportunity accessible to all.

If you want to explore the world of interior design but unsure where to start check out our wide variety of programs, offered in-person and online, part-time and full-time.