Light Columns is a physical manifestation of one of the 72 final Color Space drawings, installed in Minoru Yamaski’s One Woodward Avenue, Detroit. Columns are made with cheap painter’s plastic, sealed with a clothes iron, and inflated with a leaf blower. Fluorescent spray-paint augments light and creates a dense foliage of color architecture. By using low-fi techniques to achieve hi-fi effect, the mundane is transformed towards new and highly saturated ends.
The montage wall of drawings emulates patterns, advertisements, and photographs to constitute a digital world where all levels of complexity are augmented to create an immersive space. As discursive works, the drawings are explorations of representation and organization. Images are situated in the environments of Google Maps, OSX, Photoshop, etc., and constructed with brushes, gradients, and mundane digital artifacts.
A collection of drawings constructed for Thom Moran and Meredith Miller, used for their IDEAS CITY 2015 submission. From Thom's website: "..These camp-like, childhood constructions create states of exception where secrets can be told, dares can be enacted and parents are not allowed. As urban but no less consequential, communication typologies of children. The blankets are actually metal inflatables: heavy gauge aluminum foil held together with super strong tape (3M VHB) and inflated with a bike pump.."
The previous set of digital illustrations (Brad Carrigan, Alien) developed an aesthetic sensibility for Sublime Tetrapool. The arena includes inhabitable objects and surprising water features with an abstract scale informed by model figures. Each found object features a slight formal manipulation to form a composition that seeks hi-fi effect through lo-fi technique. Mundane building materials (rigid foam, pvc piping, and glass panes) are transformed into art-object through painting, cutting and pasting.
Situated in Chicago’s Federal Center, Dreaaam imagines an empty plaza, devoid of Mies Van Der Rohe’s Loop Station Post Office. Megalithic heads guide visitors onto a suspended glass surface to access a cavernous pool and elevated view of the city. A fluorescent gradient emulates a horizon for those above and colored shade for those underneath. A glass ramp reveals a surreal reflective terrain that can be accessed through conditioned space below.
Dreaaam is an extension of Chicago’s sculptural landscape and a simultaneous homage to the contemporary internet aesthetic. Gradients become a space-making device, and fluorescent paint augments sunlight to an RGB color space. Human features echo Jaume Plensa’s recent Millenium Park installations but are approachable as sculpture while penetrable as architecture.
As a discursive object in the realm of architecture school, the model unearths the potential of mundane construction materials. Lo-fi processes yield hi-fi returns. The top of a pink insulation sheet is scratched and spray-painted to create an iridescent surface. A gradient of silver spray-paint dissipates to reveal a sparkling aluminum topography.
Brad Carrigan, Alien
Our studio was prompted to read a short story by George Saunders, and depict the narrative through non-conventional forms of architectural representation. This drawing set is in response to "Brad Carrigan, American," a surreal narrative about a character trapped in a constantly changing television show. Scenes were crafted in Rhino, plastered with bit-mapped photographs and collaged in Photoshop.
Stage design for TEDxUofM, 2014. Inexpensive 1"x 1" wooden members are constructed as cubes, held with zip-ties. They form a wave-like mountain that seems to move in relation to the viewer. When bathed in shifting blue lights, the red cubes pop out against the grain of the natural stained members. This was created during a hectic time in the semester, so the product was an efficient use of time and material; it was a subtle piece among striking performances. In collaboration with Nick Tilma, Taylor Ross, and Claire Jaffe.
Smart Shell utilizes the space of circulation as a means of conserving energy in a residential home. It is a compact structure that implements the strategy of a double exterior wall. The entire living space is wrapped in a corridor that acts as an additional layer of insulation between two exterior walls, creating an additional buffer to the outside air. In order to maintain a comfortable temperature, thick walls of concrete and rigid insulation form an airtight seal with large tripleglazed windows. The space trapped between the two exterior walls is designed to maximize solar heat gain in order to passively heat this space. Heat gained from this design strategy acts as an extra layer of insulation from the unconditioned outside air, as well as a primary heat supply for the active heat pump system. This is implemented and contained within the double wall. In collaboration with Landon Carpenter and James Waxter.
This two-part project develops sculpture into building. The final layout drawings represent the design of a 100-layer stacked model, whose formal qualities negotiate with program. The model contains large voids and complex spaces that translate into winding routes, overlooks and caverns. Tapered sectional features provide views of distant pools and saunas, making efficient use of narrow lot dimensions and required footages. General access is restricted to lower levels, while upper levels feature paid access to yoga/cycling, pilates, juice bars and lounge areas. The drawings are shown with general massing and encompass the schematics of a functional layout.
This inflatable architecture features a sewn Tyvek structure for dynamic outdoor and indoor space. A hemisphere of cones creates illusion of mass and has tapered surfaces to diffuse the effects of a windy courtyard. Sandbags line the interior perimeter to discretely anchor the architecture. A zippered entrance reveals a tall cavern, spacious enough to stand and gather inside. To allow inflation via leaf blower, tightly stitched edges are inverted to create a sealed pressure zone that directs excess air through grommets. A collaborative project with Landon Carpenter and Monica Chen.
This summer I had the opportunity of traveling to Tanzania after a semester’s exploration of Maasai culture. Our group, Eco Explorers, investigated the effects of traditional Maasai cooking on health, education and surrounding environment. We presented designs for a rocket stove that uses less resources and could be built with traditional processes and local materials. Most importantly, we emphasized the stove’s ability to save lungs and save time, so young girls could pursue their education. Our process was filled with testing materials, proportions, and times, while studying Maasai culture and the implications of designing as an outsider. As the student leader for the design guide group, I worked with National Geographic senior layout editor, Oliver Uberti, to create concise illustrations for stove assembly.
A glimpse into the secretive underwater realm of Plastic Cove. A subaquatic predator lures the curious with an eerie glow. Set architecture was formed from discarded packing peanuts, glow-sticks, tinfoil, and basement paraphernalia. In collaboration with Ellis Mikelic.
Alpha Nurseries Website
A website made for Alpha Nurseries, Inc. As a seedling farm with an older customer-base, clear navigation and interface is paramount. Since customers order through mailed catalog, the format of the site echoes the pamphlet’s architecture. Splash-pages provide photographs for new growers, while seasoned farmers may opt to navigate via species index. When scrolling pages, a floating home button stays with the user for easy access. Additional features include preloaded map directions, order/grow forms and accessibility for small screens and outdated browsers. A large navigation system exceeded the depth of past ventures, opening an interest in architecture.
(1) Instead of a typical friction fit construction, this acrylic sphere binds all components through an internal locking mechanism. The layered elements that constitute each hemisphere are stacked on two keys that attach when rotated and slide apart when unlocked. Winter 2012
(2) Playful eyeholes and a toggle light switch illuminate the whimsical nature of this compact viewfinder. To avoid the typical labor of sanding laser cutter burns, dark edges are placed intentionally to balance the light qualities of basswood and add striking lines to a sleek form. Winter 2012
(3) This portable desktop companion revisits a previous idea of packaging as product. While the original fails due to complex user interface, this product features a three-step assembly: unfolding, inverting and refolding. The components of a cheap speaker in conjunction with one sheet of free packaging cardstock made this a simple open-source idea for classmates with knife cutter access. Winter 2013
Pencil, Conte, Ink
The transition in process from portrait to figure captures a necessary shift towards hierarchy in design development. This portrait features homogenous pencil strokes and a technique akin to the meticulous nature of the acrylic dots. In contrast, the figure contains a spectrum of pastel marks to most efficiently convey information within the constraint of an hour’s modeling session. The earlier ink landscape suffers from many of the portrait's restrictions, although the medium facilitates rapid construction.
These paintings mark the beginning of an ongoing fascination with color and technique. A sparse network of acrylic dots serves as the framework for compositions that are balanced by the intensity and magnitude of each circle. Concentric patterns are radially constructed, dotted with the end of a thin brush.