Architectural design, considered at multiple “tempos” and scales, can be used to amplify care infrastructure in Sunset Park, Brooklyn, by redirecting the focus of design towards health, safety, and welfare. In collaboration with Audrey Tseng Fischer.
Main Street Grounds is a school and a public place embedded in a landscape that tells a story about the economic past and future of Farmington, New Mexico, through the medium of land. In collaboration with Brian Orser.
Give and Take was a two week-long installation transforming an academic gallery into a room for giving and receiving gifts. In collaboration with Clare Fentress and Dilara Karademir.
By generating a diverse microbiome on its postindustrial site, the project acts as a set of changing landscapes rather than a fixed building mass.
Through its own decomposition, a flooded waterfront building could regenerate a salt marsh ecosystem.
This project brings the practice of salvage archaeology—the emergency excavation of archaeological sites that fall within the right-of-way of infrastructural construction—to bear on the discourse of settler colonialism in order to situate preservation as key to its epistemology.
Ongoing project supported by the Yale Environmental Humanities Department.
This analysis of Lionel Hampton Houses (Bond Ryder & Associates, 1971-73), a Mitchell-Lama project in Central Harlem, considers the ways in which the project's various actors—from the eponymous donor to the architects—had a stake in Harlem's supposed "crisis," and how that impacted the architecture of this housing complex.
This project brings questions about the material of plastic to bear on the design of a "library for living"—a lending library for household objects.
This study is a commentary on the multiscalar impacts of open-pit mining, from the molecular to the atmospheric.
Through a close reading of the pastoral play As You Like It, I suggest that for Shakespeare, a passive nature may never be “natural,” but nature can be an active participant in human life.
It is often spices that give a cuisine its distinct local—and perhaps "authentic"—taste. By taking a closer look at cumin as one such important spice, I suggest that we may rethink what is growable in order to begin building new cuisines.
An attempt to capture, through drawing, the profound way in which a plant's abundant capacity for growth undermines a worldview of scarcity and competition.
This project uses landscape to distinguish two units for two residents who formerly experienced homelessness.
With one steel loop for a frame and the seat woven through it, this chair considers the tectonic implications of weaving at the scale of furniture.
This book project pairs images taken from a construction site with those sourced from contemporary and historical art practices. The pairings aim to recast our perceptions of the limits of a job site, suggesting that it could be something much more expansive.
This project involves both analytical writing and drawing to investigate four types of American domestic interiors, from the 17th to the 20th century, and the different ways in which these historical homes demarcate space and property.
By translating an illustration of sea monsters by Edward Steed to generate a reflected ceiling plan drawing, this project embodies a set of "creatures" through roof framing.
This study imagines how an image by the Venezuelan artist Gego could be "projected" into three-dimensional space through weaving and casting.
This project is designed for an unusual protagonist—the Ancient Mariner from Samuel Taylor Coleridge's epic poem.
Paprika! Volume 6, Issue 6.
This issue takes up the saliency of the term "essential" during the Covid-19 pandemic and questions the politics of value that "essential" implies for the discipline of architecture.
Paprika! Volume 6, Issue 11.
This issue seeks to problematize the typical divide between form and politics and instead consider how architecture may be just—ethical, truthful—but also just architecture—form, theory, representation—all at once.
"A joke is a very serious thing," said Winston Churchill. I agree, and I'm trying to convince other architects.