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Brookline House reimagines a 1940s catalogue home to contemporary living. Axial window apertures define spaces within spaces.
Plum Island House
Plum Island House creates space through three curvilinear volumes – each ambiguously act as both object and wall as they transition from floor to floor. The shingle facade is designed to wrap the lower floor and peel back to follow the volumetric curvature at the upper.
Carr House assembles the local geology of Johnstown, Ohio into an above ground shelter. It emerges from the discard pile of local Devonian limestone quarries—the rubble, casually arranged onto concrete tilt-up walls. The exterior walls set up a series of corners, seemingly adhering to right angles, while some walls rotate, shift, and skew adjacencies, unraveling the layout and creating nooks and crannies for habitation.
Tesuque studio is a concrete tilt-up structure that hovers between earthbound and ethereal. Five walls are poured directly on the ground, taking its texture with them into the vertical plane. Flat formwork translates to a five sided volume as curved edges collude into three cylindrical slopes in the roof. The resulting building, a ceramic workshop and gallery in Tesuque, New Mexico, all but dissolves into its desert site.
Tilt-Up plays on techniques in generic concrete construction to produce a pentagonal pavilion with walls of varying thickness. Edges are revealed and corners are absent in order to reveal material layering of concrete pours.
Halo operates as part salon, part clinic, part school, developed as a space for women and girls coping with cancer and the cosmetic effects of chemotherapy. A study in materiality, Halo is lavishly surficially adorned.
Biergarten is an organizational dyptique under a doubled gable trellis.
Serriframe conspicuously borrows brick to inconspicuously exist within Boston’s neighborhoods, both historic and not. The figure/field of brick is inverted, favoring the mortar joint as figure and the brick as void, or field – rendering a bond pattern of laser cut weathered steel.
Dimple Chair renders wood in both machinic and traditional hand craft. A defined pattern of dimples are milled from the seat of the chair exposing a new grain figure while leaving a trace of the toolpath.
Phantom Fictions asks if design can index fiction creation: if a proto-architecture be formed in such a way that it on the one hand acts as a measurement device for atmospheric gradations (Fata Morgana Mirages), and on the other perpetuates the perceptual effects it measures. Air becomes material and performer.