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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.
Carr House is a collection of seemingly discrete volumes, arranged around two triangular circulation nodes. A horizontal datum splits the elevation, registering the cascading of the volumes down a hill.
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.
Tesuque Studio utilizes a conventional concrete tilt-up technique to form a five sided massing. Each wall has prescribed cutaways, which align to a roof of three cylindrical slopes.
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.
Lens dissolves the boundary between public and performance via a vertically collapsing articulated glass facade. An addition to an existing historic art deco theater, Lens appropriates its fluted motifs into glass to exacerbate the blurry transition between sidewalk and interior.
Botanical Court inverts an outer perimeter inward. Housing McMaster University’s Palm collection, the greenhouse becomes vertically attenuated in section and dimensionally thin in plan, wrapping around a central public courtyard that enjoys 360 degree views of the palms, without compromising the integrity of the greenhouse ecosystem.
Library offers a continuous experience – a labyrinthian loop of bookshelves, crenelated to produce individualized spaces. The sinuous organizational form is revealed surrounding a central garden.
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.