Detroit House is a new contemporary residence in Detroit’s East Village neighborhood, near the emerging Little Village arts and cultural district. Situated on a corner lot, the project explores how a compact urban home can create generous domestic spaces while engaging with the neighborhood’s evolving architectural and cultural landscape.

Not Quite a Saltbox is a contemporary residential addition in Hingham, Massachusetts, on Boston’s South Shore. The project reinterprets the familiar New England saltbox form through an unconventional roof profile, contemporary materials, and a playful relationship between old and new.

Phippsburg Coast House is a contemporary multigenerational coastal residence in Phippsburg, Maine. The custom home draws on the region’s vernacular camp architecture, using locally sourced cedar, compact building forms, and weather-responsive detailing to create a contemporary interpretation of traditional coastal Maine architecture.

Untreated, the cedar will gradually silver in the salt air, graduating differently across the various exposures and orientations. To the east, the house faces the rocky shoreline and open water; to the west, it settles into dense forest. Minimal overhangs and compact massing temper wind exposure during coastal storms. Its form and material register both conditions, grounded in the specific climate and building traditions of coastal Maine.

Following the hurricanes of 2022 and 2024, Sanibel and Captiva became acute sites for reconsidering the future of coastal construction. Storm surge and extreme winds exposed the fragility of conventional island building practices, while also making visible the ecological labor required to sustain vulnerable coastal landscapes. Commissioned by the Sanibel-Captiva Conservation Foundation, the La Gorce Family Intern Village provides housing for researchers and conservationists whose work follows the seasonal rhythms of the island: sea turtle nesting, migratory birds, marine habitats, coastal vegetation, and the long-term monitoring of a changing barrier-island ecosystem.

The project treats intern housing as a small civic and ecological campus. Thirty residents are accommodated across three self-similar buildings positioned between marshland and roadway. Their loose arrangement resists the singular object-building, producing a porous field in which native vegetation, circulation, and shared outdoor rooms structure daily life. The space between buildings becomes as important as the buildings themselves: a circular clearing operates as an informal living room and outdoor classroom, while an amphitheater, deck, and pavilion support collective meals, workshops, field classes, and public programming.

The project reworks familiar elements of coastal Florida architecture: elevated volumes, deep roofs, screened porches, shaded interiors, and simple carpentry. Each building is organized around a triangular recessed porch that shades the interior, produces a communal threshold, and reduces wind pressure on the envelope. The porch becomes both a climatic and social device, extending the shared kitchen, dining, and living spaces toward the landscape.

The architectural and structural systems are shaped by the demands of rebuilding in a changing coastal environment. Hip roofs reduce uplift, compact, nearly square plans limit wind exposure, ventilation focused windows dot the facade, and the buildings are elevated above FEMA base flood elevation on concrete directional piers, allowing stormwater to pass beneath.

Featured on ArchDaily, The Business Observer, WINK News.

A day to evening cafe located in Cranston, Rhode Island. Billowing plaster surfaces, curved wood millwork and monolithic terracotta figures redefine a “brunch spot” into an otherworldly atmosphere for morning until evening.

The figural perimeter wall of the space pillows with plaster curves to contain key programs and services, where counters, walls and seating peel, layer and blend into one another.

A diverse array of seating configurations assist in the programmatic spectrum of the space, accommodating transient landing spots for on-the-go coffee retrieval at the central wooden island, to long cocktail infused conversations at the intimately scaled bar, and retail islands between. Casual terracotta seating in the center of the cafe can be rearranged or moved to the side for special events. Banquette seating lines the perimeter with a pencil round fixture anchoring the large sweeping corner of the existing building. The hand applied, locally crafted natural materials used offer a subtle depth and irregularity to the softly defined space.

Featured in AN Interior

Porter Loft is a residential renovation in East Boston, Massachusetts, transforming a urban studio into a luminous and flexible live/work space. A movable polycarbonate wall, diaphanous linen curtain, extruded plywood bench, monolithic marble kitchen, and polished stainless steel “mirrors” create a materially rich, almost cloud-like interior. The project reconsiders conventional domestic boundaries through a series of playful material interventions, balancing openness, privacy, and adaptability.

Featured in Dwell Magazine.

Hingham House is a residential renovation of a historic Cape-style home in Hingham, Massachusetts, on Boston’s South Shore.

The project explores the transformation of traditional New England residential architecture through interior reorganization, material continuity, and custom architectural detailing.

The design plays on the beadboard and board-and-batten originally found throughout the house, and common to New England residential architecture. Part recognition of a familiar construction technique, part redeployment of material into a contemporary version of something remembered, the continuous repetition of the 4-inch vertical groove makes its way across surfaces, blending figure and void.

Featured in AN Interior Magazine

Rip Rap House is a contemporary custom home designed for a sloping residential site in Johnstown, Ohio. Rip Rap House assembles the local geology of Johnstown, Ohio into an above-ground shelter, emerging from the discard piles of nearby Devonian limestone quarries. Rubble, typically known as riprap and rarely used architecturally, is cast within tilt-up concrete panels constructed on site, transforming quarry byproduct into thick facade.

Poured pine-green concrete slips and drips between the loosely placed stones, replacing mortar with viscous droplets. At corners, panels slide past one another to reveal contrasting edges, smooth and tinted on one face, rubble-lined on the other, producing a facade that feels at once familiar and slightly uncanny.

The material experimentation extends beyond the building envelope, informing the spatial organization and everyday functions of the single-family residence. The plan is organized as two nearly identical wings; bedrooms to the northwest and living spaces to the southeast, stitched together by a central block containing the entry and library. This compressed volume, lined in natural Douglas fir and lit by tall skylights, mediates a shift in elevation between private and shared spaces. Additional block volumes house bathrooms, storage, and a fireplace, while a partially submerged basement occupies the sloping site below.

Though uncommon in residential construction, tilt-up concrete, typical of generic buildings and stripmalls, enables the project’s layered material experimentation, structural strategy, aligning thickened walls with a banded flat roof that shifts and stacks across the landscape.

Somewhere between New England cedar shingles and the loose fit of a favorite pair of jeans, Loose Fit speaks to the familiarity and nostalgia of our collective favorite things. It borrows from the language of domestic siding and soft clothing alike, landing between architecture and garment, enclosure and embrace. The project asks what happens when a typically taut, weatherproof surface is a little softer, when a façade becomes pliable, padded, and permissive.

Eighty puffy shingles are generously stuffed with recycled denim, repurposed from fabric waste from the garment industry. Celebrating these afterlives, the pavilion borrows techniques from garment tailoring and sail fabrication, learning from stitching patterns that shape volume while anticipating wind and stretch. Lavender nylon tie-back loops, engineered and sewn in like sailboat reinforcements, secure the shingles during high wind events. A layer of shredded, recycled foam wraps the exterior in subtle chromatic speckling, revealing a collage alongside cobalt blue marine canvas and glossy transparent marine fabric.

Casually draped over a fabric-tailored frame, each shingle remains free for interaction. The pavilion invites proximity rather than distance: to walk alongside it, to bump into it, to lean, hug, and lounge between its pillow-like walls. Inside, the dense layers of insulation unexpectedly dampen the city beyond, transforming an urban site into a soft, quiet interior.

Featured in Interior Design Magazine

Located on a remote tract of land in the New Mexico desert, Tesuque Studio turns to construction techniques that prioritize site-built components and limit the transport of materials. The tilt-up structure hovers between earthbound and ethereal; massive in weight, yet improbably light in presence. Five walls are poured directly on the desert floor, absorbing its irregularities, dust, small stones, subtle depressions, before being lifted into the vertical plane.

Here, flat formwork becomes the primary site of design. Cast on grade rather than within conventional molds, the panels allow edges to taper and curve with relative ease, producing a curved corner entry cutout and rooflines that gather into three cylindrical slopes. Geometry emerges from the horizontal plane itself.

The thickness of the concrete walls tempers dramatic desert temperature swings, stabilizing the interior of the ceramic workshop and gallery. A mirrored stainless-steel frame at a large slot window optically blurs the boundary between landscape and room, folding the desert back into the space.

Tilt-Up Pavilion brings a playful approach to generic construction techniques. Conceived as an unbuilt experimental concrete pavilion and an early design study for Loose Fit, the proposal explores the expressive potential of tilt-up concrete construction. Five concrete walls are poured on-site and hoisted into place, their exposed edges revealing – layer after layer – the time it took to make them. Cold joints, pick points, and structural embeds become central actors, as the construction process reveals its theatrical leanings.

Located in Brookline, Massachusetts, within Greater Boston, Brookline House is an extensive residential renovation and adaptive reuse of an existing dilapidated 1940’s Sears Roebuck Colonial catalog home. The project transforms a traditional house through contemporary spatial planning, custom residential interiors, and a dark anodized aluminum building envelope, demonstrating an alternative to demolition and replacement.

Brookline House re-imagines the image of domestic life and resists the unsustainable urge to ‘tear down’ to instead ‘re-use.’ Familiar elements: doors, windows, stairs, are rearranged to adapt the house to its steep New England site, reworking a formal, compartmentalized plan into an open and light-filled domestic landscape.

The traditional gabled mass is wrapped entirely in dark anodized aluminum standing seam, a draped surface that runs from roof ridge to foundation. The facade flickers between black, bronze, and copper hues, oscillating between flatness and depth. Known locally as the “Monopoly House,” it embodies the image of a house, navigating between the conventional home and a quirky composition of contemporary domesticity.

An awkward original front entry, once elevated high above the sidewalk, is replaced with a ground-level door and mudroom; the former doorway becomes a window, leaving a trace of the past. Inside, two oversized windows align across the living and dining rooms, visually extending the space from front yard to back.

A central stair wrapped in millwork anchors an open “donut” plan, freeing perimeter walls for light and art. Upstairs, attic space becomes a plywood-lined shared children’s loft and a vaulted primary suite.

Featured in Architect’s Newspaper

Dimple Chair combines traditional handcraft with digital fabrication. Timeless woodworking techniques shape the chair’s figure, while the pre-programmed CNC machine carves sundry impressions into the grain of the seat.

Originating in nineteenth-century Bavaria, the biergarten was never just about beer. Beneath shade trees cooling underground cellars, families gathered in private gardens opened to the public, part infrastructure, part backyard, part social experiment.

HillGarten brings this spirit to a contemporary North American main street. Located on a once-neglected site in Hilliard, Ohio, at the edge of downtown and a residential neighborhood, the project operates as a shared landscape rather than a defined destination. Neither fully park nor restaurant, it welcomes families on blankets, students at long tables, couples with dogs, and retirees by the fire pits.

A continuous hardscape loop ties together the food-and-beverage pavilion, porch, stage, lawn, and seating areas, encouraging casual encounters. Long communal tables recall traditional biergärten, while smaller clusters among plantings create intimate zones. Gravel and grass subtly shift the experience underfoot. Custom planters with trees provide shade and spatial definition.

At its center, a simple pavilion with a translucent polycarbonate porch is supported by hand-planed white oak “belly” columns crafted by a local barn builder. Oversized and tactile, they invite touch and interaction.

The project reimagines restaurant design as an open-air hospitality environment, bringing together a contemporary beer garden, outdoor dining, food-and-beverage service, and a shared public landscape.

Featured in VMSD Magazine.

Botanical Court is an architectural competition proposal for a botanical greenhouse at McMaster University in Hamilton, Ontario, designed to house the university’s palm collection. Inverting the conventional greenhouse perimeter, the project creates a vertically expansive yet dimensionally thin enclosure wrapping a central public courtyard. Visitors experience 360-degree views of the palm collection while the integrity of the controlled greenhouse ecosystem is preserved. The proposal reconsiders the relationship between botanical display, public space, and environmental enclosure, transforming a familiar building typology into a new architectural and ecological experience.

Halo is an unbuilt salon and wellness interior design proposal in Dublin, Ohio, envisioned by a breast cancer survivor for women and girls coping with cancer. Part-salon, part-school, and part-clinic, the project reimagines a traditional beauty salon as a supportive space for care, education, and community. Multiple compounding textures present the idea of “cosmetic” as generating both ornament and figure. Perimeter walls emulate the sensibilities of their surface material: playful, dreamy, and cloud-like.

Serriframe is an architectural competition proposal for a Bus Rapid Transit (BRT) station in Boston, Massachusetts, developed for the 2017 BostonBRT Station Design Competition. Reimagining the conventional bus shelter as a piece of civic architecture, the design draws on the familiar brick masonry of Boston’s neighborhoods, translating a traditional bond pattern into an inverted screen of weathering steel. Low in profile and adaptable to different urban contexts, Serriframe operates as conspicuous camouflage—simultaneously recognizable and unfamiliar, solid and transparent. Experienced in motion, the shelter becomes a flicker in the urban streetscape, transforming everyday transit infrastructure through a playful reinterpretation of familiar building conventions.

Featured by the Barr Foundation in Twelve Designs Reimagine the Boston Bus Stop.

Phantom Fictions asks if mirage can be material. Situated in the Straits of Messina, this proto-architecture measures atmospheric gradations while visually indexing them, perpetuating the fiction of Fata Morgana with air as both material and performer.

Plum Island House is a contemporary coastal residence on Plum Island, Massachusetts, north of Boston. Designed for a barrier-island environment, the custom home combines elevated construction, cedar-shingle cladding, and contemporary reinterpretations of New England Shingle Style architecture in response to coastal weathering, flooding, and the surrounding landscape.

Drawing on Vincent Scully’s reading of the Shingle Style as volumetric rather than planar, the project exploits the shingle’s capacity to bend, wrap, and render complex geometries continuous. A simple square volume anchors the first level. Above, planar surfaces transition into arcs that slip outside Cartesian space, defining sleeping suites and extending into an open roof deck. The curved volumes read as objects within a free-floating plan, suspended between rectilinear enclosure and sculptural figure.

The three figures orient toward the Atlantic Ocean, surrounding marshes, and coastal dunes, recalling the widow’s watch traditions of New England’s seafaring communities. Lightly elevated above the landscape, the house is designed to weather alongside its environment. As the cedar shingles age and darken unevenly, edge and curvature intensify, allowing climate, salt air, and time to become visible parts of the architecture.

Project featured on DesignBoom

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.