Participated in the development and refinement of generative design algorithms for architectural planning. Collaborated with office teams to integrate generative design practices into real-world projects.
Natural Materials Lab @ GSAPP
Research Assistant
Mar 2024 - Aug 2024 | New York, NY
Developed 3D printing fabrication methods for biobased materials. Coordinated our recent exhibit at London Craft Week: Future Icons in May 2024. Assisted in printing installation for the exhibit “Big, Hot & Sticky” at Architecture Center Houston for Summer 2024.
create:space @ Lathrop Learning Hub
Design & Tech Consultant
Sep 2022 - Aug 2023 | Stanford, CA
Managed 3D print submissions, operated and troubleshot Dremel and Ultimaker 3D printers, and hosted creative workshops. Fulfilled printing poster orders and oversaw software/device loans.
Atelier Duccio Maria Gambi
Design Intern
Jan 2023 - Mar 2023 | Florence, Italy
Apprenticeship-style internship with the artist at his studio in Manifattura Tabacchi. Produced architectural drawings and design renderings for light sculptures.
Marriage Pact
Designer, Project Manager
Jan 2020 - Sept 2022 | Stanford, CA
Developed visual brand for matchmaking start-up (as the first non-executive hire). Helped launch at its first 10 colleges & facilitated growth of 200,000 new users.
Modumate
Product & Marketing Intern
Jun 2021 - Aug 2021 | Remote
Modeled architectural projects down to their construction details using Modumate. Ideated new features based on user friction.
Dreamland Creative Projects
Architecture Intern
Sep 2020 - May 2021 | Remote
Produced design renderings and presentation drawings. Prototyped and 3D printed furniture designs.
Computer Vision, Neural Networks, Agent-Based Modeling, Hugging Face, OpenAI API
LEADERSHIP
Columbia GSAPP Representation Curriculum
Graduate Teaching Assistant
Sep 2024 - Present | New York, NY
Supports faculty in course preparation, coordinates class activities, provides technical support, holds tutorials, and assists students. (Courses: ADR 1 Fall 2024, ADR 2 Spring 2025)
IntroSems Plus Research Program
Peer Mentor
Sep 2021 - Jan 2023 | Stanford, CA
Provided support for new research students and helped students document their research through the development of research portfolios.
MINT Magazine
Editor-in-Chief
Sep 2020 - Jun 2022 | Stanford, CA
Led community of 50+ photographers, writers, designers, and models. Oversaw creative vision of the campus photography and style magazine.
AWARDS
ACADIA Ideation Lab 2024 Acceptance
My proposal “Beyond the Black Box: A Framework for Transparent Generative Design” was accepted for the 2024 ACADIA Conference. (Did not attend due to school conflict.)
Stanford Class of 2023 Award of Excellence
The Award of Excellence is presented to around 10% of seniors who had a meaningful impact on Stanford.
Over the course of 10 weeks, my group and I developed a VR game designed to be an individualized educational tutor for students.
(View project here: tinyurl.com/myndpalace)
WRITING
“A Proposed Framework of Manifesting 3D Forms from 2D Architectural AI Outputs”
Undergraduate Engineering Honors Thesis 2023, Stanford University
Researched and proposed a framework for architects to leverage AI-generated outputs of massing and programming for realizing 3D structures, emphasizing a humanistic approach in the evolving landscape of automated design systems.
(View thesis here: tinyurl.com/kwthesis)
SPECTACLE & SH-216
WHERE OBJECTS REST
A PROPOSED FRAMEWORK OF MANIFESTING 3D FORMS FROM 2D ARCHITECTURAL AI OUTPUTS
THE SILO LIBRARY
“ENCRYPT
ME” THE RIVER BUILDING
[7]----------------------------
ROOM 202
[8]----------------------------
EPHEMERAL
[9]----------------------------
MARRIAGE PACT
SPECTACLE & SH-216
PROJECT: Columbia GSAPP Core II “Damage Control”
DATE: Spring 2024
SITE: Hart Senate Office Building SH-216 (The Central Hearing Facility)
SOFTWARE USED: Rhino, Blender, Illustrator
This semester, I decided to investigate the typology of the American Congressional Hearing Room. More specifically, I am looking at how this typology is seemingly designed for democracy and transparency, but instead it typically fosters unproductive inquiries that veer towards spectacle and often distract from the real issue at hand, especially when the media gets involved.
Upon further inspection, it is easy to decipher how these rooms are designed not just for the function of the hearing, but also as a display of power and authority. Additionally, as modern media and technology continue to evolve, these hearing rooms have transformed from intimate discussions to large-scale productions where anyone is able to tune in despite their distance from the Capitol.
Thus, at its very core, these hearing rooms have become a stage for the government to perform justice, and to appear as if they are performing justice, regardless of whether it is truly being carried out.
CASE STUDY OF MARK ZUCKERBERG’S TESTIMONY BEFORE CONGRESS ON APRIL 10, 2018 IN CONGRESSIONAL HEARING ROOM SH-216
“The presentation of politics as a form of aesthetics includes the deliberate or unwitting use of symbols and rituals in political processes in ways that obscure their roles in allocating values, and it enhances the ability of officials to influence and dominate the public.”
- From Art to Politics: How Artistic Creations Shape Political Conceptions (Murray Edelman, 1965)
It is important to note that the political damage inflicted in this hearing room is of course not just architecturally and spatially induced, but also caused by the system of the American government and the process of the Congressional hearing. However, what this project aims to make light of is how design contributes to the illusion of power.
To properly analyze the specificities of the room, I came up with an outline for dissecting the typology of the hearing room, as seen in the first diagram on the right. The diagram organizes various spatial qualities into 5 categories, being (1) the room itself, (2) seating arrangements, (3) the presence of the public, (4) symbolic gestures, and (5) materiality.
Using this outline to analyze the Central Hearing Facility shows us that, amongst other things, that (1) the seating configurations curate an image of power in favor of the senators, by elevating them above the witness(es) and audience members, (2) the dark-stained wooden panels induce a formal atmosphere along with the marble slab that acts as a backdrop for the senators, and (3) symbolic gestures in the room, such as the U.S. flag and the Senate emblem, work to strengthen the legitimacy of the Congress in this room. (See diagram for further analysis of all the spatial qualities.)
To “stress test” the framework and experiment with destabilizing the curated illusion of power in the current design of SH-216, I developed four versions of different spatial arrangements that each correspond with a particular mode of information exchange, which can be seen on the right.
These four proto-interventions aim to challenge the notion of what a Congressional hearing room should look like, as well as remind us that it is quite absurd how spectacle-esque the modern-day hearing has become. At its core, a hearing should be about the productive exchange of true information.
CONFESSIONALS FILMING AREA
ADDITIONAL SEATING FOR WATCHING OUTSIDE THE HEARING FACILITY
PROPOSAL FOR A NEW CONGRESSIONAL HEARING ROOM, WHERE SPECTACLE IS TRANSPARENTLY CONVEYED THROUGH IT’S PHYSICAL AND SPATIAL DESIGN.
INSPIRED BY LOS ANGELES FILM STUDIOS, SPORTS STADIUMS, PODCAST/ RECORDING STUDIOS, AIRPORT SECURITY LINES, SATURDAY NIGHT LIVE, THE PANOPTICON PRISON, AND RUPAUL’S DRAG RACE.
“WORKROOMS” FOR CONGRESS
RED CARPET FOR THE WITNESSES
VIP COMMENTARY BOOTHS FOR PUBLIC USE
SECURITY AT ENTRANCE
WHERE OBJECTS REST
PROJECT:
Columbia GSAPP
Core III “Every Thing, A Home”
DATE: Fall 2024
SITE:
454-458 W 128th St, New York, NY 10027
SOFTWARE USED: Rhino, Illustrator
Our project explores the idea of carving intentional spaces not just for people, but for their objects, shaping a housing environment where both coexist in a carefully structured yet adaptable framework. At the heart of the building is a central storage core, a sustained infrastructure that organizes circulation while serving as a shared archive for residents’ belongings. Inspired by the Metabolist movement, where the core remains constant while its surroundings evolve, this system allows for flexibility—residents can display personal items on built-in shelving or utilize rental lockers for additional storage, particularly when subletting or transitioning between living situations.
Rather than treating nooks as residual spaces, we prioritize them as primary architectural elements, carving out alcoves, recesses, and in-between zones that foster comfort, intimacy, and adaptability. Each nook is designed with a distinct spatial quality—whether for solitude, casual interaction, or communal living—challenging conventional open-plan layouts in favor of layered, nested environments that encourage diverse modes of inhabitation. The result is a housing model that embraces the changing nature of both residents and their belongings, creating a dynamic, evolving relationship between storage, space, and dwelling.
Inspired by Sir John Soane’s Drawing Office, this project explores storage as a deliberate act of composition rather than a passive function of space. Soane’s careful arrangement of drawings, models, and artifacts—layered across walls, nestled into niches, and framing moments of discovery— informs a design that treats storage as an expressive,
architectural language. Objects are not merely housed but thoughtfully positioned, creating a sense of individuality and care in how they relate to one another. By embedding storage into the spatial fabric, the project challenges conventional divisions between structure, furniture, and display, transforming the way we live with objects.
Each unit is designed to carve out intentional, flexible spaces while seamlessly integrating storage as a defining architectural element. The studio maximizes verticality with a lofted sleeping area, creating a natural separation between rest and living while keeping the main floor open and adaptable. The one-bedroom, inspired by Eichler homes, is centered around a core living space that organizes circulation
efficiently, maintaining a sense of openness while defining functional zones. The two-bedroom options offer dynamic nooks for the kitchen/dining and living spaces, creating intimate yet connected areas within the larger layout. The corner unit introduces a 45-degree module, bringing in 270-degree views and a heightened connection to the surrounding environment.
A PROPOSED FRAMEWORK OF MANIFESTING 3D FORMS FROM 2D ARCHITECTURAL AI
OUTPUTS
PROJECT:
Undergraduate Engineering Honors Thesis
Stanford University
DATE: June 2023
SOFTWARE USED: Rhino, Midjourney, DALL-E, Unit + Program
ABSTRACT:
“For much of recent history, the thought of machines being in any semblance within reach of human cognition has been one of imagination. But now, technology has speedily caught up to these aspirations, and society faces the daunting task of accepting, learning, and utilizing such tools. Specifically in the lens of design and architecture, what needs to be done at this point is to (1) reflect on how technology currently plays a role within it, and (2) determine how technology should continue to impact it.
In this thesis, I will survey artificial intelligence applications dedicated to image generation and explore how they serve the purposes of architectural design. In particular, I will utilize recently popular text-toimage applications, such as Midjourney alongside existing GANs. Given these current various outputs available
from machine learning tools, there is yet no current framework or methodology defined for architects to utilize these tools to manifest a 3D structure out of them. I will propose a framework for how architects can use various generative architectural outputs, namely massing and programming, to realize an actual 3D structure that serves as inspiration in the early design stages. However, besides being a guideline for individuals who wish to use these tools, ultimately this framework could also be referenced as a preliminary model for those working on the continuous improvement of 3D machine learning algorithms. After all, as the design process inevitably becomes more digitized, it is important to maintain a humanistic and an authentically architectural approach within the algorithms that oversee our design outputs.”
FRAMEWORK [VERSION 1]
[VERSION 2]
FRAMEWORK
(View full thesis here: tinyurl.com/kwthesis)
FRAMEWORK [VERSION 3]
EXCERPT:
“What has become significantly apparent throughout the various experiments with the frameworks is that in order to properly implement the use of artificial intelligence in the architecture industry, or any new technology for that matter, an authentic architectural perspective must be applied while developing these tools. What this means
is that every step in the creation of AI applications (that are intended for use in the architecture industry) from the selection of the training data to the algorithmic processes of generating 2D and 3D outputs, should be determined in a manner in which architects agree with. After all, the ultimate goal of these technologies should not be to design for us, but with us.”
From the selected image output, extract elevation-perspective images of all visible faces of the structure. In this case, there are two visible faces. Generate variations of the elevation images with DALL-E to visualize the non-visible sides of the structure.
[2] Three-dimensionalize Midjourney in order to determine footprint. Blue lines represent the structure, which help footprint. This is a gap in the warrants manual intervention. building footprint is depicted the color green representing color red representing windows.
[1] The four images that Midjourney generated from the text input: “a photorealistic architectural rendering of a tiny home.”
[3] With all the elevation images, dimensional model can now This also determines the building is used in the next step.
[2]
[1] The four images that Midjourney generated from the text input: “a modern, sustainable tiny home with a view of its front elevation.”
[2] The four images that Midjourney generated from the text input: “simple model for portable tiny home with a dome roof, elevation perspective.”
[1] The starting point for this composite, created with Framework [Version 3], will start instead with the building footprint and space layout diagram.
[3] The “skeletal” structure, desired building footprint.
the image output from determine the building represent predicted edges of determine the building the framework that intervention. The resulting depicted in the last box, with representing entryways and the windows.
[3] With the GANs software Unit + Program, determine the space layout. Then manually intervene to make the output from Unit + Program into a more legible diagram.
images, a threenow be produced. building footprint, which
[4] With the GANs software Unit + Program, determine the space layout. Then manually intervene to make the output from Unit + Program into a more legible diagram.
The
[4] The composite tiny home design, generated with Framework [Version 1]. The composite includes two isometric views of the threedimensional structure and a simple programming diagram.
composite tiny home design, generated with Framework [Version 2].
composite tiny home design, generated with Framework [Version 3].
(View full thesis here: tinyurl.com/kwthesis)
The
[4]
merging of the skeletal structure and the essential form (as extracted from the Midjourney image output).
The
THE SILO LIBRARY
PROJECT: Design Discovery, Harvard GSD
DATE: July 2019, Revisited October 2022
SITE: Boston, MA
SOFTWARE USED: Rhino, AutoCAD, Blender, Photoshop
Using the silo typology, which easily lends itself to circulation, this project relies heavily on circular paths that can follow itself along a vertical axis. The complexity arises when these circulation paths and silo forms intersect.
My design for the library ultimately revolves around the intersections of these cylindrical volumes, as well as the intersection of public and private programs.
I began by exploring how these circular volumes would intervene with the given site in Boston, while simultaneously experimenting with three concepts for connection methods between the silos, which can be seen in the collage iterations below:
[1] Steps
When the height is smaller than the diameter, these silos appear more as stepping stones. What are different ways to arrange these silos as steps for people to climb?
[2] Bundle
A vastly different spatial emotion is evoked when the silos are bundled together. How do different degrees of “tightness” affect the overall design?
[3] Skyline
Using the surrounding environment as inspiration, we use four silo forms to imitate the four buildings that would be directly in its backdrop.
My final exploration is manifested in the combination of all three concepts, which can be seen in the fourth column.
Located in the triangular “Brutalist Plaza” of Boston, the library will reside in the middle of 3 demographically different regions: Back Bay (which consists mostly of rich, affluent residents), Fenway-Kenmore (college students), and South End (a redlined region that is gradually being pushed inland). By placing the library at the vacant corner of the triangular site, it will optimize foot traffic from all three regions, while preserving the long rectangular pool that runs along the southeast edge of the site.
The library will contribute to the potential of this site as a bridge between the three regions. The circularity of the structure lends to lack of hierarchy, meaning the building is both physically and visibly accessible from all directions.
THE MARY BAKER EDDY LIBRARY (CHRISTIAN SCIENCE LIBRARY)
THE FIRST CHURCH OF CHRIST, SCIENTIST
PARKING GARAGE
177 HUNTINGTON
SILO LIBRARY
The design is rationalized as the intersection of two arcs: private/individual vs. public/ social. The connection of these two arcs is spatially represented by the center silo, or the “hub.”
Therefore, the various circulation paths are developed to cater to the different experiences people may have in libraries. There are three distinct entrances: one that leads to the auditorium and
the atrium, another one that leads visitors straight into the stacks, and a final entrance into the office spaces, intended for library personnel.
In total, the design can be thought of as a threedimensional Venn diagram. Each silo has its designated purpose, and a hub of intersection connects everything together.
FLOOR 7: THE “HUB”
FLOOR 6: ATRIUM,THE “HUB,” READING ROOM
FLOOR 5: ATRIUM,THE “HUB,” STACKS, READING ROOM
FLOOR 4: ATRIUM,THE “HUB,” STACKS
FLOOR 3: ATRIUM,THE “HUB,” STACKS
FLOOR 2: AUDITORIUM, OFFICES
FLOOR 1: LOBBY, AUDITORIUM
FLOOR 5
FLOOR 3
FLOOR 2
FLOOR 4
FLOOR 1
“ENCRYPT ME”
PROJECT: Columbia GSAPP ADR II Final Project
DATE: Spring 2024
SOFTWARE USED: OpenFrameworks
“encrypt me” is a simple attempt to address the more complex issue of surveillance and privacy. The project suggests a method of “flattening” video inputs into pixel “0”s and “1”s as a way of protecting the subject matter.
Simultaneously, this visual aesthetic is reveals how (primitive) machines “see,” since the algorithm is essentially examining each pixel’s color value in order to detect movement.
THE RIVER BUILDING
PROJECT: Columbia GSAPP ADR I
DATE: Fall 2023
SOFTWARE USED: Blender, Rhino
Above:
3D model of an exploded section cut of the River Building’s auditorium. The model is vertically distorted to represent the CO2 emissions of its respective materiality. For example, the aluminum roof is 8 times thicker to represent the material’s carbon emissions.
Right: Exploded axonometric of the River Building’s auditorium, layered with information of material sourcing.
How do our memories of familiar spaces degrade over time? Once we move on from a space, what pieces of it remain in us? What are the similarities in how technology preserves data over time in comparison to how our brain preserves memories?
This is an experimental project done with a Samsung 3D phone scanner, by capturing the dorm room I lived in during the 2021-2022 school year and modeling its deterioration through Blender.
PROJECT:
Stanford University CEE 33H Responsive Structures
DATE:
Spring 2022
(On View at the Anderson Collection May 23 - June 5, 2022)
“Ephemeral” is an installation created with ~20 other students in the class. We studied how to develop a membrane tensegrity system into a large-scale assemblage that responds to the specificities of the site and embodies the idea of ephemerality, the concept of things existing only briefly. The structure is made primarily using slender hardwood dowels and Amalke Super organza fabric (which weighs just 5 grams per meter).
MARRIAGE PACT
ROLE: Designer
DATE:
January 2020 - September 2022
The Marriage Pact is a viral college dating startup where students take a questionnaire, backed by rigorous academic research, that matches them to their most optimal partner on campus once per year. To date, the Marriage Pact has reached over 450,000 participants.
I joined the team as the first non-executive hire as a designer, and throughout my two years there, I helped develop the brand voice as one that would appeal to a younger, student-based audience, as well as one that is based on the company’s ethos of data and technology. My work at the Marriage Pact has spanned between developing the branding system, creating graphics and data visualizations for social media and web content, and designing UI flows for our spin-off mobile apps.
