M.Arch Year 3 Spring Term, Pratt Institue
M.Arch Year 2 Spring Term, Pratt Institue
M.Arch Year 3 Fall Term, Pratt Institue
M.Arch Year 2 Fall Term, Pratt Institue
M.Arch Summer Term ‘22, Pratt Institue
M.Arch
M.Arch Year 3 Fall Term, Pratt Institue
Design 4 | Spring 2023
Critic: Alex Barker
Partner: Sophy Feldman
With a primary program of waste-to-energy plant, the Canyon also brings to Long Island City an indoor and outdoor public bathhouse for the community to enjoy. The design idea which ultimately became what we are calling the “Canyon”, was born out of a desire to provide public access to the water, while creating a “continuation of the green edge”, the state park, that already runs along the river up to the point of Anable Basin. In an effort to revitalize the marsh that once existed, we created extended and extensive marsh walls, which bridge the transition between actual marshland and more standard green walls. The marsh walls themselves then become either a structural opportunty for the cantilevering masses, or remain purely vegetative habitat and path-defining guides.
Using the exidting language of the site, we located the more heavily industrial programming in the north building, and the public bathhouse programming to South, bridged by the outdoor pools and vegetative walls of the Canyon. As the visitior moves up through the South building, the two masses eventually meet at floor 04, and the spaces become smaller, more intimate, more individualized in scale. The top two floors of the North (previously industrial building) become the most private areas of bathhouse, incluing hot tubs, classrooms, saunas and small gym. Throughuot the top 3 floors guests can trickle out onto elevated outdoor pools at various levels and scales.
Design 6 | Spring 2024
Critic: Fabian Llonch
Partner: Patrick Ruvo
Beginning with site research on the assigned existing building of the Bronx General Post Office in New York City, Patrick and I were taken by the incredibly complicated history of the site; from classical construction, to New Deal era ArtDeco reconstruction, to redlining, “the bronx is burning” and White Flight, to more recent and hugely successful efforts to reorganize the lower Bronx as a cultural destination, the architecture and inhabiting communities of the Bronx continue to maintain their reputation as historical and artistic strongholds of New York City. The General Post Office as a marker of what could only be descibed as the surrounding transportation hub that is two major freeways annd a subway line, is one way in which this idea of innovation wrapped in history is made manifest on our site.
My partner and I were immediately struck by the duality of all the benefits of a transportation hub, but which also is a major contributer to the unfortunate but unsurprising statistic concluding that the Bronx as a neighborhood has the worst air quality in all of New York and even the country, some studies even elevating it to ‘epidemic’ status. Thus begun our very grandeoise idea of a building whose primary program was to phsically clean the surrouning air.
Of course we needed to pair this with a secondary program that we felt would align with efforts of community organizations working to create that very delicate balance between creating spaces for current residents , and for those vistitors that will continute to bring money and prosperity into the area overall. In a combination that only felt logical, we decided to pair our large-scale air filtration with an aeroponics-based vertical farming co-op. Due to the hige footprint of the existing building, we were also able to include all aspects of food cycles and culture within the addition with a three-prong appraoch; we wanted to incorporate production, consumption along with manufacturing and distribution, each on multiple scales. We did this by introducing a physically elevated take on a Southeast Asian hawker center, to areas for farmer’s market style selling, to industrial-grade manufacturing facilities.
The ‘Pro-Filtrate Commons’ concept uses passive and active technologies to filter air through large vents in the building’s geometry. We explored HEPA filters, solar-powered fans, and Photocatalytic Oxidation for air purification, aiming to integrate these technologies into the vents and facade panels due to the extensive surface area available.
The building’s form was inspired by modeling “solid air” to shape air channels, resulting in large “ribs” that serve as both structure and secondary vents. This created a framework of air and structure around which occupiable spaces were designed for both people and food production. Spaces were connected to ensure easy access and a logical organization of Production-Consumption-Manufacturing layers. Vertical farming was placed in the building’s core, with manufacturing and distribution above, and markets and food halls on top, creating a tiered navigation system for visitors.
The building’s geometry and patterns draw from Art Deco, the Bronx’s piano manufacturing history, and exposed structure, emphasizing the idea of the building as a working machine. This design aims to improve air quality and address basic needs on a large scale.
Design 5 | Fall 2023
Critic: Abby Coover
Co-Teacher: Luz Wallace
The Gluttonous Oyster, a monumental and satirical building in Red Hook, marries aquaculture infrastructure with maximalist geometry, challenging visitors to confront the boundary between synthetic and natural, facade and structure, and the human condition of obsession with excess, the sometimes resulting gluttony, and conspicuous consumption, transforming the oyster from a symbol of indulgence to one of self-awareness and responsibility.
This intentional and obvious synthetic rock wall at the entrance serves as a metaphor for the superficiality of excess and extravagance. It sets the tone for the entire experience, prompting visitors to question the authenticity of their experience. what appears to be natural and genuine may, in fact, be constructed and deceptive. This aligns with the overarching theme of the narrative, where each material choice and layer of visibility challenges patrons to discern between what is meant to be taken at face value, and what should be questioned. The faux-rock wall acts as the first layer of this exploration, inviting patrons to critically examine the concept of synthetic versus genuine, an inquiry that continues to unfold as they progress through the restaurant’s various spaces and eventually face the satirical journey from indulgence to compost.
Design 3 | Fall 2022
Critic: Erich Shoenenberger
Co-Teacher: Brook
Boughton
Partner: Matt Huckenpoehler
In looking at the existing conditions of Farragut Housing, we developed a logic based on the spaces unoccupied by trees, in order to ultimately create a building typology that facilitates circular energy systems, and creates multi-species implications across the entire site. A concept derived from the existing architecture of Farragut, we wanted to maximize the exterior surface area for the new residents, and maintain a distance from the existing towers while still implementing services and amenities that would benefit current and new residents equally. We believe that any addition to the site should bolster the ecological systems at play.
In addition to the new residential towers, We chose to implement top-down, or inside-out, mechanical systems which serve both new and existing, as a way of integrating both systems in a non-invasive way. We saw this idea of exterior mechanical alteration as an opportunity to begin to deal with the overarching issue of energy consumption and production. In furthering the idea of our building as a positive addition to the existing systems, we implemented a network throughout the site for water collection and geothermal, essentially creating a highly localized energy grid or network for Farragut. This network also utilizes what we are calling the “arteries” that come off of our building, and sprawl throughout the site, delivering utilities and energy to all towers, and also create new pathways of circulation.
We prioritized diversity of housing by implementing entire floors of mixed units with public/private spaces, or entire uniform towers of greenhouse spaces and studio apartments. For the building facade we chose to use bio-concrete combined with panels of Mycelium mixed with brick taken from the existing towers. The mycelium will be grown inhouse so as to combat the inevitable degradation of the panels over time. A custom steel lattice structure will support these frames. By activating the surface of the towers with mycelium panels, we hope to provide homes for insects, animals, plants, ultimately reinforcing this circular energy system.
Material testing became an essential part of our exploartion into facade. Seeing the ground as a kind of extension of the proposed tower itself led us to the idea of the arteries, but also to the idea of implementing a ground-to-cistern water collection system, feeding back into the central theme of circular ecology. The addition of the mycelium panels transformed the design into a structure that both houses life internally, and facilitates growth, inevitable death, and regrowth externally. The skin becomes a home itself for animals, plants, and insects.
648D: Altered Estates | Summer 2022
Critics: David Erdman & Hart Marlow
Partner: Sophy Feldman
A researche-based media-and-studio hybrid, Altered Estates focused on the understanding and importannce of utilizing the Z-axis in the face of high urban density. In teams, we were tasked with creating a video which described our alteration’s impact on the surrounding community and social networks at play. We asked how, in the face of increasing density and decreasing surface area can we redefine ground at a new grade, one that goes vertically.
Golden Mile Tower is located on Nicoll Highway in Singapore, directly adjacent to historical Golden Mile Complex. This project focused on upcoming displacement from the Complex, which would be absorbed into the proposed addition to the Tower. The first two floors are comprised of a Hawker center and community spaces, whereas the next 11 floors are reserved for mixed-size residential units. Painted in an ombre technique to emphasize the vertical density, combined with greenery that mimmics the current architecturtal style of Singapore, the Tower addition promotes expressions of individuality and signs of domestic life.
Media 3 | Spring 2022
Robert Cervellione
Olivia Vien & Poyao Shih
The concept of the Moden Newel was to accurately recreate the architectural double facade precedent of the XOCO building in Manhattan. After modeling out the exiting facade, it became clear that the part that interested me most was the intersection of the metal bracing that hold up these knuckle-like pre-cast steel 3-dimensional panels. The result is a bannister and newel system that is carved and manipulated to intentionally show the system that holds it up. The physical model uses robot-extruded 3-D printed PLA for the panels, and a custom wooden version of a T-slot (substituting traditional metal bracing for wood and leaving it exposed), all attached with T-bits or Z-clips that screw into the panel. The research for the spiral bannister is based on pre-1930’s design, which are often ornamental and rely on curvature to round the corner at the end of a stair.
Media 2 | Spring 2022
Critic: Catherine Wilmes
In order to understand the volume of a building, this project was focused on learning about the whole by focusing in on a chunk. Starting by remodeling an actual storey or rwo-storey space using Revit, we then began to edit down and rework/ redesign the elements of said space. The result was a chunk of building that was designed so specifically for the experience of the ‘interstitial space’ (such as a stairwell, a lobby, a landing, a corner), that the forms begi to blur the lines between object and architecture. This was then reflected in the material choices that are sometimes used as scalar factors and other times used to juxtapose the materials that might actally exist in a space such as this.
Architectural Designer
March 2024 - ongoing
Project: Commerical Play Area #1 | New York, NY
CREDIT: Overlay Office design studio | Brooklyn, NY
As a junior designer I was tasked with iterating potential play areas. I then incorporated the chosen design (C 2.0) into the existing building plan, and createed drawing sets for the contractors, so that the design could ultimtely move ino fabrication, show below.
For the second area of this commerical play space, I was tasked with coming up with a rock wall that woul intgrate the client’s existing aesthetic. The lead architect wanted a circular motif on the walls that was derived from a floor grid previous established.
Additionally, the client had originally asked for a custom wooden play structure that would be whimsical, but match the minimalist natural material aesthetic of their brand. These iterations serve as tests for color and material cominations, as well as desgn intent for the clients approval.
Architectural Designer
March 2024 - ongoing
Project: Residential Addition | New York, NY
CREDIT: Overlay Office design studio | Brooklyn, NY
The client requested a physical model so they could better conceptualize the 3rd level remodel and how it would interact with the 4th level addition. The challenge with this all-white model was redering large enough grain to vusially represent realistic textures.
Architectural Designer
March 2024 - ongoing
Project: Commercial Bookstore, Coffee Shop & Pottery Studio | New York, NY
CREDIT: Overlay Office design studio | Brooklyn, NY
For this commerical space, I was tasked with rendering a visual that depeicted itial design concepts for testing materiality for the client. This ongoing assignment has also included collaborative graphic identity iterations, as well as early-stage design intention floor plans.
Fall 2017-Spring 2018
Critic: Anthony Cervino
