A departure from many other designs in the Alessi line, the Acconci design is not so much a set, but a single object containing everything that is needed to serve coffee or tea: containers for coffee, tea, milk, and sugar, as well as four cups and saucers wind around as a strip laid across the surface of a sphere. This sphere is balanced such that it may roll in two directions across a table, when rolling in one direction it dispenses either coffee or tea, and in the other milk or sugar.

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It is one thing to speak in metaphors of dynamic systems of design, and another thing entirely to build an computational system which produces formally and functionally viable designs. This entry for the Pavilion Seroussi competition begins with a metaphor inspired by the forms evoked by electromagnetic field lines, and develops it into a more complete system for producing architectural form. This design metaphor is refined, developed, and coaxed into a working dot-net plugin for Rhinoceros.

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In geometry, an aperiodic tiling is a tiling by a (finite) set of prototiles which never admits any instance that repeats itself. An example of a three-dimensional aperiodic tiling system is the Danzer set, which was implemented here as a rhinoscript in support of a project at Acconci Studio.

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This thesis completed for a Masters of Architecture at MIT, is structured as a reimagining of two devices, two games - string and paper - as systems of representation. How can a drawing practice which is inspired by these devices, and contains inherent properties derived from these devices, become generative of a building practice?

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In support of two projects at Kohn Pedersen Fox Associates which presented similar design production issues, a small script was developed which allowed for the arrangement of standardized facade elements to be controlled by an image file, interpreted as a dataset. Essentially an interface for producing two-dimensional arrays of modeled components, this simple tool allows designers to indirectly leverage the matrix-manipulation capabilities of image editing software (such as photoshop), greatly extending the range of design patterns which may be explored.

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Cornish is digitally produced ornament. It aims to overcome the antiquated predominant mode in code-based production, where the architect stumbles across some algorithms (often discovered several decades ago) and implements them in an effort to be innovative. The Cornish approach overcomes this formal predictability by running not one algorithm, but many concurrently, each acting and re-acting upon a common substrate.

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Designed with an ellipsoid-like façade surface, the challenge of the Tianjin project was to arrive at a geometric strategy for the layout of curtain wall panels which minimized the number of unique units. Evaluating layout strategies by hand proved time-consuming and limited, so an algorithm was developed (implemented in Generative Components) to automate this process.

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This collaborative MIT workshop offered jointly through the departments of Architecture and Computer Science, focused on the development of a design tool, implemented in C++, for determining the form of three-dimensional mesh systems under gravity loads, in real-time. .

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A reconfigurable mold for castable materials such as plaster or resin, fabricated as the final project for a course at MIT's Media Lab, MAS863. Fabrication requried skills in basic mechanical design, sensing & acutuation, as well as PIC contoller programming .

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An experiment in applying a parametric design tool in early stage of design, this semester-long studio project took as it's methodology a system of parametric theme and variation. The project proposes a strategy for the development of a number of small residences sited along the steep slopes of the hills of Valparaiso, Chile. It is sited within the interstitial zones between the crests and valleys of Valparaiso's many hills, zones where the topography is too steep for traditional construction, and currently lies unbuilt.

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Commissioned by and installed for the Athens Olympics, White Noise / White Light is a luminous soundscape sited in an urban public plaza at the entry to the Theater of Dionysus, at the base of the Acropolis. For the eighteen days of the Olympic games, visitors walked through and interacted with this sonic field of chest-high end-emitting fiber-optic strands of light.

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The Hunter Douglas Light Research Studio was a material research based design studio, offered at the Pratt Institute, that addressed the window treatment products of the Hunter Douglas Company, an international manufacturer of building products.

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The component ecologies research studio, offered at Cornell University and sited in Abu Dhabi, focused on the development of a design methodology that forces architectural discourse to respond and adapt to complex ecologies, and seeks to understand context as both complex system and formative force.

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Designed and fabricated for the Guggenheim museum in Bilbao while I was employed at TEN Arquitectos, this exhibition design displayed a collection of work titled "The Aztec Empire", on loan from the Instituto Nacional de Antropologia e Historia of Mexico. The exhibition manifests as a continuing glass showcase which runs throughout the entire museum; acting as a mediator between the artworks, the spectator, and the building.

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