Media
I design things to support my work and others: exhibitions, architecture, furniture, hardware, and graphics. Making is a form of study—combining traditional techniques with new technologies to find low-cost, DIY methods that yield surprising qualities. I like artifacts that straddle boundaries: virtual/physical, analogue/digital, traditional/progressive.
About
I design things to support my work and others: exhibitions, architecture, furniture, hardware, and graphics. Making is a form of study—combining traditional techniques with new technologies to find low-cost, DIY methods that yield surprising qualities. I like artifacts that straddle boundaries: virtual/physical, analogue/digital, traditional/progressive.
Creativity in Modern Heritage: A Doctoral Symposium
An interdisciplinary doctoral symposium on modern heritage that I co-chaired and designed the website for. Held on May 7, 2026 at Temple Hoyne Buell Hall, the event featured a keynote lecture by Hi'ilei Julia Hobart (Yale) and six papers, jointly supported by the PhD Programs in Architecture and Landscape Architecture and History + Theory + Preservation, with co-sponsors including the Unit for Criticism and Interpretive Theory, the Environmental Humanities Research Cluster, the American Indian Studies Program, and the Sawyer Seminars. I also presented my paper, 'Propositional Modeling for Digital Heritage: Committed Artifacts, Situated Knowledges,' at the symposium.
Spaces of Nature/Natures of Space Symposium
A graphic identity and website designed for the 'Spaces of Nature/Natures of Space' graduate student symposium. I created the event's visual identity and designed the official website while co-organizing the symposium with Taisuke Wakabayashi at the University of Illinois Urbana-Champaign. During the symposium, held on February 14, 2025, I presented an early draft of my research paper, 'The Interpretive Nature of Space: Generative Ambiguity in Heritage Visualization'. Abstract In architectural representation, the tension between objectivity and ambiguity opens space for interpretive engagement. Yet contemporary digital visualization practices increasingly prioritize photorealism—a pursuit that, as Lefebvre cautions, risks reducing lived space to a superficial spectacle. Drawing on research conducted at Cyprus's Virtual Environments Laboratory, this paper contends that the nature of space emerges not through visual mimesis but through the generative potential of representational ambiguity. Such an approach aligns virtual reconstructions with the deeper intellectual and cultural aims of the Digital Humanities. The Nicosia International Airport (1968), abandoned in Cyprus's UN buffer zone since 1974, exemplifies the interpretive challenges of modern architectural heritage. Here, meaning is negotiated between design intent, built form, and lived experience. More than a modernist relic of Cyprus's post-colonial aspirations, the site's abrupt abandonment transformed it into a time capsule of what de Certeau terms 'spatial practices': public terraces and amenities overlooking the tarmac once fostered forms of social life unimaginable in today's airports. With these practices now confined to living memory, methodologies are needed that integrate experiential knowledge with conventional documentation.To address this gap, we developed an approach to heritage visualization through a year-long museum installation featuring a virtual reconstruction of the airport set in 1969. By embedding carefully designed 'interpretation gaps'—strategic ambiguities in the visualization—we created a system that invites visitors to actively bridge these gaps through their contributions: memories, media, and historical knowledge. In this way, the virtual environment becomes both a research instrument and a medium for collective storytelling, supporting rather than supplanting the social practices that sustain collective memory.
Quantum Itineraries Live Visuals
A suite of tools and visualizations in Unity for live-generated 3D visuals projected behind performers at 8K for dome or classical displays, using procedurally generated meshes and shaders. I built the system for the Quantum Itineraries music performances, a festival featuring quantum computer music where quantum simulations are core to composition and instrumentation. The quantum simulation data that generated the music also drove the visuals directly, with WebRTC routing Unity's output to a mixer for the projection.
MESH AIRFLOW Visualization
An AR visualization of airflow patterns for a secondary facade system designed by the Cyprus Institute. I took the researchers' 2D computational fluid dynamics (CFD) simulations (heat and flow maps) and UV mapped them onto a 1:1 scale 3D model of the facade, then built a shader to animate these maps with particles, inspired by how Portal 2 visualizes fluid dynamics. In the final application, users scan a QR code on the test building and see the internal 'stack effect' in action, with callouts indicating sensor locations.
Unité d'Habitation Poster
A poster with basic information, a QR code, and URL using a simple visual element to imply mystery. We designed this to draw exhibition visitors to our wiki survey on public perceptions of Le Corbusier's Unité d'Habitation.
BEEP Energy Sim
An AR energy-use visualization that lets stakeholders view expected energy loads for every room in a heritage building over the year using a phone or tablet. A slider scrubs through a full year of data, built to explain green infrastructure investments for the adaptive reuse project. More information on the project can be found here.Technical: I baked 3D room volumes into an optimized mesh whose vertex UVs encode positions on a packed lookup texture for GPU-driven animation without CPU overhead. The project also showcased Wikar's 3D section slicer, which recomposes standard shaders into slicable equivalents using 3D SDF intersections with a stencil pass for back-face fill.
New Models Codex Y2K20
An article titled '#The-New-Aesthetic: Objects in Mirror are Much Closer than They Appear', reading James Bridle's term of the technological uncanny into the strange photography of lockdowns and security in 2020. I contributed this piece to a retrospective on 2020, the year we were trapped inside.
CryoLumens
An AR artwork representing the strength and location of Earth's magnetic fields using NASA's real-time sensor network, overlaying data-driven particle systems on an original painting using image tracking. When viewed through a phone, the painting comes alive with particles that shift and flow based on live magnetic field data. I developed the coding and visuals for Eli Joteva.Technical: Live sensor intensities are baked into packed textures so particles animate by interpolating a texture index on the GPU, keeping the visualization real-time without CPU overhead.
Miner 75
A SCI-ARC thesis film with concept work, matte paintings, and VFX pre-visualization. I assisted Christian Pepper with production.
Earth Vis
An experiment in converting NASA climate data into a real-time VFX graph visualization. For this project, I built a system in Unity where a compute shader drives particles across a globe in polar coordinates, sampling precomputed flowmaps for wind speed and direction, while their trails change color based on temperature.
Guccibytes
An exhibition and print zine showcasing unfinished speculative pieces from our studio organization, Quipit, with a focus on revealing the often-unseen digital components of our work. The zine was printed on long scrolls wrapped around PVC lattices, with embedded QR codes linking to AR content in Wikar. Each contributor used the platform differently: some created virtual galleries, others showed complex models on virtual plinths, and I created a "3D portal" to show one of my miniature models staged in its fictional setting. The physical exhibition components were built from materials recycled from a previous project.
Timeline Atlas
Two AR data-visualization sculptures visualizing datasets too complex to depict through physical sculpture: the home locations of all female senators over the past century. I collaborated with artist Stephen Cartwright, known for meticulously logging personal data over decades and crafting it into acrylic sculptures that exhibit spatial-temporal patterns. We used AR to go beyond his traditional manufacturing techniques. Debuted as part of a faculty showcase in 2019.
Tales From The Incoherence Era
A small zine of collected writings and graphics. As the primary creator and editor, I contributed most of the content and handled the final assembly, including a custom embossed cover on recycled paperstock.
A3 Award Logo
A logo generated using a reaction-diffusion physics simulation in Grasshopper, configured to store the entire time-series of the simulation. By extruding this data with the Z-axis representing time, the final form visualizes the 'A3' letters growing to fill the constraints of the badge shape, creating an intricate pattern where the content is determined by the constraints of its graphic container. My entry to the A3 (Annual Architecture Awards) logo competition.
Illusive
A limited-edition series of block prints and embossed graphics displaying optical illusions and intense patterns. I created this series myself, developing an experimental pipeline that used 3D-printed embossing plates to achieve deep, tactile imprints on the cards.
Will Arnold
A collaborative two-color risograph zine produced during a seminar with professor David Lyle Hays. As a participating student, I produced the masked image on the left (David Hays, right). The text in my image was contributed by architecture PhD student Soumya Dasgupta. The zine was printed by Will Arnold, a lead print technician at UIUC and prolific zine maker.
Archon, The Essential Dwelling
A documentary book showcasing the work of all participating students in the Archon Studio. I was responsible for producing the book.
Nightmare House 2
A skybox for a free horror indie game that replaces the outside environment, working at ground level and when on top of a tall tower. I created the skybox using a combination of Vue rendering and photocollage with a program called Skypaint which manages perspective-correction when editing.
Source Engine Skyboxes
Skyboxes for the Source engine built using Terragen, Vue, and photocollage, along with 360 panoramic images from my own camera. I created these for personal projects, friend's projects, and mods during my earliest experiences with Photoshop and art making from ~2008-2010. A friend bundled the materials I had distributed into one package.