Media: graphic
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.
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.
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.