a unique feature of the new street axis is its connection to the existing grid in the mission main housing development. these streets continue into the new block, providing structure for the courtyard apartment buildings, and promptly terminate at their intersection with new street. offset on the opposite side of the road, these streets pick back up and resume the grid pattern. this method reduces the use of these streets for through traffic, and also allows for every other passageway to become pedestrian oriented.

drawing inspiration from cellular mitosis and parametric design, this vertical forest masterplan utilizes planter columns to add a new layer to boston’s north end while fighting coastal erosion, mitigating urban heat island, and providing amenities. the columns are placed in variable densities and sizes determined by an attractor field of the neighborhood’s hottest areas. the resulting web of modules has three primary functions in the water, on the land, and integrated with human structure.

each module is formed of webbed concrete to reduce carbon footprint and create space for plants and animals to thrive. the tallest and largest planters can be occupied by humans, accessed through puzzles, cable cars, and gymnastics. as they vary in size and height, the planters feature correlating flora and fauna, making each tower the host of a unique ecosystem.

the three typologies of blue, green, and gray correspond to different species of plants and different goals of ecological intervention. the blue towers occupy the water and the harbor, providing a barrier to coastal erosion, as well as valuable homes for native oysters, fish, and aquatic plants. the green towers house a variety of local species of plants, acting as passageways for birds, bees, and butterflies, while simultaneously providing shade to the city. these units occupy a multitude of landscapes, such as the tops of roofs, parks, and roadway medians. the gray planters are placed primarily around heavy infrastructure, such as highways and train stops, and carry hearty plants that can filter pollution and mitigate heat. these units can also house human related amenities such as public restrooms, water fountains, bike racks, and playgrounds.

located in a dense block in central madrid, this community center carves a valley of democratic multi-use space. blended into the street through floating brick facades and a pedestrian bridge, this community center provides a meandering path of program and freedom. rather than considering the site as a blank space to be filled, it is better understood as a solid block to be carved into, interpreted as a valley.

the push and pull of the form makes space for a variety of distinct programs, which are open and accessible to the public. meeting rooms, game rooms, rotating market space, a theater, and a gym are blended into the waves of the structure. however, the in-between spaces equally cherished. on the ground floor, a meadow connects the indoor programs, with an elevated pedestrian walkway on the second floor, and a divide between stage and audience on the third floor. this interconnectedness, even through void space, allows communication across levels and programs, spanning the entire valley.

the valley itself is ecologically valuable, as the hot pools of the spa underground feed and water the roots of the native cypress and eucalyptus trees that live above. these trees thrive through the constant utilization of the valley and, through the wind tunnel effect of the structure, spread fresh air throughout the neighborhood. the indoor spaces feature integrated louver windows, allowing for ambient temperature control and ventilation, while the ground floor uses rotating doors that spill out onto the meadow for the same effect. in a heavily paved neighborhood, the valley acts as an ecological refuge, with its form and function inspired by natural phenomena.

    this study re-imagines i. m. pei’s building 54 through digital and analog media, exploring how a rigid and brutal form can be warped and conceived differently. the goal of this exercise was the decontextualization of a beloved structure and idea, painting the style of brutalism in a new light that respects its history.

    the work focuses on the rhythmic facade of building 54. i attempted to break and incorporate new patterns and styles, through mies style collages, spirograph visualization, and manual scanner manipulation.