The pavilion is an organic volume that was formed using two identical two-dimensional geometries with equal perimeter values. For this project, I connected two tear drop shapes to create a mold and cast the volume using hydrocal. The final form reminds me of a dune. The ridge lines are the inspiration for the program, a pavilion that could serve as a shelter against the natural desert environment.
The design concept for the stool is to create a striking “moment” where the seat meets the legs. Inspired by a hind leg of a gazelle, the legs are held together using dowels and half-lap joinery.
Material: Ash Wood
Finishes: Red Ink
Location: Kitchener, ON
The philosophy of the store revolves around three main principles - recycle, refurbish and reuse. The store aims to rescue old and forgotten items and transform them into new, functional pieces. Recycle, Refurbish and Reuse (R3) focuses on lighting fixtures. The artist and designer modernize and give salvaged items a second life by replacing the broken components but leaving the original character untouched.
Program: Community Art Centre
Location: Kitchener, Ontario
Inspired by the symmetrical shape of a lotus flower. The bowls were hand-carved from basswood. They fit comfortably in the palm of a hand which makes them perfect for serving finger food. They can also be used as scoops for flour, sugar or rice.
Inspired by the flamenco dance.
2018 Toronto Design Offsite Festival
Group Project | Mackenzie House
The project aims to revive artifacts related to the Mackenzie House, and their stories, from their phantom-like status. Through exquisite craftsmanship, each of the three pieces replicates parts of history we no longer have direct access to and are consequently physically absent from the existing site. Doorknobs, located in the parlor pocket door. A dictionary, situated on the dictionary stand in Mackenzie's makeshift study, and a wall hanging, placed in front of the staircase window.
The narrative of the relates to the female domestic roles of the Mackenzie House. The installation aims to highlight a female-exclusive activity common to the Victorian domestic sphere: embroidery. The design objects act as visual interests capable of sparking conversations between museum guide and guests.
The pieces are composed of 3D Printed PLA combined with cross-stitched thread. Symbolically the materiality acts as a link between past and present, contrasting modern and historical modes of crafting. The materiality draws attention to the utility of the objects while simultaneously appropriating the form into a contemporary placeholder that reflects the original programming of the space during the Victorian Era.
Program: Design Mart
Location: Toronto's Convention Centre
Designboom Mart at IDS 2017 explores interaction through connecting, stretching and contracting space to create an ideal environment to engage with the featured vendors and products. Intersecting rectilinear volumes, painted Designboom yellow, stretch vertically to define the nucleus of the Mart and act as a beacon, welcoming and drawing visitors in.
A continuous Baltic birch table contracts and expands around the volume, creating a plane of interaction between vendors and visitors. The undulating circulation encourages visitors to circumambulate through the Mart by generating new vistas, a sense of discovery and opportunities for connection.
The studies of Luis Barragán’s House and Studio: details model, sketches, and parti model.
Location: The Gardiner Museum, Toronto
The design of the temporary Gardiner Museum installation fuses architecture with ceramics to create a minimalist experiential architecture. The intent of this design is to complement the existing architecture while also standing out enough to attract more users to the museum space. The installation is located on the outside terrace space of the museum outside the museum shop in an area commonly used for formal and informal gathering. The size temporary installation also takes into the consideration the program of the museum. The height of the installation is at 21’ placing it nearly mid way between the ground and first floor of the Gardiner. The width of the installation allows for unobstructed views to the museum shop windows and entrance from the street.
The simple cube like exterior shape of the installation instills an air of mystery while its translucent fiber optic fabric materiality gives a glimpse of the interior. The interior space entertains a vase-like void to the outside located in the middle of the space. Inspiration from the ceramic collections in the museum is evident in the shape of the void. As you enter the cube, you are guided along its perimeter until you reach the opening to the void located on the opposite side. Black SnapLock Dance Floors with pressure sensors is used in the space (excluding the void) to engage the user in a more sensory experience. The pressure sensors connected to the fiber optic fabric that covers the entire interior space responds to amount of users in the space by increasing the amount of light emitted from the fabric and its “flickering” effect. The experience of light coupled with the 21’ high clearing is intended to captivate and fully engage the user in the space before they enter the vase-like void. The contrast between indoor and outdoor is evident at the threshold between the two spaces. The vase like void begins wide at the base and tapers towards a small opening on the ceiling. The small opening at the top resembles an oculus and will allow for sunlight to filter into the space in a similar manner the Pantheon in Rome giving users a sense of time.
The proposed temporary installation for the Gardiner Museum is playing on scale and proportion and is intended to be a simple but engaging space and draws on the essence of the Gardiner Museum.
I. Stairs | Graphite & White Charcoal on paper
II. Village | Ink & Pen on paper
III. Zebra | Ball Point Pen on paper
Parabola shape is the inspiration for this stool concept.