Selected Works

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Platforms
Union Square, New York, NY, USA
2025

The program of the intervention prioritizes accessibility and platforming communities through height, modularity, exposure, and intrigue, operating through tensions of labor and play. Established as a recreational respite for New Yorkers in the early 1800s, Union Square, where Broadway and Fourth Avenue meet, is a popular space of labor and leisure for the masses. The Union Square Pavilion, situated on the north side of a commercial hub and nexus for transit, was built in the late 1800s to accommodate a public requirement for mass meetings, serving as a stage for protest and demonstration at the beginning of the 20th century. While it had fallen into disrepair in the 1980s, it has since been renovated into office space for the Parks Department and a private, seasonal, open-air restaurant. Being another casualty of New York City’s increasing privatization of public spaces, this intervention returns the state of the commons to the collective, reclaiming the collective’s right to the city. The urban public static and in flow are provided a blank canvas that affords possibilities for collective rest and action, responding to the need for collective affordances that were once fundamental to the identity of Union Square.

In its context, being a transient commercial hub, the site tensions its people and the socioeconomic conditions under which they operate. Through this intervention, the platform as a public archetype is utilized to elevate the grounds of community as they reveal themselves. The ground of the square lifts to the platforms' rise, exposing the dirt and roots from which New Yorkers and tourists run. Natural elements integrate themselves as a part of the build, balancing the urban condition and revealing the life on which the city is founded. New York City’s scaffolding typifies the intervention, its raw materials and composition being used as the primary source in representing the platform as an urban artifact and enduring identity. The idea of renewal represents itself as well, illustrating the nature of urban evolution in place as it is lived in. In creating an elevated space for the urban in flux, the plane serves as a means for communal gathering, platforming the commons, the collective, and the community. The heightened third space opens to the public for performance of every kind, responding to histories of social differentiation in the city and the platform through the accessible provision of them and their affordances. The space is open to all, attracting others as its function, whether one of labor or leisure, oscillates to their accord.

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Woodhull Hospital
Brooklyn, New York, NY, USA
2024

On the seventh floor of Woodhull Hospital, in an area where three NYCHA sites converge, this project inserts a counter-program to New York City’s systemic neglect of mental health in relation to housing instability. This intervention realigns social and spatial infrastructures around community, care, and mental wellness. Conceived as an educational–therapeutic hybrid, the intervention brings daycare, counseling, and parent resources into a single space.

With sunrise-lit learning rooms, west-facing therapy spaces overlooking the skyline, and a cloistered garden binding the individual spaces. By restructuring systems of disconnect into a calibrated sequence of communal interfaces, the project reinforces the durable, interdependent neighborhood rooted in, and continuously regenerated by, its people.

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Cahuilla Community Greenhouse Garden
Coachella Valley, Indio, CA, USA
2023

Coachella is hosted annually in Indio, California, a city and region historically important in its agriculture. In this community greenhouse garden, a space of labor and leisure, for both the local community and Coachella visitors, is offered. The intervention connects this transient, leisurely event to its permanent, native, and working-class people and environment through the growth and preservation of plants and produce native to the Indio site as well as the provision of a space in which visitors and locals interact as equals.

The site is located in an area near car camping and at the border of the Empire Polo Field, allowing the garden to remain accessible to visitors and locals during Coachella events and after. The greenhouse physically comes together with the recycling of waste left behind from previous events, creating a call to Woodstock Handmade Homes: a style of homes made from recycled and local materials, built in hippie-era Woodstock by those with financial constraints. The material of the greenhouse, which is evidently reminiscent of earthships, also allows the space to bring attention to the relationship between passing visitors that leave behind their trash and the journey of the waste as local workers pick up after them. In the middle of the garden, a honey mesquite tree is planted. It grows out of the roof to provide shade and to highlight the importance of the native and natural environment, especially as it works to provide for the community and its visitors within the space.

The intervention specifically works to critique a homogenous leisure class that Coachella creates and their bubble on site. The greenhouse takes this and reinvents the localized environment to be a space that serves the Indio community, through leisure and its local elements, and provides a space of labor for the visiting leisure class, manifesting an awareness for those working at the foundation.

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Vernacular Working Class Appalachian Architecture in the Rural Home
Sarah Lawrence College, NY, USA
2023

I explored the divisions of leisure and labor within the home, focusing on their evolution within the working-class Appalachian space. This research project culminates in a narrative exhibition with the display of six different floor plans, each dating to a specific time period of major industrial revolutions, images of its rooted influences, and depictions of how the space was typically organized and used.

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Prato as a 15-minute City: Masterplan Around Bus Stop Valentini 2
Prato, Tuscany, Italy
2025

This proposal reimagines the city of Prato as a 15-minute city— a compact, polycentric model where daily needs and public space are accessible within a 15-minute walk or bike ride. Urban life is strategically redesigned around key nodes, continuous green corridors, and layered mobility networks. In collaboration with project partner Melisa Baran, 13 overarching concepts were developed to increase urban livability in the neighborhood. Ecological, social, and cultural systems operate as an integrated whole. This project produces a resilient and vibrant new city center where heritage and modernity coexist and daily needs can be met within 15 minutes.

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Urban Voids: Division & Union
New York, NY, USA
2024

Tensions of place.

Taken on Broadway, this Tribeca alley facing west down Leonard St. is encompassed by many elements. The columns on the Renaissance Revival style building on the left are repeated across the facade of this intersection. Garnering inspiration from the layout of the Forum at Pompeii, they serve to divide the void from the solid and by product establish the street as a void. The public and private are made distinct by color: the vermilion red serving as “private” spaces of non-commercial use and the dark muted teal serving as a part of the “public”. The elements that remain in grayscale serve to establish what divides these spaces and ultimately to symbolize the consequence of industrialization in human spaces. This type of layout similar to ancient forums were said to create a close kinship, defined by being closed all around by architecture. Rather, with the introduction of these elements in the modern society hidden beneath the guise of commercialization, they have isolated the collective.

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In Response to Roland Barthes’ Camera Lucida
2022

Photographic essay in complement to an in-depth reading of Roland Barthes’s La chambre claire and Sartre’s 1947 essay “Pourquoi écrire?”, exploring how perspective might help us understand what happens between photographer and viewer. Curious about the notion of objectivity in aesthetics and critical thought, I was particularly interested in Barthes’s opposition of punctum and studium as the basis for describing the unique art of photography. This duality consecrates the perception of the viewer in a spectacular, singular moment. Just as the writer needs the concrete act of reading to realize their creation, so the photographer needs the concrete act of viewing to realize their photograph.

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SLC Review Promotional Posters
New York, NY, USA
2022-2026

Graphic design samples.