The Forman Park Residential Towers develop studio through 3-bedroom apartments at the intersection of Genesee St. and the transformed Almond St. boulevard, a product of the NYSDOT Interstate 81 Viaduct Project.

Apartments are split into two towers, one lower with a wide southern facade, the other nearly twice the height with a narrow southern facade and wider eastern and western facades, trading wide southern sun exposure for sun from up to three directions. Certain floors in both towers are reserved for two-story apartments, which wrap over each other and over the corridors on the floors below, eliminating corridors altogether on the floor above, allowing units exposure to more facades, and providing opportunities for double-height spaces. Both towers' facades represent the arrangement of units, by cantilevering floor plates to outline each unit.

James Stirling's contribution to the Proyecto Experimental de Vivienda (PREVI) were prefabricated, inexpensive units designed to accomodate expansion and versatile configurations. Units were built in groups of four, sharing major walls and centralized plumbing, with the rooms of each organized around their own private, central courtyard. Conceptually, groups of four units could then be duplicated and arranged into neighborhoods around larger, shared courtards.

The Horseshoe Gallery is an exhibition space partially encased by a sculptural shell which serves as a surface for the projection of exhibition enhancements and alternative environments. The steel-frame, cuboidal gallery is cantilevered above the ground floor between two concrete cores. As one ascends from the open ground level, the shell seals the ramp and gallery entrance from the urban exterior, framing only a view of the the projected environment and of the sky with an aperature wide enough for ample sunlight.

The Truss Hut is a fundamentally strong shelter built around a timber Low Warren truss. The structural truss allows the hut itself to become the bridge it is inspired by, spanning the two outcroppings it is anchored to.

The Shell of Asclepius is the centerpeice of my project's focus on the revival of the historic Greek ampitheater at the Sanctuary of Asclepius at Epidaurus, Greece. The Theater of Epidaurus, around which the Shell is built, is one of the best-preserved ancient Greek ampitheaters, missing only its original stage. My surgical intervention to the site adds a concourse and stage at the base of the theater; the infrastructure I envisioned necessary to accomodate frequent use by up to 15,000 people whilst preserving the ruins of the original stage and the integrity of the historical venue.

Elsewhere in the Sanctuary is a replacement of the main museum, which faces the site's ruins. Additionally, a seperate museum/hall of fame dedicated to the performances at the theater faces the theater from a nearby hill.

Positioned in the approximate viewing location of The Bridge at Narni (1826), by Jean-Baptiste-Camille Corot, the Residence/Gallery/Studio is designed to reveal a live view of the painting as one descends from the residence at top, through the gallery, and finally to the studio.

An analysis of the site of The Bridge at Narni (1826), by Jean-Baptiste-Camille Corot. The study features the hilltop town of Narni, the ruins of the Bridge of Augustus, and the Nera River.

Analysis of Il Bagno di Bellinzona based on floor plans and aerial imagery.

I selected Untitled (2016), by Claire Rojas as a foundation for both the narritive and aesthetics behind Retro Metal. I converted nine distinctive shapes from the painting into 3D volumes belonging to three fictional characters named Lorem, Ipsum, and Dolor. Lorem, Ipsum, and Dolor lead accomplished lives in a futuristic world where all of humanity's problems have been solved and these volumes are components of their advanced hobbies. Retro Metal, a cliffside bathhouse, transforms these volumes into baths, representing the beauty of collaboration between great minds through the creation of a space for public rejuvenation from otherwise unrelated personal lives. Retro Metal also reflects the elegant curves of Claire Rojas' painting in every space.

Beach House began with a linear path drawn onto an unfolded cube. This path was used to split the cube into random volumes, two of which became the basis for my project. One volume was designated "Horizon" and the other "Sky". The first openings were created by unfolding flaps from each volume for viewing of the horizon and sky, respectively. I then connected both volumes, added passage, rudimentary external supports, and many more openings. The project was confined by a prescribed 96' x 48' site with a seawall at the waterfront.