I work on buildings, objects and artwork, mostly from a studio in Seattle.
Before this I worked on large public and cultural projects in Europe. Rail stations, a hotel, and a pavilion for the United Nations. That's where I learned to coordinate consultants, hold a drawing set together, and get complicated things built.
Then I managed custom home projects on Nantucket, where the details get looked at closely and everything new has to hold its own next to buildings that have been there two hundred years.
What I do now is closer to the ground. A stair, a kitchen, an addition to a house that's been standing a century. The drawings are detailed well enough that a contractor or fabricator can build from them without guessing. Licensed in Washington, so they're stamped and permitted here rather than handed off.
Take a project whole, from first sketch through permitting and construction, or in pieces. Early feasibility, pre-design, a set of millwork drawings, a second opinion on a decision.
Alongside the buildings I make relief work about rhythm, texture, and what happens to a form when it's repeated. Same interest as the architecture, different scale. Small shifts in material, repeated until they add up to something.
