Rather than inserting a new object, the work extended the building’s own logic—where light paths became structural paths and textile filtration became architectural pattern. The intervention operated through continuity, not contrast: a method that joined languages rather than replacing them.

When funding dipped, we built; when visibility surged, we learned. A process tuned to its own rhythm—turning pauses into propulsion and exposure into design.

Dazzlement at the interface between transportation, large scale construction and a small neighborhood vibe.

A civic artwork built inside the very vessel meant to contain it. Covid closures forced a pivot offshore, where the rainscreen panels were flat-packed for shipping. Yet the design called for dimensionality — a bottle assembled inside a ship. Reflective Fresnel-like pieces were hand-folded in Grass Valley, while offshore crates delivered the flat system. In the building’s own basement, the work was staged, sequenced, and finally lifted into place.

Each project begins onshore—where the act of making clarifies the language that will later travel.