I am an emotional designer. An informed emotional designer. My design process is informed by the emotional dimension of the user object interaction. Through the tactile; explicit and metaphorical; implicit associations of form, the work I create questions the culture of standardization and design criteria of normalization, while always striving to extend social and cultural sustainability.
the brutalist chair, 2012
The Brutalist Chair is inspired from the late modernist era of architecture known as Brutalism. Made from four cast concrete slabs that slot together to form the classic elements of an armchair without the use of screws or fasteners. This construction method is inspired from the playfulness of the Eames’ playing cards as well as the assembly method of a Brutalist building. With my architectural aesthetic in mind, this chair not only connects with me emotionally, assuring its role in my life, but its physical and visual weight assures its dominance in my personal environment. Its heaviness almost metaphorically complements my emotional attachment. Because of this, the chair plays heavily on the notion of social sustainability. It’s designed for the individual in mind, not for an ambiguous statistic. Each concrete panel is constructed with great precision and attention to detail to assure a seamless integration. This level of craftsmanship assures the most important aspect of sustainable design in my opinion, that is of emotional and physical durability. In an odd case of having to move, the chair can be disassembled back into its component slabs (with the help of an another person of course). Advisor: P.K. Langshaw
Archapera is a prototype project that looks to stimulate sustainable eating practices through the reinvention of the classic doggy bag. Designed for gastronomes, this box aims to prolong the fine dining experience. A reusable alternative to disposable aluminum, styrofoam or cardboard containers that encourages patrons to not waste uneaten portions. The fine materials used were meticulously chosen from industrial offcuts, reflecting this symbology of continuity. Designed in collaboration with Charles Deluvio, Dacia Pantelis, Marie-Čve Bourque and Alexis Pautasso. Advisor: Rhona Richman Kenneally.
fil lamp, 2012
The Fil Lamp’s clean minimalist form is complimented by its light and delicate aesthetic. Its perticual height allows it to be a working/reading light as well as an ambient light. The integrated switch, the revolving centre ring acts as a visual break in the verticality of the aluminum shaft. Advisor: Martin Racine.
for the love of punctuation, 2010
This project was a challenge to create a book that when finished can be taken apart to become a simple pile of white paper. Based on the principles discussed in William McDonough’s book, Cradle to Cradle. Using a minimal amount of ink and fastened together by homemade rice glue, the book is an elaborate reference book to the history and proper usage of punctuation. Designed in collaboration with Gene Duval, Gabby Leon, Jesse Mykolyn, Amanda Guerin and Santina Caltagirone. Advisor: Tina Carlisi.
concordia undergraduate journal of art history, 2013
The Concordia Undergraduate Journal of Art History is a student-run annual publication that aims to showcase the talents of Concordia University’s undergraduate Art History and Fine Arts students. The CUJAH is composed of an executive committee of editors, copy editors, feature writers, and is assisted by faculty members in the Department of Art History. Advisor: Christopher Moore.
gender performance camp, 2012
Gender Performance Camp is a zine comprising a series of image and text pairings, a play on words that aims to use humor, familiar imagery and campy aesthetics to ask the viewer to re-evaluate perception of normalized gender roles and performance through clothing and activities. Produced in collaboration with Gaďa Orain. Advisor: P.K. Langshaw.
the keel chair, 2012
The Keel chair is a tribute to the famous American designers, Charles and Ray Eames. In our class 3D Design Technologies, we were each given a plastic molded Eames chair shell that had been saved from the Concordia dumpster. These original shells are non-recyclable and infinitely durable, so we were given the task to give them a new life. We had to create a new base for the seat that inspires itself from Charles and Ray Eames’ glorious career. The Keel Chair base is made from plywood, a material that the Eames couple were the first to introduce to the furniture market. Its sleek design is reminiscent of the classic lines of the midcentury modernist age. The chair’s base is detachable and can be flipped on either side to create a rocking chair or a stationary chair. The name Keel like the part of a boat reflects the curvy blade on the chair and coyly alludes to the expression ‘ to keel over’. It is a playful design, something the Eames couple employed in their original work. The plywood is FSC certified and produced locally here in Quebec and is a chemical-free alternative to Russian plywood. Each “C shape” plywood structure was cut using a computer guided CNC machine out of a single sheet of plywood. This project was produced in collaboration with Dacia Pantelis.
wood lamp, 2010
More sculpture than lamp, the Wood Lamp is a ambient light fixture who’s form is both interactive and modifiable. This prototype aims to explore the idea that our objects have agency, they possess personalities and characters that help define our lives. With its ever-changeable form, we adjust it according to our preferences and mood, and it takes on those attributes reminding us of that symbiotic relationship. Advisor: Erwin Regler.