This thesis focuses on the phenomenon of festivity in order to better understand the spatial qualities of platforms for experiences of release. The work is grounded in the intimate connection between post-industrial landscapes and the emergence of raves and electronic music. The design approach questions western cultural norms by creating a scenario for a combined rave venue and cemetery. The investigation’s material and spatial manifestations are applied to Red Hook Grain Terminal, an ideal latent venue for raves, concerts, and other festive and contemplative functions on New York City’s fringe. The project aspires to widen the range of conversations landscape architects are included in into moral and ethical arenas.  Spring 2017
       
     
       
     
 December 2016
       
     
 Sited on Queens Boulevard in New York City, the goal of the project is to design in a linear space that is by default unknowable due to its scale and proportions. To tackle the problem I generated an adaptive framework logic to deploy along the boulevard, then zoomed in on selected study areas. Space is broken down according to the rhythmic distribution of three types of light fixtures. The most dramatic place to view the resulting composition is from the center of the boulevard, which is given over to pedestrians and spontaneous urban vegetation.  Fall 2016
       
     
 A center for plant-based medicine, treatment, research, and professional training focused on botanical remedies. The chosen site straddles a vertical edge of roughly thirty feet, a topographic glitch framing one side of Downtown Pawtucket, RI’s eminences. The proposal embraces this drop as an armature for generating an interior world with a radically different feeling from the rest of the city; an occupied edge. Medicinal plants characterize the resulting public realm. Though they are not intended to be an important source of the center’s supplies, they can be spontaneously picked and used for treatment by passersby. This open attitude to medicinal plants aspires to generate dialogue challenging the pharmaceutical industry’s monopoly, eventually reducing the amount of people being prescribed highly processed and addictive drugs.  Spring 2016
       
     
 poplar, LED puck, wax, white stain, biscuit joints  Winter 2017
       
     
 The Defiant Museum arose as a reaction to the rapid increases in rent and high-end residential and mixed-use development in this part of South Boston, which prompted me to design mainly downward from existing grades. During an early visit we witnessed a building demolition on our site, which raised the question: what else has been removed from here? The answer speaks of the built environment’s temporary nature, manifested here by marking the footprints of disappeared buildings. The overlay of past and present structures into a seemingly illogical though (selectively) honest montage creates a series of spaces that embodies the chaotic order that is the human defense mechanism against the cosmos’ forces.  Fall 2015
       
     
 The project intervenes in a residual industrial space with fuel bunkers, above- and below-grade piping, drainage pits, fences, and remnant machinery. You are not welcome here, merely tolerated. If you come after sundown, a police car is likely on its way to collect you. In the face of this stark, unwelcoming condition, the design proposal recasts the fuel bunkers as concert venues and overlays a new circulation system on the site, with lighting fixtures to guide and encourage the visitor to brave the elevated highways and explore this forbidden land. Trespass is an attempt at providing the wandering pedestrian with a setting for intense, highly memorable experiences outside their everyday routine.  Spring 2015