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Airport Landside Circulation & Site Planning — Thesis Project
An academic airport design project focused on landside circulation, vehicle movement, access planning, parking, and the organization of supporting airport facilities. The project explored how different circulation systems could be integrated into a clear and functional airport site plan.
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Took up this project a few weeks ago. The brief was simple, design an identity that doesn't need to scream luxury, but speaks for itself. A private collection of 17 residences.
The logomark draws inspiration from Spanish architectural heritage, specifically the Draped Arch, one of the most distinct and revered forms in Spanish design. Chosen not only for its visual elegance, but for what it symbolises: a sacred threshold. A portal marking the transition into something new. The creation of a home. A new standard of living.
The arch was then studied alongside the architecture of the residence itself, drawing from shared elements of form and proportion. Spanish architectural language meeting the building's own design, producing a mark that feels both rooted and original.
The result is an icon that does not need to announce itself. It simply speaks, quietly, confidently, and with purpose.
The full identity reveal is coming soon.
Deriving the arch from the actual building instead of a generic architectural reference is what makes this feel earned rather than decorative. The laser cut piece in the last shot is a great way to prove the mark works in three dimensions too.
A new Services section taking shape for my Framer portfolio.
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the blue glass shape looks great
Confluence: A Space for Group Therapeutic Work
Inspired by "Vase" (1897–1900) by George E. Ohl
This project began with a vessel whose form and glaze felt strikingly ahead of its time. Its rounded body folds and erupts in turbulent cobalt and wine dark drips, the other calm and softly rose colored. That collision of chaos and stillness on a single surface was the spark.
My first instinct was to translate the piece literally into furniture. After exploring several forms, I arrived at a modular sofa that carried the vessel's split silhouette and rough glaze texture, a piece I loved, but one that felt more like a beautiful object than something with real purpose. The question became how this form could hold not just a body, but a process.
The vessel's palette pointed the way. Its violets and deep blues read as storm, as unresolved feeling. Its blush pink read as calm and clarity. That duality became the emotional architecture of a room, not simply a space to walk through, but a container: a structure designed to hold and support the internal work a person or group does within it.
The design borrows its layout directly from the piece's cleft mouth. Two separate entrances, one for each side of the group, are both rendered in the vessel's darker, turbulent glaze, corridors meant to be walked slowly, carrying in whatever a person brings before the work even begins. These two paths converge into a wide zone of awareness, the room's core, a space that holds the group as they confront and work through what surfaces, together. From there, the space narrows into a smaller, rose toned room of calm, for quiet integration once the work has settled. Finally, a single exit, distinct from the two entrances and opening outward rather than closing inward, lets the group leave carrying what they came with, but changed.
The room's journey mirrors the vessel's own gesture: two turbulent openings that fold into one, and, ultimately, release. The architecture doesn't just frame the therapeutic process, it holds it.
https://www.metmuseum.org/art/collection/search/20357
Mapping the two entrances and the narrowing into the rose toned room straight from the vessel's cleft mouth is such a specific translation, most people would have stopped at color palette. What almost didn't make it into the final layout?