YURINA KODAMA Harvard Graduate School of Design Master of Architecture Candidate, 2017
SHARE LIGHT
Lisbon Story: An Entrance to a Castle Critic: Ricardo Bak Gordon Fall 2015
Site Plan
Top level courtyard from above
New Entry
Old Entry
Ticketing/courtyard - FL 04
A new entrance to the Castle Sao Jorge is a center for residents as well as tourists. With an idea of alternate pathways as a background for this project, Share Light addresses the necessity for moments of containment and lingering as well as attraction and access on its interior, while on the exterior it acts as a bridge between the two sides of the existing landscape to be separated by the new building. The two interior atmospheres of the building, the inward and outward-looking, are achieved through a relationship between the terracing ground, the existing retaining walls, and a new shell -- a series of walls and terraces that create pockets of space underneath, that contain the cafe, reading rooms, and ticketing lobby. The stairs situated against the terraced ground act as divisions between the two halves of the building, creating significant moments of shared light.
castle level +29515
back courtyard:upper +19620
ticketing lobby +15750
reading room:outward +10820
archive/storage +7750 roof terrace:one +5250
restaurant:kitchen/restroom +2250 street level:front courtyard +0
Ground Level - Entrance
Section 03 1:100
castle level +29515
FL 02 - Restaurant roof terrace:three +19620
ticketing lobby +15750 roof terrace:two +13550
reading room:outward +10820
archive/storage, reading room:inward +7750 roof terrace:one +5250
restaurant:indoor +2250 street level:front courtyard +0
Section 02 1:100
FL 03 - Reading Rooms
castle level +29515
ticketing lobby, back courtyard:lower +15750 roof terrace:two +13550
library foyer, reading room:inward +7750 roof terrace:one +5250
restaurant:indoor +2250 street level:front courtyard +0
Section 01 1:100
PHYSICAL MODEL
Conceptual collage: Interior
Conceptual collage: Exterior
B
B
C
Exterior platforms and paths
FL 02 - RESTAURANT
reading room:outward
reading room:inward
cafe:indoor
roof terrace:one roof terrace:one
foyer
courtyard:outward courtyard:outward reading room:outward
cafe:indoor
reading room:inward
roof terrace:one
roof terrace:one
courtyard:outward
courtyard:outward
courtyard:inward
courtyard:inward
ticketing lobby
roof terrace:three
reading room:outward +10820
roof terrace:one +5250
roof terrace:one +5250
reading room:outward +10820
roof terrace:two
roof terrace:two
roof terrace:one
roof terrace:one
courtyard:inward
courtyard:inward
ticketing lobby
courtyard:outward
courtyard:outward
roof terrace:three
roof terrace:two
roof terrace:two
roof terrace:one
roof terrace:one
courtyard:outward
courtyard:outward
ticketing lobby +15750
ticketing lobby +15750
castle +29515
castle +29515
Center for the Performing Arts, Cranbrook Educational Community Critic: Billie Tsien, Tod Williams Spring 2016
many acrobats...
...acting as one
As home to a wide range of users from students to faculty and staff to guests, from elementary to high school students and graduate students in art, a center for the performing arts at the Cranbrook Educational Community pursues the identity of ‘Many as One.’ It brings its daily activities to its front, acknowledging its role as an educational institution and a place for students and residents. Simultaneously, it accomodates visitors for performances as well as an addition to the campus’ pedestrian network, and a unifier for the many parts of campus. The building, then, acts as an archway that bridges its two sides, with a raised public area and a descending private area. What appears as a solid massing from the building’s exterior is revealed as a series of concentric boundaries that enclose three independent masses, the theaters as the building’s ultimate interiors.
Fly 55' - 0"
Roof 36' - 0"
Stage Mechanical Level 26' - 0"
Public Access and Main Lobby Level 14' - 0"
Fly 55' - 0" Service and Main Stage Level 0' - 0"
Residences/Dressing Rooms: -13' - 0" Roof 36' - 0"
Stage Mechanical Level 26' - 0"
Public Access and Main Lobby Level 14' - 0"
Section through Black Box and Dance Studio
Fly 55' - 0" Service and Main Stage Level 0' - 0" Fly 55' - 0" Residences/Dressing Rooms: -13' - 0" Roof 36' - 0"
Stage Mechanical Level Roof 36'26' - 0"- 0"
Public Access and Main Lobby Level 14' - 0"
Fly Public and Main Lobby Level 55' - Access 0" 14' - 0" Service and Main Stage Level 0' - 0" Fly 55' - 0" Service and Main Stage Level 0' -Residences/Dressing 0" Rooms: -13' - 0" Roof 36' - 0"
Stage Mechanical Level Roof 36'26' - 0"- 0"
Public Access and Main Lobby Level 14' - 0"
Fly Access and Main Lobby Level Public 14'55' - 0"- 0" Service and Main Stage Level 0' - 0" Fly 55' - 0" Service and Main Stage Level 0' -Residences/Dressing 0" Rooms: -13' - 0" Roof 36' - 0" Fly 55' - 0"
Roof Stage Mechanical Level 36'26' - 0"- 0"
Roof 36'Public - 0" Access and Main Lobby Level 14' - 0"
Stage Mechanical Level 26' - 0" Public Access and Main Lobby Level 14' - 0"
Section through descending ground (north)
Physical model iterations
Service and Main Stage Level 0' - 0" Public Access and Main Lobby Level 14' Fly - 0" 55' - 0" Service and Main Stage Level 0' - 0" Residences/Dressing Rooms: -13' - 0" Fly 55' - 0" Service and Main Stage Level 0' - 0" Roof 36' - 0"
Roof 36' - 0"
Stage Mechanical Level 26' - 0" Public Access and Main Lobby Level 14' - 0"
Public Access and Main Lobby Level 14' - 0" Fly 55' - 0" Service and Main Stage Level 0' - 0" Fly 55' - 0" Service and Main Stage Level 0' - 0" Roof 36' - 0" Fly 55' - 0"
Roof 36' - 0"
Stage Roof Mechanical Level 26' 36' - 0" Public Access and Main Lobby Level 14' - 0"
Public Access and Main Lobby Level 14' - 0" Service and Main Stage Level 0' - 0" Fly Public 55' - 0" Access and Main Lobby Level 14' - 0" Service and Main Stage Level 0' - 0" Fly 55' - 0" Service and Main Stage Level 0' - 0" Roof 36' - 0"
Residences/Dressing Rooms: -13' - 0" Roof Mechanical Level Stage 36' - 0" Level: -15' - 0" Loading 26'
Public Access and Main Lobby Level 14' - 0"
Section through descending ground (south)
Fly Public Access and Main Lobby Level 55' 14' -- 0" 0" Service and Main Stage Level 0' - 0"
Conceptual perspective
Fly 55' - 0" Service and Main Stage Level 0' - 0" Roof 36' - 0" Fly 55' - 0" Residences/Dressing Rooms: -13' - 0" Roof Stage Mechanical Level 36' - 0" Level: -15' - 0" Loading 26' - 0"
Roof 36' - Access 0" Public and Main Lobby Level 14' - 0"
Public Access and Main Lobby Level 14' - 0" Service and Main Stage Level 0' - 0" Fly Public Access and Main Lobby Level 55' - 0" 14' - 0" Service and Main Stage Level 0' - 0" Fly 55' - 0" Service and Main Stage Level 0' - 0" Residences/Dressing Rooms: -13' - 0" Roof Loading 36' - 0" Level: -15' - 0"
Residences/Dressing Rooms: -13' - 0" Roof 36' - 0" Level: -15' - 0" Loading
Public Access and Main Lobby Level 14' - 0"
FlyPublic Access and Main Lobby Level 55'14' - 0" - 0" Service and Main Stage Level 0' - 0" Fly 55' - 0" Service and Main Stage Level 0' - 0" Residences/Dressing Rooms: -13' - 0" Roof Loading 36' - 0" Level: -15' - 0"
Residences/Dressing Rooms: -13' - 0" Roof 36' - 0" Level: -15' - 0" Loading
Public Access and Main Lobby Level 14' - 0"
Section through Dance Studio and Main Hall
Public Access and Main Lobby Level 14' - 0" Service and Main Stage Level 0' - 0" Fly 55' - 0" Service and Main Stage Level 0' - 0" Residences/Dressing Rooms: -13' - 0" Loading Level: -15' - 0"
Residences/Dressing Rooms: -13' - 0" Roof 36' - 0" Level: -15' - 0" Loading
Public Access and Main Lobby Level 14' - 0"
Fly 55' - 0" Service and Main Stage Level 0' - 0"
Residences/Dressing Rooms: -13' - 0" Roof Loading 36' - 0" Level: -15' - 0"
Public Access and Main Lobby Level 14' - 0"
Service and Main Stage Level 0' - 0"
Residences/Dressing Rooms: -13' - 0" Loading Level: -15' - 0"
Site model
LOADING LEVEL -15' - 0"
OUTDOOR PRODUCTION SPACE
faculty lounge dressing room
tech/media lab OPEN TO ABOVE
CLG HEIGHT 9'-0"
REHEARSAL STUDIO -12'-0"
PRODUCTION SPACE -12'-0"
CLG HEIGHT 12'-0"
CLG HEIGHT 24'-0"
AUDITORIUM SUBFLOOR -12' - 0"
dressing room
ORCHESTRA PIT -12' - 0"
OPEN TO ABOVE classroom
storage
GREEN ROOM -12' - 0"
BACK PLAZA -15'-0"
-6'-0"
-12'-0"
A B
storage
residence/practice room
dressing room
C dressing room
855
Approach from lake D
Lower Level Plan
E
830
835
LOADING LEVEL -15' - 0"
LOWER LEVEL PLAN 1/16" = 1' - 0"
OUTDOOR PRODUCTION SPACE
CLG HEIGHT 25'-6"
AUDITORIUM STAGE +0'-0" CLG HEIGHT 55'-0" OPEN TO ABOVE
PRODUCTION SPACE -12'-0"
COSTUME SHOP +0'-0"
CLG HEIGHT 24'-0"
BACK PLAZA -15'-0"
-6'-0"
A B
-12'-0"
-12'-0"
FRONT PLAZA +0'-0"
Approach from street
SERVICE CORRIDOR +0'-0" black box 'backstage'
CLG HEIGHT 12'-0"
dressing room
BLACK BOX MAIN +0'-0"
dressing room
storage
DANCE STUDIO MAIN +0'-0"
C OPEN TO ABOVE
OPEN TO ABOVE
D
E
845
855
840
South Elevation
5
83
Ground Level Plan
830
5
82
GROUND LEVEL PLAN 1/16" = 1' - 0"
850
830
835
LOADING LEVEL -15' - 0"
OUTDOOR PRODUCTION SPACE
AUDITORIUM STAGE +0'-0" CLG HEIGHT 55'-0"
North Elevation
PRODUCTION WING +12'-0"
ORCHESTRA PIT -9'-0"
BACK PLAZA -15'-0"
control booth
-6'-0"
A B
-12'-0"
MAIN LOBBY +14'-0"
FRONT PLAZA +0'-0"
control booth
BLACK BOX MAIN +0'-0"
C
control booth
CLG HEIGHT 36'-0"
D
E
845
840
5
83
Section model with facade detail
Upper Level Plan 830
5
82
Section model with facade detail
Facade pattern studies
UPPER FLOOR : THEATER LOBBY
BERG
Between Incompatible Plans Critic: Katy Barkan Fall 2013
‘Incompatible Plans’ implies an incongruence, dissimilarity between floors to be bridged. As a landform disparate between above and under water, icebergs pose a fitting motif to bridge floors by way of circulation. Volumes seemingly massive and at the same time occupiable connect the given bottom and top floor plans and structurally support the additional floors, allowing for multiple floating planes.
existing stairs as masses
levels created by existing stairs
structural ‘icebergs’
structural ‘icebergs’ as folded-plate volumes
F THE OVERLAP
5 4 4 5
Hidden Room
Critic: Katy Barkan Fall 2013 An ambiguity of overlap is inherent in division, where the specification of a start and end are crucial to an accurate understanding (for example, a trip of 3 days and 4 nights implies a nighttime arrival and daytime departure). Using this ambiguity--the tendency to miscount-and the simple operation of 4 lines cutting one object into 5 objects, 5 rooms are separated by 4 staircases, the center one ‘Hidden.’ A datum gives the illusion of 4 rooms from the approach, and the two stacked, hidden stairs that provide access to the Hidden Room are only revealed after having accessed the 4 Rooms.
APPROACH : 4
REVEAL: 5
CIRCULATION: 4 ROOMS CIRCULATION: 4 ROOMS
4 stairs access 4 rooms
CIRCULATION: HIDDEN CIRCULATION: ROOM HIDDEN ROOM
2 of them access 1 hidden room
stacked stair
D
D
ROOM
D
C D
C
B
B
HIDDEN ROOM
PHYSICAL MODEL
PLAN VIEW
NEST
Calibrated Porosities Critic: Katy Barkan Fall 2013
Nested, folded surfaces that interlock perpendicularly create the outer envelope and boundaries within. In a laboratory where programmatic requirements span extremes and an in-between--private/public/ semipriviate; hot/cold/warm--the self-similar S-shaped folded surfaces achieve variety at their intersections and their alternating quality of inside to outside. The building consists of two wings characterized by hot and cold labs and a middle area, segregating circulation and stitching the two extremes.
N
PROGRAMMATIC ORGANIZATION
NESTING: ALTERNATE
INWARD: PUBLIC
OUTWARD: PRIVATE
THERMODYNAMIC STRATEGY CONTINUITY
SEPARATION
hot lab
hot lab cold lab
COMPLETELY nested NESTED
SLIGHTLY OFFSET offset
separated SEPARATED
hot lab
hot lab
offices
cold lab
hot lab
THICKNESS/HEIGHT ADJUSTMENT cold labfor height offices adjusted
offices cold lab
hot lab
hot lab
offices
cold lab
offices
cold lab
offices hot lab
cold lab
hot lab
offices cold lab
hot lab cold lab
hot lab
offices
offices cold lab
hot lab cold lab
cold lab
DEPTH OF SPACE AND 50% SHADING
NESTING: HEIGHTS
convection
PROGRAMMATIC ORGANIZATION PROGRAMMATIC ORGANIZATION
conduction
CIRCULATION CIRCULATION
PROGRAMMATIC ORGANIZATION PROGRAMMATIC PROGRAMMATIC ORGANIZATION ORGANIZATION private entrance public entrance
INWARD: PUBLIC
OUTWARD: PRIVATE
THERMODYNAMIC STRATEGY CONTINUITY hot lab
public entrance public public entrance entrance
SEPARATION private entrance private private entrance entrance
cold lab
offices INWARD: PUBLIC INWARD: INWARD: PUBLIC PUBLIC hot lab
cold lab
hot lab
hot lab
hot lab offices
offices offices offices
hot lab hot hotlab lab
offices offices offices
hot lab hot hotlab lab
cold lab
cold cold coldlab lab lab cold cold coldlab lab lab hot lab hot hotlab lab
offices cold lab CIRCULATION CIRCULATION CIRCULATION
hot lab hot hotlab lab
cold cold coldlab lab lab
hot lab hot hotlab lab
hot lab
offices
offices offices offices
convection
hot lab hot hotlab lab
offices
offices
OUTWARD: PRIVATE cold lab OUTWARD: PRIVATE OUTWARD: OUTWARD:PRIVATE PRIVATE
conduction CONTINUITY OF SPACE
CONTINUITY SPACE CONTINUITY CONTINUITY OF OFOF SPACE SPACE
offices hot lab offices cold lab offices cold lab
INSULATION AND AIR GAP INSULATION INSULATION AND AND AIR AIR GAP GAP
hot lab hot hotlab lab cold lab cold cold coldlab lab lab
CIRCULATION cold cold coldlab lab lab
cold lab
SEPARATION SEPARATION SEPARATION offices
cold lab
hot hot lab lab hot hotlab lab hot lab hot hotlab lab
offices
offices
hot lab
RATION
cold lab
hot lab
hot lab THERMODYNAMIC STRATEGY THERMODYNAMIC THERMODYNAMIC STRATEGY STRATEGY THERMODYNAMIC STRATEGY cold lab
PUBLIC PRIVATE: BETWEEN WINGS PRIVATE: WITHIN WINGS
hot lab offices
hot lab
CONTINUITY CONTINUITY CONTINUITY
INSULATION AND AIR GAP
cold lab
hot lab
INWARD: PUBLIC
CONTINUITY OF SPACE PUBLIC PRIVATE: BETWEEN WINGS PRIVATE: WITHIN WINGS
offices
cold lab cold cold coldlab lab lab
offices
convection convection convection
hot lab offices cold lab
cold cold coldlab lab lab offices offices offices hot lab hot hotlab lab offices offices offices
cold lab cold cold coldlab lab lab
INSULATION AND AIR GAP conduction offices offices offices
conduction conduction conduction
cold cold coldlab lab lab offices offices offices hot lab hot hotlab lab offices offices offices cold cold coldlab lab lab offices offices offices cold cold coldlab lab lab
hot lab hot hotlab lab cold cold coldlab lab lab
conduction conduction conduction
airconduction gap detail
Office Floor
Common space
Auditorium
Entrance stair
Stitched circulatory middle area
PHYSICAL MODEL
SYSTEM, CADENCE
EXTERIOR HOTEL ATRIUM
EXTERIOR HOTEL ATRIUM
HOTEL MANAGEMENT, COMMON SPACES
HOTEL MANAGEMENT, COMMON SPACES
HOTEL MANAGEMENT, COMMON SPACES
HOTEL MANAGEMENT, COMMON SPACES
WELLNESS CENTER/TREATMENT ROOMS
WELLNESS CENTER/TREATMENT ROOMS
BASKETBALL COURTS
SQUASH COURTS/ CHANGING ROOMS
TRAINING POOL BEYOND
LAP POOL
SQUASH COURTS/ CHANGING ROOMS
LAP POOL
Integrate: Hotel - Gym - Spa, Chicago, IL
SQUASH COURTS/ CHANGING ROOMS
TRAINING POOL
TRAINING POOL
DIVING POOL
Critic: Preston Scott Cohen Fall 2014
DIVING POOL
TEPIDARIUM BEYOND BATHS: CALDARIUM
BATHS: FRIGIDARIUM BATHS: FRIGIDARIUM
Unrolled Elevation; program that interrupts circulation
4-Floor, Bottom 1-Step Start 106 Rooms
3-Floor, Bottom 2-Step Start 144 Rooms
System, Cadence listens to the rhythms and the frequencies of the systems present in the Hotel/Gym/Spa tower. The calibration of each system’s metrics -- circulation/egress, structure, hotel room dimensions, column grid dimensions, etc. -- and how, when, where they may coincide, clash, and become highly interrelated fed the need to create an insular, compact tower with significant moments of release and visibility depending on the program inside. What resulted was a harmonic choreography of the metrics in favor of regularity and ‘readability’ in the public interior, compromising a uniformity in the private hotel program ‘wrapper.’
1-Floor, Bottom 2-Step Start 118 Rooms
1-Floor, Bottom 1-Step Start 50 Rooms
EXTERIOR HOTEL ATRIUM
EXTERIOR HOTEL ATRIUM
4-Floor, Bottom 2-Step Start 170 Rooms HOTEL MANAGEMENT, COMMON SPACES
HOTEL MANAGEMENT, COMMON SPACES
HOTEL MANAGEMENT, COMMON SPACES
HOTEL MANAGEMENT, COMMON SPACES
WELLNESS CENTER/TREATMENT ROOMS
WELLNESS CENTER/TREATMENT ROOMS
BASKETBALL COURTS
SQUASH COURTS/ CHANGING ROOMS
SQUASH COURTS/ CHANGING ROOMS
SQUASH COURTS/ CHANGING ROOMS
4-Floor, Bottom 2-Step Start, Wrap Around to Front 214 Rooms
TRAINING POOL BEYOND
LAP POOL
LAP POOL
TRAINING POOL
TRAINING POOL
DIVING POOL
DIVING POOL
TEPIDARIUM BEYOND BATHS: CALDARIUM
BATHS: FRIGIDARIUM BATHS: FRIGIDARIUM
4-Floor, Bottom 3-Step Start, Wrap Around to Front, Split in Back 236 Rooms
Unrolled Elevation; program that interrupts circulation
Alternate Alternate Site, Site, Section Section 1/64” 1/64” = = 1’1’ -- 0” 0”
study models
Passages and Setbacks Main Passages and Setbacks Main passagesMain and setbacks
Circulation Wall Placement
Circulation Wall Placement Circulation wall placement
NORTH ELEVATION
Ground Ground Level Level Movement Movement and and Placement Placement of of Walls Walls
PUBLIC-PRIVATE PUBLIC-PRIVATE CROSSOVER CROSSOVER FLOOR FLOOR
OR OR
S
E
N
W
N
W
N
W
Room dimension grid
ROOM DIMENSION GRID
S
E
Column grid
COLUMN GRID
S
E
Composite grid with spiral program
COMPOSITE GRID WITH SPIRAL PROGRAM
S
E
N
W
Full span structural floors
COMPOSITE GRID WITH SPIRAL PROGRAM: FULL SPAN STRUCTURAL FLOORS
S
E
N
Structural columns and hangers
COMPOSITE GRID WITH SPIRAL PROGRAM
W
WEST ELEVATION
FL 04 - Diving Pool Level
FL 10 - Basketball Court Level Ground Floor
FL 06 - Lap/Training Pool Level Floor 06
Floor 09
Floor 10
Floor 12
Floor 13
Floor 14
PHYSICAL MODEL
CENTRAL BOX AND HORIZONTAL INTERIOR GRAIN
STRUCTURAL S
STRUCTURAL SKELETON WITH HOTEL FLOORS
SPIRAL A
Site Plan
CENTRAL BOX AND HORIZONTAL INTERIOR GRAIN
S
E
ROOM DIMENSION GRID
CENTRAL BOX AND HORIZONTAL INTERIOR GRAIN
STRUCTURAL SKELETON WITH HOTEL FLOORS
SPIRAL AS VERTICALLY ARTICULATED VOLUME
Facade studies
Cascading stair/egress
S
E
N
W
ROOM DIMENSION GRID
S
E
COLUMN GRID
S
E
N
W
ROOM DIMENSION GRID
S
E
N
W
COLUMN GRID
S
E
COMPOSITE GRID WITH SPIRAL PROGRAM
S
E
N
W
COLUMN GRID
S
E
N
W
COMPOSITE GRID WITH SPIRAL PROGRAM
S
E
COMPOSITE GRID WITH SPIRAL PROGRAM: FULL SPAN
S
E
N
W
COMPOSITE GRID WITH SPIRAL PROGRAM
S
E
N
COMPOSITE GRID WITH SPIRAL PROGRAM: FULL SPAN STRUCTURAL FLOORS
W
TIMELINE
Florence: Underground Museum in Piazza degli Uffizi Critics: Zeuler Lima, Iain Fraser Spring 2011
In a city so heavily weighted in its history, a reconsideration of one’s perception of time becomes important in connecting the past, present, and future. This museum attempts to simulate one’s progress through time--one which is fluid rather than fragmented, reflective rather than forgotten. As different parts of the program are revealed and concealed by walls, one becomes aware of other areas of the museum while still separated from them.
sketches from Florence, Bologna, Riomaggiore
structural skeleton
transparency of levels
ground plan
C 1
2
3
B A
4
underground plan
1
below the Uffizi
2
3
4
Experiments As evident through my series of sketches on the cover page, I tend to develop designs through a mixture of media and representational techniques in addition to drawing in plans and sections. Hand modelling and hand drafting, as well as making interpretive drawings with wet media have become part of my method and process, which I have retained through my years of study. These are works from my undergraduate years that are the basis of my current process. Conceptual models
Interpretive drawing: graphite on mylar
Interpretive drawing: watercolors on paper
Kite prototype: mylar and styrene
Thin and thick: zip tie model
Precedent study: Analytique
Section perspective collage
Projected perspective: graphite on paper
Experiments
Fall 2015 Critic: Ewa Harabasz
In this drawing course at the GSD, for which I also served as a teaching assistant for artist Ewa Harabasz, the line was studied as having textural, emotive, and spatial qualities. Constantly translating between small sketches in two dimensions to larger paintings, and creating three dimensional studies as well as tools and techniques to converse between scales and dimensions, the work explored the potential of drawing in implying space and movement beyond its two dimensional properties.
GSD Open House Exhibit, Fall 2015 Line: Perspective/Tension, acrylic wall painting Harvard GSD
Studies of lines, shadows, and corners in thread and paper
Line: Relief Ink on watercolor paper, 6’ x 3.5’
Photographs by Anita Khan
Somerville, MA Apprentice, Summer 2015
I spent Summer 2015 as an apprentice at a chair repair shop that specializes in cane and wicker in Somerville, MA-- the only shop of its kind in the Boston area. Clients ranged from teachers to beekeepers to architects, and pieces ranged from passed-down antiques to designer chairs. A unique experience that exposed me to people from all walks of life, I was able to immerse myself in the study of craft, quiet, and patience.
Hand cane restoration of antique adjustable seat height chair.
Custom restoration of Marcel Breuer Wassily chair, hand-drilled, hand-sewn leather.
Mies van der Rohe MR 10 (leather) chair converted to MR 07 (cane) chair with custom separated seat and seat back.
Hand cane seats and seat backs in process.