Portfolio

Calligraphic Chair Design and Fabrication

We set out to design an outdoor lounge chair that encourages reflection, inspired by the earth’s topography. The form is a result of research in fabrication and influence from organic aesthetics. Processes: CNC routing, mill, metal laser cutting, tapping, tube bender, CAD/CAM

The project was developed over 20 weeks. The primary sitting position is reclined; however, there are also secondary positions that can support other sitters.

In early prototypes I used anthropometric data with scaled down models to design the form. Using wood helped explore different fabrication processes and their strengths.

I created CAD models to compare form and manufacturing choices, aiding quick decisions. I performed FEA analysis to compare load cases on the frame and set up CAM operations for CNC routing of the wood.

I built three full scale variants using intended joinery techniques to determine reproducibility. We could then customize our form around our manufacturing method. For example, we discovered that our CNC method enables the creation of profiles with interesting calligraphic variations.

We compared a dozen wood species and ultimately sourced FSC-certified Sapele Mahogany. For each board size, I created a CNC routing CAM operation optimized to minimize waste. Finger joint operations were integrated into the cut file reducing our total operation count.

I measured the linear spring back between the die and output radius on our tube bender. I then built custom dies to precisely and repeatedly bend the aluminum frame. Structurally, I added a rear support leg to prevent bending and a cross bar to prevent racking. I also tapped all holes for fasteners.

Tolerances were critical to this multi-part assembly. I designed laser cut brackets out of aluminum tubing with slots to counteract tolerance stack up. Then I laser cut spacers and brackets designed to all sit flush.

All 19 chair profiles are secured on a threaded 3/4in aluminum dowels with hex nuts. The large fasteners are then covered by the outer profile with security screw heads for peace-of-mind.

The chair was placed around Stanford campus over three weeks where I observed how people interacted with it.

The form of the chair was conceived in collaboration with teammates Aisha, Lucia and Alex. I designed the final build model, fabrication techniques and tooling processes. I built each of the 400+ parts, with extra hands for assembly.

Lamp 02 Design and Fabrication

This lamp aims to create an overall aesthetic harmony between the shape, size and material of different parts. The placement and proportion of components to one another work to balance the whole. Processes: hydraulic stamping, turning, brazing, laser cutting.

Paper prototyping was critical to the form factor, as it allowed for iteration through various shapes, proportions, and light diffusions. For example, if the lampshade is wider than the base it becomes overpowering.

The lamp post is made of turned brass, brazed with a rose tip torch to brass tubing. A laser cut acrylic structure supports the lampshade.

I cold joined the brass shade with interlocking tabs so the sheet could hold its shape. I further recessed the tabs using a die press so the surface is flush. In my sheet metal press, it was essential to clamp the sheet before pressing to prevent it from sliding.

Finally, I turned a brass button and ring to secure it in place. The wood base has a natural crack, which I filled with epoxy and then lightly sanded for a matte finish.

Lamp 01 Design and Fabrication

This lamp is inspired by the spiral of a Terebridae shell with a rough exterior and polished interior. It uses inherent qualities of brass to create this aesthetic. Processes: metal rolling, patina, riveting

I used early cardboard and metal prototypes to test the metal rolling process and model the patina look.

The 6ft brass strip is rolled into shape after being polished. Each radius is rolled at an angle to create the helical shape.

The patina on the exterior provides a juxtaposition to the interior reflective qualities of polished brass. It is applied in multiple coats and left to set overnight.

Wind Generator Design and Fabrication

I built this prototype for a functional horizontal-axes wind turbine. The design features an 18 faced stator with iron cores. Processes: FDM, CAD Materials: PTEG, ABS, magnet wire, steel

I designed each part from scratch in CAD and 3D printed the entire assembly. I also used catalogue components, fit testing my prints to account for kerf. Considerations were made for heat flow passages.

Radially aligned magnets are fitted into the rotor. Spools of magnet wire are protected and placed on steel bolts in the stator. The wire is joined through copper heat sunk terminals.

The project presented several interesting challenges. The coils require optimization between wire thickness and coil number to achieve maximum power, as thin magnet wire has high resistance, limiting current flow. The mounting systems will also need to handle large bending moments from wind blades.

Spinning Brass Material Study

This study of metal spinning techniques produced 40 spun parts. I worked with our aluminum 6061, 5052, and 3003, as well as brass. I used handheld tools and a roller. I built the tool holding adaptor and mandrels for the lathe.

I learned a lot about the technique. For example, the circumference of your workpiece must be kept in-plane to prevent buckling. Aluminum 3001 and brass spin best but require regular annealing to prevent fracture as they work-harden. Thicker metals work-harden faster but are less likely to break if over stretched.

Turning Wood Material Study

Experiments on the wood lathe using various gouges and different wood orientations.

A candlestick and a Japanese-inspired tea cup.

Steam Bending Material Study

For this chair study, steamed oak strips are fastened onto a plywood frame. This keeps the steam bent strips from returning to their original shape. It creates an imperfect and organic shape; however, its reproducibility is challenging.

I sourced reclaimed oak and tested different steam chamber temperatures and timing. The steam bent wood had significant springback that is particularly hard to predict due to grain variation and impurities.

Ephemeral Outdoor Insilation

I served as a teaching assistant in CEE32H Responsive Structures. We designed a modular exhibition that allowed each student to contribute by shaping organza fabric satchels with wooden dowels, which we then assembled into an archway.

Each module in the structure explores tensile and compressive loading. The organza fabric and wooden dowels constrain each other, holding their position and shape.

The piece was exhibited outside of the Anderson Collection at Stanford.

Clean Sea Vision Interface Design

This computer vision portal tracks harbor waste collected by autonomous litter traps. I designed and led a team of six developers in building v1, which included a feed for detections, live metrics, and device management.

I developed the design system and managed stakeholders across both front-end and back-end development. Notice design of edge cases, redlines, color accessibility, alt. states

I worked on marketing materials to create high-quality renders of products and short narrative pieces about the company.

I presented for the company around Norway, featured at Oslo Climate Tech Summit 2023 and Bodø Ocean 2024 Tech Tour

Run For Office Interface Design

In 2020, 70% of US elections went uncontested. Run For Office lets young people find local elections and gets them to start a campaign with the help of friends.

Run For Office highlights the highest-impact, vacant or uncontested elections; It also helps partner candidates with advisors to take the next step.

We aggregate all the nitty gritty: election deadlines, qualifications, and incumbent history in a mobile campaign dashboard.

I’ve been excited to watch young candidates use it in the 2022 midterm election and see them get elected to local office.

ohyay Creative Video Confrencing

ohyay enables people to construct highly-advanced 3D spaces. I built dozens. This one allows participants to navigate multiple viewpoints and hear ambient conversations — a first for video conferencing.

And this one allows people to play hide-and-seek in a virtual space :)

ohyay x Music Rising: I explored a first iteration that brought musicians filmed in a mixed-reality studio into virtual ohyay spaces.

A second iteration of research used projections and monitors to place digital participants in a real-world space — and live cams to place physical participants in a digital one.

Snapchat Lens AR Design

I built this AR landmark as a digital sculpture to experience in your hand. The lens is activated by a physical card which allows the viewer to play with it. It gained over 75k interactions.

Polarization Glass, Cellophane, Polarized Sheets

In this project I created three distinct compositions using cellophane viewed under a linear polarizer. This creates a magical effect as it reveals dramatic colors that change as the orientation of the polarizer rotates.

When cellophane is placed at different angles under the polarizer, different colors are let through the filter. By overlapping the cellophane, you can mix frequencies and create bursts of second-order colors.

This composition is inspired by early constructivist works. By overlapping sheets in different orientations, you can create detailed shapes from the intersecting colors.

The final composition has two polarization orientations which are reversed along the center line. This allows you to observe the variation in color under different polarization axes.

The process behind “polage” is nuanced. White light passing through cellophane is broken up into frequencies and emitted in a circular polarization. Then a linear polarizing sheet filters out orthogonal frequencies to reveal colors. By controlling orientation and layering, you can produce a subset of colors.

Albers Cardstock, Galeria Acrylic Paint

Simultaneous color explains how the perception of a pigment is relative to its surroundings. As you change a background color, an accent swatch will be “pushed” perceptually in the other direction of that color space.

Exercise: Focus on the center line. How many hues do you see?

At first, the small swatches likely appear to have different hues, although they are actually the same. This is because the swatch on green is pushed to be more blue, while the swatch on blue is pushed to be more green.

It’s not just your perception of hue that can be “pushed”. Colors can also be made to appear tinted or shaded.

Exercise: Focus on the center line. How many tones of purple do you see?

At first, the small swatches likely appear to have different values, while in fact they are identical. The dark purple background makes the small swatch seem lighter, while the lighter purple background makes the small swatch seem darker.

Saturation is the hardest to manipulate. Think of it as the same levels of dullness or vibrance of a color

Exercise: Focus on the center line. Are the small swatches in the center of each background the same vibrance?

At first, the small swatches likely appear to have different values, while actually they are the same. Notice that the vibrant pink background makes the small swatch seem duller, while the duller background makes the small swatch seem more vibrant.

For this project, I painted over 100 unique HSV combinations, then compared results to determine the best juxtapositions for the effect. The study is based on Joseph Albers' work with students at Yale in his "Interaction of Color".

Itten Dye-based Ink, LED strip, String

This exhibit aims to show how physical colors are relative to ambient light. 11 x 14 sheets of paper are arranged in a gradient from yellow to magenta. The ambient color in the room changes to affect the perceived color of the ink.

The gradient is arranged to create a color tunnel. The colored paper reflects light present in the room, so as the ambient light changes, so do the color of the pigments.

The project was executed over five weeks in collaboration with Lily and Ethan. Johannes Itten's color studies on complementary cancellation from "The Elements of Color" were influential.

The Island Runtime: 25 min

I filmed a documentary about a small island on the coast of Norway trying to uphold an unusual social contract of shared land ownership while welcoming outsiders into the community. I shot and edited the short film over three years.

In addition to ethnographic interviews and documentary footage, I shot extensively with a drone, carefully looking to capture beautiful moments in nature. View as seen looking up from Vestfold .

The film premiered in July 2024 for the local community and was screened at film festivals the following year

LOS Runtime: 6 min

I shot this short historical film about the pilotage tradition of the Oslo Fjord. I followed a captain to make a short film about the pilotage industry and its heritage.

To tell the history of the pilots I created a sequence of oil painting based animations using DALL·E 2 and Runway Gen2/Gen3.

Chords2Cure Runtime: 5 min

In a multi-year project with cancer survivors, I worked to document and present their stories in a new light. Here, I used a tennis game as a metaphor for their struggle and perseverance.

Previously in this minute-long sequence, I used infographics and symbols to communicate difficult statistics about pediatric cancer.