These drawings explore architecture as a bodily presence rather than a neutral container. The forms stand, lean, brace, and balance; they appear alert, vulnerable, and responsive to gravity. Rather than borrowing animal imagery, the work treats zoomorphism as a behavioral condition—architecture that behaves as if it has posture, weight, and intention.

Legs, supports, and projections function as organs rather than structural features. Openings read as apertures of attention rather than windows, and mass is organized to suggest stance rather than symmetry. The figures resist completion or stability, occupying a threshold between stillness and movement.

In this work, architecture is not animated through narrative or metaphor, but through bodily logic. These dwellings do not symbolize animals; they register the conditions of being embodied—exposure, imbalance, and the effort required to remain upright. By foregrounding posture and vulnerability, Zoomorphic Dwellings asks how architecture might feel rather than what it might represent.

Architecture as Interface

Touch and Trace examines the interface as a contemporary architectural condition. The drawings are generated through everyday touchscreen actions—swiping, tapping, and repetition—using the phone as both tool and site. These movements are not expressive gestures but conditioned behaviors, learned through habitual interaction with digital systems.

Through layered filtering and procedural sequencing, individual actions accumulate into fields and patterns. What begins as fleeting touch is slowed and recorded as trace, making visible the structures that organize contemporary attention and movement. The work resists the illusion of digital neutrality by foregrounding how interfaces discipline both perception and authorship.

Here, architecture is understood not as enclosure or form, but as mediation: a set of rules that shape how bodies encounter systems. Touch and Trace situates drawing within this condition, asking how imagination operates when the primary threshold between self and world is an interface.

These publications treat editing, writing, and graphic composition as architectural acts. Rather than documenting work, they construct spaces of inquiry where images, texts, and arguments encounter one another through exchange. Architecture here is not resolved in objects, but articulated through dialogue—between authors, disciplines, and readers.

Projects such as T3XTURE and DRAW • MODEL • PROMPT: Tectonic Speculations operate as designed environments, shaped by sequencing, juxtaposition, and editorial judgment. Drawing, theory, and emerging tools are placed in conversation, allowing meaning to emerge through friction rather than consensus.

In this work, publishing is not ancillary to practice; it is a site of practice. Dialogue becomes a structural condition—one that resists closure and invites participation. By framing architecture as something argued, tested, and shared, these projects extend the portfolio’s inquiry into the public realm, where imagination remains open, provisional, and collective.