An essay on wilderness and the Primitive Hut published in San Rocco magazine #8, Winter 2013, Milan.
"Every American is the inadvertent heir to a particular view of occupying wilderness. It stems from that early vision of manifest destiny put forward by the founding fathers from the Louisiana Purchase to the Monroe Doctrine. Our expansion towards an unspoiled frontier would eventually be elevated to mythic status by the lives of Daniel Boone and Davy Crockett, rationalized by writers like Emerson and Thoreau, and re-injected into America’s body politic at the beginning of the 20th century by Teddy Roosevelt. While the scale of the West has always inspired awe, our path toward civilization would eventually forge a paradox. Two views – one of passive reciprocity and the other of active domination – historically prevailed, creating a rift in our domestic identity. It would be another century before architecture would make a serious attempt at translating this tension into built form."
An essay on memory and repetition published in Engawa magazine #14, Fall 2013, Barcelona.
"There is good reason to look towards Borges (and Funes in particular) at a time when Metabolist architecture has circled back into the conversation at the hands of fate and a particularly famous architect-writer. Consider the Nakagin Capsule tower for instance, which is based on the repetition of identical modules anchored to two main cores. It stands as an argument against traditional forms through the more ‘organic’ distribution of identical units. It might also be read as the simultaneous desire for standardization and freedom. But when I see the ruins of such platonic experiments I always remember Funes. I remember the impossibility of pure repetition and begin to imagine an architectural language based on our far more textured memory."
An essay on Phil Spector's Wall of Sound and its architectural implications published in Mas Context #19, Fall 2013, Chicago.
"The name ‘wall of sound’ was always intended as an architectural metaphor though it’s really not as straight forward as it seems. The simplified interpretation is that a wall is built in a way that embodies structural integrity, as with masonry, where the repeated pattern and placement of the individual components form a compounded rigidity. A wall in this sense is the outcome of a precise logic whose endgame is often to divide. The common analogy for Spector's work is that through the methodic layering of identically played parts he achieves a similar kind of structural integrity; a thick and solid foundation which forms the backbone of his pop arrangements. But Spector’s walls simply do not work this way."