Projects

Tor Alva is the world's tallest 3D-printed structure, made of thousands of layers of robotically extruded concrete. Set in the Swiss Alps and designed for Fundaziun Origen, it houses a small theater for art performances.

Visitors ascend a spiral staircase through a sequence of ornamental colonnades to a panoramic cupola theater.

An intricate, computational sculpture, 3D-printed and plated in rose gold for The Glenlivet Eternal Collection - First Edition.

This limited edition is complemented by a unique, 24-carat gold plated sculpture, elevated on a robotically-milled emerald quartzite base.

Can a computer not only generate but also evaluate its own creations? What kind of a world will it dream up?

This project, a continuation of the Digital Grotesque series, is a monumental 5-meter tall 3D-printed sandstone sculpture complemented by an immersive 4-screen video installation.

Muqarnas - elaborate ornamental vaultings - are some of the earliest and most impressive examples of a rule-based architectural design. They combine architecture, mathematics, and art to form highly intricate and complex stalactite structures.This project revisits these typologies using an algorithmic design approach to evoke marvel, curiosity and bewilderment.

Grotto set design for the Zauberflöte opera, directed by Romeo Castellucci, at La Monnaie opera house in Brussels. A glacial, white grotto - representing Sarastro's palace of light - gradually emerges during the opera's first act.The algorithmically generated structure is composed of nine robotically CNC-milled elements that rotate onto the scene and descend from the ceiling to form a grotto of nearly 10 meters in height.

Starting with Gottfried Semper's Bekleidungstheorie (principle of clothing), this project uses computation to produce an intricate ornamental envelope.

The resulting laser-cut lace textile - set on a simple metal structure - forms a rich and vibrant space, with a lively flux of light and shadows. Starting with Gottfried Semper's Bekleidungstheorie, this project culminates in an intricate, laser-cut, lace envelope.

A fantastically ornamental grotto printed out of seven tons of sandstone. It shows how computation and fabrication technology can make new architectural worlds tangible.

Digital Grotesque II is a commission by Centre Pompidou, and has premiered in Paris at the Imprimer le monde exhibition.

In the pavilion a forest arises - a romantic landscape - composed of freely moving columns, grouped into ephemeral configurations of an ornamental wilderness. Freed from historical models, a space opens that disorients the visitors through a new sensory experience.

A massive 3D-printed structure with millimeter-scale ornamental details. The project reinterprets the aniconic, geometric tradition of arabesque by creating intricate constellations that are at once figurative and abstract.

Just as with arabesque ornaments, the compositional principles of the Arabesque Wall are based on an iterative tiling and division of surfaces.

Where does nature end and the artificial begin? Amid Inhotim’s lush landscape, visitors unexpectedly encounter a towering marble monolith, rooted among the flora. Something is amiss. The monolith appears neither to be part of the environment, nor to be detached from it. Natural metamorphosis is reversed to a produce an uncanny artefact: a second nature.

Architecture should surprise, excite, and irritate. Phenomena is an experimental folly that addresses not only the mind, but all the senses - viscerally.

Phenomena evokes curiosity and encourages visitors to interact with it: to touch it, dive into it, get lost in it and ultimately to become part of it.

Between chaos and order, both natural and artificial, neither foreign nor familiar. Digital Grotesque presents an immersive, human-scale grotto that is entirely 3D-printed.

Fine-grained corns of sand printed at a resolution of 0.13mm allow the creation of a yet unseen architecture.The 16 square meter room is composed uniquely through algorithms.

A new column order shaped by subdivision processes, this project explores how intricate ornamentation can emerge from systematic division and refinement.

A first 2.7-meter prototype was constructed as a layered model of 1mm laser-cut cardboard sheet. Further columns of milled 1mm ABS plastic layers were exhibited at the 2011 Gwangju Design Biennale.

How can a purely operational geometric process generate complex form? Starting from primitive Platonic solids, this project applies a single operation—subdividing faces—repeatedly, yielding astonishingly intricate results.

In the late 1960s, biologist Aristid Lindenmayer introduced a string-rewriting algorithm—now known as L-Systems—that models plant morphology with remarkable ease. This project explores its architectural potential.