I served as a Lead Designer for 1550 Alberni Street Tower, a 43-storey luxury residential building by Kengo Kuma & Associates in Vancouver’s Coal Harbor district. Deep balconies and sweeping arcs frame panoramic vistas of city and mountains, while interiors of oak floors, maple joinery, and travertine baths evoke warmth. The building’s sculptural geometry allows many residences to open to multiple directions, where moments of light, landscape and lines of sight converge. At the project’s base, a suite of amenities create transformative experiences for residents. The project reaffirms an architecture that is context-rooted, materially rich and human-centered.

The Commons is an 84,000 ft² circular amenity building at NBCUniversal’s Los Angeles campus. While at Lever Architecture, I led the design of its sweeping form, which houses a stylish full-service restaurant and high-end commissary at grade, state-of-the-art screening rooms, plus a top-floor meeting and event space crowned with a rooftop terrace. The building’s design, drawing on the heritage of moving-image technology, creates dynamic indoor-outdoor connections and multiple vantage points across the campus. This project repositioned a workplace into a brand-defining hospitality environment built to attract both talent and premium clients.

I continue to serve as the Lead Design Project Manager for the forthcoming Waldorf Astoria Sydney at One Circular Quay. This landmark hospitality project by Kengo Kuma & Associates and Crone Architects is set to transform Sydney’s iconic harbor-edge skyline. Beneath a façade of sandstone, glass and green walls, the development accommodates 220 rooms, signature restaurants, a rooftop bar and world-class pool & spa overlooking the Opera House and Harbor Bridge. The building signals how architecture can connect hospitality with place, elevating client experience while enhancing one of the world’s most iconic skylines.

I partnered with a small-business owner to design Choci flagship store, an efficient build that keeps the product and experience front and center. A clear view into the back-of-house chocolate kitchen lets customers watch the balls being crafted in real time, while the retail zone features clean lines, refined materials and optimized layout to emphasize the colorful chocolate products. Working within a tight budget, we delivered a refined space that enhances brand, process, and display in one compact, high-impact setting.

At Kengo Kuma & Associates, I worked to develop the global retail identity for KIKO Milano: a minimalist white interior where the only real color is the make-up product. The key architectural move is a modular ceiling of thin aluminum plates, which creates a visual rhythm overhead while supporting rapid rollout across地 diverse markets. The white walls, furniture and surfaces recede so that the vibrant product palette takes center stage. The system has been implemented globally, from Europe through Asia and the Middle East

At Kengo Kuma & Associates (KKAA), I led the design of Moku‑Yama, a floating “wood mountain” playground that blurs sculpture and play. Timber logs form dynamic peaks and valleys, inviting climbing, quiet refuge and shared discovery alike. Developed with Earthscape Play as a modular system, the project adapts easily to diverse sites while offering open-ended experiences rooted in material and form. The structure reframes public play as artful terrain, activating both imagination and community across scale and context.

Developed through a three-stage research process at Obuchi Lab, this project explored how robotic fabrication and human gesture could merge into a continuous act of drawing in space. The first phase, Harvesting Plasticity, began as my joint graduate thesis at the University of Tokyo, exhibited at Japanese Junction as a large-scale model visualizing movement as structure. The research then evolved into a freestanding pavilion at Ozone Gallery in Shinjuku, where spatial lines became inhabitable surfaces. The final iteration, commissioned by the Centre Pompidou in Paris, France, for the exhibition Mutations / Creations, suspended the system in mid-air — transforming architectural drawing into a performative installation.
The work questioned where design ends and construction begins, proposing architecture as a living process rather than a fixed object.

As Project Manager at Obuchi Lab, I led a team of researchers and industry collaborators in the design and construction of the STIK Pavilion. The project explored the convergence of human intuition and machine precision through an architectural system made from one million wooden chopsticks. A handheld chopstick-dispenser tool, embedded with visual guidance (via motion-sensing and projection) and wireless networking, enabled multiple operators on site to 3D-print a pavilion at the scale of architecture. The structure became a dynamic choreography of human arms, robotic augmentation and material aggregation. By turning a humble everyday object into an architectural medium and transforming the construction crew into cyber-physical fabricators, STIK investigated how architecture might become more inclusive, adaptive and materially expressive.

As Project Architect, I led the transformation of quarry-waste into spatial poetry for the Stone Grove pavilion at the Salone del Mobile Milano-linked INTERNI Cross Vision exhibition. Under the direction of Kengo Kuma, we composed a field of vertical stone modules using post-quarry marble and quartz refuse. The material was revived into a durable, textured surface that both anchors and frees the visitor experience, depending on their location relative to the work. The installation interprets the Japanese art of ikebana as an architectural act: each stone piece is placed with intention, the field oscillates between transparency and density, and the whole becomes a meditative corridor of light and shadow. Drawing on the dialogue between nature, material and craft, this project, titled “Stone Grove,” embodied a commitment to sustainability, material discovery and formal poetry.