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"Dancing and buildings are the two primary and essential arts. The art of dancing stands at the source of all the arts that express themselves first in the human person. The art of building, or architecture, is the beginning of all the arts that lie outside the person; and in the end they unite.
The Dance of Life ,by Ellis Haveloc

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Remodeling and Home Design









The notion of choreographing design is the central theme of this portfolio. The synergy of dance and design has been the focus of my design explorations since 1985. As a design mechanism the choreographed design uses kinetic principles as part of the design gestalt and takes the design process out of the static paper conceptual world into a virtual world which relies on three dimensional modeling as its primary vehicle. Elevation and plan are immediately merged into a volumetric realm from the beginning of the design process. Many other kinetic principles take place in choreographed spaces, such as the infliction of changing light on a material and or the tracking of the daily changes of the natural light over the period of a day.  Additionally the immediacy of visualization, of the three dimensional environments, give users a look into the future by seeing in almost any direction of the space that is envisioned.

Many of these ideas of synergy were developed during my dance studies and the advent of inexpensive personal computers. During the first years of personal computers, many higher end computer graphics and animation programs came onto to the market and inevitably changed not only the way we work but how we think. Design thinking as well as other fields of science, art and mathematics starting evolving into a world of computational modeling. Its direct impact on design is still evolving. However, as a dancer the idea of isolating phrases as spatial concepts was clear. Modeling of space has become more fluid. Formal ideas of space have broken out of the orthographic projection into a more sinuous world of interconnected and dependent revolutions.

In this portfolio I have traced that development starting in 1985 through to today’s projects to elaborate on the design and its impact on my projects. To present this idea succinctly I have designed a portfolio that illustrates the process as choreography, inherently expressed as motion. There are two major components to this portfolio, first the work which I have done for other firms and if one could draw the analogy it would be that of a dancer executing the work of the choreographer. The second part is that of designing as a choreographer. The second part explores computer animation or interactive environments as a formal design parti. These projects require not only a physical place but also highly kinetic environments.

Under the leadership of these firms I have assisted the realization buildings and places. To explore these theoretical premises of choreography I needed to apprentice at practices which could support the idea of design studios and also had the ability to support experimentation though computer modeling. Of the sixty plus projects I have participated on I have selected projects that represent design skills that ranged from conceptual development to built product. I have included a wide array of sketches, notes, drawings and models. These projects, even though not my sole authorship have components which were explored and developed by myself. Some of these drawings, models and sketches represent my personal and original work and others are at the leadership of a guiding design principal. I have taken much care in selecting the work.

Where I have included the finished product such, as a building photograph, in which authorship is the firms I have credited that firm. Any reproduction of these images will need written permission from the authoring firm.