I began drawing at a young age. There was nothing that could thrill my imagination more than an intricate drawing of a spaceship or an imaginary city. My first paying commissions came from fellow high school students for spaceship blueprints, ones from films or of my own design. The architecture of Wright, the Greene brothers, Mackintosh, and Gaudi were the greatest inspiration in the teens and beyond.
Plans of an Imperial Tie Fighter from Star Wars, one of my first paying commissions.Infinity Tower, perspective drawing constructed from six vanishing points, pays homage to Wright’s design for a mile-high skyscraper.Infinity Tower—detail at base. I was at the height of my modernist phase when I drew this at age fourteen.Abstract design: exercises in interlocking geometry and colorAbstract designVisionary tower designed in an organic, curvilinear form language. Done in my late twenties, this design rekindled my interest in architecture.Furniture, wall art, kimono and scroll, done in my twenties (watercolor). Examples of a unified approach to environmental design where the vehicle of design is language rather than isolated statements, let alone free-floating ideas.A House by the Sea—Elevation, M. Arch project, Taliesin. Executed in a sinusoidal or wave language, this residential design captures the dynamics of the a churning sea below.A House in the Desert—Plan, M. Arch project. Expressed in the language of the desert: thick adobe walls, corners softened by the wind, deep overhangs and water flowing near breezeways.A House in the Desert—Elevation and details, M. Arch project
NewlandWorks 