Selected Works
Nine works across two decades.
Some permanent, some toured, some surviving only as photographs of a festival night. Each developed site-specifically, over extended periods of research, engineering, and fabrication.
London · Studio + Commissions · Since 2005
I make public sculpture — at the scale of the city — that asks us to give space to our earthly co-inhabitants.
For twenty years, I've been making permanent and touring large-scale public sculpture at the intersection of art, engineering, and ecology. Most of that history lives at loop.ph — the studio practice behind work like Arborescence at the Amsterdam Light Festival, Horticultural Spa on the Thames, MetaboliCity for the Audi Design Foundation, and Mind Pilot at the Design Museum. The practice has since grown into larger, more engineered pieces — currently the Marina Park Whale for LeFrak in Jersey City.
I'm an autodidact, and I organise my practice around questions rather than disciplines. Three are active; one I've parked for now.
This is the foundational question. In Archi-Lace, the topology of the dual mesh was the material logic — a circle with five neighbours curves spherically, six is flat, seven is hyperbolic. In the Lusail Whale Shark, the Kagome three-way weave was simultaneously an aesthetic, a structural logic, a fabrication logic, and an installation logic. Constraints aren't filters applied after design — they're the generative engine. I call the underlying idea composable constraint fields: material behaviour, fabrication limits, structural requirements, and aesthetic intent as constraints that jointly define a design space.
The conventional path goes 3D → 2D drawings → 3D built object. My practice runs a circular workflow instead: idea → digital model → physical prototype → lessons learned → refined digital tool → better physical output → repeat. Mixed reality short-circuits the drawings step by going directly from 3D model to 3D assembly instruction. The Lusail Whale Shark pop-up factory proved this at industrial scale — two MR assembly stations, a trained temporary workforce, 10,000 individual parts.
This is the largest current gap in my practice, and the most exciting. I've worked with FORMAT Engineers for years, but the relationship is sequential: I design, they check. What I want is for gravity, wind, and material stiffness to be generative — for the way forces flow through a body to shape the form itself. The Marina Park Whale stand and the whale's cantilever pose should be designed together, as if gravity and wind are pulling on the whale and the stand grows in response.
This is a different question in kind. It's not computational or technical — it's about activation, community, and what happens to a work after it's installed. MetaboliCity (2008, with Audi Design Foundation) is the reference point: a project that brought London communities into urban agriculture around a public installation, positioning the designer as facilitator rather than author. I've shelved this question for now, but it sits on the other side of the practice — and it may return as case studies, conversations, and field research rather than code.
The programme is itself a prototype. I review it monthly.
Some permanent, some toured, some surviving only as photographs of a festival night. Each developed site-specifically, over extended periods of research, engineering, and fabrication.
A permanent site-specific version of ECHOES on the Hudson River waterfront in Newport. The sculpture pairs a dynamic cantilever pose with a marine-biology-inspired paint scheme and a full integrated animated lighting system. It sits below the 100-year flood line, on a pile cap that engages the site's historic timber piles.
The 17-metre sculpture is currently installed at the Port of San Francisco's WETA Plaza as part of Big Art Loop — a public art initiative placing large-scale work across 34 miles of the city. The whale stands in for more-than-human life claiming public space, the way human activity regularly invades non-human habitat. LIDAR tracks visitors: if too many humans occupy the space, the whale falls silent and its lights dim.
Alongside my own studio work, I run the innovation side of Mamou-Mani Architects and FabPub. As Head of Design Systems at Mamou-Mani, and CTO of FabPub, I direct a research and fabrication capacity centred on large-format robotic extrusion — KUKA and ABB industrial arms with pellet extruders, printing architectural-scale components from recycled and bio-based materials. I'm there Mondays and Wednesdays.
The logic is the same as my own practice, scaled to an organisation: constraint-based design, whole-system integration from material to installation, fabrication intelligence kept in-house. Recent threads include fire-rated print materials, non-planar toolpath generation, and configurable product-scale lighting systems.
Between and beneath commissions, I run a structured research programme — scoped to produce both real conceptual depth and usable computational tools. Monthly reviews force graduation decisions: continue, park, or move a topic into serious tool development. A few current threads:
SDFs, implicit geometry, and tools like Daniel Piker's Isopod, ETH's Axolotl, and Dendro — candidates for a unified formalism for composable constraint fields.
A design tool for structural skeletons that speaks the language of botanical flower patterns but is constrained by the engineering realities of tube bending and rolled sections.
Applied research through FabPub — pushing large-format pellet extrusion into architectural compliance envelopes.
CV available on request.