My practice engages bamboo as both medium and method — a material of extraordinary versatility. At once tensile and pliant, structural and expressive, bamboo offers a spatial and sculptural language that traverses the boundary between architecture and art. I work with it not only because of its ecological integrity, but for the way it invites form through intuition, resistance and flow.
Drawing on vernacular joinery traditions — fishmouths, dowels, lashings — I often find that the most elegant solutions are the simplest. The principle of Occam’s Razor becomes not just a conceptual guide but a structural one. In bamboo, minimalism isn’t aesthetic alone — it’s mechanical, sustainable, and deeply local.
Each species of bamboo brings its own material intelligence: some lend themselves to curvature and weave; others assert mass and verticality. This variety constitutes a kind of palette — one that I explore through both experimentation and site-sensitive construction.
Through sculptural studies, furniture, and architectural forms, my work investigates bamboo’s latent potential — not only as a renewable material, but as a carrier of cultural memory and future-oriented design. It is in this tension — between past technique and speculative form — that my practice unfolds.