Here, I attempt to convey, primarily through visual images and material and and short descriptive texts, the scope and breadth of the work I undertook during my time at SITU in New York in 2010.

The practice was a fabrication studio, a design studio, and an architecture studio — arguably in that order — called Situ Studio back then, now known as SITU, which remains based in Brooklyn, New York.

This publication does not cover every project I was involved in during the year I spent at the studio, from January to December 2010. Rather, it seeks to illustrate the range of tasks and responsibilities that defined my work there. These included digital modelling, development of digital and parametric interfaces for both new and existing projects, design and concept development, conceptual architectural development, and project development for competition entries, ongoing projects, and, not least, research initiatives — both those initiated by the studio itself and those embedded within larger organisational and project structures.

My time at SITU was nothing short of fantastic. It allowed me to fully realise my ambitions to develop my digital skill set, strengthen my professional capabilities in an English-speaking environment, put my recently acquired architectural knowledge into practice, and gain a broader understanding of the working culture and everyday life within a somewhat unconventional architectural practice. And, it was in New York, which was very much on my radar in order to develop a bigger network there.

The digital development mentioned above primarily involved gaining proficiency in parametric software tools such as Grasshopper for Rhino, including RhinoScript and, to some extent, Python scripting. This also involved working with a range of third-party plugins and developing connections between digital workflows and physical fabrication. In parallel, I further developed my existing skills in and around Autodesk Revit Architecture.

In addition, I took part in numerous extended, project-oriented discussions with the rest of the studio and its partners, as well as in communicating design intentions and sharing knowledge of digital-to-fabrication workflows through weekly pin-ups, design presentations, and design intents.

Looking back, I feel that this experience allowed me to fulfil my professional ambitions to a very significant degree. I returned to Copenhagen with strong verbal praise and written recommendations in support of my continued professional development, as well as an open invitation to join the studio again should I ever wish to return to New York.