 So, everyone, in addition to everything else going on today and beyond, this is like GSAP history, the first time ever, GSAP doing a webinar. But more seriously, I want to, you know, welcome everyone to the GSAP Advanced Studio 6 Supercrit. As you all probably know, this is the last session in our series of studio-wide Friday sessions during the semester. And as you also probably know, the Supercrit is really the other bookend to the studio lottery with the studio lottery showing a five-minute presentation from each studio by the critic at the beginning of the semester, and then the Supercrit showing a five-minute presentation from each studio by the student at the end of the semester. So it's kind of two different snapshots on the work of the studio and the methods of the studio and the topics of the studio. Our kind of guest critics at this time consist of three people from outside of the school. We have Irene Chang, who is an architectural historian and associate professor at California College of the Arts, as well as partner and co-founder of Chang and Snyder. So I don't know if Irene, you can wave. I can't see everyone at the moment now, but thank you, Irene, for being here. We also have Stephanie Carlisle, who is principal and environmental researcher at Karen Timberlake, as well as lecturer at the University of Pennsylvania School of Design. Thank you, Stephanie, also for being here. And the third critic is Tim Michels, a structural engineer, designer, and preservationist and also currently part of the school, an adjunct assistant professor here at Columbia GSAP and although not teaching in advanced six, part of the Columbia GSAP faculty. So as you probably already know, the format of this is going to be similar to, you know, what we did last semester. So this is meant to be a kind of collective discussion about the studios, their approaches, the work of the students, the type of topics, and, you know, an open-ended discussion about our work kind of as a collective. The way we'll structure this is to have one project from each studio present. There will be a pretty strict timeline for this. And we'll structure this along or in the order of having four different groups where for each group, we'll have four or five different student presentations right in a row followed by a session of brief discussion, and then we'll repeat that. Another four or five presentations, another discussion, and so in that way, we hope to kind of draw out some interesting themes from the work and have an interesting discussion today. All of the presentations, you know, with a couple of exceptions, I guess, will be controlled by our fearless studio-wide TA, Skyler Royals. So she has the toughest job of anyone today. Skyler, thank you for all of your help in collecting the presentations and running this session. So by design, we're asking each presenter to have to say next slide when they want the slide to advance. Apologies to everyone for that aspect of the format, but I think we'll get used to it and it should be fine. And finally, students will receive a signal when they have one minute remaining. And when the time is up, you know, we're really asking you, when you hear time is up to basically conclude your remarks right then. If everyone takes an additional minute to finish, then it'll really cut into our time for a group discussion. So with that, I think everyone should know the order of presentations. We've distributed that to the students, the faculty, and also the guest critics. And I think we will launch right into the first presentation. So maybe, Skyler, if you want to share your screen now. And I'm going to pull up the list myself. But I believe the first presentation will be from Jing Liu's studio. Just go. Okay. Hello, my name is Ed. I don't see the shared screen yet. Yeah, I think Skyler, have you shared yet? This won't count on your time, Ed. Okay, thank you. Okay, now I think we see it, right? So it's going to go into the read mode or full screen. Is this right? Are you ready, Ed? Just one more note. Sorry, Ed, right before you start. If you are not currently speaking, if you could turn off your camera, I think that that would make, will make the experience a lot better so that we can understand who is presenting rather than focusing on everyone's video feed. Yeah, that's a great point. So actually, Skyler, you could also turn off your camera. And so we'll just have, that'll, that'll be a way to focus on only the presenter, right, the current presenter. My name is Ed. Firstly, I cannot summarize thoroughly the depth of the studio concepts only with two sentences, but in general, as the title explains, it is a street studio to research and introduce an architectural intervention on Fulton Street Mall in Brooklyn by introducing the new players in the street, rediscovering past experimentations that might still offer relevance and studying possible new typologists that might be constitutive of the contemporary discourse. Next, I would like to start my presentation with installation art titled Over the River by inspiring artists Crystal and John Cloud. Two artists are inclined to experiment their projects within the nature through massive scale and materiality to create unperceived moments to achieve pure joy of audiences. Next, however, their projects due to its massive scale are often brought up disputations from local communities, especially over the river project. In order for permission to be granted, he had to go through the lawsuit almost for 25 years. Next, however, their projects due to its, however, interesting idea comes when he suddenly decided not to pursue his project. And what makes the project more interesting is the history and the process of actualization. Next, local communities stood against the project because of its threat to ecosystem of site, or Kansas River. However, in other perspectives, the potential benefits to the site is quite abundant, such as economical benefits from visitors and ecological benefits even to some animals. So when I researched and analyzed the project over the river, I figured that this project is intriguing about the fact that it reveals the complexity of the phenomenon in nature to the surface, which were already there but invisible, with simple gesture it can be. Next, this is an informative and analytical drawing of the project over the river and listed all the animal and plant species and information about the site. Next, next, next. In his proposed design, he used the perforated metallic canopy and suspended tensile structure over the river. And what this does is through openness and reflection achieved by materiality, it projects earth and ground in one scene. Next. And this is where our site is. It is a Fulton Street Mall in downtown Brooklyn. Next. And I went through some examples of things that makes invisible visible. Next. Next. Next. Next. In my project, I try to express the concept through very minimal gesture and the complexity of the material. Next. This is the first sketch of my architectural intervention on the street. Next. And then I researched about the elements that compose the Fulton Street Mall and see what are the unintended consequences by introduction of those elements. Next. And I researched about the possible and potential purposes of those elements and categorized into interrelated concepts. Next. Next. Next. And I went to sectional drawings of elements of the street to see how those interactions are made and those can be range of human occupation of the street and the range of the lighting and street signage. Next. Next. Next. Next. Next. Next. Next. Next. Next. Next. Next. Next. And those pink areas are where my intervention will be located on the site and those locations are selected based on the site conditions where the actual Fulton Mall begins and differences in height of the building on the site. Actual buildings on the Fulton Mall has relatively low heights than surrounding buildings because of its assignment of historical preservation. Next. Next. In my project, it does not have a specific programs because my concept is to understand and reveal the complexity of the ecosystem, the street, and also to see what kinds of unpredictable consequences possibly happen with minimal gestures intervention. Can you start the video, please? And I'm sorry for the silence in the movie. I couldn't merge the sound into the movie. Hope you guys enjoy. OK, we have to move on to the next person. OK, I think you can maybe just scroll through that really quickly at the end, Skyler. Yeah, it's almost done. Yeah. And this was a little bit, we are getting our system started so you get a little bonus extra for you in a second. Thank you for the presentation. OK, great. So and like I explained before, we'll just keep going through three more presentations and then kind of start to unfold a discussion about them. The next presentation is from the studio by Steven Cassell and Annie Barrett. Everyone, my name is Erica, and I'm from the Castle Barrett studio. I'm Skyler. Next. It's going to be so weird saying next. So the site program and universe of the studio takes place in a book called The City in the City by the author China Mayville. In The City in the City, we are introduced to Bazelle two city-states that occupy the same physical territory, but where citizens are forbidden from acknowledging the presence of the other city. To navigate the social construct, citizens from one city unsee the people and architecture from the other, yielding a complex cross-hatching of the urban fabric. Violating or breaching the rules results entire consequences. You're immediately removed from both cities by a mysterious and shadowy, neutral third entity, never to be seen again. Written as a police procedural, the plot follows a detective from Bazelle as his investigation into the murder of a young Canadian exchange student takes him from his home city to the other. Coppola Hall is a shared city hall for both Bazelle and Oklahoma, a huge complex building housing both bureaucracies. It is the only gateway from one city to the other and it is the focus of our studio. Next. So we began the studio by deconstructing the text to develop an understanding of the nuances and conditions that a cross-hatched city and society imposes on its citizens. There are descriptions of the city, but of course there was no physical form for us to work with. So the first task was to design the city together as a studio based on our understandings from the novel. Here you see an analysis of the greater city region completed by our studio member, Jack Lynch, which the rest of the studio used as a starting point. Next. As we narrow down the urban context, the studio divided up into two groups, each representing one city. And we held town halls to reach a consensus on the site for Coppola Hall. Next. We mined the novel for descriptions of the architecture, designing a set of architectural features that embody the qualities of the respective cities. Next. And the site for Coppola Hall is centralized in the city, which is part of the old town that you see here highlighted in a darker gray. Next. So the old city is also the most notoriously cross-hatched, which means that both the cities sort of exist adjacent to each other, versus some of the total zones that you see on the outlying regions where an entire area might belong to one city. The color coding represents the different cities, red versus blue. Next. Too far. And here we see the finalized design of the site. So from here on out, I'm gonna get into my own interpretation of the site and my proposal for Coppola Hall. Next. So there are clues in the book that reveal a precious shared past where the cities were built on the bones of an ancient civilization. Next. We imagine this excavation site as an early attraction that brought both cities together, working alongside one another, but neither lane claimed this initial discovery. Next. Before designing Coppola Hall itself, we started with the design of a gateway, which is the border crossing between the two cities, which could later inform the character of Coppola Hall. So for this proposal, I proposed a series of walls that bridge across the entire site across the original shared side of the city's roots. Next. Next. So as these walls traverse the site, there's an opportunity to slip below the surface of the city, an opportunity to escape the chaos, entering a no-man's land. Next. Next. So you see here, these things that would initially be considered walls could also be sort of reconceived as bridges, passing from one city to the next. Next. So from the gateway, this translated to the design of the overall city hall, which is of course, still in progress. So if the walls were sort of extruded to the scale of a building, this is what it would look like. And you see here on the left side, that there's sort of this counter character to the city hall itself, which is in the form of a large public park. Next. One minute remaining, please. Oh, okay. And imagining these bars as a series of different programmatic elements that actually mix the two cities together, where entrances from both sides would be given to each of the cities. Next. And sort of reimagining what the idea of something that's double-ended could be like. Next. I'm just gonna blow through these slides then. So here's a section looking through this underbelly of the city where it would be a communal public space. And the bars above that are separated into the programmatic elements with the transverse connection across. Next. The experience from the street. Next. And then you can kind of flip through the next four or five slides, Skyler, to show the buildup. So you see the public space there underneath and connecting above. Next. And the circulation connecting the bars would ultimately be the place that would be the place of interaction between city officials of both cities. Next. And there are variations in how the circulation could work. Next. Next. So we leave off with a final scene from the book, which kind of culminates in this really dramatic shootout. And this is what it would be like to be in this sort of no-man's land underbelly of the city. Thank you. Great, thank you. You hit the deadline just in time. And thank you. And apologies if it's gonna sound rude. Let me continue to say when time is up, but great, perfect five minutes. The next presentation will be from Hillary Sample Studio. And I believe it's Matthew here. Hello. My name is Matthew and I'm from the Sampia. So I started, the studio is comprised of three distinctly interrelated parts, mixed use, staircases and social. So mixed use in terms of repetitive structural rids that are adaptable, staircases, unambiguous interconnected circulation spaces and urban socialization associated spaces of today. Next. So we aim to analyze Washington DC in these terms. Next. So to begin from staircases, next. Next. We want to understand different typological approaches and forms of staircases from the Gallup to the National Museum of Women in the Arts. Discovering and expanding upon multiplicities of choice and experience through different assemblages of form. So next. Next. So you get to see how next, how these begins to create different iterations of direct and non-direct approaches, single, double and then the different versions of how it could assemble to a surface, a tower. Next. And how this creates different multiplicities of choice and experience. Next. The next element being the social. So through our walks and explorations, there was urban bird habitats along the National Mall of Washington DC. So this brought on this need for communal spaces for urban species, human and non-human. Next. Next. And so I started to analyze contained ecosystems and try to understand how this could be related to social spaces. Next. And how from the aviary moved from an observation cage to an educational device. Next. And the materials of ecosystems. And next. Next. Which turn into these weaved surfaces of different densities and transparencies. Next. Then analyzing the botanical garden through its mixed use properties of how it has this organic growth through rigid structural grids. Next. And how this could be combined with the urban bird habitat. Next. In terms of the bird's needs and creating these interconnected social spaces of human and non-human. Next. And different assemblages of this within the structure. Next. So this all ends up in creating a project that aims to reimagine the typical atrium space of buildings in Washington DC through the collision of program and nature. And it aims to question the boundary of interior and exterior space in service of a self-sustainable dynamic architectural ecosystem. Next. So it begins by creating the sort of interior aviary that's nested within the building that opens up to the urban plaza and across into the adjacent parks. And then is capped off by rings of program. That next rings of program that are set within the rigid grid on the periphery is our programmatic and setting bird rehabilitation centers, research labs, seed vaults, roof garden and other elements that service this interior ecosystem. Next. So you can see here it's that you're able to enter below blow into this park that's set into the atrium with layers of mesh material next and how all of these elements are set within this rigid grid. And there's these staircases that lead up similar to these assemblages from before that connect across the atrium space. It's next. Next. And are able to cut through the atrium space. So you're able to climb underneath using it as a park sort of an interior park, but it's exterior. It's covered in mesh and it has all these layers as you go through. And once you're in there, you're able to look up and see these paths crossing that go between the different interrelated programs that are meant to service and create that interior space through its greenhouses and research labs. Next. Next. Here's another illustration of that. Next. Next. Next. Next. And then the central space blown up more also. Next. And next. And how that could be rendered in different materials and how it evolves over time. Thank you. Perfect. Again, perfect timing. Thank you. And the last presentation for this first set of projects is from the studio by Stephen Hall and Demetra Charellia. I don't think I can... Great, sorry. So just make sure to introduce yourself as the student, give your name. My name is Yining Huo. I'm a partner with Yixing Huo and we are from Hose Studio. The Hose Studio started abstractly from a piece of music. So basically we're designing a console hall in Prague designed based on piece of music from a composer. And the music we chose is from Dvořák, the new word, Stephen X. We're really interested in the duality of this piece. It is music by a Czech composer for the US. Something from the old continent is composed for the new word. It is, and by Dvořák he says that the inspiration comes from injecting a kind of black Indian music, soulful music into a really classical structure. Next. And then we are designing this kind of device to showcase that real... Showcase that this typical melody that's reappearing in this whole chapter. So in space it's more like a typical ratio of pattern reappearing in this volumetric way. And then we have done this test multiple times just to show that there could be a potential acoustic voice in this reappearing fashion. Next. And then by that device we can see that each volume can form a really dynamic section drawing and then each one is really different from each other but they are interconnected through this volume. Next. Next. So by model you can see that the way we did our physical model is by slicing those sections and kind of putting them together. Next. And then by that we can form this kind of thick wall volumetric acoustic walls just to have those kind of expression. And then from each test the expression is different. Next. For some times it looks like this. Next. And then next. The way we chose those two tests is that they are formed by a really simple method but they have really different expressions. One is more, you know, have bunny shapes, have, it's more closed. The other one is more open, it's more powers. Next. And then we'll think after that because this resemble the duality that we talked before so we're thinking what's in between those two walls. Next. Next. And my partner can take over at this point. Okay, so as we continue to like zoom in to develop the auditorium space we find that the auditorium space is actually highly developed and pragmatic so we like started to try and understand how our language of the acoustic wall in the sick wall can be integrated with the billion year plan sitting. So from the left to right you can see how it developed and next. And this is how we like organize the four of our sick wall together and assign them different programs like also we have a lot of supporting functions like the ticket office, some cafeteria area and some other functions. And next, this kind of shows how we are like trying to make use of the cracks in our walls and the gap created like in between two sick walls to be entrances to our interior spaces. Next. And some of the openings on the walls can be transformed into our open sea sky gardens and other entrances. Next. This is like a street view depicts the view you are like standing in the street. You can see how the frontality of the wall transformed into the facade. And next. One minute remaining please. Okay, next. Next. So then we continue to develop our interior space in this section perspective. Next. As you can see, we have languages directly from the wall and we have the language from the BNR seating which is a blue part and the yellow one integrating the two together. And next. And then, and next please. Yeah, and then we also like trying to work together with the sideline and other things. Next. So this is the section perspective we developed. As you can see, the solid walls are not like solid spaces. Actually, they are like having supporting functions serving the auditorium. And next. So this is our interior rendering depicting the view you are like sitting to the side of the stage. And next. Also rendering as you can see the sick walls actually create spaces. Those gaps at both sides, they are like work as entrances. And next. So we also have some like very special seating like because from the wall language we extruded some of them and they are at a relatively high space. We also think about transforming those seats into special seats where you have a special experience. You can hear the music but you actually don't have a visual contact with the orchestra. So this is also kind of experience we wanna explore and that's pretty much we have. Thank you. Great. Thank you very much for that presentation. So let's see. I think, I'm not sure. Did you stop sharing, Skylar? Yes, I'm now seeing. Yeah. Okay. I stopped it. Do I need to, should I share? No, I just didn't see that. So now I think Lila. So again, for everyone, this is our first time doing a webinar. So please bear with us. Lila, could you make the cameras of the critics live now? Or is that something they should do themselves? What do you think? The cameras are ready and if you place, if everyone places their screen into gallery view instead of speaker view, you should be able to see all three of the critics at the same time. It looks like each of you are muted. So I'm gonna go ahead and unmute you, the critics. There you go. There's a comfort in being muted though. Ultimate power I'm losing here. Getting used to it. Great. So there was obviously a variety of different projects presented and I think they were, each had their own world they were responding to. So I think part of the discussion is just to start thinking in the broadest sense, how can something like Advanced Studio at a place like GSAP have the best of the diversity of all the different approaches and research interests and topics and sites and programs and types of representation have the best of the diversity but also participate in a shared discussion. And I think that's an aspect in a way that we've been working on in the past couple of years for Advanced Studios at GSAP but it might be a little generalizable as well to like how do we as a discipline both in academia and in the profession, each do our own thing but kind of come together under, like what do we have in common? What unites us? How can we have a shared discussion around some of these topics? So that might be one of the things that we try to trace as a thread through these first four but I think we can also explore some other observations and topics that any other critics have. Well, I can jump in just to break the ice maybe. Sure, thanks, Irene. I don't know if I have a kind of idea yet about sort of what is the commonality or what sort of unites the different projects that maybe I can start with just differences. It's so interesting, I think, to see this monopoly of projects from different studios and to see the different methodologies. I'm sort of at least initially as I'm kind of, you know, trying to work through what was just presented more struck by the differences. Maybe we can start there. Yeah, good. I'm buying time for the other critics to identify the similarities. I'm struck by the different starting points and then the kind of evolution of the projects and then sort of where they end up and struck by, for example, how Ed's project starts with a kind of artwork and analysis of an artwork. And then, you know, in the kind of endpoint, the final project, I see the kind of that translation in some of the material properties and even some of the formal properties of the initial inspiration, the Christo artwork still sort of residual in the endpoint, the final project. And what I see is the strength of that project is, I mean, the kind of utterly beautiful form and it's both a kind of ethereality, but plausibility as a kind of installation in the space of the Fulton Street Mall, but also productive of such a kind of extraordinary aesthetic experience that really came across in the renderings. And I think that's a kind of threat of continuity from the original starting point. Then with the City in the City project, Erica's project, starting with a novel conceptual sort of sci-fi novel and then ending up with a kind of proposal that seems less, you know, like a kind of realistic proposals be built than a conceptual provocation. It still has that remnant of a kind of sci-fi feeling about it. In the case of Matthews, like starting with a kind of architectural typology of the stair and then sort of integrating that into a specific kind of building proposals, you know, kind of spatially intricate building design. The Yining and Youshin's project at the end, that's the one where I see the kind of greatest leap sort of starting with a piece of music and then ending up with a concert hall and in between there was this kind of moment where I wasn't quite sure whether it was like the music was translated into this formal model and then became a building. So I was really curious about that moment of translation or conversion. But yeah, I mean, for at least a kind of initial thought was just sort of, I was reflecting on the different starting points and how those are both determining of and also allow for sort of different end points. Yeah, I think that's a nice way to start us off. And that speaks, I think, to the kind of studio method because part of this is about like, what did you produce at the end? But part of it is about like, how do you design? What is a way to get from A to B and where do you even select as the A and the B? I was very much struck by this image of Matthew where he showed the birds in a cage mixed with humans. And I could not help but reflect about our current situation where we're all grouped up and still all four projects so prominently addressed public space in a way, addressing how people come together. It wasn't clearly in its projects where he decided not really to intervene on the existing buildings, but model something around it. Then we had the public plaza under the newly designed city in Kupala Hall Studio, the birds. And then I especially in the Prague studio, I was struck by the challenge of, you know, designing a new space for a large public in a place where there is such a great history of music and taking on that challenge of doing something radically different in Prague. That's still from the outside sympathetic to the street views that were shown, but then I think radically innovative and on the inside and the technology was used to create that and getting that inspiration from sound. That struck me very much. I'm still trying to wrap my head around how we should start thinking about these public spaces now that we're all grouped up and how these projects could be translated. Yeah, those are my first impressions, I would say. Yeah, that's a really interesting way to think of them together. I think similarly all of the projects were really dealing with enclosure and threshold in very different ways and it came out and kind of like unfolded in each of those pieces, I think quite with some surprises as well. So with Ed's piece in the beginning, it was interesting because if the Crystal Project is really sort of a membrane that both reflects and reveals, it was interesting to see how the intervention that you chose really turned into these gateways, right? Which first revealed themselves as walls, but then as we saw in the video, I found it quite surprising that they too had a sense of enclosure and were inhabited by people as well. There was something really, really nice about that moment where you could see that you could be inside that threshold, they weren't just gates at every street enclosure on Fulton Street. Similarly, I think there's that question with the city and the city of trying to manage how people occupy space together and what that looks like in this tension between the wall, the hallway, and an actual space, obviously with the birds and the third project as well. In all of them, I feel like there are some questions, it seems that you're all still sussing out of who is occupying these spaces. And I think it can always be really, or often be really challenging when talking about the city to figure out how to create spaces that are equitable but also acknowledge that people would experience those spaces differently, right? And they are in a place right now, these projects where there's so much potential, I think to explore that a little bit further, and think about whatever categories are particularly helpful for you, whether it's characters or behaviors or agendas, who are these people? What are they doing rather than a sort of typical person? What is the variation of that experience? Because I think that would even help push even further the exploration of the interventions that have been made with city and the city. I think, I'm not familiar with the book, but I think that I would be quite interested to see how you could even draw from that text a sense of characters and also, is there a real difference between those two cities and how the inhabitants of those cities would move through this government building? And I didn't expect that that theme would carry through at all with the final project, but I thought what was quite interesting is that I tend to think of an offer hall as being quite enclosed and impermeable. It's a special space unto itself that is separate from the city. And halfway through that presentation, I think the way that that team is starting to explore openings and aperture was really, really compelling. I wonder if it came also, I wonder to Tim's point about, this moment of us not wanting to be completely contained, everything, all of the exploration seemed to be very much about the stage and the acoustics. And then there was this moment where you could see the city outside. And then I think that's something that we're all thinking about right now is, what are those different perspectives? What does it mean for the viewer that's in the balcony that can't see the stage? As I said, they really wanted to explore withholding site, the visual side of the stage. And I think that similarly for all of the, everyone in the interiority of that space, what does it mean to be completely removed from the site of the city itself? So I think there's a lot of really interesting themes to keep exploring in that project as well. I really like this question about who is the public? Because it does seem like that's a kind of fraught question in architecture. And when you posed that question, Stephanie, it did seem like there's sort of implicit answers, but not so many explicit ones. I think the Matthews project where there was clearly a desire to expand that public to multiple species, humans and birds, and maybe if there were more time, we could have heard more about like how those species are interacting and how the building is kind of responding to each of those constituencies. But we do have a tendency, I think, in architecture, there's a long history of this in architecture, kind of abstracting that public as a kind of generic or undifferentiated or homogenous public. And so I think that question could be posed at each of these projects. In the case of the Fulton Street Mall, who are the residents of that neighborhood? How might they respond differently to this kind of beautiful gateway structure, a form? I was curious with the city and the city having not read the novel. Of course, I think that the topology and the kind of premise of these two communities or cities overlaid on each other, sitting line side by side and having to coexist and yet alienated from each other in some way. Of course, I'm thinking red and blue America, black and white in the city. And so I sort of wanted more fleshed out sort of what's the kind of nature of these two cities that are being brought together in this kind of provocative way. So I think that question of like, how do you qualify and differentiate and make specific that public that architecture is addressing, I think is an important one. Yeah, and maybe some of these themes are ones we can pick up after viewing the next group because based on the rhythm of this setup, we'll have to move on in just a second to the next group of presentations. But I wonder if we could also start thinking about representation a little bit about given these themes, what are the ways to draw them? Either drawing the enclosures and thresholds things that are sometimes invisible, drawing the relationships between species, using a combination of more typical architectural representation, but some techniques of video or other ways of starting to make more science fiction-y drawings. Because I think it's an interesting moment, it's an interesting moment in a lot of ways for architecture right now, but including in representation when we've gone through a number of phases of emphasizing tools or returning to old modes of representation and an increasing sense of these things that are so important that they can change the world, stop us in our tracks like a virus or like climate change that are just totally invisible. So how do we possibly start representing those as well as the other intentions and themes of the project? And maybe I'll just leave that as an open thing that we can track a little bit in the next round of presentations. So this will seem, I'm gonna be the bad guy the whole day, I think, because just as we're getting interesting in the discussion, I'm gonna cut that off too, just like each project as it's hitting its highlights and keeping us moving. But I will, unless anyone has something urgent they're gonna throw in right now, then I think we can move on to the next round of presentations and kind of continue these threads. Is that okay? No objections? Okay, great, thanks. So we'll get back in the, you know, we have two rhythms, the rhythm of presentation, the rhythm of discussion. So I think, Skyler, we're ready for you to share again. And we'll start off this sequence of presentations with a student representing Galea Salomonov Studio. Hello, my name is Oscar Cagallero and this is the studio led by Galea Salomonov and we'll be called something of value for the city of London. You can wipe out an entire generation, you can burn their homes to the ground and somehow they'll still find their way back. But if you destroy their history, you destroy their achievements and it's as if they never existed. Imperialism is the attempt of one country to control another, especially by political and economic methods. Colonialism is a distinct way of imperialism. The British invaded 90% of the world. During the invasion, invasions, there was an infinite transfer of valuable items. This is how today the UK possesses so many treasures that are not for British land nor respond to British culture of the time. The traces of British colonialism are still alive and showing the deep rooted political and migration crisis that many countries have been facing through years. Layers of parallel histories that echo to each other in what it seems to be like an endless cycle of racism and disruption of human connections. Migration is connected to every aspect of a nation. It is the global transfer and transnational connections that makes migration a political action. These heritage objects hold an intrinsic relation with migration and they no longer hold a story of one place but all of those places that they went through. What is interesting in the movement of these objects is that it happened through water. By following the liquid traces of these parallel histories, this project aims to navigate through the memory of water in order to tell the stories of these objects from their origin extraction and style and recontextualization. The British Museum currently gathers most of the heritage objects taken during British colonialism. There are 170 museums in London but none of them presents these objects from a point of view that is not the colonial point of view. So this project is not a museum for British colonialism or a museum of British colonialism. It's a memorial and museum that represents the stolen heritage objects taken during British colonialism. It aims to relocate the pieces from other museums in London and open the possibility of a rightful place for semblance and celebration of history and culture. Language is an important part of the project so the first step was to create a glossary database of several definitions of colonialism that haven't been addressed by their historical problem context. The research led me to analyze the common information that is presented in museums. So many of the words were replaced by factual data in a new description was created based on the origin extraction and style of the piece. An inventory of some of the most controversial pieces led me to understand the traces of the migration of these objects. The place for the project is located in Shortwich, London an abandoned train station damaged by humans in time. Its main structure has been semi-diamolished and nature has populated its ruins. What it might seem like apart from above it's actually an inaccessible place. Due to the lack of information at taxonomy analysis through photographs it was made in order to reconstruct through drawings most of the existing structure. This proposal holds an appreciation for these ruins and its semi-diamolished walls as a symbol of resilience and endurance and the value that could bring the reuse of this architectural device. A memorial park will arise on top of the existing building creating an accessible green space for the city. Time is usually understood as linear but in this case the galleries will approach the multiplicity of histories of each object. Water is a conduit to tell the stories through mechanical devices that will create an interactive experience of the user. The galleries will gather physical and digital data. The memorial park will consist of segmented walls that arise from the existing building becoming a space for meditation and exploration. The program will consolidate contemplative spaces and interactive rooms. The journey through the building becomes explorative and as the user walks through the spaces the use of light and real and abstract water evokes a sense of the sublime and visceral of the stories being told. Contemplative spaces emerge in the case of the first space entering the building a dash in light that comes through natural elements that has been extracted out of their original context. The roots of culture extracted from their land. Oschaltonal exhibit many humans and non-human elements were lost in the ocean in the attempt of taking them to Great Britain becoming underwater secrets of history. Rain room a space for meditation where the use of lighting water creates an effect of endless continuity. Interactive rooms as devices that shift with the movement of the user we're revealing the parallel histories of the piece. Chambers that rotate as you go in showing the multiplicity of the stories of a single object creating an intimate experience for the user. The project incorporates ephemeral elements of the surroundings. This gallery intersects the entire building and faces the lower train level on the outside. And as the train moves through the facade it changes the perception of the gallery through shadows and sound. The history of humanity will never be re-rated but can definitely be told from a different point of view. We need to confront the past in order to move forward. And I would like to conclude with the phrase of modern order king that reads we are not the makers of history, we are made by history. Thank you. Great, thank you, Oscar. And moving on to the next one, the next presentation is actually from my studio, David Benjamin's studio, Eduardo. So hi everybody, I'm Eduardo from David Benjamin's Forest City Studio. And if you could go to the next slide it'll just start with the video with the kind of narration, and then I'll talk afterwards. I mean, I guess I apologize for the lack of audio but there would be that sort of accompanying it as well. What I gotta know, what's with the purple glowing box? Sometimes if you pass by City Hall at night you can see through the windows all the plants and produce on the structures are interesting, but my biggest question is any of it really good? Is this how we'll be growing food in the future? You guys should like set up some tours or something. I'm sure the city would like to take a walk inside, not on mind volunteering as a guide either. Maybe a workshop or two, but I'm sure you're all just waiting for more things to grow in. Might not be so cool to walk inside an empty box but that's just my two cents. I'll end the letter with saying that it's pretty nice to see so many people sitting up shop near the factory now. All the tents, lawn chairs, and tables. It's like a little flea market, full of goods and things for sale. Some people even just come and hang out, playing music, catching up on gossip, trying to peek inside the farm and the timber factory. I gotta wonder, is this what bigger cities feel like? And again, I won't lie to you. This has to be the most people I've ever seen around this place. Hope to hear from you soon. Okay, so if you could go to the next slide, please. So the video that just played was a kind of day in the life of a project that positions the forest, material production, food, and the production of energy. If you could change the slide, please. Back one, thank you. As a kind of expansion to a city hall and college station, it's trying to take those elements and sort of expand them into the civic capacity. And so the kind of focal point of the project, the roof, it ties together all the additions. As it collects and concentrates heat from the sun to later convert into energy. The factory plays with what production, storage, and enclosure should look like. It's envelope able to grow and contract depending on how much material is coming into and leaving the factory. The farm aims to see what could be grown in a limited footprint in areas with less than ideal conditions. All while carving out space for the public to engage in and inhabit areas of production. So if you could go to the next slide, please. And so this project is just one of 10 in the studio that look at how timber can be the starting point for addressing the need to build for growing world. Could you next slide, please. While also thinking of scenarios and remaining sensitive to environmental concerns with the end goal of being, how do we imagine the ways the build environment can come together in the future? Thank you. Great, thank you. The next presentation is from the Mimi Huang studio. And please remember to introduce yourself. Hi, I'm Wen Yan Liu from Mimi Studio. Me and my partner Tian Yu is working on bio-construction. So this studio is a factory studio. The studio is interested in developing what are the architectural opportunities for innovation at the scale of the factory building and its spatial component and its relationship to the city and waterfront. So outside it's in Southside Park which is by the waterfront. Next. So the big image of our project is to shape the construction for the future. And we are looking at, first of all, we are looking at the current condition of construction boom in New York and Brooklyn. And there is a lot of construction projects going on before coronavirus. Next. And this one generates a question of construction waste from over six million tons of construction and demolition waste are generated in New York City every year. Next. And 80% of them are not properly recycled. Next. So this one provides us an opportunity to rethink the whole process of recycling the construction waste. And we want to include this process into our first step as a factory. Next. And also we're thinking the new opportunity to use biological process to creating new materials as biomaterials which is more environmentally friendly and economic social friendly to the society and to use the raw materials that sawed us from the construction waste to produce new materials. Next. So this shows the diagram of our factory process from recycling construction waste to producing new materials. Next. And then we look at the siting strategy. There is a Lafarge concrete plant in Sunset Park which you can see the close relationship to the residential area and it's provide a lot of pollution to the city as well. Next. Next. Next. Sorry, yeah. So it's showing its relationship to the city. Next. And we think this is a great design opportunity to replace this concrete plant with our new biomaterials factory to create more public friendly waterfront. Next. And then we look into the gross condition of biomaterials. It's very different from industrial process. It's more like a biological process. It has specific requirement in terms of temperature, light, wind, moisture and it's provide us the thinking of cluster design to provide different intimate internal environment for different types of materials we want to produce. Next. So this basically showing the whole process, the whole form making is highly related to the environmental thinking creating internal environment. Next. And we look at the breathing roof ideas. Next. For different. Next. So this cohesive roof we are thinking is to allow maximum light and wind that's coming from different directions to our city, to our factory. And under this cohesive roof, it's next. It's all these different types of cluster. Let's have on different scale variations from pavilion to the next, to the large auditorium type. Next. This one showing basically the variations of the tower itself and also the variations of the courtyard is generated for different types of space that needed for different activities that happens in our factory. Next. Yeah, that's how these two things come together. Next. And this one basically the concept section showing from the first steps of collecting, recycling, recycled construction waste to produce new materials in the middle and then the next more social related activities. Next. Next. If this one's showing on the left side left fangola that it's showing the factory process from the goods coming from the city from highway arriving at the tipping place and then going to the sorting cluster to the bio cluster and then stored in the storage and going back to the city again. And the middle part, the middle alley showing how we connect public from the city to the park and the right fangola corner showing how this is open to the public, to the city. Next. One minute remaining, please. Next. Sorry, we can just go next to the end. Next. This one is the second floor plate showing how it's more connected on the second floor. Next. This is the structure unit. We want to avoid all the columns and hide all the structure inside the wall. Next. And the different types of the structure units. Next. Next. Yeah, this is how the cluster works together. Next. And the sections showing the pavilion part. Next. And this one is the units of sorting cluster. Next. Next. This section shows how all the factory activities happens and connected inside the clusters. Next. And that's some views from the factory clusters. Next. And how the courtyard works with the tower itself. Next. Next. Next. Next. Sorry. And this one is the bio towers as you can see before it's showing how open it's on the ground floor and then how connected it is on the third floors. As the bio cluster towers. Next. And this one basically shows how it's connected as explained before all the different cluster works under a cohesive roof as a new factory type to the city. That's it, thank you. Thank you. And then the final presentation from this group is a student representing Enrique Walker studio. I can't seem to start my video. Your video has started, you're on. Oh really? Yep. In addition to Haitong and Elena. Okay. So we are studio Walker and we were tasked with doubling the surface area of three projects in Japan built 50 plus years ago by the metabolist architects. And it's going based on the growth, patterns of growth established by these metabolists. How can we modify these patterns for contemporary issues as these buildings were conceived over half a century ago. So we'll just go through each of our groups real fast and talk about each of our projects. The metabolist group developed the language of elevating from the ground and emphasizing the support and structure. Next. On this matter, we studied a series of building that have a conversation with each other regarding course and horizontal plans. Starting the common centralized course, Ken Satangya later developed his proposal into multiple course that will serve an open plan. This would maximize flexibility, light and movement in buildings allowing a truly open space. These vertical structures became the host of services that would serve and connect these open plans. Next. We proposed to keep the original dense structure which is the building that we were supposed to work with. It will function as a large core by hosting and supporting our new proposal inside an air square. Next. Alternating floor plates that would compose a positive, that would compose public space would be placed on the bottom part inside of original dense structure. As for the doubling, the proposal will go up and will be supported by two independent cores that will support themes from where floor plates will hang. Next. Finally, this side course would host the services that would feed all of our open horizontal plans. Next. So hi, I'm Hatom also from America studio. So Karamachi housing project is an A-frame mega structure housing complex designed by Japanese architect, Sachi Otani, located in Kanagawa, Japan. Next. Over the time the aging of the Japanese population, older people encountered loneliness, depression due to lack of close family ties and this issue also applied to the Karamachi housing project. Next. Next. Next. With the study of houses and A-frame structure genealogy, we decided to bring in the advantage back from the traditional Japanese houses and other A-frame structures. And we are doubling the public space and then creating a clash of new college program to the old residential complex. We're transforming the old interior A-frame space to an even larger A-frame campus in the middle and creating more connectivity between buildings which bringing the mentality back to the older community. Next. We're also doubling the size of individual units which increases the individual unit capacity of the units and bringing the traditional Japanese then she back to the complex which not only allows a larger family size but also reinforces the family ties for the whole community. Next. And that's our project. I'll give it back to Iset. So next. So we were looking at Masato Otaka who was the eldest member of the Metapolis group and his project in Sakai-de, Japan called Sakai-de Artificial Ground where he envisioned basically these raised platforms existing above the old city to create a tabula rasa for the development of a new post-war Japan. Next. So this is a genealogy of some projects that he was either influenced by or worked on directly but you can see that his concept was literally raising off from the existing ground, a platform usually consisting of concrete to build a new urban pattern. Next. So looking at these projects, Sakai-de Artificial Ground and then his later building the Tochigi Prefecture Council Assembly Hall he developed the artificial ground and began to thicken the ground essentially beyond just a single platform as you see in the top image but then adding additional programs that could thicken the concept of what a ground conceptually could be. And then next. So these series show the development of the platform above the existing cityscape. However, the current issues that are faced in the project are underneath the platform. Spaces are underutilized and very dark. So what one of our proposals is maximizing doubling the amount of void space to introduce light into underneath the platform. And next. In addition, replacing what is an underutilized parking lot seen in the second axon and doubling the public program that happens underneath into a cultural function with access points and circulation routes that can allow people to penetrate the site rather than be relegated to the perimeter of the site as is currently. And the section below shows how we begin to really try to make alive again what is happening underneath and truly create a city not only above but also below as well. And that's it. Great, thank you. So that completes the second kind of set of presentations if we can pull back up the discussion mode. And I guess as Lila mentioned before going to gallery view is probably your best way to view this. So let's just open it up in a way of continuing the theme of difference, but... Yeah, I think it was a great Benjamin that you ended our last discussion bringing up the topic of climate change and the environment. And I think we really saw that topic permeates these four projects in a way. I think in the first project what I really appreciated was that Oscar made this very deliberate choice to reuse the vaults that were already in place. And then what I liked really in Eduardo's project was that there was this strong focus on energy from a whole different range of perspectives. So on the one hand, he was using CLT to reduce the embodied carbon in the building. And then he was considering the operational by building a solar tower. And then with the next project we really went into recycling. We were looking at what Wenya was explaining. And there I just think she was making such an important point when she said that in New York we throw so much construction materials out and that we need to reuse them and that we need to build while recycling. And that immediately made me think back about the CLT and the timber because very often we think of New York as a city of steel and masonry. But really once you go out of Manhattan everything is almost wood. And then all of our floors in Manhattan are this beautiful longleaf and yellow pine that's long grown and that every year just gets trashed. Whenever like a building gets remodeled we take the wood out and we throw it out rather than just recycling it which is perfectly possible. And then in the last project from the Walker studio what I really appreciated was that there was a very clear effort to reuse buildings. So they have so much embodied carbon what's there already. We're not just gonna throw them out and do something entirely new. No, we'll take what we have we'll see what can we reuse, how can we reuse it and then build upon that. So I really appreciated that very thorough focus on the environment and how can we build something sustainable in four very different approaches. I was struck by that as well. These projects, I loved all four projects and they were a little bit easier for me to kind of unite conceptually in some of the ways that Tim has already mentioned. I was very inspired by the way that all the projects deal with the problem of materiality and the kind of material constitution of architecture and sort of recognizing that architectural buildings are these kind of momentary embodiments of kind of larger flows and processes and architectural ways of kind of intervention into those flows or processes. I loved how that kind of materiality was really highlighted and grappled with in all of these projects. I think they all sort of reveal that architecture is not something that's static like a building is never a static formation but is something that is mobile that engages questions about sort of where building materials come from, how they're extracted, how those materials move over the ocean in the case of kind of the modes of transport constitutive of British imperialism and then kind of undergo processes and including disuse and reuse. And even in the last project where that theme might have been a little bit harder to discern, I think there's a kind of implicit politics there around preservation and reuse and the kind of intricate ways in which the students were engaging the existing material and kind of reworking the buildings. So yeah, these were really thought provoking for me. Yeah, I mean to continue on that thread, I really, those last both of those comments all really resonate with me a lot. I think that there's something also that really struck me in hearing all of these projects where there seems to be a desire and a sentiment to reveal, to say, all right, here are all of these complex systems whether it's construction or whether, I mean urbanism, colonialism, all of them, right? What can we bring forth? Can we render them visible? Can we draw these systems in a way where we understand their parts and their pieces and their interconnection? And it is interesting to me that especially in the factory and the timber project, there seemed to be this desire to make those processes and those industrial processes public in some way or at least a reckoning with that. And Eduardo, I'm sorry, we didn't hear the beginning of your video but falling along from the captions seemed like that was even an explicit question of the narrator. What's going on in this building? What's happening in my town? And I think it's so interesting to question as a designer or be in that space where it's not always clear what to make public or what to make private or what to reveal and what you're not revealing. I think that while we on projects are often trying to render lots of interesting dynamics visible, we're also always choosing to keep things hidden. And I think on all of these projects, provide so many opportunities to question what is being revealed, what is being unearthed and what has stayed hidden. And that's not necessarily a bad thing or critique. I think it's more that as a designer, you really get to choose both physically as well as deciding which elements of the systems you find the most important. So is it important to trace where that construction debris comes from? Is it important to trace where it goes? Is it important to understand who's working in that factory? I think with the timber project, I would be so interested to actually see more on the forestry side. I feel like the production, at least in this small glimpse was really well, really delved into in terms of CLT and the farming. But I was so curious what landscapes all of those materials are really connected to, which seems like is also part of the project. And I think surprisingly for the first project, for Oscars as well, there's this question where now the context of these artifacts is not necessarily the physical geography they came from, but is also this social context of colonialism and history, right? That we cannot really remove ourselves from, but this real challenging question of how to contextualize and what you choose to put those artifacts around and how you place the bureau within them. So I think it's a big, it's kind of a big chewy question that it's very helpful, I think, to be able to ask us explicitly on projects what we're trying to reveal and what, what we're either hiding or what is just downplayed or less important in terms of all the systems in play. I think you said something very important there, Stephanie, and that was reckoning. And I think that's something that all of these projects did really well. They started with an excellent analysis and then came to indeed a very good decision of what to make public and what to keep. And I would especially like to applaud the first one, like Oscar, I think in your museum, that is not a museum about colonialism, but about memorizing what happens. You really did that reckoning very well. Yeah, and Tim, also, I guess to come back to the first comment, you made, I actually, I appreciate the optimism in these projects as well. And in your comments, I'm always a little on the darker side. So I totally agree with you. It's like, look how we can actually address and solve some of these issues and start to actually grapple with environmental impact. When I see projects I've often like, I go to that place, but first, I don't know if this resonates with any of the students, like I kind of stop over and make a little stop in the space. It just is like, what have we done? Like really, you sit with all of that construction waste and all of the way things are right now and the way that we build and the way we deal with manufacturing, the mess we've made of the economy, of the environment, of colonialism. And I think that it's good to sit in that space and reckon, but not if it just stays there, right? So seeing these projects that really say, okay, what piece of that can I pull forth on and not gloss over all the troubles but really try to do something specific and intentional and sort of like reckon with that actual, whether it's a historical context or an environmental or social dynamic is wonderful to be able to go to that space. Well, I think that's, I mean, you're sort of touching on the idea that architecture has different capacitors or ways that it dresses environmental problems or history of empire or colonialism. One vein is the kind of critical or the capacity to reveal or make something public. That revelatory sort of mode of exposure in order to raise consciousness about something. And then I think what's interesting for me about these projects is that many of them do that but they also intervene materially and transformatively. So it's sort of both. It's both that kind of critical move but also actually sort of intervening in the kind of material processes in a different way. And so, I mean, I wouldn't call them post-critical projects but in a way like there are sort of opening up this question of like how do we go beyond simply just revealing the problem which is one way that architecture historically has approached some of these issues. Yeah, that's interesting. That's a really interesting thing to consider maybe generationally or like at this moment that that could be a way that the students are engaging the world in both of those modes that you're describing Irene. And I just wanted to, again, I'm gonna stop our conversation short even as there's more to say and we can continue some of this thread but I'm wondering especially as each of you in appreciating the projects has talked about things like systems and flows and broader issues of everything from culture to environment and energy. Nevertheless, we see a lot of building, right? I mean, the actual project is a building in almost every case. And so I wonder it's I think an open question especially Irene picking up on some of your threads that maybe architecture and design is as much a momentary crystallization of these flows and forces as it is like some kind of final product. And I think as everyone is picking up on like preserving aspects of buildings as an environmental strategy. So I think a moment like this can be interesting to think about where are we intervening? What is the outcome? So working on designing a building especially when in the past there has been a kind of question is do architecture studios need to produce a building? Should architecture studios be questioning the building as the site of design and intervention? And so maybe I'll just kind of throw that out as a possible topic for next time or I think to kind of think through. I think it's an interesting moment as students in the world is grappling with invisible things, things that are bigger than a single building, things that are like you're saying Irene not necessarily static but more of these kind of dynamic systems than should we still be after the building? Are buildings good examples of that? Should we be expanding the boundaries of the buildings or even just reconceptualizing what could be designing in the first place? So just as open questions and I think now we'll switch modes again back to presentation mode and the next presentation set we'll start with a student from the Anna Pujonner Studio. There are two of us. Great, thank you. My name is Adina. I'm Louisa. So, sorry, yeah. So the KitchenList Stories Studio looks at contemporary neighborhood kitchens, a cooking infrastructure that is used by a community and operates at a metropolitan level. In this semester's particular case, we look at the system of communal kitchens of Comodores Populates in Lima, Peru, made prevalent by the efforts of women seeking to gain empowerment during wartime in the 1970s. These women were able to increase their political voice by cooking communally for their neighborhoods and creating centers of community life. And this was revolutionary in its moment. The kitchen is where domestic work has progressively lost its economic value and become instead a labor of love as Sylvia Federici names it. But domestic work has also lost value outside of the kitchen and with our project, we seek to expand upon these comodores to include spaces of both communal cooking but also communal domestic work. The communal mentality of the comodores originates from Minka culture, which is a deeply rooted Inka tradition of community work and voluntary collective labor for the purpose of social utility and community improvement. This mentality was critical in the growth of the Bariata neighborhoods of Lima, but today the conditions of the Bariatas face many challenges. Parents must leave the area to look for work. Many mothers work as domestic workers in the wealthier neighborhoods of Lima and can be gone for days at a time. In their absence, the domestic labor falls on the young daughters who must cook, clean, wash clothes and care for their siblings. Girls spend about 80 minutes more per week doing chores with each year of age. By age 12, only 2.3% of these girls who labor as domestic workers are able to attend school because of the time spent on chores. This amplifies a gap, a gender gap as boys are not expected to forgo schooling for the sake of helping with domestic work. We recognize that the conditions of Lima, of Lima's economic economy, forces parents to work outside of the home for days at a time, leaving their children to do the domestic work. But we believe that this does not have to become a deterrent to these young girls receiving an adequate education. By expanding upon the comodoras, we take domestic work into the urban realm, making it visible and communal. By attaching spaces for education, we not only alleviate some of the burden for these girls, we also give them time to participate in education. We therefore designed an infrastructure of domestic work that acts as a bridge between the urban educational system and the existing comodora system. With the condition of the comodoras while very much empowering women, do not actually transgress gender biases as women are the only participants. So our project will engage both genders by making domestic work part of the educational curriculum for both boys and girls using the existing pedagogical reference of Montessori schools. With parents out of the home, elderly neighbors volunteer for roles to cook, care for younger children and clean, receiving then free meals in return. Labor is therefore also redistributed in a transgenerational manner. Teachers are provided through Lima's existing public education system. And in this hybridized system, community members engage at many levels then to foster the education of the next generation. So here in this plan, these program adjacencies make clear the ability for these structures to redistribute the time and the labor of the young girls in the barriadas and allow them to share this burden. Formally, this infrastructure of domestic labor becomes almost monumental, with large concrete columns touching the ground to create spaces for the various programmatic elements. The canopy above delineates the space for activity below and allows for necessary shade and provides water, which is captured through fog humidity up in the hills to the infrastructure. The structure is open and fluid to the surrounding neighborhood houses. And the form of the columns differ depending on the programming. So at times becoming a stove, a sink, a storage unit. Spatial boundaries are therefore renegotiated. Domestic activities are taken into the urban sphere and cooperative care leads to a new typology of community in which different parts of the population collectivize reproductive labor. This emergent domestic education model may turn reproductive work from an oppressive discriminating activity into a liberating and creative ground of experimentation in human relations in the barriadas. Thank you. Thanks. Great, thank you. And the next presentation will be a student from Pedro Rivera's studio. And again, please introduce yourself. Hi, we're Julia and Mark from Pedro Rivera's studio. Hi. So the studio is set in Manaus, a city of about two million people in the center of the Brazilian Amazon rainforest. Our focus, sorry, next. Our focus is to growing indigenous population in the city and its relationship to indigenous languages. Next. Manaus is home to people from over 34 tribes spread across 51 neighborhoods, but the highest concentration can be found in the outskirts. Next. Moving to the city is often associated with the expectation of better healthcare and education, but it's often a result of increasing exploitation of the rainforest and climate change. Next. In reality, a lot of indigenous people are faced with economic challenges, discrimination, little to no political representation and the pressure to fit in and hide their cultural identity. Next. Language is a crucial part of this identity and every effort to document the language, promote its transmission to younger generations is an effort to valorize the identity of the individuals who speak them. Next. We have identified several efforts of language revitalizations in the community or different communities in Manaus. Next. Next. And we would like to tap into these existing efforts. Next. So what does language revitalization mean in an urban context? Next. Our proposal is a network of community language centers focused on strengthening and adaptation of indigenous culture in the city through languages. Next. By providing audio and visual recording and broadcasting facilities, education and gathering space, the centers will allow for interaction and coordination between different groups. Next. We aim for creating a multifunctional space in which programs overlap depending on time of day. Next. Similarly to what we have found in our analysis of spatial organization and indigenous architecture. Next. The zones are defined depending on time of day. Next. And the boundaries between public, private, inside, outside move dynamically. Next. Next. So our site is located in Tribes Park, a neighborhood famous for its indigenous diversity. Next. Next. It's the lively community with several small meeting spots. Next. And by setting our project there, we aim to make more public space accessible by primarily providing shelter from sun and rain. So this is for the outline of the plan of our project. Next. The first architectural move was drawn from our studies in the kind of typological architecture of indigenous groups. A lot of the themes that we tapped into while researching those structures, focused around ideas of the center and the periphery borders and kind of soft edges between outside and inside. So our first architectural move was to create a perimeter around the existing green space on our site to define what would be like the inside of our project and outside and then to organize the programs and spaces along the dichotomy of that axis. Next. So then to mediate with the kind of different programs for incorporating which are gathering spaces, medical spaces, kitchen, workshop areas and daycares. We've undulated the spaces to create moments of enclosure. They're kind of overlap with one another and orient the spaces either outside or inside depending on the privacy or functions of the program. One remaining place. Okay. So here's the plan is incorporating the rest of the landscape in the site. The next most important architectural move was the design of the roof responsible for not only delineating like the boundaries of the project but also controlling the light and shading from the sun and also moderating rainfall on the project in the rainforest as a ton of rain every day. Next. So this is a grasshopper rainfall analysis of the shape of our roof. The small kind of skylights are the high points of the roof geometry. So you can see we studied how the rainfall and where it flows hits our roof and then use this to organize water catchment areas and systems in ways of mediating water flow on the site. Next. So we identified or basically made up a system of channels on the roof that would lead the water to the specific locations where we would collect the rainwater. Next. Next. So in plan this looks like this and basically makes the roof part of the landscape of the entire site that consists of different rainwater collection pools and little streams that go through the indoor space but also then collect further into pools at each end of the site. Next. This is our plan again with the programs that can extend and expand and contract. Thank you. Great. Thank you. Just continuing to move on and we have by the way five presentations in this set. The next one will be a student from the Marquisuda studio. Hi, do you mind starting it from the beginning? It's a time, Jeff. Hi, I'm Grace. I'm in Marquisuda's studio cultural agent, Orange focusing on the Vietnam War. In 1965 at the height of the Vietnam War and just four years before Ho Chi Minh's actual death the North Vietnamese declared Ho Chi Minh's body national property. In Ho Chi Minh's final testament, he requested that his remains be cremated stating there should be no bronze statue but rather a small ceramic urn on treeline hills for visitors. Denying these final requests, the party began preparations for the long-term preservation of his body through a series of secret military operations. A special committee of Vietnamese medical experts was sent to the Soviet Union where they met scientists and notorious Soviet embalming laboratory, the Lenin lab. Here they engaged in intensive practical research, learning and the painstaking procedures and techniques of embalming. Finally, at the time of his death the collection of six Soviet and Vietnamese embalmers worked to remove critical organs of Ho's body. His lips were sewn together. False eyeballs were implanted to prevent drooping. His eyelids sewn shut. The body tissue was fixed with formalin, a formaldehyde solution to delay the cell walls from breaking down. Two gallons of formalin injected into the arteries at an incision site made near the neck. All this was completed in the strict environmental requirements that provided a stable temperature at 16 degrees Celsius. Ho's body marinated in a chemical bath for three months. The chemical soup he eventually lay in is still used every 18 months as routine maintenance. At the meticulous work was in constant danger during wartime Vietnam. Ultimately, Ho's body was moved six times throughout the course of the war. Each time involved complex system of military operations and technical savvy. Modified truck was designed for transport. The body massive icebox were used as air conditioners. The team carried enough chemicals for the unscheduled maintenance of Ho Chi Minh's body as it moved through the jungle. Specifically modified shock absorbers were reinforced with air pumps to reduce vibration. A special engineering brigade were assigned to survey and reconstruct new laboratory, secret A9 military base located on mountain in the jungle. The site had to be equipped with running water, electricity and proper air conditioning. An existing glass hut at the base was used to house the body. A five meter wide and six meter deep pit had to be built underneath. No explosion was used. Instead, 1800 manual drill twists lifted the hut in order for the pit to be dug. The question of how to move the body up and down without inclination came with a solution of a curbed rail track system that was specifically engineered to move the body. Today, not the end of this military history remains on the site. The Bobby Mountain is now an ecotourism site. In the early 2000s, the state built a temple dedicated to Uncle Ho. This event, un coincidentally, occurred soon after the true events of Ho's will were leaked and that his request of ashes remain is the temple in attempt to rectify and appease to conceal another history by using religious connotations. More importantly, how can the space between Ho's death and his afterlife at the mausoleum, as we know in Honoi, be exposed? What is the future of long-term preservation of Ho Chi Minh's body? The proposal seeks to both expose and expand the material production of Ho Chi Minh's body and the architectures of his afterlife. Expanding the existing temple site at Bobby, the proposal is a memorial complex that unearths the military history of the site, acting as a counter narrative. The architectures include a laboratory museum and embalming school that inverts the logic of the mausoleum laboratory, often hidden from public view. The laboratory here is instead fully on display, duly acting as an embalming school. It is the museum. Mimicking the military architectures of the site, visitors enter on a curved rail track that circumnavigates the laboratory spaces where classrooms act as stations of reenactment for viewers. The cosmetic station displays the invisible surfaces, the sculpting and re-sculpting of test bodies. An embalming station becomes the new space where Ho's body is ritually embalmed every 18 months. Surrogate bodies are used in the interim to display the full embalming procedure. An underground tunnel mimicking the five meter by six meter pit carries visitors underground to the reprogramming interior of the temple. Where the space is similar in scale to the area where Ho was originally embalmed. Certain bodies that enter the site act as surrogate bodies in which rituals associated with the care and maintenance of the body replicates that of Ho's body. The movement and dignified transfer of bodies is put on display. After maintenance, certain surrogate bodies are ultimately stored in a refrigerated storehouse where they await to be the inevitable replacement of Ho's body. Ultimately, the complex expands the hidden oppositional forces of state-sponsored generation and uses them for display. Thank you. Great, thank you. The next presentation will be from the studio by Sarah Dunn and Martin Felsen. Hi, can you hear me? Yes. Okay. Hi, I'm Lena. I'm in Sarah Dunn and Martin Felsen studio located in Tokyo, Japan. Our project began with the research into a range of Japanese lifestyles. Next. I focused on the Ma lifestyle of which celebrates the negative space and absence of chaos. Next. Next. Then I looked into the Japanese Shotangai, a bustling street that evolved from ancient markets to modern social and commercial hubs. Next. Next. Next. Last, I researched the Motonai lifestyle which translates into what a waste. Next. Drawing from the Kamikatsu town south of Tokyo that has gone zero waste in the past 10 years, Motonai is a way of life that could be enhanced in Tokyo. Next. Our second exercise had to do with looking at unbuilt projects as precedents. Next. We began to find forms within these images by creating our own versions of what we could not see. Next. Next. Next. Next. These sections were used to create a catalog for urban structures. Next. Combining these two exercises, I developed my what if then statement. Next. What if we were to consider Ueno train station in Tokyo, not as purely as a transit center, but as a new urban typology specifically designed to house and maintain a bustling Motonai community focused on zero waste living and working. Next. Then a megastructure could begin to fulfill the needs of residents, businesses, and waste collection workers in order to create a harmonious Motonai lifestyle. Next. By building above the existing train station in a neighborhood with an existing high density, this project would activate unused space with minimal intrusion. This model could plug into the existing Ame Yokocho Shotengai below the Ueno train station and rehabilitate vacant storefronts that struggle to compete with dominating department stores. Next. Next. I then began researching different scales of repurposed architecture and waste, such as landscape. Next. Building. Next. Furniture and spaces. Next. And materials. Next. Next. Additionally, some of the interesting combinations seen in Atelier Bawau's Made in Tokyo's book started to play an influence on my project as well, such as the combination highway department store. Next. Next. Next. And the bridge home. Next. I began to create my own library of primitives for both commercial. Next. And residential spaces. Building off of existing Tokyo storefronts and facades. Next. Next. While the structure sits over the train tracks, it links both sides of the city and begins to reach out into the urban fabric with multiple connection points to the street and to the ground level of Ueno Park. The structure becomes a catalyst for the city to take part in the Motunai lifestyle supported by this structure. Next. So here are a few views that show this hill town created by a combination of residential commercial and waste reduction infrastructure. Next. Next. By studying existing Tokyo facades, I started thinking about how building materials could be reused to build up this urban structure incrementally over time. Next. Next. The structure attempts to create both compact and efficient spaces while also allowing for large open plazas and public space. Next. So these next few slides you can just flip through. The next steps we'll create, we'll go into creating a larger oblique drawing that lays out multiple section cuts showing the inner workings of the urban structure and how the different relationships of primitives to plaza to existing site interact as a system. Thank you. Great, thank you. And the final presentation from this set will be a student representing the Mario Gooden studio. Hello, everyone. My name is Benjamin Gomez. I will be sharing with you the work of the water studio led by Mario Gooden. I will be going through a brief presentation of each student's work. The space of water studio investigates the cultural topographies of water informed by the line from colonialism to climate change in consideration of forced migration, resources extraction, environmental degradation and water scarcity. Next. In that sense, students propose a series of projects that relate to those issues using water as a common factor that relates socially, historically and environmentally with the context of Cape Town in South Africa, a city that has been known for its relationship with water and the access to it as a main character in the development of the city. Next. For the first project, through the analysis of Tohoku earthquake, focuses on the physical variables of ocean water to interrogate the feasibility of being an aqua terrestrial organism. Next. Jolene's project found that the lack of water in Cape Town Peninsula in South Africa causes dried out soil and fires that encompass and displace indigenous species. Next. This project seeks to visualize interspecies migration movements due to destructive fires, creating architecture that can set on fire to regrow the local fine bush species environments. Next. Sultan's project is focused on studying the wind and the waves direction to predict fish and bird migration. At the time of a man-made disaster. Next. He researched about the wide ocean section showing the different species that live in the deep ocean and oil spill near Louisiana that affected migrant birds and the species that live under the Gulf floor. Next. Brandon's project found that as climate change causes drastic shifts in pre-existing movement of wildlife, it is important to follow the human response. From North War fishing migration in Iceland causing international conflict. Next. To understanding the efforts of traditional fisher people in Cape Town. Next. The project looks to provide a place of learning and growth for scientists, artists, traditional fisher people and the fish themselves to sustain both environmental environment and their own cultural practices. Next. In this project, Haji research on forest migratory patterns in the wake of natural disasters that led to an investigation into the relationship between collective memory, water, landscape and forest migration in pre-colonial, post-colonial apartheid era in future Cape Town. Next. The project explores how a divided neighborhood relationship to water might be re-scripted through the repurposing of colonial infrastructure previously used to systematically govern the distribution of water. Next. Uighurs project aims to remediate the Kuyos River first and connect the part of Kailitsa township that have been segregated due to apartheid era policies and urban development. Next. To this end, the project is laid out as a green belt, blue belt, connected series of waterways, constructed wetlands and bioswales that connect the existing but neglected parks, urban farms and community gardens within the township, relying on a pin-type steels as foundation, which bolsters the existing cultural fabric of the township and improves the condition of its water without much intervention. Next. And finally, my project consists on a two kilometer long pier that creates a connection between the community of Kailitsa and the sea. Next. It's intended to be placed 50% on water and 50% over the ground, giving the community a connection to the sea. A connection that has been historically denied by previous apartheid policies and current unequal environments. Next. The pier is a public promenade that intends to give access and restore the right of recreation, education and energy that the sea has to offer to the community. It hosts spaces for recreation. Next. As well as spaces for research and creativity for local, for rainer, scientists and artists. Next. It is meant to create a strong special gesture in the landscape of the zone and proposes a radical and strictly public program that connects both land and the sea with an inflection in the middle of the beach. Next. Consisting of a desalination plan that is connected to a public park and Olympic pool complex for the surrounding settlements. Next. Recreation ocean salimpools, a surfing school fishing decks. Next. Temporal residences for scientists and artists along with labs with a salinity center and a sea and a leolic park. I love these uses, intend to provide a benefit for the community or land for the context around it. And finally, next. And in conclusion, the project intends to make the sea the ultimate public space, as well as source of recreational knowledge and energy. Thank you. Great, thank you. And now we'll go into discussion mode. And at this point, I think we may also broaden the discussion and invite in any comments from other advanced studio six faculty, but I think we can start off with the discussion with our invited guests. Stephanie, I think you're on the, yeah, there you go. Sorry about that. I say, I didn't jump in first just to offer, you know, a very simple comment, but I thought one element that was really interesting that bridged a few of these projects in a really lovely way that I think responded to some of the earlier questioning was, and particularly I'm thinking of the Tokyo project, the Lima project and the one in the Amazon, where, you know, each of these projects are really trying to make this bridge between personal behavior elements of that are happening in typically in the household and then really making a bridge out towards social infrastructure and public space. And I think those connections, whether they're dealing with waste in the Tokyo example, domestic labor in the Lima example, which is literally seen as being within the household and hidden from view or local languages and local language preservation, which one would tend to think of as the work of families, the work of communities. I think it was quite beautiful how each of the projects were trying to figure out what it means to create a space and how to best support those different issues and taking some of the burden, not taking on all of the burden of larger systemic issues, not completely rethinking waste systems, not completely rethinking the economics of labor in Lima, but saying, is there a way to intervene and create some social infrastructure that can actually address or start to make visible those issues? And I thought each of those projects did that in a very interesting way. For me, and maybe this is just because of my orientation as a historian, one of the threads that I found very prominent across a number of the projects is that I was impressed by the ways that several projects started with a kind of rich historical analysis or analysis of historical condition. And then several of them had a kind of, were oriented around an attempt to redress history somehow, but in very divergent ways. So, in the case of the comandoras, the idea that you would monumentalize a kind of activity that has been undervalued or made modest and that you would also insist on both boys and girls undergoing domestic training or training in domestic work, that's a form of kind of redress. And I think you could sort of trace this idea sort of analyzing historical wrong or condition and somehow trying to respond to it. In the studio from Marcosuda, the militarization of memory, I mean, in that case, it's sort of like taking this kind of problematic practice of memorialization and state sponsored veneration, I think is the phrase that you used and pushing it to its extreme. Like the response then of the architectural project is to kind of point out the absurdity or the kind of farcical quality of it by sort of exacerbating it. And I think that comes up again and again in several of the projects. So it was very, it made me think a lot about how does architecture sort of address his history. Yeah, I'd like to tag on to that in a way because I find it really interesting to see how architecture in all these projects was leveraged to deal with equity and representation. And to come back to David's earlier question at the end of the previous session, whether we should always be looking at just a building or maybe in a more systemical way of like how do we address big challenges in the built environment like climate change, like equity and representation and COVID. Do we do that just through a building or through looking at the bigger picture? And I really felt that in all of these studios because there was such a broad focus on, I would say, what lay behind these projects, like the backgrounds, the cultural context and so on really understanding that, understanding those problems and then really clarifying those. It really makes how necessary is actually that proposal for the building. And I think it does add definitely an extra layer, but I'm curious, Stephanie and Irene, what do you think if that is something that's really needed here or if we could keep it sometimes on a more abstract level and deal with just the challenges of climate change, equity and representation or a global pandemic and not go into that detail of the building? I mean, I think what is always so, just personally for me has always been quite fraught and I think you see it in looking across the projects. It's not fraught in any one project, but I think picking up on this question is sort of how do we honor a topic, right? So if you want to make us, and I think sometimes we, and by honor, I mean kind of pausing, paying attention, addressing, we've used lots of different words to talk about how we call attention to or bracket or create spaces for these elements or systems. I think as architects, there's a tendency to say that you honor a topic by putting it in a beautiful box, right? And sometimes we just can't help ourselves, right? We don't want to just make a school or a factory. We want it to be a beautifully expressive factory. We want it to have an elegant, a unified structural roof. And I think it's a big question of what the, of what the, whether one is a distraction from the other or not, right? I think we are interested in interventions and interested in proposed, right? So moving past that space of just calling attention to problematic systems. But I do wonder sometimes whether the emphasis on the image and on the final, you know, the sort of containers to speak which also takes a great deal of work to resolve in studios. I think in my mind, if we could work on projects forever, there would be really very little tension. But I wonder how much that exploration supports the questioning of underlying systems and concepts and when it supports it. And I think that's actually a personal thing that everyone has to work through on their different, in their projects because I don't think they're inherently in conflict. But it's true sometimes there's moments when there's, I think there feels like there's pressure in studios to put aside the background or the research or the understanding of the system and then make a building, make some renderings, make the image of the thing in order to be taking it, taking it seriously. And I think it's an open question. I mean, my impulse on this question of like, do we have to have a building? Do we have to kind of pay attention to architecture or can we address those sort of broader issues is always to kind of want to have both and to kind of resist the either or and to say both and. And of course, within the practical constraints of like 13 weeks in a studio, it's impossible to do. So I think inevitably and hopefully a student over the course of three years will have some, you know, a year and a half of advanced studios or whatever it is, we'll have some studios that, you know, spend two thirds of a semester on that kind of macro analysis of historical and, you know, climactic conditions and then others where they're also getting to because they've done that work maybe in another class get to kind of drill down into the sort of resolving the details of the building. And then of course there are those amazing projects and I think we've seen some today that somehow manage to telescope at both scales. I mean, I think the one that one of the ones that stood out for me was the project that Wenya presented the factory where it was kind of processing construction waste. And so, you know, doing this kind of analysis of construction waste in New York City and the kind of problems generated by that and then zooming in and showing us the kind of detailed, you know, sort of almost the stations within that recycling plant. So, you know, it's amazing. I think that's remarkable when you can see the world in a detail in a building, a moment in a building and those are very powerful moments but, you know, pragmatically it's hard to get to both ends. Yeah, I mean, maybe that's a good moment to transition a little bit and we can keep that thread going but also think that I mean, maybe part of this discussion of focus and of a range of approaches and of each person kind of taking their own, developing their own take on these, you know, impossible questions and challenges, especially considering 13 weeks. Maybe there's the question of like in advanced studios, are these really like thesis projects? I mean, although each studio has its own system, its own kind of issues at stake, its own worldview in a way, is this a good way to address a thesis by within the worldview of the studio kind of carving out your own take on the balance of research and design, the balance of building and systems, the types of representation. I mean, in a way though, all of those choices represent a kind of personal direction and voice and authorship that could be similar to what some other schools do as a thesis. So that's always been an open question, not an open question but a question about advanced studios and GSAP and other schools like, what about the thesis, are these studios a form of a thesis? Is the traditional version of thesis, you know, one that's valid and offers other benefits compared to this. So I think, again, interesting discussion and let's try to fold some of this into our final set of presentations and then our final discussion and in that final set, I think I'd like to, you know, again, start with some comments from the invited guests but open it up then not only to any faculty comments, but if students want to jump in and offer their thoughts about seeing all of this work at the end of the studio, about the current moment, about some of the threads that the invited critics have offered today. So everyone can kind of get, collect their thoughts and be ready for, again, what will have to be a rapid fire analysis at the end after this last group of four presentations. So let's switch modes again. And the next presentation in this final set is from the Olga Alexakova and Julia Bordova studio. We're gonna share this screen. Okay, can everybody see this? Yes. Okay, so hi everyone, we're Kate and Frank presenting in progress proposals on behalf of the studio conducted by Olga, Julia and Esteban. At this time we have studio members in New York, Turkey, Korea and Russia and are fortunately all healthy, safe and adapting to this new mode of crisis production. The studio proposes new resolutions of incomplete post-revolutionary urban plans in Havana by responding to housing, environmental and infrastructural crises at multiple scales simultaneously. We developed master plans and pairs and then zoomed in to examine a specific aspect of the scheme, either individually or in pairs, framing seven tropical assemblages. The first and the Antonio Gutierrez suburban housing development is transformed into a forestry production site in which locally planted Ipe, palm and bamboo provide sustainable building materials. Becky's project on trellis o marvelous provides improvements to existing housing including extra space and external connection points on large housing blocks. And this project uses using material grown in the introduced forestry programming, tropical hybrid strategically intervenes on the existing blocks adding connections from core to core. Adjacent to a major Cuban hospital, the proposal for Alta Havana reorganizes the surrounding community to facilitate and integrate the growing economy of medical tourism and rehabilitation while increasing the existing housing stock and cultural activity. The search and project culture and rehabilitation complex building combines culture and rehabilitation programs in one building for patients, medical tourists and locals. And Chang's project, healthcare assemblage provides a plug-in system of patient housing collective rehabilitation programs and uses an elevated pedestrian bridge to connect local doctors with patients. The proposal for Los Pinos reorganizes the site to include expanded programs of organic Poneco urban farming and alternative schemes of new housing using tactically recycled materials. Los Pinos, La Comunidad Expentida aims to critique the ongoing social housing construction process at the end, south end of Los Pinos through the reuse of concrete panels and offers an option for existing families in the neighborhood to expand their dwellings. United Farms of Los Pinos is a collective farming campus maintained by the community. It provides local food, educates farmers and offers public space for pushback. So now we'll quickly talk through our proposal. Havana's history could be read through its hotels and their pools as exclusive sites of international leisure built as enclaves divorced from the rest of the city. While new construction is rare in Cuba, hotel construction persists. Not only does this focus development along a single coastal spine, but it reserves spaces of leisure and access to reliable infrastructure exclusively for tourists. After the successful collaboration between the Verredado Resort and the Spanish-based water infrastructure firm Agbar in 1994, it was formalized into a Cuban-Spanish public-private partnership Aguas de la Havana to manage the water infrastructure of Havana. However, the residents of Havana rely on aging roof water systems, leaking and broken pipes and emergency water trucks for intermittent access to potable water. 50% of water distributed is lost due to ruptured and aged pipes and a system largely unmaintained since 1959. Earlier this year, a pipe transporting fuel to the Havana Airport ruptured, contaminating the water supply of five districts, one of which is Moibu Verredado. Ship fuel leaked into the supply was visible on the surface of water and residents could not boil water for fear of explosion. The problem is still ongoing. So we propose to turn the hotel inside out and unroll it at the scale of a district creating a self-sustaining reliable access to water and the new political organization of management kind of transforming the need for a new relationship of water into a desire for something new. After calculating the potential capture of potable water based on the surface area of existing roofs in the site, we found that while most buildings could not gather enough water on their own, they could become self-sufficient when organized collectively. So again, we define water districts through a series of six infrastructural interventions that extend domestic, public and ecological space using an equitable access to water as a new means of collective and political organization. The roof is a lightweight tensile membrane that extends the surface area of the building to collect rainwater with an integrated filter creating a canopy gathering and maintenance space. The ground floor is reorganized to program visible graywater filtration and collective water use activity, which opens up the floor. The addition of a water room that accesses a facade integrated system extends the new infrastructure into the unit as a space that creates new domestic opportunity. Logia supports overflow and graywater distribution above ground that empties water into essentially located reservoir while creating a sun shading, gathering and circulation space. Open-air reservoir expands the surface area of water collection and creates a habitat for various ecosystems that are sustained by consuming bacteria in the water supply, changing its state for human use and consumption. Finally, the swells form a resilience and natural distribution network that links districts using much photography of the city, circulating water, propagating ecosystems and drawing the water towards a large naturally filtered public swimming pool. The strategy applies to the organization of every district, creating a new infrastructural political ecological community that transforms a precarious relationship of water into an equitable and desirable one. More to come. Thanks guys, stay healthy, safe and sane. Great, thank you. The next presentation is from the Michael Bell Studio. Well, can you just make it into one screen? I mean, is it split here right now, the PDF? Is that... Can you comment, L? Your Mac system, right? Comment L, can you put it? Yeah, it should be one screen, but it's not L cut off. It's showing up as one screen on here. What else is being shown on the screen? Sorry, I'm not really understanding what you mean by one screen. I mean, on my screen it's split in it, so it's portrayed it rather than landscape, but when I see the screen it's only... Yeah, it's cut off in half. So it should be like this, and now I'm showing it like only this. There you go. So like, is that better? Yeah, I think it is. Okay. Hello, my name is Hyuk-young Lee from the Michael Bell Studio, also teaching assistant at Southern Lane. So this is about the teacher-less microscope, the about the education, next. So this is a really simple diagram that computer can replace the human occupation and the next. So in terms of thought and education, what's the difference between thinking and education? Education is really development of knowledge, which is knowledge is same as the thought, next. So next question is, how can we build the form of thinking first when you're a kid, when you're really young? So Nong Chong's key says that when we are learning a language, there's basic system of the language and it defines our basic system of thinking, next. So also recently, the autopoiesis of architecture by Patrick Schumacher handles also this kind of section, the medium as universe of possibilities in architecture. In recent society, there's a lot of softwares and those softwares are actually building our mindset. So it's really an important point and next, next. Also next. So the exercise about the transcribing, those new points of the history of buildings into mine and the next. So I picked the two buildings, the gate read by the Schroederhaus and the Zahaist peak. So it's more like drawings rather than buildings, next, next. So in order to transcribe the gate read by the Schroederhaus, I have to understand what's the process it make them as it is. So it is really important how each gate read by Schroederhaus process the site. Next. So actually the first mass models of the gate read by Schroederhaus is actually just wood block mass rather than many surfaces in it, next. So how it became from here, next. From there, next. So cause gate read by the Schroederhaus use the material as a medium. In the book I mentioned previously, it handles that actually gate read by Schroederhaus change its model material from wood to the cardboard itself. Next. So what it happens, number one is actually it was the mass and after he changes his material into the cardboard, now it became the gate read by the Schroederhaus with many surfaces, next. Yeah, so as it is, next. So is it only about the material or is it all about something else as a medium? Yes, there's also another about the medium, next in the architecture. So this is George K. Page one of drawings that represent the idea. Also tools as a medium can change our mindset. For example, the compass actually see ourself or the wall in the circular system, next. So this is a simple diagram and I'm using softwares recently, of course. So next, what's the recent area, era? What's the point of the software and how it can mind us the different system or different perspective toward the world? So the basic difference between softwares of the coordinate system is left-handed and right-handed. So left-handed coordinate system is based on the pixelized software, such as Photoshop, Pudini, Blender. And right-handed coordinate system is actually many softwares that has been used for architects right now, AutoCAD or SketchUp, it is safe and next. So why these coordinate systems are important is that it depends on the coordinate system you're using. You use the different method to read the coordinate system. So for example, this left-coordinate system and right-coordinate system reads the coordinate system really reversely. So next. So first, version of the transcription, a transcribing is really simple, just bending the garage bed house instead of really simple plan. So how this could be connected to education as a perception? Next. So this is one of the tasks that Georgie Keepe is handling why broken perspective is happening. Actually, as a kid, we actually had the broken perspective and multiple perspective in my mind, but after we have been start to be educated, we start to lose it and I think it is really important to educate or remind them, we actually already had the kind of multiple perspective system. Next. About one minute remaining, please. Yes. So how this coordinate different system started historically rather than softwares, next. So it starts with the celestial mechanics from 14th century. Next. Next. Next. So coordinate system and coordinate transfers are really important because it makes you express the points that cannot express in the other coordinate system. That's why we need to develop the coordinate system different difference and transformation. Next. So next. Next. Next. So with the single mathematics, the second version of transcribing is transforming the gary-transferred house into circular coordinate system with celestial mechanics next. But the problem is it doesn't have any midpoint because midpoint is really important to transcribe or transform the coordinate system. Next. So the point is where is the midpoint or where is the centroid? Next. Since the gary-transferred house starts from the mass, it actually starts from the centroid of the mass should be really the volume center of the mass next. So this is the third version of the transcribe house. Next. Next. Next. Next. And this is the model of the transcribe next. Next. And just... So how can I put this idea into the space and the education is next? From Peter Eisenman's form to relationship, showing relationship is the basic titularist education and the basic deep structures are generated by the base system of the rules. Next. And what represents the basic rules of the system in a historical building is AEG building. These are short assets. Why does this really represent the base system of the industrial next? As an industrial building. Next. Next. Next. Yeah, so this is AEG Peter Varens. Really? Next. So as I say, the form and the base system really reminds us the system and the coordinate system that we have laws due to the education. And I think those next. Basic geometries and basic coordinate system could remind us the lowest coordinate system perception. Next. So those are base geometries. The... Platonic solace next. And the divine axis are really important because central is really important. Next. And those different centroids and different bit points, those geometries gonna generate all those panels and other forms next. And those forms now became becoming a facet and the architectural furniture of the AEG building as a micro school panel itself. Next. Next. So this is the inside. Yeah, those are references. Next. It's done. Thank you. Thank you. The next presentations, we have two more. The next one is from the Adatola and Giuseppe Lignano Studio, the low tech studio. Wait, hold on. I can just introduce myself while Skylar, you're doing that. Sounds good. And Skylar, if we need to go directly to presentation, Anom, would you be able to share from your screen for some reason? Yeah, I could try. Skylar, what do you prefer? You can tell us. For some reason, the tab that I'd set up went away. I'm just going back to it. Okay, we'll wait for you Skylar then. Okay. Yeah, the maker graph, right? Yes. Yeah, okay. Anom, you could go ahead and introduce yourself. Yeah. Hi everyone, my name is Anom. I'm part of the maker graph studio, which is run by Adatola and Giuseppe Lignano. So I'm just gonna do a short introduction to the studio and then dive into my project. Yeah, I just have to hit present. Perfect. Next, the maker graph studio operates in two parallels of weekly preoccupations and the processes of making physical objects. It hinges on the notions of thinking to making, thinking to book making and thinking to tangible objects. Next, the first half of the semester was heavily reliant on making objects with materials, scalar and spatial prompts, all the while in parallel with the more personal and prospective part of the project. These images show some of the objects made during the semester. Next, our studio was fortunate to travel to Hawaii during the Kine Week. We explored extreme formations that exist in natural conditions from the lava fields in Kelauea to the black sand formations due to residue Olaua and Hokena to volcano craters and the summit in Monacoa, all the while discovering, observing and attempting to understand making as it exists in nature. Next, the second half of the semester calls for relaying the making aspect of the studio into a house. The prompt calls for two or more objects to work together in terms of geo properties and spatial connections. Every week, a part of the project is developed diving deeper into the functional, playful, insightful moments of very carefully designing precise physical objects. Next, all the work in the studio is documented, formatted and presented in the form of chapters each week that go on to become part of the final book. The book is the main process of collecting, viewing and retaining the information in hopes to inspect and detect our most intuitive methodologies of designing. Next, next, my book is titled Home, Objects, Notions and Other Things. It asks a pertinent question of what home means to me. Through an examination of my surrounding space and what is now my home in the making, it looks at objects that I've collected over time. There's association with me and my space and how they contribute to this idea. It encompasses simple daily life elements that are oftentimes considered ordinary but when contextualized become very significant. Next, the first chapter is an introduction and self-reflection about the formulation of home through a series of investigations of meanings attached to objects and notions such as access, safety and expression based on gender. A transcendent notion that home is a place rather explores that home is the culmination of something as tangible as objects of affection to basic human rights, to default identities and develop notions. Next, these weekly explorations have been in parallel with the intense making processes with material prompts. I approached the objects by using previously owned found or collected objects. There was an attempt to push and test the materiality of the objects and oftentimes were created through a series of repetitive moves. Next, the third chapter is based on a handicraft, the GABA. That is very special to me. That has been in all of my houses from the time I can remember. In exploring it, I cut it open to reveal the back and found the knots and entanglements, the materials used and the trace of the hand and of the work done. It was an emergence of methodology of viewing things, the notion of observing from the front and the back. Next, the wood object follows similar logic of an even flat surface made of 64 found wood pieces and an uneven back that bears resemblance to the strands of the GABA, the idea of understanding through the back and the front. Next, similarity, another own piece of shawl, which is considered a staple for Pakistani women is one that serves many purposes and something the back of which reveals intricate weaving patterns. That juxtapose with a metal object which was made of 112 cans, questions and notion of sides. Designed as a shawl of sorts, the object tries to reconsider these binaries. Next, the second half of the studio brings together these methodologies of operating to design and the physical objects and the making of a house. With the processes of collaging and now digitizing those objects to understand and explore spatial possibilities. Next, this is an excerpt of writing from the house of my book. A collection, assortment, juxtaposition, arrangement, if you will, of courtyards, brandas, vistas, display shelves, gallery walls, storage spaces, workspaces, thought spaces or cooking spaces. This house is not everything at once. This house is moments and in those moments it becomes a home. Next, it is an amalgamation of the hardened soft scapes, the rigid and the flexible. The house is intended to explore new ways of living and domesticities with the help of pre-existing conditions and using the physicality of the objects to push the design limits. It is a domestic museum of sorts, a series of rooms that act as their own space and expand to redefine those spaces. Next, my book is also called Khair Asher Haalat Orkutizem, which is a title in Urdu. It begins from the other side. Essentially the book begins from both sides. I'm currently developing my book and the lack of distinction of sides as an operator device to blur the boundary of start and end. Thank you. Thank you. And finally, for our last presentation of the day, a student representing the Juan Herrera Studio. Hello. Hello everyone. Deploying the archive. Cultural decentralization through archival programs. The history of Spain can be seen as a story of unification and centralization. The story about the construction of a unified identity through symbols and infrastructures. This condition generated a division in which a few large cities are the main beneficiaries and for which the rest of the territory acts. Wait, are you trying to say something? No, we were going to introduce ourselves. Oh, sorry. That is, yeah, yeah. We are Guillermo and Alex from Studio Reros. And well, as you see, we are going to present our project deploying the archive using a video. And was the sound working? Yes. Yeah. I'll press play again. The back of the house, enabling them to function properly. In this framework, we can understand our area of work as a fragment of this back of the house condition. This fragment contains almost abandoned villages around infrastructures with practically no relationship to them. Infrastructures such as reservoirs, bridges, dams, windmills or dump plans, which, despite being in use, are not able to mobilize the surrounding population. In this territory, we also identify the centralization of memory, where the majority of Spain's cultural institutions are in Madrid, archiving culture by containing 14 of the 23 museums administered by the state government, including Reyna Sofia, El Prado, and Tyson Borny, Miss. Culture can be the ideal vehicle to promote decentralization, capable of mobilizing people and funding. In the confluence of decentralization, identity, and memory, architecture emerges as the one kind of historical artifact that could not be archived only in the large cities where museums, theaters, and libraries may not be present. Castles, monasteries, and churches are plenty. Among all these infrastructures, the ball ring stands out as one that represents both tradition and modernity. An icon multiplied throughout the Spanish territory and architectural typology with unique shape and measures, loaded with historical, political and social values. Utilizing the repetitive and constant configurations and dimensions of the bull ring, we propose to build a network of archives through the empty Spain, the Spanish's back at the house, to create new opportunities in this territory. From the constellation of villages and bull rings spread along our fragment, we propose to create an initial network of three villages located within 10 kilometer radius to function as a larger entity. In the future, this constellation can expand to other bull rings of this area, and even to the whole of Spain. In these three villages, we propose three monuments to re-signify both the archive and the bull ring. These structures will change the landscape and the villages in which they are implemented, creating a new relationship between memory and intervention, as a new symbol of the decentralization of culture. The structure in Sassadon will archive artworks from El Prado and Reyna-Sofia's museums, decentralizing high culture. The structure in Parijá will archive documents and fragments of different infrastructures from the empty Spain, decentralizing history. The structure in Samarancio will archive objects and memorabilia from the local rural communities, decentralizing value and memory. Once the bull rings are re-signified there will be new shared spaces between the three villages, a network containing a square, a garden, and a pool that will create a new relationship between humans and animals. What was once an arena for sacrifices, now is a space for healing. The continuously expanding characteristics of archives become its main visible element. Over time the building will expand in unison with its growing collection. Intrinsically tied to the urban fabric of the villages, these monuments open the possibility of new public infrastructures for these small towns. The archive will be understood more than just a storage of memory. A new curator and performer will be the subject in charge of socializing and democratizing the storage content in a series of intermediate spaces where the archive is being deployed, linking the non-human information with the human audience, while the building and its interior will be designed to allow this performativity. The public role of the archive will be understood as a living entity, not limited only to its continuous growth, but as the way the information is being stored and represented constantly. This brings us back to the social purpose of the cabinets of curiosities, which were collections of extraordinary objects that built a narrative about the pieces they contained, and were the origin of what today we know as museums. The archive will be complemented with public programs related to leisure, health, education or work. The function related to conservation and research will be kept and enhanced with these new complementary programs. The interior of the archive will multiply the spaces to read, research, and interact with and within the performative areas. Instead of understanding the archive as a warehouse, in other words, a repetition of fixed and stable slabs, the space will be altered to allow new spatial arrangements and programmatic configurations, in this case, a series of hanging asymmetric rings. The central area in the spaces in between the rings will allow congregations and movements of people without foregoing security and conservation conditions. The circulation around the information and complementary programs will be the input to link the different levels, allowing a series of non-repetitive movements, a sequence of a bowl ring, a hotel, a restaurant, and a pool. Archival areas will be mixed with reading spaces and meeting rooms, as well as with a foyer, an auditorium, and a co-work area. The building will be proposed as a continuous diagonal movement, instead of only a vertical one. The central space will house more public, but related programs that will be linked to the archival rings by a series of exhibition spaces, like the interior of a giant living being. The central spaces are interconnected with several public and performative areas that appear in every level, where the collections will be deployed. Investigation and research will take place while the curator and the visitors act as the principal performers of the space. The project can be understood not only as a stack of different levels of storage, but as a whole single entity that is activated through the movement of people. In this project, the contemporary definition of an archive is defined not by the spaces of the information that it stores, but by the spaces of information that is deployed, and the programs that reinforce its publicness, making the new archive a complex social infrastructure. Thank you. Great. Thank you. So now we'll go back into presentation mode for the last discussion and the kind of wrap up of the session. I'd like to start by just saying that I am truly amazed by the amount of work and quality of drawings and quality of visuals that were produced by all the students, and I think especially during this challenging time when everyone had to move during the middle of the semester and the group work and the normal studio environment didn't function as it normally would have, I am truly amazed and I want to congratulate everyone on their work. And then I really appreciated this last presentation and its focus outside of the city. I think that almost all the other projects that we have seen were set in an urban environment. Maybe we wanted to exceptions. So I really like this thinking about how do we take our focus somewhere else and how do we look at indeed those cultural powerhouses and take them away. So I found that very inspiring. I totally echo Tim's remark about the quality of the work, really impressive across the board. Tremendous amount of just also amazing research and then integrated into projects that are really well resolved considering everything. All the kind of adversity that all of you have had to overcome. So since this is the last discussion period if I can kind of free associate for a second. I was really struck in the last presentation that it was the entire presentation was this video or film that was narrated by this machine of voice. The machine of voice was very strange to me or interesting. I mean it was intriguing. So I then started thinking about going back to our earlier discussion about who's the public or who's the subject in some of the projects today of incorporated animals, materials, kind of broader range of subjects. And I was just thinking about kind of humanist versus post humanist kind of approach to architecture. Something about that kind of machine of voice that that project was sort of about almost kind of neutrally decomposing this typology of the archive, the bull ring and then adding other typologies and sort of remixing them. It was almost like a kind of designed by a machine or remixed by a machine. And oddly enough, even the previous project, The House, even though it started with these very personal reference, the kind of end product also, the sense of the way that it sort of deconstructs the house into a series of objects or moments or rooms, also strangely is sort of like really getting us away from, you know, kind of a traditional humanist conception of the house as a kind of, you know, cozy space or, you know, adapted to particular subjects. And of course with the teacherless micro school that, you know, and the opening question of like, can machines replace humans, can we be around kind of learning and teaching, which is a problem that is kind of confronting all of us right now. You know, I think there's something interesting about the way that all of these projects, like sort of make us really rethink these kind of type of, these, you know, very old typologies. So, sorry, that was a little incoherent, but you know, as I said, now I'm sort of like reflecting across the board. At this point it's fascinating to see so many different projects and studios all at once. It's my first time seeing this kind of, this format and supercrit, I'm finding it really, it's actually really wonderful to see these through lines between the different studios, but also sort of take as a, a given this like many, many different ways of exploring a project, right, and finding your way. I'm still really thinking across all these projects to David's question earlier about modes of research. And I think what that had made me think, take it a little bit of a different direction was how we, what are the ways in which we really explore a site. And I don't mean the literal, you know, territory of this site, but a site if it's most expanded sense of site, which is physical, social, cultural, ecological, and economic, all of those different layers. I think I would, I wish I could talk to all of the students right now and hear from you how, you know, being in a studio, I know my students right now at Penn are really struggling with this question of how to continue to explore a site when you can't go there or where some, when some of the traditional methods in which we are maybe accustomed to accessing information have been taken away from us. Right. And I think it's a, an interesting time to really think about those tools because hopefully they won't be taken. We will not be isolated forever. But it really also makes me think of how different types of information are always actually mediated or have varied accessibility at different times. So it really strikes me that a lot of the projects feel very, very grounded in architectural history, and precedent buildings. Some are really delving into, as we've talked about already, cultural context or historical events. Some are grounded in literature. And I think some other, those are disciplines that maybe are a little closer to us as architects. And I'm also really interested in the projects that are trying to also move into these spaces that might feel a little more distant. Industrial ecology, behavioral ecology, thinking about non-human species, thinking about material flows, chemistry, racial theory, social justice. So I think it's, it's just kind of an overarching comment. Not very many projects have really looked at microclimate or the actual physicality of experience in the site in that way. And I don't think all those layers should be present in every project. But I think it's an interesting moment looking across all of those studio, all of these different studios to think about, you know, what techniques we have at our disposals and what sorts of information is more or less accessible, whether it's a specific version of history, right, rather than all of the other versions of, of these sites that we could be looking at, or other disciplinary lenses. And when is there benefit to kind of opening up those different spaces of inquiry? Yeah, I mean, I think this, this general line of discussion is, is really interesting and relevant, especially at this moment, because I think as, as all the comments have, have touched on the work is like a kind of tour de force in, you know, research and design and representation and different levels of taking on, you know, architecture, but more broadly the city and more broadly, even the countryside and the world. And as we've talked about at different times, flows of materials of information, layers of culture and history. And, you know, one way of, of re, of looking back at all of the presentations over the afternoon is to just be kind of in awe of the, not only the diversity of projects, but of the diversity of skills that each single author must have had in order to execute this, you know, really clear and concise presentation, you know, using a whole range of, you know, skills and expertise. And I think like what you're saying, Stephanie, there are some that may have been a little underrepresented today as a whole. There are some probably that each author has that they didn't use in that single project. But as a whole, it's, it's kind of hard not to be impressed by the, the range collectively and individually of, of the kind of skills we saw. I know we've gone over time and I feel responsible for that because I was probably not as strict a timekeeper as I intended to be. So I did want to give, you know, one quick opportunity if there are other professors on the line. I know that, you know, everyone can, if they want to see the list of presenters. I'm very happy to see that many faculty have joined today and a lot of students. I know some people had to drop off a little bit early. But let's see, is there any, is there anyone who wants to make a kind of question or a comment before we start to wrap it up? I can say one thing very quickly. I was pretty impressed that, I mean, with the quality of the work, I mean, after, I mean, everything that we've go, going through and especially, I mean, the fact that most of the students, they didn't travel and they had to engage with such broad context, which are entirely alien to their background. I mean, it's pretty impressive how research was well conducted and how people were able to really dig into other realities and produce such amount of, such amount in such quality of work. That's it. Yeah, I think, I think that's great to hear, Pedro. And it's a great point. I mean, there's, there's a whole like list of things that people have had to go through this semester and still to be at a point where we're having, you know, this level of presentations and this level of discussions. It's really great to see. I'll just read a note from Gallia, who I think had wanted to join in, but she had to leave for another meeting and she said that this, she found that this year's supercrit was stronger and more cohesive than even in past years. So despite our new format, all the challenges of the semester, you know, the glitches of dealing with a webinar for the first time, all the boxes of faces on the screen, you know, I think it's, I think that's a kind of shared sentiment that this was a really great moment to see the work together and to kind of celebrate the work, even though, you know, it should be noted that it's still two weeks away from most final reviews. So it's, it's only, you know, I really was saying, yes, 13 weeks is not enough. This is really, in essence, only been 11 weeks. Plus maybe you subtract some of the weeks of lost time of moving and stuff. So. Are there any, yeah, the work looks quite complete to me. I think all the students should just take the next couple of weeks off and rest on their laurels. Yeah. Yeah. Tremendous. Tremend. I mean, when I just look across my notes and think about the range of really important and meaty issues that you guys are delving into and with such depth and, you know, sophistication of thought and care. I'm just kind of overwhelmed and, you know, very, very impressed. So congratulations to everyone. Yeah, agreed. I just wanted to again, also echo that the work is really, really incredible that I, you know, I hope that for all the things we're all, you know, missing in terms of being in studio and being together, you know, I hope we can find a little bit of a few ways in which some of this digital communication actually helps us share our work and feel comfortable and letting things not have to be perfect or totally polished all the time, but really peek in on each other's crits, talk about work in process, share some of these story or issues because, you know, a really good project is never built. Right. There's no perfect conclusion to a studio. And I think the ideas that's been, it's been a real privilege and a pleasure to see all of this work and all this incredible thinking that's going on in your ideas. Okay, I think that's, that's a perfect way to end it. I do want to thank, you know, all of the, all of the students, even the ones who didn't present for kind of producing this, you know, great body of work for engaging the discussion for being here on this kind of session, even though it's, you know, late on a Friday, many of you are different parts of the world. I want to thank everyone for bearing with us during some of our technical difficulties of this new format for the supercrit. I want to send a big thanks to all of the presenters for staying cool, going with this format that we kind of imposed on you of having to say next for most of you and submitting your file in a way that was a little bit thrown upon you. And especially to Irene, Stephanie and Tim for really engaging with such kind of clarity and insightfulness, these projects and all the kind of diverse worlds. So it's really a mind bender to kind of jump into all of those different worlds. And it was great to see the threads of topics that you raised, you know, kind of connecting the dots a little bit between the projects, but also giving some very specific and relevant comments to individual people. So. And last but not least, I want to thank very much Lila and Skylar for running this show in, you know, a very complicated way, probably, you know, as we were saying at the first webinar of the school, but also probably one of the biggest Zoom sessions we've hosted with certainly the most in a row presentations we've probably ever done on Zoom. So thank you all to be continued in the final reviews and hope everyone is able to find some moment of rest and peace over the weekend before getting back to work. Thank you everyone.