WIT Undergraduate Portfolio by J. Henry Foisey

J. HENRY FOISEY UNDERGRADUATE PORTFOLIO

(studio) INTHOS ANNEX (CHILDREN SCHOOL OF MUSIC) 2019 (2nd year) FORT POINT 2019 (3rd year) SANDBOX (CHARETTE, DETAIL) 2019 (3rd year) ENFLATABLE 2020 (4th year) PLYPOD 2020 (4th year) WPTF 2021 (4th year)

06 1 2 24 38 46 50

(charrette) PLAY 2019 (3rd year) DIGITAL ONTOLOGIES 2020 (4th year) ANTERIOR REWILDING 2020 (4th year)

62 64 72

(research) AA 2020 (3rd year - ongoing) CAMO 2020 (3rd year - ongoing) GLOBAL ARCHITECTURE = GLOBAL MEDIA 2021 (4th year)

84 90 84

(J. HENRY FOISEY) UNDERGRADUATE PORTFOLIO Magna Cum Laude B.S.Arch Design Excellence Award Faculty Assistant Researcher Teaching Fellow Emerging Technologies

Jack Foisey | jkfoisey@gmail.com | 603-513-9833 | Boston MA

Education

Wentworth Institute of Technology | Boston, MA Bachelor of Science, Architecture · Dean’s List 2017-2020 · GPA: 3.67/4.00 (Major GPA: 3.84/4.00) · Merit Scholar

Software

Excels in · AutoCAD · Illustrator · InDesign · Rhino

Proficient in · Adobe Suite · Sketchup · Revit · Zoom

Skills · Sketching · Drafting · Diagraming

· Strong Work Ethic · Clear Communicator · Well Developed Aesthetic

Class of 2021

Experience with · Skype · Excel · Bluebeam · Grasshopper · Laser Cutting · 3D printing · Woodshop/CNC

Work Experience

Wentworth Institute of Technology | Boston, MA Teaching Fellow and Researcher · Developed research with a team surround topics such as: Artificial intelligence, surface, form, and narrative · Provided assistance and help to students

May 2019 – April 2022

Taylor and Burns Architects | Boston, MA Architectural Design Intern · Assisted in RFP applications · Helped complete CD sets for ongoing projects · Lead smaller projects such as: office fit outs, and renovations · Modeled and rendered images for Historic Council and City Wide project proposals and reviews

May 2021 - September 2021

Hacin + Associates | Boston, MA Design Intern · Helped complete BID sets for Multi-Family housing using Revit · Created ceiling and wall details using Revit · Created feasibility studies and FAR calculations for Urban Design and Hotel proposals using SketchUp and AutoCAD · Created client presentations for Adaptive Reuse, Housing, Hotel projects using Indesign, Photoshop, and SketchUp · Helped initiate and drive the design process during design meeting and project progress

January 2019 - April 2019

Wentworth Institute of Technology | Boston, MA Architectural Studio Monitor · Ensured the safety of the students in Studio · Provided assistance and help to students

August 2017 – March 2020

Awards, Publications, and Installations

Design Excellence | 2020 WAr v/10 | 2020 Wentworth Architecture Review Journal WAr v/11 | 2022 Wentworth Architecture Review Journal PlyPod 10’x10’ plywood pod amoung 2 other’s displayed in the campus CEIS building Towards an Adversarial Architecture Casella Gallery exhibition displaying 2 years worth of research into AI and Architecture Roxbury Plywood and scrim installation displaying stories from Roxbury, Massachusetts

References Antonio Furgiuele · Associate Professor of Architecture at Wentworth Institute of Technology · Author of “The Five Points of Cloud Architecture” Harvard Design Magazine, Shelf Life (Jan. 2017) “Industrial Cloud Complex” Architecture Media Politics Society (Nov. 2018) · furgiuelea@wit.edu Carol Burns · Principle, LEED AP, NCARB, AIA Fellow · Taylor and Burns Architects · Co-Editor of Site Matters with Andrea Kahn, Routledge 2021 · Associate Professor of Architect at Wentworth Institute of Technology · cb@taylorburns.com David Hacin · FAIA Principle Architect at Hacin + Associates · Boston Civic Design Commission · Boston Design Review Panel · dhacin@hacin.com John Ellis · Vice President and Co-Founder of L’Atlelier des Griots · Professor of Architecture at Wentworth Institute of Technology · ellisj@wit.edu

(studio) INTHOS ANNEX (CHILDREN SCHOOL OF MUSIC) 2019 (2nd year) professor: John Ellis composer: John Sakatah author: Oni B year: 2018 studio: Studio 04

The piece is unbounded, colorful, peripatetic, and above all architectural. Through carefully stressed musical technique and form space is constructed as if the piece is apperceptive. The plucked piano strings distort banal usage and framing of the instrument placing it within a relationship with the listener who is necessary to justify it’s distortion. Falling further into the deconstruction and reconstruction of the banal, expected, and spatial the Folio box and Music Hall extend the concerns and efforts of the piece. The full morphology of idea and phenomena distorts to fit it’s current environs while stubbornly holding onto it’s previous diction pronouncing the piece, box, and building unbounded by time and technique (or attention). The resultant architecture like the original piece is felt phenomenally and behaviorally rewriting the banal. Organizing the building is an anchor and sliding surfaces working against each other to accommodate as many specific events as possible (remaining flexible to specificity and to change). The folio enters once more as a catalog of process and evolution that can be supplemented by the hyper-relative term “time”. Encouraged in the final display was perception, the rearrangement and distortion of the design process and graphic, physical, and formal representation of the piece.

Folios: 4”x6” cotton paper | Box: Carboard, wood, plexiglass

Folio set

Building Concept Diagram

Entry

Across Street

Exhibition

First Folio

(studio) FORT POINT 2019 (3rd year) professor: JP Allen collaborator: Zachary Gaudet year: 2019 studio: Studio 05

Currently Boston is facing a loss of identity and like the world a climate crisis. Similar to Boston’s seaport the city plans to develop South Boston/Fort Point completely stripping away any traces left of the once artist enclave. The point was once an artist enclave, before that a Hub for international shipping, and now a glass and steel wasteland of mid-rise buildings further contributing to gentrification. The Fort Point area can be seen once again as an enclave, one of exclusion and waste. Fort Point Co-Housing aims to deregulate the area acting as a productive hub, bridge, architecture connecting South Boston, Fort Point and Downtown Boston. Fort Point Co-Housing builds off of the intersecting urban planning to play into underlying organization of the surrounding context. The massing began as a typical courtyard grid typology and was split, bent, and stepped responding to the sites environmental conditions along with an intent to promote “green” design. Stretching from South Station to fort point co-housing and weaving through existing infrastructures of mass transport is a proposed foot bridge. The floor bridge quite literally creates a connection between downtown Boston and south Boston by bypassing physical and framework barriers. The bridge provides a human perspective to the point and over and under passing roads. The bridge caters to two speeds and modes of transportation: biking and pedestrian. Aligned with the current I-90 I-93 exchange the bike lane sits further away from moments of pause and pedestrian traffic. Moments of rest and congregation are strategically placed along the right edge of the bridge.

To the right is a perspective of the main entrance. Imaged are a multitude of spatial and social conditions aiming to facilitate the larger claims above. The proposal attempts to balance simplified architectural justification manifested as geometry following a guided arrow, further context relationships, and selfreferential architecture (last condition is the beginning of individual stake in the community). Aiming to aid the areas lack of public amenities the building offers galleries partnered with public arts programs in the area, cafes, a farmer’s market operated by the residents, restaurant, and space for youth arts programs. The bridge proliferates the buildings site presence by acting as a highway for commerce and community building.

Building & Bridge Plan - Made by Zachary Gaudet

Site Plan - Made by Zachary Gaudet

Massing Transformation

Entry

Floor plans

Building Concept 17

Ground Floor Plan

Sectional Detailing - Made with Zachary Gaudet

Neighborhood

Sectional Model

(studio)

SANDBOX (CHARETTE, DETAIL) 2019 (3rd year) professor: JP Allen year: 2019 collaborator: Nicholas Desserious, Zachary Gaudet studio: Studio 06

The current urban planning of the surrounding context did not influence the building as we felt adhering to the existing was a false “return” or “nod” to the past (due to how “dated” or “historical” the context is and is treated). Instead we drew from instructables 3 large ideas and Cambridge’s ever-changing fabric of ill-defined edges of time. What exists between these edges is the expanse. The expanse for mental and physical movement. The expanse for innovation and creation. We aim to emulate and contribute to the concatenation of suspended societies expressed in Cambridge’s architecture today. The composition of layered material planes in the building provide transient spaces between interior and exterior to act as an expression of the passage of time, or expanse. Reference to the masonry-clad context of the site is reflected in the aesthetic and functional properties of the sandbox in the form of a copper lattice system circumscribing transient spaces and blurring the interior and exterior connection of the building. It is within these spaces which one experiences the passage of time as the material properties of the lattice variegate from burnished copper to patina green. The relation of distinctly separate materials attempts to create an analogous relationship to the identity of Cambridge as an amalgam of typology generated over a period of time. The sandbox settles within the site front Church St. as an innovative hub for activity, reanimating its context. The opportunity to further activate the site as a resource for innovation, located adjacent to Harvard Square, promotes a continued history of an ardent posterity. Also, just to address the name sandbox, it is exactly that, a safe space to create, test, collaborate, and have fun.

Charrette

Concept Image - Made with Steven Lotter

Virtual Detailing

Site Plan

Concept Diagram

First Floor Plan

Building Section

Exploded Axon

Front Mass

(studio)

ENFLATABLE 2020 (4th year) - 1st place peoples choice professor: Robert Trumbour year: fall 2020 collaborator: Sophie Mackenzie, Jenna Acord studio: studio 07 Layered thresholds begin to distribute the feeling of inside versus outside spaces, hard shell versus soft shell. In the age of pandemic, social, and climate injustices we must be empathetic and demand equity. Our very own hard and soft shells as humans have come into question revealing our vulnerabilities in these unprecedented times. The weathering of our shells has proved to be true, but not just. Human touch has pushed a professional world to challenge the educational shell. Localizing our exchanges with one another, through a screen or distanced, has shown the importance of having resources and social justice now more than ever. Young people expected to learn and grow through these world-winds, are expected to learn the same but with a laptop and wifi in hand. That is all fine for those who are privileged, those who are not, “figure it out”. We must bring the empathy and equity to these young students; enabling through

Producetion, Fabrication, Use, Repeat 41

Roof Frame 2” CLT panels Steel ring and inflatable connection

Plywood Ceiling

0.05 mm Mylar Inflatable

Detailing

2” CLT panels PegBoard Steel column *only used for swining panels*

0.05 mm Mylar Inflatable Plywood Floor Base frame

Steel ring and inflatable connection

Adjustable legs

Exploded Axon

Site Section

(studio)

PLYPOD 2020 (4th year) professor: Robert Trumbour year: fall 2020 collaborators: Sophie Mackenzie, Jenna Acord, Noah Sherbern, Emma Whiteney, Zachary Moskovitz, Emily Chowdhury studio: studio 07

Footing

Interior

(studio)

WPTF 2021 (4th year) - B.S.Arch Design Excellence Award professor: Carol Burns year: spring 2021 studio: studio 08 With the low digital resolution of the Westport River and Buzzards Bay Watershed the river and Watershed are virtually non-existent to governing systems and research intrusions aiming to undo environmental harm. The Watershed currently crosses the geopolitical boarders from Massachusetts to Rhode Island but remains ungoverned in Rhode Island leaving a gap in resources and attention. It is important to note that the river does not cross this boarder however a scalar gaze is necessary. Along these concerns of variance in gaze is the proposed program: research center, auxiliary residence, and public exhibition space. The program was chosen for their diametric exchanges and separate attentive frequencies. The site being a historic farm the land was once attended to with specific technique, practice, and care. Technique and practices can still be seen today through the vertical organization of building material and convenient technique of piling lacy stone walls. The site and land were once highly ubiquitous and defined through the gaze of the farmer. This gaze was stunted due to technological restrictions ultimately restricting the sites ontological range through too today. The proposed program, architecture, and research geopolitical framework aim to extend, distort, saturate, flatten and explode the site and occupant.

Taken seriously is the quotidian and assemblage of uses of each program individually and collectively merging at the indexical exhibition building distorting the siting of the architecture. I feel it’s important to say this is not an esoteric enterprise (as the scientific gaze typically is) it is the catching up and resolving of a watershed and river through gaze, distortion, and the section. To speak briefly about the section, the section was used as a scientific architectural objective tool to resolve quotidian behaviors and experience. Typically seen as noise in the landscape section the buildings look to exert anthropocentric order. Here the building is not afraid to be that but shall not recede as background noise.

Watershed Map

Massing Models

Concept Diagram 52

Site Plan

Plan, Icon, Diagram

Exploded Axon

Axonometric Sections

Models: 1/4”, 1/8”, 1/16” Chipboard (laser cut)

Entry

Combines

(charrette) PLAY 2019 (3rd year) professor: Antonio Furgiuele year: spring 2020 collaborator: Jenna Acord course: Emerging Technologies

Map

(charrette) DIGITAL ONTOLOGIES 2020 (4th year) professor: Mark Heller year: spring 2021 course: Geospatial Modeling Digital Ontologies is the surface exploration of the US Census main unit of measurement in the deployment of data, data sets structure, geographic identity creation, and subsequent representation abstraction. US Census data is the main method of constructing and accessing an identity of a city, town, state, or region. At the expense of organization and mitigation of data their representing geography is heavily abstracted. Maps produced represent abstractions of geography and life rendered to the eye or purely graphic. The US Census and all subsequent uses of their data are centered around human population, human being the unit of comparative measure. Digital Ontologies takes this literally, takes contemporary mapping practices past their visually abstracted presentations and the human population as a unit of comparative measure. It is important to mention the final objects and maps are just that: a physical object and a digital map. What data sets are the best representatives for identity? What are the most correlational data sets? What are the most comparative data sets to human population? These were the governing questions in the search for the characteristics of a geographical area. These characteristics are: Population, Multigenerational housing, Urban vs. Rural Housing, Elevation. To deconstruct 64

each characteristic from the top down: Total population is chosen because it quantitatively describes an area by the amount of human presence, by the assumed amount of movement, assumed urban density. It was chosen because it is our base unit. Multi-generational housing is chosen because of it’s psychological and political ties. Urban vs. Rural housing is chosen for its qualitative descriptions of built fabric. Elevation is chosen as it quantitatively defines land quality or usability. These maps are the characteristics as a unit or function of Total Population. The previously defined total population stands as the base unit of identity of a geographical place due to its semantic correlations and quantitative measurability. Here we see each characteristic of identity Multi-generational housing, Urban Housing, and Elevation (here seen as median elevation) - as a function of the total population. This is a starkly binary method of visualizing an area even the Total population overlay reveals almost no relationships. These representations of Worcester and Greenfield are necessary devices as they act as the translational half of Haptic Mapping. By pairing these binaries with the multi-faceted data points or exchanges between data sets with a binary quantitative comparison - characteristic / total population - you can begin to understand the quantitative and semantic attachments data retains. The binary maps stand as a heavily abstracted representation of data providing the amount of population or dimension of US Census units each data set represents. Here the human dimension is flat - 1 dimension is 1 person - scaling non-human data. Here is Greenfield and Worcester, while their binary maps retain a similar ratio between characteristics of identity their haptic presentations and multi-sensory constructs vastly differ. Mapping relationship lexicon shifts from numeric to haptic: index and thumb.

Data Flow State Center Regional Center

Map of U.S.

Elevation

o T tal Population

luM ti-Generational

rU ban sv . urR al

Elevation

o T tal Population

luM ti-Generational

rU ban sv . urR al

Map of Worchester, and Greenfield

Object

Map

(charrette)

ANTERIOR REWILDING 2020 (4th year) professor: Antonio Furgiuele year: Fall 2020 collaborator: Angelica Nuelle, Zachary Moskovitz course: ET Studio Architecture The contemporary use of paper tubes in architecture is possibly the biggest let down of the discursive palette of contemporary architecture. We have failed to escape modernism’s cylindrical positivist struts manifesting themselves as columns or epistemologies of faux continuity, the continuity of the anthropocene. We must escape the perpetual resonance of modernism’s grasp in a discipline claiming it’s movement from and to contemporary society. Anterior Rewilding is an answer, a liberator, and a sustainable practice. As seen in the narrative from the performance of systems entangled with architecture to the celebration of “unconventional” paper tube architecture our school of thought is inherently surface level, inherently false. Anterior Rewilding is a psychoanalytic check for contemporary architecture, for the contemporary designers, and an environmental check for all. Looking to avoid a modernist continuity of the planet and I quote “being on fucking fire” Anterior Rewilding is an radically catalytic step.

The tubes, down to their image, are falsely engaged and can even be Photoshop blending mode ‘multiplied’ above a modernist form or functionalist detail. The tubes are forced against their intensive and extensive wills to fit within steel construction axial compression test standards and substrate fire and water proofing and arranged in mimicking geometries – geodesics, vaults, cubes, colonnades – aiding towards the eerie construction of past parti’s. These are modernist practices of anti-aging, anti-change, anti-intensive, anti-material. Modernism’s obsession with perfect geometries and homogenous hues consumed the paper tube and obfuscated it’s material-hood for a spectacle of a ‘you’ll never guess what we can do with ordinary household surplus!” We must escape the perpetual resonance of modernism’s grasp in a discipline claiming it’s movement from and to contemporary society. Anterior Rewilding is an answer, a liberator, and a sustainable practice. Anterior Rewilding is the critical writing of the contemporary Paper Tubes epitaph. AR is a liberation of the paper tube and subsequently architectural engagements, an attempt at deep engagement of the tube as an object, system, base unit, form, and architecture. AR is the appropriate response to climate change, anthropocentric waste management and nature engagement, media reduced images and definitions, and surpluses of paper tube waste. We attempt to engage the paper tube in as many forms of engagement and existence the tube affords. AR shifts architectural devices; section, plan, circulation, day lighting, form, not away from architecture but to a different use. AR shifts architectural attention within the genesis of the architectural mind from parti, ornament, and precedent to edge, forest, and field. We are attempting to additionally graft bio-chemical processes and animal behavior to each device accessing alternate definitions and realizations of each device and the whole amalgamation of heterogeneous relationships between them. The closest metaphor for Anterior Rewilding is possibly the metropolis, a space known for its strong visual parallax of ‘Delirious’ or ‘Paranoid’ vertical densities of discursive program and high-tech infrastructure of mass transportation and movement. Anterior Rewilding reverses Rem Koolhaas’s description of TRIC in Countryside a Report, “In terms of scale, TRIC is a metropolis; in terms of its inhabitants, a tiny village.” - for Anterior Rewilding in terms of its inhabitants and exchanges Paper Tubes are a metropolis; in terms of its scale a tiny home. Environmental Preservation, conservation, reduce reuse recycle, safeguarding all unproductive anthropocentric practices governed by the information layer. These green habits periodically fail and fall short of truly providing aid to the deteriorating bio-diversity of the environment. Anthropocentric engagement in the environment can be productive, it can actually be helpful. Anterior Rewilding, deployed by a synchronous practice of reducing paper tube surplus, engages nutrient exchanges in their language by bio-chemically accessing their exchange flows. Anterior Rewilding surpasses anthropocentric green practices by reframing the environment to include all terrestrials in the effort of growth. Anterior Rewilding deploys the paper tube as a catalytic substrate for an ecosystem in preparation for an apex animal. The paper tubes aggregate acts as a scaffolding first supporting detritivores, autotrophs, and herbivores establishing a robust base for an apex organism. Anterior Rewilding and 73

the paper tube aggregations exercise bio-agency in efforts to rewild the environment and mitigate paper tube surplus.

Anthropocene Humans enter the conversation from both sides, architecturally and environmentally - for our purposes performatively. As we are terrestrials along with all other living organisms we have to be considered, which is difficult given the complexity of human behavior and societal momentum. Architecturally AR reframes architecture and shifts all entry points from purely historical or meta-architectural to bio-chemical, intensive, and material. As the base for our psychological growth as designers and terrestrials AR is a psychoanalytic check for contemporary architecture and for the contemporary designer (operating as the breaker of the hammer for Heidegger). Performatively we must be very careful in the beginning of AR’s catalytic effect. We must allow things to work themselves out and maintain a light to no hand in the rewilding of an environment. Although we must fit in somewhere. I’m honestly not sure how, where, and when we should join the rest of the terrestrials from time out due to bad behavior. I feel - not to be lazy - it would be far too difficult to predict anything.

Array

Organisms 79

Model: Carboard tube (x2), plaster

81 Shared Habitats

Shared Diets

Catalytic Impact

Catalytic Predictions*

Model: plaster

Maps

Site Section

(research) AA 2020 (3rd year - ongoing) year: summer 2020 - ongoing collaborators: Antonio Furgiuele, Memo Egezer, Cagri Zaman, Tino Cheung, Ryan Maresca position: faculty assistant researcher

3D Scanning (LiDAR)

Material

Array

(research) CAMO 2020 (3rd year - ongoing) year: summer 2020 - ongoing collaborators: Antonio Furgiuele position: faculty assistant researcher

Stills

Model: 18.6 MB

(research)

GLOBAL ARCHITECTURE = GLOBAL MEDIA 2021 (4th year) professor: Jennifer Gaugler year: Spring 2021 course: Architecture of Globalization The late 20th early 21st century modernist framework of acknowledgement and supposed societal advancement through the shifting architectural gaze is in and of itself global media. From specific ornament to homogenous phenomenological surfaces, global architecture attempts to receive local identity on a global stage posing a large barrier in the digital advancement of society. The built is falling behind with one leg stuck in the past, in the solipsist paper architect. As of January 2021, there were 4.66 billion active users on the internet - over half of the recorded total human population on earth . 4.2 billion were social media users, which is to say 4.2 billion1 people actively engaged with a global digital platform where information, experience, casual conversations, arguments, and images can be shared restricted only by platform legislation and Wi-Fi connection. Current global geo-political forces seem to look past 94

this geographically absent behavior as an incantation of a newer generation looking to move past our histories towards a collective difference. We often come to the discussion of the modern or developed when discussing global systems, acknowledgement, or presence which is to say a discussion of media. If modern equates to media – and the consumption of media – then global architecture attempting to propagate unity across geo-political boarders, collective to individual, the “democratic” global political stage, and recorded and erased histories is, again, media in and of itself. This redefinition is not restricted to government or public buildings reaching across the private sector as well. The reason this redefinition is important is because of its ability to not only account for apperception within historicism but for societal advancement, further externalization and inward collapses. With this we can move past, but not without, the architectural typology, ornament or surface, critical or forced into off-center epistemologies of oneiric expressions of familiarity and projective realities as drivers for global architecture. What will architecture look like in such a world? How will design process’s shift? In todays – and recent past’s – global legislation the governing hand of societal arrangement has been conflicted between analogue and digital interfaces unsure of their discursive structures and parametric milieus. The medium of this hand is media or architecture. The re-contextualization of digital legislations, recognition of architecture as media on the global scale, and tautological discussion of our movement from the analogue has the capacity to radically change the way we realize global architectural works and engage digital infrastructures and govern difference. As the Gilbreths brought forward questions of the human and built in their 1920’s Space Time studies we are now facing similar questions; these contemporary questions extend past but not without historicism, temporal mass psychological states, epistemologies of the built environment, and a younger generation of well informed and over stimulated architectural occupants. For the purposes of this text the terms global architecture and global media need to be defined along with some assumptions and context. Global architecture has recently become extremely difficult to define. It is much easier to define a discipline whose exposure is based on geographic (geo-political) and meta-architectural proximity. I don’t mean to say we’ve ever had a definition of architecture but any monolingual attempt to arrest architecture drastically fails. However, due to the technological restrictions pre-WWII buildings and architectural ideology was largely stagnant relying on the foot traffic of print media and people. Today, those who have access to internet can view any documented and presented architecture and can easily document and present on their own – the first commercially available phone cameras around 2000 wasn’t a large event until media sharing platforms became accessible, user friendly, and global. The social media age – as timelined by Mark Jarzombek – requested a new definition and understanding of architecture and the built and received resistance and confused legislation such as Facebooks push for an auxiliary legislative panel to moderate the platform . We are finally facing the etymological updating of an outdated physical expression of contorting concerns and attention. Global architecture for the purpose of this text is any architectural work who has a global existence without social media and has a set of program concerned with identity, governance, and history of a geographical territory or community. The term is intended to be a representative of the past, of what global architecture was and is used specifically when discussing its transition. Global media, while maintaining a lane pre-WWII or pre-4th wave of globalization, becomes synonymous with global architecture. The use of the term will represent global architectural works and ideology when 95

indicated and following is an assumed understanding of this use. The indication will typically be associated with a general shift and point in time. A common exchange throughout this discussion is between the global and local facilitated through built architectural works. The exchange is described as a contortion as the scales and characteristics of concern drastically twist, bend, and flip, some topological some torn. While the context in which it’s used may position it as a harmful practice, this is not the case. What’s hopefully understood is the exact opposite. This contortion is necessary for a myriad of reasons; trade, economics, communities, environmental protection, quality of life, education to name some. This only reinforces global architecture = global media in that the only current space that can accommodate this highly discursive and necessary attention is the digital and the physical as one. This space is not necessarily a science fiction congealing of digital and physical space but not a binary between the two either. It’s not necessary, and possibly harmful, to prescribe a presiding mixture but understanding the necessity of both ingredients can be radically impactful.

Full Text: 11 pages, 6 figures, many sources

J. HENRY FOISEY UNDERGRADUATE PORTFOLIO