GSAPP Portfolio by Kaeli Alika Streeter

kaeli alika streeter Columbia GSAPP Master of Architecture 2022

you will not find many buildings here would you rather be a cyborg or a goddess?

kaeli.streeter@columbia.edu (305) 316-9990

kaeli alika streeter In these tabs you will find a collection of my time at GSAPP. Buildings are a fragment of the architectural work you will see. In fact, you will find very few buildings. Instead, look for three years of experimentation by a student and teacher trying their best during a global pandemic, thoughts on pedagogy and student governance, very physical objects and very digital objects. You will find a mountain, a subway that is actually an ocean, cyborgs and goddesses, rat territories, a suburb, mushrooms, pipes, anti-anxiety tools, bluescapes, queerness, kombucha leather, haikus, cautionary tales, global collaboration, cedar benches. In this space, the digital re-interprets and mis-represents the analog and vice versa. I tend to mix metaphors. “Do I contradict myself? Very well then, I contradict myself. (I am large, I contain multitudes.)”

highline dependencies changes at the highline five years apart.; 2017 & 2021; hand collage; v.2021 completed for Michael Wang’s Summer Workshop: Other Natures

folding logics ADRI with Lexi Tsien; Fall 2019; Rhino, VRay, Illustrator, 3Ds Max, After Effects; a study of Esplanada Studio by Tatiana Bilbao; <I use folding techniques to analyze the construction process and materiality of the gallery/ studio space. Tatiana Bilbao states that the geometries are only possible given the concrete panels and close contact and collaboration with the construction workers. For this reason, the drawings unfold the exterior surfaces of the building. On a whole, the drawings are an attempt to understand the construction and re-imagined construction via folding, hinging, and extracting.>

unfolding aluminum model

unfolded model

metal hinges <Metal joints/hinges are fabricated out of aluminum sheets. No adhesives are used in the model.>

unfolded model <For the physical model, I re-examine these ideas of construction via fabrication. The model hinges to become completely flat.>

folding logics

operative drawing

rice planting

rice paper folding logics I <The operative drawing translates the folding logics and distortion of rice paper;

CoreII with Karla Rothstein; Spring 2020; Rhino, Illustrator, Photoshop, model-making; eco-logic: tending & learning;

The circular sheet of rice paper is submerged in lukewarm water, cut into 1 1/2, 1 1/4, and 2 1/8 fragments. The fragments dry on scaffolding with 1 to 6 edges. After 24 hours, the fragments become dry and strong.>

rice planting (thesis)

rice paper model fragments

<communication; conversation; distortion; patience; respect; empathy; transparency; folding logics; growth; absorption; stickiness; impermanence; emission; loss> rice paper model cumulative

material <The entire model is biodegradable.>

rice paper folding logics II <The cumulative model requires no adhesives. Edges of rice paper fragments are brushed with water to join.>

inputs_outputs

YES.

DO YOU HAVE THE FULL NUMBER OF THE CARD USED TO PURCHASE THE METROCARD?

NO, IT WAS STOLEN WITH MY WALLET – I HAVE THE LAST 4 DIGITS.

UNFORTUNATELY, WE NEED THE FULL NUMBER TO FILE A CLAIM. WHAT BANK IS THE CARD FROM?

AND SAY “LOST MY METROCARD”

OK, GREATTHANKS! I WILL CALL RIGHT NOW.

NO! CALL

KAELI HAVE YOU FILED A CLAIM BEFORE ONLINE OR THROUGH THE PHONE?

NO.

MAY I PLEASE HAVE YOUR NAME AND PHONE NUMBER?

WAS THIS METROCARD PURCHASED WITH A DEBIT OR CREDIT CARD AT A MTA VENDING MACHINE?

YORK OK. WHAT IS YOUR ADDRESS? YES!

APARTMENT

NEW YORK NEW WEST

ST.

THANK YOU. YOU WILL RECEIVE A REFUND IN THE AMOUNT OF $ FOR THIS METROCARD. THE REFUND WILL BE SENT STRAIGHT TO THE CARD USED TO PURCHASE THE CARD ONCE IT IS PROCESSED. YOU CAN FILE A CLAIM FOR TWO METROCARDS PER YEAR, THE FIRST ONE IS FREE AND THE SECOND ONE WILL HAVE A FILING FEE OF $5

GREAT, THANK YOU!

WOULD YOU LIKE THE CLAIMS NUMBER?

SURE, LET ME GET A PEN. READY.

THANK YOU, IS THAT ALL?

YES

HAVE A GREAT DAY!

OUTPUT

HI, I LOST MY METROCARD AND WOULD LIKE TO FILE A CLAIM.

CHASE

YES

DO YOU HAVE THE CARD NUMBER OF THE CARD USED TO PURCHASE THE METROCARD?

WAS IT PURCHASED WITH A DEBIT OR CREDIT CARD?

YES.

STREETER

IS THIS A 30 DAY UNLIMITED OR 7 DAY METROCARD?

THANK YOU, DO YOU HAVE OUR DIRECT LINE?

HELLO MS. STREETER, I HAVE LINKED YOU WITH MY SUPERVISOR AND EXPLAINED TO HER YOUR SITUATION. HELLO. THIS IS REBECCA. HOW CAN I HELP YOU?

MY WALLET WAS STOLEN AND I NEED THE NUMBER OF THE OLD DEBIT CARD ENDING IN 3622 SO THAT I CAN FILE A CLAIM WITH MTA ABOUT MY LOST METROCARD.

OK, YOU CAN CALL CHASE AND TELL THEM YOU NEED YOUR PREVIOUS CARD’S NUMBER TO FILE A CLAIM WITH THE MTA AND THEY WILL GIVE IT TO YOU. WHAT IS YOUR NAME AND PHONE NUMBER?

I HAVE THE LAST FOUR DIGITS. MAY I TALK TO A SUPERVISOR?

HI, MY UNLIMITED METROCARD WAS STOLEN LAST WEEK AND I’D LIKE TO FILE A CLAIM PLEASE.

YES, I AM ABLE TO TRANSFER YOU TO MY SUPERVISOR. PLEASE STAY ON THE LINE

HELLO. THIS IS MARISOL. HOW CAN I HELP YOU TODAY?

I HAVE THE LAST FOUR DIGITS. MAY I TALK TO A SUPERVISOR?

OK, BALANCE P R O T E C T I O N I WILL TRANSFER YOU NOW UNTIL Y O U SAY S T O P O R CHANGE YOUR C H O I C E

I AM NOT SURE, I CAN GIVE YOU THE LAST FOUR DIGITS.

YES

SO, WHAT DO I DO?

INPUT

LOST MY METROCARD

OK, IS THIS A 30 DAY UNLIMITED OR 7 DAY E X P R E S S BLUS PLUS M E T R O C A R D P U R C H A S E D WITH A DEBIT, CREDIT CARD FROM A V E N D I N G M A C H I N E

HOW MAY I HELP YOU TODAY, MS STREETER?

STREETER

NO, I AM UNABLE TO GIVE YOU THIS INFORMATION ON THE PHONE, THIS NUMBER IS ENCRYPTED.

THANK YOU FOR CALLING MTA NEW YORK CIT Y T R A N S I T NOW YOU CAN USE YOUR VOICE TO TELL US WHAT YOU N E E D WHAT CAN I HELP YOU W I T H ? FOR EXAMPLE Y O U CA N SAY PLAN A ROUTE OR STATUS UPDATE. AT ANY TIME YOU CAN SAY GO BACK OR REPEAT THAT

KAELI

IS THERE SOMEONE THAT IS?

IF YOU NEED TO SPEAK WITH A TRANSLATOR S A Y TRANSLATOR O T H E R W I S E S T AY ON THE L I N E N O W TRANSFERRING OK ILL TRANSFER YOU NOW UNLESS Y O U SAY S T O P OR PRESS 1

HELLO, AND THANK YOU FOR BANKING WITH A CHASE. MAY I PLEASE HAVE YOUR FULL NAME?

UNFORTUNATELY, I AM UNABLE TO GIVE YOU THE NUMBER OF YOUR OLD DEBIT CARD.

METROCARD

PLEASE WA I T WHILE WE CONNECT YOU WITH A S P E C I A L I S T

PLEASE ENTER YOUR DEBIT CARD P I N

THANK YOU FOR BANKING WITH CHASE.

WHAT ARE MY CHOICES?

PLEASE ENTER YOUR DEBIT CARD A C C O U N T NUMBER OR USER ID FOLLOWED BY THE POUND KEY TO RECORD YOUR CARD AS LOST OR STOLEN PLEASE PRESS 8 FOR OTHER OPTIONS PRESS 2

NO.

NOW WHAT CAN I GET YOU?

THIS CALL WILL BE MONITORED OR RECORDED AND YOUR VOICE M AY B E U S E D F O R VERIFICATION PA RA E S PA N O L OPRIMA LA E S T R E L L A

WELCOME TO 511 NEW YORK, NEW YORK CIT Y METRO R E G I O N . Y O U M AY SPEAK YOUR CHOICE AT ANY TIME WHILE I GIVE OPTIONS OR PRESS 0 FOR TOUCH TONE M O D E . MAIN MENU. I CAN GIVE YOU INFORMATION ON MTA TRAFFIC OTHER REGIONAL P U B L I C TRANSPORTATIO N AND FERRIES, PARVATRANSIT, RIDE SHARES OR MORE CHOICES TO SWITCH TO ANOTHER REGION IN NEW YORK 511 SAY SWITCH R E G I O N . YOU CAN PRESS 0 FOR TOUCH TONE OPTION AT ANY POINT DURING OUR CALL. TO GET A COMPLETE LIST OF WHAT YOU CAN D O SAY W H AT A R E MY CHOICES OR SAY HELP

Y O U M AY S P E A K YOUR CHOICE AT ANY TIME WHILE I’M LISTING OPTIONS OR PRESS 0 FOR TOUCH TONE M O D E NOW HERE’S EVERYTHING YOU CAN DO IN THE NEW YORK CIT Y METRO REGION 5 1 1 IF YOU HEAR YOU THE ONE YOU LIKE FEEL FREE TO INTERRUPT M E YOU CAN ASK F O R INFORMATION ON MTA TRAFFIC P U B L I C TRANSPORTATIO N AND FERRIES PARATRANSIT OR RIDE SHARE YOU CAN ALSO ASK FOR INFORMATION ON AIRPORTS M A J O R CROSSINGS NEW YORK CITY 311 NEW JERSEY 511 N Y 5 1 1 E Z PAS S OR BRIDGES AND T U N N E L S YOU CAN SWITCH TO ANOTHER REGION OF NEW YORK 511 BY SAY I N G S W I T C H R E G I O N S YOU CAN ALSO GO DIRECTLY TO ANY OF THESE MTA OPTIONS S U B WAY S AND BUSES CURRENT SERVICESERVIC E STATUS, PLAN A T R I P, M E T R O CARD, LONG I S L A N D R A I L R O A D , METRO NORTH R A I L R O A D , METRO NORTH W E S T

IS THERE ANYTHING ELSE I CAN DO FOR YOU TODAY, MS. STREETER?

THIS IS MY VOICE. THIS IS THE VOICE OF A ROBOT. THIS IS THE VOICE OF AN OPERATOR.

HELLO, UNFORTUNATELY YOU WILL HAVE TO GO TO A CHASE BRANCH WITH TWO FORMS OF ID TO GET YOUR CARD NUMBER. THERE IS NOTHING I CAN DO FOR YOU ON THE PHONE.

ADRII with Dan Taeyoung; Spring 2020; Rhino, Grasshopper; conversations are a place;

a conversation to retrieve a metrocard

conversations <This drawing maps three necessary conversations to call centers to retrieve an unlimited 30 day Metrocard refund. There are always three agents: myself, a human operator, & a robot.>

a conversation to a call center to retrieve a metrocard refund

grasshopper result

a conversation to a call center to retrieve a debit card number

grasshopper is a conversation <The map also delineates when inputs and outputs are necessary to continue the conversation. These are used to create grasshopper functions. These conversations take shape.>

environmental mapping

there was a lot to hear_video

Measuring the Great Indoors with Violet Whitney and Gaby Brainard; Fall 2020; Bash, AfterEffects; <A close study of the relationship of my bedroom to an elevated subway platform. What does this relationship to the subway platform outside my window mean for surveillance? for sound? for meditation?>

folder poem to the subway

only if you were willing and able to hear it _video

listening to the waves <During the pandemic, my mom spent some time in my apartment in New York – an apartment that finds no relief from the sound of the 125th St. Subway station. One day, my mom said if she closes her eyes, the train sounds like crashing waves.>

graphic architecture project GAP I: Typography with Yoonjai Choi; Spring 2022; InDesign, Photoshop; A Field Guide to the New York City Subway;

the booklet 4

THE SUBWAY

SEATS

6 4

SEATS

DISCUSSIONS, MUSINGS AND CONVERSATIONS ON SUBWAY SEATS. FEATURING UNLIKELY CONNECTIONS, PERSONAL ANECDOTES AND UNCONFIRMED HISTORIES OF SUBWAY SEATS IN NEW YORK CITY.

A BRIEF HISTORY

Most/all of the 70s and 80s era subway cars have orange and yellow seats. That’s literally hundreds of trains. –Davehoboken

INQUIRY

I usually see those cars are along the Sixth Ave. line -- B, D, F –Outoftheinkwell @Davehoboken is right. Those seats are everywhere. But the 4/5/6/L tend to be newer trains with blue seats. The A/C, B/D & F trains use these orange & yellow seat trains most often, but not always. –NYNeenz

2. A Brief History

THE SUBWAY

3. 70’s Sensibilities B, D, F, N, Q, R, W are the only lines where you’ll consistently see orange and yellow seats, with the express B and D being the best bets. Every day at rush hour, I see only orange and yellow seated B and D trains. F tends to be a mix of older O&Y trains, as well as all newer blue/grey trains. 1, 2, 3 often had O&Y seats, but I’ve not been on those lines in a while. J, M, Z A, C, E, 4, 5, 6, L, S almost never have O&Y seats. –bomania

4. Seat Configuration 5. The Pew Model

This guide book belongs to:

6. Car Culture

Kaeli Streeter

7. Thank God for No Cushions! I regularly take the 4,5,6 and they always have orange seats. –nywhiz The subway cars with the orange and yellow seats are the R-46 cars from the 1970s. They are used on the IND lines (A, B, D, E, F, etc.). –pandc958

FEATURING UNLIKELY CONNECTIONS, PERSONAL ANECDOTES AND UNCONFIRMED HISTORIES OF SUBWAY SEATS IN NEW YORK CITY.

THE SUBWAY

SEATS

R62A(1984 - 87) BUILT BY: BOMBARDIER # 1651 - 2475 75,550 LBS TOTAL AVG. PRICE PER CAR: $798,770

SEAT ARRANGEMENT & CAPACITY: LONGITUDINAL [44] SEAT MATERIAL: FIBERGLASS SEAT TYPE: INDIVIDUALLY CONTOOURED SEAT, MOTOR OPERATOR: BOMBARDIER SEAT, PASSENGER: BOMBARDIER & F.R. PLASTIC

CARBON-EFFICIENT MISSION: THE CLIMATE REGISTRY [ LAST UPDATED 2015] ANNUAL ENERGY SAVINGS: 30.8 MILLION kWh 45000 kW 36,900 GALLONS OF FUEL OIL 1.9 MILLION THERMS OF NATURAL GAS

SIGN: M. DENKI

AIR COMPRESSOR: WABCO, D4 AIR CONDITIONING: STONE SAFETY 12 TON HEATER: CHROMOLOX LIGHTING INVERTER: LUMINATOR HVAC CONTROL: STONE SAFETY LIGHTING SYSTEM: LUMINATOR, PLASTIC LENS, BACK LIGHTED 'AD' CARDS PUBLIC ADDRESS SYSTEM: COMCO & MIDWEST

THE SUBWAY

SPACE TO SKETCH

SEATS

The 1 and the F today orange seats. They don’t have a line map you can follow though. –BootsZoe

THE SUBWAY

SEATS

SPACE TO WRITE

70’s SENSIBILITIES COLOR SCHEME

SEAT CONFIGURATION

The subway cars with the orange and yellow seats are the R-46 cars from the 1970s. They are used on the IND lines (A, B, D, E, F, etc.). –pandc958

If you are really interested in subway cars, we have a transit museum that has examples of a number of cars. They also run a train composed of cars from several eras on weekends, often around holiday. Some of these have the old rattan seats. The schedule and route is below: https://www.nytransitmuseum.org/holidaynostalgiarides/ –Fox11354

FIBERGLASS END CAP

HEAD & TAIL LIGHTS: GULTON

there are also R62 cars that can run on the narrower tracks of the numbered lines that have the same color seats - but they’re all along the walls - none of the forward/backward facing seats –Kaye_in_Astoria

DOOR HANGER & PANEL: O.M. EDWARDS DOOR HARDWARE: J.L. HOWARD DOOR OPERATOR MOTOR: VAPOR: R.H., S8166495-20; L.H., 58166496-20 DOOR OBSTRUCTION SENSING DEVICE INSTALLED IN 1993

STAINLESS STEEL BODY (THE STANDARD SINCE THE R32) AS OF 2008, THE SHELLS ARE DISPERSED THROUGHOUT THE ATLANTIC OCEAN 48- 50 YEAR LIFESPLAN INTERCHANGEABLE PARTS

R62

1985

2019

2035

THE PEW MODEL Prior to these, the subways had “pew” seating that had a uniform contour along their lengths. The orange and yellow seating was dished in for each place following Japanese examples. Unfortunately, Americans are wider and spill over the edges. Sometimes, you would have a place that had the edge in the middle and you would have to sit on this or stand. This seating was never popular with passengers and the pew type returned with newer models. –Fox11354

SEATS

CAR CULTURE NY TRANSIT MUSEUM I’ve been to the Transit Museum and highly recommend it! Coming from a car culture, I think the subway is so freeing. Thank you for all the interesting information. –Kaye_in_Astoria If you are really interested in subway cars, we have a transit museum that has examples of a number of cars. They also run a train composed of cars from several eras on weekends, often around holiday. Some of these have the old rattan seats. The schedule and route is below: https://www.nytransitmuseum.org/holidaynostalgiarides/ –Fox11354 << Coming from a car culture, I think the subway is so freeing. >> Well said, @Rassi. –mcwhippet

They’re either R46 https://en.wikipedia.org/wiki/R46_(New_York_City_Subway_car) or R68 https://en.wikipedia.org/wiki/R68_(New_York_City_Subway_car) model train cars. The R46 have some faux wood paneling right by the doors, the R68 do not - but the configuration of seats (with some forward/backward facing seats instead of seats only along the walls is similar. –Kaye_in_Astoria The subway cars with the orange and yellow seats are the R-46 cars from the 1970s. They are used on the IND lines (A, B, D, E, F, etc.). –pandc958

SIGN: M.DEKI SIGNAL DEVICE: PNEUPHONIC HORN

Definitely the F. –The Sushi Guy

WINDOW: ELLCON NATIONAL WINDOW HARDWARE: J.L.HOWARD

THE SUBWAY

B, D, F, N, Q, R, W are the only lines where you’ll consistently see orange and yellow seats, with the express B and D being the best bets. Every day at rush hour, I see only orange and yellow seated B and D trains. F tends to be a mix of older O&Y trains, as well as all newer blue/grey trains. 1, 2, 3 often had O&Y seats, but I’ve not been on those lines in a while. J, M, Z A, C, E, 4, 5, 6, L, S almost never have O&Y seats. –bomania

Rode the Q and N the other day. Orange seats. –LizzieandIzzy

Don’t know what to attribute the color choices to - other than perhaps leftover 70’s/80’s design sensibilities. –Kaye_in_Astoria

Cars on numbered lines are not interchangeable with cars on lettered lines. The lettered line cars are wider and would not fit in the tunnels and stations used by the numbered trains. This is an artifact of the development of the original subway system by two (and then three) separate entities. The track gauge is the same by the car widths are different. So numbered train cars could run on lettered lines, but there would be a large gap between car doors and station platforms. –AudenHoggart

Some C and A trains also have the yellow and orange seats. Also F. So basically any of the lettered lines could have them. –Shoestring Jester

CONTRIBUTORS Rassi from Ohio; Davehoboken from Hoboken, New Jersey; Outoftheinkwell from NY NY; NYNeenz from New York City, NY; AudenHoggart from Portland, Maine; Fox11354 from Flushing, New York; Kaye_in_Astoria from Astoria, New York; bomania from NYC; queenieline from Londong, United Kingdom; Risa L from New York City, New York; springerandy from USA; NorthofDC from Olney, Maryland; nywhiz from New York City, New York; pando958 from Washington DC; mowhippet from Edmonton, Canada; Shoestring Jetsetter from New York City, New York; The Sushi Guy from Long Island; New York, Kaeli Streeter from New York

DISCUSSIONS, MUSINGS AND CONVERSATIONS ON SUBWAY SEATS.

THE SUBWAY

THANK GOD FOR NO CUSHIONS! I don’t know about the colours, but I was surprised to find that the seats had no cushioning. So different from those on the London underground trains. Ha, ha. –queenieline

SEATS

17 CONTRIBUTORS

IMAGE GUIDE

From Trip Advisor Forum:

Interior Cover: Seat Proposal by

Rassi from Ohio; Davehoboken

Kaeli for GSAPP Core I 2019;

from Hoboken, New Jersey;

NYC Subway Map; History of

Outoftheinkwell from NY NY;

Subway names from NY Transit

NYNeenz from New York

Museum; Subway Poem by

City, NY; AudenHoggart from

Kaeli 2020; Carbon Footprint

Portland, Maine; Fox11354 from

of R62 train model by Kaeli

Flushing, New York; Kaye_in_

2019; Life- Cycle of R62 train

Astoria from Astoria, New York;

model by Kaeli 2019; Rainbow

bomania from NYC; queenieline

Color swatch 1970; “Life on

from Londong, United Kingdom;

the Subway” diagrams by Kaeli

Risa L from New Yora City,

2019; NY Transit Museum

Thankfully they have no cushioning! Who needs cushioning that would absorb sweat, urine, bedbugs and whatever else gets carried onto or, um, deposited onto the subway seats. At least smooth, hard surfaces are cleaned easier. –Risa L.

New York; springerandy from

“Navigating New York” 2005;

Upholstery would definitely not be a good idea on the NYC subways. (The system runs 24/7/365 and these days we’re just happy when they actually run properly) If you want to see older more well appointed subway trains visit the transit museum in Brooklyn https://www.nytransitmuseum.org/ –Kaye_in_Astoria

Washington DC; mowhippet from

***Thankfully they have no cushioning! Who needs cushioning that would absorb sweat, urine, bedbugs and whatever else gets carried onto or, um, deposited onto the subway seats. At least smooth, hard surfaces are cleaned easier.*** Ain’t that the truth. –springerandy

Curation of comments: Kaeli

Admittedly, I could see the benefit of hard seating but it did not make for a comfortable ride. –queenieline Why hard seating? People with knives who used to cut the upholstered seating up for “fun.” Believe it or not, this was common 40-45 years ago. Same with exact change on buses. There were so many robberies 40-45 years ago that every big US city started with exact change on buses. Now, thankfully there are transit debit cards (all called everything but “debit card”), so all of that has been, as the say, “overtaken by events.” I do remember seeing the cotton innards of a number of upholstered seat when I was a teenager. In trains made before 1950, they seats were made of woven rattan. They weren’t ever cut up, but they sure were slippery; my best friend as a kid, slid right off when the train hit a sharp curve once. Ah,the good-and-bad old days. –NorthofDC

7 5

ORANGE AND YELLOW SEATS AND WHERE TO FIND THEM

1. Orange and Yellow Seats

THE SUBWAY

A FIELD GUIDE TO THE NEW YORK CITY SUBWAY

USA; NorthofDC from Olney,

NYC Subway Map cont. Back

Maryland; nywhiz from New York

Cover: Seat Model by Kaeli for

City, New York; pando958 from

GSAPP Core I 2019.

Edmonton, Canada; Shoestring Jetsetter from New York City, New York; The Sushi Guy from Long Island, New York,

Alika Streeter from New York

INFORMATION 1st Edition completed in 2022. Information collected in 2019.

Completed for Spring 2022 GAP I taught by Yoonjai Choi at Columbia GSAPP.

subway habitats CoreI with Lindy Roy; Fall 2019; Rhino, Illustrator; <An analysis of the material life cycle of the R62A subway train model and the commuter environments within them.>

R62A manufacturer information & material lifespan R62A(1984 - 87) BUILT BY: BOMBARDIER # 1651 - 2475 75,550 LBS TOTAL AVG. PRICE PER CAR: $798,770

SEAT ARRANGEMENT & CAPACITY: LONGITUDINAL [44] SEAT MATERIAL: FIBERGLASS SEAT TYPE: INDIVIDUALLY CONTOOURED SEAT, MOTOR OPERATOR: BOMBARDIER SEAT, PASSENGER: BOMBARDIER & F.R. PLASTIC

CARBON-EFFICIENT MISSION: THE CLIMATE REGISTRY [ LAST UPDATED 2015] ANNUAL ENERGY SAVINGS: 30.8 MILLION kWh 45000 kW 36,900 GALLONS OF FUEL OIL 1.9 MILLION THERMS OF NATURAL GAS

SIGN: M. DENKI

R62A exploded axonometric

WINDOW: ELLCON NATIONAL WINDOW HARDWARE: J.L.HOWARD

SIGN: M.DEKI SIGNAL DEVICE: PNEUPHONIC HORN

FIBERGLASS END CAP

HEAD & TAIL LIGHTS: GULTON DOOR HANGER & PANEL: O.M. EDWARDS DOOR HARDWARE: J.L. HOWARD DOOR OPERATOR MOTOR: VAPOR: R.H., S8166495-20; L.H., 58166496-20 DOOR OBSTRUCTION SENSING DEVICE INSTALLED IN 1993

STAINLESS STEEL BODY (THE STANDARD SINCE THE R32) AS OF 2008, THE SHELLS ARE DISPERSED THROUGHOUT THE ATLANTIC OCEAN 48- 50 YEAR LIFESPLAN INTERCHANGEABLE PARTS

subway habitats

ecosystems

field station

CoreI with Lindy Roy; Fall 2019; Rhino, VRay, Illustrator, Photoshop, modeling; predator-prey; <This project proposes species-specific design to be installed along the Broadway medians between 86th to 120th street that work to facilitate a predator-prey ecosystem between raptors and rats.>

rat & raptor habitat from 86th to 120th st.

bird habitat The bird-habitat was designed by Aya Abdallah.

median program <The field office & storage facilities are components necessary for storage and maintenance materials for the bird habitats as well as the ecological research and monitoring of these species.> <The final educational medians act as designated learning spaces transmitting the bird “reality TV” from the above bird habitats with the goal of connecting humans with the developed ecosystem surrounding them.>

median plan

educational facilities

OF THE BROADWAY MALLS

96 80

97 81

98 82

F ELD GU DE OF THE BROADWAY MALLS

95 8096 8197 8298 83

extg broadway ma

99 100 102 87 103 88 84 101 85 86 83

Quercus palustris; Pin Oak; trunk diameter: 17 in; ID Number: 2126389; stormwater intercepted each year: 2,742 gallons, Malus; Apple; trunk diameter: 4 in; ID Number: 2126404; stormwater intercepted each year: 188 gallons, $1.86; energy conMalus; Apple; trunk diameter: 4 in; ID Number: 2126404; stormwater intercepted each year: 188 gallons, $1.86; energy conMalus; Apple; trunk diameter: 4 in; ID Number: 2126404; stormwater intercepted each year: 188 gallons, $1.86; energy con$27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; served: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 served: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 served: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 total value $250.14 Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, $16.50;Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, $16.50; Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, Quercus rubra; Northern Red Oak; trunk diameter: 5 in; ID Number: 2126390; stormwater intercepted each year: 822 gallons, $16.50; energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: $163.72 energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: $163.72 $8.13; energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 $163.72 Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 9 in; ID Number: 2126391; stormwater intercepted each year: 822 gallons, $8.13; $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total value $250.14 total value $250.14 $12.50; total value $250.14 Quercus coccinea; Scarlet Oak; trunk diameter: 11 in; ID Number: 2126392; stormwater intercepted each year: 1667 gallons, Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, $8.13; Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, $8.13; $16.50; energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 $163.72 $8.13; energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, Quercus coccinea; Scarlet Oak; trunk diameter: 17 in; ID Number: 2126393; stormwater intercepted each year: 2,742 gallons, $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; $12.50; total value $250.14 Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, total value $250.14 total value $250.14 $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total value $250.14 $12.5 Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 9 in; ID Number: 2126391; stormwater intercepted each year: 822 gallons, $8.13; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 11 in; ID Number: 2126395; stormwater intercepted each year: 1667 gallons, $16.50; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: $163.72 Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 9 in; ID Number: 2126396; stormwater intercepted each year: 822 gallons, $8.13; $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, $12.50; total value $250.14 total value $250.14 $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, Malus; Apple; trunk diameter: 3 in; ID Number: 2126397; stormwater intercepted each year: 188 gallons, $1.86; energy con$12.50; total value $250.14 Malus; Apple; trunk diameter: 3 in; ID Number: 2126414; stormwater intercepted each year: 188 gallons, $1.86; energy conMalus; Apple; trunk diameter: 3 in; ID Number: 2126414; stormwater intercepted each year: 188 gallons, $1.86; energy conserved: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 served: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 served: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 Malus; Apple; trunk diameter: 3 in; ID Number: 2126414; stormwater intercepted each year: 188 gallons, $1.86; energy conserved: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 Malus; Apple; trunk diameter: 6 in; ID Number: 2126398; stormwater intercepted each year: 499 gallons, $4.94; energy conserved: 501 kWh, $63.21; air pollutant removed: 1 lb, $4.66; CO2 reduced: 412 lbs, $1.38 ; total value: $75.56 Active rat signs Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, Active rat signs $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, Malus; Apple; trunk diameter: 11 in; ID Number: 2126399; stormwater intercepted each year: 1033 gallons, $10.23; energy $12.50; total value $250.14 conserved: 804 kWh, $101.50; air pollutant removed: 2 lb, $8.33; CO2 reduced: 1378 lbs, $4.60 ; total value: $129.26

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Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, $8.13; energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07

Malus; Apple; trunk diameter: 6 in; ID Number: 2126400; stormwater intercepted each year: 499 gallons, $4.94; energy conserved: 501 kWh, $63.21; air pollutant removed: 1 lb, $4.66; CO2 reduced: 412 lbs, $1.38 ; total value: $75.56 Active rat signs at 2250 Broadway (Block: 1228; Lot: 7501)

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Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total value $250.14 Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total value $250.14 Malus; Apple; trunk diameter: 3 in; ID Number: 2126414; stormwater intercepted each year: 188 gallons, $1.86; energy conserved: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94

Active rat signs Active rat signs Active rat signs

106 91 107 92 108 93 100 84 101 85 102 86 103 87 104 88 105 89 90 109 110 111 112 113 11499115 105 106 107 108 100 116 101 117 102 118 103119 104 120

2126404; stormwater intercepted each year: 188 gallons, $1.86; energy con- Malus; Apple; trunk diameter: 4 in; ID Number: 2126404; stormwater intercepted each year: 188 gallons, $1.86; energy cond: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 served: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94

Malus; Apple; trunk diameter: 4 in; ID Number: 2126404; stormwater intercepted each year: 188 gallons, $1.86; energy conserved: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94

in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, $16.50; Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, $16.50; Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, $16.50; Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, $16.50; energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: 8; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: $163.72 energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: $163.72 energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: $163.72 $163.72 Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, $27.15; Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, 8; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, total value $250.14 $12.50; total value $250.14 value $250.14 $12.50; total value $250.14 Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, $8.13; Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, $8.13; Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, $8.13; Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 $8.13; energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: 8; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, $27.15; $82.07 $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, 2126414; stormwater intercepted each year: 188 gallons, $1.86; energy con- total value $250.14 $12.50; total value $250.14 value $250.14 $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, d: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 $12.50; total value $250.14 Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; 2126414; stormwater intercepted each year: 188 gallons, $1.86; energy conenergy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; d: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, $27.15; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, total value $250.14 $12.50; total value $250.14 value $250.14 $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total value $250.14 Malus; Apple; trunk diameter: 3 in; ID Number: 2126414; stormwater intercepted each year: 188 gallons, $1.86; energy conMalus; Apple; trunk diameter: 3 in; ID Number: 2126414; stormwater intercepted each year: 188 gallons, $1.86; energy conserved: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 served: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 Active rat signs Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, Active rat signs $8.13; energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: Active rat signs $82.07 Active rat signs Active rat signs Active rat signs Active rat signs Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, Active rat signs $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total value $250.14 Fenced grate

Open grate Fenced grate

89 106 90 107 91 108 92 05

in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, $16.50;Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, $16.50; Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, $16.50; Quercus palustris; Pin Oak; trunk diameter: 14 in; ID Number: 2126405; stormwater intercepted each year: 1667 gallons, $16.50; energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: 8; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: $163.72 energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: $163.72 energy conserved: 1003 kWh, $126.58; air pollutant removed: 2 lb, $9.91; CO2 reduced: 1606 lbs, $5.36 ; total value: $163.72 $163.72 Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, $27.15;Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, $27.15;Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, $27.15; Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, 8; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, value $250.14 value $250.14 value $250.14 $12.50; total value $250.14 Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, $8.13; Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, $8.13; Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, $8.13; Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 $8.13; energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: r pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, $27.15;Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, $27.15;Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, $27.15; $82.07 energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, value $250.14 value $250.14 value $250.14 $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, 8; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total value $250.14 Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; n; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 ant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; n; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; ant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, $27.15;Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, $27.15;Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, $27.15; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total Quercus palustris; Pin Oak; trunk diameter: 18 in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, in; ID Number: 2126411; stormwater intercepted each year: 2,742 gallons, value $250.14 value $250.14 value $250.14 $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, 8; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total value $250.14 Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, $27.15;Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, $27.15;Malus; Apple; trunk diameter: 3 in; ID Number: 2126414; stormwater intercepted each year: 188 gallons, $1.86; energy conenergy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total served: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 Malus; Apple; trunk diameter: 3 in; ID Number: 2126414; stormwater intercepted each year: 188 gallons, $1.86; energy con2126414; stormwater intercepted each year: 188 gallons, $1.86; energy con- value $250.14 value $250.14 Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, $27.15; served: 226 kWh, $28.51; air pollutant removed: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 d: 0 lb, $2.04; CO2 reduced: 81 lbs, $0.27 ; total value: $32.94 Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total Quercus palustris; Pin Oak; trunk diameter: 15 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 value $250.14 in; ID Number: 2126406; stormwater intercepted each year: 2,742 gallons, $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, 8; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, $8.13; $12.50; total value $250.14 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 Quercus phellos; Willow Oak; trunk diameter: 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, 6 in; ID Number: 2126407; stormwater intercepted each year: 822 gallons, Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, $27.15; $8.13; energy conserved: 527 kWh, $66.58; air pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: r pollutant removed: 1 lb, $4.38; CO2 reduced: 445 lbs, $1.48 ; total value: $82.07 energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, $12.50; total value $250.14 Active rat signs Active rat signs Quercus palustris; Pin Oak; trunk diameter: 16 in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, in; ID Number: 2126408; stormwater intercepted each year: 2,742 gallons, Active rat signs Active rat signs $27.15; energy conserved: 1,456 kWh, $183.78; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; 8; air pollutants removed each year: 3 lbs, $14.22; CO2 reduced: 3,742 lb, Active rat signs Active rat signs $12.50; total value $250.14 energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Active rat signs Active rat signs

n; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; Active rat signs Active rat signs ant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01 Fenced grate

Fenced grate

114 115 116 117 118 119 105 106 107 108 104 120

f e d gu de mode

Quercus palustris; Pin Oak; trunk diameter: 3 in; ID Number: 2126410; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01

Quercus palustris; Pin Oak; trunk diameter: 4 in; ID Number: 2126409; stormwater intercepted each year: 351 gallons, $3.48; energy conserved: 262 kWh, $33.05; air pollutant removed: 0 lb, $1.96; CO2 reduced: 78 lbs, $0.26 ; total value: $39.01

Active rat signs Active rat signs

119 120 proposed broadway ma

program sequence

med an program

rat habitat

gabion column <The gabion columns are constructed with recycled subway parts, a node to the subway condition below the medians. The fiberglass composite formed from the recycled subway parts extend here to create walls, work benches, storage shelves, and tables. The gabion wall around the offices act as structure.>

gabion column 1:1 model

rat habitat <The rat habitat, in the form of gabion columns, acts as circulation systems for the rats moving from the subway to the new circular habitats above ground.> <Although the rat habitats are left wild, they are situated close to restaurants and grocery stores. Rats will go as far as 100 to 300 feet for food, it is in this search for food where birds will find their prey.>

welcome to suburbia

I. suburbia

CoreIII with Galia Solomonoff; Fall 2020; Rhino, VRay, Illustrator, Photoshop, zoning, collaboration; Welcome to Melrose; <A gated community in the Bronx, consisting of 16 buildings; 12 proposed renovations and additions; 4 proposed new constructions; new shared resilient infrastructures; amenities; and a communal private landscape. An urban suburbia, in this sense, ensures that living conditions and resiliency strategies will contend with the times.>

negotiations

proposed melrose community - block 2398

Completed with Charul Punia; <This project was completed in a partnership and process that valued empathy, health, development, and communication.> <The design process was completed almost entirely virtually during a global pandemic. Although our school and site are located in New York City, Charul was in Dubai for a portion of the semester and I was in Miami.> <We negotiated a thorough and resilient design strategy through screens, music, google docs and a meticulously organized google drive and Rhino file.>

site <When in New York, weekends were spent on site helping the community efforts of the Bronx Documentary Center.> <Photo by Gene Han>

proposed plan/elevation & zoning information diagram

lot 11

368 E 152nd St.; owner: Mott Haven Building Purchase LLC; extg. empty lot; II. resiliency and time <Buildings hold history - the oldest building on this block was built in 1899. Rather than demolishing this block’s history and contributing to unsustainable building practices, new infrastructures will prepare the block for resiliency. Solar, water, and green infrastructures provide the buildings and their inhabitants with shared resources.>

proposed 15 2-bed units; typ. unit: 1888 sqft.; balcony: 609 sqft.; windows: 252 sqft; operable windows: 84 sqft.; light: 45%; air: 36%; carbon emissions: 828 tons/yr; const. net embodied carbon: 65 tons; greenhouse electricity savings: 506.6 kWh; gas savings: 36.4 Thermas; total energy cost savings: $65.94; bike storage; roof greenhouse;

facade_lot-11_lot-14

facade_lot-22

lot-22_extg.

lot-22_proposed

lot 22

398 E 152 St./ 398 Miltrose Ct..; built: 1920; renovated: 1995; owner: 152 Melrose Associates; extg. 76 residential; extg. 5 commercial; proposed new window; proposed new juliette balcony; proposed new solar panels; typ. unit: 534 sqft.; new balcony: 45 sqft.; new windows: 49 sqft; light: 22%; air: 22%; carbon emissions: 1073 tons/yr; embodied carbon in extg bldg.: 409 tons; PVs CO2 emissions offset: 60 tons/ yr

design strategy <Simply by updating windows and creating more access to light and air, we can improve the living conditions in an extg. residential building.> <By not demolishing any buildings on site, we will not displace current tenants, nor will we increase our construction net embodied carbon unneccesarily.> <Resiliency strategies including PV panels, water collection, greenhouses throughout the block are designed so that buildings can share resources.>

conversations

co-writing & code of conduct MISSION Historically the role of the architect has been everything.

partnership values <Our working strategy was essential to our design process.> <The semester began with the understanding that ‘rituals are constant negotiations’ and an agreement that we prioritize each other, the pursuit of caring design, research, resiliency, mental health, and new pedagogies.>

rituals are constant negotiations_video

DEVELOPMENT <This studio is not a performance> We do not always have to pro<We have real intent and focus> duce something new/radical, but to be efficient we are always at <Pedagogy & Practice exist in minimum iterating/evolving the From designer, to engineer, to the same world.> project (no wasted time in stu<Radical representation is a mason, to sculptor - Architects dio feeling lost - we are better means of extracting pedagomust be everything - planners, than that!) gy & concept from thoughtful thinkers, developers, designers grounded projects> and exhibitors all at once. <studio culture does not dictate CRITICAL Using language carefully and productivity!> No simple feat - but noble in critically. Being open with the it’s inherent optimism, the archi- <studio culture must leave fact that sometimes wearemay un-negotiatio space for humanity> tectural practice is an exercise rituals are constant negotiations - - rituals are constant negotiations - - rituals are constant negotiations - - rituals constant intentionally say something ofin envisioning a new tomorrow. <I am smart enough to not kaeli streeter - - new york city - - kaeli streeter - - new york city - - kaeli streeter - - new york city - - kaeli streeter - - new york city - - k fensive. Others are bound to do need to be a genius> the same. How can we create <i am a human, i’m not perThere is a myth today, of a an environment where we feel forming as architect / worker/ genius architect. Swept away open and empathetic to changmanufacturer> by his untamed, unquenchable ing language and differences in passion - he is the master and <i am a manufacturer/ architect, i provide a service, and i’m language? creator, inventor and critic. But aware of how my space and the for whom? For what reason? EMPATHY spaces and people i am with Approaching differences with affect this service> There is no room for the empathy and understanding <Knowing when you don’t know starchitect ego in thoughtful, and not judgment. We have a enough. There is not always a elegant and empathetic design. responsibility to curate spacsolution.> es and conversations, we have Empathy is vulnerability, resiliena responsibility and power to CONDUCT cy, openness and authenticity. give voices. Listen and conHEALTH Joy, imagination, connection, Healthy, Enjoyable working rela- verse carefully and thoughtfully, bravery or ultimately, what we always, with everyone. tionship define as success, these are Talking through/past stress and experiments in empathy. PROJECTS anxiety (they are wasted emoAll work is a gift, an opportunity tion & energy) This studio embodies what for gratitude, to receive and to architectural practice could be, give back. A gift does need to should be, and undoubtedly will FREEDOM be wrapped with a red ribbon Space, Energy to think about be. “alexa, turn on the light” to be a gift and received as this project/future projects in 1” = 1” an enjoyable environment (excit- one. Born in an empty room, ing conversation, not limited by during a pandemic. Develconfines of this project, stuoped over zoom, with a 9 hour time difference. dent/prof relationship, working hours, studio space). What do we want to give atten- IDEAS: tion to? everything. We don’t always need a full VALUES session with GALIA, but some<The building as a living obtimes we need extra time bedro ject; a lifespan, a community, a We can go away for the week1” = 1 scaled operation (time/space)> end to get a break/ new scenery = new ideas

personal wall sections

III. luxury

rituals are constant ons - - rituals are constant negotiations - - rituals are constant negoti negotiations - - rituals are constant negotiations - - rituals are constant negotiations - - rituals are constant negotiations - - rituals are constant negotiations - - rituals are constant negoti charul punia kaeli streeter - - new york city - - kaeli streeter - - new york city -- -- dubai - - charul punia - - dubai - - charul punia- - dubai - - charul punia- - dubai - - charul punia- - dubai - - charul punia- - dubai - - charul punia- - dubai - - charul punia- - dubai - rituals are constant negotiations_wall sections(nyc-left; dubai-right)

oom window section 1’-0”

lot 7_interior collage “hand me that pen” 1:1 mm

sliding door section 1:10 mm

IV. enclosure <Within the gated community, enclosure from the street allows residents and their guests freedom from policing; safety to enjoy outdoor space; the right to extend or rescind invitations into the community; a sense of ownership and entitlement; the ability and expectation to contribute to and maintain community values; privacy and autonomy from the external; reliance and support from the internal.>

parking structures within community

community spaces (pool & playground)

sensory publics AdvV with Bryony Roberts; Fall 2021; Rhino, Illustrator, Photoshop, research; dept. of care; <The water recirculation system at the department of care meets a series of ‘life services’ at the intersection of 148th Street and St.Nicholas Avenue.>

‘life services’ <Life services are defined as the necessary services to maintain a fulfilling life: care for the body, the climate and the soul. Here, they include a grocery store, laundromat, pharmacy, urgent care, train station and cafe/ venue space.>

extg. life services

extg. plan and elevation

care and radical love <This project looks to resources and scholarship on radical love and care – including BroSis five blocks south, Kristin Richardson Johnson’s campaign of radical love in Harlem and Justin Garrett Moore and the department of care.>

scholarship on care and radical love

exterior skin

play

water recirculation system

proposed plan

piping system facade creates vestibule and integrates into systems of care in extg. laundromat.

dept. of care <The proposed dept. of care at the center of this block considers the unnoticed labor and maintenance of these life services, i.e. community and sensory experiences as well as the maintenance of the recirculation water services on the site.>

deep time colab

6 cautionary tales for deep time

SIX CAUTIONARY TALES FOR DEEP TIME PREMONITIONS OF THE MYSTICAL REBIRTH OF EDUCATION Kaeli and Aya evoke six visions of ideal competition entries, the supreme achievement of twenty thousand years of an ivy league school, blood, sweat, and tears; the final haven of Man in possession of Truth, free from contradiction, equivocation and indecision; totally and forever replete with his own PERFECTION. `

4 ACADEMIC INTEGRITY The intellectual venture in which we are all engaged requires of faculty and students alike the highest level of personal and academic integrity. As members of an academic community, each one of us bears the responsibility to participate in scholarly discourse and research in a manner characterized by intellectual honesty and scholarly integrity.Scholarship, by its very nature, is an iterative process, with ideas and insights building one upon the other. Collaborative scholarship requires the study of other scholars’ work, the free

1 BIRD DEATH CONE

3 SANDCASTLES

The Bird Death Cone collects dead species victim to the windows of Columbia University. The 86’ wide funnel rests on the ledge of the Avery and Fayerweather window sills. During Fall and Spring migrations, bird strike is inevitable. Upon retrieval of the avian specimen, the metal cone responds with a series of clicks and clacks. The matte metal cone acts as a toxic buffer between dead and living species. Using a process of refined reverse corrosion, the death cone blends the remains of strucken birds, sorts reproducible parts and returns new specimens to surrounding Riverside and Morningside Parks. Once the cone has reached a critical mass, the remaining bones, preserved during the reverse corrosion process, are pulverized and reintroduced to Columbia’s campus as mortar.

A mound of sand collects between Fayerweather and Avery Halls. Sandcastles is an opportunity to un-cover up the complex history of the Courtyard as well as the larger realm of University building – conceptualizing how traces of various human and nonhuman communities continue to register and prefigure the future of the site. In addition, the sandcastles should

2 DO NOT TOUCH [RARE BOOKS]

Please note that any physical materials must be consulted in the RBML/University Archives reading chamber. Each above ground window tunnels through Avery Architectural and FIne Arts Library into the deeply rooted Rare Books Archive. Research is by appointment only (Monday-Friday, 10am-4pm) and, due to the ongoing emergency crises protocols, we only have a limited number of cubicles and time slots available each day - many of which are likely already booked up. If your students wish to visit any of the books, we can arrange for individual reservations of a glass chamber and they may observe the pages from the Avery courtyard. The students will not be allowed to touch the manuscripts but can turn the pages by blinking and our sensors will pick up the slight movements and perform accordingly.

Aya Abdallah: born 1994, graduated in architecture in 2016 and she joined GSAPP in 2019

discussion of such work, and the explicit acknowledgement of those ideas in any work that inform our own. This exchange of ideas relies upon a mutual trust that sources, opinions, facts, and insights will be properly noted and carefully credited. In practical terms, this means that, as students, you must be responsible for the full citations of others’ ideas in all of your research papers and projects; you must be scrupulously honest when taking your examinations; you must always submit your own work and not that of another student, scholar, or internet agent.

Communication has never been easier. Communication has never been harder. Language adapts to our methods of communication. Words are no longer used. Data is constantly gathered, in our mind, in our screen. Correspondence can only be read in symbols. As a reaction to the hyper tech, the analog makes a come back, but this time, can it dissociate itself from the code?

The moment has come in which to reveal the significance of these descriptions: this is a test Of the six entries whose descriptions you have read, how many would you like to come true? Have you felt that they might be of advantage to humanity? Work out your answer carefully. Results below. Results of test:

6 DEAR DATA In this school we are bodiless, contextless, contactless. We exist as pictures on a screen. Buildings exist as pictures on a screen.

Kaeli Alika Streeter: born 1996, graduated in architecture in 2018 and she joined GSAPP in 2019

Spring 2022; Photoshop, Rhino, storytelling.

consider deep time: a non-linear exploration of the site from the precolonial to the present, including the University’s relationship to Harlem, the Hudson River, and the environment at large. GSAPP students MUST MAKE a collaborative, interdisciplinary sandcastle that addresses the Lenape people. Year after year, students build atop other sandcastles and the ground becomes a witness of the different cohorts that pass through GSAPP until Avery is invebitaly buried underground.

5 DEEP TIME CAPSULES As time passes, Columbia University is buried beneath the Old World. Sitting prestigiously underground, it acts as a time capsule of the years 1897 to 2097. Children from the 22nd century are astonished to hear about untouchable Ivy League schools, charging exorbitant amounts of money for education. Excavation trips involve careful restoration of the ivory towers and now dilapidated libraries. Very few historians care to ask what lies below the schools. City infrastructure and pre-colonial artifacts become obsolete. The 2016 IN HONOR OF THE LENAPE PEOPLE sign was extracted some 185 years ago. Some radical thinkers with access to counter-culture texts believe there was an escape capsule that gathered all relics of pre-colonial thought.

If you approved : _more than 5: Congratulations, you have understood the assignment: we are already living in these dystopian worlds. _from 3 to 4: You don’t want to admit your educational reality. You pay hundreds of thousands of dollars to participate in this institution yet don’t care to engage your critical thinking skills. _under 2: You haven’t caught on. We suggest you rethink your enrollment in this institution, close Instagram and look around. This design entry is meant to challenge the notion of architectural competitions. These types of competitions, however helpful and inclusive in the past, have been monopolized by big corporations and institutions, spending hundreds of thousands of dollars per submission. In our opinion, architecture competitions are purely concepts and do not provide any type of solution to the issue at hand.

design entry <A reproduction of Superstudio’s “12 cautionary tales for Christmas”, 6 cautionary tales for deep time warns students and faculty of the dangers of design competitions.> <Large portions of text were plagiarized from the entry specifications and Columbia University’s website.> <The entry won special recognition from Architecture studio faculty and won “People’s Choice Award” from the GSAPP student body.>

haiku 4 the gr8 indoors Measuring the Great Indoors with Violet Whitney and Gaby Brainard; Fall 2020; IFTT; Processing, voiceflow; Twitter API <Every time a haiku is generated with the TwitterBot, our light turns off and our Alexa or Google Home reads the haiku aloud from twitter. This project connects three humans in completely different parts of the city (and sometimes the country) through both visual and audio cues. When our lights turn off we have no choice but to hear a randomly generated haiku.> team

technical process

the lights go off and alexa reads a poem

twitter bot

USPS <During this project, USPS was being threatened.>

stay sane ADRII with Dan Taeyoung; Spring 2020; html, css, JavaScript, sketching;

pen pal <This project was done in collaboration and communication with Aya Abdallah.>

sending week 5 to aya

postcards <The postcard communication is about sharing weekly themed observations with one other person via hand-drawn data delivered through the postal service.> <Inspired by Dear Data by Giorgia Lupi and Stefanie Posavec.> week 6 – week 7 – week 8

stay sane site_virtual time capsule staysane.web.app/#

virtual time capsule <The virtual time capsule encourages a wider audience to submit thoughts, feelings, observations, desires, etc. In a world where hyper speed exchange of information is essential and expected, Stay Sane reflects on these notions and gives time to communication to be received a couple of days (or even years) later.>

closed <As of 5/1/22, the virtual time capsule and Stay Sane has closed.>

gsappx+_video

gsappx+ <At the start of quarantine, gsappx+ came together to rewrite and cowrite a new statement.> <GSAPPX+ is a student-run initiative led by womxn that champions learning and unlearning through the power of conversation. GSAPPX+ cultivates a discourse that highlights and amplifies a diversity of voices engaged in the fields of design and the built environment. We use a combination of casual meetings and external events to nurture a collective notion of gender equity and individual empowerment to inform an inclusive and collaborative future.>

in changing the name and statement of the student org. we also re-designed the graphics

myth of the cyborg, metaphor of the goddess QAHII with Teaching Fellow: Javairia Shahid; Spring 2020; The Myth of the Cyborg; the Metaphor of the Goddess: Social Feminism & Eco-feminism; <This paper will analyze the role of the body, from the female body to the body politic, vis-àvis modern production and environmentalism. To do this, the paper will evaluate Donna Haraway’s myth of the cyborg. In the context of this myth, the paper will look at its origins and trajectory to understand the machine-body’s societal context and implications. What are the extents of the cyborg’s political, social, and economic influence? How does Haraway’s cyborg exists throughout spaces of domesticity and metropolis? To show these varying scales, the paper will use the logic of the cyborg as a foil to ecofeminist principles. The “Tree of Life” by Ana Mendieta and “Washing/Tracks/Maintenance: Outside” by Mierle Laderman Ukeles will be understood in their 1970s eco-work context. The paper will examine questions of nature, technology, domesticity, and politics and moderate an imagined debate between ecofeminism and social feminism. How do these reactions to the late 20th century inform understanding of ‘self’ and the built environment through a feminist lens?>

footnotes 1 Haraway, Donna. “A Cyborg Man ifesto: Science, Technology and So cialist Feminism in the Late Twenti eth Century,” in Simians, Cyborgs, and Women: The Reinvention of Na ture (New York: Routledge, 1991): 316 2 Ibid. 307 3 Ibid. 306 4 Alaimo, Stacy. “Cyborg and Ecofem inist interventions: Challenges for an Environmental Feminism”. in Feminist Studies (Vol. 20, No.1 Spring 1994). 5 See “tree of life” 6 See “washing/tracks/mainten ance:outside”

“… i’d rather be a cyborg than a goddess.”1 is for oppositional cyborgs.”2 In other words, the cyborg defies the pressures and bounds of labels to become a body-less figure of communication and feminist practice. The cyborg’s agenda is not gendered, it is universal. Networking is its tool to transcend the limitations of a ‘body’ within the built environment and ideological spaces. By defining the cyborg in Haraway’s lens, the goddess becomes its foil. The metaphor of the goddess suggests an image of fertility and motherhood. The goddess evokes powerful femininity. This metaphor suggests that women’s power is intertwined with the power and symbolism of their bodies. Haraway critiques this approach: “The speculum served as an icon of women’s claiming their bodies in the 1970s; that handcraft tool is inadequate to express our needed body politics in the negotiation The initial question is how do these two feminist approaches of reality in the practices of react to specific socio-economic cyborg reproduction. Self-help is not enough.”3 This statement critiques of the late 20th century and how do they respond begins to expose Haraway’s disto one another? For the cyborg, approval of the metaphor of the Donna Haraway’s social feminist goddess in response to femipractice acknowledges the blurnist practices. Haraway’s social ring of boundaries and dualisms. feminism perspective rejects the In her manifesto, Haraway states: reclamation and empowerment of “I prefer a network ideological the “female body” and “women’s image, suggesting the profusion work”. This practice is comof spaces and identities and the mon in the powerful eco-work permeability of boundaries in the of artists in the 1970s such as personal body and in the body Ana Mendieta and Mierle Laderpolitic. ‘Networking’ is both a man Ukeles. Haraway’s critique feminist practice and a multinaproposes the cyborg in place of tional corporate strategy weaving Donna Haraway makes this claim in her 1985 “A Cyborg Manifesto : Science, Technology and Socialist Feminism in the Late Twentieth Century” published in the Socialist Review. For this paper, her quote introduces two important characters/ concepts for radical feminists’ theories of the late 20th century: the cyborg and the goddess. Specifically, the work and philosophies of ecofeminists beginning in the 1970s and the writings and theories of social feminists in the1980s. Although the myth of the cyborg and the metaphor of the goddess seem to be oppositional reactions to the oppression and Othering of women, these ideas are both reacting to technological advancement, human’s relationship to nature, domesticity, and political identities.

this eco-work to subvert the personal body in order to emphasize and negotiate the needs of the body politic. Haraway’s critique of eco-feminism is supported by scholars like Stacy Alaimo in “Cyborg and Ecofeminist interventions: Challenges for an Environmental Feminism.”4 I will first contextualize these perspectives against eco-feminism using Alaimo’s essay and Haraway’s cyborg. To challenge these arguments, I will then introduce ecofeminist ideologies and the eco-work of Ana Mendieta and Mierle Laderman Ukeles. In order to debate both feminist perspectives, it is necessary to unpack the purpose and utilization of myth and metaphor in both philosophies. With this historical and conceptual positioning, it will become possible to juxtapose the beliefs of social feminism and eco-feminism. To support the social feminists’ perspective, I will use Haraway’s 1985 cyborg manifesto. The 1976 “Tree of Life”5 artwork by Ana Mendieta and Ukeles’ 1973 “Washing/Tracks/ Maintenance: Outside”6 will inform the eco-feminist response. How do these radical feminism movements and reactions question boundaries, language, and the socio-political realities and futures of oppressed bodies in late 20th century America?

“tree of life”

footnotes 7 Haraway, Donna. “A Cyborg Manifesto: Science, Technology and Socialist Feminism in the Late Twentieth Century,” in Simians, Cyborgs, and Women: The Reinvention of Nature (New York: Routledge, 1991): 291 8 Ibid. 9 bid. 292 & 294 10 Ibid. 298 11 Ibid. 12 Alaimo, Stacy. “Cyborg and Ecofeminist interventions: Challenges for an Environmental Feminism”. in Feminist Studies (Vol. 20, No.1 Spring 1994). 140 13 Ibid. 133

context: social feminism and the critique of eco-feminism To analyze the responses of social feminism tête-à-tête with eco-feminism it is necessary to contextualize the cyborg within Haraway’s social feminist theory, the critique of eco-feminism and concurrent celebration of the cyborg. The cyborg, or rather the “image of the cyborg” is a representation of paradoxes.7 It is a “cybernetic organism, a hybrid of machine and organism” that is both fictional and anchored in social realities.8 By defining the cyborg as a creature that is both fictional and fixed in reality, Haraway is able to critique this reality and propose alternative potentials through the experience of the cyborg. Notably, the cyborg and social feminism simultaneously construct and blur societal, natural, and political boundaries. This practice imagines a utopian world without gender, while also criticizing utopian “textualization” that perpetuates social norms of domination.9 Social feminism and the cyborg “end the unity of women by enforcing the experience and testimony to radical non-being.”10 Social feminism “naturalize and denature the category ‘woman’ and consciousness of the social lives of ‘women’.”11 The cyborg positions social feminism as a practice of being aware of self not by reinforcing this self, but by considering the self that is not. Stacy Alaimo clarifies Haraway’s concept of self-consciousness:

“the utopian cyborg allows us to think of ourselves in ways that subvert the dualisms of domination.”12 In particular, Alaimo is discussing the human/ animal boundary and nature/ culture dualism. She claims that the cyborg (as a creature that blurs the boundary between human/animal/machine) destabilizes the myth of nature as an object to be dominated. On the other hand, she explains that eco-feminist “strengthen the bonds between women and nature by critiquing their parallel oppressions.”13 In other words, the association of women and nature continues and supports western systems of oppression. Alaimo suggests that eco-feminism perpetuates Othering by acknowledging patriarchal capitalism and outdated woman/ nature associations.

context: eco-feminism In opposition to Alaimo’s utopian belief in the cyborg’s utopian society, Karen J. Warren’s ecofeminist philosophy explains how these dualisms exists within ecofeminist logic. “”Women and nature have been constructed as Other in patriarchal societies’ and the dichotomies of man-woman, culture-nature, mind-body, and reason-emotion in Western society have led to a dominance of supposedly ‘male’ characteristics” and the “logic of domination.”14 Ecofeminism explores the negative effects of the “man-nature dichotomies.”15 In effect, the purpose of the ecofeminist is not that different from the utopian vision of the cyborg. In “Into an Era of Landscape Humanim”, Gina Ford states “truly sustainable development requires careful orchestration of complex layers of technical expertise as well as the including of many distinct voices and constituencies.”16 This socio-ecological positioning considers multiple points of views. This practice does not blur human/nature man/nature culture/ nature boundaries, it reinforces experiences of women, species, societies, etc. This is contrary to social feminism and the cyborg which “naturalizes” and “denatures” these exact experiences.17 To expand on this juxtaposition between the work of the cyborg and ecofeminist works, I will use two eco-works. The first is Ana Mendieta’s “Tree of Life.”18

This mid to late 1970s series features Mendieta’s body camouflaged with elements including (and not limited to) mud, sticks, blood, feathers.19 Mendieta’s series is a notable visualization of the ecofeminist philosophy. Her womanhood represented with her body is physically transformed by earth. What is more is the photographs are powerful and evocative. Like many ecofeminists works of the time, “Tree of Life” is a metaphor for life, death, birth, and her spiritual connection with the earth. This work embodies the metaphor of the goddess. Mierle Laderman Ukeles’ 1973 “Washing/Tracks/Maintenance: Order” incorporates many scales of ecofeminist ideology. In this set of photographs, Ukeles is Mierle Laderman Ukeles’ 1973 “Washing/Tracks/Maintenance: Order” incorporates many scales of ecofeminist ideology. In this set of photographs, Ukeles is tending to the built environment.20 She is photographed on her hands and knees mopping and scrubbing municipal steps with rags. This work allows us to define “women’s work” in comparison with the work of cyborg. Ukeles is jumping scales from the ‘household worker’ to the maintenance worker. These scales will allow us to think about the metaphor of the do-

mestic ‘household worker’ and the role of women as caretaker. Additionally, these photographs position the “white artist does the hands-on maintenance work that art institutions usually reserve for people of color.”21 This is significant in terms of the argument of the cyborg and the eco-feminists. Can we also understand how Ukeles Others herself not only as she performs ‘women’s work’ but also performing domestic work within the urbanscape? Lastly, it is important to note that both Ana Mendieta and Ukeles are using themselves as the subjects of their photography. Although their bodies are performing differently, Mendieta is transforming into earth and Ukeles is tending to the city, their bodies are photographed performing in ‘traditionally’ women roles. This work uses the domination and oppression of women’s role to expose societal neglect and oppression.

post-nature / within nature

footnotes 14 N. Claire Napawan, Ellen Burke, and Sahoko Yui. “Women’s Work”. Avery Review. 4 15 Ibid. 3-4 16 Ibid. 4 17 Haraway, Donna. “A Cyborg Manifesto: Science, Technology and Socialist Feminism in the Late Twentieth Century,” (New York: Routledge, 1991): 298 18 See “tree of life” 19 Ibid. 20 See “washing/tracks maintenance:outside” 21 Ibid. 22 Haraway, Donna. “A Cyborg Manifesto: Science, Technology and Socialist Feminism in the Late Twentieth Century,” (New York: Routledge, 1991): 293 23 N. Claire Napawan, Ellen Burke, and Sahoko Yui. “Women’s Work”. Avery Review. 4 24 Alaimo, Stacy. “Cyborg and Ecofeminist interventions: Challenges for an Environmental Feminism”. in Feminist Studies (Vol. 20, No.1 Spring 1994). 145 25 Ibid. 26 Ibid. 150

With an understanding of the late twentieth century context of social feminism and the cyborg relative to eco-feminism and the work of Ana Mendieta and Mierle Laderman Ukeles, we can begin to debate their approaches and reactions. How does their work use nature as a conceptual scaffolding? How do Haraway and ecofeminists blur the machine-body boundary via coding of realities? How does the work of the cyborg and eco-work react to domesticity and politics of the late 20th century?

“washing/tracks/maintainence:outside”

What is the role of and relationship with the “Earth” within these radical feminist theories? SF:

“The cyborg would not recognize the Garden of Eden: it is not made of mud and cannot dream of returning to dust.”22

EF:

“This separation [the sep aration between man and nature] places people outside the ecosystem of which they are a part and reinforces land ethic of either control or own ership instead of partners hip and interrelation ship.”23

With this statement, it seems that Haraway’s cyborg is directly criticizing the ideology of ecofeminists, specifically the earth-body work of Ana Mendieta. The cyborg clearly and strongly seeks to destabilize the man-nature nature-culture dualisms. In doing so, the cyborg positions a social feminism “that doesn’t exploit nature.”24 Alaimo continues to examine the relationship between social feminism and nature: “Merchant and Haraway disrupt this narrative by casting nature as an active agent, not an ahistorical, passive resource for domination.”25 This reinforces the point of view that Ecofeminism and eco-work exploits and Others nature along woman in the goal

of commenting on their equal oppression. She continues to call this a “politics in affinities of victimization or motherhood” rather than “political alliances of woman and nature.”26 The cyborg as a human-machine hybrid immediately subverts this victimization relationship alongside nature. The cyborg body is not an oppressed body; thus it is post-nature and more capable of critiquing and transgressing the gendered tendencies of a patriarchal society.

ship along with the symbolism of motherhood reinforces the power of Ana Mendieta’s message and the complexities of ecofeminism. I would argue that the work of Mendieta and the idea of partnership with the earth is not “an ahistorical, passive resource for domination.” The vulnerability between the elemental materials and the body of Mendieta is not an indication of oppression by the viewer (or society), it is a testament to human-nature respect and partnership. The cyborg, and by extension social feminism, does not have a relaIs it possible that the cyborg’s tionship with nature (by design) critique of mud and dust only because it does not exists within makes Ana Mendieta’s “Tree of the natural or built environment. Life” more beautiful? Mendieta’s Ecofeminism, and the symbol images evoke a return to the elements. The effect of her pho- of the goddess, are important tographs is contradictory to the because it reconnects bodies in mission of the cyborg. She links a built society to nature directly her body with not only elemental and respectfully. The cyborg is materials, but also positions this a machine body that exists in a body in a nature scene.27 It’s societal utopia rooted in society important to note that her body AND fiction. is not camouflaged with materials in a studio, but that her naked body is positioned within the environment. In doing so, this series literally and conceptually places herself within the ecosystem. It is also important to note that her eco-work does not manipulate or rebuild natural environments (re: Smithson or Heizer), she is only manipulating the appearance of her body. This relays respect and partnership with nature, rather than dominion or control. This relation-

footnotes 27 See “tree of life” 28 Alaimo, Stacy. “Cyborg and Ecofeminist interventions: Challenges for an Environmental Feminism”. in Feminist Studies (Vol. 20, No.1 Spring 1994). 133 29 N. Claire Napawan, Ellen Burke, and Sahoko Yui. “Women’s Work”. Avery Review. 7 30 Haraway, Donna. “A Cyborg Manifesto: Science, Technology and Socialist Feminism in the Late Twentieth Century,” (New York: Routledge, 1991): 304 31 N. Claire Napawan, Ellen Burke, and Sahoko Yui. “Women’s Work”. Avery Review. 8 32 Haraway, Donna. “A Cyborg Manifesto: Science, Technology and Socialist Feminism in the Late Twentieth Century,” (New York: Routledge, 1991): 302 33 Ibid. 306 34 Ibid. 35 Haraway, Donna. “A Cyborg Manifesto: Science, Technology and Socialist Feminism in the Late Twentieth Century,” (New York: Routledge, 1991): 295 36 N. Claire Napawan, Ellen Burke, and Sahoko Yui. “Women’s Work”. Avery Review. 5 37 See “washing/tracks maintenance:outside” 38 Alaimo, Stacy. “Cyborg and Ecofeminist interventions: Challenges for an Environmental Feminism”. in Feminist Studies (Vol. 20, No.1 Spring 1994). 137 39 N. Claire Napawan, Ellen Burke, and Sahoko Yui. “Women’s Work: An Eco-Feminist Approach to Environmental Design”. Avery Review. 10

patriarchal capitalism vs. destructive technophilia “On the one hand, Mother Earth and ecofeminist glorifications of nature play into the pockets of patriarchal capitalism; on the other hand, cyborgs forsake alliances between women and nature and may bolster a destructive technophilia.”28 These ideologies and their respective link with nature is intertwined with their position on and/or practice of technology. How does technological advancement reinforce and define the life of the cyborg/ the life of the ‘mother’? EF:

“Challenges to urban sus tainability are too often described in terms that position humans as standing outside the nature they seek to protect; in response, engineered or other techno-science solutions become predominant.”29

SF:

“Communication tech nologies depend on elec tronics.”30

EF:

“Translated into contem porary practice terms, the areas for innovation lie in the realms of process and public engagement, maintenance and monitoriing, and communications.”31

SF:

“Communications sci ences and modern biol

ogies are constructed by a common move the translation of the world into a problem of coding, a search for a common language in which all resistance to instrumental control disappears and all heterogeneity can be submitted to dis assembly, reassembly, investment and exchange.”32 This imagined conversation between social feminism and ecofeminism reinforce Alaimo’s statement above. In the interest of feminism, the advancement of communication is key. Eco-feminists communications are translated into civic and sustainable engagement. Mireles Laderman Ukeles’ work is a commentary on both. Additionally, contextualizing these statements within the work of Mendieta and Ukeles introduces the role of photography and performance art as specific codes of communication and public engagement. Their art is read and archived in photos. The work exists in the moment of performance, the negative, and the produced photo. These scales of interaction and impact are important within ecofeminism. In response, Haraway suggests that “the technologies of visualization recall the important cultural practice of hunting with the camera and the deeply

predatory nature of photographic consciousness.”33 In this reading of the eco-work, the scales of performance and photography are counter-productive to feminist practice. The codes associated with photography are inherently corrupt, regardless of intent. Haraway continues to say “the handcraft tool is inadequate to express our needed body politics in negotiation of reality in the practices of cyborg reproduction.”34 Embracing the machine-human boundary of the cyborg allows effective coding of communications and exchanges. Its position in science fiction and reality removes the control and oppression inherent to ‘handcraft’ and historic technologies of communication. With the cyborg, there is no patriarchal lens and no bias in code.

oikos in face of patriarchal capitalism and masculine politics` How does social feminism and ecofeminism react to the household, the household worker situated within societal frameworks?

destroy the boundaries between the ‘household worker’ and their urban context. Her work literally removes the boundary of ‘women’s work’ within the houseSF: “So my cyborg myth is hold and the city.37 Ecofeminism about transgressed bound allows us to define “women’s aries, potent fusions and work” in order to criticize its dangerous possibilities logic of domination. Unlike the cyborg, the challenges and which progressive people might explore as one part norms provoked by ecofeminism in respect to domestic labor has of needed political 35 physical economic and political work.” implications in society. Ukeles, EF: “The very act of sweeping for example, visualizes the link between sustainability, Othering, city streets outside her domestic labor, and the role house became a means of the environment in daily life. of linking her domestic It seems impossible that the actions with her neigh cyborg can have such an impact bors.”36 in society. That being said, in Social feminism and ecofeminism critiquing this eco-work, Alaimo blur the boundaries of the oikos, claims “Earth Day Special not only supports a capitalist ethic the household and the housebut also a patriarchal one, behold worker. The cyborg seeks cause it portrays the planet as to remove public and private a victimized female and suggests boundaries of the social relathat every-day environmental tions of the household. With the problem solving is “women’s technology and possibilities of destabilized dualisms, the cyborg work.”38 This proves that while ecofeminists and social feminists removes gender, bias, oppresboth seek to transgress public sion that accompanies having and private boundaries, the ways a body and culture linked to in which they support the Other environment and nature. In its place, the cyborg proposes a new is opposite. This is mostly likely environment: one that is between a result of the cyborg’s positionscience fiction and social reality. ing between fiction and social Without a doubt, this is a soreality. The cyborg has a concial feminist utopia. By removing ceptual impact, the opinions and private and public boundaries practices of domestic laborer of self and self-awareness, the have a physical one. After all, cyborg is both an economic and “as humans we exist within our political statement. The work, spe- oikos, the environment that is cifically of Ukeles, also seeks to

our home and ourselves.”39 The cyborg is a cybernetic organism, its home exists in its “self” and social context. Considering the conceptual role of nature and technology and the systematic role of social politics, would you rather be a cyborg or a goddess? Is it not possible to be both? A creature that acknowledges a transgressive self who is capable of translation and communication without distortion and historical oppression and a self who is connected to nature and their environment defiant against societal and patriarchal dominion. Perhaps this is possible. We must acknowledge that the cyborg is in not only a utopian ideal of science fiction, it is rooted in reality and a goddess exists not only as a symbol of motherhood in nature, she is a domestic laborer in the built environment.

PS64 site plan

eco-logic CoreII with Karla Rothstein; Spring 2020; Rhino, VRay, Illustrator, Photoshop; eco-logic: tending & learning; PS64;

PS64

mountain building (antithesis) <weaving logics; navigation; occupation; engagement; play; exploration; contemplation; transparency>

distortions (synthesis)

<A synthesis of tending and learning can be understood by analyzing communication and the degree of ‘loss’ that Agnes Denes refers to as “study of distortions.” Her 1969 exercises in eco-logic can be translated to the built environment and the school. Eco-logic engages a trichotomy of LIFE, its opposite DEATH, and the higher IDEA.> distortions (synthesis) <induction; semination; idea/research; succession; development; temporality; transmittal; preservation of concepts; survival; growth/evolution; continuum; transcendence>

mountain building (antithesis)

rice planting (thesis)

tending (metamorphosis)

plan and section

structural diagram

tending (metamorphosis)

tending (metamorphosis) <intertwined impact; communication; conversation; degrees of miscommunication; study of distortions; octopus model; paradoxes of existence; spatial & ecological connection; transparency; atmospheric structure>

MATH ROOM PUBLIC LOBBY / STUDENT UNION

MEZZ 2 MEZZ 1

STAGE

MIDDLE SCHOOL PASSAGEWAY

MEZZ 3

tending (metamorphosis) Architecture and landscape are intertwined. SCIENCE LAB SCIENCE LAB

MUSIC STUDIO

DANCE STUDIO

build mountains/ build mushrooms Coding for Spatial Practices with Celeste Layne; Fall 2021; html, css, JavaScript; <A website to re-contextualize past studio projects through collage, ephemerality and random image generation.>

build mountains thelastbabyblue.github.io/spatial-practices/projects/project03/page_02.html

build mushrooms thelastbabyblue.github.io/spatial-practices/projects/project03/page_03.html

indigenous futurisms

gateway house

AdvIV with Vanessa Keith; Spring 2021; Rhino, Grasshopper, Twinmotion, Illustrator, Photoshop; beneath our feet; Schaghticoke Conservation and Cultural Center <Beneath our feet asks us to think about the geological and fungal histories and networks that lay below ground, visible on the surface only when we’re willing to give time and energy to understanding the delicate systems and geologies below. Training our senses to see, smell, and feel the energies that live beneath us.>

partners Partner organization: Schaghticoke First Nations, West Copake, New York Design partners: Alyna Karachiwala, Henderson Beck

73-acre site

site <Three structure typologies were designed for the 73 acre conservation and cultural center: a main house, passive house, and gateway house. I focused on the design, construction and representation of the gateway house.>

fungal networks on site

mycelium brick process

design sketch

mycelium networks

design team on site with Schaghticoke First Nations

Schaghticoke First Nations’ Hawk leading a hike on site

beneath our feet <We imagine a 1000-year-future where the unseen mycelium networks surface above ground, adjusting, evolving, and living in, on, and among our architecture. While the lack of human interaction in the sight may be seen as unsettling to some, we welcome intertwining architecture and nature. As we learn to respect what’s beneath our own feet, we learn to acknowledge the sacredness of land, mycelia, and to think about what it means to give architecture to the fibers of the Earth.>

gateway house elevation

design sketch

gateway house plan

mycelium insulator <Easily produce-able and a strong insulator, mycelium bricks will create the walls of several temporary pavilions at the gateway and provide insulation in our main house and passive guest houses throughout the site.>

at night

the gateway house is made from mycelium bricks

kombucha leather

kombucha leather Making Kin with Biomaterials with Chris Woebken; Fall 2021; fabrication; curation; <n this post-petrol world, we know our body will never suffer from the toxicity of old death practices including embalming and cremation. Our microbes are our legacies. My kombucha is my tomb for living as much as it is a preparation for my death. A present and future gift of the environment I crafted, the memories I’ve made and the people I’ve shared a life with.>

kombucha altar

SCOBY samples <Three SCOBY samples were developed in three different environments with Camille Newtown and Ethan Davis.> <SCOBY refers to the symbiotic cultures/colony of bacteria and yeast that creates kombucha. When the SCOBY is dried it produces a leather.>

SCOBY drying process

cedar slabs The Outside Project with Galia Solomonoff and Laurie Hawkinson; Spring 2021; fabrication; project management; <Four cedar slab benches for the Spring 2021 pavilion @averyspot. Each bench is fabricated from one refurbished cedar slab.>

team <The bench team consisted of Vera Montare Savory and Blake Kem.> <Cedar slabs were sourced from Robert Rising of NYCitySlab in Dover Plains.>

slabs deconstructed in shop

visit to NYCitySlab to choose slabs

bench assembly

design

detail

cedar benches on site @averyspot

a favorite place for models

the future <Once the pavilion closed at the end of Summer 2021, the benches found a forever home in Avery Hall.>

sensory device

cool metal beads behind ear and cool soft gel beads on neck

AdvV with Bryony Roberts; Fall 2021; making; Photoshop; Illustrator; <The sensory device, although small, is designed to calm the body via main pressure points on the neck and behind the ears.>

the device hooks onto the ears with a cuff

how to use <Colorful annd ergonomic, the device can be discretely hidden for everyday use or used as an anti-anxiety acessory for a pop of color on a stressful day.> <Although fitted for behind the ears, the device can also be activated on pressure points at the temples or on your third eye.>

cooling beads replicate comfortable feeling of being underwater

push down on metal beads on pressure points behind for ‘brain massage’

makergraph

bluescapes

AdvVI with Lot-ek (Ada Tolla & Giuseppe Lignano; Spring 2021; Rhino, Illustrator, Photoshop, InDesign, Making; bluescapes; landscapes;

the book <The book has no beginning and no end. You may start with bluescapes or you may start with landscapes.>

book spine

landscapes

pink and blue <Pink and blue to play with the notion of gender binary of which I do not conform. “Girl” and “Boy”.> <Blue to represent an obsession with the color/feeling of blueness and pink to represent curves, design, deconstruction, and landscapes of color.>

the book represents four materials, six objects, a design and fabrication process; but first and foremost it is an immersive experience.

blues <Take blues from candy; blues from the sky and the sea just leave mine with me.>

select spreads from bluescapes and landscapes

the objects

objects in context

“i invite you into my corner of domesticity, my corner of blue, my corner of texture”

<Plastic, Wood, Metal, Fabric.> <Designed to be deconstructed. Temporal. Precarious. Surfaced in blue. Wrapped in texture. Excessive tape, excessive staples, excessive annotations. Secured with metal brackets and screws.>

‘packed’

scenes <Scenes made for you with pieces of my home, scraps and gifts from friends and old roommates.> <A scene by baby blue. Blue is the surface, it travels in waves.>

i live alone

ikea blue chair

23 41 "

24" R11

NOTES:

1 2"

21 21 "

FOLDING PATTERNS TO ACCOMODATE SHELL

THIS IS A PROCESS OF SURFACING IN BLUE. ALL EXTREMITIES ARE REQ. TO HANDLE OSCILLATING PIECES.

1/4" FOAM CUSHION SEE NOTE B

A: STRAPS ARE TO BE READHERED TO THE SIDE, BACK TOP AND BACK BOTTOM OF THE CHAIR TO ALLOW FOR MOBILITY, AND TO COVER EVIDENCE OF YELLOW FOAM, WOOD, & METAL JOINTS

91. 31°

1/2" SHAPED WOOD

1 4"

B: EXTG 1/4" YELLOW FOAM CUSHION REMAINS. C: A FINAL OVAL PLASTIC LAYER (3/4" FROM EDGE) COVERS BACK PANEL & BOTTOM PANEL.

4.16°

1 4"

1 2"

FRONT VIEW

3 4"

1 CHAIR BOUGHT WITH AN OLD ROOMMATE IN 2019 1 4"

2 IKEA BAGS. 1 FROM A FRIEND, 1 FROM MY MOM. BOTH PREVIOUSLY HELD VARIOUS LINENS STORED UNDER THE BED. CUT IKEA BAG INTO 4 OVALS.

3 41 "

QUANTITIES

173 STAPLES

BACK VIEW

BEHIND FINAL SURFACE LAYER

SIDE VIEW 1 2"

19 21 "

69 .40

3 4"

30 41 "

R10

9°

0 46.

STRAP. SEE NOTE A

91.

31°

R5 21 "

1 4"

1 2"

5 21 "

2 43 " 8 43 "

LEAVE MIN. 2" LAYER 1 OF BLUE PLASTIC FILM TO AVOID SEEING YELLOW FOAM BEHIND

BAGS MAY NEED TO BE CUT MULTIPLE TIMES IN ORDER TO PROPERLY COVER BRACKET, FOAM & WOOD ON BACK & BOTTOM LAYERS

LAYER OF BLUE PLASTIC ON TOP OF YELLOW FOAM AND WOOD. SEE NOTE C IKEA BLUE CHAIR

DRAWN BY: KAELI ALIKA STREETER DATE: JAN. 2022 STUDIO: GSAPP LOT-EK MAKERGRAPH

material

small blue table <Secrets, secrets, secrets covered in blue. A blue surface. A blue identity.>

a new name: thelastbabyblue <When I was 3, I made my first blue book. Finding blue things throughout my small, expanding world. A Miami baby, my blue book consists of pools, popsicles, and flip flops.

15"

When I was 21, I made my second blue book. I was blue: the feeling. I yearned for the comfort of blue: the color and found solace in rooftop pools.

R13 43 " 5"

R24 21 "

6 41 "

8 43 "

3 21 "

R4 21 "

TOP VIEW L1 3 4"

1 1 1 2 "1 4 "1 4 "

1 4"

1 " 41 "1 41 " 21

BLUE TAPE USED TO COVER METAL BRACKETS, GAPS & INITIAL WHITE TAPE @ EDGES OF TABLE.

TOP VIEW L3 (BLUE)

WOOD COMPOSITE

small blue table

R5"

R6 41 "

13 21 "

1 4"

R11"

1 4"

R11

13"

1 4"

INTERIOR SIDE VIEW 4 21 " 1 41 " 4"

INTERIOR SIDE VIEW NOTES:

3 4"

BLUE IS ONLY THE SURFACE OF THIS CHEAP WOOD RECTANGLE.

1 4"

TOP VIEW L2 4 43 "

9 41 "

ONCE I CUT OFF 3 SIDES OF THE TABLE, IT REVEALS A MIX OF A DENSE WOOD COMPOSITE AND PIECES OF THIN WOOD WITH WAFFLED CARDBOARD. TO MAKE THESE CUTS, I REMINDED MYSELF OF THE CURVES OF MY MOTHER. CURVES THAT

For the past five years, this has been my identity. A new name: the last baby blue. The more I resist this name, the more it defines me. Blue objects, blue gifts, blue thoughts.>

SIDE VIEW (BLUE)

HAVE BECOME MY OWN AS I ENTERED ADULTHOOD.

E AN OBJECT WHERE ALL CURVES FACED EACH OTHER.

THE FIRST ATTEMPT TO STACK AND SHAPE THESE BLUE WOOD CUTS WAS RULED BY FLAT SURFACES TOUCHING FLAT SURFACES, CURVED SURFACES TOUCHING CURVES. THIS RESULTED IN A 3- LEGGED OBJECT COMBINED WITH WHITE TAPE. UNHAPPY WITH THE RANDOMNESS, I RETURNED TO THE

CURVES PROTECTED BY BLUE. THIS CONCEPT PROVED TO BE UNSTABLE. THE FINAL OBJECT BEGAN BY COMBINING

EDGES WITH TAPE. POINTS MEETING POINTS. EDGES MEETING EDGES. CURVES OPEN AND EXPOSED. THE CURVE CUTS EXPOSE THAT THE WOOD IS INDEED NOT BLUE - IT IS THIS FLIMSY WOOD COMPOSITE. TO CONTINUE THE ILLUSION OF BLUE SURFACE,

SMALL BLUE TABLE

SIDE VIEW (BLUE) I ONLY COVERED THE WHITE TAPE ON THE SHARP BLUE EDGES. LEAVING THE WOOD AND WHITE TAPE EXPOSED IN THE “UNFINISHED” CENTER OF THE OBJECT.

DRAWN BY: KAELI ALIKA STREETER DATE: JAN. 2022 STUDIO: GSAPP LOT-EK MAKERGRAPH

QUANTITIES: 1 TABLE 6 PIECES 7 METAL BRACKETS 4 PIECES OF BLUE TAPE 8 PIECES OF WHITE TAPE

blue light

blue light lamp

NOTES: 2 21 "

THE GOAL ISS TO LEAVE THE ERGONOMIC CAN IN ITS TOTAL FORM.

R21 "

2 21 "

10"

3 4"

THREE TRIALS WERE CONDCUTED WITH VARIOUS AMTS OF SLICING THE CAN. 1. THEN THE CANS WERE FITTED INSIDE ONE ANOTHER AND TAPED FOR STRUCTURE. THE LARGEST RING INCLUDING 12 CANS TOTAL, A MULTIPLE OF FOUR. THE CANS ARE OPTIMIZED 2. THE BOTTOMS OF THE

METAL WIRE SHAPED AROUND LIGHT BULB 2 21 "

lacroix can

CANS ARE CUT AND FORMED AROUND A CIRCULAR OBJECT. A 'DISCO BALL'. 3. THE CANS ARE LEFT IN THEIR FULL FORM. THE LIGHT BECOMES BLUE. BLUE PEAKS FROM ABOVE, BELOW AND BTWN THE BLUE METAL. CANS ARE SOURCED FROM MY HOME AND THROUGHOUT THE SCHOOL. PEOPLE HAVE BEEN COMING UPSTAIRS TO MY BLUE CORNER OF STUDIO UP TO 4 TIMES A DAY - CHUGGING 10

2 21 "

QUANTITIES: 18 CANS 2' LONG METAL WIRE BLUE LED LIGHT BULB

1 4"

2 21 "

2 41 "

TOP VIEW

WATER. INITIALLY, I STARTED WITH JUST 10 CANS FROM MY HOME. NOW IT ’S EXTENDED OUT OF MY HOME INTO THESE PEOPLES LIVES.

3 4"

5 21 "

2 21 "

5 21 "

1 4"

METAL WIRE

5 21 "

1 2"

5 43 "

BLUE LIGHT

SECTION 2 21 "

3 4"

1 4"

2 41 " 10

2 21 "

DEGREE OF ANGLE CHANGES TO ALLOW FOR DIFFERENT AMTS. OF LIGHT TO ESCAPE CREASE BTWN CANS

1 4"

ELEVATION

BLUE LIGHT LAMP

DRAWN BY: KAELI ALIKA STREETER DATE: MAR. 2022 STUDIO: GSAPP LOT-EK MAKERGRAPH

blue travels in waves <The sky is blue because of electromagnetic radiation by particles of a much smaller wavelength. The sky is blue because as the sun’s light reaches Earth’s surface, every color of the rainbow encompasses us, but blue scatters through particles and gases. Our Earth scatters and reflects blue. Light on this planet is white. The substance is colorless, the blue is surface.>

rocking chair

blue is the surface

NOTES:

16"

R5 21 "

R11

EXTG BOTTOM CONCAVE SEAT TO BE RETAINED. KEEP EXTG VELVET. RE-UPHOLSTER BOTTOM INTO LANDSCAPE OF TEXTURES & COLORS. SOFTEST TEXTURES TO BE ON EDGES OF SEAT FOR SENSORY ACTIVITY. SEE NOTES.

1 2"

ALL EXTREMITIES ARE REQ. TO HANDLE OSCILLATING PIECES.

3 4"

R41 "

6 41 "

NOT BLUE - TOP SHELL (BELOW VIEW) 2 41 "

R21 21 " R20" R18 41 "

1 4"

17 21 "

27 41 "

3 4"

6 41 "

16"

23 43 "

DREMMEL BIT USED TO CUT METAL LEG AND BEND FORWARD.

1 2"

3 4"

17 21 "

FRONT VIEW

SIDE VIEW EXTG LAYER OF YELLOW FOAM

3 4"

1 4"

CHAIR OSCILLATES SIDE TO SIDE

16"

COLLAGE OF BLUE SECURED BY STAPLES AT EDGES

1 2"

DRILL NEW D1/2" HOLE IN BOTTOM PIECE TO ALLOW FOR STABLE ROCKING.

OVER 20 DIFFERENT REARRANGEMENTS ARE EXPLORED TO CREATE THE ROCKING CHAIR. HOW DOES IT FEEL TO REST? HOW DOES IT FEEL IT TO BALANCE PRECARIOUSLY ON AN EDGE? TO HAVE MY BODY SUSPENDED ON FABRIC LIKE A MINIATURE HAMMOCK? TO OSCILLATE SIDE TO SIDE? OSCILLATING, BALANCE. AN ANTI-FIDGET, ANTI-LEG-TAPPING, ANTI-ANXIETY MOVEMENT. BACK AND FORTH. IT FEELS LIKE COLOR – COLOR SUPPORTED BY BLUE. CURVES SUPPORT CURVES, EDGES SUPPORT EDGES .A LANDSCAPE OF COLOR. HIDDEN, ROLLING, OVERLAPPING. IT IS ESSENTIAL FOR THE MOST COMFORTING TEXTURES TO BE AT THE EDGE OF THE SEAT. BLUE SCRAPS FORM A PATCHWORK OF BLUE TO SUPPORT THE ROCKING, STAPLED INTO THE WOOD. HOLLOW METAL LEGS FILLED WITH WOOD, DRILLED INTO TO STABILIZE THE MOVEMENT. QUANTITIES 1 CHAIR BOUGHT WITH AN OLD ROOMMATE IN 2019 SEVERAL BLUE & COLORED FABRIC SCRAPS 98 STAPLES

ROCKING CHAIR BLUE - BOTTOM SHELL (TOP VIEW)

DRAWN BY: KAELI ALIKA STREETER DATE: FEB. 2022 STUDIO: GSAPP LOT-EK MAKERGRAPH

rocking chair

rug

landscapes of color

designed to be deconstructed

ikea bag baseboard

rug 4 41 "

51" 1 2"

1 21 "

2 21 "

5 21 "TYP.

3 4"

ikea bag baseboard

27"

WOOD PROVDIED FOR THE BASEBOARD BY NEW AFFILIATES AND IS A REQ. OF THE STUDIO

36"

BOTTOM VIEW (NO BLUE) 4 STRAPS TO HOLD LAMP & LAMP POST DURING WHEN NOT IN USE.

36"

1 2"

3 4"

5 41 "

1 4"

36"

STRAP 1 USED TO CARRY ON SHOULDER

1/2"D OPENING FOR LAMP POST

8 21 " 1

14 21 "

SIDE VIEW 13"

1 4 "TYP.

STRAP 2 USED TO CARRY BY HAND

IKEA BAG FOLDED AND STAPLED INTO WOOD

TOP VIEW 3 1 1 1" 2 4 " 2"

2 41 "

2 21 "

1 4"

SIDE VIEW

IKEA BAG BASEBOARD

2" HOLE @ BOTTOM OF INITIAL PEDESTAL TO DRAIN 2 LB OF SAND.

25 41 " COLORFUL, TEXTURED LANDSCAPE SIDE

DRAWN BY: KAELI ALIKA STREETER DATE: APR. 2022 STUDIO: GSAPP LOT-EK MAKERGRAPH

25 41 " POCKETS OF BLUE INDICATE INTERACTION WITH BLUE FURNITURE

TOP VIEW (UNFOLDED) LANDSCAPE SIDE

1 4"

FRONT VIEW/ SECTION VIEW

35 43 " SIDE VIEW

FRONT VIEW (UNFOLDED) LANDSCAPE SIDE UP

METAL HINGES CREATE LANDSCAPE WHEN UNFOLDED. DOES NOT LAY FLAT.

FRONT VIEW (FOLDED) BLUE EXPOSED METAL HINGES ALLOW RUG TO BE FOLDED FLAT AND MIMIC THE DIM. OF THE BASEBOARD.

BLUE SIDE NOTE: RUG CUT INTO 4 PIECES TO REMAIN FOLDABLE

RUG

DRAWN BY: KAELI ALIKA STREETER DATE: APR. 2022 STUDIO: GSAPP LOT-EK MAKERGRAPH

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