SOALA AJIENKA, GABRIEL ANDRADE, SLOAN AULGUR, TEJUMOLA BAYOWA, HARRIS CHOWDHARY, MARA DIAVOLOVA, TATIANA ESTRINA, BRENDA HERNANDEZ, JUAN SALAZAR, CHARLES JANSON, SO JUNG LEE, COURAGE KPODO, EVAN ORTIZ, AZANIA UMOJA, MACKINLEY WANG-XU, INA WU, JEONGHYUN YOON
M.ARCH THESIS PROJECTS
DECEMBER 19TH, 2024
Face Me, I Face You: Towards An Indigenized Economy Of Glass In Southern Nigerian Dwellings
Soala Lolia Ajienka
Sweating Details:
Labor Of “Los Constructores Del Valle”
Gabriel Castro-Andrade
Green Herrings In A Yellow Room
Sloan Aulgur
If These Hills Could Speak
Tejumola Bayowa
Marketplace Multiculturalism
Harris Chowdhary
How Things Come To Matter
Mara Diavolova
Architecture as Prothesis
Tatiana Estrina
Public
Brenda
Courage
Falling
So
Dynamic
Evan
Sanctuary
Juan Salazar
Ina
Jeonghyun
SOALA LOLIA AJIENKA
Face Me, I Face You:
Towards an Indigenized economy of glass in Southern Nigerian Dwellings
We’re sitting in a Face Me, I Face You apartment—a U-shaped bungalow tenement typology common in Southern Nigeria. These homes, built from catalogue in the colonial era, squeezed life into narrow courtyards to maximize constrained land and capital. Yet, the story of these homes is also the story of imposed materials: colonial governments outlawed local kilns, replacing culturally resonant materials with imported bricks, timber and glass.
Today, many of these units rely on corrugated roofs, hollow blocks, and mass-market windows—materials chosen just for affordability and apathetic to their local context. This thesis complicates glass, transforming it from a passive material into an active participant in the forming of living spaces. Using locally sourced silica sand, artisanal glass here becomes a tool for storytelling, of its material origin, of light, of labor and of a lost glass making history. Hand-blown glass rondels, set into modular roof frames, diffuse sunlight into warm, shifting patterns while reducing energy inefficiencies.
The thesis re-centers artisanal glass as a protagonist and a material of transformation, reimagining the “Face Me, I Face You” housing typology into one that confronts Nigeria’s urban realities. Drawing from the rural compound house, it proposes a model of environmentally resonant, affordable, and culturally relevant housing. The proposed typology tackles limited capital and dense urban plots with a mixed-income approach, crossfinancing subsidized SRO units with higher-income rentals and storefronts.
Courtyards—central to these homes—become stages for daily life, where meals, stories, and rituals unfold. As sunlight shifts, the courtyard transforms into a dynamic space—mornings of tea and conversation, afternoons of shared meals, and evenings of storytelling under dappled light.
Co-Advisor: Sheila Kennedy
Co-Advisor: Kairos Shen
5pm: Through the Looking-Glass. Image by Author
Fig.1:
Sweating Details:
Labor of “los Constructores del Valle”
“You should always be grateful for the work you can find, so make sure you prove you deserve it.”
Commonly heard growing up amongst the Builders of the Valley in Orange, NJ. The necessary attitude that fuels the built environment.
This thesis explores the embodied experiences of those who physically build the city and its architecture, positioning architectural design as fundamentally tied to the labor that makes buildings possible. It centers on two primary questions: “Who builds this architecture?” and “How does this design impact a builder’s occupational livelihood?”
To challenge professional standards that perpetuate a disconnection between designers and builders, this thesis reconnects me, as a designer, with my builders from Orange, NJ. These individuals—professional construction workers— shaped my earliest understanding of the built environment and how to navigate it socially and professionally. Through this process, I learned more about who they are, how they entered construction, and how the work has affected them over the years.
This education with ongoing dialogue projects towards future opportunities to work together, focusing on designing better for the act of building by prioritizing the physical, mental, and financial longevity of my Builders. The culmination of this research and communication is materialized through four architectural details within a workspace, designed to showcase my Builders’ expertise and affinities as professionals. These details reimagine occupational choreography, opening up for future workflows that think through both lessening and healing the musculoskeletal disorders that many Builders face after years of laboring across the tristate area.
Advisor: Sheila Kennedy
Reader:
Mark Jarzombek
Fig.1: Choreography that destroyed Caballo’s hand and elbow. Image by Author Fig.2: Proposed choreography to lessen existing MSDs. Image by Author
SLOAN AULGUR
Green Herrings In A Yellow Room
Charlotte Perkins Gilman’s The Yellow Wallpaper is a designer’s work of critical fabulation. Published in 1892, the short story follows an unnamed woman prescribed a “rest cure” by her husband, John. Confined to a room wrapped in gothic yellow wallpaper, the narrator becomes obsessed with its patterns. As her mind deteriorates, she sees a woman trapped behind the paper. This production reimagines Charlotte’s bedroom as not yellow, but green—a rich, vibrant green laced with the medium responsible for its provocative coloration: arsenic.
The toxic pigment, invented in the late 18th century, induces bodily ailments, mental instability, and even death when used in textiles. Interiors threatened tenants with toxins as this green spread through 19th-century Europe before reaching New England and our narrator. Though known as an author and suffragette, Charlotte was first a designer. As a student in the inaugural class of the Rhode Island School of Design, she studied the arts just miles from the ports where the green pigment began its early residence. Her writing draws from arsenic publications, her scenes mimic medical case studies, and archives suggest she was aware of these toxic walls.
This theatrical table reading positions the authoring of The Yellow Wallpaper within the simultaneous stories of the arsenic wallpaper. Why does the author mimic material traces of the green while redirecting her readers to the yellow? When does the color transition from literal to abstract? This work recontextualizes the foundational feminist text by unfabulating the story through design—questioning Charlotte’s literary misdirections and the public discourse surrounding the toxic color.
Advisor: Ana Miljački
Reader: Xavi L. Aguirre
Fig.1: A Yellow Smell. Image by Author
TEJUMOLA BAYOWA
If These Hills Could Speak
If these hills could speak, what would they reveal, and how would they express it? This central question guides this thesis, which examines three hills in the heart of Ibadan, Southwest Nigeria—each occupied by the ruins of colonial monuments. Before the construction of these structures, the hills served as sanctuaries, providing water, food, and safety. However, under British colonial rule, architecture was weaponized to disrupt this harmonious relationship.
Over the course of 50 years, three monuments were erected that mark Britain’s colonial imprint on the city: a neoclassical courthouse (1925), built to assert control over the central market; a 60-foot tower (1936), which displaced the surrounding forests; and a theater (1977), built during a time of national struggle for unity and identity.
Today, at the foot of these hills, a community has forged a way of life within a broken system. By repurposing and subverting structures in ways their creators never intended, this community embodies a praxis and poiesis of adaptive creativity within the built environment. This process represents a transformative act of pidginization—a collective tactic for repair, resistance, and re-appropriation in response to an ongoing, imposed sociopolitical order.
For these hills to speak again, the ruins must be transformed. This thesis begins that process by applying acts of pidginization learned from below to the three ruins. It proposes their conversion through deconstruction and de-monumentalization, with the aim of fostering economic development, ecological restoration, and cultural production in the city.
Advisor: Roi Salgueiro Barrio
Reader: Sheila Kennedy
by Author
Fig.1: View of Bower Tower, based on archival image. Image
Marketplace Multiculturalism
Picture Texas.
No longer simply cowboys, footballs, and firearms, this land today is sustained by a daily choreography of cross-border commerce, managed by entertainment media turned handheld surveillance, and peppered with enclaves of immigrants from the world over. A contact zone where logistical and legislative apparati warp to serve consumer comfort, Texas today is the world tomorrow: forget the Alamo, it’s highways, tax-incentives, and backyard barbecue on the 21st century frontier.
This thesis responds to a call for roadside service stations along a planned international tourist corridor in the TexasMexico borderlands with six interventions: a panoramic viewing tower disguised as a billboard, a sunken stadium for athletic agonism, a photovoltaic drive-in charging cinema, an international culinary incubator, a showroom for automated fulfilment, and a customs and border patrol welcome center.
These structures are testing grounds for modes of relation and value exchange that edge beyond the outdated positivisms of globalization. They ask how architecture might produce new possibilities and publics by working within and taking advantage of contemporary systems of control. As tourist destinations, the stops suggest the nation’s true mythos lies not in static symbols but in choreographies of transaction and contact.
Articulating in built form the dynamic processes that define a territory of sprawl, this proposal suggests that Texas’s most authentic monuments are the stops we make along the way.
Advisor: Jaffer Kolb
Reader: Renée Green
Fig.1: Adapted from “Texas, Land of Contrast” 1970, published by Texas Highway Department
MARA DIAVOLOVA
How Things Come To Matter
Communist practices, like forced collectivization and centralization fractured Bulgarian society along spatial lines. Collectivization was envisioned as a unilateral economic tool for the complete restructuring and accelerated development of the countryside. Yet, the appropriation of private land, acquired only a generation earlier, proved economically dire for the mountainous terrain of southern Bulgaria. And so, as a consequence of this economic pressure, the first generations under communism severed ties with the village. With this severance, came a turn away from village matters. Today, the rural is a site trapped between a folkloric spectacle for tourist eyes or ruin-porn emanating from its post-socialist imaging.
This thesis aims to re-vision future(s) in the central Rhodope region of Bulgaria, orbiting a constellation of villages along route 86; it is interested in weaving together the illegible histories of the region through its material cultures. The architectures of this region, themselves in states of perpetual change – subject to the decommissioning of the socialist project, changing ownership structures, transforming uses, disrepair and decay, mending and patching – become the archive. The buildings tell the story of matter under transformation, rendering visible not only the folkloric and vernacular, but also that which was swept under the rug of socialist ruin. The story they tell, individually and together, will seek to reposition them from billboards of restorative nostalgia, to subjects and sites of re-vision.
This thesis takes on the discombobulated fragments of the past and the present, re-visions, and puts forth a new mode of practice – grafting. Through a series of material acts – grafts – three vacant buildings are transformed from financial assets in the hands of shadow entities, into sites of embodied cultural matter.
Advisor: Ana Miljački
Reader: Jaffer Kolb
Fig.1: Graft Type 004. Image by Author
A B C
TATIANA ESTRINA
Architecture As Prosthesis
Our lives have become exceedingly comfortable. In fact, we are cheerfully inside of comfortable bubbles, while the world around us burns. Today, 90% of our time is spent indoors, transforming interior spaces from mere shelters into comfort cocoons.
Daniel Barber’s After Comfort questions the necessity of such intensive comfort in buildings, citing their environmental impacts. However, the conversation must go further. Designers must critically examine the comforts we create—not only for their environmental consequences but also for their effects on the evolution of the human species.
This thesis posits that architects must consciously consider the long-term impacts of their designs on future generations. It is imperative for designers to intentionally decide what to advocate for as we build for the deep future—not only addressing today’s environmental effects but anticipating those of tomorrow. How can we predict the repercussions of our current lifestyles on future generations? How might we design with these possibilities in mind?
To explore these questions, this thesis employs simulation as a design tool, to observe humans’ social, physical, and psychological responses to architectural conditions over generations. The research concludes with strategies derived from simulations to mitigate undesirable outcomes and proposes revised existing building designs to implement them. By merging design, gaming, and narrative fabulation, this research explores how the spaces we inhabit today could transform humanity’s future, urging architects to approach design with greater intention and foresight.
Advisor: Skylar Tibbits Reader: Stefanie Mueller
Magazine spread of the future. Image by Author.
Fig.1:
Public Too Private:
Protecting Public Space On Boston’s Waterfront
Public spaces are essential to the cultural and social fabric of cities, providing opportunities for recreation, connection, and shared experiences. Along Boston’s waterfront, the Massachusetts Public Waterfront Act, or Chapter 91, seeks to uphold this principle by mandating public access and amenities in waterfront developments. Yet, the balance between public and private interests often reveals a disconnect between legal aspirations and the realities on the ground.
My thesis examines the dynamics of public space along Boston’s waterfront, exploring how design, policy, and development intersect to shape these areas. Through case studies, it examines the challenges of maintaining equitable access and inclusivity, uncovering patterns where privatization and exclusivity take precedence over public benefit.
To evaluate these spaces, I created a framework grounded in key architectural and urban theories, translating abstract concepts of “publicness” into actionable criteria. This framework assesses aspects such as accessibility, openness, and the balance of public and private uses, offering a critical lens to reimagine urban waterfronts.
What defines a successful public space? Should we settle for a space’s mere existence, or should we critically evaluate its quality and the experience it provides? Furthermore, how can design support policy with the precise language needed to create improved public spaces?
Advisor: Xavi L. Aguirre
Reader: Miho Mazereeuw
Fig.1: Mapping the Mandate. Image by author.
CHARLES JANSON
BUILDING INSURANCE:
Neighborly Forms for Mutual Upkeep
Over the past 350 years, the building insurance industry has been shaped by a series of major urban fires, each incrementally standardizing risk assessment and property valuation as financial products. In recent years, however, climate change introduced weather events have challenged the fine-tuned models of insurance; in particular, the rise of wildfires in California and the Pacific Northwest has led to withdrawal of insurance altogether. Within these contexts, the spatial conditions inherited by a highly insured past continually sustain separation, individual prosperity, and standard assemblies packaged within the typology of the single-family home. At this critical juncture of system failure, this thesis asks: how can architecture rethink more cooperative forms of building and living together that localize risk sharing and responsibility? While wildfire defense strategies put forth by insurance companies and building code armor stick-frame American single-family home and its aesthetic traditions, this thesis proposes a new building typology entirely: a neighborly cooperative of adjoined homes. Under a single roof, property lines are transformed into sites of mutual stewardship, manifesting insurance no longer as an abstract response to risk, but as a series of social and spatial relationships between neighbors.
Advisor: Carrie Norman
Reader: Timothy Hyde
Insurance Violation Survey. Image by Author
Fig.1:
DZIDULA KPODO
COURAGE
Ending Well
Making The Harvest-Paths Of Our Values
Any single story shrinks all others. In a site historically cultivated for the cocoa cash crop, this thesis proposes reorienting architectural practice towards a plural valuing of land and its constituent spirits. It begins in 2022 with my acquisition of a 99-year lease for a 6-acre land in Ghana. Located on a hillcluster in the Eastern Region, this place is the birthplace of Ghana’s cocoa industry, which became the world’s largest exporter by 1911.
The capitalist framework of monocultural extraction and its instruments of architecture and planning, would work to reduce a plural landscape into singular extractive narratives, overlooking other ways of valuing land. By foregrounding practices alternate to what has become normative, this thesis confronts the given dispositions of the architecture profession. It follows a cocoa harvest-path from a village named after a farmer-settler, Yaa Aso, and ascends the hills, crossing the land limits of 7 farmers.
In July 2024, I led a convocation of the farmers along the path, in the now-defunct cocoa distribution building, towards framing futures in a place 72 kilometers from the sprawling national capital, Accra. 3 languages were spoken in that gathering - Twi, Ewe and English. It resulted in a 7-foot expansion of the path, and the pacification of a seasonal spirit-stream that crosses it. They set the context for imagining 5 architectural mediations and moments, herein recorded, that offer a value system of things spiritual and socio-cultural, offered by the transgressions of a widened path and the lease-land I hold at its end.
Advisor: Jaffer Kolb
Reader: Sheila Kennedy
Fig.1: An alternate system of value. Image by Author
Fig.2: A layered land. Photo by Author
SO JUNG LEE
Falling Isn’t The End:
Reimaging Demolition As A Creative Practice
With each passing storm, buildings tremble, homes wash away, and lives are uprooted. These events, increasingly frequent and severe, reveal architecture’s persistent fallacy: a stubborn commitment to permanence in the face of relentless environmental change.
When a home floods, it is rebuilt, often with the same vulnerabilities. But what if architecture shifted its perspective? What if collapse was not an end, but a moment of transformation—a communal act of renewal and a spectacle of possibility?
This thesis explores the paradox of collapse, reimagining the demise of architecture not as destruction, but as an opportunity to redefine value and reoccupy with purpose. It examines demolition’s visceral energy and catharsis, contrasting it with the slower, methodical disassembly that prioritizes sustainability but lacks drama and imagination.
By embracing collapse as a generative force, this thesis proposes an architecture attuned to life’s rhythm—materials with lifespans, spaces designed to evolve, and structures prepared to transform. It envisions buildings as temporal entities, ready to embrace both joy and failure, creating an architecture that doesn’t just endure but adapts, collapses, and relives.
Advisor: Brandon Clifford
Reader:
Carrie Norman
Fig.1,2: Transfromation in Action Image by Author
Gaskets in Action. Image by Author
Fig.3,4:
EVAN ORTIZ
Dynamic Markers
When I was a child, I was certain that all clouds came from New Jersey. After passing through the Lincoln Tunnel, the Turnpike would gradually ascend, lifting our car to eye level with the billowing clouds emerging beneath us. On this drive, we would witness clouds being made by the tall chimney stacks—clouds not just for here but for the world. This thesis is grounded at the site of this early certainty, in a soft marshland that made the car peel away from the ground and ascend among the clouds: the Meadowlands.
This great marsh, just two miles west of Manhattan, has captured the imagination of generations of Americans trying to find use for its uncertain ground. Yet, despite large-scale reclamation efforts, the low-lying wetland has resisted being anything other than what it is—a marsh. Falling short of its projected futures, the Meadowlands became an infrastructural landscape, its surface intertwined with networks of movement operating independently of the rhythms below. The prioritization of efficiency and construction disrupted natural flows of water and life, creating fragmented micro-ecologies that altered the landscape’s rhythms.
This thesis introduces a new imaginary: the Dynamic Marker. These infrastructural instruments reframe how we engage with a landscape’s forces. They reveal complex entanglements, making visible the interdependencies shaping a landscape and triggering a chain reaction of ecological regeneration. Neither buildings nor objects, Dynamic Markers reflect forces blurring the hard lines infrastructure imposes. Always in process, Dynamic Markers attune us to the implicit rhythms of our surroundings.
Advisor: William O’Brien Jr.
Reader: Caroline Murphy
Fig.1: Weather Station 4. Image by Author.
Sanctuary For Who?
Reframing The Sanctuary City
The city of Philadelphia has claimed itself as a Sanctuary City since 2014, implying it refuses to cooperate with federal persecution of undocumented communities.
In 2019, JUNTOS the city’s most significant undocumented immigrant rights advocacy organization decried Philadelphia’s Sanctuary City status as a misnomer after four years of continued exploitation and persecution of its devalorized communities. Citing Philadelphia’s crumbling institutions, deteriorating quality of life for all Philadelphians resulting from preventable factors, and general failure to protect the lives of all constitutents, JUNTOS states “We respectfully ask that you stop using the word Sanctuary at this time, it is an inaccurate description of our city. Let us instead work together to build the kind of city we all want to live in, one that respects all of our human rights regardless of race, gender, immigration status, sexual orientation, et cetera.”
The city’s ability to operate as a sanctuary has not improved in the decade since it first claimed status. Can the failure of the Sanctuary City as a municipal loophole exploited to slow the seemingly inevitable persecution of crucial communities, be instead retooled to become a general design ethos directed at building a city “we all want to live in”?
Beginning with the act of creating a boundary which can legally hold ICE(Immigration and Customs Enforcement) at bay, can it be extended and redrawn to include all matter of programs and people able to provide for the full gamut of communities’ needs? Could this process regenerate a city...
Advisor: Roi Salgueiro Barrio
Reader: Rosalyne Shieh
Fig.1: Plan Diagram illustrating boundary and alternative avenues for movement. Image by Author
AZANIA UMOJA
The Last Drop Of Sun
In the London Borough of Kensington and Chelsea, there is an open wound. And while across the nights of June 14 and 15, 2017, presumably at or several minutes before 12:54 AM, this wound was carved further open and through fire, these flames were neither the inciting incision nor the culminating one. Not all tragedies occurring at significant scales of loss or witness are met with equal response or accountability; however, in the architect’s line of work, the memorial is the foremost way we are asked to contribute to healing in their aftermath.
This work is not a tortured debate on who is to blame for the compounding sorrow that followed and continues to follow the fire at Grenfell Tower because it recognizes that within a racialized, carceral logic of accountability, justice is often disfigured and does little to repair the rupture that never should have been formed. Rather, this work is a considered essay on the layers of scarred grief embedded in our climate and challenges the im/possibility of the memorial to attend to this grief in the aftermath of recurrent and unfolding tragedies. This work is, foremost, a record of my own path toward uncovering an understanding of the rawness I note in the world around me. The work has no beginning or end and no all-encompassing solution. I offer it to you as it is now.
Advisor: Ana Miljački
Reader: Nasser Rabbat
A Field of Windows. Image by Author
Fig.1:
WANG-XU American(ise):
On The Lifecycles Of Stadiums In The United States
When the Kingdome in Seattle was completed in 1976, it was celebrated as a marvel of modern engineering, expected to last for centuries. Yet, in an ironic twist, it was demolished by implosion in 2000, surviving only twenty-four years. The Kingdome epitomizes the issue of short lifespans that has plagued American stadiums since the post-war era. A broad survey of these structures reveals an average lifespan of just three decades—a startlingly brief tenure for buildings of their scale and significance.
These stadiums also follow a distinctive model of renewal. Similar to the Shikinen Sengu ritual at the Ise Shrine, a new stadium is often constructed adjacent to its predecessor. However, unlike Ise, where materials from the old shrine are reused and disseminated throughout Japan’s network of shrines, old stadiums are almost always demolished and discarded.
This thesis seeks to superimpose Ise as a model onto American stadiums, envisioning an architecture that embraces both impermanence and longevity through circularity. Investigations into the barriers to circularity specific to stadiums serve as the foundation for design proposals, spanning scales from the detail to the site. The project ultimately imagines a stadium in a constant process of disassembly and renewal, where its spatial and programmatic potential challenge paradigms of completeness. In the context of a climate crisis demanding waste reduction, and for a typology notorious for its excess, how can stadiums learn to do more with less?
Advisor: John Ochsendorf
Reader: Brandon Clifford
Fig.1: Ise Shrine. Image by Shinya Deguchi
Fig.2: Citi Field and Shea Stadium. Image by Rachel Vianyc
On Hing Travel Agency
Where lost worlds find new destinations, and belonging is just a journey away.
On Hing Travel Agency (OHTA) reimagines building demolition in Hong Kong through touristic ventures into the city’s literature. In this space, fiction offers continuity and safety for structures that reality can no longer sustain. By transporting demolished buildings into the realm of fiction, OHTA transforms them into vessels of memory and imagination, preserving their stories even as their physical forms vanish.
Hong Kong is city shaped by rapid transformation and precarious land ownership. Its ever-shifting landscapes have made erasure a defining characteristic of its built environment. Yet, this disappearance creates opportunities for agency to emerge in unexpected forms. OHTA reimagines demolition not as an end, but as an opportunity to recenter architecture’s role as a keeper of memory and stories, transforming fleeting moments of loss into a productive space for creative resistance.
The project draws from Hong Kong’s city novels, where writers have long used fiction to document transitions, resist erasure, and map the invisible boundaries of belonging, identity, and place. Fiction becomes both an act of preservation and a form of resistance, offering imaginative counterpoints to a city perpetually in flux.
Through creating imagined worlds, On Hing Travel Agency reframes loss as a generative act, creating space to dream, resist, and rebuild. Even in disappearance, Hong Kong’s disappearing spaces find new life and resonance.
Advisor: Rosalyne Shieh
Reader: Roi Salgueiro Barrio
Fig.1: Lost Traveler’s Guide of Hong Kong. Image By Author
Precisely Loose: Unraveling The Potential Of Particles
In a post-extractive future, architecture must contend with materials that defy standardization—random, arbitrary, irregular, erratic, and unpredictable—particles. This thesis focuses on these non-normative materials, encompassing construction demolition debris, manufacturing defects, quarry waste, and naturally occurring gravels. Ubiquitous yet underutilized, these materials hold potential not only for use, but also for reuse. However, they are often perceived as rigid, uncontrollable ingredients that require heavy processing.
What kind of architecture could emerge if we embraced the inherent nature of these particles—not as rigid matter to be controlled, but as fluid entities to be engaged? This thesis proposes an alternative design approach that interacts with these precarious materials through less controlled, less programmed, and less precise methods.
By forgoing the inherited logic of precision and stasis, this approach moves beyond reliance on standardized, premanufactured materials. Instead, it embraces the dynamic act of configuring and reconfiguring existing materials on-site. The focus shifts from imposing complete control over matter to deliberate placement and displacement of control. Given the unpredictable nature of particles, this design methodology upholds processes that explore the potential of plurality, rather than achieving fixed, exact forms.
Through a series of interactions with particles at varying scales, this thesis embarks on a journey to uncover “precisely loose” methods, offering a framework to redefine architectural material culture rooted in rubble.
Advisor: Brandon Clifford
Reader: Caitlin Mueller
Fig.1: A facet collection of precisely loose methods. Image by Author.
ACKNOWLEDGMENTS
STAFF
Eleni Aktypi, Taariq Alasa, Kathaleen Brearley, Darren Bennett, Kateri Bertin, Joél Carela, Nandini Chowdhury, Christopher Dewart, Jacqueline Dufault, Mike Enos, Michael Gallino, Eduardo Gonzalez, James Harrington, Tessa Haynes, John Hoder, Douglas Le Vie, Inala Locke, Tonya Miller, Nicholas de Monchaux, Claudine Monique, Paul Pettigrew, Alan Reyes, Diana Rooney, Sheila Theodore, Georgia Voyiatzis
FACULTY, ADVISORS AND READERS
Xavi L. Aguirre, Brandon Clifford, Renée Green, Timothy Hyde, Mark Jarzombek, Sheila Kennedy, Jaffer Kolb, Miho Mazereeuw, Ana Miljački, Caitlin Mueller, Stefanie Mueller, Caroline Murphy, Carrie Norman, William O’Brien Jr, John Ochsendorf, Nasser Rabbat, Roi Salgueiro Barrio, Kairos Shen, Rosalyne Shieh, Skylar Tibbits
INVITED CRITICS
Arash Adel, Debbie Chen, Mclain Clutter, Ivi Diamantopoulou, Behnaz Farahi, James Graham, Eric Höweler, Joyce Hwang, Marie Law Adams, Alan Ricks, Ivonne Santoyo Orozco, Jacqueline Shaw, Joseph Zeal-Henry
FACULTY COORDINATOR AND TEACHING ASSISTANT
Rania Ghosn, Mingjia Chen
BOOKLET DESIGN BY Tejumola Bayowa, Suwan Kim
2024 MASSACHUSETTS INSTUTE OF TECHNOLOGY. ALL MATERIALS ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS AND CREATORS UNLESS OTHERWISE NOTED.
FINAL REVIEW HELD ON DECEMBER 19TH, 2024
