Issue 9: Breaks by RM 1000, Berkeley Architecture Journal

Issue 9

Breaks

Room One Thousand

The ninth issue of Room One Thousand would not have been possible without the generous support of the U.C. Berkeley Department of Architecture and the Graham Foundation. Special thanks to CED Architecture Chair Renee Chow and the College of Environmental Design’s Dean’s Office and Dean Vishaan Chakrabarti. Thank you to our advisor Prof. Greg Castillo for his invaluable support and advice. Room One Thousand is a nonprofit organization run by students of U.C. Berkeley. Our staff of undergraduates, professional students, PhD students and alumni donate their time and expertise to realize this journal.

Editors-in-Chief Elena Bouton Marta Elliott Room One Thousand Team Matthias Arauco-Shapiro Collin Bampton Ari Bible Adam Cutts Claire Jang Yasmine Kahsai Samantha Miller Alicia Moreira Lily Oyler Lucy Wang Advisor Greg Castillo Typeset in Akzidenz Berthold Grotesk and Bely Printed By Edition One in Berkeley, California Published By University of California, Berkeley, Department of Architecture ©2021 selection and editorial, Room One Thousand; individual essays, the authors. Supported by UC Berkeley’s Department of Architecture and the Office of the Dean.

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Issue 9

Breaks

Room One Thousand

Room One Thousand Request for collaboration Spring 2021

For the past several issues, we have been exploring the medium of the journal. The journal is our predominant mode of creative collaboration: the act of making it is a collaboration among our student editorial team and the assemblage of pieces is a collaboration between contributors, editors, and adjacent thinkers. The Rm1000 team has done collaborations in the past, creating works from the combined efforts of contributors, Berkeley faculty, and students to experiment in producing original content for the publication. (1) We devote this issue to collaborations, expanding our roles as curators, editors, book makers to co-generators of content. With a grant from the Graham Foundation to facilitate more collaborations, this issue is a manifestation of the alliances we make, the imperfect processes we undertake, our engagement with the world and the actants in it. (2) This issue continues to build grounds for our young journal to test and re-interpret the printed journal as a critical medium for expanding discourse. Taking a break from the editorial process of past issues, the 9th issue of Rm1000 features works which were conceived and executed by multiple people across time and space. Sometimes contributors were already colleagues and friends before co-making these pieces. More often collaborators had never met or spoken before (and probably still haven’t). In the process of collaborating we have been connected by common interests and by the work undertaken together. These projects were hardly preconceived; they emerged from creating lapses in time and work and sharing these spaces. The breaking of a thing creates a moment of pause—

(1) See Rm1000 issues Magic and Material for collaborations ranging from games, to homages, placebased interviews, performances, to coauthored projects and drawings. (2) Thanks to the Graham Foundation, we have been able for the first time to compensate our contributors for their work.

an acknowledgment of imperfection, weakness, or dysfunction— and generates a need to repair. For us, breaking with past definitions of the editorial role has provided the space to envision another new dimension to our role: stitching. This journal (and the collaborative pieces in it) stitches together histories, narratives, and relationships. Several pieces nod to the need for ‘decollage’ — the need to unstick words and images from their contexts to stitch histories, narratives, and relationships together in new assemblages. (3) Breakage allows us to build a dialogue untethered by traditional restrictions of disciplinary boundaries. This issue of the journal gives a platform to students, non-professionals, and fellow adjacent thinkers alongside the experts. This allows us to experiment with new ideas around curation and public engagement in and peripheral to architectural discourse.

(4) We’ve laid out some content on concrete walls and digital screens, where ideas are tacked up quickly before they’re forgotten or we talk ourselves out of them, and where multiple tabs open at once reveal an unseen relationship. (5) Our journal has always been entirely student-produced, created with students’ volunteered time and limited resources. We (conservatively) estimate that this issue took 550+ hours and $12,000 to produce.

Here, we celebrate our and our colleagues’ gut feelings and propose that sometimes, a first idea is a good idea and doesn’t need to be the best idea. We have learned from the process of making this journal that relationships are perpetually growing, changing, and revising their forms. The nature of a collaboration implies the relinquishing of control over any finished work; it is an act of vulnerability and trust. Consequently, we also celebrate the sketchy and unfinished. (4) Giving the work agency to be what it is eliminates the need to massage it into something ‘sophisticated’ without forgoing rich and layered content. Anyone with a sense of what it takes to make a journal knows that this takes a lot of time and work. It requires us all to put down our studies and our work for a bit and fill the lapses with a different kind of work. It is also a lot of fun, makes space for informal chats about things we love to think about, and sometimes gets us out of the house. It allows us to build relationships— both vague and profound— by doing the adjacent work at different times in different places. Here is what came of collecting and combining our instincts, embracing the inevitable glitches, and respecting our collaborative processes. (5)

Contents

Failure Mode JANE COOK

Break Piece

18*

BRYONY ROBERTS + JIA YI GU

A Post-Colonial Mural

WAI + POST-NOVIS

Pirateables

AL BORDE

Memory & Belonging

SHALINI AGRAWAL + NUPUR CHAUDHURY

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62+

Fragments T+E+A+M

72+

Ivory of Concrete, Concrete of Pixels SHANE REINER-ROTH

Collective Care KIKI COOPER

Common Ground JOSEPH ONGACO

*Introduced on Page 18, collaboration scattered throughout the journal + Collaboration continues on roomonethousand.com

Contents

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Failure Mode

DR. JANE COOK in conversation with COLLIN of Rm1000

This interview is punctuated in the margins with insights from Jane’s material practice and experiences.

Failure Mode

Dr. Jane Cook, formerly the chief scientist at the Corning Museum of Glass, has over 25 years experience as a materials engineer. In her artwork, she employs a resourceful approach, using what’s at hand. The following text collages excerpts from conversations with Jane that took place over the last few months. These conversations offer a scientific explanation of what glass is and how it behaves. Our dialogue touches on themes of chemistry, materiality and clarity while considering the potential for failure to be productive for designers and makers.

You can think of glass as having about 70% of its linkages as being tight grips. Like two people clasping hands to wrists. The rest of its bonds are more like a hand shake, or intertwined fingers.

Rm1000: I’m interested in talking about how glass breaks– how it acts as a material and how it comes undone, one weak spot at a time. JC: How materials behave at “the human scale”–the size that we can handle and interact with, build with or relate to bodyto-mass– is a direct consequence of how the material is put together at sizes much smaller–down to the nature of the bonding between the individual atoms. At that scale, glass (we’ll just center this around glass in the “soda-lime” family, like windows and bottles) can be considered as an irregularly interconnected 3D network of tetrahedral nodes, with a silicon atom in the center of the node, and four oxygen atoms arranged around it reaching, branching out toward other such nodes. Many of those oxygen branches connect directly to other silicon atoms–we say they are “bridging oxygens,” shared by two silicon atoms in separate nodes. Some are “non-bridging,” connecting instead to one of the other kinds of atoms in the glass that like to bond to oxygen: such as sodium or calcium (the “soda” and “lime” of the glass name). The bridging bonds–silicon-to-oxygen-to-silicon–are very strong bonds. Chemists call them “covalent,” because the atoms are literally sharing the electromagnetic energy of their own electrons to stabilize the structure of the adjacent atoms. It’s as intimate as atoms get without bonding to their own kind (like the covalent bonds of adjacent carbon atoms forming diamond.) But the non-bridging bonds are weaker, “ionic” bonds. You can think of glass as having about 70% of its linkages as being tight grips. Like two people clasping hands to wrists. The rest of its bonds are more like a hand shake, or intertwined fingers.

Previous Page and Right: Tide Dial. Tempered float shards, Steel wire, Cotton thread, Magnets. Images courtesy of Jane Cook

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The highly functional part is something that keeps the outside out, and lets some of the outside in. Lets the light in, but keeps the weather out. I mean, that’s going back to the Romans, right. That was the whole point, even before you could actually see through it, the point was to be a natural light source. And then there are lots of ways that you could parse that, have deviations from that, such as the reflective box of the 1960s, or the stained glass from the medieval period on with the introduction of color and form and line. Those are sort of typical ways that people approach this, or to do something like Jamie Carpenter’s work, where you’re using the glass, but in combination with other materials to create gestures and to sort of define a feeling for the building. All those things are very much around success. Doing things really, really well. And that’s very true. But a big part of my thinking, in the last of the last two years really has been around: what else can glass do?

Failure Mode

So I started by just looking at the way the different materials fail and turning that into a positive instead of a negative, right? A very sort of post-Anthropocene post-zombie apocalypse type of way of making art. What have we got around? Well, I’ve got some rust, and I’ve got an old ballpoint pen. And I’ve got an old dish towel, what can I do with that? That’s been really motivating me alongside the broken glass. So really the big theme has been turning failure into notions of success.

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... glass has the peculiar feature amongst common materials that between the macroscale and the picoscale there are no obvious weaknesses. No grains. No soft spots. Not plasticity. Once it starts, the breaking continues until the energy is released.

All of this is at a scale that is hard to understand if you’re not immersed in its study. It is submicroscopic, the “picoscale,” one less than the buzzword “nanoscale.” But this is the scale at which breaking happens. Fundamentally, when anything breaks, chemistry has happened. There had to have been a chemical reaction: an atom (or sextillions of them, really, when you smash a window…) all need to respond to a real change in their environment–the sudden presence of a local mechanical stress that just might be able to supply enough energy, through momentum and leverage, to overcome the strength of the bond that is holding one atom to another atom. Chemistry can be accomplished by the application of any force: chemical, thermal, electrical, mechanical. Now, there is a hierarchy of scales of structures that can occur in materials. For example, there can be grains of different minerals in natural stone or a brick, or aggregate in cement, or the less obvious fine grains of metal within an alloy. These can be viewed with a microscope or a hand lens or the naked eye–microns to millimeters to centimeters. And when you break a rock or a pot, or when an aluminum strut fails, careful examination shows clearly that the break occurred via a combination of cracks running through the grains between the grains. The grain-grain linkages are natural weak points–disordered and poorly aligned– that makes them “weak links.” These weak spots can actually stop a crack by absorbing enough energy that things just stop, maybe short of catastrophic disintegration, or diverting the break into just a few large shards, like a dropped terracotta pot. Right: Untitled. Temper shattered with hacked ink on paperboard. Image courtesy of Jane Cook.

Failure Mode

But glass has the peculiar feature amongst common materials that between the macroscale and the picoscale there are no obvious weaknesses. No grains. No soft spots. Not plasticity. Once it starts, the breaking continues until the energy is released.

Footnote explanation, Image credit, Secondary paragraph of text, Footnote explanation, Image credit, Secondary paragraph of text, Footnote explanation, Image credit, Secondary paragraph of text, Footnote explanation, Image credit, Secondary paragraph of text

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It’s been fun for me, because yeah, I consider myself an emerging artist, even though I’ve been doing it for a long time, but I haven’t been doing it with the level of self understanding and intentionality that I’ve been able to do in the last five years or so. I know that I’m sort of beating myself up a little bit, right? Because the currency of my former life as a research scientist was: is this an invention? Is this novel? And is this useful? And as an artist, novelty and utility are not the currency, right? It’s not about being the first person to use ballpoint pen ink in this way. So I got rust prints, people have been doing rust prints forever. But it’s fun. The novelty is personal, right? And if I’m really thinking about who I am, in an original way, and if I admit to myself as being a unique and valuable person, then the statements I make, through craft and through materiality, are inherently as valuable as I am valuable as a person.

Right: Untitled. Rusted mild steel plate patterned with shards of annealed plate as chemical mask. Image courtesy of Jane Cook

Failure Mode

Eventually from a single impact and single critical break you have revealed things about aspects of the entire pane, including not only manufacturing and handling/ installation flaws, but how the glass was mounted, how far off the ground it was, etc.

Rm1000: When we consider the patterning or figuration of a broken window, how does the glass make decisions about how the crack will travel? Is it a condition solely of the input force, or does the glass reveal something about its makeup, or imperfections? JC: When thinking through what happens during breakage, it’s necessary to put yourself in extreme slow-motion mode, and “be the glass,” as it were. The response to a stress is so much more than the critical flaw initiating the final state of catastrophic deconstruction. As you postulate, a variety of responses from the glass–based on its as-made condition and on what it is becoming during the response–add up to the total experience. For example, a 1-meter square pane of glass might have a critical flaw on one of its edges (maybe a scratch from rough handling). When a sudden stress is applied by a blunt object (hit by a baseball, say) the whole sheet will flex first as a single membrane. That initial flex might bend the edge and put the flaw in tension, and the crack will begin to run. Meanwhile the rest of the pane is now in motion, reverberating from the impact. As the edge of the glass lets go, all the motions of the rest of glass change since the glass is no longer held ridged in the frame, and more and more of the glass sees sudden changes in tension or compression, which then activate more flaws and more create more cracks and more ways of moving, and so on. Eventually from a single impact and single critical break you have revealed things about aspects of the entire pane, including not only manufacturing and handling/installation flaws, but how the glass was mounted, how far off the ground it was, etc. It’s the story of not just what was there, but what happened– quickly to our eye, but methodically on the timescale of the breakage.

Is all the work about being broken? Is it? Are you attached to the language of brokenness? What does that mean psychologically, personally? Or as a reaction to the world? I often get into discussions about being queer and trans and whether this is somehow an expression of that. Especially younger people just coming out, are really beginning to imbue all of their artwork with their queerness. And they asked me, “Do you feel that way too?” And, and I say “Not really, I’ve had a different journey than you.”

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Above: Untitled. Shattered Temper Infiltration Print with Hacked Ballpoint Ink on 100wt Paper. Image courtesy of Jane Cook

Failure Mode

The question of glass clarity is a good one. In so much of what we ask glass to do, its success is measured in part by our not noticing it.

I think we don’t do enough to educate people, generally, about the failure modes present in the made world and how they should be reflected in our personal risk management calculations. In my own artwork during the pandemic, I’ve been exploring deeply the aesthetic and conceptual utility in failure modes, with things like pulling prints from glass shards and rusted iron, or recently exploring what is conveyed by sundials made with gnomons made from broken glass.

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Rm1000: And finally a new thought to introduce to the conversation: clarity. In our daily life, the role of the glass is often to be an “invisible” boundary layer. We don’t really encounter the materiality of glass until it has broken or failed. There is an intensity with which we will glass to be this optically perfect entity that disappears from our surroundings making it that much more devastating or upsetting when it’s broken. What I’m trying to get at is that transparency often feels in opposition to the term, materiality, as though transparency is more akin to immateriality. I think there is an opportunity to challenge this notion and I wonder if you have thoughts on this. JC: I would say some of the work that I’m most proud of that I, unfortunately, talk the least about, have to do with making the glass in our screens, the ones that you’re looking at right now and in your cell phones. Not the gorilla glass on the outside, but the glass actually on the inside with a liquid crystal display. The level of purity, homogeneity, flatness and smoothness of those surfaces is almost pathological. The things that have to be done in a machine system in order to have glass like that come out the other side have strained the limits of machine and control technology. It’s been a progressive thing that’s gone on over centuries really. Once you see that this stuff can actually be clear, however slightly yellowish or slightly greenish. We figured out the ingredients to make it water white: a pinch of manganese or a little bit of antimony or something like that. Then you can decolorize it completely, then you’re making clear glass. But it becomes an interesting example of this idea that when you have something that’s very, very clear, it is easier to distinguish flaws. The more transparent and perfect the glass is, the more impurities stand out and greater is the potential for disruption.

Left: Untitled. Fractured annealed float crayon rubbing on muslin. Image courtesy of Jane Cook

Failure Mode

The question of glass clarity is a good one. In so much of what we ask glass to do, its success is measured in part by our not noticing it. That sense of connection to its functionality, to keep things isolated in one way but connected in others (windows, computer displays, soda bottles, etc.), and the shock when the barrier is breached is profound. I’ve seen it manifested in interactions with the public complaining to me about iPhone screens and “Pyrex” cookware, and from artists confused about annealing schedules, color compatibility, and mixed media work.

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Break Piece

BRYONY ROBERTS & JIA YI GU in collaboration with ELENA & MARTA of Rm1000 Break Piece is inspired by Yoko Ono’s instruction pieces, compiled in Grapefruit: A Book of Instructions and Drawings. Similarly, these instructions prompt the reader to seek out unfamiliar experiences and wrestle with the challenge of documenting them. The instructions challenge us to record sensations, relationships, and embodied experiences. The matter of lived experience, often excluded from architectural discourse but intimately intertwined with it, here disrupts the clarity of architectural representation. In a fluid exchange between those writing the instructions, those materializing them, and the future readers that will interpret them, there is a dissolution of authorship and objecthood. Instructions are scattered throughout this journal.

A Post-Colonial Mural

POST-NOVIS MEMBERS

Cruz Garcia & Nathalie Frankowski / Wai Architecture Think Tank ROOM ONE THOUSAND Yasmine Kahsai, Samantha Miller, Claire Jang, Adam Cutts, Lily Oyler, Ari Bible, Collin Bampton, Lucy Wang, Alicia Moreira, Matthias Arauco-Shapiro, Elena Bouton, Marta Elliott VIRGINIA TECH Vivian Gruendel, Jazlynn Castro, Jeremy Sloane, Jack Shields, Jennie Wells, Zixi Li, Diana Fernandez-Borunda, Yuxiang Cao, Tanner Valachovic, Zhipeng Zhang Post-Colonial Murals are a series of narrative architecture compositions exploring colonial footprints of architectural history. Produced through collaboration, these compositions establish networks of solidarity between students and practitioners across Land-Grab Universities and historical figures working under and against colonial regimes. A PostColonial Mural is one of the fragments of the epilogue in the post-colonial play ‘Worldmakers Unite!’, first presented in the Moss Center for Arts in Virginia Tech. The mural is part of a series of compositions included in publications at the University of Illinois Urbana-Champaign, and Cornell University.

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A Post-Colonial Mural

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A Post-Colonial Mural

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A Post-Colonial Mural

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A Post-Colonial Mural

01. Mather redwood grove 02. March 1969. The Black Panther. Illustration and design by Emory Douglas. 03. 1968. Unknown print material relating to the 1968–1969 Berkeley People’s Park Demonstrations Information information. Archived by James Arsenault. 04. July 1968. American flag fragment beneath the feet of musical performers at a “Free Huey” rally in DeFremery Park, West Oakland. From the Bob Fitch Photography archive. 05. November 1969. Occupation of Alcatraz island. Pickup games outside the prison wall, during the 19 month occupation of the island, where a sign had been altered from “United States Property” to “United Indian Property.” Credit: Associated Press.

08. May 1969. Front page news clipping following the murder of protest bystander James Rector by Berkeley police published in People’s World, an underground press publication. Archival material collected by James Arsenault.

A. Indian almond

09. May 2018. “Save the West Berkeley Shellmound” poster produced by artist Micah Bazant.

D. Norfolk island pine

10. July 1862. Morril Land Grant allowed for the creation of land-grant colleges in U.S. states using the proceeds from sales of federal land largely or entirely taken from indigenous tribes through treaty, cessation, or seizure.

F. Peppermint

B. Chamaeranthemum beyrichii C. Common calendula E Queen anthurium

11. February 2017. “Protect Ohlone Lisjan Sacred Sites” Mural painting at Huicin Shellmound Image by Scott Braley.

06. Wurster Hall Mural. Painted by Chicanx Architecture Students Association. 07. Ohlone coiled baskets designs formed by olivella shell disc beads. Images from muwekma.org. Photographed in the book Indian Baskets of Central California, Shanks, 2006.

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G. California hazelnut H. Common borage I. Glossy priet J. Majesty palm K. Tobacco

12. Land Acknowledgment created by the Muwekma Ohlone Tribe and Native American Student Development. Visit www.cejce.berkeley.edu/ohloneland 13. January 2019. Protest sign from March to save peoples park after land was slated to become student housing. 14. June1965. Free Speech Movement comprised by songs written by students about the movement and the sounds recorded at the demonstrations 15. May 1969. Rubble from the construction of peoples park and deconstruction of existing concrete lot. Photo by Nacio Jan Brown.

19. April 2013. Sacramento Street mural dedicated to William Byron Rumford - the first African American elected to public office in Northern California. Rumford was responsible for passing the Fair Housing Act in 1963. Painted and organized by Zach Franklin, Seth Martinez and Sofia Zander. 20. May 1969. Sather Gate on “Bloody Thursday” - the occupation of campus by National Guard. Taken from Life Magazine. 21. October 2019. Protest sign from the “Everyday is indigenous peoples day rally” organized by Mauna Kea Protectors.

16. October 1969. Album by Elaine Brown titled “Seize the Time” 17. 1970. Screen prints created by students at the College of Environmental Design during the campus student shutdown protesting the US invasion of Cambodia. Artists unknown. Docs Populi collection, courtesy of Lincoln Cushing. 18. November 1929. We Hold the Rock. Taken during the occupation of Alcatraz Island by Indians of All Tribes. Image by Ilka Hartman.

A Post-Colonial Mural

Have a conversation. Draw it from memory.

01. MUE a mueble or piece of furniture designed to satisfy different storage needs. Easily assembled, it can be replicated and adapted by anyone.

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Pirateables

DAVID BARRAGÁN of AL BORDE ARQUITECTURA in collaboration with MARTA, YASMINE, ELENA, LUCY, SAM, and LILY of Rm1000 Much of Al Borde’s work is accessible and reproducible. In fact, they encourage you to pirate their designs. Their process appears simple: they use undervalued materials to which they have ready access and come up with common-sensical processes to transform materials into beautiful and elegant design solutions. They also share their designs and construction processes widely with a focus on empowering the communities in which they build by teaching sustainable construction practices. Their projects have been developed in specific conditions but the designs and their spirit of sharing can serve far beyond. These projects do not require precision, specificity, or any special construction knowledge. Al Borde encourages us to detach what they have made from its original context and make another one elsewhere, for someone else. These designs tell stories of process and character, often manifested in a construction detail. The following drawings illustrate the essential details which exemplify the simple elegance of Al Borde’s work and the ethos of uncomplicated beauty communicated by their projects. Al Borde teaches us to see our resources and processes differently and that there is realizable potential already available. These designs return us to our specific settings, needs, and purposes with elegant ideas and intelligible solutions.

Pirateables

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02. ALIVE COLUMNS a system that uses the transplantable and resilient sapium glandulosum tree for its structural properties and adaptability.

Pirateables

03. PLASTIC CURTAIN a system that uses clothes hangers and spacers to create curtains out of any available materials for a range of opacities and light effects.

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Pirateables

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04. RECYCLED TIRE ROOFS roof shingles made from an abundance of disused car tires.

Pirateables

05. TRIPODS securing structural members of a tripod with an amarre de trípode tie or tripod lashing knot.

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Pirateables

Sit on 3 benches you’ve never seen before. Document it.

Find a bench you have seen before. Sit on it in new ways.

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Memory and Belonging SHALINI AGRAWAL & NUPUR CHAUDHURY in collaboration with ARI & ELENA of Rm1000 with drawings by YIYANG WANG The simple gesture of sharing a family recipe is a relational act to build new forms of cultural knowledge. It is often offered towards collective ownership, with an acknowledgment of its ancestral history. Building on what an individual brings to the collective is a way to transform methods, behaviors, and processes towards shared understanding.

What follows are parallel accounts told by Shalini and Nupur evoked by the process of cooking egg curry from a recipe shared by Nupur’s grandfather. Nupur’s story is read on the right. Shalini’s story is read on the left. Left: Family recipes shared by Nupur, handwritten by her grandmother.

Memory and Belonging

In the summer of 2020, we met virtually through a network of BIPOC architects and designers across the United States that brought the intention of defining and including new forms of knowledge towards collective liberation. With common ground of identity and intention, we connected through our shared land: India. Although from the same country, India Consists of lands with 32 different languages, numerous religions and cultural practices, and a multitude of cuisines. There is no one thing that connects us, other than the fact that our cultures, minds, and land were colonized by the British and made to feel that we were all the same. We share a love of food from our homeland, which is interwoven with culture, care, and identity. It is a way to remember, connect, and cultivate our relationship with India. It was from that love, and our sharing of culinary stories, that we decided to share recipes across coasts, Nupur on the east coast and Shalini on the West Coast, both in the United States. We discussed our ability to make a “complete meal” together from a distance, by making the same egg curry dish, a staple family recipe from Nupur.

What follows are parallel accounts told by Shalini and Nupur evoked by the process of cooking egg curry... Shalini’s story is read on the left. From top, clockwise: mirchi, huldi, amchur, zeera, rai, dhunia. Middle: zeera

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...from a recipe shared by Nupur’s grandfather. Nupur’s story is read on the right. From top, clockwise: jeera, mirchi, panch puran, haldi, dona gera. Middle: kala jeera

Title of Piece

Shalini... I was excited to try a new family recipe from Nupur, which comes from a different part of India than I am from; North India. Most of the Indian food that is represented in the US is sourced from North India. If you go into any Indian restaurant, most likely the menu is biased to North Indian cuisine. Yet there is a rich diaspora of food, language, culture, and customs across the country. When Nupur shared this family recipe, I was curious how eggs would work in this dish with a familiar base for dishes such as chola (1) and rajma (2). The same day I made the Egg Curry, I spoke with my mother who lives on the East Coast. She had lived in Calcutta (what it was called under post-colonial India). She had grown up there and had fond memories of Bengali traditions, food, art, people. She immediately recognized my dinner meal as a typical Bengali dish. “I haven’t had that for years…” she said as she trailed off in memory. The first generation immigrant experience was overwhelming for my mother. She was alone in caring for her family and household responsibilities, while learning to assimilate in a new Western European culture. As a result, she never had the time to teach me to cook. I am self-taught and on a prolonged learning journey of a step by step process of listening through making from many family members. I have found comfort in this multi-sensory practice that is based in memory, and bring these skills in service of creativity, care, and nourishment.

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Memory and Belonging

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Nupur... Whenever I cook with my Baba, I am reminded of how over 20 years ago, we began to cook together. He had just been diagnosed with cancer, and we weren’t sure how long he was going to live. I remember the air being thick with confusion, sadness, and uncertainty, but our family is not one that discussed our feelings, but. I was a teenager then, and as a teenager I was asked to be the adult in the house--my brother had gone off to college and dissociated from what was happening at home, and my father deemed my mother unable to understand/handle the family estate. While my father decided that it was essential that I knew where all the important documents were, all the family investment accounts were, I thought it was important that I knew where all the recipes were. When I realized they weren’t written down, I thought it was important that we write them down. For me, home was in food. Not only did we eat “home food” every night, but we also carried a rice cooker and water boiler with us for every family vacation so that we could cook “home food” while on vacation. That summer cooking with my father was important because we didn’t know how long we had with him, but it was also the summer before my senior year, the last full summer at home. Documenting those recipes were precious and gave me the strength to move beyond my home unit and into the “real world”.

Memory and Belonging

Shalini... My daughters don’t eat a lot of boiled eggs in our house, so it was different to have six boiled, peeled, and ready for the curry. The base, or “sauce” of the curry was familiar to me: the combination of onions, garlic, ginger, and tomatoes creates a foundation for many North Indian dishes. There were subtle differences with the spices, which is often where the magic of a dish lies. Turmeric and chili powder are as standard as salt and pepper, but the addition of “the big 4 C’s” (3) give the depth to the flavor, a sensory activation. It is the base of my version of garam masala, which takes a full day for me to roast, grind, and sift the spices. When I roasted these whole spices, the warm, sweet aroma lingered in the entire house even after grinding them. I gently sliced the boiled eggs and folded them into the sauce so as not to break them. They looked stunning against the backdrop of deep red from curried tomatoes. The dish was beautiful in color, composition and taste. The combination of eggs in a spiced curry paired perfectly with rice. The spices had infused the eggs inside the small cuts. I had the leftovers for lunch the next day and the flavors had steeped even further to infuse the eggs with a depth of flavor, marinating after being cooked. It is a dish I will be adding to my recipe book and I am looking forward to trying different adaptations such as a vegan option (substitute eggs for tofu) for my daughters, or serving it with homemade parantha (4).

(A) New Jersey, Shalini’s parents’ home (B) San Francisco, Shalini’s home since 2006

(4) Cloves, cinnamon, cardamom, and coriander (5) Pan fried flatbread

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(B) San Francisco, California Utter Pradesh, Northern India

(G) Kadod, Gujarat

(F) Kolkata, West Bengal (E) Chittagong, Bangladesh

(C) New York, Nupur’s home (D) Boston, MA, Nupur’s parents’ home (E) Chittagong, Bangladesh, Where Nupur’s father was born and lived until he was 5 (F) Kolkata, West Bengal, India, where Nupur’s father moved to at the age 5 as a result of the Partition of India (G) Kadod, Gujarat, India, where Nupur’s mother was born and raised

(5)

A flexible approach to problem-solving that uses limited resources in an innovative way (6) Spice tin (7) Mortar and pestle

Memory and Belonging

Nupur... It is that moment, the uncertainty of the future, the certainty of creating the family cookbook, that I think about when cooking with my Baba. It is in that same kitchen that I found myself when making this Egg Curry for this collaboration. I had expected to be in New York, cooking alone, but the recent COVID surge in India brought me home, to be close to family and mourn together the loss of our family and friends back home, over an illness that, across the ocean here in the United States, has been deemed something treatable, preventable, and no longer a threat. Cooking with my Baba is a lesson in Jugaad (5), and I see it in every move he makes in the kitchen. To make things easier for his 79 year old body, I do a lot of the prep work--chopping the onions, shredding the ginger and garlic, peeling the potatoes, and boiling and peeling the eggs. I pull out the spice dubba (6) for him, but know that it is his hand, and his hand alone that can blend the spices in the way that makes it taste like home. I see him crush the spices in our family’s khal patro (7), and we talk about this piece….it isn’t until this moment that I find out that it is from my mother’s side, made of brass, for my grandfather. On the side, I can see the faint engraving of his name.

Shalini and Nupur... For the generation before us, moments of break or disruption were often violent and/or disorienting. In disorientation there was a need to be connected to a place, to hold on to and strengthen memories, and to create a sense of belonging. Cooking provided a method to address all three needs. Out of necessity, the need to adapt is core to the experience of difference within the context of a dominant Western European culture. It is a place of divergence from the norm, where we consciously make a decision to make a change. It allows for an approach that is experimental and innovative, yet grounded in For the generation before us, it looks like what is familiar and comforting. finding alternate ingredients that are not For the generation before us, it looks like finding alternate locally available, translating nuances of ingredients that are not locally language, and rethinking cultural rituals available, translating nuances of language, and rethinking cultural and methods. rituals and methods. It requires a mindset of creativity and hybridization to adopt new ways of existing, to erase differences for the comfort (and convenience) of others, to make the unfamiliar palatable. For us, we give ourselves permission to pause and to reconsider what has been given to us, defining a hybridization that is grounded in the “foreign”, yet inspired by place.

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Baba’s Egg Curry Serves 3-4

6 eggs, boiled, shell off 2 tbs Ghee OR 2 tbs oil OR 2 tbs butter 1 1/2 cups Onions, finely chopped 1 tsp Ginger paste or finely chopped 1 tsp Garlic paste or finely chopped 4 Cloves 4 Black cardamom pods 1/2 tsp Cinnamon powder 200 g Tomatoes, chopped (or 2 tablespoons of tomato paste and water) 1 1/2 tsp Coriander powder 1 1/2 tsp Turmeric powder 1 1/2 tsp Red chilli powder 2-3 fl oz Water

Heat the ghee/oil/butter in a heavy-bottomed pan; add the onions, and sauté, until translucent. Add the ginger and garlic. Sauté for a few seconds or until the mixture changes color. Add coriander powder, turmeric powder, red chili powder Stir in the tomatoes, and sauté Add the potatoes, and cook for about 10 minutes Add the eggs, and gently stir. Sometimes, you can cut a couple slits in the white part so that the egg is able to absorb the flavors Add the cloves, black cardamom, and cinnamon (crushed with mortar and pestle). Stir and turn the stove off, and cover. Memory and Belonging

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Notes

Memory and Belonging

Make a section of your home. Eat it.

Fragments

T+E+A+M in collaboration with CLAIRE, ALICIA, LUCY of Rm1000 What follows is a selection of images submitted through this web-page published on June 30, 2021… fragments finding new homes and a closeness to new contexts.

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Fragments

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Fragments

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Fragments

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Fragments

Walk a mile in any direction. Draw what you heard when you return.

Ivory of Concrete, Concrete of Pixels

SHANE REINER-ROTH @EVERYVERYTHING in collaboration with MATTHIAS & ELENA of Rm1000 facilitated by PROF. LUISA CALDAS Virtual Reality, a product several decades (or perhaps even centuries) in the making, remains a curious shadow of its counterpart. Appropriated in the fields of psychology, aeronautics, medicine, entertainment and architectural design alike, VR dissolves the user’s body to allow entrance into environments purposefully unlike that of the corporeal: supernatural, boundless, and often resistant to the laws of physics and civil society. Yet as often as those environments, unburdened by the frictions of reality, can inspire novel sensations of belonging and intimacy, so too can they provoke their opposites; alienation, detachment, and loneliness, that most invasive human condition common in all realities and time periods. A walk (“walk”) through a virtual ivory tower of concrete is a glide through a vacuum; a weightless coast through windless corridors of interactive displays; an environment of many bonds and a profound singularity.

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Scan for full virtual exhibition Right: snapshots of Virtual Bauer Wurster, a digital interface for perusing and reviewing UC Berkeley CED student work. Virtual Wurster presents a duality of “complete” and “incomplete”—as areas that require displays replicate the detail, material and environment of the real, other programs such as classrooms are lost, resulting in vast, uncompartmentalized open chasms. Gliding about the mixture of constructed spaces and digital residue are a variety of avatars; human, robotic and feral.

Ivory of Concrete...

SET OF INSTRUCTIONS (Upon opening, facing campus)

ACCURSED PUPIL!

(Facing building, near location upon opening)

PUPILS VANISHED

(Near center of lobby)

ARMS OF 30 FEET AND NONE

(Random location on

UNBOUNDED PLINTH OF PIXELS, OF GOSSAMER CEMENT, OF IVORY ALOFTED ABUTTING A RIGID CITY, AN IMMUTABLE SUNSET, WINDLESS HILLS

plinth 1)

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“Instructions: 1. The text is free floating, centered at eye level, and generated using the 3D text graphics on the website www.makewordart.com with a shadow beneath. 2. The text constantly faces the viewer. 3. The scale of text determined by person/ people that’s placing them

(Random location on plinth 2)

LIMBLESS AMBULATION

(Random location on plinth 3)

A VIEW ASLEEP, NOCTURNAL FOR A NIGHT THAT NEVER COMES

(Random location on plinth 4)

FRICTIONLESS JOG, POSITIVE ALTITUDE

4. The text becomes a gif of smoke upon being within six feet. The smoke is six feet tall. The smoke does not revert back to text until next login.”

Ivory of Concrete...

Ask a child to describe a place. Draw it.

Above: DAP Community Agreements. Below: Collage of some of the core DAP organizers

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Collective Care

KIKI COOPER with DESIGN AS PROTEST in collaboration with YASMINE of Rm1000 In a twisted, yet poetic sense, the beginning of the protests in 2020 brought me back to life. “Mourn the Dead, Fight like Hell for the Living” was a protest chant that echoed in my head. I lost many people to the pandemic within the first few months of quarantine— my brother among them. Time made less sense and work made time feel worse. The only thing I looked forward to was taking care of my small tomato plant in my backyard, and a call to action for Black designers that would convene a national audience on June 3rd, 2020. I did not know it at the time, but June 3rd would be the day that changed my life.

Collective Care

THE DAP COLLECTIVE On June 3rd, Bryan Lee Jr, a founding organizer of the Design As Protest Collective, published an article titled “America’s Cities were Designed to Oppress” (1). I read it before logging onto the first Design As Protest National Call and couldn’t help but fixate on the part where he says, “One day it will inevitably be one of us — the ones you deem palatable for your committees, boardrooms, and Ivy League schools — who becomes a victim of police violence...” (2). In my state of grief, I could only think about my brother, forgetting that I am susceptible to the exact same fate. Just like Breonna Taylor, Priscilla Slater, Tina Davis, Atatiana Jefferson, Sandra Bland, and so many more (3). The National Call was energizing and resonated with everything I had been feeling about my role and experience in the design profession. After the call, I eagerly awaited for the next step. By some miracle, I was selected among a pool of almost 1,000 registrants to enter DAP’s Slack, their central organizing space. The following week, we had a follow-up call where about 80-90 of us showed up and we all hit the ground running. Like a train going at full speed, DAP began to crank out campaigns for the rest of 2020 (4). Towards the end of the third month of all the excitement, organizing, and bonding, I began to experience and witness a gradual burn-out across the collective. Being in a design space that was solely BIPOC was entirely new to me (5). Naturally I found myself wanting to focus more and more on DAP-related tasks. My full time job was traumatizing me and draining my energy, whereas the people I met in DAP were providing me with energy. DAP was where I first realized that you can still burnout doing the things you love. To echo Fauzia Khanani, I’ve finally found my people in the design community, but “we need to take care of each other in the process. The work is not easy or comfortable, and it takes a toll on all of us, regardless of age, experience, education, and background” (6).

(1) The DAP (Design As Protest) Collective is an anti-racist, non-hierarchical, action-based collective dedicated to advancing Design Justice in the built environment. We are BIPOC designers mobilizing strategies to dismantle the privilege and power structures that have co-opted architecture, landscape architecture, design, and urban planning as tools of oppression (2) “...This is as much a call to action as it is an act of healing. Join the Design Justice movement. Don’t let this become another moment of inaction when our nation so clearly needs us to stand for, fight for, and build a just future.” Bryan Lee Jr, “America’s Cities Were Designed to Oppress,” Bloomberg CityLab, June 3, 2020. (3) From sayhername.org: Ma’Khia Bryant, Tiffany Alexis Eubanks, Layleen Cubilette-Polanco, Crystal Danielle Ragland, Pamela Shantay Turner, Nina Adams, Latasha Nicole Walton, Eleanor Northington, April Webster, Tameka LaShay Simpson, Aleah Mariah Jenkins, LaJuana Phillips, Dereshia Blackwell, Lashanda Anderson, Nimali Henry, and still so many more...

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(4) A non-exhaustive list of campaigns I have contributed to on several DAP teams: Design Justice 101-103 Teach-In (Youth Organizing), DAP Yearbook 2020 (Studio), Black History Month 2021 IG Series (Studio), DAP Votes 1.0 IG Series (Direct Action), Tactical Protest Signs & Week of Action 2021 (Direct Action), Rapid Response Field Notes & DAP Speaks IG Series (Direct Action), Anti-Racist Design Justice Index (Data & Research), DAP Community Agreements (Coordination & Care), Anti-Racist Design Justice Index Newspaper & Campaign Launch (Field Organizing) (5) BIPOC: Black, Indigenous, People of Color (6) Fauzia Khanani, “Finding a Design & Architecture Community During the Pandemic,” Common Edge, May 13, 2021. Top to bottom: 2020 Yearbook Cover. DAP’s Anti-Racist Design Justice Index Newspaper by DAP’s Field Organizing Team. “Loss of Life” Tactical Protest Sign Installation in Chicago, Image by Navjot Heer. Kiki Cooper and Steph Garcia install 3D tactical protest signs in Philadelphia, Image by Jessica Griffin.

Collective Care

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“The moments in which DAP was able to hold space for me were the moments I was finally able to allow myself to be my most vulnerable.”

GROUNDING EACH OTHER & HOLDING SPACE

Top: DAP’s one year anniversary and 3rd National Call on June 5, 2021. Middle: graphics from DAP Instagram campaigns. Bottom: DAP celebrates graduates of 2020!

Collective Care

The more time we spent together, the more we realized we needed to care for one another on a deeper level. We began to reserve more time at the beginning of meetings to talk about ourselves and our personal lives. We all come from different walks of life, with unique reasons motivating us to do the work we’re doing. To me, these moments are when the real magic happens. They are moments in time when we can just feel and exist in our skins. Outside of these moments, I feel like I live outside of my body. DAP members have been there for me when I’ve laughed, cried, been angry, excited, frustrated... I know I’ve done the same for others. I’ll admit that part of the reason why I was so fixated on the work we were doing in DAP was because I was and still am actively grieving. I don’t know if or when I will ever not need to grieve, given the circumstances of - to put it bluntly - our lives. The moments in which DAP was able to hold space for me were the moments I was finally able to allow myself to be my most vulnerable. Vulnerable enough to know that my trauma runs deep, and the work I was doing with DAP was certainly an act of healing and would lead me to become the best version of myself.

COMMUNITY AGREEMENTS Progressing from strangers to kin, patterns linked to white supremacy started to repeat themselves within our organizing space. Patterns like excessive apologizing, feeling a sense of urgency, and upholding perfectionism. All of these actions are linked back to white supremacy. Taking cues from “Dismantling White Culture” by Tema Okun, DAP’s Coordination and Care Team drafted a set of Community Agreements to help us dismantle the remnants of oppression that live with us (7). Individualism is at the root of the cult of the starchitect and the solution is, instead of trying to be a collective of individuals, to learn to be individuals within a collective. I believe DAP truly is a unique space because, at almost every meeting, we actively ground ourselves in our Community Agreements. These agreements illustrate our core beliefs and morals, along with DAP’s Design Justice Demands. The best part about our Community Agreements is how openly we share them with others. I have begun to reference them in my everyday life - they are even posted up in my living room. I still need constant reminders about some of our agreements, and I’m grateful to DAP for always extending me the grace to make mistakes and learn from them. PLAY AS PROTEST As we neared a full year of work in quarantine, DAP members wanted to spend more time together not just as organizers but as friends. We created a Discord server to host a myriad of topic-based text channels, voice channels, art nights, and movie nights. At this point, DAP began to transition from organizers and friends to family. Some DAP Discord members even support me by staying up late and helping me get my life together. Just like DAP’s Slack channel, we welcome everyone’s interests in Discord. Sharing memes, Tiktok videos, and music became a love language - extending pieces of myself for others to enjoy. REST AS RESISTANCE Coined by one of DAP’s favorite Instagram accounts @thenapministry, “rest as resistance” is a sentiment DAP loves to talk about. For the majority of the year, it was something we only talked about in theory, but thanks to the efforts of our Coordination & Care team, we’ve been able to arrange two two-week breaks for the entire collective. During our breaks, DAP postpones all organizing meetings. We are certainly an

(7) Tema Okun, “white supremacy culture,” dRworks. Characteristics of white supremacy culture: perfectionism, sense of urgency, defensiveness, quantity over quality, worship of the written word, only one right way, paternalism, either/or thinking, power hoarding, fear of open conflict, individualism, I’m the only one, progress is bigger/more, objectivity, right to comfort

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organization that functions on a “come and go as you please” timeline. We believe in the flexibility and fluidity of a single person’s time and capacity and we do our best to honor those notions in everything we do. I felt like after each of our hibernation periods, reuniting with DAP gets better every time. COORDINATION & CARE

Follow Design As Protest on their social media @designasprotest or dapcollective.com Top: DAP Votes 1.0 IG Series curated by Kiki Cooper as a Direct Action response to the 2020 Presidential Election. Bottom: Structural overview of DAP by Christin Hu.

Collective Care

Incorporating care into DAP’s practice of activism and design has had its ups and downs for me. There is so much work that a grassroots organization needs to do that it can overwhelm even the strongest of people. Patience and understanding are at the core of what allows us to be able to care the way we do in DAP. We are all trying to make a better future for those who will inherit a world that has been cruel to every BIPOC cultural community. We find care in our acknowledgment of change, and willingness to adapt to the fluidity of our spaces. We, as an organization, are still building the ship as we’re steering it. Taking time to create systems will give us the foundation we need to sustain ourselves over time, and that’s where our real strength lies: in our collective solidarity, our collective voice, and in love.

Find a texture. Mail it to yourself and wait.

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Common Ground

JOSEPH ONGACO, winner of Rm1000 Design/Build Competition in collaboration with COLLIN of Rm1000 Common Ground reinterprets physical gathering and sharing in a time when these activities are severely limited. The ways we interact with one another (and the ways we perceive interacting with one another) are being radically altered, causing our sense of mutuality, place, and belonging to become increasingly fragile. Common Ground offers an indirect means of connection, communication, and care by interrogating how we use space-making objects as a way of informally sharing space, memory, and experience through an exploration of a textile/patchwork language as adapted for outdoor space. Common Ground is an outdoor quilt that serves the primary purpose of providing the user a reasonable area to sit on, at any location. The intention is that Common Ground finds use when the user is seeking reprieve from Zoom fatigue and a mostly indoor lifestyle. Drawn to the outdoors, this quilt provides an escape from online lives. The use of Common Ground is highly personal as the quilts act as mediators between users and the surfaces with which they interact.

Common Ground

“For this year’s design/build competition, Room One Thousand is asking undergrads and grads in the CED to assemble a care package that contains a deployable structure or kit of parts. ”

Step 1 in the assembly of the Common Ground. The package contains a set of instruction and 4 modules.

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instructions x 1

blanket modules x 4

12” x 12” x 6” box

1. OPEN CARE PACKAGE

Common Ground

2’

blanket module

instructions x 1

4’

blanket modules x 4

es x 4

4’

12” x 12” x 6” box

repurposed from some pants

your favorite t-shirt

someone’s old bandana

2. SNAP TOGETHER

1. OPEN CARE PACKAGE

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“Consider how far your parcel will travel; how might it create a shared experience despite the distance? Pack the contents carefully as their unboxing can be an experience unto itself. Packages must fit within a USPS flat rate box.”

Step 2 in the assembly of the Common Ground. The 2’ blanket modules are joined to form the 4’ quilt modules.

Common Ground

“Plan to send your proposed design to four collaborators who are willing to document and share their receipt and construction of the package with us”

Step 3 in the assembly of the Common Ground. Connect the quilt modules to complete the process. Make more to modules to grow the common ground, or meet up with the other three recipients of the care packages.

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2’

blanket module

instructions x 1 instructions x 1

4’

6’

blanket modules x 4

4’

12” x 12” x 6” box

your favorite t-shirt

repurposed from some pants

4’

someone’s old bandana

2A. SNAP TOGETHER

1. OPEN CARE PACKAGE 3. CONNECT

Common Ground

The top layer is an assemblage of soft fabrics that provides a degree of comfort and personalization. The bottom layer is water resistant and provides a barrier, separating the user from dirt and water. The layers are linked with a series of snap buttons for ease of connection to other blankets. When social gatherings occur, blankets may be connected so that there is some semblance of place making - the blankets functionally and symbolically define a larger collective area through their covering of land. The connection and sharing of Common Ground becomes an intimate experience symbolically, where users find themselves sitting on the same continuous surface and sharing a decisive moment of time and space.

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“Entries should include written and visual material necessary to convey your proposal as both a mailable package and an experiential assembly.”

Left: In progress material with cardboard template for blanket construction with fastener locations. Right: Close up of snap button connection detail

Common Ground

Joseph Ongaco’s ‘Common Ground’ blanket assembled in site.

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Common Ground

Map how you pet an animal.

Contributors A L BO R D E

dio, and more than is an architecture stu It began in May le. anything is a lifesty .l. ers are at 2800 m.a.s 2007; its headquart d hin be rs de e lea in Quito-Ecuador. Th l Gangotena, David ua sc Pa are a ide s thi Borja, and Esteban Barragán, Marialuisa their architecture Benavides who got ol of Architecture, degrees at the Scho Pontifical Catholic the of ts Design, and Ar r. They face the University of Ecuado through its multiple field of Architecture te within the gaps in era op complexities and ally, rupt it unapologetic the system. They dis to t tan uc rel are d an e, are resilient by natur ing nk . Their way of thi dogmatic principles of working with one’s bit ha ily includes a da al ularly attached to loc hands, and are partic realities.

SHA LIN I AGR AWA L

brings over 25 years of experience in community engaged practice, and has dedicated her career to bringing diversity and equity in design, art and architecture. She is founder and principal of Public Design for Equity and Director of Pathways to Equity, a leadership experience for ethical community-engaged design. She is an award-winning educator at California College of the Arts as Associate Professor in Critical Ethnic Studies, Interdisciplinary Design Studios and the Decolonial School. Shalini’s research and practice focuses on revealing the historical legacies of colonization in architecture and design and dismantling its lasting impacts

NU PU R CH AU DH URY

is a public health urbanist who look s at cities, communities and connectio ns through a grassroots lens. She has develope d and implemented strategies to supp ort residents, communities, and neighbo rhoods to challenge power structures to build just, strong, and equitable cities and her work spans the non profit, philanthr opic and governmental systems. She is also a core organizer and Faculty of Dark Matter University, a University that seeks to create new forms of knowledge and know ledge production through radical anti-racis t forms of teaching. As a writer, Nupur uses her pen to explore issues of identity and belo nging, and believes that writing is a path to shared liberation. www.nupurchaudhury.com

BRYO NY ROBE RTS

leads the design and research practice Bryony Roberts Studio based in New York. The studio approaches design as a social practice, working with local community groups and creators to respond to the cultural histories and urban conditions of a place. Roberts has also guest-edited the recent volume Log 48: Expanding Modes of Practice, edited the book Tabula Plena: Forms of Urban Preservation published by Lars Müller Publishers, and co-guest-edited Log 31: New Ancients. Roberts teaches architecture at the Columbia University Graduate School of Architecture, Planning, and Preservation.

SHA NE REI NER-RO TH

is a PhD student in the architecture department at UCLA, and received a Master of Science in Architecture Studies (SMArchS) from MIT. He has written for publications including the Architect’s Newspaper, Log Journal, Manifest, and Pidgin.

DR JANE COOK

is a research professor at Penn State University in Materials Science and Engineering, and director of the Earth and Mineral Sciences Museum & Art Gallery on campus. Formerly, Jane was Chief Scientist at The Corning Museum of Glass, the museum’s principal resource to artists, curators, scholars, and visitors on the science and technology of glass. In her own artwork, Jane researches the interplay of the ambiguity of consciousness with the precision of science and explores themes of emergence within shifting reference frames: the blurry lines between chaos, patterns, and understanding.

J I A Y I G Uctural historian, curator and

JO SE PH O N GA CO

is a Filipino-American de signer from the South Bay region of Sa n Diego, California. He is currently a gradu ate student in the M. Arch program at the Un iversity of California, Berkeley.

KIKI COOP ER

earned a B.A. in Landscape Architecture from The Pennsylvania State University and currently works in Brookline, MA at Verdant Landscape Architecture. Kiki is an active member of the ASLA Emerging Professionals Committee and is a Design as Protest Core Organizer. During their undergrad and after entering the profession, they developed a myriad of passions that shaped their core design principles rooted in food security, equitable design, community building, and design justice. They are currently attending Harvard’s Graduate School of Design for a Master’s in Design Studies and a Master’s in Landscape Architecture in Urban Design.

is an archite een scholarly works betw is ho w r ne ig des Her practice nary formats. , es ac sp l and exhibitio tiona minor institu ices centered on -based pract ia ed m d an , re s ca f ct o je ro ethics ming p e. Her upco with in architectur e (co-curated ar C f o s ie g lo an co r E include gs togethe vi) which brin ticipants in art, Rosario Tale par f o ary group ies interdisciplin chnology stud te d an ia ed m e, l ur architect d situationa e a spatial an r, an exhibition to co-produc ea N e and Natur e, environment, of architectur n, ns tio ec rs te in tio e ta th en perim exploring in material ex orary e nc ie sc d craft an Contemp ip with Craft in partnersh d Time Art x ar nd ta r acific S K Center fo and Getty P irector of MA or of the D is he S . Science co-direct tecture and Spina. Art and Archi u with Maxi ag in p S io ud st e architectur

T+ E+ A+ M

@tpluseplusaplusm is an architecture practice led by Thom Mo ran, Ellie Abrons, Adam Fure, and Mered ith Miller.

WAI WAI Architecture Think Tank is a planetary studio questioning the political, historical, and material legacy and imp eratives of architecture and urbanism. Founded in Brussels in 2008 by Puerto Rican architect, artist, curator, educator, author and theorist Cru z Garcia and French architect, artist, curator, educator, author and poet Nathalie Franko wski, WAI is one of their several platforms of public engagement that include Beijing-based anti-profit art space Intelligentsia Ga llery, and the free and alternative education pla tform and trade-school Loudreaders. Their work has been featured at the inaugural Chicago Biennial, and shows at MoMA NY, Neues Museu m Nuremberg, MAAT Lisbon, and more. Garcia and Frankowski are Associate Professors at Iowa State University,

www.roomonethousand.com @roomonethousand

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Room One Thousand