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Pratt School of Architecture
The @prattinstitute School of Architecture educates future leaders in design, planning & management @pratt_ua @prattgcpe @pratt_galaud @pratt_cm
Pratt Institute Architecture Alumni Reception at the 2026 AIA Conference
Join the Pratt School of Architecture and Alumni Engagement for a reception with alumni, faculty, and administrators and a celebration of SoA alum and 2026 AIA National President Illya Azaroff. Reconnect with old classmates, establish new connections, and meet SoA Dean Quilian Riano over appetizers and refreshments. RSVP required.
WHEN: THURS. JUN. 11, 2026, 6:30-8:30 PM PT
WHERE: Hilton San Diego Bayfront
1 Park Blvd, San Diego, CA 92101
For questions about the event, please email alumni@pratt.edu.
@prattinstitute @prattalumni @azaroffillya @aianational @quilianriano
Pratt School of Architecture Spring 2026 Lecture Series
publics
How are publics shaped?
The shaping of the public sphere is inherently open, created through discourse in time and space. In a time when discourse is challenged, how can we open dialogue and investigate the ephemeral but lasting impact of publics? The lecture series over the 2025-2026 academic year will be open to multiple voices and creation of publics both within and outside our community.
Join us for a dynamic series of events across our departments and programs! Link in the bio to see the full list of this semester’s exhibitions and events.
More: https://www.pratt.edu/architecture/news/school-of-architecture-spring-2026-lecture-series/
@pratt_ua @prattgcpe @pratt_galaud @pratt_cm
Chloe Crawford (@chloec_arch) | UA | Year 2 | Intermediate Design 1: ARCH 201 | Fall 2024 | Prof. Chi-Fan Wong (@chifan_wong)
Building on the first year’s production in formal systems, Pratt's second year thematically explores organizational systems, as implicated by typology. The fall exposes buildings arranged in the horizontal disposition that privilege the use of the floor plan as a mechanism to conceive of and organize space. The course's focus is given to the architectural elements of the roof, the ground, and the wall as devices which contribute to the organization of the plan of the building.
Students follow a two project sequence that independently ask them to establish architectural design principles of roof tectonics ( light roof framing ), and ground stereotomics ( heavy cutting and insertions ) before hybridizing these principles into a final project. The chosen projects examine public institutions in the field pavilion and mat-building format, on sites that exhibit mild to moderate topography. Given the public nature of the projects, students are exposed to the concepts community stakeholders, infrastructure as well as access, procession, accessibility, and privacy.
Chloe Crawford (@chloec_arch) | UA | Year 2 | Intermediate Design 1: ARCH 201 | Fall 2024 | Prof. Chi-Fan Wong (@chifan_wong)
Building on the first year’s production in formal systems, Pratt's second year thematically explores organizational systems, as implicated by typology. The fall exposes buildings arranged in the horizontal disposition that privilege the use of the floor plan as a mechanism to conceive of and organize space. The course's focus is given to the architectural elements of the roof, the ground, and the wall as devices which contribute to the organization of the plan of the building.
Students follow a two project sequence that independently ask them to establish architectural design principles of roof tectonics ( light roof framing ), and ground stereotomics ( heavy cutting and insertions ) before hybridizing these principles into a final project. The chosen projects examine public institutions in the field pavilion and mat-building format, on sites that exhibit mild to moderate topography. Given the public nature of the projects, students are exposed to the concepts community stakeholders, infrastructure as well as access, procession, accessibility, and privacy.
Chloe Crawford (@chloec_arch) | UA | Year 2 | Intermediate Design 1: ARCH 201 | Fall 2024 | Prof. Chi-Fan Wong (@chifan_wong)
Building on the first year’s production in formal systems, Pratt's second year thematically explores organizational systems, as implicated by typology. The fall exposes buildings arranged in the horizontal disposition that privilege the use of the floor plan as a mechanism to conceive of and organize space. The course's focus is given to the architectural elements of the roof, the ground, and the wall as devices which contribute to the organization of the plan of the building.
Students follow a two project sequence that independently ask them to establish architectural design principles of roof tectonics ( light roof framing ), and ground stereotomics ( heavy cutting and insertions ) before hybridizing these principles into a final project. The chosen projects examine public institutions in the field pavilion and mat-building format, on sites that exhibit mild to moderate topography. Given the public nature of the projects, students are exposed to the concepts community stakeholders, infrastructure as well as access, procession, accessibility, and privacy.
Chloe Crawford (@chloec_arch) | UA | Year 2 | Intermediate Design 1: ARCH 201 | Fall 2024 | Prof. Chi-Fan Wong (@chifan_wong)
Building on the first year’s production in formal systems, Pratt's second year thematically explores organizational systems, as implicated by typology. The fall exposes buildings arranged in the horizontal disposition that privilege the use of the floor plan as a mechanism to conceive of and organize space. The course's focus is given to the architectural elements of the roof, the ground, and the wall as devices which contribute to the organization of the plan of the building.
Students follow a two project sequence that independently ask them to establish architectural design principles of roof tectonics ( light roof framing ), and ground stereotomics ( heavy cutting and insertions ) before hybridizing these principles into a final project. The chosen projects examine public institutions in the field pavilion and mat-building format, on sites that exhibit mild to moderate topography. Given the public nature of the projects, students are exposed to the concepts community stakeholders, infrastructure as well as access, procession, accessibility, and privacy.
Chloe Crawford (@chloec_arch) | UA | Year 2 | Intermediate Design 1: ARCH 201 | Fall 2024 | Prof. Chi-Fan Wong (@chifan_wong)
Building on the first year’s production in formal systems, Pratt's second year thematically explores organizational systems, as implicated by typology. The fall exposes buildings arranged in the horizontal disposition that privilege the use of the floor plan as a mechanism to conceive of and organize space. The course's focus is given to the architectural elements of the roof, the ground, and the wall as devices which contribute to the organization of the plan of the building.
Students follow a two project sequence that independently ask them to establish architectural design principles of roof tectonics ( light roof framing ), and ground stereotomics ( heavy cutting and insertions ) before hybridizing these principles into a final project. The chosen projects examine public institutions in the field pavilion and mat-building format, on sites that exhibit mild to moderate topography. Given the public nature of the projects, students are exposed to the concepts community stakeholders, infrastructure as well as access, procession, accessibility, and privacy.
Chloe Crawford (@chloec_arch) | UA | Year 2 | Intermediate Design 1: ARCH 201 | Fall 2024 | Prof. Chi-Fan Wong (@chifan_wong)
Building on the first year’s production in formal systems, Pratt's second year thematically explores organizational systems, as implicated by typology. The fall exposes buildings arranged in the horizontal disposition that privilege the use of the floor plan as a mechanism to conceive of and organize space. The course's focus is given to the architectural elements of the roof, the ground, and the wall as devices which contribute to the organization of the plan of the building.
Students follow a two project sequence that independently ask them to establish architectural design principles of roof tectonics ( light roof framing ), and ground stereotomics ( heavy cutting and insertions ) before hybridizing these principles into a final project. The chosen projects examine public institutions in the field pavilion and mat-building format, on sites that exhibit mild to moderate topography. Given the public nature of the projects, students are exposed to the concepts community stakeholders, infrastructure as well as access, procession, accessibility, and privacy.
Chloe Crawford (@chloec_arch) | UA | Year 2 | Intermediate Design 1: ARCH 201 | Fall 2024 | Prof. Chi-Fan Wong (@chifan_wong)
Building on the first year’s production in formal systems, Pratt's second year thematically explores organizational systems, as implicated by typology. The fall exposes buildings arranged in the horizontal disposition that privilege the use of the floor plan as a mechanism to conceive of and organize space. The course's focus is given to the architectural elements of the roof, the ground, and the wall as devices which contribute to the organization of the plan of the building.
Students follow a two project sequence that independently ask them to establish architectural design principles of roof tectonics ( light roof framing ), and ground stereotomics ( heavy cutting and insertions ) before hybridizing these principles into a final project. The chosen projects examine public institutions in the field pavilion and mat-building format, on sites that exhibit mild to moderate topography. Given the public nature of the projects, students are exposed to the concepts community stakeholders, infrastructure as well as access, procession, accessibility, and privacy.
Chloe Crawford (@chloec_arch) | UA | Year 2 | Intermediate Design 1: ARCH 201 | Fall 2024 | Prof. Chi-Fan Wong (@chifan_wong)
Building on the first year’s production in formal systems, Pratt's second year thematically explores organizational systems, as implicated by typology. The fall exposes buildings arranged in the horizontal disposition that privilege the use of the floor plan as a mechanism to conceive of and organize space. The course's focus is given to the architectural elements of the roof, the ground, and the wall as devices which contribute to the organization of the plan of the building.
Students follow a two project sequence that independently ask them to establish architectural design principles of roof tectonics ( light roof framing ), and ground stereotomics ( heavy cutting and insertions ) before hybridizing these principles into a final project. The chosen projects examine public institutions in the field pavilion and mat-building format, on sites that exhibit mild to moderate topography. Given the public nature of the projects, students are exposed to the concepts community stakeholders, infrastructure as well as access, procession, accessibility, and privacy.
Chloe Crawford (@chloec_arch) | UA | Year 2 | Intermediate Design 1: ARCH 201 | Fall 2024 | Prof. Chi-Fan Wong (@chifan_wong)
Building on the first year’s production in formal systems, Pratt's second year thematically explores organizational systems, as implicated by typology. The fall exposes buildings arranged in the horizontal disposition that privilege the use of the floor plan as a mechanism to conceive of and organize space. The course's focus is given to the architectural elements of the roof, the ground, and the wall as devices which contribute to the organization of the plan of the building.
Students follow a two project sequence that independently ask them to establish architectural design principles of roof tectonics ( light roof framing ), and ground stereotomics ( heavy cutting and insertions ) before hybridizing these principles into a final project. The chosen projects examine public institutions in the field pavilion and mat-building format, on sites that exhibit mild to moderate topography. Given the public nature of the projects, students are exposed to the concepts community stakeholders, infrastructure as well as access, procession, accessibility, and privacy.
Chloe Crawford (@chloec_arch) | UA | Year 2 | Intermediate Design 1: ARCH 201 | Fall 2024 | Prof. Chi-Fan Wong (@chifan_wong)
Building on the first year’s production in formal systems, Pratt's second year thematically explores organizational systems, as implicated by typology. The fall exposes buildings arranged in the horizontal disposition that privilege the use of the floor plan as a mechanism to conceive of and organize space. The course's focus is given to the architectural elements of the roof, the ground, and the wall as devices which contribute to the organization of the plan of the building.
Students follow a two project sequence that independently ask them to establish architectural design principles of roof tectonics ( light roof framing ), and ground stereotomics ( heavy cutting and insertions ) before hybridizing these principles into a final project. The chosen projects examine public institutions in the field pavilion and mat-building format, on sites that exhibit mild to moderate topography. Given the public nature of the projects, students are exposed to the concepts community stakeholders, infrastructure as well as access, procession, accessibility, and privacy.
SPRING ‘26 SUPER REVIEW
This Spring, students will present their studio projects in relation to canonical essays in Architecture and Landscape Architecture. Presentations will foreground the discursive dimensions of the work, not as a recapitulation of the public review, but as a way of responding to major ideas in the contemporary field. Discussion will ensue, with the goal of articulating how our studios advance or respond to the writing under examination.
Design 2
Moderator: Gökhan Kodalak.
Rem Koolhaas. “Typical Plan,” in S,M,L,XL: Small, Medium, Large, Extra-Large. Monacelli Press, 1995. Pp 335 - 353.
Gökhan Kodalak. “Notes on Three Formative Dimensions of Architecture:
Interiority, Anteriority, and Exteriority.” 2026.
Design 4
Moderator: Clelia Pozzi
Essay: Robert Venturi, Denise Scott Brown, Steven Isenour. “Ugly and Ordinary Architecture, or the Decorated Shed,” in Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. MIT Press, 1977. Pp. 87-93.
MLA
Moderator: Mariel Collard Arias
Essay: Elizabeth K. Meyer “Sustaining Beauty: The Performance of Appearance.” Journal of Landscape Architecture, 3/1 2008. Pp6 - 23.
Design 6
Moderator: Andrew Holder
Essay: Sylvia Lavin. “What Color Is It Now?” Perspecta vol. 35, 2004. Pp. 98-111.
@andrewjamesholder @marielilla
#PrattGALAUD #PrattSOA #SuperReview #PrattMArch #PrattMLA
SPRING ‘26 SUPER REVIEW
This Spring, students will present their studio projects in relation to canonical essays in Architecture and Landscape Architecture. Presentations will foreground the discursive dimensions of the work, not as a recapitulation of the public review, but as a way of responding to major ideas in the contemporary field. Discussion will ensue, with the goal of articulating how our studios advance or respond to the writing under examination.
Design 2
Moderator: Gökhan Kodalak.
Rem Koolhaas. “Typical Plan,” in S,M,L,XL: Small, Medium, Large, Extra-Large. Monacelli Press, 1995. Pp 335 - 353.
Gökhan Kodalak. “Notes on Three Formative Dimensions of Architecture:
Interiority, Anteriority, and Exteriority.” 2026.
Design 4
Moderator: Clelia Pozzi
Essay: Robert Venturi, Denise Scott Brown, Steven Isenour. “Ugly and Ordinary Architecture, or the Decorated Shed,” in Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. MIT Press, 1977. Pp. 87-93.
MLA
Moderator: Mariel Collard Arias
Essay: Elizabeth K. Meyer “Sustaining Beauty: The Performance of Appearance.” Journal of Landscape Architecture, 3/1 2008. Pp6 - 23.
Design 6
Moderator: Andrew Holder
Essay: Sylvia Lavin. “What Color Is It Now?” Perspecta vol. 35, 2004. Pp. 98-111.
@andrewjamesholder @marielilla
#PrattGALAUD #PrattSOA #SuperReview #PrattMArch #PrattMLA
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
FACULTY HIGHLIGHT | WONNE ICKX / PRODUCTURA
We are delighted to announce that @productora_df , co-led by Visiting Professor Wonne Ickx, has been selected as a finalist in the open international competition for the new Museum of Contemporary Art in Panama City (MAC-Panama). Out of 363 entrees from 56 countries, the proposal was selected as one of the five projects to continue to stage two.
2-3. New HQ of Houston Endowment, Houston, 2023
4. Laguna, Mexico City, 2019/Ongoing
5-6. Pilares, Mexico City, 2022
7. Masaryk Offices, Mexico City, 2024
8-9. Teotitlan del Valle Community and Cultural Center, Oaxaca, 2017
10. Loft Sullivan, Soho, New York, 2023
11-12. Ca22 Housing, Mexico City, 2023
@wonnex @mac_panama
#PrattGALAUD #PrattFaculty #Productura #MACPanama #WonneIckx
The MS in Architecture and MS in Urban Design are three-semester, STEM-designated programs designed for emerging professionals with a focus on advanced design, research, and urban challenges. Rolling admissions remain open on a space-available basis. Link to applications in bio.
Students are immersed in the practice, design, and urban cultures of New York.
3-4. Students travel to the Rivian Factory in Normal, Illinois for Professor Alexandra Barker’s Normal studio
@alexandrabarker @rivian
5. Model by Yousef Alsharif for Professor Peter Trummer’s studio, Cityology
@the.sharif
6-7. Stools by Basile de Streel and Evan Johnson, presented at the Wasted x Van Alen event for Professor Poyao Shih’s Fabrication course
@poyaoshih @johnson_evan_design @basiledestreel @van_alen
8. Model by Noah Spivak for Professor Alex Tahinos’ Urban Sampling Studio
@tahinos @n__spivak
9. Zoë Schlanger presenting her work during a lecture at Higgins Hall.
10. Models by Bhavya Prajapati, Falguni Sakpal, Mithila Sunil Patil for Peter Trummer’s studio, the Rise of New Urban Blocks
@bhavya_prajapati__ @falgunisakpal @mithilapatil_
#PrattSOA #PrattGALAUD #MSArchitecture #MSUrbanDesign #GraduateArchitecture
The MS in Architecture and MS in Urban Design are three-semester, STEM-designated programs designed for emerging professionals with a focus on advanced design, research, and urban challenges. Rolling admissions remain open on a space-available basis. Link to applications in bio.
Students are immersed in the practice, design, and urban cultures of New York.
3-4. Students travel to the Rivian Factory in Normal, Illinois for Professor Alexandra Barker’s Normal studio
@alexandrabarker @rivian
5. Model by Yousef Alsharif for Professor Peter Trummer’s studio, Cityology
@the.sharif
6-7. Stools by Basile de Streel and Evan Johnson, presented at the Wasted x Van Alen event for Professor Poyao Shih’s Fabrication course
@poyaoshih @johnson_evan_design @basiledestreel @van_alen
8. Model by Noah Spivak for Professor Alex Tahinos’ Urban Sampling Studio
@tahinos @n__spivak
9. Zoë Schlanger presenting her work during a lecture at Higgins Hall.
10. Models by Bhavya Prajapati, Falguni Sakpal, Mithila Sunil Patil for Peter Trummer’s studio, the Rise of New Urban Blocks
@bhavya_prajapati__ @falgunisakpal @mithilapatil_
#PrattSOA #PrattGALAUD #MSArchitecture #MSUrbanDesign #GraduateArchitecture
The MS in Architecture and MS in Urban Design are three-semester, STEM-designated programs designed for emerging professionals with a focus on advanced design, research, and urban challenges. Rolling admissions remain open on a space-available basis. Link to applications in bio.
Students are immersed in the practice, design, and urban cultures of New York.
3-4. Students travel to the Rivian Factory in Normal, Illinois for Professor Alexandra Barker’s Normal studio
@alexandrabarker @rivian
5. Model by Yousef Alsharif for Professor Peter Trummer’s studio, Cityology
@the.sharif
6-7. Stools by Basile de Streel and Evan Johnson, presented at the Wasted x Van Alen event for Professor Poyao Shih’s Fabrication course
@poyaoshih @johnson_evan_design @basiledestreel @van_alen
8. Model by Noah Spivak for Professor Alex Tahinos’ Urban Sampling Studio
@tahinos @n__spivak
9. Zoë Schlanger presenting her work during a lecture at Higgins Hall.
10. Models by Bhavya Prajapati, Falguni Sakpal, Mithila Sunil Patil for Peter Trummer’s studio, the Rise of New Urban Blocks
@bhavya_prajapati__ @falgunisakpal @mithilapatil_
#PrattSOA #PrattGALAUD #MSArchitecture #MSUrbanDesign #GraduateArchitecture
The MS in Architecture and MS in Urban Design are three-semester, STEM-designated programs designed for emerging professionals with a focus on advanced design, research, and urban challenges. Rolling admissions remain open on a space-available basis. Link to applications in bio.
Students are immersed in the practice, design, and urban cultures of New York.
3-4. Students travel to the Rivian Factory in Normal, Illinois for Professor Alexandra Barker’s Normal studio
@alexandrabarker @rivian
5. Model by Yousef Alsharif for Professor Peter Trummer’s studio, Cityology
@the.sharif
6-7. Stools by Basile de Streel and Evan Johnson, presented at the Wasted x Van Alen event for Professor Poyao Shih’s Fabrication course
@poyaoshih @johnson_evan_design @basiledestreel @van_alen
8. Model by Noah Spivak for Professor Alex Tahinos’ Urban Sampling Studio
@tahinos @n__spivak
9. Zoë Schlanger presenting her work during a lecture at Higgins Hall.
10. Models by Bhavya Prajapati, Falguni Sakpal, Mithila Sunil Patil for Peter Trummer’s studio, the Rise of New Urban Blocks
@bhavya_prajapati__ @falgunisakpal @mithilapatil_
#PrattSOA #PrattGALAUD #MSArchitecture #MSUrbanDesign #GraduateArchitecture
The MS in Architecture and MS in Urban Design are three-semester, STEM-designated programs designed for emerging professionals with a focus on advanced design, research, and urban challenges. Rolling admissions remain open on a space-available basis. Link to applications in bio.
Students are immersed in the practice, design, and urban cultures of New York.
3-4. Students travel to the Rivian Factory in Normal, Illinois for Professor Alexandra Barker’s Normal studio
@alexandrabarker @rivian
5. Model by Yousef Alsharif for Professor Peter Trummer’s studio, Cityology
@the.sharif
6-7. Stools by Basile de Streel and Evan Johnson, presented at the Wasted x Van Alen event for Professor Poyao Shih’s Fabrication course
@poyaoshih @johnson_evan_design @basiledestreel @van_alen
8. Model by Noah Spivak for Professor Alex Tahinos’ Urban Sampling Studio
@tahinos @n__spivak
9. Zoë Schlanger presenting her work during a lecture at Higgins Hall.
10. Models by Bhavya Prajapati, Falguni Sakpal, Mithila Sunil Patil for Peter Trummer’s studio, the Rise of New Urban Blocks
@bhavya_prajapati__ @falgunisakpal @mithilapatil_
#PrattSOA #PrattGALAUD #MSArchitecture #MSUrbanDesign #GraduateArchitecture
The MS in Architecture and MS in Urban Design are three-semester, STEM-designated programs designed for emerging professionals with a focus on advanced design, research, and urban challenges. Rolling admissions remain open on a space-available basis. Link to applications in bio.
Students are immersed in the practice, design, and urban cultures of New York.
3-4. Students travel to the Rivian Factory in Normal, Illinois for Professor Alexandra Barker’s Normal studio
@alexandrabarker @rivian
5. Model by Yousef Alsharif for Professor Peter Trummer’s studio, Cityology
@the.sharif
6-7. Stools by Basile de Streel and Evan Johnson, presented at the Wasted x Van Alen event for Professor Poyao Shih’s Fabrication course
@poyaoshih @johnson_evan_design @basiledestreel @van_alen
8. Model by Noah Spivak for Professor Alex Tahinos’ Urban Sampling Studio
@tahinos @n__spivak
9. Zoë Schlanger presenting her work during a lecture at Higgins Hall.
10. Models by Bhavya Prajapati, Falguni Sakpal, Mithila Sunil Patil for Peter Trummer’s studio, the Rise of New Urban Blocks
@bhavya_prajapati__ @falgunisakpal @mithilapatil_
#PrattSOA #PrattGALAUD #MSArchitecture #MSUrbanDesign #GraduateArchitecture
The MS in Architecture and MS in Urban Design are three-semester, STEM-designated programs designed for emerging professionals with a focus on advanced design, research, and urban challenges. Rolling admissions remain open on a space-available basis. Link to applications in bio.
Students are immersed in the practice, design, and urban cultures of New York.
3-4. Students travel to the Rivian Factory in Normal, Illinois for Professor Alexandra Barker’s Normal studio
@alexandrabarker @rivian
5. Model by Yousef Alsharif for Professor Peter Trummer’s studio, Cityology
@the.sharif
6-7. Stools by Basile de Streel and Evan Johnson, presented at the Wasted x Van Alen event for Professor Poyao Shih’s Fabrication course
@poyaoshih @johnson_evan_design @basiledestreel @van_alen
8. Model by Noah Spivak for Professor Alex Tahinos’ Urban Sampling Studio
@tahinos @n__spivak
9. Zoë Schlanger presenting her work during a lecture at Higgins Hall.
10. Models by Bhavya Prajapati, Falguni Sakpal, Mithila Sunil Patil for Peter Trummer’s studio, the Rise of New Urban Blocks
@bhavya_prajapati__ @falgunisakpal @mithilapatil_
#PrattSOA #PrattGALAUD #MSArchitecture #MSUrbanDesign #GraduateArchitecture
The MS in Architecture and MS in Urban Design are three-semester, STEM-designated programs designed for emerging professionals with a focus on advanced design, research, and urban challenges. Rolling admissions remain open on a space-available basis. Link to applications in bio.
Students are immersed in the practice, design, and urban cultures of New York.
3-4. Students travel to the Rivian Factory in Normal, Illinois for Professor Alexandra Barker’s Normal studio
@alexandrabarker @rivian
5. Model by Yousef Alsharif for Professor Peter Trummer’s studio, Cityology
@the.sharif
6-7. Stools by Basile de Streel and Evan Johnson, presented at the Wasted x Van Alen event for Professor Poyao Shih’s Fabrication course
@poyaoshih @johnson_evan_design @basiledestreel @van_alen
8. Model by Noah Spivak for Professor Alex Tahinos’ Urban Sampling Studio
@tahinos @n__spivak
9. Zoë Schlanger presenting her work during a lecture at Higgins Hall.
10. Models by Bhavya Prajapati, Falguni Sakpal, Mithila Sunil Patil for Peter Trummer’s studio, the Rise of New Urban Blocks
@bhavya_prajapati__ @falgunisakpal @mithilapatil_
#PrattSOA #PrattGALAUD #MSArchitecture #MSUrbanDesign #GraduateArchitecture
The MS in Architecture and MS in Urban Design are three-semester, STEM-designated programs designed for emerging professionals with a focus on advanced design, research, and urban challenges. Rolling admissions remain open on a space-available basis. Link to applications in bio.
Students are immersed in the practice, design, and urban cultures of New York.
3-4. Students travel to the Rivian Factory in Normal, Illinois for Professor Alexandra Barker’s Normal studio
@alexandrabarker @rivian
5. Model by Yousef Alsharif for Professor Peter Trummer’s studio, Cityology
@the.sharif
6-7. Stools by Basile de Streel and Evan Johnson, presented at the Wasted x Van Alen event for Professor Poyao Shih’s Fabrication course
@poyaoshih @johnson_evan_design @basiledestreel @van_alen
8. Model by Noah Spivak for Professor Alex Tahinos’ Urban Sampling Studio
@tahinos @n__spivak
9. Zoë Schlanger presenting her work during a lecture at Higgins Hall.
10. Models by Bhavya Prajapati, Falguni Sakpal, Mithila Sunil Patil for Peter Trummer’s studio, the Rise of New Urban Blocks
@bhavya_prajapati__ @falgunisakpal @mithilapatil_
#PrattSOA #PrattGALAUD #MSArchitecture #MSUrbanDesign #GraduateArchitecture
The MS in Architecture and MS in Urban Design are three-semester, STEM-designated programs designed for emerging professionals with a focus on advanced design, research, and urban challenges. Rolling admissions remain open on a space-available basis. Link to applications in bio.
Students are immersed in the practice, design, and urban cultures of New York.
3-4. Students travel to the Rivian Factory in Normal, Illinois for Professor Alexandra Barker’s Normal studio
@alexandrabarker @rivian
5. Model by Yousef Alsharif for Professor Peter Trummer’s studio, Cityology
@the.sharif
6-7. Stools by Basile de Streel and Evan Johnson, presented at the Wasted x Van Alen event for Professor Poyao Shih’s Fabrication course
@poyaoshih @johnson_evan_design @basiledestreel @van_alen
8. Model by Noah Spivak for Professor Alex Tahinos’ Urban Sampling Studio
@tahinos @n__spivak
9. Zoë Schlanger presenting her work during a lecture at Higgins Hall.
10. Models by Bhavya Prajapati, Falguni Sakpal, Mithila Sunil Patil for Peter Trummer’s studio, the Rise of New Urban Blocks
@bhavya_prajapati__ @falgunisakpal @mithilapatil_
#PrattSOA #PrattGALAUD #MSArchitecture #MSUrbanDesign #GraduateArchitecture
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
FACULTY HIGHLIGHT | ANDREW HOLDER / THE LADG
Visage Brut | Coachella Valley Music and Arts Festival, 2026
Andrew Holder, chair of Graduate Architecture, Landscape, and Urban Design at Pratt Institute, recently completed an installation at @coachella.
A soaring steel totem animated by a stack of subtly anthropomorphic “characters,” “Visage Brut” reimagines the logic and mythology of a totem pole through the language of contemporary construction. Designed by@the_ladg (The Los Angeles Design Group), the tower is composed of modular boxes — each one folded, rolled, cut, or warped just short of losing its structural integrity. The result is a vertical procession of hybrid geometries that both perform the physical labor of holding up the weight above and project an uncanny, almost figurative presence.
Born from an experimental collaboration with software-assisted steel fabricator @studio.construction, the installation transforms an industrial material used in retail construction into an expressive form. Its mesh and selectively skinned surfaces shift from sculptural mass to filigreed lattice as light changes, and nighttime illumination animates its dual nature. Encountered as both landmark and invitation, “Visage Brut” offers shaded niches, intricate surfaces, and a layered legibility that encourages festivalgoers to slow down and look closely.
Project Team
Design:
@andrewjamesholder & @freyinbe
The Los Angeles Design Group
Fabrication Computation:
Scott Mitchell
Stud-IO Computational Construction
Engineering:
Anthony Trgovcich
John A. Martin & Associates
Fabrication:
Craig Couch
KHS&S
#PrattGALAUD #PrattFaculty #TheLADG #Coachella #AndrewHolder
Tavian John (@tavian.arch) | UA | Year 4 | Advanced Design: ARCH 400 | Fall 2024 | Prof. Dragana Zoric (@dzoric)
AGGREGATE ASSEMBLIES / RADICAL VERNACULAR
Learning from the Traditional and the Indigenous
Materiality and form-making, both crucial to the discipline of architecture, have historically been most closely aligned in indigenous building practices. Intimately tied to site, landscape and ecology, they directly respond to systems of natural processes and climate. Factors ranging from soil types to topographic conditions directly affect the architectural language of the structures produced. These aggregate assemblies carry cultural value, are precise registers of social customs and histories of people.
At a time when contemporary built works around much of the world are indistinguishable one from another, and all cities begin to look alike, we looked to methods of addressing current design and building techniques through an intimate, place-based lens. Questions of how material and structural choices can relate to stylistic frames of reference, and to what extent they can speak to experiences and patterns of living within the specific locales, were crucial in informing the work of the studio.
Having developeda body of knowledge and lexicon from research into a current design practice which taps into an indigenous or vernacular tradition, each student focused on the techniques, practices and site conditions of the locale that they themselves come from. The goal was to design a new form of dwelling, a novel domestic arrangement, a house remade, a home rethought. Students were be able to select their own “client” and to determine the scale of dwelling, focusing on architectural form, character and organizational logic.
Once the student acquired an understanding of the mechanisms, role and value of the visual culture and building/material practices and techniques of their own chosen site, through site research, analysis and other inquiries, the objective was to re-think and re-invent a NEW vernacular building practice for a singular architecture, in response to our culturally unsettled, politically fraught and climate ravaged contemporary times.
Tavian John (@tavian.arch) | UA | Year 4 | Advanced Design: ARCH 400 | Fall 2024 | Prof. Dragana Zoric (@dzoric)
AGGREGATE ASSEMBLIES / RADICAL VERNACULAR
Learning from the Traditional and the Indigenous
Materiality and form-making, both crucial to the discipline of architecture, have historically been most closely aligned in indigenous building practices. Intimately tied to site, landscape and ecology, they directly respond to systems of natural processes and climate. Factors ranging from soil types to topographic conditions directly affect the architectural language of the structures produced. These aggregate assemblies carry cultural value, are precise registers of social customs and histories of people.
At a time when contemporary built works around much of the world are indistinguishable one from another, and all cities begin to look alike, we looked to methods of addressing current design and building techniques through an intimate, place-based lens. Questions of how material and structural choices can relate to stylistic frames of reference, and to what extent they can speak to experiences and patterns of living within the specific locales, were crucial in informing the work of the studio.
Having developeda body of knowledge and lexicon from research into a current design practice which taps into an indigenous or vernacular tradition, each student focused on the techniques, practices and site conditions of the locale that they themselves come from. The goal was to design a new form of dwelling, a novel domestic arrangement, a house remade, a home rethought. Students were be able to select their own “client” and to determine the scale of dwelling, focusing on architectural form, character and organizational logic.
Once the student acquired an understanding of the mechanisms, role and value of the visual culture and building/material practices and techniques of their own chosen site, through site research, analysis and other inquiries, the objective was to re-think and re-invent a NEW vernacular building practice for a singular architecture, in response to our culturally unsettled, politically fraught and climate ravaged contemporary times.
Tavian John (@tavian.arch) | UA | Year 4 | Advanced Design: ARCH 400 | Fall 2024 | Prof. Dragana Zoric (@dzoric)
AGGREGATE ASSEMBLIES / RADICAL VERNACULAR
Learning from the Traditional and the Indigenous
Materiality and form-making, both crucial to the discipline of architecture, have historically been most closely aligned in indigenous building practices. Intimately tied to site, landscape and ecology, they directly respond to systems of natural processes and climate. Factors ranging from soil types to topographic conditions directly affect the architectural language of the structures produced. These aggregate assemblies carry cultural value, are precise registers of social customs and histories of people.
At a time when contemporary built works around much of the world are indistinguishable one from another, and all cities begin to look alike, we looked to methods of addressing current design and building techniques through an intimate, place-based lens. Questions of how material and structural choices can relate to stylistic frames of reference, and to what extent they can speak to experiences and patterns of living within the specific locales, were crucial in informing the work of the studio.
Having developeda body of knowledge and lexicon from research into a current design practice which taps into an indigenous or vernacular tradition, each student focused on the techniques, practices and site conditions of the locale that they themselves come from. The goal was to design a new form of dwelling, a novel domestic arrangement, a house remade, a home rethought. Students were be able to select their own “client” and to determine the scale of dwelling, focusing on architectural form, character and organizational logic.
Once the student acquired an understanding of the mechanisms, role and value of the visual culture and building/material practices and techniques of their own chosen site, through site research, analysis and other inquiries, the objective was to re-think and re-invent a NEW vernacular building practice for a singular architecture, in response to our culturally unsettled, politically fraught and climate ravaged contemporary times.
Tavian John (@tavian.arch) | UA | Year 4 | Advanced Design: ARCH 400 | Fall 2024 | Prof. Dragana Zoric (@dzoric)
AGGREGATE ASSEMBLIES / RADICAL VERNACULAR
Learning from the Traditional and the Indigenous
Materiality and form-making, both crucial to the discipline of architecture, have historically been most closely aligned in indigenous building practices. Intimately tied to site, landscape and ecology, they directly respond to systems of natural processes and climate. Factors ranging from soil types to topographic conditions directly affect the architectural language of the structures produced. These aggregate assemblies carry cultural value, are precise registers of social customs and histories of people.
At a time when contemporary built works around much of the world are indistinguishable one from another, and all cities begin to look alike, we looked to methods of addressing current design and building techniques through an intimate, place-based lens. Questions of how material and structural choices can relate to stylistic frames of reference, and to what extent they can speak to experiences and patterns of living within the specific locales, were crucial in informing the work of the studio.
Having developeda body of knowledge and lexicon from research into a current design practice which taps into an indigenous or vernacular tradition, each student focused on the techniques, practices and site conditions of the locale that they themselves come from. The goal was to design a new form of dwelling, a novel domestic arrangement, a house remade, a home rethought. Students were be able to select their own “client” and to determine the scale of dwelling, focusing on architectural form, character and organizational logic.
Once the student acquired an understanding of the mechanisms, role and value of the visual culture and building/material practices and techniques of their own chosen site, through site research, analysis and other inquiries, the objective was to re-think and re-invent a NEW vernacular building practice for a singular architecture, in response to our culturally unsettled, politically fraught and climate ravaged contemporary times.
Tavian John (@tavian.arch) | UA | Year 4 | Advanced Design: ARCH 400 | Fall 2024 | Prof. Dragana Zoric (@dzoric)
AGGREGATE ASSEMBLIES / RADICAL VERNACULAR
Learning from the Traditional and the Indigenous
Materiality and form-making, both crucial to the discipline of architecture, have historically been most closely aligned in indigenous building practices. Intimately tied to site, landscape and ecology, they directly respond to systems of natural processes and climate. Factors ranging from soil types to topographic conditions directly affect the architectural language of the structures produced. These aggregate assemblies carry cultural value, are precise registers of social customs and histories of people.
At a time when contemporary built works around much of the world are indistinguishable one from another, and all cities begin to look alike, we looked to methods of addressing current design and building techniques through an intimate, place-based lens. Questions of how material and structural choices can relate to stylistic frames of reference, and to what extent they can speak to experiences and patterns of living within the specific locales, were crucial in informing the work of the studio.
Having developeda body of knowledge and lexicon from research into a current design practice which taps into an indigenous or vernacular tradition, each student focused on the techniques, practices and site conditions of the locale that they themselves come from. The goal was to design a new form of dwelling, a novel domestic arrangement, a house remade, a home rethought. Students were be able to select their own “client” and to determine the scale of dwelling, focusing on architectural form, character and organizational logic.
Once the student acquired an understanding of the mechanisms, role and value of the visual culture and building/material practices and techniques of their own chosen site, through site research, analysis and other inquiries, the objective was to re-think and re-invent a NEW vernacular building practice for a singular architecture, in response to our culturally unsettled, politically fraught and climate ravaged contemporary times.
Tavian John (@tavian.arch) | UA | Year 4 | Advanced Design: ARCH 400 | Fall 2024 | Prof. Dragana Zoric (@dzoric)
AGGREGATE ASSEMBLIES / RADICAL VERNACULAR
Learning from the Traditional and the Indigenous
Materiality and form-making, both crucial to the discipline of architecture, have historically been most closely aligned in indigenous building practices. Intimately tied to site, landscape and ecology, they directly respond to systems of natural processes and climate. Factors ranging from soil types to topographic conditions directly affect the architectural language of the structures produced. These aggregate assemblies carry cultural value, are precise registers of social customs and histories of people.
At a time when contemporary built works around much of the world are indistinguishable one from another, and all cities begin to look alike, we looked to methods of addressing current design and building techniques through an intimate, place-based lens. Questions of how material and structural choices can relate to stylistic frames of reference, and to what extent they can speak to experiences and patterns of living within the specific locales, were crucial in informing the work of the studio.
Having developeda body of knowledge and lexicon from research into a current design practice which taps into an indigenous or vernacular tradition, each student focused on the techniques, practices and site conditions of the locale that they themselves come from. The goal was to design a new form of dwelling, a novel domestic arrangement, a house remade, a home rethought. Students were be able to select their own “client” and to determine the scale of dwelling, focusing on architectural form, character and organizational logic.
Once the student acquired an understanding of the mechanisms, role and value of the visual culture and building/material practices and techniques of their own chosen site, through site research, analysis and other inquiries, the objective was to re-think and re-invent a NEW vernacular building practice for a singular architecture, in response to our culturally unsettled, politically fraught and climate ravaged contemporary times.
Tavian John (@tavian.arch) | UA | Year 4 | Advanced Design: ARCH 400 | Fall 2024 | Prof. Dragana Zoric (@dzoric)
AGGREGATE ASSEMBLIES / RADICAL VERNACULAR
Learning from the Traditional and the Indigenous
Materiality and form-making, both crucial to the discipline of architecture, have historically been most closely aligned in indigenous building practices. Intimately tied to site, landscape and ecology, they directly respond to systems of natural processes and climate. Factors ranging from soil types to topographic conditions directly affect the architectural language of the structures produced. These aggregate assemblies carry cultural value, are precise registers of social customs and histories of people.
At a time when contemporary built works around much of the world are indistinguishable one from another, and all cities begin to look alike, we looked to methods of addressing current design and building techniques through an intimate, place-based lens. Questions of how material and structural choices can relate to stylistic frames of reference, and to what extent they can speak to experiences and patterns of living within the specific locales, were crucial in informing the work of the studio.
Having developeda body of knowledge and lexicon from research into a current design practice which taps into an indigenous or vernacular tradition, each student focused on the techniques, practices and site conditions of the locale that they themselves come from. The goal was to design a new form of dwelling, a novel domestic arrangement, a house remade, a home rethought. Students were be able to select their own “client” and to determine the scale of dwelling, focusing on architectural form, character and organizational logic.
Once the student acquired an understanding of the mechanisms, role and value of the visual culture and building/material practices and techniques of their own chosen site, through site research, analysis and other inquiries, the objective was to re-think and re-invent a NEW vernacular building practice for a singular architecture, in response to our culturally unsettled, politically fraught and climate ravaged contemporary times.
Tavian John (@tavian.arch) | UA | Year 4 | Advanced Design: ARCH 400 | Fall 2024 | Prof. Dragana Zoric (@dzoric)
AGGREGATE ASSEMBLIES / RADICAL VERNACULAR
Learning from the Traditional and the Indigenous
Materiality and form-making, both crucial to the discipline of architecture, have historically been most closely aligned in indigenous building practices. Intimately tied to site, landscape and ecology, they directly respond to systems of natural processes and climate. Factors ranging from soil types to topographic conditions directly affect the architectural language of the structures produced. These aggregate assemblies carry cultural value, are precise registers of social customs and histories of people.
At a time when contemporary built works around much of the world are indistinguishable one from another, and all cities begin to look alike, we looked to methods of addressing current design and building techniques through an intimate, place-based lens. Questions of how material and structural choices can relate to stylistic frames of reference, and to what extent they can speak to experiences and patterns of living within the specific locales, were crucial in informing the work of the studio.
Having developeda body of knowledge and lexicon from research into a current design practice which taps into an indigenous or vernacular tradition, each student focused on the techniques, practices and site conditions of the locale that they themselves come from. The goal was to design a new form of dwelling, a novel domestic arrangement, a house remade, a home rethought. Students were be able to select their own “client” and to determine the scale of dwelling, focusing on architectural form, character and organizational logic.
Once the student acquired an understanding of the mechanisms, role and value of the visual culture and building/material practices and techniques of their own chosen site, through site research, analysis and other inquiries, the objective was to re-think and re-invent a NEW vernacular building practice for a singular architecture, in response to our culturally unsettled, politically fraught and climate ravaged contemporary times.
Tavian John (@tavian.arch) | UA | Year 4 | Advanced Design: ARCH 400 | Fall 2024 | Prof. Dragana Zoric (@dzoric)
AGGREGATE ASSEMBLIES / RADICAL VERNACULAR
Learning from the Traditional and the Indigenous
Materiality and form-making, both crucial to the discipline of architecture, have historically been most closely aligned in indigenous building practices. Intimately tied to site, landscape and ecology, they directly respond to systems of natural processes and climate. Factors ranging from soil types to topographic conditions directly affect the architectural language of the structures produced. These aggregate assemblies carry cultural value, are precise registers of social customs and histories of people.
At a time when contemporary built works around much of the world are indistinguishable one from another, and all cities begin to look alike, we looked to methods of addressing current design and building techniques through an intimate, place-based lens. Questions of how material and structural choices can relate to stylistic frames of reference, and to what extent they can speak to experiences and patterns of living within the specific locales, were crucial in informing the work of the studio.
Having developeda body of knowledge and lexicon from research into a current design practice which taps into an indigenous or vernacular tradition, each student focused on the techniques, practices and site conditions of the locale that they themselves come from. The goal was to design a new form of dwelling, a novel domestic arrangement, a house remade, a home rethought. Students were be able to select their own “client” and to determine the scale of dwelling, focusing on architectural form, character and organizational logic.
Once the student acquired an understanding of the mechanisms, role and value of the visual culture and building/material practices and techniques of their own chosen site, through site research, analysis and other inquiries, the objective was to re-think and re-invent a NEW vernacular building practice for a singular architecture, in response to our culturally unsettled, politically fraught and climate ravaged contemporary times.
Tavian John (@tavian.arch) | UA | Year 4 | Advanced Design: ARCH 400 | Fall 2024 | Prof. Dragana Zoric (@dzoric)
AGGREGATE ASSEMBLIES / RADICAL VERNACULAR
Learning from the Traditional and the Indigenous
Materiality and form-making, both crucial to the discipline of architecture, have historically been most closely aligned in indigenous building practices. Intimately tied to site, landscape and ecology, they directly respond to systems of natural processes and climate. Factors ranging from soil types to topographic conditions directly affect the architectural language of the structures produced. These aggregate assemblies carry cultural value, are precise registers of social customs and histories of people.
At a time when contemporary built works around much of the world are indistinguishable one from another, and all cities begin to look alike, we looked to methods of addressing current design and building techniques through an intimate, place-based lens. Questions of how material and structural choices can relate to stylistic frames of reference, and to what extent they can speak to experiences and patterns of living within the specific locales, were crucial in informing the work of the studio.
Having developeda body of knowledge and lexicon from research into a current design practice which taps into an indigenous or vernacular tradition, each student focused on the techniques, practices and site conditions of the locale that they themselves come from. The goal was to design a new form of dwelling, a novel domestic arrangement, a house remade, a home rethought. Students were be able to select their own “client” and to determine the scale of dwelling, focusing on architectural form, character and organizational logic.
Once the student acquired an understanding of the mechanisms, role and value of the visual culture and building/material practices and techniques of their own chosen site, through site research, analysis and other inquiries, the objective was to re-think and re-invent a NEW vernacular building practice for a singular architecture, in response to our culturally unsettled, politically fraught and climate ravaged contemporary times.
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
SPRING 26 FINAL REVIEWS
Monday, May 4th - Friday, May 8th, Higgins Hall
@andrewjamesholder
@hartmarlow
@tahinos @mjsieira @vienolivia @marielilla @synthetic_milk @schoenenberger_su11 @coersmeier @reidarchitecture @garrisonarchitects @stephaniebayard @giselasbaurmann @mmmosarchitects @wonnex @productora_df @alexandrabarker
#PrattGALAUD #PrattSOA #PrattInstitute #PrattMArch #PrattMLA
Lucy Ambrad (@loo_osey) | UA | Year 1 | Design 2: 102 | Spring 2025 | Prof. Jason Lee (@jasonjlee)
ARCH 102 deepened first-year architecture students’ understanding of design by integrating external environmental inputs into the architectural process. Building on the internal logics explored in ARCH 101, this studio emphasized how external factors—such as climate, vegetation, water, and human activity—condition and enrich architectural forms. Coursework included projects and design exercises that blended analog and digital media, visual and verbal communication, and environmental responsiveness.
This semester’s focus on Projected Form explored how architecture interacts with the world beyond its internal systems. Students investigated adaptive, collective, and malleable forms, capable of coexisting with and responding to ecological and environmental phenomena. The course introduced composite bodies—such as humans, ground, water, and vegetation—highlighting co-evolutionary relationships and the role of architecture as both infrastructure and an exploratory platform.
Through Projects and Design Exercises, enriched by ecology, narrative, and visual arts, ARCH 102 challenged students to create structures that respond to and evolve with environmental phenomena.
#Architecture
#BuiltEnvironment
#FutureArchitects
#ArchitectureStudents
#DesignInnovation
#StudentArchitects
#ArchitectureCommunity
#ArchitecturalDesign
#BuildingTheFuture
#ArchDaily
Lucy Ambrad (@loo_osey) | UA | Year 1 | Design 2: 102 | Spring 2025 | Prof. Jason Lee (@jasonjlee)
ARCH 102 deepened first-year architecture students’ understanding of design by integrating external environmental inputs into the architectural process. Building on the internal logics explored in ARCH 101, this studio emphasized how external factors—such as climate, vegetation, water, and human activity—condition and enrich architectural forms. Coursework included projects and design exercises that blended analog and digital media, visual and verbal communication, and environmental responsiveness.
This semester’s focus on Projected Form explored how architecture interacts with the world beyond its internal systems. Students investigated adaptive, collective, and malleable forms, capable of coexisting with and responding to ecological and environmental phenomena. The course introduced composite bodies—such as humans, ground, water, and vegetation—highlighting co-evolutionary relationships and the role of architecture as both infrastructure and an exploratory platform.
Through Projects and Design Exercises, enriched by ecology, narrative, and visual arts, ARCH 102 challenged students to create structures that respond to and evolve with environmental phenomena.
#Architecture
#BuiltEnvironment
#FutureArchitects
#ArchitectureStudents
#DesignInnovation
#StudentArchitects
#ArchitectureCommunity
#ArchitecturalDesign
#BuildingTheFuture
#ArchDaily
Lucy Ambrad (@loo_osey) | UA | Year 1 | Design 2: 102 | Spring 2025 | Prof. Jason Lee (@jasonjlee)
ARCH 102 deepened first-year architecture students’ understanding of design by integrating external environmental inputs into the architectural process. Building on the internal logics explored in ARCH 101, this studio emphasized how external factors—such as climate, vegetation, water, and human activity—condition and enrich architectural forms. Coursework included projects and design exercises that blended analog and digital media, visual and verbal communication, and environmental responsiveness.
This semester’s focus on Projected Form explored how architecture interacts with the world beyond its internal systems. Students investigated adaptive, collective, and malleable forms, capable of coexisting with and responding to ecological and environmental phenomena. The course introduced composite bodies—such as humans, ground, water, and vegetation—highlighting co-evolutionary relationships and the role of architecture as both infrastructure and an exploratory platform.
Through Projects and Design Exercises, enriched by ecology, narrative, and visual arts, ARCH 102 challenged students to create structures that respond to and evolve with environmental phenomena.
#Architecture
#BuiltEnvironment
#FutureArchitects
#ArchitectureStudents
#DesignInnovation
#StudentArchitects
#ArchitectureCommunity
#ArchitecturalDesign
#BuildingTheFuture
#ArchDaily
Lucy Ambrad (@loo_osey) | UA | Year 1 | Design 2: 102 | Spring 2025 | Prof. Jason Lee (@jasonjlee)
ARCH 102 deepened first-year architecture students’ understanding of design by integrating external environmental inputs into the architectural process. Building on the internal logics explored in ARCH 101, this studio emphasized how external factors—such as climate, vegetation, water, and human activity—condition and enrich architectural forms. Coursework included projects and design exercises that blended analog and digital media, visual and verbal communication, and environmental responsiveness.
This semester’s focus on Projected Form explored how architecture interacts with the world beyond its internal systems. Students investigated adaptive, collective, and malleable forms, capable of coexisting with and responding to ecological and environmental phenomena. The course introduced composite bodies—such as humans, ground, water, and vegetation—highlighting co-evolutionary relationships and the role of architecture as both infrastructure and an exploratory platform.
Through Projects and Design Exercises, enriched by ecology, narrative, and visual arts, ARCH 102 challenged students to create structures that respond to and evolve with environmental phenomena.
#Architecture
#BuiltEnvironment
#FutureArchitects
#ArchitectureStudents
#DesignInnovation
#StudentArchitects
#ArchitectureCommunity
#ArchitecturalDesign
#BuildingTheFuture
#ArchDaily
Lucy Ambrad (@loo_osey) | UA | Year 1 | Design 2: 102 | Spring 2025 | Prof. Jason Lee (@jasonjlee)
ARCH 102 deepened first-year architecture students’ understanding of design by integrating external environmental inputs into the architectural process. Building on the internal logics explored in ARCH 101, this studio emphasized how external factors—such as climate, vegetation, water, and human activity—condition and enrich architectural forms. Coursework included projects and design exercises that blended analog and digital media, visual and verbal communication, and environmental responsiveness.
This semester’s focus on Projected Form explored how architecture interacts with the world beyond its internal systems. Students investigated adaptive, collective, and malleable forms, capable of coexisting with and responding to ecological and environmental phenomena. The course introduced composite bodies—such as humans, ground, water, and vegetation—highlighting co-evolutionary relationships and the role of architecture as both infrastructure and an exploratory platform.
Through Projects and Design Exercises, enriched by ecology, narrative, and visual arts, ARCH 102 challenged students to create structures that respond to and evolve with environmental phenomena.
#Architecture
#BuiltEnvironment
#FutureArchitects
#ArchitectureStudents
#DesignInnovation
#StudentArchitects
#ArchitectureCommunity
#ArchitecturalDesign
#BuildingTheFuture
#ArchDaily
Lucy Ambrad (@loo_osey) | UA | Year 1 | Design 2: 102 | Spring 2025 | Prof. Jason Lee (@jasonjlee)
ARCH 102 deepened first-year architecture students’ understanding of design by integrating external environmental inputs into the architectural process. Building on the internal logics explored in ARCH 101, this studio emphasized how external factors—such as climate, vegetation, water, and human activity—condition and enrich architectural forms. Coursework included projects and design exercises that blended analog and digital media, visual and verbal communication, and environmental responsiveness.
This semester’s focus on Projected Form explored how architecture interacts with the world beyond its internal systems. Students investigated adaptive, collective, and malleable forms, capable of coexisting with and responding to ecological and environmental phenomena. The course introduced composite bodies—such as humans, ground, water, and vegetation—highlighting co-evolutionary relationships and the role of architecture as both infrastructure and an exploratory platform.
Through Projects and Design Exercises, enriched by ecology, narrative, and visual arts, ARCH 102 challenged students to create structures that respond to and evolve with environmental phenomena.
#Architecture
#BuiltEnvironment
#FutureArchitects
#ArchitectureStudents
#DesignInnovation
#StudentArchitects
#ArchitectureCommunity
#ArchitecturalDesign
#BuildingTheFuture
#ArchDaily
Lucy Ambrad (@loo_osey) | UA | Year 1 | Design 2: 102 | Spring 2025 | Prof. Jason Lee (@jasonjlee)
ARCH 102 deepened first-year architecture students’ understanding of design by integrating external environmental inputs into the architectural process. Building on the internal logics explored in ARCH 101, this studio emphasized how external factors—such as climate, vegetation, water, and human activity—condition and enrich architectural forms. Coursework included projects and design exercises that blended analog and digital media, visual and verbal communication, and environmental responsiveness.
This semester’s focus on Projected Form explored how architecture interacts with the world beyond its internal systems. Students investigated adaptive, collective, and malleable forms, capable of coexisting with and responding to ecological and environmental phenomena. The course introduced composite bodies—such as humans, ground, water, and vegetation—highlighting co-evolutionary relationships and the role of architecture as both infrastructure and an exploratory platform.
Through Projects and Design Exercises, enriched by ecology, narrative, and visual arts, ARCH 102 challenged students to create structures that respond to and evolve with environmental phenomena.
#Architecture
#BuiltEnvironment
#FutureArchitects
#ArchitectureStudents
#DesignInnovation
#StudentArchitects
#ArchitectureCommunity
#ArchitecturalDesign
#BuildingTheFuture
#ArchDaily
Lucy Ambrad (@loo_osey) | UA | Year 1 | Design 2: 102 | Spring 2025 | Prof. Jason Lee (@jasonjlee)
ARCH 102 deepened first-year architecture students’ understanding of design by integrating external environmental inputs into the architectural process. Building on the internal logics explored in ARCH 101, this studio emphasized how external factors—such as climate, vegetation, water, and human activity—condition and enrich architectural forms. Coursework included projects and design exercises that blended analog and digital media, visual and verbal communication, and environmental responsiveness.
This semester’s focus on Projected Form explored how architecture interacts with the world beyond its internal systems. Students investigated adaptive, collective, and malleable forms, capable of coexisting with and responding to ecological and environmental phenomena. The course introduced composite bodies—such as humans, ground, water, and vegetation—highlighting co-evolutionary relationships and the role of architecture as both infrastructure and an exploratory platform.
Through Projects and Design Exercises, enriched by ecology, narrative, and visual arts, ARCH 102 challenged students to create structures that respond to and evolve with environmental phenomena.
#Architecture
#BuiltEnvironment
#FutureArchitects
#ArchitectureStudents
#DesignInnovation
#StudentArchitects
#ArchitectureCommunity
#ArchitecturalDesign
#BuildingTheFuture
#ArchDaily
Lucy Ambrad (@loo_osey) | UA | Year 1 | Design 2: 102 | Spring 2025 | Prof. Jason Lee (@jasonjlee)
ARCH 102 deepened first-year architecture students’ understanding of design by integrating external environmental inputs into the architectural process. Building on the internal logics explored in ARCH 101, this studio emphasized how external factors—such as climate, vegetation, water, and human activity—condition and enrich architectural forms. Coursework included projects and design exercises that blended analog and digital media, visual and verbal communication, and environmental responsiveness.
This semester’s focus on Projected Form explored how architecture interacts with the world beyond its internal systems. Students investigated adaptive, collective, and malleable forms, capable of coexisting with and responding to ecological and environmental phenomena. The course introduced composite bodies—such as humans, ground, water, and vegetation—highlighting co-evolutionary relationships and the role of architecture as both infrastructure and an exploratory platform.
Through Projects and Design Exercises, enriched by ecology, narrative, and visual arts, ARCH 102 challenged students to create structures that respond to and evolve with environmental phenomena.
#Architecture
#BuiltEnvironment
#FutureArchitects
#ArchitectureStudents
#DesignInnovation
#StudentArchitects
#ArchitectureCommunity
#ArchitecturalDesign
#BuildingTheFuture
#ArchDaily
Lucy Ambrad (@loo_osey) | UA | Year 1 | Design 2: 102 | Spring 2025 | Prof. Jason Lee (@jasonjlee)
ARCH 102 deepened first-year architecture students’ understanding of design by integrating external environmental inputs into the architectural process. Building on the internal logics explored in ARCH 101, this studio emphasized how external factors—such as climate, vegetation, water, and human activity—condition and enrich architectural forms. Coursework included projects and design exercises that blended analog and digital media, visual and verbal communication, and environmental responsiveness.
This semester’s focus on Projected Form explored how architecture interacts with the world beyond its internal systems. Students investigated adaptive, collective, and malleable forms, capable of coexisting with and responding to ecological and environmental phenomena. The course introduced composite bodies—such as humans, ground, water, and vegetation—highlighting co-evolutionary relationships and the role of architecture as both infrastructure and an exploratory platform.
Through Projects and Design Exercises, enriched by ecology, narrative, and visual arts, ARCH 102 challenged students to create structures that respond to and evolve with environmental phenomena.
#Architecture
#BuiltEnvironment
#FutureArchitects
#ArchitectureStudents
#DesignInnovation
#StudentArchitects
#ArchitectureCommunity
#ArchitecturalDesign
#BuildingTheFuture
#ArchDaily
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
ARCH 713A | MEDIUMS 3: FABRICATION
Spring2026 | Mid Review Models
Professor Daniel Garcia
This fabrication seminar examines the book as a constructed object—one that is clamped, compressed, sewn, trimmed, and bound through a series of mechanical operations. In aggregate, books shift from individual parts to a coherent whole, producing the appearance of mass through repetition. Students will work exclusively with discarded books slated for recycling and will study historical book-making tools and connections as a way of understanding fabrication, fastening, and assembly. Forms that emerge from the physical limitations and behaviors of assembled books will define the aesthetic and structural logic of a stool at full scale AND a pavilion at an architectural scale, producing a direct reading of form, proportion, and spatial order. All constructions must be fully demountable and assembled without glue or tape, making the forces and methods of attachment explicit and integral to the overall project.
Work by students: 1,2. Michael Ballou, 3,4. Issy Clancy, 5,6. Saima Rafi, 7,8. Stephen Favale, 9,10. Talia Starko, 11,12. Alexia Barton, 13,14. Matt Sikorski, 15. Emir Kaya
@drawings.dwgs
@issyclancy @sc.favale @taliastarko @alexiabarton1 @matt1499 @emirr_kaya
#PrattMArch #PrattInstitute #PrattGALAUD #PrattSOA #architecturemodel @archdaily @archinect @next_top_architects @superarchitects @designboom @dezeen @architecturefactor
About last night, and the last decade…
As we conclude the exhibit, “A Decade of Delta Cities Coastal Resilience: Lessons From Community Engaged Climate Visioning,” we reflect on these lessons, and look forward to addressing the strengths and challenges of this interdisciplinary, intersectional curriculum at the academic-community nexus.
Thank you to all of the past participants, faculty, students, staff, partners, inspirational leaders, and those who have contributed so much to this ongoing collective journey to imagine and implement more just and climate adaptive futures.
A special thank you to those of you who were able to engage in yesterday’s first Lessons from Delta Cities Studios workshop, as we seek to listen and learn from the experiences, impacts, and challenges of all involved in addressing the intractable challenges of climate change, sea level rise, coastal storms, and historic environmental and socioeconomic injustice in our waterfront communities.
Thank you to our incredible panelists and moderator Juan Camilo Osorio, who shared these lessons and their personal and collective experiences to a public audience.
Thank you to our guiding lights and originators of this initiative in the aftermath of Superstorm Sandy, Ron Shiffman, Deborah Gans, and Jaime Stein.
Thank you to those who who produced and installed the exhibit, working tirelessly to bring together ten (and more) years of history and collaboration across silos - and archives!
And thank you to co-conspirators and coordinators of the Delta Cities Coastal Resilience Studio, Gita Nandan and Zehra Kuz. It is through their leadership and that of their co-instructors that this project can exist, and build upon our collective legacy of community-engaged, visionary climate responsive curriculum.
Join us and keep the conversation and collaboration going, for another decade, and decades of continuing struggle, creative collaboration, progress, and thriving waterfront communities.
About last night, and the last decade…
As we conclude the exhibit, “A Decade of Delta Cities Coastal Resilience: Lessons From Community Engaged Climate Visioning,” we reflect on these lessons, and look forward to addressing the strengths and challenges of this interdisciplinary, intersectional curriculum at the academic-community nexus.
Thank you to all of the past participants, faculty, students, staff, partners, inspirational leaders, and those who have contributed so much to this ongoing collective journey to imagine and implement more just and climate adaptive futures.
A special thank you to those of you who were able to engage in yesterday’s first Lessons from Delta Cities Studios workshop, as we seek to listen and learn from the experiences, impacts, and challenges of all involved in addressing the intractable challenges of climate change, sea level rise, coastal storms, and historic environmental and socioeconomic injustice in our waterfront communities.
Thank you to our incredible panelists and moderator Juan Camilo Osorio, who shared these lessons and their personal and collective experiences to a public audience.
Thank you to our guiding lights and originators of this initiative in the aftermath of Superstorm Sandy, Ron Shiffman, Deborah Gans, and Jaime Stein.
Thank you to those who who produced and installed the exhibit, working tirelessly to bring together ten (and more) years of history and collaboration across silos - and archives!
And thank you to co-conspirators and coordinators of the Delta Cities Coastal Resilience Studio, Gita Nandan and Zehra Kuz. It is through their leadership and that of their co-instructors that this project can exist, and build upon our collective legacy of community-engaged, visionary climate responsive curriculum.
Join us and keep the conversation and collaboration going, for another decade, and decades of continuing struggle, creative collaboration, progress, and thriving waterfront communities.
About last night, and the last decade…
As we conclude the exhibit, “A Decade of Delta Cities Coastal Resilience: Lessons From Community Engaged Climate Visioning,” we reflect on these lessons, and look forward to addressing the strengths and challenges of this interdisciplinary, intersectional curriculum at the academic-community nexus.
Thank you to all of the past participants, faculty, students, staff, partners, inspirational leaders, and those who have contributed so much to this ongoing collective journey to imagine and implement more just and climate adaptive futures.
A special thank you to those of you who were able to engage in yesterday’s first Lessons from Delta Cities Studios workshop, as we seek to listen and learn from the experiences, impacts, and challenges of all involved in addressing the intractable challenges of climate change, sea level rise, coastal storms, and historic environmental and socioeconomic injustice in our waterfront communities.
Thank you to our incredible panelists and moderator Juan Camilo Osorio, who shared these lessons and their personal and collective experiences to a public audience.
Thank you to our guiding lights and originators of this initiative in the aftermath of Superstorm Sandy, Ron Shiffman, Deborah Gans, and Jaime Stein.
Thank you to those who who produced and installed the exhibit, working tirelessly to bring together ten (and more) years of history and collaboration across silos - and archives!
And thank you to co-conspirators and coordinators of the Delta Cities Coastal Resilience Studio, Gita Nandan and Zehra Kuz. It is through their leadership and that of their co-instructors that this project can exist, and build upon our collective legacy of community-engaged, visionary climate responsive curriculum.
Join us and keep the conversation and collaboration going, for another decade, and decades of continuing struggle, creative collaboration, progress, and thriving waterfront communities.
About last night, and the last decade…
As we conclude the exhibit, “A Decade of Delta Cities Coastal Resilience: Lessons From Community Engaged Climate Visioning,” we reflect on these lessons, and look forward to addressing the strengths and challenges of this interdisciplinary, intersectional curriculum at the academic-community nexus.
Thank you to all of the past participants, faculty, students, staff, partners, inspirational leaders, and those who have contributed so much to this ongoing collective journey to imagine and implement more just and climate adaptive futures.
A special thank you to those of you who were able to engage in yesterday’s first Lessons from Delta Cities Studios workshop, as we seek to listen and learn from the experiences, impacts, and challenges of all involved in addressing the intractable challenges of climate change, sea level rise, coastal storms, and historic environmental and socioeconomic injustice in our waterfront communities.
Thank you to our incredible panelists and moderator Juan Camilo Osorio, who shared these lessons and their personal and collective experiences to a public audience.
Thank you to our guiding lights and originators of this initiative in the aftermath of Superstorm Sandy, Ron Shiffman, Deborah Gans, and Jaime Stein.
Thank you to those who who produced and installed the exhibit, working tirelessly to bring together ten (and more) years of history and collaboration across silos - and archives!
And thank you to co-conspirators and coordinators of the Delta Cities Coastal Resilience Studio, Gita Nandan and Zehra Kuz. It is through their leadership and that of their co-instructors that this project can exist, and build upon our collective legacy of community-engaged, visionary climate responsive curriculum.
Join us and keep the conversation and collaboration going, for another decade, and decades of continuing struggle, creative collaboration, progress, and thriving waterfront communities.
About last night, and the last decade…
As we conclude the exhibit, “A Decade of Delta Cities Coastal Resilience: Lessons From Community Engaged Climate Visioning,” we reflect on these lessons, and look forward to addressing the strengths and challenges of this interdisciplinary, intersectional curriculum at the academic-community nexus.
Thank you to all of the past participants, faculty, students, staff, partners, inspirational leaders, and those who have contributed so much to this ongoing collective journey to imagine and implement more just and climate adaptive futures.
A special thank you to those of you who were able to engage in yesterday’s first Lessons from Delta Cities Studios workshop, as we seek to listen and learn from the experiences, impacts, and challenges of all involved in addressing the intractable challenges of climate change, sea level rise, coastal storms, and historic environmental and socioeconomic injustice in our waterfront communities.
Thank you to our incredible panelists and moderator Juan Camilo Osorio, who shared these lessons and their personal and collective experiences to a public audience.
Thank you to our guiding lights and originators of this initiative in the aftermath of Superstorm Sandy, Ron Shiffman, Deborah Gans, and Jaime Stein.
Thank you to those who who produced and installed the exhibit, working tirelessly to bring together ten (and more) years of history and collaboration across silos - and archives!
And thank you to co-conspirators and coordinators of the Delta Cities Coastal Resilience Studio, Gita Nandan and Zehra Kuz. It is through their leadership and that of their co-instructors that this project can exist, and build upon our collective legacy of community-engaged, visionary climate responsive curriculum.
Join us and keep the conversation and collaboration going, for another decade, and decades of continuing struggle, creative collaboration, progress, and thriving waterfront communities.
About last night, and the last decade…
As we conclude the exhibit, “A Decade of Delta Cities Coastal Resilience: Lessons From Community Engaged Climate Visioning,” we reflect on these lessons, and look forward to addressing the strengths and challenges of this interdisciplinary, intersectional curriculum at the academic-community nexus.
Thank you to all of the past participants, faculty, students, staff, partners, inspirational leaders, and those who have contributed so much to this ongoing collective journey to imagine and implement more just and climate adaptive futures.
A special thank you to those of you who were able to engage in yesterday’s first Lessons from Delta Cities Studios workshop, as we seek to listen and learn from the experiences, impacts, and challenges of all involved in addressing the intractable challenges of climate change, sea level rise, coastal storms, and historic environmental and socioeconomic injustice in our waterfront communities.
Thank you to our incredible panelists and moderator Juan Camilo Osorio, who shared these lessons and their personal and collective experiences to a public audience.
Thank you to our guiding lights and originators of this initiative in the aftermath of Superstorm Sandy, Ron Shiffman, Deborah Gans, and Jaime Stein.
Thank you to those who who produced and installed the exhibit, working tirelessly to bring together ten (and more) years of history and collaboration across silos - and archives!
And thank you to co-conspirators and coordinators of the Delta Cities Coastal Resilience Studio, Gita Nandan and Zehra Kuz. It is through their leadership and that of their co-instructors that this project can exist, and build upon our collective legacy of community-engaged, visionary climate responsive curriculum.
Join us and keep the conversation and collaboration going, for another decade, and decades of continuing struggle, creative collaboration, progress, and thriving waterfront communities.
About last night, and the last decade…
As we conclude the exhibit, “A Decade of Delta Cities Coastal Resilience: Lessons From Community Engaged Climate Visioning,” we reflect on these lessons, and look forward to addressing the strengths and challenges of this interdisciplinary, intersectional curriculum at the academic-community nexus.
Thank you to all of the past participants, faculty, students, staff, partners, inspirational leaders, and those who have contributed so much to this ongoing collective journey to imagine and implement more just and climate adaptive futures.
A special thank you to those of you who were able to engage in yesterday’s first Lessons from Delta Cities Studios workshop, as we seek to listen and learn from the experiences, impacts, and challenges of all involved in addressing the intractable challenges of climate change, sea level rise, coastal storms, and historic environmental and socioeconomic injustice in our waterfront communities.
Thank you to our incredible panelists and moderator Juan Camilo Osorio, who shared these lessons and their personal and collective experiences to a public audience.
Thank you to our guiding lights and originators of this initiative in the aftermath of Superstorm Sandy, Ron Shiffman, Deborah Gans, and Jaime Stein.
Thank you to those who who produced and installed the exhibit, working tirelessly to bring together ten (and more) years of history and collaboration across silos - and archives!
And thank you to co-conspirators and coordinators of the Delta Cities Coastal Resilience Studio, Gita Nandan and Zehra Kuz. It is through their leadership and that of their co-instructors that this project can exist, and build upon our collective legacy of community-engaged, visionary climate responsive curriculum.
Join us and keep the conversation and collaboration going, for another decade, and decades of continuing struggle, creative collaboration, progress, and thriving waterfront communities.
About last night, and the last decade…
As we conclude the exhibit, “A Decade of Delta Cities Coastal Resilience: Lessons From Community Engaged Climate Visioning,” we reflect on these lessons, and look forward to addressing the strengths and challenges of this interdisciplinary, intersectional curriculum at the academic-community nexus.
Thank you to all of the past participants, faculty, students, staff, partners, inspirational leaders, and those who have contributed so much to this ongoing collective journey to imagine and implement more just and climate adaptive futures.
A special thank you to those of you who were able to engage in yesterday’s first Lessons from Delta Cities Studios workshop, as we seek to listen and learn from the experiences, impacts, and challenges of all involved in addressing the intractable challenges of climate change, sea level rise, coastal storms, and historic environmental and socioeconomic injustice in our waterfront communities.
Thank you to our incredible panelists and moderator Juan Camilo Osorio, who shared these lessons and their personal and collective experiences to a public audience.
Thank you to our guiding lights and originators of this initiative in the aftermath of Superstorm Sandy, Ron Shiffman, Deborah Gans, and Jaime Stein.
Thank you to those who who produced and installed the exhibit, working tirelessly to bring together ten (and more) years of history and collaboration across silos - and archives!
And thank you to co-conspirators and coordinators of the Delta Cities Coastal Resilience Studio, Gita Nandan and Zehra Kuz. It is through their leadership and that of their co-instructors that this project can exist, and build upon our collective legacy of community-engaged, visionary climate responsive curriculum.
Join us and keep the conversation and collaboration going, for another decade, and decades of continuing struggle, creative collaboration, progress, and thriving waterfront communities.
About last night, and the last decade…
As we conclude the exhibit, “A Decade of Delta Cities Coastal Resilience: Lessons From Community Engaged Climate Visioning,” we reflect on these lessons, and look forward to addressing the strengths and challenges of this interdisciplinary, intersectional curriculum at the academic-community nexus.
Thank you to all of the past participants, faculty, students, staff, partners, inspirational leaders, and those who have contributed so much to this ongoing collective journey to imagine and implement more just and climate adaptive futures.
A special thank you to those of you who were able to engage in yesterday’s first Lessons from Delta Cities Studios workshop, as we seek to listen and learn from the experiences, impacts, and challenges of all involved in addressing the intractable challenges of climate change, sea level rise, coastal storms, and historic environmental and socioeconomic injustice in our waterfront communities.
Thank you to our incredible panelists and moderator Juan Camilo Osorio, who shared these lessons and their personal and collective experiences to a public audience.
Thank you to our guiding lights and originators of this initiative in the aftermath of Superstorm Sandy, Ron Shiffman, Deborah Gans, and Jaime Stein.
Thank you to those who who produced and installed the exhibit, working tirelessly to bring together ten (and more) years of history and collaboration across silos - and archives!
And thank you to co-conspirators and coordinators of the Delta Cities Coastal Resilience Studio, Gita Nandan and Zehra Kuz. It is through their leadership and that of their co-instructors that this project can exist, and build upon our collective legacy of community-engaged, visionary climate responsive curriculum.
Join us and keep the conversation and collaboration going, for another decade, and decades of continuing struggle, creative collaboration, progress, and thriving waterfront communities.
About last night, and the last decade…
As we conclude the exhibit, “A Decade of Delta Cities Coastal Resilience: Lessons From Community Engaged Climate Visioning,” we reflect on these lessons, and look forward to addressing the strengths and challenges of this interdisciplinary, intersectional curriculum at the academic-community nexus.
Thank you to all of the past participants, faculty, students, staff, partners, inspirational leaders, and those who have contributed so much to this ongoing collective journey to imagine and implement more just and climate adaptive futures.
A special thank you to those of you who were able to engage in yesterday’s first Lessons from Delta Cities Studios workshop, as we seek to listen and learn from the experiences, impacts, and challenges of all involved in addressing the intractable challenges of climate change, sea level rise, coastal storms, and historic environmental and socioeconomic injustice in our waterfront communities.
Thank you to our incredible panelists and moderator Juan Camilo Osorio, who shared these lessons and their personal and collective experiences to a public audience.
Thank you to our guiding lights and originators of this initiative in the aftermath of Superstorm Sandy, Ron Shiffman, Deborah Gans, and Jaime Stein.
Thank you to those who who produced and installed the exhibit, working tirelessly to bring together ten (and more) years of history and collaboration across silos - and archives!
And thank you to co-conspirators and coordinators of the Delta Cities Coastal Resilience Studio, Gita Nandan and Zehra Kuz. It is through their leadership and that of their co-instructors that this project can exist, and build upon our collective legacy of community-engaged, visionary climate responsive curriculum.
Join us and keep the conversation and collaboration going, for another decade, and decades of continuing struggle, creative collaboration, progress, and thriving waterfront communities.
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.