Apr 5–26
Tu–Sa, 12–6PM
40 Wooster St., NYC
+1 (646) 470–7552

Architecture works hard to keep up to speed. In environments that are quickly changing, on borders that are stealthily shifting, and among publics that are increasingly more than human, the discipline swings between representation and agency until it becomes hard to see. A quick look around suggests that its oscillation has either sped up beyond useful limits or ceased altogether. In other words, architecture is somehow both too fast and too slow.

To help architecture find its rhythm again, AWP asks 11 designers: can architecture be made to move lithely with the present in an effort to remain an agile and relevant agent of social and cultural production? In the search for agency, the projects respond to this question by slipping between visual and material contexts, synced to their pace and situated in unusual places—in the middle, along the edge, over water, out there, in the shadows, through the air, amidst data, on unstable ground—in a critical display of architecture's versatility. In the search for representation, the work moves between image and material, circulating through time-consuming genres and formats to slow down—or speed up—architecture's incorporation into visual culture at large.

Following these themes, the exhibition is organized in two parts: Environments and Apparatuses. Environments bring exterior worlds into the gallery, simulating the effects and affects of sites and atmospheres. They are built up and take you places. Apparatuses sample, mediate, and image materials to demonstrate that the difference between architecture and environment is not a thin line, but a space held wide open for interaction. In a field with differences too uncoordinated to make a difference, AWP asks 'when' rather than 'how' in the search for shared criteria.

Friday, April 5

10AM – 4PM  
(1.) Super Jury Reviews

6PM – 11PM  
(2.) Public Opening: Cocktail Party

Friday, April 12

5PM – 8PM    
(3.) Archive Discussions: Interviews led by students

Saturday, April 13

3PM – 6PM   
(3.) Archive Discussions: Interviews led by students

6PM – 11PM  
(4.) After Hours Dinner + Dialogue

Friday, April 19

6PM – 9PM 
(5.) Keynote Lecture by Elisa Silva

Friday, April 19                           

(6.) After Party + Live Catalogue Production Event

(1.) Final review of individual projects.

(2.) The gallery will open its doors to the public and host a cocktail party among students, reviewers, faculty, friends, and alumni. Hors-d'oeuvres, drinks and music will be provided.

(3.) Archive Discussions will serve as a digital, living archive of the exhibition Too Fast Too Slow, where a series of interviews conducted by the students leading the exhibition will be recorded and later disseminated as a raw exhibition catalog.

(4.) Dinner + Dialogue pushes forth the idea that the best conversations often happen in casual and more intimate settings. The dinner table becomes a site for critical and productive discussions around the exhibition and its projects, but mainly about architecture and the status of the discipline today.

(5.) Preambling the end of the exhibition, a special lecture will take place at the gallery, where Elisa Silva will be invited to present her investigation on informal settlement growth with housing policy and land-use regulation, as well as the role of public space in urban integration and the adaptation of rural communities and landscapes. This lecture hopes to spark further discussion around the speed of architecture today, the role of landscapes and environments, and time.

(6.) To close the show, a party will be hosted where a DJ will be hired, fast and slow drinks will be served, and all will be invited. The MArch II class will be live assembling and distributing a low-res, low-cost exhibition catalog on-site.

Too Fast, Too Slow
11 Architectural Moves


01 Ece Yetim
Balancing Act: Social Piling

An interactive and tactile chair that induces fast intimacy

02 José Ibarra
Uncertain Grounds: Rethinking Settlement in the Anthropocene

A soft cave where one experiences the fastness of geological change in the Anthropocene

03 Zhonghui Zhu
Clip-on Urbanism: A Maker's Survival Guide to Shenzhen

A suitcase of curiosities that unpacks fast and reveals slow urban interventions

04 Kenny Chao
Indefinite Boundaries: Projections of Immaterial Space

A fast unfolding of shadows that leave their slow trace behind

05 Sophia Zhu
A Floating Urbanism

A floating drawing depicting a slow alternative habitat that rethinks postcolonial identity

06 Deborah Garcia

Three fast-talking consoles that show us a long and slow building

07 Zherui Wang
Climate as Medium

Three slow-breathing artifacts for environmental stipulation

08 Jessica Leung
Turning the Last Page: Knowledge Exchange and Political Crossings in Hong Kong 2046

A fast-forwarded pictorial that slowly narrates the transcendence of knowledge

09 Ece Emanetoglu
Watermelons and Walls: Building Infrastructure in Sur

A transforming topography that introduces slow infrastructure to bring back lost cultural practices

10 Erik Tsurumaki
Visual Guide to A House, Museum

A surface with several formats for looking at some slow and fast house museums

11 Rami Kanafani
this tower was reconstructed on the Green Line

A slow ramp for the viewing of a monumental fragment that resists political divide

Apr 5–26
Tu–Sa, 12–6PM


Spatial relationships between the body and the chair’s surface can be extrapolated in order to develop new modes of sitting that constitute new social relationships.

As grounds and atmospheres turn undependable, architecture shifts gears from solidity and stasis to instability and fluctuation, revising notions of structural propriety and finding common ground between living and nonliving species alike.

Clip-on Urbanism examines the possibility of making, hacking, assembling and recycling readily available devices as a way of urban upgrade and depicts a near future urban scenario which reimagines the urban envelope as an adaptive and generative interface.

Within shadows, Indefinite Boundaries invert the process of generating forms, in which physicality is overwritten by immateriality and solid is replaced by void. Its traces convert the negative space between built artifacts, using effects as constructs for placemaking.

By embracing water as a future habitat in the rural community, A floating urbanism rethinks the roles that city, infrastructure, and architecture play in search of the postcolonial identity and the relations between human and nature.

More and more the road seemed to be rising up before their eyes; was the road, in fact, growing beneath their bodies and was the corn on either side disappearing into what seemed to be only the image of corn and were they now inside rather than outside?

07 A design of three slow-breathing artifacts for environmental stipulation, Climate as a Medium speculates an alternative practice of the mediatic and mediation in face of the invisible killer.

08 In 2046, a new library addresses the relationships of book to reader, to the city, and to its people amidst political crossings in Hong Kong. This is a reading of the future of knowledge production and exchange, of urban sensitivity, and of neo-colonialism.

09 A comprehensive infrastructural intervention incorporates city walls, cultural history, environmental performance, and social programs to develop an alternative method to improve environmental resilience and agricultural production.

10 Through a fantasy of control–of directing attention and construction tolerances–inscription leads to its opposite effect. The house museum disappears through overexposure, sliding between genres, formats and modes of attention.

11 Sometime after 1990, the Murr tower was reconstructed as an archive. Today, the reconstruction documents are archived within the tower itself.
40 Wooster St., NYC
+1 (646) 470–7552


Framing body and vision have been one of the inevitable consequences of the modernist laws of “Graphic Standards”. Transforming from being a performance of a social act to an object, everyday modernity molds the human body in one standardized seating typology regardless of the activity it performs. No matter whether the body is, working, eating or in transport, it is confined to a uniform position dictated by the chair. Furniture especially chair should not be defined as an object but, a collective and responsive environment with its dynamic structure in connection to the human body. The thesis reveals how the spatial relationship by the body and the surface can be extrapolated in order to develop new modes of sitting, that constitutes new social relationship integration. The attitude of the furniture and the positions of people will create the program of the space, as private, public or domestic spaces. In addition to Giedion’s reference to the furniture formalizing the body, this thesis studies how the new bodies of technology reacts to the social and physical changes in the environment as a post digital trauma. Working space is identified through people’s interrelation of how they work, and organize as a constellation. Unlike the chair’s defined user and capacity, this project constantly rearranging its spatial organization through its mechanical system according to the number of people and the direction of their forces.

In order to reveal the free form, modularity and the dynamism of the structure, a choreography will be designed with 4 actors and a music composer. During the performance, live section of the units will be revealed on the screen to emphasize the difference usage furniture in various combinations. The performers wearing one piece suit which has the same fabric and texture, will create a unity between grouping of the bodies and organization of the modules. Moreover choreography will mostly focus on the contemporary postures that an office body is exposed to as a result of digital technology. Long Island City is taken as a case study in order to test out the proposal’s transformability, instability and comfort. The project is aimed to be installed in the foyer of office buildings in order to transform the program from corporate to domestic. It is also thought to be installed as a pop up stage for small gatherings or mini concerts.

By 2030, the arctic city of Kiruna, Sweden will have relocated some 8,000 of its 18,000 inhabitants, forcing people out of their neighborhoods to make room for the continuous excavations of a valuable iron ore vein that runs directly beneath their homes. Less than 100 years from now, the entire town will have disappeared, as the ground will have cracked and subsided several meters below its current level. Displaced by the same mining industry that led to its foundation, Kiruna is but one case in a world obsessed with consumption and resource exploitation. Architecture has become too quick to abandon landscapes and buildings, while the alarming and visible consequences of climate change are on the rise. As grounds and atmospheres have turned undependable, structures that disrupt other species—living (like biological organisms) or nonliving (like geological formations)—are built in favor of only one constituency: humankind. These architectures tend to privilege normative notions of cities and buildings, simultaneously disavowing relationships to contexts, and traces of the past.

Uncertain Grounds offers an alternative urban future for Kiruna in which unstable space is not renounced but embraced, introducing a series of processes that exalt those of the mine, cutting, filling, drifting, and stoping in order to produce an architecture that accepts the shifting ground, and which benefits humans, animals, plants, and geological strata alike. This project aims to reactivate architecture by shifting its gears from solidity, durability, and stasis, to instability, impermanence, and fluctuation. Only by virtue of revised notions of structural propriety can all these constituencies find common grounds. Presented as an essay film that makes evident the accelerated temporal scale of the project and the world today—as a product of the Anthropocene—Uncertain Grounds appropriates found and original footage in order to offer a way in which the preservation of context and memory, remediation of trauma, and models of circular economy can yield an all-inclusive and hopeful future. Inevitably for entropy, Uncertain Grounds asks: once humans cease to position themselves as the owners of the planet, should architects not design with obsolescence and change in mind? With a future built on unstable grounds, literally and metaphorically, we can expect many Kirunas in the years to come, forced to move by the dominance of economics and by impending climate change.

Clip-on Urbanism examines the possibility of manufacturing, hacking, assembling and recyclingreadily available devices as a way of urban upgrade and tries to depict a near future urbanscenario which reimagines the urban envelope as an adaptive and generative interface.

With the emergence of new technologies as well as maker and hacker culture, the site ofproduction has once again been introduced into the urban. The emerging urban Homo Faber inShenzhen, whether low-tech or high-tech, produces distinctive forms of inhabiting andoccupying urban space, and provides a potential solution to current urban problems outside thereach of traditional architecture and urban planning.

Rather than a top-down approach of urban renewal which often involves destruction andforced relocation, this thesis begins at the scale of technical devices, produced, hacked andinstalled by local residences. In this way, making becomes a means of technical empowerment,an event of community building, and a strategy for urban upgrade and continuous evolvement.

By developing an infrastructure which allows reassembled modular devices to be clipped on,plugged in and attached to existing urban fabrics, the built-up environment is mediated by aseries of community “plug and play” events in an urbanism of parts.

The architectural body is constant and indefinite at the same time. The overall form already with its mere physicality, creates a first distinction between the self and its environment, leading to its figural singularity fromthe objects within the urbanized field. Its indefiniteness is described by the self-referential bodily movements thatinhabit the shared, adjacent, invisible space. Its temperance leaves remnants of existing, ambiguous conditions, referencing the profiles and silhouettes of the initial geometry. Often times, this phenomenon becomes characterized and associated through the projections of shadows, an atmospheric condition, that embody andinfiltrate the envelopes of buildings, the infrastructural mass, and the constantly shifting ground of the city.

My thesis focuses on the exploration of defining boundaries and space not through physical elements but throughimmaterial and temporal phenomenons such as sciography. I am interested in deconstructing the notion thatarchitecture and its effects are constrained to the extents of its boundaries, and in contrast, they occupy the negative space between built forms within urban environments.

Throughout the prescribed air space of the city, theindefiniteness of forms intersects, instilling the projections of program, events, and visual connectivity. Using projective geometry techniques in similarity to shadow puppetry, the process of mapping and arranging forms becomes inverted, as discreet two-dimensional silhouettes dictate the composition of ambiguous geometries in three-dimensional space. By doing so, the projection of shadows choreographs circulation and program in specificity to the
time of day. Shadow becomes a defined medium for space to become place in relation to time and event.


Tonle Sap Lake, the largest freshwater lake in Southeastern Asia that has supported Cambodia since the Angkorian Civilization dated back to the 8th Century, is under severe environmental and social crisis today. The lake is home to 300,000 people who live in floating villages, the majority of whom are illegal immigrants. In between the rainy and dry season, the lake expands and shrinks exponentially, forcing villagers to migrate seasonally as nomadic tribes. Without any infrastructure, the lake is increasingly polluted by domestic trash disposal, which puts the life of villagers and the fishing industry at stake. As the lake contributes majorly to the fish and agricultural farming of Cambodia, once its biosphere collapses, the whole country's economy would be severely impacted.An unstable habitat as such urges us to rethink the role that city, infrastructure, and architecture plays in postcolonial, marginalized, rural territories, and how to build a city that rearticulates the relations between human and nature.

Toward A Floating Urbanism is a hypothesis that by building collective settlements on water, pre-industrial societies can skip industrialization process and form a new type of floating urbanism that is mobile, connected, and responsive to nature and local culture. It embodies water treatment into the design of architecture and the spatial flow of the city, where infrastructure becomes an agile and integrated participant of various urban scenes. Exploring the possibility of making water a habitable new "ground", Toward A Floating Urbanism delineates a vision for the future of Tonle Sap Lake as a particular place, while ultimately sets out to ask a larger question: based on the reality of climate change, including sea-level rise and therefore land scarcity, and post-war housing crisis for borderless, homeless nomads, how do we embrace water as an experimental laboratory while preserving the unique identity of the place?

This is a project located in Hamilton County, Nebraska. It
features the following:

A building that extends over 20 miles, but may be bigger.

A building that is made of multiple buildings.

A building that is totally interiorized and features the convergence of three main programs:


The building is playing as infrastructure.

There is very little difference between the building and the road, therefore it is hard to get in and get out.

Road rage is very useful for this building because:



Mostly invisible, but physically influential, air pollution claims 1 of 9 lives and threaten the future of our cities. 92% of the population in the world, rural or urban, lives in places with air quality above the WHO guidelines. In Beijing, the concentration of pm 2.5 particles in itself is 7.3 times the safety level, resulting in an annual death of 1,944,436 individuals.

In a world of inconsistent governance, where policy-making alone does not seems to protect the citizens, it rests upon human capitals to confront the crisis on an individual or communal basis. The project capitalizes the mediatic and mediation potential of hollow fiber membrane (straw-like nanometer-scale material) as a building material for a respiratory architecture. The proposed are three architectural artifacts–interventions that minimize heat loss while filter undesirable particles—for survival.

At the body scale, Baleen Coat is a waist-long wearable capable of air filtration when activated by are-arming kit (inflator). Encased by the coat, citizens can amplify their breathing surfaces through a field of tubular pores on the garment. Skin-graft is a spongy fenestration system for existing buildings. The dome is an urban scale intervention that regulates airborne content with maximized volume enclosed.

The collapse of air as a collective common has induced a new surface-to-volume relationship. These artifacts are the beginning of an alternative lifestyle—a new way to breathe, a new way to live, and a new way to be.


In 2046, the political crossing of Hong Kong’s capitalism and mainland China’s socialism will manifest in a brand new public library. With the increased infrastructural connectivity and economic integration with the “Greater Bay Area” megalopolis of China, Hong Kong will reap the benefits of strong GDP, financial and trade collaborations, and affordable real estate. Inevitably, the increased interaction between Hong Kong and the mainland cities will heighten other social issues such as Mandarin taking over Cantonese and English, simplified Chinese substituting traditional Chinese, and the adaptation of the mainland Chinese education system. As much as both governments will reiterate the harmony between Hong Kong and the mainland, it is very likely that the angst, frustration, and disappointment in society will have culminated. The antagonism between authorities and oppositions, the collective and the individual, and permanence and impermanence will always exist.

As a fundamental socio-economic symbol of a city, a public library has been chosen as the scope of the thesis. While it is a physical symbol of the agglomeration of civic culture, it is also a symbolic image of the collection of knowledge in society. The first libraries housed physical materials such as books, documents, and other materials, and served as a sanctuary for the storage of knowledge. With the ease of printing and mass production, books were no longer a scarcity, and the early development of Internet and the limited but free access to the virtual world in the library became thing to be sought after. Today, with the extensive coverage of virtual networks and connectivity all around us, people have access to free knowledge and information at home, atwork, and in their palms. The library of the future should be thought of as a transcendent and genuine physical space, where it is entirely about the physical and collective experience. It should be comparable to a musical concert, where being present is relished; or perhaps a shopping mall, where the experience is just as appealing as the outcome.

The embedded politics and antagonisms of the thesis is further addressed in the selection of the site, which is the most symbolic of its judicial significance and colonial history. The Court of Final Appeal, built in 1912, served as the Supreme Court and the Legislative Council building, prior to itscurrent state. Designed by British architects Aston Webb and Ingress Bell, who also designed the façade of Buckingham Palace and the V&A Museum, it is a building of Victorian style and represents a strong colonial presence and reminder. Next to it, the Statue Square, where a bronze statue of Queen Victoria once stood, has become a critical place of protests and gatherings over the years. Both the Court and the Square retain a close proximity to the central government offices and the Chinese Army Barracks. The location is said to be most representative of Hong Kong, with heights, economy, history, capitalistic values, and cultural symbols all in one.

The project is developed in sections, a testimony to the unique ground/groundless conditions of Hong Kong.


Water was the driving agent behind the creation of the main characteristics of the first cities, going as far back as the urban settlements of Greece, and the Roman and the Ottoman Empires. As cities became modernized, infrastructures progressed with technology. Water, which used to be the visible source of everyday life has been reduced to trivial clues such as fire hydrants and abandoned ancient water fountains. Effortless accessibility of water in every household has eclipsed its social values to a meaningless stream flowing from the kitchen tap.

Recently, an awareness for the modern infrastructures causing ecological damage arose during the discussions focusing on climate change and anticipated water crisis around the world. TEMA, “The Turkish Foundation for Combating Soil Erosion, Reforestation and the Protection of Natural Habitats”, is expecting to face periods of severe water scarcities leading to extinctions of rivers and agriculture by 2050, especially in the Eastern Mediterranean and South Eastern Anatolia ac- cording to their report titled “Endangered Water Resources of Turkey”. In other words, the Fertile Crescent, where the agriculture was born and the mankind became sedentary, is now turning into the Scarcity Crescent.

Verging the Mesopotamia, Tigris River is also one of the rivers that is expected to dry out completely due to the population growth in cities, industrial and agricultural pollution, uncontrolled urbanization, pollution of the thermal power station, and diminishing water reservoirs. The existing engineering solutions to collect, store and distribute the water require a reconsideration of pre-modern infrastructures such as aqueducts and cisterns where inhabitants were adapting their civilized order to the natural order rather than manipulating and dominating nature itself.

Located near the Tigris River, Diyarbakir allegedly was the capital of Mesopotamia in the past supply food for the city from ancient Hevsel Gardens just outside the old city walls by using the river as a water resource. In addition, the city had been providing four unique types of watermelons to the whole country and they have been representing the local culture and its people. However, two of these four types of watermelon have already become extinct. The remaining watermelons giving the city its identity and shaping its culture are also facing danger of extinction due to the upcoming draught in the near future. So does the city itself.

The task for architecture here is to develop a new infrastructural model for an adaptation of the city, its landscape, and the local culture. Currently, the city’s old walls stand as a living cultural inheritance but remains as an unfunctional infrastructure that served the city in the past. The new infrastructure will harvest the rain, by appropriating the old city walls as a living infrastructure. Depending on the ways and which the rainwater is collected, the intervention will also accommodate social, cultural and educational programs that the city needs. Moreover, at the end of the day, the harvested rain will be stored in a cistern and it will be used to irrigate Hevsel Gardens outside the city walls to nurture agriculture and the watermel- ons. Thus, the city walls will be more than simply a cultural inheritance, and it will reincarnate as the new infrastructure that links together water, agriculture and the society.

What is so interesting in the anecdote about James Stirling losing his temper over Joseph Beuy’s ‘junk’ cluttering the opening of his Staatsgalerie Stuttgart is that it raises problematic questions about architecture’s status relative to the stuff it contains: How is attention economized relative to the part vs. the whole? How do objects of desire enter each other’s orbits? One way to think about this problem is through the genre of the house museum.

A house museum can be defined as either: a. A museum that you live inside, or b. A house on display to visitors.

What becomes clear when thinking about the differences between architecture, the things it contains and the not-quite architecture, is that when a house becomes a museum, it has often been doing the work of one for many years. This work includes directing attention to things that matter: the curation of what is seen first as lifestyle and later, a collection. Architecture does this work through inscription, which serves to draw what is interesting out from its context.

What the relationship between drawing and building reveals is that actually, inscription itself has a duration; the fastest being the act of drawing on a wall or floor, while the slowest is constructing a building. If, as Wyatt Gwyon says, “you can change a line without even touching it,” perhaps architecture should always be both the duck and the rabbit in order to preempt future changes by moving drawing and building closer together. Through this fantasy of control (of display and construction tolerances) that leads to its opposite effect, the house museum disappears through overexposure, sliding between genres and modes of attention in an effort to make architecture move lithely with the present.

When talking about the famed Murr tower and its role in the definition of space and borders in Beirut during the Civil War, it should be mentioned that the tower was destroyed sometime after the end of thewar only to be replaced by an exact copy of it, reconstructed horizontally. The replica was placed 1km east of the original along what was known as The Green Line, a borderline that the tower had originally delineated through its use as a sniping post. The designation ‘green’ came on account of the vegetation that covered the border as a result of the absence of people but that was wiped out during the postwar reconstruction. Greenness was later revived through paint as the reconstructed tower engaged the Green Line once again as a medium for growth and as a public repository of archival material related to the war. The reconstructed tower took the image of the original iconic facade and extruded it along the width ofthe tower, generating space within the extruded image.

This is documentation of the reconstruction of the tower along The Green Line.

The documentation involves exhibiting a fragment of the reconstructed building, a sectional interactive model measuring 5 and a half feet and a set of construction documents, making the case that the reconstructed building actually replaced the original one.