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

Wednesday, April 17

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

Having said that, the projects are surgically inserted within specific conditions – in the middle, along the edge, within political uncertainty, over water, in the shadows, through the air, between objects, away from the object, amidst data, within the farmland, on unstable ground – in a critical display of architecture’s versatility.
Apr 5–26
Tu–Sa, 10AM–6PM



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.


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.
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Many of the projects have embraced positions that accept and even argue for a direct negotiation of architecture with a quickly changing environment. It seems that our environment is changing at such a fast pace that we must rethink the life span, or agility of architecture…

The ground is slipping out from under us, border lines are stealthily shifting, the river is running dry. Architecture must pick up its pace.

Architectural theses transpose  an idea into a visual performance, as the leading architecture schools and  design offices are more engaged with social media that ever. The shock of thesis is not embedded in the statement any longer but in the image quality that could be presented in a public gallery other than an architecture school.

Even though problematics of a specific site or climatic future scenarios that are dealt by the architecture students in their theses do not change much, the exhibition techniques diversify with different media.

The Princeton Post-Professional thesis show includes 11 students that cannot be grouped on a specific theme or a context; but could be exhibited in the same space only because they share the same design process with same time limit.

Suggesting that architecture must always operate—enhance or mutilate, hide or unveil, merge or split, etc.—on issues outside of itself, our thesis projects attach themselves to external and borrowed conflicts, while joining an ongoing dialogue of architectural propositions.

This gives room for the projects to situate themselves around and provoke past and future histories of the discipline. More than ever, the proposals are driven by politics, transformation, and changing environments—proof that our taken-for-granted referents have become undependable.

The architecture thesis at Princeton removes the architectural object from the built world twice: once to put it in an academic setting away from real constraints and once to put it on display in an exhibition, subjecting it to questions of representation and authorship.

Having said that, the projects are surgically inserted within specific conditions – in the middle, along the edge, within political uncertainty, over water, in the shadows, through the air, between objects, away from the object, amidst data, within the farmland, on unstable ground – in a critical display of architecture’s versatility.

The world of architecture in our time is at an extraordinary moment. Never has the discipline of architecture been so complex through the multiplicity of interconnected forces.

The conjoining field of humanity, social and natural sciences has shifted discovery and production of knowledge from a static model favouring specialisation to identifying shared commonality through transdisciplinary assessment, cultivating shared insights and the act of making.

Thesis presents the opportunity to navigate between these technical specificities and synthesize a substantial approach to confront the unpredictability of the future.