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.