Design Studio 1 | Instructor: Nandini Bagchee| Spitzer School of Architecture: The City College of New York CUNY

The feeling of place is intangible. It is a state of being, not a physical object. It, being a qualitative entity, cannot be fully understood; only assumed. And yet, the sense of place is the driver of many of our everyday decisions. 




Design Studio 5 | Instructor: Elisabetta Terragni | Spitzer School of Architecture: The City College of New York CUNY

The current system of education is weak; It’s boring, It’s uninspiring, It’s safe. But it is efficient, For the means of standardization. So even though other methods could plausibly yield greater results, We stick to what is easiest. Easiest for the educator, Easiest for the student And easiest for the system. True learning, True knowing, Does come from immersion in the idea. I agree, that in reality, we understand concepts as whole ideas, Not divided by disciplines. Imagine a world where people learned in these unconventional atmospheres. It would be beautiful, no? 

Axonometric and Sections




Design Studio 7 | Instructor: Timothy Matthew Collins | Spitzer School of Architecture: The City College of New York CUNY

Today we are living in a digital symphony. A world comprised of a convoluted soliloquy of data transfer. A world where bytes are our currency, and information is our crack. We are living in hyperpixelated massiveness. Information is being mined at rates faster than we could have ever fathomed. Our objects are no longer neutral pleasures of everyday life. They are watching us. Our every move is being tracked, archived, processed, and analyzed. Our walls have ears, our windows eyes, our spaces brains. The world is watching. How can we defend ourselves against a world so untrustworthy, and discreet? Simple. We track it back. The SPY-der dress reverses the role of surveillance, to make the user and the surrounding population aware of the presence of security cameras. When the dress senses the presence of security cameras, it engages by lifting its arms. The closer the wearer gets to the gaze of the camera, the higher the arms raise. Once they are within the cone of vision, the arms point in the direction of the camera, both seducing and fighting with its gaze.


Unit Plan