The project aims to address the severance of the Tiber River and the Roman urban fabric caused by the construction of the Lungotevere, through the regeneration of lost public green space. Spatial consistency is maintained by extracting and modifying existing and past urban form. Through the creation of a network of paths and spaces on the water's edge and descending down to it, the direct connection between the city and the Tiber River is reestablished. The layering of spaces generates a dialogue between interior and exterior that is characterized by the integration of vegetation. Reintegrating public green space with the urban fabric developed as an integral part of our strategy as a way to provide a sense of privacy and repose.

This project unfolds a condition in which a city floats on water, asking the questions of what makes an ideal living space, who are the urban planners, what are the social injustices caused by urban planning, and how can urban planning transcend current unjust social divisions? The new urban grid generated from the Flower of Life gives way for new spatial relationships as a bounded system in which the centers are also the intersections, leading to a series of interconnected centers. Through the participation of varying parties, organization of the urban space generated through Circles, Symbols and The Infinite Game has various possibilities depending on each participant’s goals and the cooperation between each.

Neoclassical ballet emerged in the early to mid-20th century as a reaction against the excesses and extravagance of Romantic ballet, spearheaded by Sergei Diaghilev with the Ballet Russes and introduced to America by George Balanchine. It encourages experimentation, innovation, and a departure from strict conventions while still maintaining a foundation in classical technique. The emphasis shifts from narrative to the beauty of the dance itself with some neoclassical ballets bring plotless. Art in Motion begins to illustrate the significance of the style through more familiar mediums.

Students have always been at the heart of many political movements. From protesting against the Vietnam War and military expansion into Southeast Asia to today against the apartheid state of Israel and the ongoing genocide in Gaza, the students of Pratt have not been quiet about their beliefs. The Ratt Archives aims to bring to light the history of the activism of Pratt Students, from the 70s to now. The narrative of the exhibition begins at the library with archival drawings from students, news articles, and correspondences. As viewers move towards Dekalb Hall, the sounds of Pratt students protests become louder. The Pratt cannon aims to fire with a nationwide report on campus disruption from 1968-69. An artbuild in solidarity with college encampents. All culminating at the People's Gallery for Gaza.

This installation was developed alongside an architectural interrogation of digital futures; a world in which reality and technology are essentially indistinguishable. Humans exist between the boundaries of the digital and physical world. The sheer fabric acts as this boundary, an invisible, visible barrier between the visual connection to each other and the physical access to one another. The fabric begins to fragment and distort the digital world as one moves through and around it. The projected video, taken by Olivia Chow, acts as a symbol of human connection, depicting a spontaneous tap dance circle with spectators watching through their screens. Although the video and sound immerse visitors, the relationship is false, igniting a feeling of “lonely crowds.”

The aggregation represented the 'redlined' site lines that lift subdivided envelopes and distort the plane. Recursively subdividing each volume begins to generate angles of reflection and refraction.