Gabriella D'Angelo

The Line North installation contains spatialized and auditory fragments of the larger collaboration involving poetry, text, and imagery. Humans in movement is the immediate subject of the piece, as the work is a mediation, in its most immediate sense, on the human rights crisis along the Mexican-US border. In this installation of cast plaster cages, looped recordings of poems, texts, and images, human movement complements the movements of innumerable indigenous species. To move is to know that one must also belong, to know that one is not disposable. The crisis along the southern border—a border that is replicated in the Mediterranean, along the border between Bangladesh and Myanmar, within the divided city of Jerusalem—puts into question, and simultaneously demands address, who is human in the time of increased biopolitics and surveillance.

A hybrid space that brings together sculpture, imagery and sound, the installation osculates between the physical and the metaphysical, blurring and breaking borders in the construction of a contemplative moment. The cast hydro-stone forms reference the vertical steel moments along the U.S./Mexico border; fragile and absurd, these cages are shattered by the will of the travelers crossing, and embody the physical restraint and containment associated with borders. Suspended by chains in precarious positions, the cages threaten to continue to break and collapse to the ground. They cluster in formations approachable but hazardous, roughly textured as if rushed and rusted. Hummingbirds perch upon the ruptured structures activating each fragmented piece. They are physical and spiritual bodies migrating across borders, from South to North, carriers of lost souls, talismans of distant ecologies.

The installation ebbs and flows with the shadows that interact with it throughout the day, tangled by the sound that fills the room with textured dialogue throughout the space. The decomposing cages sit within the larger cage of the room created by their projected shadows against the walls, ceiling, and floor. The transparency of the piece allows viewers to see and listen around and through the installation; this instability of the space creates an unsettling environment at first, a dissonance that transitions into focused moments of poetry articulating inhuman detention center practices, reports of loss, shifting environmental catastrophes, border racialization and militarization, imagined journeys, nightmares, and dreams.

The Line North is a collaboration with poet James McCorkle, one that has developed into both a series of poems and an installation.

 “…some of us were trying to find social responsibility towards our work while at the same time exploring through cultural guerrilla actions a new architecture: an architecture of space.”  

- Bernard Tshumi

Sound Garden and Pop-Up Sound Garden present the construction of a playful yet serious architecture; one that challenges the architect as the maker of space; one that presents architecture as action and event; one the explores community engagement and autonomy in the development of architecture as space; one that plays with sound as the ultimate construction of an architecture.  Relating back to the essence of Bernard Tschumi’s philosophy surrounding the “social responsibility” of the architect, Pop-Up Sound Garden challenges the traditional conceptions of the practice and architecture as object, situating itself as a catalyst for change within the larger social sphere and profession’s agenda.  

Envisioning the power of the garden as a space that amplifies our rights as citizens of the world to exchange words freely, Sound Garden + Pop-Up Sound Garden present architecture as a platform for social and political transformation.  Where the garden traditionally has offered individuals the opportunity to experiment with physical, artistic expressions, this garden allows for one to experiment with audial gestures to create landscapes of changing dialogue.  Creating space with the invisible, this project not only plays with material and construction methodology, but taps into sensorial experiences and imagination.

Clusters of individual conical light-weight structures clad in an impermeable, sound reflective membrane, each constellation grows and multiplies as desired. Reconfigurable on site, orientation and relationships between clusters works with the unpredictable variables within each given location, allowing for flexibility and assurance of appropriate egress and clearances.  

A landscape of funneled din, Sound Garden provides a temporary platform for human expression to be defused and infused into and throughout its surrounding context in a moment’s notice. Inverting the idea of garden as a grounded, quiet and peaceful landscape of multi-color fusion, with a boisterous and loud energy housed amidst a symphony of white, the Garden’s undulating structure of conical units are mirrored by waves of voices and sounds that are amplified from inside to out and outside to in. The intention of this Garden is to create a space and place, which encourages people of all ages to enjoy and interact with while also creating a new tool for communication.  

Come to the Garden to share your thoughts with others. 

Come to the Garden to listen.  

With the precipitation that the Finger Lakes region will experience during its winter months alongside the lack of sledding sites and outdoor activities for our youth to engage with during this long season, Winter Funscapes is a public design initiative that looks to design and build snowscapes for and with the youth in Geneva.  Designated as a “Playful City USA” by Kaboom!, Geneva already recognizes the power of play in its roll in enriching and strengthening a community and youth within. These winter playscapes continue to activate and revitalize the underutilized pocket parks and public spaces that lie dormant during the winter months, bolstering the play initiatives already implemented within the city. In increasing the landscapes that children in the area can engage with when it snows, these playful funscapes will introduce additional healthy outdoor recreation opportunities for our youth.  

In implementing this project, with the support of the city of Geneva’s Department of Public Works, Geneva Neighborhood Resource Center, and the Department of Recreation, a collaboration between myself and the Geneva Neighborhood Youth Corp and the Boys and Girls Club of Geneva will culminate into the design and build of these snowy landscapes throughout 2018. Ultimately, this project hopes to give the community’s youth a stake in positive developments within their city, inspiring future innovators and creative thinkers of our world. 

This project is made possible, in part, with public funds from NYSCA’s Decentralization Program, administered locally by Finger Lakes Community Arts Grants (FLCAG).

A wearable architectural typology, Garmitecture is a performative structure that transitions from clothing into shelter and space.  Reactive to threatening scenarios (political strife, social injustices, ecological apocalypse) this project sets out to research, design, and fabricate a series of emergency, inflatable architectural garments as prototypes for an architectural line. Focusing on instantaneous architecture for emotional shelter, this series of work begins with an investigation exploring the womb as formal and functional inspiration for each piece. From form to pattern to garment, back to form, this exploration of wearable architecture continues to challenge architectural discourse, questioning its scale and temporality.

With assistance from Summer Research Intern Morgan Gaudet.

Proposing to transform Bicentennial Park into a welcoming, multi-functioning, unique park for Geneva, this design breaks down the current visual barriers at the site, encouraging an inviting and energized space for all to come. Inspired by the glacial carvings of the Finger Lakes region, paths have been cut into the landscape, redistributing and flattening the site back down into a space that has stronger visual and physical connection between the city and the lakefront as a Gateway into Geneva. Bringing in designed elements and materials from the current waterfront revitalization, paths, benches, and banked areas transition from planted spaces into seating and skateable moments, inspiring pedestrian as well as skating activities to unfold throughout the park. Welcoming the farmers market and other festival events into the site, North Seneca Plaza will be a distinct and uniquely urban space for visitors near and far to enjoy.

In collaboration with Joe Marone and the citizens of Geneva, NY.

Looking into the idolization of Rocky as a spiritual champion of resurrection within an anti-modernist critique, this series of stained glass windows was prompted by the opening Byzantine infused scene of Rocky I.  Telling a story of the struggle and rise of this character within a landscape of inescapable decline, with a religious overtone, each window outlines Rocky within a conservative perspective, making judgments upon the ethic, socioeconomic, racial, and gendered mockeries and phrasings within the film. Considering traditional and conformist values surrounding Catholicism that were and continue to be a backlash to the progressive movement within 1960s culture until today, this critique of Rocky within these religious iconographies, from proclamation to crucifixion to resurrection, explores an undertone often engrossed within the story of an underdog’s rise to fame.  Pulling from imagery of Byzantine inspired paintings translated into a series of stained glass windows ala Rocky, a veil of beauty and light covers over the conservative undercurrent laced within the bold harmonies of the background trumpeters; “Gonna Fly Now!” 

A collaborative proposal with sculptor A.E. Ted Aub for the Monumental Women Monument for Central Park in New York design competition, the first non-fictional Women’s Monument to be placed in the park, our design presents a moment in history when 3 phenomenal women met and changed the course of Women’ Rights.  Originally captured in Aub’s piece When Anthony Met Stanton, our approach to this competition  introduces  a sister monument to the existing piece in Seneca Falls, New York, which memorialized the first meeting between Susan B. Anthony, Elizabeth Cady Stanton, and Amelia Jenks Bloomer. Situating itself in opposition to the tall, narrow monuments of various men throughout the park, our proposal suggests a low, horizontally radiating design that allows for pedestrians and visitors to engage with these Monumental Women directly, elevated just slightly and approachable at a human-scale.  Like a ripple, the base becomes a canvas of dedication to the great women of our past and present, encouraging current and future generations to learn about and become active in the ever present struggle for equality.  Placed in the center of the park’s Mall, against the grain, central, and powerful, our proposal celebrates the Women’s Rights Movement, the 19th Amendment, and the fight for Equal Rights for all.

Illuminating the landscape with kinetic music and movement, Xylo-Seuss is a space that invites its visitors to ignite an environment of sound. Play the scape; play the structure; orchestrate; escape; with xylophonic sweeping gestures, each structure tuned to harmonic scales is ready to be tapped and shaped into spontaneous or practiced song.  Vibrant and dynamic, with reverberating and rounded notes, this garden welcomes tactile and audial activation as an instrument of autonomy and enchantment.  

Inspired by the fantastical scenes and instruments of Dr. Seuss colliding with a radicalized interpretation of the wind chime, Xylo-Seuss looks at creating and constructing with familiar rhymes found within the traditional garden. Merging the various dialects of play and music, each intervention carves out mischievous spaces that invite a variety of imagined exchanges between itself and its players. 

Ramble and bamble, no use is off call.  Tinker and clink-her, make music for us all!

In collaboration with Victoria Miskolczy.

Playing off of the traditional Scandinavian state of coziness,hygge, this landscape of warmly lit coniferous trees encloses an arrangement of natural wood seating, providing a spot for outdoor enthusiasts to relax and take in the moment.  Laid out in an embracing fashion, reflective of Winnipeg’s logo, this forest of laser cut, steel tree silhouettes wind themselves around the core inhabitable space.  Using colorful lighting to transform the forest into a glowing and energizing environment, the spiraling nature of the tree elements presents a revitalizing feeling for the passersby.  Structured directly into the ice below, each of the 16 tree structures can be salvaged at the end of the season as individual sculptures and can be auctioned off to help support future seasons of Warming Huts along the Assiniboine and Red rivers.     

In collaboration with Sam Castner.

A proposal for the Regional Economic Development Council Art Grant, Pop-Up 14456 is a public design initiative that looks to reinvigorate desolate, underutilized alleyways in the City of Geneva into artfully engaged spaces for the public to interact with and inhabit.  In connection with the current Downtown Revitalization Initiative in Geneva, this project looks to sync-up with the various events at the historic Smith Opera House as inspiration for the temporary installations to be designed and constructed throughout the year.  Looking to provide art and design to all at no cost, Pop-Up 14456 seeks to open up a larger dialogue with its community around inclusion in the arts as socially engaged work.  

In collaboration with Kirin Makker and the City of Geneva, NY.

Reconstructing the metal border wall elements of Nogales into an open, woven garden for all to occupy, be nourished and learn from, Ambos Gardens replaces the imposing existing border with a free flowing, welcoming transitional zone. Here, existing steel structures are twisted into a landscape of paths, shade shelters, signage, benches, and garden beds filled with edible and local plants, including the Walnut tree, the namesake of the region.  Placing spherical shade structures throughout the path, visitors also have additional spaces for repose and shelter.

Nestled in the center of the garden path lies a series of semitransparent migratory checkpoints, offices, multipurpose rooms, and bathrooms.  Clad in glass and recycled steel plates, these enclosed spaces are welcoming and safe places to interact within.  Along with the shade structures sprinkled throughout the garden paths, these structures act as beacons of light, illuminated at night to help travelers find their way to the Gardens. Referencing the historical bi-national town of Ambos Nogales, this proposal restores a union between the cities of Nogales, presenting a convivial and supportive civic center for all to cross while dissolving harsh border divisions.  

Reconstruyendo la típica pared fronteriza de elementos metálicos (tubos y planchas de acero) en un jardín al aire libre y con elementos de tejido artesanal para que las personas se entretengan, se alimenten y aprendan de su historia. Ambos Nogales remplaza la enorme pared fronteriza con una que fluye libremente y que ofrece una zona de transición acogedora. Retorciendo tubos cuadrangulares de acero verticalmente en un paisaje de caminos, alojamientos, parterres, letreros y bancas, con plantas nativas y comestibles que incluyen el árbol de nogales, son componentes de esta nueva línea fronteriza. Incorporando estructuras esféricas a lo largo del camino provee visitantes con espacios adicionales para refrescarse, descansar y reflexionar evitando el intenso sol del desierto.

En el punto central del camino de este jardín fronterizo hay una serie de puntos de control migratorio semitransparentes, oficinas, salas polivalentes y baños. Cubiertos en vidrio y planchas recicladas de acero, estos espacios cerrados son visibles para el publico lo que hacen que estas estructuras sean lugares cómodos, acogedores y seguros para interactuar. Aparte de que estas estructuras son ubicadas a lo largo del jardín y proveen sombra para las personas, estas estructuras son faros de luz que son iluminados en la noche para ayudar a los viajeros a encontrar su camino hacia el jardín fronterizo. La histórica cuidad binacional de Ambos Nogales ha sido tomada en cuenta en esta propuesta para restablece la unión entre las ciudades hermanas de Nogales. Esto presentara un centro de convivencia cívica para todos los que cruzan la frontera haciendo que se disuelva las violentas divisiones fronterizas. 

In collaboration with Edisson Cabrera, Isa Akerfeltd-Howard, and Ethan Leon.

This series is a visual conversation between architect and activist, a statement about the current political regime’s threating dogmas and orders boldly hurling themselves onto our nation, our people, and our rights. Examining the graphic experimentations and polemical fantasies of Giovanni Battista Piranesi and the city of Philadelphia as progressive birthplace of our Constitution, each composition is a gesture of defiance and anguish; Architectural Nightmares amplifying inhuman, unethical, and unsustainable approaches to the 21st century lead by ignorance. Like Piranesi’s Carceri, the viewer is encouraged to partake in an optical frenzy within the colliding, woven, and exploded threads of information collaged together. The frame of each composition plants a seed for dialogue and action to be generated and expanded beyond the page. As Piranesi explores the power of visual discourse as a weapon of didactic articulation, through the manipulation of imagery, scale, and texture, these drawings transpose existing, physical conditions and cultural iconography with the actions threatening our citizens and landscapes; prisons of an imagined future under a newly elected dictator.

From bench to bed to table to shelter, this vibrant, flexible, multifunctional, lightweight unit brings ease and comfort to its users in a time of transition.

Designed as a multifunctional shelter for people in need of quick departure away from their homes, Manifold Havens is a flexible system that presents a variety of opportunities for its occupation.  Breaking down a simple 8-foot cube volume into 8 panels, the system begins its life as a bed, table, or bench in one’s home.  When prompted, this lightweight unit, constructed of aluminum tube, pvc pipe, or bamboo (whatever material is easiest to access) clad in durable and vibrant Sunbrella fabric, can pick up and roll out to its next location in a moment’s notice.  With flexible joinery allowing for 360-degree rotation, the unit unfolds and locks into numerous spatial configuration as needed: open, enclosed, acute, obtuse, inside, outside.  Nest together to create spaces of privacy or shelters from the elements.  Expand to create open, social spaces or breathable shelter in the heat.  All spatial growth is in the hands of the occupant.  Create space for one.  Create space for a community.  Add units together and expand. 

The opportunity to utilize Sunbrella Fabrics for this proposal ensures that the design is lightweight and durable.  With the variety of fade resistant and water resistant fabrics, each structure can embrace the beauty of the fabrics in a sun, wind and rain protected shelter, customizable to its users. Playing with colors, textures, and patterns, each shelter, originating as a furnishing within the home, brings the familiar back to its inhabitants in places unknown. Being comfortable and comforted in a time of unrest is important in lives transitioning, and Manifold Haven is designed to bring this relief to its occupants with an object from home.     

Reflective of the lasting impact of assembly within fleeting moments of time, this proposal is a nod to and extension of street and protest signage strategies. Using graphics to articulate the history of the site and the purpose of each issue being protested and assembled upon, each design gives grounding for activities to unfold at each site while creating inspiring, energized, safe and educational space.  At various scales, guerilla signage and permitted imagery becomes proposed infrastructure along the street; the placement of each sign is thoughtful in its development of an inclusive space experienced by both walkers and drivers. Using static imagery printed on each surface and projected imagery created through shadows cast from voids within the signage, there is a physical as well as ephemeral quality within each space. Printing all signage in magenta, this tactic insights a visible, recognizable network wherever they are placed.  

In collaboration with Alysia Kaplan.

Seneca Lake defines the beautiful city of Geneva.  The lake’s appeal—from its palette at sunrise to its renowned sport fishery—depends on an intricate relationship among freshwater organisms that call the lake home.  Photic Zone is a project that brings the beauty of the lake’s biology and a narrative of the aquatic food web of Seneca into the forefront of the design.  Using the vertical structures as a canvas to stage this information, Seneca Lake’s producers, herbivores, carnivores, and omnivores are illustrated in organized compositions, laser cut from each panel, along with text captions further explaining the role of the organisms displayed.  This play with solid and void not only allows for layering and permeability to occur, but allows for lively engagement through the shadows projected.  Topped with a woven canopy of flowing tubing, which emulates the water above the creatures etched out below, our overall design is inspired by its surrounds, both natural and artistic.  Envisioning our structures as a platform to shade as well as educate visitors who come to enjoy the beauty of Geneva’s lakefront, there is opportunity for future expansion around the park.  

Together as biologist, designer, and artist, this project is grounded within our diverse knowledge and experience of Geneva and Seneca Lake at both micro and macro levels.  Staying local is not only our goal within the design phase, but is our plan throughout the fabrication and installation of the work, buying from local shops, using local fabricators and construction experts, and building onto the language of an established artistic presence currently implemented within the city of Geneva.  

In collaboration with Sam Castner + Meghan Brown.

Inspired by the layered landscapes and formal investigations of artist Arthur Dove, and the vibrant Seneca waterfront, Mystic Waves is an expression of a city “Uniquely Urban”.  Framed by the abstract painterly gestures of Dove along with the movement of the wind and water across the lake, the design of the structures freezes these curvilinear motions into a layered canopy above the site.  Cladding the undulating steel structures with Brazilian Ipe wood planks creates a waving shadow of linear striations. The material selection also allows for a strong connection to the site, utilizing metals and wood currently build into the waterfront transformation. 

Recognizing the E. Castle Plaza as one of the main gateways to the Lakefront Park as well as a major point of visual connection between the city and the lake, the design of each structure allows for minimal impact to the view of Seneca.  Keeping a low vertical canopy profile with thin vertical, structural elements, each installation is meant to blend into the landscape from an eastward view onto the lake while providing spirited undulating profiles from the north and south view, all aspects coming together to construct sweeping,  shading opportunities.

I’m a Fan is a temporary structure that pops up in a moments notice.  Constructed of aluminum and light weight nylon, the structure rotates into its opened and closed positions.  Each “Fan” is weighed down with concrete anchors that clip onto the back of the structure, stabilizing each shelter while allowing it to be easily broken down and moved continuously.  Designed to allow for multiple configurations, individually and collectively, each structure allows for maximum inhabitable space without centralized interruptions.

Working with the residents of Geneva Gardens, including the 50+ children living there, an underutilized lot was transformed into a unique landscape of elements built with the materials cut down at the site.  Building off of existing stumps and playing with open space, the lake inspired design takes into consideration various activities and obstacles to allow for a variety of playful engagements including climbing, swinging, balancing, burrowing, gardening, and games of kickball. 

In collaboration with the Neighbors at Geneva Gardens and the Playpark Committee; assisted by Summer Research Interns Sarah Pullman, Garth Burke, Audrey English,JP White, and Contractors Scott Kanehl and Kurt Martin.

Cornucopia is an installation that reflects upon the bountifulness of Geneva, New York and the Finger Lakes Region.  An ode to her past, present and future, this sculpture is a monument to the growth, innovations, and positive energies that expand from Geneva’s lands and communities.  Rich in arts and agriculture, from the birth place of abstract modernist American painting to its landscapes of carved, glacial freshwater lakes, beautiful abundant vineyards, and artful businesses; Geneva is continuously vibrant.

A dynamic installation bursting with clusters of wrapped metal forms painted high-gloss white, Cornucopia is inviting, scaled to allow for its impact to be seen from vehicles along routes 5 + 20, boats floating in the grand Seneca, and pedestrians walking along the Lakefront Park.  An enticing, bright, and exciting entryway into the Seneca Lake Wine Trail, its literal and figurative language hopes to connect residents and visitors alike to the site that it bridges into and from. 

Slide-o-Scape is a project that continues to build on the richness of the surrounding histories and movement found within the Broadway Boulevard site in Winnipeg. Weaving recycled art + architectural history projector slides into a fabric to be lofted between the boulevard’s elm trees, playing with light and image as a medium to activate the growth of a landscape, the continuation of a layering of histories and cultures projects iconic surfaces from the canopy above onto the garden grounds and inhabitants below.  Building onto the textures from the billowing elms above, Slide-o-Scape activates a playful and inviting oasis from the sun, collaging densities of shadows and colorful imagery.  A garden constantly transforming with the  intensity and movement of the sun, its energy is reflected in the ever-changing Downtown Winnipeg.

Nesting Pretty embodies contradictions. Looking to engage its surrounding sites, the “rugged urban,” this project transforms the vernacular of the City’s sleek, linear, box skyscrapers into rough, nature-made concoctions. Utilizing both processed and found materials, nine building elements break from the organized, sterile grid into a randomized configuration, following the movement of human inhabitants circling the grounds around, in-between, and through the streetscape. Layering opposing formal, material, and experiential architectural ideals into one platform, each painted and polished nest is a sanctuary for the individual and a spectacle for the crowd.  

I believe the contemporary folly holds in its hands the power to expose and ridicule the ideal. It presents the unattainable or the unfathomably rebellious, pristinely packaged and riotously aware of its objectification while opening up a dialogue to a virtue or criticism upheld within its physical and/or ideological conception. The power of the folly is in its ability to manifest a fun, nonsensical delight with melancholy whiplash behind its physicality…one spoon full at a time.

Nesting Pretty is a folly that looks to pursue the urban ideal with a natural twist. Merging and confusing boundaries between industry and nature, this project presents a whimsical element and critical eye. While the nest is a playful space that questions the urban architectural idea, formally, it also contradicts this idea with the aspiration to be closer to nature, through material selection and construction methodologies.

Why are we still living and building boxes?

Can we ever truly find comfort in these nesting situations?

“Plan Against Loneliness: Some yellow seats in all parks, squares and subway trains, where people who want to be talked to can sit down.  In every city all over the world.” -  Bengt Af Klintberg (1967)

Inspired by the never-produced Fluxus happening, Plan Against Loneliness (PAL) is a collaborative endeavor between artists and members of rural/urban communities.  Incorporating design, photography, video performance, public art and audience participation, PAL encourages participants and spectator to engage first-hand with art, removing the artist/audience boundary and accessibly bringing art/artist to the public.  Embodying a collision between art, architecture, furniture design, and streetscape, the design of this bench projects its purpose as a social instrument.  By creating an inhabitable relational space, this design introduces a new relationship between seat, occupant and site.   

In collaboration with Alison Nash and Wilka Roig; Alex Cha, Jonathan Ray, Lydia Smith, Kweku Adarkwa-Mason, Laxmi Diaz, Erika Aguilera, Marienid Lopez, and Scott Kanehl.

Spinning is a project that examines the potential of contemporary architecture and sculpture to be ever evolving, kinetic, built structures and spaces.  Inspired by its given site at Socrates Sculpture Park, an energetic park entry and intersection condition at Broadway and Vernon, Spinning heightens and further layers the movement around its site as its structures interact with the wind, sun, and motion created by bodies meandering through.  Constructed of collected, donated, and salvaged bicycles, construction pipe, and hundreds of art history projector slides, each of the 29 turning wheels project multi-colored kaleidoscopic imagery of art and architecture into the landscape as the sun beams through each spoke.  A remix of objects and histories, Spinning hopes to challenge and inspire new ideas of kinetic space.        

A protest that bridges architecture and activism, Crestulous is a response to the environmental ills threatening the Seneca Lake region over gas greed and politics. Developing new and creative, visual languages, built structures, and performances, this project hopes to educate and make the general population aware of the Seneca-Crestwood conflict threatening to harm the ecology of Seneca Lake and the thousands of people including the agricultural industry that utilize the lake as a water source.  

Inflatables is a clothing line which looks into the intersections between designed clothing and designed space. Can clothing become spatial and protective at the level of architecture? Can architecture react to contemporary forces, social and environmental? In creating clothing that transforms into structures, shelter beyond an article of clothing is introduced as they became voluminous. In using translucent fabric, the relationship of body as structure for clothing vs. fabric as structure for body is visible.  The articles transition from being worn to wearing body.

This garden is a love letter to the fallen comrade of the Magic Lantern; the slide. In the thick of a digital era, in a land of discarded materials, slides are slowly transforming into jpegs and bits of information no longer requiring the physical presence of aluminum and plastic framed Kodachrome film to dance across a screen. Magic Ruins are a series of simple box frames clad in hundreds of discarded slides woven into a fabric. With the ebb and flow of sun light projecting onto and through this fabric, the slides once again are brought to life as their images are projected on top of the ground surface and visitors simultaneously and continuously.

Magic Ruins is ephemeral, ever changing with the light of day and the changing of the seasons. Its colorful structured textures are the foundation for the growth of an expanding and retracting landscape of projected art, science, history, politics....

Like the fallen ruins of past cultures, given time, the structures return to nature; a lattice for vines and greenery to crawl up and through.

Unbe-weav-a-wall is a flexible unit that allows for its users to generate instantaneous moments of architecture, shade, and space in a moments notice. Weaving Sunbrella shade outdoor fabric through a flexible aluminum grid structure, Unbe-weav-a-wall is a dynamic, portable architectural solution for anyone looking for a little space or shelter.  Bend it, roll it, twist it, turn it; transform your walls anytime, anywhere.   

An invitation to participate in Free Cooper Union (UK), FCUUK, Public Assembly: An Alternative Summer Show, this project digs into the ever present barriers severing children from around the world with free education.  New School flips the distribution of knowledge on its head, making it as “free as air and water” with guerilla methodologies.  At New School, education is ever present, unstoppable, infused into daily life.  No walls separate or contain its spirit.  

Strategy 1: Book Bombs - daily balloon drops covered in literature + arithmetic, easily dissolved with a prick.

Strategy 2: It Sounds Like - set the world on sound with waves of history, news, music, language, light...

Strategy 3: Satellite Science - NASA knows how to do this. A nighttime lesson in every star.

Strategy 4: Invisible Chalkboards - visible only through eyes eager to see, learn, believe.

Strategy 5: Loaf Lessons - eat your way to an education, one slice at a time. Part of a balanced diet.