Sandra Nataf - Architecture Portfolio

SANDRA

NATAF

Architecture | Selected Works 2016-2019

SR A NDRA NATAF E S U M E PERSONAL INFO Nati on al i ty : American and Fre nch L oc ati o n: N ew York Cit y Por tf o l i o : i s s uu.com/sandranat a f / d o cs / s a n d ra_nat af _ por t folio_fall_2019 C O N TA C T I N F O Ph o n e: + 1 ( 9 17 ) 87 0 7 801 E m a i l: s a n d r a.e.nataf@ gmail.c o m I n s t agr am: i nst agram.com/san d ra _ n tf / L i n kedIn : l i n k edin.com/in/sand ra -na taf /

C O M P U T E R

S K I L L S

Rhino A utoC AD Ma y a VRay Ke y s ho t Ma x well P h o to sh o p I l l u st ra to r I n Desig n P re miere Pro A f te r Ef f ect s L i g h tRo o m Wo rd Po we rPo int E xc el

FA B R I C AT I O N

E D U C A T I O N A ug . 201 6 May 201 9

P R AT T I N S T I T U T E G A U D Mas ter ’s in A rch itect ure

Se p t . 201 2 J ul y 201 6

ESCP EUROPE Mas ter ’s in Bus ines s A dminis t r at ion

Jan. 201 6 J ul y 201 6

INSPER B us ines s A dminis t r at ion Exch ange Progr am

J une 201 5 J ul y 201 5

PA R S O N S S C H O O L O F D E S I G N S ummer Progr am in A rch itect ure

Aug . 201 0 J ul y 201 2

IPESUP Clas s e Prépar atoire

W O R K A ug . 201 9 C urre nt

Received the Award for Excellence in Academic Achievements Graduated with 3.85 GPA and Distinctions Nominated for the KPF Travelling Fellowship Par i s & L o nd o n

Ranked #1 Worldwide Top Business School according to the Financial Times in 2010 Covered Marketing and Communication, Market Research, Finance, Accounting, Statistics, HR, Law, Real Estate, Design Management S ão Pa u l o Br a z i l

Covered Entrepreneurship, Technological Innovation, Environmental Management, CSR, Cross-Cultural Management, Behavioral Economics N e w Yo r k USA

Covered Entrepreneurship, Technological Innovation, Environmental Management, CSR, Cross-Cultural Management, Behavioral Economics Pa r i s Fr a n c e

Intensive Mathematics and Humanities curriculum to prepare for French “Grandes Ecoles” business schools’ competitive qualifying exams Majored in Mathematics

E X P E R I E N C E New P R AT T I N S T I T U T E G A U D Vis it ing A s s is t ant Profes s or and Webs ite Coordinator

Yo r k USA

Co-teaching design studios with Pr. Philip Parker and Pr. Hart Marlow classes of incoming first year of Master ’s in Architecture students Managing, selecting and curating visual content to promote work produced within the GAUD via the Pratt Institute website

P R AT T C E N T E R F O R T H E A R T S , D E S I G N AND COMMUNITY ENGAGEMENT Gr ad uate Teach ing Fellow

N e w Yo r k USA

Jan. 201 8 Ap ri l 201 8

LEESER ARCHITECTURE Arch itect ure Inter n

N e w Yo r k USA

J une 201 7 J ul y 201 7

JACQUES FERRIER ARCHITECTURE Arch itect ure Inter n

Jan. 201 5 J une 201 5

L’ O C C I TA N E E N P R O V E N C E Wh oles ale M ar ket ing A s s is t ant

J une 201 4 D e c. 201 4

F R E D & FA R I D Account Execut ive A s s is t ant

Pa r i s Fr a n c e

J une 2008

O G E R I N T E R N AT I O N A L Arch itect ure and Inter ior Des ign Inter n

Pa r i s Fr a n c e

Se p t . 201 8 May 201 9

Assisted Fellow Alexandra Barker in planning and teaching a beginner design studio for Sophomore High School students Curated occasional school-wide exhibition featuring student work

S K I L L S

3D Print in g C NC Milling L a s er C ut t ing Va c u um Fo rm i n g C a s t in g A i r B rush ing Pa i n ting H a n d Draw in g Wo o d Sho p Me t al Sh o p

L A N G U A G E S

E n g lish Fre n ch Italian Po r t uguese

Assisted Architect Thomas Leeser on a competition with 3D-modeling, rendering, drawings and diagrams

I N T E R E S T S

Video Editing Ru n n i n g Li te r a t u re

Pa r i s Fr a n c e

Worked on drawings and 3D modeling for a master plan project in Portugal Directed site analysis and context research for preliminar y design concepts on a competition N e w Yo r k USA

Developed packaging designs and merchandising Prospected for potential partnership events

Managed brands such as Guerlain, Biotherm, Pulco and Numericable Conducted market researches for internal use and competitive analyses for weekly client reports

E X T R A - C U R R I C U L A R

Dr a w in g Da n cing T h e a ter

N e w Yo r k USA

P R O J E C T S

Fe b . 201 7 May 201 9

TA R P : D I G I TA L S enior Ed itor and Cont r ibutor

N e w Yo r k USA

No v. 201 2 May 201 4

ESCP EUROPE STUDENT UNION Communicat ions and Sp ecial Event s M anag er

N e w Yo r k USA

CO N TEN TS DECENTRALIZED URBAN VILL AGE

Private Housing | Dowtown Brooklyn, New York

T I D A L M U S E U M F O R WAT E R L I F E

Cultural Center | Brooklyn Navy Yard, New York

A LT E R E D F E AT U R E S , G R A P H I C F U T U R E S

Public Housing | Hong Kong

CARVED PRIMITIVES

Waste-to-Energy Plant & Bazaar | Cairo, Egypt

P R O G R A M M E D D I S O R I E N TAT I O N

Per forming Ar ts Pavilion | Rockefeller Center, New York

PL AUSIBLE FUTURES

Advanced Representation | Elective

DECENTRALIZED URBAN VILL AGE

RESIDENTIAL | DOWNTOWN BROOKLYN In the context of Downtown Brooklyn’s developing business district and contemporar y urbanization phenomena, this project questions the impact of high-density housing in light of emerging peer-to-peer socio-economic trends on the one hand, and an urge for de-standardization on the other.

INSTRUCTOR KUTAN AYATA FALL 2017 RHINO, VRAY, PHOTOSHOP

Ripped off the ground, aggregated cylinders aim to reshape the experience of the contiguous cityscape and that of urban housing, by producing both a sunken public plaza at street level - the Arcade - as well as a privately shared roof garden - the Maze - spanned with a gradient of apartment unit types, ranging from studios to communal dormitor y-like suites.

The material strategy uses brick as a reference to the industrial past of the neighborhood, with a color gradient that suggests programmatic organization ranging from private - orange - to shared - blue -, revealed from walking through the street level plaza and looking up: shared programs are located towards the heart of the mass, private ones on the fringe.

FULTON STREET ELEVATION

UP

As the floors rise, aggregates increase and the mass fills in, creating deeper housing units with more bedrooms and shared amenities, similarly to dormitories, taking cues from contemporar y lifestyles in New York City and the socio-economic paradigm shift towards a more sustainable shared economy. Here, house amenities typically used occasionally are pooled to optimize their yield.

TYPICAL UPPER LEVEL - SHARED HOUSING

UP

UP

Physical model and site

Scale: 1’=1/64” Dimensions: 6”x3”x10” Fabrication: 3D printed powder

The leftover space between clusters allows to break up the mass of the project, lighten it up by letting light shine through, and outlines playful figures. The building only occasionally touches the ground and makes way for a sunken public plaza, a contemporar y interpretation of an arcade, where people come and go and pass through, enjoying the site of a deconstructed vault.

Level 25

Level 24

Level 23

Level 22

Level 21

Level 20

Level 19

Level 18

Level 17

Level 16

Level 15

Level 14

312’-0”

300’-0”

288’-0”

276’-0”

264’-0”

252’-0”

240’-0”

228’-0”

216’-0”

204’-0”

192’-0”

180’-0”

CROSS SECTION - ROOF PROMENADE AND SUNKEN PL A ZA

144’-0”

132’-0”

120’-0”

108’-0”

96’-0”

84’-0”

72’-0”

60’-0”

48’-0”

36’-0”

24’-0”

Level 11

Level 10

Level 9

Level 8

Level 7

Level 6

Level 5

Level 4

Level 3

Level 2

Level 1

Level 11

144’-0”

28’-0”

40’-0”

52’-0”

64’-0”

76’-0”

88’-0”

100’-0”

112’-0”

124’-0”

Level 1

Level 2

Level 3

Level 4

Level 5

Level 6

Level 7

Level 8

Level 9

Level 10

Level 12

156’-0”

132’-0”

Level 13

168’-0”

7

96’-0”

6

84’-0”

5

72’-0”

4

60’-0”

3

48’-0”

2

36’-0”

1

24’-0”

100’-0”

Level

88’-0”

Level

76’-0”

Level

64’-0”

Level

52’-0”

Level

40’-0”

Level

28’-0”

Level

Boerum Pl.

The cylindrical volumes are clustered so as to de-densify the lower levels, thereby freeing up the ground floor, decentralizing the entrances to the building into seven cores located at the peripher y and bringing back a sense of community in which one knows their neighbors.

Boerum Pl.

In that same intent, the variety of clustering combinations and gaps between them produce singularity, porosity and detachment of the parts to the whole, establishing a relationship that compares to that of individual houses, where floor plans constantly change and views are unique.

Physical Model Top and Bottom views

Scale: 1’=1/64” Dimensions: 6”x3”x10” Fabrication: 3D printed powder

Willoughby St.

Ful

ton

St.

Ful

ton

St.

GROUND LEVEL - THE ARCADE

Willoughby St.

UP

Ful

ton

St.

TYPICAL MIDDLE LEVEL - INDIVIDUAL HOUSING Ful

ton

St.

TYPICAL WALL AND TERRACE SECTION

Chunk Model

Scale: 1’=1/16” Dimensions: 12”x12”x10” Fabrication: 3D printed powder

TIDAL MUSEUM F O R WAT E R L I F E CULTURAL CENTER | NEW YORK

Located on the East River off the central dock of the Navy Yard in Brooklyn, this project reinvests water and reinvents its relationship to the built environment. The museum and research lab is neither near the water nor above it, but rather the building is in the water and the water is in the building.

This center invites water in as a protagonist, by creating a variety of conditions in which it can manifest itself to visitors. They are offered an opportunity to explore and contemplate water ’s natural movements and effects, from drastic tidal changes to playful caustics, and establish a new relationship with it.

INSTRUCTOR HENRI SMITH-MILLER FALL 2018 RHINO, GRASSHOPPER, KEYSHOT, PHOTOSHOP

Physical Model and Site

Scale: 1’=1/64” Dimensions: 24’x12’’x4” Fabrication: CNC milled laminated plywood and laser cut acrylic (base) 3D-printed powder in color (model)

The project combines diverse programs ranging from offices and research labs to museum galleries, pools and baths, gathering working professionals and recreational passers-by into one continuous flow of water-oriented activities.

With an average variation of 10 feet, the East River lends itself to a playful relationship with the design. Filling in cavities at high tide, revealing vast plateaus at low tide, water become the protagonist of this project. It conditions when and where visitors may or may not access, affects how they may use a given area or not, and is directly responsible for the changing silhouette of the building.

Preliminar y study model Colored wax cast in water

Site plan with tidal variations, from the lowest river level to the highest

EAST ELEVATION

EAST LONGITUDINAL SECTION

With water partially covering up areas of the building, aperture allows for a filtered light to penetrate and playfully bounce off the interior walls and floors in moving caustic patterns.

Where water flows within, the building becomes a porous boundar y between interior and exterior, where the elements freely come and go. This porosity may also be an opportunity for human circulation in and out of the center, into the East River and out to other areas of the city.

Preliminar y study collage The Opera Garnier in Paris Exploration of relational and caustic effects

EXPLORATION BOOTH AND DOCK

MARINE AND CELESTIAL OBSERVATORIES

A LT E R E D F E AT U R E S , GRAPHIC FUTURES P U B L I C H O U S I N G | H O N G KO N G

Considering contemporar y issues such as urban living and density, this studio project focuses on the specific case of Hong Kong. Looking at its public housing system and the typical 40-storey cruciform towers that proliferate throughout the city, this research investigates the impact of alteration, by designing an addition to the top of existing residential estates, keeping in mind considerations such as the blurring of boundaries between the old and the new, materiality, coloration and identity.

This design derives from the concept of Space Object, which refers to “an intensely cohesive urban void space, that is not necessarily inside a building enclosure�. Subsequently, the design is driven by a key consideration: the void spaces between each tower of a single estate and between each branch of the cruciform towers, are a six-sided object to be designed, rather than leftover or accidental space.

I N S T R U C T O R S D AV I D E R D M A N & H A R T M A R L O W SPRING 2019 R H I N O, P H O T O S H O P, P H Y S I C A L M O D E L I N G

In order to evoke the qualities of a Space Object, the graphic content and specific viewpoints of the project were used as drivers for the design. The representation method relied on photomontaging, using pictures captured during a trip taken to Hong Kong within the semester and pictures of the physical models.

No rendering program was used.

After an extensive study of patina, coloration schemes, floor plan and façade rhythmicity, and under the influence of Heinrich Wölfflin’s Renaissance and Baroque, this design focuses on producing a pressure point at the top center of each tower. By alterating the features of the existing buildings - from rectilinear and fragmented to cur vy and continuous and playing with aperture, the added design concentrates light towards that focal point.

From within, these lightwells frame views looking down and out at the bottom of the estate, where the ground inter vention echoes the top one.

Full model of the 4 existing towers of Tin Wan Estate, additions and ground inter vention

Physical model Scale: 1’=1/75” Dimensions: 18”x18”x6” (base) Fabrication: CNC milled blue foam, gesso, spray paint (base), 3D-printed PLA, 3D-printed resin, airbrush

Sectional model of the upper part of the existing towers and the additions Physical model Scale: 1’=1/16” Dimensions: 12’’x18’’x18” each Fabrication: 3D-printed PLA, laser cut acrylic, spray paint, airbrush

The addition is designed for 19 extra floors of housing on the tower located at the lowest area of the site and 16 on the ones located at the highest area, thereby leveling out the estate with virtually one single platform.

The full model highlights a flip in footprint; while the existing tower has a crossshaped floorplan, the addition gradually transitions into a square floor plan, filling in the bouding box of each tower and voiding out its center, creating a more intimate space for residents to circulate. The sectional model reveals the centripetality of the semi-public circulation and leisure area and centrifugality of the private housing units.

The addition is designed porously, creating a set of lightwells at various scales, framing views and setting a pressurized focal point that pulls residents in.

CARVED PRIMITIVES THE CYCLE AND THE SEQUENCE WASTE-TO-ENERGY INCINERATOR AND BAZAAR | CAIRO, EGYPT

The project speculates on the coming together of antagonistic programs in a waste incinerator plant and a bazaar market. Located on the outskirts of Cairo between the Zabaleen community of garbage collectors and the wealthy village of Mokattam, the edifice activates the quarr y cliffside by bridging the two neighborhoods, the two plateaux and the two programs.

Splits in the overall mass subvert the typical scale of an incinerator, yet suggest its sequential process. Within these four blocks stand opaque volumes, enclosing the incinerator ; the poche space hence produced hosts the bazaar, defined by its meandering, organic qualities in plan as much as in section, in contrast against the linear organization of the plant.

INSTRUCTOR ERICH SCHOENENBERGER SPRING 2018 RHINO, GRASSHOPPER, KEYSHOT, PHOTOSHOP

Full model of the incinerator

Scale: 1’=1/64” Dimensions: 18”x18”x8” (base) Fabrication: CNC milled blue foam and spray paint (base), 3D-printed powder print in color

Taking cues from vernacular architecture and car ving methods from the quarr y, the play of solid and void spaces organizes the two programs in a tight adjacency, where the incinerator lies within, only revealing glimpses, while the bazaar wraps around it, exposing itself in the eroded regions.

132’

120’

108’

96’

84’

72’

60’

48’

36’

24’

12’

0’

-12’

LONGITUDINAL SECTION

10’

Sectionally, the incinerator volumes occupy each block like a giant inhabitant; bazaar visitors are not directly confronted to the 100’ incinerator, but its presence 25’ 50’ is alluded to by the locally revealed mass that conditions the layout of the bazaar shops.

Chunk model of the two middle facades Scale: 1’=1/16” Dimensions: 12”x4”x18” Fabrication: CNC milled blue foam, spray paint, laser cut acrylic, laminated dichroic film

132’ 120’ 108’ 96’ 84’ 72’ 60’ 48’ 36’ 24’ 12’ 0’

CROSS SECTION

10’

25’

50’

100’

Incinerator Ash

Incinerator Hopper Ash Feed Incinerator Hopper Ash Feed Incinerator Hopper Feed Hopper Feed

After BurningAfter Burning After Burning After Burning

Waste Holding Waste Holding Waste Holding Waste Holding

Ash

Convection Chamber Convection Chamber ConvectionConvection Chamber Chamber

Electrostatic ElectrostaticElectrostatic Electrostatic Precipitation PrecipitationPrecipitation Precipitation

Flue Gas Treatment Flue Gas Treatment Flue Gas Treatment Flue Gas Treatment

Scrubber Reactor Scrubber Reactor Scrubber Reactor Scrubber Reactor

ing Unloading Unloading

Scanning diagrams through preliminar y formal studies revealed the potential for the erosion of the poche to create conveniently smaller scale spaces that accomodate for the bazaar shops while letting the subsequent voids create wide outdoor public areas.

FLOOR PLAN - LOWER PLATFORM LEVEL

The poche space expands and contracts according to how close or receiding the reinforced concrete bulks - the black box spaces for the machines - get to the outter membrane of the Waste plant. The bazaar reappropriates this space, wrapping around and under the plant yet never fully accessing, even visually, the machines at work.

3" 1'-0"

1'-4"

02 A-200

Precast Concrete Panel Connection at Slab Edge 1’ 0” = 1 1/2”

COL

5/8" GYPSUM BOARD

1'-0"

4" BATT INSULATION PRECAST CONCRETE PANEL MACHINE TOOLED LIMESTONE TILE 0'4" X 1'0" X (4'0", 8'0", 12'0", 16'0", 20,'0", 24'0")

FINISHED FLOOR 5/8" PLYWOOD SUBFLOOR

Ground 0' - 0"

COLUMN BASE PLATE ANCHOR BOLT

1'-0"

1'-0" 2'-4"

01 A-200

Foundation Detail 1’ 0” = 1 1/2”

A-200

1’ 0” = 1 1/2”

COL

8MM LAMINATED GLASS W/ DICHROIC FILM VERTICAL STEEL TUBE MULLION EXPOSED CHANNEL WELDED TO TUBE MULLION HORIZONTAL STEEL TUBE MULLION INTERIOR SILL

LOAD ANCHOR FOR PRECAST PANEL STONE FINISHED FLOOR 5/8" PLYWOOD SUBFLOOR

Floor 04 48' - 0" POUR EDGE FIRE STOP & SMOKE SEAL AT SLAB EDGE

5/8" GYPSUM BOARD

1'-0"

4" BATT INSULATION PRECAST CONCRETE PANEL MACHINE TOOLED LIMESTONE TILE 0'4" X 1'0" X (4'0", 8'0", 12'0", 16'0", 20,'0", 24'0")

3" 1'-4"

02 A-200

1'-0"

Precast Concrete Panel Connection at Slab Edge 1’ 0” = 1 1/2”

COL

POUR EDGE LATERAL LOAD CONNECTION FIRE STOP & SMOKE SEAL AT SLAB EDGE STIFFENERS

Precast Concrete Panel Connection at Truss Floor

04 A-200

1’ 0” = 1 1/2”

COL

8MM LAMINATED GLASS W/ DICHROIC FILM VERTICAL STEEsaL TUBE MULLION EXPOSED CHANNEL WELDED TO TUBE MULLION HORIZONTAL STEEL TUBE MULLION

Floor 05 60' - 0"

2'-0"

POUR EDGE FIRE STOP & SMOKE SEAL AT SLAB EDGE SLAB TO VERTICAL MULLION STEEL CONNECTION SLAB EDGE BLOCK

03 A-200

Curtain Wall Connection at Slab Edge 1’ 0” = 1 1/2”

2'-0"

COL

LOAD ANCHOR FOR PRECAST PANEL STONE FINISHED FLOOR 5/8" PLYWOOD SUBFLOOR

Floor 10 108' - 0" POUR EDGE LATERAL LOAD CONNECTION FIRE STOP & SMOKE SEAL AT SLAB EDGE STIFFENERS

04 A-200

Precast Concrete Panel Connection at Truss Floor 1’ 0” = 1 1/2”

Physical Model Scale: 1’=1/64” Dimensions: 1.5”x3”x2” each Fabrication: 3D-printed powder print in color

The roof is designed to be a third outdoor plaza, connected by bridges similarly to the way the machines bridge across the gaps. The clean water vapor extracted from the waste incinerator process is diffused so as to create a cool environment where to enjoy the best views.

Lower Platform towards Cairo and Zabaleen village

Upper Platform towards Mokattam village

SITE PLAN

10’25’ 50’

100’

PROGRAMMED D I S O R I E N TAT I O N

P E R F O R M A N C E PAV I L I O N | M A N H AT TA N Building on one of New York City’s many Privately Owned Public Spaces, this project aims to immerse pedestrians into a disorienting escape in a pavilion for public performances.

Landed in the sunken plaza of the Rockefeller Center, in bustling Midtown, continuous surfaces endlessly wrap around themsleves to progressively lead visitors from the upper platform to the lower one in a uninterrupted cruise. Moments of lifting, pulling away, curling, alternately produce circulation opportunities, aperture, visual continuity or enclosure.

I N S T R U C TO R A L E X A N D R A B A R K E R FA L L 2 0 1 6 R H I N O, V R AY

Physical model and site Scale: 1’=1/32” Dimensions: 14”x14”x6” Fabrication: 3D-printed powder and PLA combination

50TH STREET

49TH STREET

Preliminar y formal studies led to the development of a language of cur ved surfaces looping over themselves, creating a continuous stream of spaces, gradually transitionning from a higher degree of openness to a higher degree of enclosure and intimacy.

6TH AVENUE

Right: Study model Scale: 1’=1/32” Dimensions: 10”x10”x6” Fabrication: 3D-printed powder

STREET LEVEL FLOOR PL AN

Public Ramp Loop

Street Level Entrance Access to Public Seating Street Level Entrance Access to Cafe and Ticket Booth

Outdoor Performance Space Semi-Outdoor Seating

The reflectivity of the object bounces off a sight of distorted skyscrapers and lights, subverting the viewer ’s notion of space. Disoriented, visitors or passers-by may start to question their surroundings: where is the sun coming from? Where are shadows cast? How many people are present or represented?

This disorientation is an opportunity to recalibrate one’s senses, get comfortable in a zone of discomfort, forget what one thinks he or she knows and lend himself or herself entirely to the performance plays happening within the pavilion or to the way the pavilion itself performs.

Street Level Entrance Access to Cafe and Ticket Booth

Street Level Entrance Access to Public Seating

Semi-Outdoor Seating

Public Ramp Loop

Slightly lifting off the ground from one side but docked as if just landed on the Rockefeller Plaza on the other, this project features two radically different relationships to their context.

Integrated to the extreme where sidewalk and pavilion are one, foreign to the extreme where the plaza caves under the weight of this foreign object, the pavilion’s relationship to the city is a surprise to the visitor as it ostentatiously manifests itself to the visitor or timidly blends into the ground.

From either side, one can access the lower level interior performance space, or the exterior one at the upper level, and loop through to the other.

Outdoor Performance Space

Indoor Performance Space

Right side: Physical model

Scale: 1’=1/32” Dimensions: 14”x14”x6” Fabrication: 3D-printed powder and PLA combination

PL AUSIBLE FUTURES

A D VA N C E D R E P R E S E N TAT I O N | E L E C T I V E

This project investigates the practical and theoretical aspects of architectural and visual representation from the 1960s to the present, centered around realism as a speculative and aesthetic representational argument.

This series of images reconstruct a narrative situated in 2059, where Hyperloop has become the most widespread mode of transportation around the world. The project documents the state and impact of this plausible future and speculates on multiple outcomes for better or worse.

In the first years of the millenium, this project was as real as a dream. Elon Musk’s dream. Private ventures have joined forces to make a reality of it, and turn Hyperloop into our most common mode of transportation, making us oblivious of how novel and seemingly impossible this idea once was. Based on pressurization and minimal friction, this pneumatic-tube design transports people twelve times faster than cars used to thirty years ago, ten times faster than rail trains and six times faster than airplanes. Looking back at olden times, one could only live in or near the city they work in; with Hyperloop, this paradigm has become obsolete.

As infinite tubes now bisect landscapes and embed into the environment, they have become reappropriated for local and vernacular uses.

These photographs offer a narrative for how Hyperloop found its place into our lives -or how our lives found a place onto and around it.

I N S T R U C T O R K U TA N AYATA SPRING 2019 P H OTO S H O P

CO N TAC T

IN F O

Email: sandra.e.nataf@gmail.com Instagram: instagram.com/sandra_ntf/ LinkedIn: linkedin.com/in/sandra-nataf/