As a designer, I aim to practice listening, learning, and co-creating by interweaving traditional ecological knowledge (TEK) with Indigenous futurism to create spaces that reflect a community’s core.
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World Food Program Headquarters: Sudan
Embedded: Indigenous Design as Neuroarchitecture
John P. Eberhard Student Design Competition Finalist
(50-71) Site of Unlearning (Spaces of Commoning) Work in Progress 3 Flushing Ave. BIKE NYC (34-49) (4 - 13) (72) Contact
Location
Program
Theme
Republic of Sudan, North Africa
Republic of Sudan, North Africa
World Food Program Headquarters
World Food Program Headquarters
Traditional Food Preservation
Traditional Food Preservation
With a wide availability of crops in Sudan today, Sorghum-based foods remain the most commonly used grain for home consumption. The preservation of Sudanese culture and foodways remains valuable considering traditional food methods are becoming increasingly abandoned by technological innovations and geopolitical changes.
With a wide availability of crops in Sudan today, Sorghumbased foods remain the most commonly used grain for home consumption. The preservation of Sudanese culture and foodways remains valuable considering traditional food methods are becoming increasingly abandoned by technological innovations and geopolitical changes.
In supporting the traditional Sudanese art of flatbread making, the interior walls include colors reminiscent of the sorghum grains utilized for Kisra and Gurassa while incorporating textures from the traditional reika baskets made from dried palm leaves. The bright primary colors take inspiration from the local NubiaSudanese architecture that features motifs and ornamentations depicting the grains that provide sustenance for the community.
C-2nd Floor Longitudinal Section Perspective
The 2nd floor operates as an educational learning center, housed with seating fit for small lectures and studying.
C-1st Floor Longitudinal Section Perspective
The 1st floor operates as a meeting room and event space, featuring seating and informational tablets.
Flour Production
Saddle querns (murhaka) and handstones are grindstones derived by the nearby sandstone mountains. They are traditionally used by placing a handful of wet grain onto the stone, with a smaller hand stone placed against the grains and rubbed back and forth until a fine powder is produced.
Preparation of Batter
After mixing, the batter is left overnight to ferment thus producing a sourdough called ajin khemir. Once fermented, the batter enlarges through the addition of flour, water and salt until desired consistency and amount.
Traditional Griddle Baking
Flatbreads are generally cooked over an open wood fire utilizing nearby acacia trees as firewood. The ceramic griddle is placed between stones and bricks and preheated before the dough can be spread. Kisra is typically prepared in the early morning and consumed throughout the day. Tools needed include: a vessel, small bowl, lubricant, scraper, and cup of water. The scraper, made from palm leaf, spreads the dough into an even thin layer giving the source of the name to this type of bread called kisrat-gergeriba. Once fully baked, the edges are separated with a sharp tool and peeled apart to be placed onto a shallow basketry tray made by woven palm leaves (reika).
Location
Program
Topic
Ystagua/Kumeyaay - La Jolla, California
Community Center
Sensation and Perception
Indigenous architecture and neuroarchitecture are interconnected by focusing on the relationship between the built environment and human experience, well-being, and cognition. Indigenous architecture refers to the traditional building practices of indigenous peoples, often deeply rooted in local culture, materials, and environmental conditions. On the other hand, neuroarchitecture is a relatively newer field that studies how the design of spaces influences brain function, behavior, and emotions.
Our research, enriched by personal anecdotes and extensive study of the Kumeyaay people of southern California, whose land is currently occupied by the Salk Institute and proposed site, has led to practical applications. For instance, the use of terracotta clay throughout the project not only reflects the embedded identities of the Kumeyaay people as narrated in their story of the creation of the earth but also serves as a tangible connection to their heritage. We have also incorporated other characteristics such as the native topography of the land, ethnobotanical information, traditional weaving, pottery, and building methods, reimagining these existing methods to create a harmonious blend of tradition and modernity.
Institute’s Site Analysis Through Trail, Commons, and Ecology
SITE
FOREST
GRASS
ROCK
PUBLIC PARK
PAVED ROAD
SALK INSTITUTE
SAND
DIRT
OCEAN
NON-PUBLIC
BIKE PARKING
BIKE PATH
SCOOTER RENTAL
FOOT PATH
BUS STOP
HIKING TRAIL
CHAMISE, GREASEWOOD - IIPSI
RED SHANK - JUP’UULH
DESERT AGAVE - MA’ALH
COAST AGAVE - MA’ALH JAS’ILH
DESERT FRAGRANCE - IY UKA
YERBA MANSA - CHIPAN, CHPAN
MANZANITA - JUSILH
COASTAL SAGEBRUSH - CHAMP’PILH
BASIN SAGEBRUSH - KUP’HUA
SEEP WILLOW/MULE FAT - JATAMUWAL
MEXICAN BLUE PALM - JAWAL
CALIFORNIA BRICKELLBUSH - SMALH KUAK
DUDLEYA - AWI MIELH
CALIFORNIA EPHEDRA - JPIIP
YERBA SANTA - SAMALH JPILH
RATTLESNAKE WEED - MATT JNAK
CHAPARRAL YUCCA - A’A
CALIFORNIA HOLLY - JUSHIK
JUNCUS/BASKET RUSH - KUU’NAI
CALIFORNIA JUNIPER - II’UR
JOHNSTON’S HONEYSUCKLE - KUAK MUYULH
LAUREL SUMAC - JUAALH
PRICKLY PEAR - JPA
SINGLE LEAF PINYON - JUIYU
WESTERN SYCAMORE - JADPICH’AA
ARROW WEED - TAMU
HOLLY LEAF CHERRY - JKAY
COAST LIVE OAK - SINAO
PENISULAR OAK - JU’ILH
SUGAR BUSH - JUATLH
WILLOW - AYAU
WHITE SAGE - SHILTAY, SHLHTAY
BLUE ELDERBERRY - KOP’EELH
CALIFORNIA FAN PALM - JA’WAL
MOHAVE YUCCA - SHA, SHAA
DEER GRASS
Fourth Floor Plan
South Elevation
Exterior Connection to the Salk Institutethrough a layered brick walkway extending to the cliff and the second floor of the community center
South Transverse Section
Through Indigenous design principles, Indigenous architecture often engages multiple senses through natural materials, textures, colors, and patterns. Neuroarchitecture acknowledges the multisensory nature of human perception and explores how different sensory stimuli in the built environment influence mood, comfort, and productivity. It often integrates natural elements and principles of biophilic design, which seeks to connect people with nature. Importantly, neuroarchitecture research has shown that exposure to nature or natural elements within built environments can significantly and positively affect mental health, stress reduction, and cognitive function.
The neuroscientist, architect, and Indigenous artist will collaborate on a series of workshops. These workshops will focus on intertwining the principles of Indigenous design with modern architectural practices. They will rely on the botanical preservation of the San Diego coastline, with activities such as exterior and interior planting to harvest endangered plantings and seedlings. Participants will also learn about Kumeyaay herb drying practices and experience food sustenance through the kitchen and tea house. Additional workshops will cover topics such as brick making, traditional housing structures, and sustainable materiality understanding (cognitive and physical), providing a unique opportunity for scientists and artists to collaborate.
Visual Horizon Diagram
The visual horizon that frames the entrance is a key marker in establishing a visual landmark. Therefore, as you enter the public space, the environmental geometry that descends into the entrance allows for a clear path and, thereby, aids in spatial memory. Meanwhile, as you enter the interior, the increase in scale, in combination with the mixed materiality of the brick and colored accent lighting, enhances the theta’s functional connectivity.
The increased EEG connectivity can be associated with ruminative thinking, which correlates to the contemplative exhibition setting.
Biophillic Design Diagram
Biomorphic architecture activates the lingual and the calcarine gyrus in the visual cortex, which supports visual memory and idea generation.
The curvilinear shape of the exterior and interior elements enables a perception of beauty by activating the anterior cingulate cortex, which is responsible for our autonomic nervous system response. Additionally, the implementation of curved geometry activates cognitive processes such as motivation, decision-making, learning, conflict resolution, and enabling an overall positive mood.
Scale Diagram
Decreasing and increasing scale impacts our gamma waves (EEG) connectivity, which is crucial for perception, movement, memory, and emotion. The changes in depth perception create a visual complexity and stimuli that register as beautiful. The openness and vastness of the mixed interior and exterior space activate the anterior cingulate cortex, which is significantly involved in early learning and problem-solving. The lowering of scale in the built environment, mixed with large expansive windows overlooking the scenery, establishes a sense of connectedness, valuable for the contemplative yet immersive experience of being on indigenous land and observing the tremendous rugged coastline.
Sensation Diagram
The terracotta walls that line the space allow increased theta functional connectivity, leading to higher receptivity and knowledge absorption. The visual complexity of the interior, paired with high ceilings and a mix of acoustic and open spaces, allows for the sensory-motor system to become engaged and create a sense of comfort within an urban context.
Terracotta’s porous nature allows air and gentle moisture to move through the walls, enabling plants to thrive. This material allows the clay to be 3D printed into organic shapes, creating bricks that can be assembled using traditional bricklaying techniques. The resulting curved pods form wave-like partitions and plant towers of varying heights.
The handdrawn rendered image shows a traditional terracotta clay educator conduct a ceramics class.
Location Program Theme
3 Flushing Ave, Brooklyn, NY 11201
Retail and Education
BIKE NYC Flagship Location
Since their establishment in 2000, BIKE NYC has continued the Five Boro Challenge annually on the first Sunday in May. Welcoming 32,000 cyclists from around the nation. Through their education initiatives, and funding from Bike New York events, they have taught bike skills to more than 100,000 kids and adults since 2007. This location operates as a flagship and educational center, with the intent to sell and fix bicycles.
To understand the complexities of biking culture, I took to Reddit to read first-hand testimonials of people’s experiences, journeys, and qualms. In that pursuit, I found videos of biking organizations advocating for open streets in New York and the expansion of protected bike lanes. The right to space remains a constant obstacle for those who would like to participate in open street biking, including being harassed and ridiculed for simply existing in a non-car-centric way. As a response, I have created a video titled “BIKING: What is it like to bike in NYC?” that incorporates footage from the r/bikecommuting and r/NYCbike communities on Reddit. This is my love letter to this community.
The images are of anonymous bikers on the Flushing Ave. bike lane. Over 100 bikers were photographed within the timespan of 45 minutes.
The assemblage hangs from the ceiling, creating a cascade of metallic sheen and sparkle. As people enter and doors open, the clacking of the chains creates an ambiance of iron ringings. In its assembly, a collection of semi-polished bike tubing and chains, heavy oval link chains, scrap metal, and chain link fence posts. The weight of the metal is held by a compiled cluster of eight chain link posts, with each line of chain welded onto. Each item is salvaged from the local construction sites, abandoned sites, the recycling metal yard, and Bike NYC.
Site Plan
Drawn in Scale: 1/8” = 1’-0”
Second Floor Programmatic Plan
Drawn in Scale: 1/4” = 1’-0”
First Floor Programmatic Plan
Drawn in Scale: 1/4” = 1’-0”
A steel frame with glass for walls and a kal wall featured on the south facing facade which faces an active bike lane, park, and a school nearby.
The interior walls and curved ceilings are lined with bricks salvaged from the previously vacant lot, in an effort to preserve the lots history and resources. On days that weather allow, the bifold windows open up onto the street to grant access to community members, bikers, and pedestrians. Upon entering, there’s a long work table made from tool boxes and recycled wood, along with a bike stand for easy accessible bike maintence for those on the bike lane.
In this lot, bikes not only fill the space but so do its pieces. With bike chains hanging from the staircase and bike metallic tubing acting as a handrail and wayfinding device.
Floor Plan
Drawn in Scale: 1/4” = 1’-0”
First Floor Plan
Drawn in Scale: 1/4” = 1’-0”
South Section Elevation
Drawn in Scale: 1/8” = 1’-0”
East Section
Drawn in Scale: 1/4” = 1’-0”
West Section
Drawn in Scale: 1/4” = 1’-0”
Location Program
Subculture
636 6th Ave, NY 10011
Workplace and Community Hub
Archivist (Digitization + Preservation)
The Site of Un-Learning (Spaces of Commoning) is a multidisciplinary initiative dedicated to preserving cultural records and ephemera of marginalized communities in New York City. The organization offers an apprenticeship program combining traditional archival work with social justice efforts. The intent is to develop roots in collaboration, community engagement, educational outreach and foster a space to facilitate the preservation of historically forgotten stories with an emphasis on providing access to archival equipment.
(Spaces based on common themes and key takeaways)
Collective Archive
Estudio
Forum
Common Space
Conservation Lab
Playground
Community Memory
Liminal Space
Unpacking Area
Archival storage
Apprenticeship Classroom
Private conversation areas
Flexible event space
Archivist workspaces
Non-working area
Public archival library
Elevated walkway
Entry space
Conceptual Program
This transition space encourages active participation with digital and physical archives, reflecting a continuous dialogue between humanity, technology, and nature. Records are not static but living artifacts of evolving social equity, fostering engagement, reflection, and empowerment.
Isometric Projection
Playground Common(s) Space
A-A Ground Floor Longitudinal Section and Perspective
Participants in the Community Memory event engage in media digitization and cultural exchange by gaining access to the equipment and apprentices’ guidance necessary to preserve personal, artistic, and historical media. Community members are encouraged to browse collections from previous preservation efforts, including film, photography, art, and documents. Members may consent to add to the collection and bring hard drives to transfer the digitized data. Since archiving can be emotionally taxing, the members are encouraged to access the Playground before exiting the institution as a form of spiritual recollection.
Educators and visitors at the Site of Unlearning (spaces of commoning) co-mingle and co-work between the collective archive and community memory spaces. Shattering the ideals of privacy, both and all observers are welcome to rummage amongst the archives of their peers and loved ones.
Lighting and Digital Screen
Strategies
“To become the site for collection, to be collected by collection is to cease to be the collector; that is, to cease to be the collector of oneself as the pretense for collecting others. It is a pretense because the collection of the self is always the collection of others and therefore never the collected self, never the self-collected authority to collect others.”