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@verybigspeed

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NELSON BRITISH COLUMBIA
APRIL.1.2026-APRIL.8.2926 by @verybigspeed

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4 months ago

TD center, Toronto Ontario, Mies Van Der Rohe, May 24 2026 taken in TD Centre by @verybigspeed

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4 months ago

COLUMBIA GSAPP KINNE FELLOWSHIP: A QUEST FOR A NOSTIGIA I NEVER LIVED

The famous El Rancho hotel in casts an economic and literal shadow on three motels in Gallup, New Mexico. This project seeks to reclaim roadside infrastructure where its economic purpose has faded. The three adjacent motels, closed due to prolonged vacancy, are repurposed into artist residencies. Transforming
American mobility in spaces for long term occupation.

1:Two motel units are combined: one retains its original height and washroom, while the adjacent unit is converted into a double height studio with direct exterior access.

2:The upper floor with carpet is removed, leaving only the subfloor structure to allow light into the lower level. Scars of removed partition walls are preserved as traces of the motel, while cuts in the
ceiling bring additional daylight into the studio spaces.

3: Cutting plan of the ground floor. Dotted lines are where slices are being made to the building.

4: A central path carved through the motel links the three buildings together, while the rear lots are transformed into a shared
sculpture garden.

5: Areil image of Gallup and its surroundings.

6:Various greenery replaces former asphalt surfaces, allowing landscape to reclaim the site.

7: 1930’s map of Route 66, created for the 1932 Los Angles Olympic Games.

8: Existing Lariat Lodge, Blue Spruce Motel and Arrowhead Motel in Gallup.

9: Cross section of the existing Lariat Lodge.

10: Route 66’s magic lies in its slowness; the dread of I-40 lies in its speed.

Route 66: September 15 2025 - September 27 2025

Thank you to @partisansarchitecture and @alexanderjosephson for letting me create this preposal in the space. taken in Gallup, New Mexico by @verybigspeed

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6 months ago

SUMMER 2025 PROEJCTS: Raumplan side tables

Side table: Baltic Birch, silver screws, pencil marks
Background: fallen oak tree, pine tree, pine needles, mayflower, grass, dried oak leaves taken in Algonquin Provincial Park by @verybigspeed

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7 months ago

SUMMER 2025 PROEJCTS: 90% Bench

Bench: Baltic Birch, silver screws, pencil marks
Background: Grass, weeds, long grass, Valerian taken in Algonquin Provincial Park by @verybigspeed

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7 months ago

SUMMER 2025 PROEJCTS: Shift Stool

Stool: Baltic Birch, silver screws, pencil marks
Background: moss, long grass, pile of choped wood, pine tree, birch tree taken in Algonquin Provincial Park by @verybigspeed

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7 months ago

I was giving the opportunity to study motels from the 30’s-80’s along Route 66 thanks to the William Kinne Traveling Prize.

i: A rented GMC Sierra (no mustang but I’ll take it)
ii: Blue spruce motel in Gallup New Mexico
iii: Me my camera and the road
iv: vastness somewhere 20 miles west of Amarillo Texas
v: Trails West Lounge Tucumcari New Mexico
vi: Three motels in a row Gallup New Mexico
vii: when foliage takes overs
viii: Motel Winslow Arizona
ix: Roy’s motel & cafe Amboy California (motel no longer functioning, cafe and gas still functioning)
x: Cadillac Graveyard Texas
xi: Santa Monica pier looking out on the beach
xii: Weitten on one of the walls of a motel unit at Roy’s motel & cafe, a thank you note taken in Columbia GSAPP by @verybigspeed

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8 months ago

21st c Museum of contemporary art, Amanohashidate, Saganakanoshimacho, Tokyo, Ryoanji temple, D.T. Suzuki, M+, Naoshima, Kanazawa by @verybigspeed

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a year ago

What Remains Visible pt.2

THE PROJECT WAS DONE IN CLOSE COLLABERATION WITH KHLOE SWANSON

We seek to create a ceremonial burial practice that has a symbiotic relationship with the landscape.

slide 11: Landscape / Site We approached Hart Island, to cultivate a landscape that was living and resourceful producing materials to make textiles for covering and protecting the body as it is laid to rest.

slide 12: Native vegetation We populate the site with native trees and meadow plants whose bark could be used to make shells, paper, structure and cladding.

slide 13: Architecture Our architecture is small and intimate. Buildings are clad in birch with mycelium insulation. They lie within the landscape and have three typologies: bark production, papermaking, and ceremonial.

slide 14: The body Our imitation body, made of agar, was laid on a mycelium bed and was covered with a shell. Death and decay, while preparing for rebirth.

slide 15: Papermaking production We looked at the traditional Japanese Washi paper making process. Parts of the plants are soaked, beaten, turned into pulp and placed into frames.

slide 16: Trees intertwine Connections between architecture, production, and landscape.

slide 17: Bark cloth production Bark from trees are stripped, soaked, and beaten together to create fabric. Bark Cloth traces to Uganda, the Pacific Islands, and the indigenous peoples of the Pacific Northwest and Canada.

slide 18: Reforest Hart Island There are no trees left on the island due to trench burial. beaucse there are no trees wind speeds reach up to 45 mph or 75kmh avg. Planting trees and meadows make Hart Island more habitable.

slide 19: Trenches Our burial site lies on the existing trenches, they are where the most unidentified bodies are. The existing trenches create depressions in the landscape. The bodies laid to rest in the opposite direction of those that came before. We anticipate landscape depressions and mounds overtime.

slide 20: Ceremonial Loved ones participate in the practice of preparing the body. The bodies are an offering to the landscape and will decompose and intertwine with the landscape. taken in Hart Island by @verybigspeed

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a year ago

What Remains Visible pt.1

THE PROJECT WAS DONE IN CLOSE COLLABERATION WITH KHLOE SWANSON

slide 1: Documenting the practice of holding, absorbing, and releasing in The Great Rann of Kutch Guraat India

slide 2: Both our material studies focused on the stains / traces landscapes left behind.

slide 3: Our intrest in landscapes started at Riverside park. In this puddle, we began to observe how water absorbs, holds, and releases life.

slide 4: Exploring layered landscapes. Crunch is a release that comes from force being applied to a weak spot. Squish happens when landscapes exist in an inbetween state, both absorbing and releasing. Hiss is a build up then a release.

slide 5: This operative drawing explores the relationship between the landscape’s ability to hold, absorb, release, while also producing the sensory experiences of crunch, hiss, squish, and finally, the traces both leave behind.

slide 6: landscapes and soil led us to Hart Island. Digging trenches has been the primary burial condition at Hart Island since 1875. The trenches are 15 ft wide and 8ft deep. Bodies are buried in pine boxes 3 high and 2 across. Inmates were charged with digging trenches and burying bodies.

slide 7: The practice of digging trenches destroys the landscape as plants are dug up, and soil is compacted due to heavy machinery.

slide 8: We are interested in what is typically unseen and exists in the depths below surfaces mycelium requires carbon and nitrogen to grow, finding its substrate in all organic matter, feasting on both the living and the dead.

slide 9: we propagated plants in studio. They died while we were away in India and mycelium naturally began to facilitate the decomposition process. We studied the decomposion of chicken bones and chicken flesh to understand how mycelium facilitates the decomposition process of bodies.

slide 10: The poetics of landscapes. Rhythmic depressions. energy from death, life from death. Substrate as life. the body as substrate, the landscape as substrate, landscape as mold, body enclosures, shells.

Thank you to: @studiorothstein for direction and to nicole for our talking sessions. taken in Riverside Park by @verybigspeed

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a year ago

Harlem After Property: An Ungernalized Space part 2 (The Final)

THE PROJECT WAS A COLLABORATION WITH @chiller.conrad

1: REGULARS: Access to its full content is governed by “regulars” — trusted community members democratically chosen. This archive intertwines financial records and resources.

2: The iconic marquee sign illuminates Malcolm X Boulevard as it intersects with MLK Jr Boulevard. Inside the lounge a warm glow spills onto the street.

3: Today, the building represents corporate homogenization: an unimaginative basic structure with unfinished exposed CMU walls, brightfloodlights, and surveillance cameras.

4: The warmth of the space welcomes you to the bar. From the entrance, glass doors reveal glimpses of the vibrant interior beyond.

5: You fill out standardized forms that feed our optimized algorithms. Humans serve as passive intermediaries in an increasingly automated
system

6: BOOTH: Every action that sustains the community is facilitated through the booths. As you move through the space, elements shift from fixed and open to opaque and modifiable.

7: The bar offers a full view of the space reflected in the mirrors, which doubles the room. Conversations flourish across and between the bar.

8: Inside, narrow hallways compress you, while harsh fluorescent lights blind you, creating a sterile oppressive atmosphere.

9: In the Zebra Room, groups gather along the bench that wraps around the walls. The band performs by the glass doors, illuminated by spotlights that distinguish them from the surrounding audience.

10: you are reminded — or perhaps left questioning — what still connects this location to Harlem. Is it the new Whole Foods across the street, the Mattress Firm, or the Burlington department store.

11: RECORD: The record is the amalgamation of the quantitative inputs that corporations might label as “Harlem” with the lived, qualitative experiences of its people. By integrating financial data with the community’s cultural and personal narratives, the record ensures that the economic and cultural aspects support one another.

thank for for the amazing semester: @eadmassu & Anoushka taken in Lenox Lounge by @verybigspeed

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a year ago

Harlem After Property: An Ungernalized Space part 1 (The midterm)
Once Lenox Lounge Now a Wells Fargo
THIS IS A COLLABORATIVE PROJECT DONE WITH @chiller.conrad

1: Identifying expeinces at Lenox Lounge and at Wells Fargo

We are here
Cameras situated around the ATM,

Dim yet illuminated enough
Blind fluorescent white light, pall

People who both supposedly live in the building next to me
Unclear where i am supposed to go for my appointment

Curved booths, small round tables, wait
Fake professional excitement

My friend respondes “put it on my tab”
Decorum. Slightly cold

My other Home
Card, cards

2: Herman Miller chairs onced used for cubicles are transformed into collective banquets constructing rooms at the scale of furniture.

3:The bartender is a multi functional observer relying on communal participation in insuring peace within the crowd.

4: Stanchions, a tool for choreographing the movement of people. They also act as tables to congregate around.

5: The counter, the moment of service and exchange functioning across uses and formalities.

6: Just as the atm extends out into the street so to will the services of the lounge.

7:
Hiding in crowd
Nightlife and collective gathering
Cabaret card used to control performers and as a device to punish
The rejection of policing in groups against the cabaret card

8:
Blurry Night
Blurring of identity
Identifiable in the spotlight
Threshold of choice defined by the signs of the bars and clubs of the street
Risk of going out, thrill and seduction

9: Orignally made by Jess we reworked her drawing to collpase Lenox Lounge and the bank together.

10 MADE IN COLLABERATION WITH KHLOE: Worldmaking happens in the void: void of thought void of emptiness In this drawing we wanted to make something that referred directly to the title of the piece – which we thought was maybe a bit unresolved in the piece? Space // spaceship we gave meaning, but also could mean nothing? A hole is nothingness but more tangible than a spaceship.

Thank you @eadmassu for the mentorship taken in Lenox Lounge by @verybigspeed

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a year ago