These are the projects I was able to catch in my sketchbook, I wasn't able to get everybody, sorry to those I missed.

Jon Lee

your design arrives already formed before it reaches the site
how does the design (in particular) do what you are saying (not in general)
look at the tomb itself
what is the program next to tomb
could go in two directions
1. could sink
2. could form a dark humor that is very charged (don't allow it to be benal)
you need a matrix of info that can be referred to
the work has to speak for itself as well
your drawings are too timid to show what you are talking about
you could use monument as conceptual site, or you could physically enter into the site
you did the second
right now photo of tomb is most provocative thing you have on the wall
it is a staged moment
narrative begins as soon as you see building in landscape
you need to make more interpretational drawings
memory machine - thats what the tomb is
you set up a conversation with the monument and then turn your back on it
should it be 20' away or 300' - you need to ask these kinds of questions
what is access to the monument?
seeing it? being in it? seeing only a portion? you need to answer this
staircase is very important
does it become an architectural topography?
you traverse it and it allows you to move through memory moments
could increase and decrease speed
[you need to stop reading and start drawing]
bring in grant more
there is a no play about him
you are not presenting your project as a satirical project
when you cut a section you must take a stance about what you're talking about
don't survey, take risks, experiment
use drawing as an opportunistic endeavor
all your work from here on needs a clear agenda
shadow - new york blackout - alziemers - deja vu
you need to draw a shadow - erasure drawings?
its you on the wall - scream through your work

Chris

you need to be more clear about your agenda and program
why so many programs?
you need to edit to make it convincing
they need to collide with the moments you are creating
very expensive real-estate you are dealing with
how does it become essential what you are doing?
needs to be very convincing
central park (could) be thought of as a huge waste of real - estate
you need that kind of intensity (importance central park carries)
as an example: building in dense space - you could make it so you never feel this density
your program doesn't lend itself to your idea
architecture should... - this is how you start a thesis
model isn't helping you
you need to enter problem of architecture
draw plan and section of existing building, put in k mart and find project from that

Arnold

you need to show what you are doing more
your relationship changes to inside/outside as you walk through
why is base more translucent?
your project is more of a programmatic exploration than an architectural exploration right now
you are constructing space from ground up
where is a qualitative feel?
it is still diagramatic

Kyung Sic

why should obelisk have anything to do with museum?
maybe obelisk is less important than you are making it
cultural question - you need to confront this
relationship between museum and park
right now at met there is no connection between inside and outside
obelisk doesn't have access now that you want to give it
obelisk might not be your big thing
what is the big reason for all of this architectural "machinery"
don't want it to be like an amusement park ride
museums are about colonialism (stolen items)
in egyptian wing, there is an *illusion* of transparency and connection to park
there is something here that is not being critiqued
museum is in question
speed in your project dislodges inertia of monument
[your project appears the way that you talk about it]
think about moving water and still water
think about reflection - materiality and immateriality (like obelisk and sun pillar)
whats in the water?
is your thing too severe right now?
be more sensitive about how park leaks in
geometry recalls museum more than park
you should start zoning things: saying things like "architecture is hard here and landscape is soft and vice versa)

Zack

question proportions between elements
the more similar, the more powerful
different from context
think about air and uplift as opposed to water and sinking
death, temporality, and ruin
how does all of this link to synaesthesia
journey
architecture and death in terms of emphemerality - ruin leaves a trace
bring attention to erosive quality
death is anonymous
death is about loss of control and about instability
monuments try to counter this through stability
which system do you occupy?
stable or unstable?
do you move up sometimes on the bridge and down others?
can you flood axis of ruined building
maybe set your tower on fire
read bunker archeology

Namtip

contact doesn't have to be physical
is it a permanent exhibit?
spaces should incorporate senses (not works so much)
synaesthesia - it is difficult to separate senses
separation of senses is a spatial concept (even separation on the body)
[vision is a form of blindness]
stronger statement
cuts out other ways of seeing
once you say what will appear (in architecture) you are saying what won't appear
don't just amplify instruments
think about the spaces you are putting them in
scale is important here
richard serra
in section models, think about scale and what kind of experience happens
in childrens museums people interact with works
don't let it turn into a typical museum
why central park?
pavilion scheme
were you thinking park supports your thesis somehow?
how do you deaden sound?
not yet taking full advantage of park
aren't parks and museums fundamentally the same thing?
central park is not natural
maybe be more specific about moments
think about landscape
is your project just as good (or better) empty?
rodney graham, silvia rabowski (?)
don't make a gimic - a gimic makes you experience exactly what the architect wants you to experience
maybe use different plantings/seasonal ideas

Carrie

lex like the idea
not sure if this system is really pushing the idea
maybe make it full scale
might be too complicated right now
too many tracks and wheels
work on the quality of your computer renderings
think about space between things
Eileen gray
Everything in your project is about the body
Mike Eng likes the site
Walter benjamin talks about world fair and modern metropolis
we began selling cities to eachother at the world fairs
"work of art in the age of technical reducibility"
project isn't critical about commodity and museum
martha rasser (?)
don't just give people another place to buy and sell things
what is it about public space and consumtion?
what is it about progress - the world's fair is about building a ghost city
mine the site even more
dialog between work and leisure
tracks can be thought of as infrastructure
takes away flexibility that is in system
markets have a certain free quality to them
why couldn't these be just parking strips just painted on
Think about work and leisure
work - carts are on strips
play - they are off grid
could work as a portable gallery space for artists as well
work with only 1 or 2 materials
get rid of refrigeration boxes - too complex
make distinctions between objects
some people may need more than 1 cart to sell bigger objects