In this iteration of 333 we will visualize the environmental histories of the San Francisco Bay Area while exploring its possible and fantastical future. Our work will operate in a space between imaginative archaeology and speculative design fiction. During the first week, we will explore the spaces of “contact” that define the Bay Area’s environment and through a combination of research and drawing. These realms of contact include moments of connection, hyphenation, and contamination between substances, beings, and topographies from colonization to the recent past. A strong focus of this week will be those residues of indigeneity still detectable within the Bay’s environmental strata. During the second week we will work towards developing our research into more complex reconstructions of sites and geographies and proposals for future spaces in the Bay. Here our points of contact may result in full visualizations of lost worlds or novel interventions and fiction within urban sites or future landscapes. Our final week entails the creation of a giant, collective mural composed of these individual reconstructions, proposals, and speculations. This mural will provide us with a record of our work and serve as a narrative of the Bay Area’s social and environmental tragedies, victories, and future possibilities.David Gissen works at the intersection of architecture, environmental history and experimental design. He is a professor of architecture at the Academy of Fine Arts, Vienna, Austria; professor of architecture at the California College of the Arts, San Francisco; and former visiting professor at Columbia University and MIT. His books include an architectural history of urban environmental degradation, Subnature: Architecture’s Other Environments (2009) and a history of New York City as told through the city’s air, Manhattan Atmospheres (2014). His visual and physical reconstructions of historic landscapes, urban atmospheres and interior environments have been published and exhibited internationally; this includes exhibitions at the 2016 Venice Biennale and the Canadian Centre for Architecture, among other venues. He is the author of numerous texts and studies of architectural and environmental history, architecture theory, and recent work that connects environmental theory to the experience of human impairment. In 2020 he will join the New School University as Professor of Architecture and Urban History.DESIGN EARTH is an architectural research practice led by Rania Ghosn and El Hadi Jazairy. DESIGN EARTH deploys aesthetics as a form of environmental engagement in the age of climate change. Their work is widely recognized, including a Young Architects Prize from Architectural League of New York. Commissions include projects for Venice Architecture Biennale, Seoul Biennale of Architecture and Urbanism, Boston Design Biennale, Oslo Architecture Triennale. They exhibited in international art and cultural institutions, including SFMOMA; MAAT, Lisbon; Sursock Museum, Beirut; Times Museum, Guangzhou; and Milano Triennale. Their work was acquired by New York Museum of Modern Art. Ghosn and Jazairy are authors of Geostories: Another Architecture for the Environment (Actar, 2018), which is supported by a Graham Foundation grant, and Geographies of Trash (Actar, 2015). Rania Ghosn is Associate Professor of Architecture and Urbanism at the Massachusetts Institute of Technology’s School of Architecture + Planning. She holds a Doctor of Design degree from Harvard Graduate School of Design, a Master in Geography from University College London, and a Bachelor of Architecture from American University of Beirut. She is editor of New Geographies 2: Landscapes of Energy.El Hadi Jazairy is Associate Professor of Architecture at the University of Michigan’s Taubman College of Architecture and Urban Planning. He holds a Doctor of Design degree from Harvard Graduate School of Design, a Master of Architecture from Cornell University, and a Bachelor of Architecture from La Cambre in Brussels. He is editor of New Geographies 4: Scales of the Earth.

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