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The Sensory Journey

Interconnected Sensory Chambers

Visitors move through interconnected sensory chambers — experiencing film, video, oral storytelling, bass vibrations, AR environments, projection mapping, sound frequencies tied to ancestral rhythms, and eco-designed spaces — across a durational journey modeled on ceremonial timescales.

By fusing adaptive architectural design with immersive storytelling, The Last Draw/Home offers spaces that can function as both an externalized and internalized nervous system regulator.

Cultural Design

What Would Housing Look Like If It Were Designed to Heal?

“How can we create both an externalized nervous system through design technology and an internalized nervous regulator through story and somatic sensory experiencing—linking the knowledge and ancient tech that has always been there to the technology of today?”

Immersive, Interactive Art

Interconnected Narrative

Each experience has its own separate space and is linked to a story, creating an interconnected larger narrative — layers revealed like a Russian doll across different mediums.

Drawing from Alice Walker’s radical tenderness and Audre Lorde’s framing of self-care as a form of political resistance, this project destigmatizes play, rest, and joy for people who may be in survival mode.

AR layers, volumetric projections, and spatially mapped soundscapes create environments where visitors encounter their own stories reflected back — not as trauma, but as source.

Housing Prototype

The Home Within

The installation also serves as a functional prototype for fire-resistant, ecologically designed affordable housing.

As climate disasters disproportionately displace Black and Brown communities — from wildfire corridors in California to flood-vulnerable neighborhoods across the Gulf Coast and West Africa — we need housing models that are both structurally resilient and culturally resonant.

The Last Draw/Home investigates what “home” can be when designed from indigenous knowledge systems rather than extractive development logic.

Grounded in Place

Mim, Ghana

For this work, that place is Mim, Ghana — its red earth, water edges, agricultural life, quarry conditions, settlement patterns, and surrounding landforms create a grounded environment for thinking about climate adaptation in material terms.

The project asks what becomes visible when future habitation is grounded in land, culture, pressure, and daily life.

Why WORLDING

Where Story, Land, Climate Futures, and Real-Time Technology Meet

The Last Draw/Home sits precisely at the intersections WORLDING names: story, land-use, climate futures, and real-time technology — but it approaches that intersection from a position rarely centered in planning discourse. This is a project that deconstructs the various meanings of “home”, imagined through Black diasporic epistemology, where the act of dwelling is itself a narrative act, and where climate adaptation is inseparable from cultural survival.

The WORLDING incubator’s emphasis on teams working between storytelling and community-based placemaking is in direct alignment with our team and our values. This project takes shape as a prototype where story, ceremony, and shelter are developed together, each one informing how the others are experienced. The project needs exactly the kind of interdisciplinary support and pressure-testing that WORLDING provides.

Our use of real-time 3D technology — AR environments, volumetric laser mapping, spatially responsive projection — is central but not dominant. We believe this aligns with WORLDING’s approach to XR as a tool for worldbuilding rather than spectacle. The Last Draw/Home operates at the scale of the individual nervous system, the scale of the neighborhood, and the scale of diasporic climate futures all at once.