Sarah Kantrowitz is a designer working at the intersection of food justice and the built environment. Sarah offers design and strategy for food processing, storage, and distribution infrastructure, particularly physical networks and facilities supporting diversity and decentralization in the food supply chain. In turn, the developement of these shared infrastructures works to support healthful livelihoods for producers, processors, and other supply chain workers and to increase affordable, healthful food access for eaters, woven together in abundant, resilient food systems.

Recent client projects include consulting on design for a cooperative slaughterhouse, a public commercial kitchen, and a community-based produce hub. Current research work includes developing regulatory guidance for small-scale direct-to-consumer delivery logistics, developing methods for business owners to self-monitor microbial life in small processing facilities, and reconsidering food safety regulations for natural building materials, under deeper study of the dynamics of moisture migration and microbial abundance. Current artistic interests include sensors worn close to the body and letting a cheese to spoil in a grotta beneath a waterfall. 
Sarah is a daughter of New York, and is currently based in Massachussets. 

            Master of Architecture
2018    Harvard Graduate School of Design 

            Bachelor of Arts (Linguistics)

2010    Reed College


On a good day, taking a bite of a well-ripened tree fruit may invite us more fully into our bodies, a lump of sweet flesh on the tongue and a rolling droplet of juice welcoming us into the safety and pleasure of sensory being, into luminous presence and sublime dissolution.

On a good day, a well-ripened tree fruit may entice fingers to carry it off from a branch to a sunnier corner, to undress seed from pulpy coat and let slide the yearning for replication back into a patch of soil, perhaps over here less permeated by other roots already seeking water.

On a good day, a stainless steel basin waits for the warmth of a worker’s hand to hold steady to center while filling it with the pounds of bagged deveined chicken carcasses just pulled to thaw from the chilly racks of metal shelving deep in the freezer. 

On a good day, the food safety regulator humbly respects the microbial biofilm that has lived for 10 years beneath the plate of the floor drain without ever developing wanderlust for the surface of the doorknob.

On a good, life and death are lovers, and shower each other with gifts and affection across the maw of ceaseless mutation and doubling, eating and shitting and sharing. 

This design practice works to reduce the suffering of isolation and exploitation and uplift the pleasure of mutual co-presence and generative partnership, drawing us all into the relational folds of greater ecological nuance, complexity, and interdependency by helping build nourishing cathedrals of metabolic exchange : food infrastructure networks and facilities that are loving to all the shocking power, tender fragility, and sumptuous diversity of life coursing in and through them.

Values :

(a.) making and eating food is an ecological act, simultaneously intimate and far-ranging
(b.) good food is a human right,
(c.) architecture is a tool to improve lives,
(d.) and craft is a gift of embodied care.

Thrills :

(a.) attunement to the senusalities of physical encounter,
(b.) the emotional intelligence of a space,
(c.) the seductions of ecological relationship and metabolic transformation, and
(d.) lovingly-hewn moments of trans-scalar confluence.


"We tend to think of the erotic as an easy, tantalizing sexual arousal. I speak of the erotic as the deepest life force, a force which moves us toward living in a fundamental way."


"Never forget that justice is what love looks like in public."


︎    sarah.e.kantrowitz@gmail.com   
︎    free_lvnch
︎    springtimes_genitalia