MASS — A Collection of Conversations on Racism

“you only have to walk across a London street and then into a London practice to notice�

A collection of conversations on racism

Metropolitan Architecture Student Society London Metropolitan University

On May 25, 2020, in Minneapolis, United States, George Floyd was publicly killed in police custody after a shop-keeper called police on the suspicion of him using a counterfeit $20 bill. George Floyd was a black man and, on this occasion, his killing by a white officer, Derek Chauvin, who had his knee pressed down on his neck for 9 minutes, was filmed for the world to witness.

George Floyd said repeatedly: ‘I can’t breathe’ but Chauvin continued. Three other officers, who were also present, made no efforts to prevent his killing. The pain George Floyd’s death has exposed in terms of racism and police brutality towards black people is not new, or specific to America.

Racism and police brutality are global phenomena, and the UK is not innocent. Despite the deaths of black men including Jimmy Mubenga, Rashan Charles and Edson Da Costa in British police custody in just the last decade, not a single police officer has been prosecuted since 1969.

This inhumanity is allowed by a racism embedded in the way black and ethnic minorities are portrayed and represented.

In our history books, in our films, in our built environment.

It is the result of a silencing of communities over centuries.

This history is not passive. It is felt today, and carries ongoing consequences that need addressing urgently.

Editorial Silence is not an option. This publication is in no way an attempt to provide conclusive resolution to the numerous layers of racism embedded within our society (and all too often unnoticed). It is, rather, a collection of conversation starters: essay extracts, written by members of the diverse student community at London Metropolitan University. It is an attempt to offer views into a series of important conversations that must be held and continued.

If the year 2020 is going to be a turning point; and we are to move towards change, we must start by appreciating that the issues in this publication can never be fully understood.

We have to make a lasting effort towards educating ourselves further, listening to different perspectives, and including everyone’s voice in a conversation that can give way to a new future.

Our collective resolve cannot be silent.

James Thormod and Lucia Medina Illustrations by Beth McLeod A publication by MASS. London Metropolitan University, June 2020 3

“Being raised as a black woman in Britain has been challenging. My race affects every aspect of my life (both good and bad) and I’m unable to go into any situation without considering first how my skin colour may affect the outcome.

I had to work to be comfortable and proud in the skin I am in, and not let others define me. I had to find and create my own role models in the world.

I had to develop a thick skin from an incredibly young age. I had to learn to be thankful for my white passing name as it wouldn’t hinder my job prospects.

I had to learn how to correctly interact with law enforcement to not end up on the wrong side of the law.

I had to learn the way to act because of the preconceived notion that people may have of me due to the colour of my skin, but I can see change is coming. I am a very sceptical person, especially when it comes to the Black Lives Matter movement as it is something we have been fighting for for years, but what is giving me hope is that fact that people from other races, sexualities and beliefs are coming together, people are apologising and companies are actually making changes or speaking out.

We are finally getting support in the fight, and because of that I believe we might actually have a chance.�

Sylvia Henry, 2020

“You only have to walk across a London street and into a London practice to notice” An advocacy for diversity, by James Thormod

Sadiq Khan is clear in his belief that the architecture profession needs to diversify. The Greater London Authority (GLA) produced a report in 2018 that compared the gender and ethnicity of architects against the London population. This found that women took only 37% of architecture jobs, and that 16% of the architecture and engineering sector were recorded as of ‘Non-White Ethnicity’. When compared to the region of London in its entirety, where 50% of the working population are women and over 40% are from BAME backgrounds, it is evident that the profession does not currently represent broader society in London. Elsie Owusu, former candidate for President-Elect for The Royal Institute of British Architects (RIBA), believes you only have to ‘walk across a London street and then into a London practice to notice this disparity’.

Diversity, according to the GLA, ‘is about recognising, respecting and valuing a wide set of differences. It means understanding that the opportunities we get are impacted by characteristics beyond those protected by legislation’. In the case of the architecture profession, it is hard to be certain where the responsibility of addressing diversity issues begins and ends.

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RIBA, the professional body for architects in the UK, is beginning to address its own responsibility. As of 2019, as part of its revised Code of Professional Conduct, RIBA now requires its members to ‘conduct their professional activities in a manner that encourages and promotes equality of opportunity and diversity’. Owusu believes RIBA has made significant steps over the past five or six years on diversity. She cites the efforts made to change the culture at the top of RIBA’s council, which saw eight of the eighteen newly elected council members coming from BAME backgrounds in 2017 as part of the +25 Campaign.

“It would be remiss of me to ignore the fact that there is still a long way to go in terms of the diversity of the development community itself and, in particular, the architecture profession” – Sadiq Khan, Mayor of London, Supporting Diversity Handbook.

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“It is pathetic that the architecture industry has failed so categorically in terms of diversity that the Mayor of London has had to intervene in London” – Joseph Henry, Senior Project Officer at the GLA.

But it would be wrong to rely solely on RIBA to address diversity concerns within the profession.

Many challenges in the profession exist before one has completed the minimum seven-year education university training towards becoming an architect.

Anjali Bhatia, a Master’s diploma architecture student at London Metropolitan University, believes the ‘optional’ costs of the architecture course – those of printing paper, study trips, expensive models – limits the ability of those from working class backgrounds to excel without the financial support of their parents.

Owusu believes change is needed within schools and universities to ensure talent is retained within the industry. This includes financial bursaries, such as those offered at the Bartlett, that prioritise students from BAME backgrounds. Efforts should also focus on developing a greater understanding of how students from more disadvantaged backgrounds can be supported in building up confidence and networks towards progressing within the profession.

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Only 16% of the architecture and engineering sector are recorded as “non-white”.

According to the GLA, over 40% of people in employment is from BAME backgrounds.

Black Females in Architecture, a network and enterprise business founded to increase the visibility of black and mixed heritage females, are beginning to exercise the full potential of networks to change the image of the profession. This has included fostering black female role models and actively championing the case for diversity within the industry. Neba Sere, co-founder of Black Females in Architecture, explains how she believes ‘Networks are the most important resource that enable you to be confident in what you want to do and to understand your options’.

Diversity, as defined by the GLA in terms of our varied opportunities, is in many ways impossible to quantify. For the profession to effectively represent broader society we need action through multiple institutions and individuals in positions of influence. As future architects and contributors to the built environment, we have immense potential to lead the agenda for greater diversity within the profession and within our system of practice. For this to be possible there has to be adequate concern amongst architects. We must appreciate our position of agency as designers within a network of interrelated human and professional relationships – becoming more agile and orchestrating new ways to work together and bypassing the current social and economic forces that inhibit us achieving a truly diverse profession. This will require all our skills as architects and creative practitioners and an acceptance that our individual effort, although vitally important, is magnified when combined with the talents and opportunities presented by those around us.

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“I’m the only black student from my year at undergrad still doing architecture, and there were 6 of us in first year out of initially 180, 150 when finished.

2 dropped out before third year.

2 of them did not do part two.

1 decided to work for a council.

It’s completely disproportionate to the amount of BAME people in the UK. Imagine travelling through a system where the deeper you go the less likely you are to see a face that looks like yours”

Tyler Gordon, Part II graduate 2019

According to RIBA’s Education Statistics, only 5.2% of the students entering Part I are black. 31.8% from other backgrounds, and 61.4% white.

2.7% of the students graduating from Part III are black. 9.4% from other backgrounds, and 87.9% white.

“The implicit aim is not to enunciate a singular truth, nor to essentialise experiences of diaspora and immigration” A study on BAFC film “Twilight City” by Michelle Lo

Lord Kitchener was about to disembark from SS Empire Windrush when British Pathé reporter John Parsons asked the Caribbean calypso singer to perform a song in front of the cameras facing him. Kitchener duly improvised an a cappella version of his famous calypso, “London is the place for me”.

The ship, docking at Tilbury, Essex on 21 June 1948, brought with it a thousand Jamaican immigrants looking to seek work in the “mother country”. Originally screened as part of a Pathé newsreel, the archival footage has since been replicated in a variety of contexts to signify post-war Caribbean migration to Britain. Historical events are understood as how they are represented in media, and cultural memory is constructed and accessed through its material forms.

Documentary film, in particular, plays a central role in how cultural memory is mediated and appropriated by the use of archival imagery due to its purported indexical relation to reality, to the extent that “the medium is the memory”.

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In Pathé Reporter Meets, the Windrush footage is preceded by a news story of actress Ingrid Bergman’s visit to Britain.

Modes of othering are evident in the depiction of Bergman’s arrival, justified by her role as a professional actress, which stands in stark contrast to the long panning shot of unnamed Windrush passengers, who were represented as a homogenous group of Jamaicans who “couldn’t find work”. For minorities, archives are sites of exclusion that perpetually repress heterogeneity in a nation’s history. The media plays a crucial role in the misfiguration of black identity by cementing a legacy of stereotypes through the production and reproduction of racist “commonsense assumptions”. Lord Kitchener being asked by a white reporter to sing into the camera ties into this legacy of colonial images, where the migrant must articulate himself within a given Eurocentric framework, his depiction thereby translated by an authoritarian, white male voice-over. Historical representation is pervaded by power relations, and immigrants have few opportunities to represent themselves in the archive of national historiography, which is dominated by a colonialist perspective.

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With the impetus to create a genuine black film culture, the Black Audio Film Collective (BAFC) emerged in 1982, staging archival interventions through the medium of the essay-film to challenge the hegemonic, colonialist narrative that excludes historical representations of Black Atlantic migrants in Britain. The Collective was launched with three principal aims surrounding the issue of black representation: 1) to critique how racist ideas of black people are presented as “self-evident truths” in media; 2) to assess the pertinence of available filmic techniques for depicting black people in cinema; 3) to reject the tradition of the filmmaker as an active agent and audience as passive consumer within black film culture.

BAFC’s second feature, Twilight City, sets a precedent for filmic meditations on Afrodiasporic modernity in the London of the 1980s. The film gives a hard-edged, critical retrospective on the physical and demographic upheaval in London under the aegis of Thatcher’s free-market, right-wing administration. As a critique of the gentrification in London by the banking class, Twilight City focuses on the Docklands, Limehouse and the Isle of Dogs. These inner-city areas, once occupied by large groups of Caribbean, African and Asian immigrants and were considered “no-go areas” in the 1970s, have been repopulated by young white Britons, with the original communities being pushed out further into the outskirts of London.

The implicit aim of BAFC is not to enunciate a singular truth, nor to essentialise experiences of diaspora and immigration. Reece Auguiste, who directed Twilight City,

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“‘If you really want to know someone, listen to their silences.’ Isn’t that what you once said? I’m beginning to think that in order to understand a city you have to do the same thing.

Whenever I think I’m coming close to this in the new London, I come face to face with the same old things which stand in silence watching over London like unseen ghosts.” 1 rejects the claim that archives in documentary cinema could authenticate historical representation. The film uses imagery from the imperial archive to foreground discursive media constructions about nation, race and Britishness. This self-

reflexive, archaeological approach, which scrutinises the already-said at the level of its existence, excavates the “silences” buried in a Eurocentric cultural narrative in order to make sense of Afrodiasporic modernity. “Silences” here denotes two things: Olivia’s [the main character of the film] attempt to reconcile with her mother Eugenia’s optimism alongside the Windrush generation in the unrealised, utopian London depicted by the newsreel, and a detournement of capitalist imagery and wish symbols to silence the colonial voice and re-negotiate hegemonic narratives for a diversified cultural memory. By questioning how political and ideological underpinnings of subject positions determine the use of archival materials in documentary practice, the essay-film becomes a means for minoritised people to gain agency and establish countermemories that challenge the colonialist gaze of cultural memory.

1. Twilight City. Directed by Reece Auguiste. 1989; London: Black Audio Film Collective

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The Talking Drum rises and falls in tone to mimic human speech.

It speaks words of comfort and freedom, rhythmic words encrypted in the tonal pitch of the beats that it produces, woven in with culture and wisdom. Calling out, it encapsulates the vibrations of its hourglass shape, delivering a message that travels far afield. “Home is where the heart is� it calls out over the landscape, through the branches and returns soft echoes of sounds. The Talking Drum.

Drumheads on either side work in harmony to balance the melodies, like wordless conversations about the feeling of belonging. Sometimes wrapped in colorful cloth and

embroidered with detailed threads, it embodies the many cultures that are intertwined and pass through West Africa.

The elder protects the drum with his body, to shield the sound it creates. He does not diminish the fundamentals of the instrument, instead he expresses his knowledge of what is said, when and how, in the rhythm of the drum’s synchronized beat. As he prepares to play, the drum rests on his ribs, his arm controlling the pitch as he tightens and relaxes the instrument. His body becomes an extension of the drum’s form and purpose. Like the strong cords of strength around the drum for protection.

The Talking Drum.

Olatide Elizabeth Olowu, 2020

“There is a lot more to me than this stereotypical version of a British black woman can represent” “Black Sells”, a study on the portrayal of black people in cinema by Sylvia Henry

Since film first began, black people were put in a box. From the first representation of black people in film to some of the most recent ones, black people are placed in films as a token.

Whether it is to show people how brutal and mean black people can be or to show the injustice that they go through on a daily basis. Black-led stories can’t just tell a story, it must always have some deeper meaning behind it relating to the colour of the characters’ skin.

Before we can discuss the impact of modern day film, we need to understand the historical context. Media and politics are very closely connected, and the injustice described all happened very recently.

The end of the American Civil War in 1865 was supposed to mark the end of slavery. The government slowly gave African Americans rights (like eligible male citizens were allowed to vote in 1870), but most of the country kept the mentality of ‘separate but equal’. This meant that the country continues to be segregated but, due to things like the ‘Jim Crow Law’ African Americans were considered second class citizens.

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In 1909 the NAACP (National Association for the Advancement of Coloured People) was formed. This was a group of people who came together to battle the segregation of coloured people. They also, famously, protested against the film The Birth of a Nation (1915) which is notoriously known as one of the most racist films due to it black stereotypes, depiction of blackface and Ku Klux Klan sympathy. In 1951, the NAACP was working to stop segregation in school as many believed that it was having a negative effect on African American children.

The infamous Brown vs. The Board case came about and 1955 they won. President John. F. Kennedy proposed the Civil Rights Bill in 1963, and it was then approved in 1964. The Civil Rights Act outlawed racial discrimination in employment.This allowed more black people to be in the film and TV industry.

“Let me tell you something: The only thing that separates women of colour from anyone else is opportunity. You cannot win an Emmy for roles that are simply not there.” – Viola Davis, 2015 Emmy Awards.

One of the first representation of black people in film was in 1903 in a short 12minute film called Uncle Tom’s Cabin.

A simple, short, silent film began an interesting journey for black people in the media, but it was a sour start.

For the man who played the first infamous Uncle Tom character wasn’t actually a black man at all, he wasn’t even a person of colour but actually a nameless white actor in blackface.

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This was the beginning of five famous African American stereotypes that featured heavily in films from here on out.

Starting with the Uncle Tom character who is known as a black house slave who is faithful in serving his white master.

He is known as one of the “first good negro characters”. This character can be seen in the film For Massa’s Sake, in which the Uncle Tom character sells himself back into slavery to help his master’s financial issues. The female version of the Uncle Tom character is the “Mammy” character. She, like the Uncle Tom character, is dedicated to her master’s family and is normally nameless. One of the famous mammy characters is Hattie McDaniel in “Gone with the Wind” (1939). The next character is “The Coons” which is actually made up of many different types of character and personalities but is liked by the overarching ideology that they do not want to do any work.

Some types of the Coon character are the “Pickannies” who are normally children with wide-eyed joy, or the ‘Rastus’ who is known to be really unreliable. Then there is “The (Tragic) Mulatto”, a woman who is sadly born with the unfortunate reality of being half black. Normally this character was there to portray the unfortunate life one would have if they were mixed.

The last one is “The Buck”. First featured in the film The Birth of a Nation (1915) it showed black people in a negative light.

His characteristics were brutal, hypermasculine who was a threat to white people and all they stand for.

The word “stereotype” carries a lot of negative connotations.

Stereotyping someone or something is one of the first things everyone does when we encounter something new and a lot of the stereotypes we already know help us understand others even if it is at a basic level. For example, British people,

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stereotypically, love tea and the royal family and are posh.

Women, stereotypically, tend to be bad drivers. Black people, stereotypically, tend to be loud, love chicken and watermelon.

Now these are all stereotypes that I have heard or seen growing up either on TV, movies or from talking to people. Now, not all of these stereotypes are particularly bad on paper, but they don’t allow correct representation for the complex subjects they are describing. Stereotypes tend to be very simple but the subjects they are talking about are not. I am a British black woman, so I can say with confidence that not only do some of these statements not apply to me (I dislike tea, I don’t mind the royal family, I’m not posh, I can’t drive, I can be loud, I do love chicken but I dislike watermelon) but there is a lot more to me than this stereotypical version of a British black woman can represent.

When it came to films’ representation of black people and black lives in the 1800s and early 1900s, all they really had was stereotypes. While the lead characters were going on adventures and changing as characters, those left as secondary characters didn’t have time to change so were left as onedimensional characters. Due to these characters not needing to grow, they remained simple and the best way to portray a character simply is by stereotypes. This means the audience will understand exactly what type of person this character is just by the way they dress, how they speak and what they do. The only representations of black people that weren’t negative were those created by black people themselves which only started in 1970s.

With the 1970s, “Blaxploitation” media became the height of black-created representation. This representation still followed

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along the trend of hypersexual and violent but added the twist of cool, strong and was always willing to stand up for what is right. These men were also leaders in their own stories. Melvin Van Peebles released his independent film Sweet Sweetback’s Baadasssss Song (1971) and the people loved it. The black community found their role model in Sweet Sweetback, a man wrongly convicted of a crime, who has no choice but to fight against ‘the man’. Hollywood took note of this success; not only noting how much money the film made but how low budget the it was. They decided to copy the formula of the film with the 1971’s Shaft.

These new strong black lead films were dubbed ‘Blaxploitation film’ by the media. However, many people in the black community loved the films, comedian Eddie Murphy during an interview explained: “At the time we didn’t feel exploited”. We tend to feel a sense of pride when we see ourselves represented. This could be explained by Maslow’s Hierarchy of Needs. Humans tend to gravitate to people with similar interests and appearance because we like to feel like we belong. This could also explain our need to see others like ourselves represented as it gives the same feeling of belonging.

These films mirrored the injustice and anger that a lot of people in the black community felt at the time and I believe that these films might have given some people the courage needed to fight for what they believe in. Seeing someone like themselves fighting against people they want to fight against (in some of these films it normally the police) might have given them the courage to do the same.

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“Starring: The Black Community” was a line in the opening credits to Sweet Sweetback’s Baddass Song.

During the Civil Rights Movement of 1968, protestors used the signs “I AM A MAN”, in reference to : “Am I not a Man and a Brother?”, the catchphrase for the British and American abolitionist movements.

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“I went in solidarity with people and friends who are affected by systematic racism, I also wanted to protest for my friends in America who regularly experience the thuggery of the police there. I also attended a later protest in order to observe the far right and gain evidence if needed.

The issues highlighted by the protests are absolutely shining a light on the importance of a more open dialogue about inclusivity in architectural education and the industry as a whole. I welcome the changes that have already been made and hope that universities genuinely act on these discussions. �

Architecture Student at LMU on the 2020 BLM protests

“The whole structure of society needs to change to provide an equitable world for everyone not just in the U.K and U.S but around the world.

I want to see a reform to work, Policing, education, housing, transport, food.

I want to see fairness and education around inclusion taught to all ages, more investment into communities.

I want to see proper investment put into green sustainable futures because without it the most disadvantaged people in the world will be the most adversely affected. The West’s inactivity in averting this crisis in and of itself is racist.

I want to see people celebrating each other rather than being divided along lines of race.

I want to see people acting with compassion and love rather than reactive fear.

I want to be better myself and use my privilege to help as best I can make those changes.�

Architecture Student at LMU on the 2020 BLM protests

And now what?

A collection of resources for action

GLA Supporting diversity handbook. https://www.london.gov.uk/sites/default/files/supporting_ diversity_handbook_web.pdf Design CAN: be more representative of the world it serves. https://design-can.com/ Open City Accelerate. A pioneering design education and mentoring programme aimed at increasing diversity in the built environment professions. https://open-city.org.uk/accelerate PARADIGM Network. The professional network championing BAME representation in the construction industry. https://www.paradigmnetwork.co.uk/ The Other Box. Educate and empower people to work and live more inclusively. https://www.theotherbox.org/ Creative Mentor Network. Making the creative world of work more inclusive. https://www.creativementornetwork.org/ Stephen Lawrence Foundation. A Trust founded to tackle inequality in all forms. https://www.stephenlawrence.org.uk RIBA National Schools Programme. Helping children explore and understand the built environment https://www.architecture.com/education-cpd-and-careers/ learning/riba-national-schools-programme

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A collection of resources for learning

Pathe Reporter Meets Lord Kitchener (1948) https://www.youtube.com/watch?v=QDH4IBeZF-M Black Audio Film Collective https://lux.org.uk/artist/black-audio-film-collective BBC Documentary. Windrush Scandal. Sitting in Limbo. https://www.bbc.co.uk/iplayer/episodes/p08g29ff/sitting-inlimbo Teaching black history in schools. https://www.bbc.co.uk/news/video_and_audio/ headlines/53031802/one-school-s-approach-to-teaching-blackhistory Systemic racism and police brutality are British problems too. https://www.theguardian.com/commentisfree/2020/jun/04/ systemic-racism-police-brutality-british-problems-black-livesmatter Met Police ‘use force more often’ against black people. https://www.bbc.co.uk/news/uk-england-london-44214748 BAME Deaths in police custody. https://www.inquest.org.uk/bame-deaths-in-police-custody Colemen Hughes – the case for black optimism. https://quillette.com/2019/09/28/the-case-for-black-optimism/ Debate between Coleman Hughes and Glenn Loury on Black Optimism. https://www.youtube.com/ watch?v=c3JpBjUVsm8&feature=youtu.be

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Stephen Lawrence’s murder: What’s changed. https://eachother.org.uk/twenty-years-on-from-the-inquiry-intostephen-lawrences-racist-murder-whats-changed/ Inside The 1981 New Cross Fire March That Brought Britain To A Standstill. https://www.huffingtonpost.co.uk/entry/ new-cross-fire-black-peoples-day-of-action_ uk_5e582608c5b6450a30bc0ac3?ncid=other_email_ o63gt2jcad4&utm_campaign=share_email 13 Dead, nothing said exhibition at Goldsmiths University. https://www.youtube.com/watch?v=ypfcqyjFiM&feature=youtu.b

Documentaries The Central Park Five - Available on Netflix 13th - Available on Netflix Black and british: A forgotten history - BBC Back in time for Brixton - BBC Soon gone: a Windrush chronicle - BBC Windrush: Movement of the people - BBC Have you ever heard George’s podcast? - BBC Will Britain ever have a black prime minister? - BBC Black and Scottish - BBC

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A collection of instagram accounts fighting for representation in architecture

Sound x Advice. @sound_x_advice New Architecture Writers @newarchwriters Resolve Collective @resolvecollective Muslim Women in Architecture @mwa.arch Black Females in Architecture @blackfemarc Afterparti @afterpartizine Power Out of Restriction @poor_collective Migrants Bureau @migrantsbureau

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A collection of essays for further reading

Paul Gilroy (1999) A London sumting dis… Critical Quarterly, Vol. 41, no. 3 Jean Fisher, In Living Memory... ‘Archive and Testimony in the Films of the Black Audio Film Collective’ in The Ghost Songs: The Art of the Black Audio Film Collective Paul Gilroy (1987) “Urban social movements, ‘race’ and community” in ‘There Ain’t No Black in the Union Jack’ The cultural politics of race and nation. Pp. 233 – 249 Kodwo Eshun (2004) Twilight City: Outline for an archaeopsychic geography of London. Wasafiri, 19:43, pp. 7 – 13 Kodwo Eshun (2007) The Ghost Songs: The Art of the Black Audio Film Collective Featured in this publication James Thormod (2020) Diversity and Agility. Advocacy: Practice Beyond Aesthetics. https://drive.google.com/file/d/1VlkgZ6R_ JVcxBo2vWnoyKR3_FQprDWlq/view?usp=sharing Michelle Lo (2019) Archive hermeneutics: mediating transcultural memories of migration with the essay-film.

Cinema and the City. https://drive.google.com/file/d/1EDqt5CxInM4Zps2qfmTmX KBSNDnu1Ar1/view?usp=sharing Sylvia Henry (2020) Black Sells. https://drive.google.com/file/d/1DnO1GR7cFVduGk4tLTrm6z A3sV5SN3X2/view?usp=sharing

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A publication by MASS (@massatmet on instagram) Editors Lucia Medina and James Thormod Contributors Sylvia Henry, James Thormod, Michelle Lo, Olatide Elizabeth Olowu, Tyler Gordon.

Illustrations Beth McLeod (@beth.illustrations on instagram) With special thanks to Aleks Catina, Ektoras Arkomanis and Joseph Kohlmaier for their help and advice First published on LIVENESS: London Metropolitan University’s School of Art, Architecture and Design Degree Show. June, 2020.

A publication by MASS June 2020