00_aesthetic_authentication
Briyana Rainer Fall 2018/ Spring 2019 Self-Directed Studio Prep Jennifer Akerman Marshall Prado
contents 01 position statement 02 framework 03 allies 04 methodology 05 site 06 project proposal 07 reflections Spring 2019 Design 08 Appendix
My thesis is to explore and exploit the correlation between how the existence of marginalized or under-served groups + how they are formed by the exterior environment (both social and built) + and how as a result, the expression of content or discontent manifests itself into visual and physical formal means. Simply put, I am here to validate the idea that as an active part of the built environment we internalize, we react, and then continue to feed into the cycle, but how does architecture play into this. There are two interrelated frames of my research that deal with the identity of the person within the community and the role of the community within the architecture. Within these frameworks there is the continuous exploration of blackness and creative expression in traditionally white spaces. The discussion of this topic is important because the origin how communities and infrastructures are built is often devoid of the opinions or influences of the people that activate these spaces. 01 The black individual interacts with the world just as the world interacts with them. Assessing these FACTORS and how they take space in the world provides a cultural awareness of how we impact our own micro-environments on a variety of scales despite the clear absence of black influence in formal architectural practice.
SPATIAL FACTORS power agency authenticity memory preservation appropriation aesthetics
02 The relationship between communities and its neighboring systems are not devoid of these concepts, but yet the direct manifestation of the before-mentioned juxtaposing ideas. This introduces the idea of “juncture neighborhoods”; territories placed in-between a variety of complex physical and societal intersections. A critique of how racial and economic targeting aid in either the expression or suppression of a community is to be explored within these areas as well. Agents present on the site including infrastructure, “the church”, informal areas of congregation, areas of cultural significance, restaurants, etc. begin to reveal unspoken qualities of place. Whether resulting qualities stem from complex social dynamics or a by-product of systemic oppression / adaptation, the reasoning behind why stratification between residents at any level in the same community and the role of architecture within this is the question is be explored.
Ingesting and abstracting these datasets through polemic drawings will provide a way to represent and preserve these aesthetic subcultures through communicating them to the masses. The absence of black voices and speculation within the architectural discourse has left much of the cultural urban fabric under-discussed and undervalued in terms of architecture’s political and psychological impact. Therefore building upon the work of Mario Gooden, Mitchell Squire, Walter Hood, and others, my work interjects into the conversation of how architectural neglect can be used to shape a speculative approach to how we shape interactions and what we perceive as “aesthetically pleasing” through architecture.
01_ position
where are “we” in all of this? where am “i” in this?
Architecture, although it seemingly appears to be alien and somewhat autonomous, is always activated and is affected by culture. I would argue that architecture is culture in its most concrete form. - Mario Gooden “Dark Space” But what if in some instances this concept is not so concrete? What if “architecture” in some communities is only a set of residual cultural signatures that combine to reveal an new phenomenon? A phenomenon that confesses the amount of neglect present in these under-served communities and restores and preserves the connection between inhabitant and the space that they hold.
02_ framework
SPATIAL FACTORS power agency authenticity memory preservation appropriation aesthetics
I am interested in exploring the relationship between the existence and experience of under-served groups (and their formation by the external, social, and built environment). The core of this interest is how their state of content / discontent is manifested or materialized back into their environment through visual and formal agency. This spatial condition will be evaluated through several spatial factors that will provide insight into how the inhabitants operate within the spatial limits as well as determine whether or not architecture is in itself liberating or confining.
_01 caption
The original intent of this project was to be able to validate the idea that there may or not be such thing as “black architecture.” It is still looming question, but now I think the more appropriate approach would be to ask what does “blackness” or things that “we” have produced have in common with architecture or what makes something “architectural.” Everything has an aesthetic, whether it is authentic (to the people or to the place) or not, so what happens when a place is overridden with various aesthetic notions from various origins. At what point, does aesthetic or architectural style become native to that place? Is it when native citizens take ownership of it or when new comers begin to appropriate and claim it as their own?
Aesthetic 01 being considered as beauty or appreciated as beauty
Authenticity 01 genuine in origin 02 made or done in the traditional way 03 based in facts or proven to be reliable 04 (in existentialist philosophy) according to the oxford English dictionary, relating to or denoting an emotionally appropriate, significant, purposive, and responsible mode of human life
02_ framework
POWER 01 the ability to do something or act in a particular way 02 the capacity or ability to direct or influence the behavior of others or the course of events Liberation 01 the act of setting someone free from imprisonment, slavery, or oppression; release. 02 freedom from limits on thought or behavior
Confinement 01 to keep or restrict someone or something within certain limits of (space, scope, quantity, or time) 02 the borders or boundaries of a place, especially with regard to their restricting freedom of ; the limits or restrictions of something abstract, especially a subject or sphere of activity movement.
What is architecture’s power to influence or direct the path of culture; what is our power within a community? What architectural typologies are derived from power structures? Is architecture elitist in many cases? Design is power; those who don’t know what design possesses lose their power to influence spatial environments and their power and spatial freedom is given to someone else. How do individuals and communities begin to reclaim their power within architecture? When does architecture begin to lose power or begin to be autonomous or an authority instead of an ally? Craig Wilkins eloquently states architecture’s positioning within this conversation of power as saying “ it a part of the responsibility of the design professionals and stewards of the built environments - those charged with charged with the shaping of space and place - to develop alternatives to the current spatial condition within the profession,” (Wilkins 24). With this being the case, it is important that we begin to acknowledge and identify the weaknesses with our current spatial system starting and ending
with idea that architecture can psychologically allow inhabitants to feel liberated or confined over time. The ability to influence behaviors and habits directly correlates with the amount of power embedded within architecture. What types of architectural drawings begin to play into the idea of power? What types of drawings give the right vantage point that allows for an architecture-based power structure to be exposed? What new drawing type can begin to possess an ability to act or do something polemic for architecture and to reveal something to the public about their spaces that can describe how oppressive or not their surroundings have been designed. This drawing type should be able to convey the issue, expose a method of action, and most importantly illustrate architecture’s role within it. Can power innately embedded in architecture accidentally based on methods of teaching how we talk about space in architecture? “The architectural silence on the influence of whiteness as a framework to categorize people and understand their social locations helps to sustain a white spatial privilege that begins with the assumption that to be white is the natural condition. If we are to have any
Architecture’s capability to trigger or bring attention to a different time or place is rarely used as a tool in everyday programming situations. It is evident in memorials, museums, exhibitions, urban planning etc. but sometimes memories linger through everyday, unplanned events. History has always been strongly connected to place whether it has been the presence of existing buildings or the presence of the people who have lived there or the memory; history becomes embedded within the place through aesthetics or through the memories that have been passed on. So, what happens when the place takes on a new face? Is the memory still embedded within the place? How do we as architects begin to take on not necessarily the preservation of architecture physically, but the preservation of culture and memory within architecture? How do we begin to introduce such methodologies and tools of preservation into new construction? Should we as a community preserve our painful memories embedded within our architecture? Or do we just collectively decide to abandon certain memories? How do we remember what is important to us? Culture itself can be considered either actively a part or the world or behaving as a memory assessed when necessary.
Memory 01 something remembered or associated from the past Preservation 01 The act of keeping an object or memory intact.
Agency 01 the act or activity of a certain effect that can produce a reaction and so forth What is architecture’s capability to act on this issue?
02_ framework
Appropriation 01 claiming something as your own, typically without permission
The continuous evolution of built environments, especially in our urban settings, begin to expose patterns of inhabitation as well as shed light on the conversation of appearance and aesthetics of place. The act of appropriation within our communities is also a conversation of agency and who does or does not possess ownership of place.
03_ allies
_ of thought _ of practice
DARK SPACE BY MARIO GOODEN “Culture is an understanding of one’s internal and external relationships to place (geography) and time (the order in the which events occur), as well as an intimacy with one’s own existence (the materiality of presence and self.)” (13) “Architecture spatializes political, social, and historical relationships as well as instrumentalizes subjectives. It brackets place, time, and materiality to events in order to produce meanings and discourse.” (13) “In architectural representation, black bodies systematically fall beyond the frame of reference for spatial inclusion; likewise in architectural, black bodies invisible, occupy unspoken places of colonial subjugation, or dismissed to locations of repressive difference where the black body is simultaneously an object of desire and derision, yet has no desires of its own.” (121)
Mario Gooden’s Dark Space serves as almost a manifesto for authentication. His work exemplifies and clarifies the African-American underpinnings within the architectural discourse. The discussion of “what is architecture” as well as “what is architecture for us concerned with” allows for a thorough critique of interdisciplinary importance.
adrian piper “It’s just art” 1980
03_ allies
THE AESTHETICS OF EQUITY BY CRAIG L. WILKINS “Culturally defined perceptions are often selfish, or at least deeply protective designed to ensure the long term survival of the culture’s worldview. As such, perceptions have an inherent tendency to categorize and differentiate, facilitating an endless supply of inclusive/ exclusive hierarchies that those within the cultural framework employ when engaging the world.” (pg. 6) “The city of Chicago’s attempt to invoke this well-established tactic of denying the constitutional rights if people it considered suspect is just another indication of the manner in which such illegal policing of people of color has become much more common and widespread, so much so that the mere sight of more than one black man is cause enough to disturb “normative” space.” pg17 “The operation of Locke’s space/place relationship creates and situates identity (your [black] place is always in relation to my [white] place) and also places the emphasis on the importance of “knowing your place” to the construction of that identity (my [white] space is the standard by which your [Black} space is judged). pg18 “As people whose job is to shape space, to ignore this reality is to perpetuate it; and that’s bullshit” p29 “In Kant’s writings, particularly in his three critiques (Pure Reason, Practice Reason, and Judgment), he persuasively argues for the pursuit of the good, the true, and the beautiful, in which the true is the ultimate object of action, and the beautiful the ultimate object of judgment.” pg39
Wilkins acknowledges the existence of cultural bais from both perspectives, which is extremely honest and evolved within the conversation. Simply put, there can be no real change unless acceptance is made from all parties including from architecture’s contribution to the issue. The standards or theories of space and how humans occupy it varies based upon how society treats you. Theorists he highlights are Heigel, Locke, and others.
03_ allies
Wilkins_diagrams from pages 93 and 100
SPATIALIZING BLACKNESS: ARCHITECTURES OF CONFINEMENT BY RASHAD SHABAZZ “The term “spatialized blackness” underscores how mechanisms of constraint built into architecture, urban planning, and systems of control that functioned through policing and the establishment of borders literally and figuratively created a prison-like environment.” (02) “Within the cramped confines of kitchenettes, the architecture of housing projects, and the space of prison cells, Black masculinity was being produced.” (02)
The subject of this book is tailored towards the psychological implications of design as tool for systematic discrimination towards primarily black people within the city of Chicago over the past thirty years.
03_ allies
ARCHITECTURE IN BLACK BY DARRELL WAYNE FIELDS “Jazz, like the skyscrapers, is an event and not a deliberately conceived creation. They represent the forces of today. The jazz is more advanced than the architecture. If architecture whereat the point reached by jazz, it would be an incredible spectacle . . . “ (14). “It seemed to me that the pulpit was quite a place - a place where one could conceal one’s self, both practically and figuratively. I began to despise not the minister or the church, but this place - a place or space that could offer man, a black man, such vast and unlimited authority while silencing him at the moment,” (19). “I am certain that this is nothing new and that this ideological split has occurred elsewhere. I myself have been named and renamed (Negro, black, African American) at least three times during my lifetime. Nobody asked,” (21).
Fields’ provides a description of what it mean to be black within certain spaces. He depicts how there is a constant back forth between identity and spatial positioning and how it various based upon place and what the environment does to the individual.
MITCHELL SQUIRE Mitchell Squire’s work operates in the realm of operative storytelling. His deals most directly with abstracting and reflecting upon certain notions of Blackness in time. What can be taken from is work is his way of constructing narratives embedded within the materiality of the work. For instance in the work pictured to the right, this series of drawings utilizes used law enforcement paper targets that exploited the black human figure. Squire in turn uses the evidence of this discriminatory system to create a conversation based around reflection.
view of "Untitled 1-4 (bulk law enforcement targets, shot through)," 2004 found object, spray paint, artist frame 29.75 x 55.5 x 4 inches ea photograph by Cameron Campbell Smoke (1-7), 2015 detail Graphite, salvaged law enforcement paper targets shot through, mounted in artist painted plywood frame 7 parts, each 24.5”W x 50.5”H x 3”D
03_ allies
ADRIAN PIPER “One reason for making and exhibiting a work is to induce a reaction or change in the viewer... the work as such is nonexistent except when it functions as a medium of change between the artist and viewer.”
Adrian Piper is contemporary artist that revolutionized the way that we considered the impacts of contemporary art. During the 20th century, modern art was still widely white and male which leading question to be “what is art” until Piper began asking the question “what can art do for both our social and political world.” Three key that seem to run through her work are confrontation, the figure, and dialogue between the her and the audience whether direct or directed through her work.
WALTER HOOD “A cultural practice honors a community’s lifeways — recognizing everyday rituals and validating the mundane. Paying attention to the way people live in a place — as opposed to how designers want people to live — yields different project results. The lifeways approach always begins by acknowledging that if there is a community, people live “here,” there is a manner in which they do so, and that is important.” Hood utilizes landscape and urban typologies in order to develop a way of operating the is centered around the existing human condition and commemorating place. The above quote from Walter Hood talks about the emphasis on “lifeways” as a factor in design. Designers should be more conscious of how people actually live versus what designers want people to live. I think that the merit to this approach is that the design is made with usage and longevity in mind as well as the design being able to enhance and innovate.
Shadow Catcher, University of Virginia (photo by Hood Design) Powell Street (Trolley), San Francisco, CA (photo by Hood Design) 7 parts, each 24.5”W x 50.5”H x 3”D
03_ allies
LIZ OGBU NOW HUNTERS POINT San Francisco, CA 2013 “Through early conversations with community members, it became clear that this is an area rich in stories that mark the area’s history and diversity but which there have been few outlets to share and capture them. Cognizant of this as well as the fact
that it was hard for people to visualize a future for the site without never having been able to step foot on it, the team created a space that allows for tangible acts of listening and visioning.”
_quote and images from Liz Ogbu
Liz Ogbu’s work brings together ideas of bettering an environment through the new construction of a dynamic activity center that activates an industrial site that once stitched the community together as well as beginning to also engage in ways of storytelling. With the community at the root of the inspiration, this project provides a model for how locally sourced and based projects could activate and celebrate a site.
LIZ TESTON Dirty South Studio 2012 “Aldo Rossi said, “In order to be significant, architecture must be forgotten, or must present only an image for reverence, which subsequently becomes confounded with memories.” Architecture is memory; memory and cultural identity are inextricably linked. The architecture of the city is an artifact, a part of our collective memory, whether it is fantastical or mundane. So, that gives ordinary buildings like a Texaco gas station a status that not always noticeable. But, for the residents of Campbellton Road in Southwest Atlanta, JJ’s Rib Shack is as canonical as Portman’s atrium hotels.” Liz Teston, within a studio intended to expand the knowledge Atlanta architectural vernacular, studied the intricacies and reelationship between rap and architecture within the communities represented within the songs. Using music as the method of sourcing information about place, allowed her to connect deeper within the community as opposed to other data sources.
_quote and work from Liz Teston
societal constructs
places of interest local regional world siteless
concepts_theories ways of making intentions behind making
idea - layering mylar on top of one other to illustrate each singular idea in great detail ; each page could be a stand alone composition or a part of the whole in order to build upon the standalone idea that blackness as an ideology is an incredibly layered
04_ workflows_methodologies
interactions
01The construction of this project begins with
the uncovering and identifying the spatial factors and architectural themes within the place. Understanding these concepts in relationship to cultural underpinnings within the normative everyday sequence allows this authentication to identify what exactly culture is doing for architecture in these communities.
SPATIAL FACTORS power agency authenticity memory preservation appropriation aesthetics
Using polemic drawings as tool of exposure for these conditions will allow for the viewer to engage in the conversation, not just see a situation. This drawings type should be able to activate a conversation, be an honest portrayal of the scenario, and challenge the normative architectural approach to space. In order to fully understand all of elements that make a space architectural, a matrix of found objects and pieces of place is to be collected and used a tool to present elements deserving of your awareness. I am interested in exploring the relationship between the existence and experience of under-served groups (and their formation by the external, social, and built environment). The core of this interest is how their state of content / discontent is manifested or materialized back into their environment through visual and formal agency. This spatial condition will be evaluated through several spatial factors that will provide insight into how the inhabitants operate within the spatial limits as well as determine whether or not architecture is in itself liberating or confining.
Edvard Lindblom / Distinguishing and manipulating architectural elements crucial for the investigation.
SITE The site that I am choosing to explore is focused on the idea of nuance or dichotomy. In order to facilitate this idea, I have chosen to not disclose the name of a specific site, but to look at several separate areas that have specific characteristics and create my ideal site with no real location. The benefit of this tactic is that when I begin to operate that my conclusions will be widely applicable to a variety of places. In order to gather data to create this “site” I have chosen to study certain number of potential investigative sites that have been categorized in terms of region: southern and other. Southern sites as assumed to be a part of a greater system that allows for similar variables across each of the sites, which allows for the outcomes and differences to become more nuanced in tone. Introducing site variables outside of the confines of the normative southern boundary, allows for the exploration of other possible methods or variables to the equation that may not be found in one geographical region. For the southern sites, I will be exploring Memphis and Atlanta as definite sites and Birmingham and Miami as two alternate sites. I chose these sites specifically because of their historical roots, their wide variety of living and infrastructural conditions, and the cultures that are interwoven in between all the variables. The comparison site will be either Detroit or Flint, Michigan due to its similar narrative.
Within these site explorations, I am interested in further investigating the idea of ‘juncture neighborhoods’. A juncture neighborhood is a neighborhood that I am deaning as an area that is tucked in between a series of conditions and other neighborhoods of different qualities. Conditions and qualities of these sites that will be investigated include differences in: - property value - neighborhood territory - surrounding infrastructure - restaurants - churches - areas of congregation - entertainment / cultural attractions
05_analysis_places of interest SITE COMPILATION / / normative spatial boundary variation
HUMAN RELATIONSHIP TO SITE i have been collecting and synthesizing various human - spatial theories that verbalize the fundamental concepts of space. the purpose of these portion of my research is to clarify and simplify how human - space interactions happen
1. “space comprises the social arena in which individuals reproduce or challenge their experimental boundaries of action and interaction” therefore the ‘alloted’ space around you takes on an atmospheric quality. the space around you can either become a vacuum or a barrier: absorbing or blocking energy
analysis_interactions
The intent of this project is to identify what is meaningful or indicators of culture that are not typically considered through traditional architectural design. Then create based on what is discovered. The connection between culture and architecture has not been explicit in the black community for quite sometime. The relationship between a person and their built environment is one of the most intimate relationships you can have and if your relationship and ownership of space has been corrupted and mishandled. My hand in this process is to untangle the threads and expose how linear the cultural and psychological implications are connected to design. Creating a reality where cultural signatures hold more significance than traditional means of architectural operation, can help simulate what it means for architecture to behave as culturally aware. Through thinking through themes of juxtaposition such as confinement and freedom, gaze and ignorance, memory and loss, and approval and appropriation, the evident behaviors of the inhabitants, both of the majority and minority can be acknowledged and vindicated. Connecting space, place, and people can be approached at several different scales. Within Liz Ogbu’s and Walter Hood’s work they approach the issue through activating the landscape by creating some sort of community ownership. The benefit of this method provides the community with a place that is tangible and represents something of relevance. While Mitchell Squire and Adrian Piper’s work aims to start a dialogue of major importance. My project aims to locate itself somewhere in-between art and installation along with practical implications played out upon the urban plan.
07_project proposal
Over the course of the semester, I have challenged the ideologies of what could be coined racial space. This topic reaches deeper into architectural concern than what has been expected of architects throughout the profession. From studying the connection between identity, architecture, and spatial agency, I have learned that the idea reaches deep into many other disciplines and outlooks on urban functionality than architectural writings can provide. One source of knowledge that didn’t fully materialize within this time frame is using personal interviews with people on the site. Being able to get first hand knowledge or commentary from the audience being served will be super important to the process. Surveying the spatial conditions with inhabitants inside exercising their agency will also become a part of the process. The next steps for the authentication will be materialization of site, conversation, and emphasis.
08_reflections
This project challenges the current conception of living spaces in overlooked communities. The topics of spatial politics, latent spaces, and architecture’s capacity to destruct our traditional notion of environments as a way of protest are at the heart of the project. Spatial politics can be defined as social indicators of space such as: power, agency, authenticity, memory, appropriation, preservation, and aesthetics. The core of this interest is how their state of content / discontent is manifested or materialized back into their environment through visual and formal agency. Latent space emerges on the site as underused and leftover space such as front yards, side yards, alleyways, etc. Programmatic agents presented on site include infrastructure, “the church”, informal areas of congregation, and areas of cultural significance begin to reveal unspoken qualities of place; however, “the home” and the land surrounding it is where most of these conditions can become most apparent. The identity of the person within the community and the role of the community within the architecture are at the center of research. I have always been interested in the ideas of domesticity and inhabitation in relationship to the experience of those who been historically ignored and policed through policy like redlining districts and subsequent planning actions enforced by higher authorities. A re-conception of territory and spatial usage can shift and alter our communal identity. I have chosen to approach this concept through exploring a series strategic moves acting on the urban scale, shifting how our cities delegate space, use of private AND public space (how we relate to our neighbors), and how people access space. Rights to territory and programming are at the center of questioning. Through narrative and testing possibilities, the goal of this to start a conversation addressing the question of: what if collective zones of inhabitants came together and created an adjusted way of living that provides necessary programming, but also rebels against current policy and codes? What could that look like?
design proposal
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altering
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territory_01
territory_02
Site Surveillance There were three sites I choose to explore, a range of neighborhoods throughout Knoxville and the South. Through researching their formation, I learned that most of these neighborhoods were formed through ‘redlining,’ a practice used to de-value homes and communities were mostly minorities lived. Mapping the existing city fabric, the amenities available, and the red lined boundary that constrained growth.
territory_03
Surveying allows for the hidden qualities of latency to be exposed and identified. Finding these hidden areas and their frequency makes for a variety of methods and areas to work within
LIBRARY
PRESERVED HOME
ASSISTANCE
COMMUNITY CENTER
Interpreted Site: a collection of site strategies
CHURCH
PARK ANNEX
The site is collection of averages drawn from my own memories and experiances as well as research and survey done across the south. The repetitive nature of the urban neighborhood allows for multiple spatial opportunities.
Design Strategies There were three strategies taken all derived from potential programs of informal congregations. The constructs or installations shall allow for growth and a new exploration of space.
FACADE
With the changing approach of the community and the changing aesthetic desires of perception, a new facade will come into the play. The western side of the block, the edge of the place, desires to present a united front. A decoy for what lies behind.
“When I was a child, after church, the preacher would come by and sit with my mother on our porch. She would serve poundcake and coffee,” Margaret Riley recalled. “I still see the porch as an outdoor living room. I want it to be respectable because it is sacred.”
ep_01
It was a measure of success; a symbol that she had made it. She proudly decorated her porch with blooms, welcome signs and a lawn chair where she sits and waves to children and parents as they pass by. “I worked hard to get here,” she said. “The porch is where I connect, where I became a neighbor.”
The collective covering is ideal for the micro while yet still impacting the macro. This move reflects the traditional presence of the home; a gabled roof form but also a transformative visual device. Adding this construction over the top of an existing structure allows for the preservation of current construction but also refreshes the presence from the exterior. The unified covering extends beyond the extents of its past confines of the property line both on ground and in the air. It can hover, cover, surpass, and morph into itself as well as another home. It challenges the use and meaning of a roof structure in the context of a urban environment as well as access to air rights, vertical limits to the home in protest to existing height limitations and size constraints.
collective covering
THE PORCH THE ADDITION EXTRA ROOM GABLE AIR RIGHTS
collective covering
Intersecting Roof Structure_ connecting the existing structures
Traditional Interior Configuration_
Additional Interior Configuration_
Exterior Cladding _
ep_02
For Cornetta Lane, Core City was the childhood neighborhood where she fell in love with weeping willows. Four years ago, she came across a description of her Detroit neighborhood in a news article, but it was called something different from Core City. To Ms. Lane, a community organizer, the new name felt like erasure. “It was just so upsetting,” she said. “I knew then I needed to find a way to preserve the historical identity of my neighborhood.”
STREETSCAPE
With the closure of the arterial road running through the community, new breath was given to the home experience. The road’s infrastructure became an opportunity for a shared space. Instead of the backyard being the only direct connector for cross experience, the front yard adavances a key activator space. With this change, presents the opportunity to alter the way that we look at the transparency of entry + exit. The design of how we enter, receive, approach our homes is destined to change as we evaluate the way we see ourselves...
This house utilizes 3 separate existing plots of land and houses that existed upon them. By compiling existing lots, salvaging materials, and inputing new additions, this new compilation represents both the mixed matches aesthetics of the old and new forms and materials, but also the life within the home. Impacting the interior living as well, conjoining spaces involves a re-conception of domestic living. The kitchen, the living room, and the dining room have always been considered the hearth of the individual home, but what if it became the heart of an entire block?
compiling isolated remains
LOTS DINING ROOM TABLE THE DEN CONNECTING PROXIMITY
Congregational Space_ central
space for gathering and connecting the inhabiting households
Porch Room_ a united front Remnants of the preexisting
Editing the connection to the exterior
a
extending and cutting the traditional roof form allowing for light and congregational space
congregation house
Modified Roof Structure_
Introduced program areas t
to be determined . . .
ep_03
Mr. Hill, a Detroit native and retired social studies teacher, witnessed the fires spit and roar just two blocks away. His parents talked in hushed tones about stifled black anger and police hostility. Businesses and bodies burned to the bone as the race riot raged for almost a week. Above, helicopters thundered through billowing smoke that looked to Mr. Hill like low-slung clouds. Below, the parade of Army National Guard trucks rumbled by.
This addition to the site reflects the actions portrayed in numerous urban situations; the ability to reach new vantages. The installation gives a structure to capture natural needs and occurrences across the site. It has no particular program as its program therefore allowing for these actions across to have a place.
installation
FENCING SCAFFOLDING FIRE ESCAPE PLAYGROUND
Planti
on left
ing Grounds_
tover side yard land
Installation Structure_
Growing Grounds_ on ruin grounds
installation
for spontaneous behaviors
Works Referenced Brown, Adrienne. “The Architecture of Racial Phenomena.” Log, no. 42 (Winter 2018): 27-33. Campkin, Ben. “Ornament from Grime: David Adjaye’s Dirty House, the Architectural ‘Aesthetic of Recycling’ and the Gritty Brits.” Journal of architecture 12, no. 4 (2007): 367-92. Davis, Charles L. “Blackness in Practice : Toward an Architectural Phenomenology of Blackness.” Log, no. 42 (Winter 2018): 43-54. Fields, Darell Wayne. “Architecture in Black.” London ; New Brunswick, NJ : Somerset, N.J.: London ; New Brunswick, NJ : Athlone Press ; Somerset, N.J. : Distributed in the United States by Transaction Publishers, 2000. Gooden, Mario. “Dark Space : Architecture, Representation, Black Identity.” New York, New York : Columbia Books on Architecture and the City, 2016. Lokko, Lesley Naa Norle, and Araya Asgedom. “White Papers, Black Marks : Architecture, Race, Culture.” Minneapolis: Minneapolis : University of Minnesota Press, 2000. Ogbu, L. (2013). NOW Hunters Point. San Francisco. http://www.lizogbu.com/portfolio_page/now-hunterspoint/ Piper, A. (1980). It’s Just Art. Collection of the Adrian Piper Research Archive Foundation Berlin. Meyer, David R. “Spatial Variation of Black Urban Households.” Chicago: Chicago, University of Chicago, Dept. of Geography, 1970. Noble, Jonathan Alfred. “African Identity in Post-Apartheid Public Architecture : White Skin, Black Masks.” Farnham ; Burlington, VT: Farnham ; Burlington, VT : Ashgate Pub., 2011. Ogbu, Liz. “Now Hunters Point.” San Francisco, 2013. Petti, Alessandro. “Architecture after Revolution.” edited by Sandi Hilal, Eyal Weizman and Residency Decolonizing Architecture Art. Berlin: Berlin : Sternberg Press, 2013. Shabazz, Rashad. “Spatializing Blackness : Architectures of Confinement and Black Masculinity in Chicago.” Urbana : University of Illinois Press, 2015. Teston, Jennifer Bonner; Liz. “Dirty South Project.” Wilkins, Craig L. “The Aesthetics of Equity : Notes on Race, Space, Architecture, and Music.” Minneapolis: Minneapolis : University of Minnesota Press, 2007. Willis, Deborah, and Muse Project. “Black Venus, 2010 : They Called Her “Hottentot”.” Philadelphia, Pa.: Philadelphia, Pa. : Temple University Press, 2010..
Piper, Adrian. It’s Just Art, 1980. Performance documentation: B&W offset poster, 10 13/16” x 14 1/8” (27,5 x 35,9 cm) Piper, Adrian. “Parallel Grid Proposal for Dugway Moving Grounds Headquarters”, 1968. Collection Beth Rudin DeWoody Piper, A. “Safe #1-4”, 1990. Collection Adrian Piper Research Archive. Foundation Berlin. Squire, Mitchell.; Campbell, Cameron. view of “Untitled 1-4 (bulk law enforcement targets, shot through),” 2004 Squire, Mitchell. Smoke (1-7), 2015 detail Hood, Walter. “Shadow Catcher,” University of Virginia (photo by Hood Design) Hood, Walter, “Powell Street (Trolley), San Francisco, CA (photo by Hood Design) Ogbu, Liz. NOW Hunters Point. 2013 Teston, Liz. The Dirty South. 2012
Linblom, Edvard. “Distinguishing and manipulating architectural elements crucial for the investigation.”
_appendix
Image Credits