Humble Architecture by Danielle Mileo

HUMBLE ARCHITECTURE.

I AM FOR AN ARCHITECTURE...

HUMBLE ARCHITECTURE.

Student: Danielle Rose Mileo Student Number: #359337 Tutor: Dr. Gareth Wilson Tute: 4:15 â&#x20AC;&#x201C; 5:15 Copyright Danielle Rose Mileo 2015 University Of Melbourne

humble architecture?

what is humble architecture?

how is humble architecture different?

what is humble architecture against?

what are humble architectureâ&#x20AC;&#x2122;s precedents?

what is humble architecture for?

humble architecture.

“I AM FOR AN ARCHITECTURE...

THAT DOES MORE THAN SIT ON IT’S ASS ALL DAY IN A CITY.”

humble architecture? Humble architecture seems a paradoxical term indeed. How can the very fabric of not just the metropolis, but now megalopolis, be considered humble? How can something that proliferates into every historical, cultural, psychological, sensorial, political, visual, technological and economic environment, something that predicates our very understanding of space and controls our socio-spatial relationships, be married with a term that suggest servitude, modesty and respect? Historically it seems the two words have experienced quite separate rises and falls in popularity, the irony being that at the exact moment that an increase in the use of the word ‘architecture’ in literature occurred, the use of the word ‘humble’ began to drop (see page 4,

‘Use of Words’ diagram). This relationship, although seemingly unrelated could be seen as a metaphor for the current state of architecture as it stands. As modernism and the ‘international style’ flourished and the first Starchitects were born, humbleness began to drop away from our very vocabularies. Fast-forward to present-day polemic and it seems that architecture’s selfreferential nature has led to the belief that “architecture exists only in relation to a theory of architecture.”1 In many ways this might be true - to frame a profession we must also understand its discourse but for many architects this pedagogical approach results in condescending behaviour, further perpetuated through an incestuous community that doesn’t allow

proper access points for the wider public. In placing architecture on a pedestal, architects have made a distinction between ‘high’ and ‘low’ architecture, reminiscent of the ‘high’ and ‘low’ art of pre-modern periods. Claes Oldenburg’s 1961 proclamation, “I am for an art…”2 , was driven by a deep-seated notion that “seismic changes”3 within the art world called for a shift in the role of both art and the artist. Just as Oldenburg sensed an absence within his profession then, an ever-widening crack is appearing in the foundations of the architecture world as we know it. Something is missing. Humble architecture calls for an architecture to fill that gap. An architecture that does more. An architecture that is more.

Use of the words ‘architecture’ and ‘humble’ between 1800 + 20004 0.0065% 0.0060% 0.0055% 0.0050% 0.0045% 0.0040% 0.0035% 0.0030% 0.0025% 0.0020% 0.0015% 0.0010% 0.0005% 0.0000%

architecture humble 1800

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hum·ble

adjective adjective: humble; comparative adjective: humbler; superlative adjective: humblest

having or showing a modest estimate of one’s own importance; not proud, arrogant or assuming; modest: “she was humble about her stature as one of the twenty-first century’s most influential architects.” To be humble although successful synonyms: meek, deferential, respectful, submissive, diffident, self-effacing, un-presuming, modest, unassuming, subdued, chastened antonyms: proud, overbearing

courteously respectful: “In my humble opinion, function does not necessitate form.”

not pretentious or magnificent; unpretending; unassuming: “A humble building in the vast metropolis.” (of a thing) of modest pretensions or dimensions. “they built the shrine from humble materials”, “my humble abode” synonyms: modest, plain, simple, ordinary, unostentatious, unpretentious antonyms: grand

ar·chi·tect·ture

noun noun: architecture; plural noun: architectures 1.

the art or practice of designing and constructing buildings. synonyms: building design, building style, planning, building, construction; formal architectonics, “modern architecture”

the style in which a building is designed or constructed, especially with regard to a specific period, place, or culture. 2.

the complex or carefully designed structure of something: “the chemical architecture of the humble brick” the conceptual structure and logical organization of a system. “she described the design process as an architecture that serves.”, “the architecture of a construction system” synonyms: structure, construction, organization, layout, design, build, anatomy, makeup, informal setup

what is humble architecture? Humble architecture approaches the current discourse from a point of view of returning architecture to those who inhabit it. Rather than taking this as a literal or direct kind of instruction, humble architecture sees this return as an ideology that can and should be embedded into the practice of all architects working now and into the future. Humble architecture isn’t just defined by a direct relationship between two words and their obvious meanings. In understanding both ‘humble’ and ‘architecture’ in their various capacities a layering begins to occur. The etymology of both words provides a stronger, more binding conceptual link and framework within which to understand the idea of humble architecture. The word ‘humble’ traces back to the Latin for ‘on the ground’ and ‘earth’ (see page 9), whilst architecture is derived from 7

the Latin terms for ‘the art of building’ and ‘inventor’ (see page 10). Obvious links back to early vernacular architecture, sometimes literally constructed from earth, offer poetic imagery for what a return to ‘humble architecture’ could look like. The real strength though, lies somewhere between the definition and the history – somewhere between a grounded inventor and a master builder that considers the earth – something that is open to interpretation. A humble architecture could consequently refer to any kind of system, building design or organisation that is modest, respectful and/or unpretentious in its existence, processes and/or output, and that is grounded and considered in its approach. Humble architecture is thus not just about building design, but about a scaffolding through which ideas can be explored and spaces produced.

Origin of the word humble7 1200 - 1250/13thC

Latin:

humus meaning ground, earth

Latin:

Old French

Middle English:

humilis

humble

meaning low, lowly â&#x20AC;&#x153;on the groundâ&#x20AC;?

umble, umele

Origin of the word architecture8 1560s

Latin:

Middle French:

architectus

architectura

architecture

meaning master-builder; inventor

meaning art of building

architecte

As an approach, humble architecture is inherently against the idea of the architect as singular author and architecture as the â&#x20AC;&#x2DC;art objectâ&#x20AC;&#x2122; that the architect produces. The singular image that has been conjured over the history of architecture, propelled during modernism and exploited in the current era, is exactly what humble architecture aims to move away from and systematically break down. Whilst humble architecture acknowledges that architects have a skill set that can be used to vastly improve spatial conditions, liveability and quality of life for people, it also knows that architecture is not an architect-centric outcome. The profession has spent too much time engaging in a self-referential dialogue that seeks to benefit the architect and architecture within its own circle rather than acknowledging the teamwork

and collaboration inherently involved in the profession. Humble architecture argues not for a stylistic, formal or aesthetic response, but a collaborative process in which the outcome is not decided based on architectural preferences but through an inclusive dialogue that continually informs the final result, opening up the conversation to multiple parties and relinquishing singular control. In providing multiple access points, humble architecture aims to re-engage a disparate populous with itâ&#x20AC;&#x2122;s architecture.

how is humble architecture different? As a concept, humble architecture is inherently unoriginal; a return to the vernacular, DIY, emergency and socially responsible architecture of any time or place should give an indication of this. A humble architecture is not interested in originality as a main driver, but in the latent potential of humble projects to create change and innovation. Humble architectureâ&#x20AC;&#x2122;s difference rests in its interest in bringing the humble to the forefront of our profession, rather than leaving it as an afterthought, a response to undesirable circumstances, or the byproduct of non-architect architecture. In asking architects to humble themselves and lower architecture from the proverbial pedestal, humble architecture separates itself from other polemic that has sought to redefine architecture in order for the

profession to survive. Rather than asking what humanity can do for architecture, humble architecture asks what architecture can do for humanity.

Mortality Diagram

mortal existence

eternity

time

eternity

Humble architecture also acknowledges the mortality of not just humans but also architecture itself (see page 15, â&#x20AC;&#x2DC;Mortality Diagramâ&#x20AC;&#x2122;). In conceiving all architecture as temporary, humble architecture inherently understands the relationship between itself and eternity. Recognising that time is finite, humble architecture embraces a profound sense of urgency in ensuring it spends the time it has well. In acknowledging architecture as a resource-heavy discipline, humble architectureâ&#x20AC;&#x2122;s stance on mortality effects not only efficiency of time, but also of the resources it consumes and exhausts. Rather than attempting to monumentalise architecture in the form of artefact, humble architecture is interested in the lived experience that it can provide and the cultural value this has.

In re-thinking the role of the architect, humble architecture suggests that in a changing world the current architectural profession is out of touch and stagnant in its position and operation. David Chipperfield’s assertion that the ‘other’ 99.9% of society is not ‘engaged’ with ‘good architecture’9 is surely an example of this. In his curation of the 2012 Venice Biennale, Common Ground, Chipperfield invited participating architects to respond to the theme – and they did, with projects that exuded a sudden humanitarian preoccupation, charity and care. Unlike the exhibition, which was criticised as a showcase in which “starchitects who spend their lives working for the one per cent” spent their “summer vacations blurring the lines between themselves and the 99 per cent”10 , humble architecture

seeks to actively engage with issues on a deep and continual level - to truly connect with and further redefine what architecture really means.

THE DECADENT ARTISTS STAND FOR THEMSELVES AND THEIR CHOSEN FEW, LAUGHING AND DISMISSING THE NORMAL OUTSIDER. WE SAY THAT PUZZLING, OBSCURE AND FORM-OBSESSED ART IS DECADENT AND A CRUEL DENIAL OF THE LIFE OF PEOPLE. PEOPLE.” 10

- GILBERT AND GEORGE

what is humble architecture against? Starchitects, developers and other bodies behind the commodification of what is essentially one of humanityâ&#x20AC;&#x2122;s basic human rights (shelter) are perpetuators of exactly the opposite of humble architecture. Humble architecture argues that branding, marketing and deception that aid in selfgain need to be removed from the very discourse that has produced it. It looks at large-scale urban developments as a kind of new-colonialisation within which the human body is oppressed by the spaces produced. Any architecture that is not driven by an inherent understanding of and engagement with the end user has the potential to fall into this category.

This notion can be further (and more easily) explored in looking at public housing, indigenous housing and refugee camps where specific typologies have been employed in a cookie-cutter style and placed over existing communities or volumes of people who have no other option; their bodies and lives restricted by the confines of architecture that may or may not have considered their ways of living beyond what is deemed ‘necessary’, ‘minimum’ or ‘basic’. Patrick Troy from the Australian National University’s Urban and Environmental Program discusses this imposition on social behaviour and cultural expression in relation to government housing and interventions in Indigenous Australian communities.12 In this case architecture has been used as a weapon to force a particular lifestyle onto a minority

group. “[…] housing was used as a form of cultural domination to force assimilation of Indigenous people.”13

IT EXISTS; AT MOST, IT COEXISTS. ITS SUBTEXT IS FUCK CONTEXT. 14

Similarly, architecture’s current obsession with ‘bigness’ has a tendency towards ignoring the needs of the diverse and growing populous that inhabit our cities. Large-scale residential developments made for profit, giant sports stadiums that claim workers lives during construction, and buildings that are tall for the sake of being taller than others, stand only in contradiction to humble architecture. In many ways the camps and government housing initiatives referenced earlier, all fit into this category of bigness. Whilst each may be, on its own, small in scale, they exist as part of a bigger architectural ‘solution’ to political ‘problems’. They exist, but they do so often without great thought, consideration or empathy for the humans they exist to serve. In ignoring contextual, social, political, historical,

cultural, and user-specific needs, big architecture is exactly the opposite of what humble architecture wishes to instil and perpetuate. As a starchitect once said “Big mistakes are our only connection to Bigness.”15

NO ONE IS MORE FAMILIAR WITH THE USERâ&#x20AC;&#x2122;S NEEDS THAN THE

what are humble architectureâ&#x20AC;&#x2122;s precedents? Historically some architects have been known for their compassion or humanitarian efforts. Shigeru Ban, for example is known worldwide for his postdisaster architectural endeavours. His paper architecture projects have become his trademark symbol, temporarily erected in the wake of various natural disasters since his first United Nations involvement in Rwanda 1995.16 His 2014 Pritzker prize, given based on much of this work,17 reflects some of the ideals of humble architecture, but also goes against it in many ways. Whilst Ban often discusses his desire to make a difference, he also always cites his main reason for doing so as to gain recognition for architecture as a profession; doctors and lawyers, he says, have it easy in that their jobs inherently help people and thus command respect

from others. Whilst humble architecture is undoubtedly about helping others,18 the call to action is not driven by a desire to propel the profession or singular architects into a status of superiority; it is simply about using the skills acquired through an inherent understanding of the built environment to make that environment better. Itâ&#x20AC;&#x2122;s main driver being a desire to leave the world a litter bit better off than when we entered it.

USERS THEMSELVES, YET THEY ARE EXCLUDED FROM THE PROCESS.

ARCHITECTS, LOOK AROUND YOU. DON’T TAKE YOURSELVES SO SERIOUSLY, AND Much of this work can also be criticised in the branding that has come out of its ‘humbleness’. Here a conflict arises: humble architecture is no longer humble once used to perpetuate self-gain. Ban is not the only architect to lack humility in this way. Similar critiques could be made of other processes involving highprofile architects and other professionals in humanitarian aid efforts. Toyo Ito’s ‘Minna No Ie’, or ‘Home for All’, project that sought to provide community facilities for those devastated by the 2011 Great Eastern Japan Earthquake and subsequent tsunami, was also the key work for the 2012 Venice Biennale Japan pavilion, and winner of the Golden Lion award.21 Brad Pitt’s ‘Make It Right’ foundation, established in the wake of Hurricane Katrina employed the fame and notoriety

of various celebrities and starchitects to engage in ‘visionary’22 design work, but multiple shortcomings have fragmented the credibility of the project.23 In both cases positive outcomes for those the architecture serves is in competition with the marketing and recognition, or branding, of the work being done. Starchitects, or high-profile professionals, may not always make decisions based on what is good for the project if it is competing with what is good for their ‘brand’.

SPEND A MOMENT TO THINK ABOUT THE PEOPLE YOU ARE DESIGNING FOR.

In the wake of Typhoon Haiyan, for example, Ban’s paper tube structures were employed as temporary shelters in Daanbantayan, Cebu, Philippines – an area with a tropical climate and excessive rainfall.24 When asked if this structural system was the best material for the job or just another chance for the architect’s branding to be used in a post-disaster context, one of the students working on the project said simply, “yes”. In fact during the construction process, he revealed, an entire pile of paper tubes had been damaged beyond use due to heavy rainfall.25 In this instance, the brand of the Starchitect won over the aim of the

project, which should have been to help people in the most effective way possible. Humble architecture and Starchitecture cannot co-exist.

what is humble architecture for? There are increasing numbers of architects working outside the confines of the profession’s traditional boundaries, whose practices align strongly with the underpinnings of humble architecture. Coauthored projects that interrogate the fundamental nature of architecture as a highly collaborative process between multiple platforms, personas and teams, and architecture that serves and expands the role of the profession within a wider ethical context, critically interrogate the relevance, necessity and ability of the profession to give back to humanity as a whole. The Al Jazeera series Rebel Architecture covered a number of these irregular practices that seek to engage architecture in a boarder social context:

“[…] it seemed perverse to us that architecture has become all about the aesthetics of a few iconic buildings whose main function is the glorification of those with the money to build them. As one prize after another celebrates the work of a selected band of world famous “starchitects”, it seemed like humanity’s most pressing problems are how to fold metal into the most obscure shapes, and how implausibly high a building can go.”26

ARCHITECTURE AND THE BUILT ENVIRONMENT IS A KIND OF

SLOW VIOLENCE.

Projects like Forensic Architecture, reexamine the role of the architect and uses architecture as a tool to understand the devastation caused by violence against and by architecture; “What can we do as architects today to resist the destruction and violence that is enacted by architecture?”28 In appropriating architectural skillsets and collaborating with artists, filmmakers and activists, the project has been able to assist in providing evidence for prosecution teams, political organizations, NGOs and international institutions like the United Nations by assisting in the reconstruction of events in war zones.29 These investigations of crimes against humanity provide evidence from a new viewpoint that may otherwise go unnoticed. Eyal Weizman, the Principal Investigator of Forensic Architecture, sees

architecture as a tool that can be used across contexts: “architecture as a way to both interpret, protest and resist.”30

Other collaborative organisations including Architecture For Humanity, ArchiAid and Architects Without Borders seek to bring people together in their local communities to assist in a variety of activities that require architectural skill sets but have a humanitarian driver. These networks encourage diverse practitioners and include teams comprised of students and professionals, locals and specialists. They are driven by individuals wanting to help create a better environment that come together as a collective force of collaboration, altruism and respect. Dr. Esther Charlesworth from RMIT University and the Melbourne chapter of Architects Without Borders sees architects as â&#x20AC;&#x153;mobile, collaborative agents able to work outside traditional sites and constructed environments.â&#x20AC;?31 Her research into post-

disaster architecture has lead to the development of the worldâ&#x20AC;&#x2122;s first degree in humanitarian architecture, due to start next year at RMIT University in Melbourne.32

Humble architecture also seeks to engage the profession in processes and practices outside the insular architectural community. The United Nations Habitat III processes that are currently taking place around the world33 provide the perfect platform for architects to use their skills to inform policy and agenda that will be set regarding cities for the next 30 years. These kinds of political processes are often inclusive and diverse in collaboration, but architects are not always engaged in these affairs. Humble architecture seeks to re-engage architecture with itâ&#x20AC;&#x2122;s social responsibility through a connection to policy, governance and goal setting outside itâ&#x20AC;&#x2122;s self-referential community.

humble architecture. Humble architecture has no conclusion. It is a continual process that seeks to reengage. It’s not about a name, or a brand, or a form, or even a function. It’s about a collective whole, about a coming together, about working towards a common goal. It’s about people, humanity, and harnessing the strengths of all professions rather than one. Humble architecture seeks to engage in trans-disciplinary practice in a meaningful way. Rather than two concepts being tied together thematically, programmatically or formally, humble architecture seeks to provide a platform for others to share ideas, co-author concepts and produce not just spaces, but atmospheres, communities and connections that are beyond the authors themselves.

Humble architecture is selfless. It doesn’t require branding, or an architect’s name. It acknowledges the team, and lifts it up to new levels of self-awareness. Humble architecture is not self-referential, but trans-referential, seeking to draw from all other disciplines rather than just its own. It acknowledges that all people bring with them their own sense of self, their own way of looking and seeing, and attempts to be fluid and adaptable in relation to this. Humble architecture seeks to produce a platform for conversation: a scaffolding that fosters engagement and awareness of eternally contemporary issues and ideas. It understands the mortality of the moment and pursues eternity through its own constant renewal.

Humble architecture comes down to the lowest common denominator: we are all people. In levelling the playing field, humble architecture asks architects to ask themselves: â&#x20AC;&#x153;what kind of architecture am I for?â&#x20AC;? I am for an architecture that is humble.

I AM FOR AN ARCHITECTURE THAT DOES MORE THAN SIT ON IT’S ASS ALL DAY IN A CITY I AM FOR AN ARCHITECTURE FREE FROM SELF-REFERENTIAL BULLSHIT I AM FOR AN ARCHITECTURE THROWN FROM ITS PEDESTAL I AM FOR AN ARCHITECTURE THAT TURNS ITS BACK ON CONDESCENSION I AM FOR AN ARCHITECTURE THAT IS RESPONSIVE + SELF-AWARE I AM FOR AN ARCHITECTURE OF INTERACTION, COLLABORATION + EXPLORATION I AM FOR AN ARCHITECTURE OF THE SENSES I AM FOR AN ARCHITECTURE BORN FROM HUMAN OCCUPATION OF SPACE I AM FOR AN ARCHITECTURE THAT SERVES I AM FOR AN ARCHITECTURE FREE FROM MONETARY + POLITICAL AGENDA I AM FOR AN ARCHITECTURE UNINTERESTED IN ACCOLADES I AM FOR AN ARCHITECTURE THAT IS MORE THAN ITS ARCHITECT’S NAME I AM FOR AN ARCHITECTURE OF UNDERSTANDING I AM FOR AN ARCHITECTURE OF SAFETY + INCLUSION I AM FOR AN ARCHITECTURE THAT IS SOCIALLY RESPONSIBLE I AM FOR AN ARCHITECTURE THAT IS HUMBLE. 45

#HUMBLE ARCHITECTURE.

endnotes 1

Bernhard Hoesli, “Commentary” in Transparency, C. Rowe, R. Slutzky, (Basel: Birkhauser, 1997) page 59

A. Danchev, ed., 100 Artists Manifestos: From the Futurists to the Stuckists, (London: Penguin Classics, 2011), 351-355

“I Am for an Art: Claes Oldenburg on His 1961 Ode to Possibilities” C. Oldenburg, Walker Art, last modified September 20, 2013, http://www.walkerart.org/magazine/2013/claes-oldenburg-i-am-for-an-art-1961

Diagram information produced by Google Books N-Gram Viewer. Input: “humble, architecture”, case-insensitive, between “1800” and “2008”, from the corpus “English” with smoothing of “50”, visit: https://books. google.com/ngrams/ with same input to see specific dates and percentages.

Various dictionary references

Interview: David Chipperfield on curating the Venice Architecture Biennale 2012, DeZeen Magazine, 5 May 2012, streaming video, 16:16 http://www.dezeen.com/2012/05/05/interview-david-chipperfield-on-curatingthe-venice-architecture-biennale-2012/

10“Architecture

for the other 99 per cent” A. Ulam, MacLean’s, last modified November 21, 2012, http:// www.macleans.ca/culture/building-for-the-other-99-percent/

11A.

Danchev, ed., 100 Artists Manifestos: From the Futurists to the Stuckists, (London: Penguin Classics, 2011), 386

Gilbert & George, Artists

image source: <http://s685.photobucket.com/user/jevaisaulit/media/GilbertGeorge1.jpg.html> 12Peter

Read ed., Settlement, (Canberra: Aboriginal Studies Press, 2000), page V

13Peter

Read ed., Settlement, (Canberra: Aboriginal Studies Press, 2000), page V

14J.

Sigler, ed., S,M,L,XL (Bigness or the problem of Large), (New York: Monacelli Press,1995), 502

Rem Koolhaas, Architect

image source: <http://www.porcelanosa-interiorismo.com/creadores.php?cod=323&idi=es> 15J.

Sigler, ed., S,M,L,XL (Bigness or the problem of Large), (New York: Monacelli Press,1995), 509-510

16Shigeru

Ban Profile, Shigeru Ban Architects, last modified 6 February, 2015: http://www.shigerubanarchitects.com/profile_shigeruban.html

17“Jury

Citation”, Martha Thorne, last modified 2015: http://www.pritzkerprize.com/2014/jury-citation

18S.

Ban + Keio University SFC Ban Laboratory, Voluntary Architects’ Network - Making Architecture, Nurturing People: From Rwanda to Haiti, (Tokyo: INAX, 2010), 005

Paper Partition System, Shigeru Ban Architects

image source: <http://www.shigerubanarchitects.com/works/2011_paper-partition-system-4/index.html> 19Carlo

Ratti with Matthew Claudel, Open Source Architecture, (London: Thames & Hudson, 2015) 100-101

Minna No Ie Project, Japan

image source: <http://mnj.gov-online.go.jp/common/images/report03_1.jpg> 20Carlo

Ratti with Matthew Claudel, Open Source Architecture, (London: Thames & Hudson, 2015): 99

21“Venice:

the Golden Lions”, Domus, (August 2012): http://www.domusweb.it/en/architecture/2012/08/29/ venice-the-golden-lions.html

22“What

Happened When Brad Pitt and his architects came to Rebuild New Orleans”, Peter Whorisky, (August, 2015): https://www.washingtonpost.com/news/ wonk/wp/2015/08/28/what-happened-when-brad-pittand-his-architects-came-to-rebuild-new-orleans/

23“What

Paper Log House - Philippines, Shigeru Ban Architects

image source: <http://www.shigerubanarchitects.com/works/2014_PaperEmergencyShelter-Philippines/index.html>

24“Climate

of Cebu”, Wikipedia, last modified 29th October, 2015: https://en.wikipedia.org/wiki/Climate_ of_Cebu

25The

author in conversation with Anonymous student of Kyoto University of Art and Design Ban Laboratory between 2011 and 2014, (Tokyo, 2015).

26Dan

Davides, Rebel Architecture: The creator’s view, Al Jazeera, http://www.aljazeera.com/programmes/ rebelarchitecture/2014/08/rebel-architecture-creator-view-2014810132621275358.html

Paper Log House - Philippines, Shigeru Ban Architects

image source: <http://www.shigerubanarchitects.com/works/2014_PaperEmergencyShelter-Philippines/index.html> 27The

Architecture of Violence, <http://www.aljazeera. com/programmes/rebelarchitecture/2014/06/architecture-violence-2014629113556647744.html> 16:21

28“Eyal

Weizman: The Architecture of Occupation”, Al Jazeera, http://www.aljazeera.com/programmes/rebelarchitecture/2014/08/eyal-weizman-architecture-occupation-20148511163223432.html

29“Cases”,

Forensic Architecture, last modified, 2015: http://www.forensic-architecture.org/cases/

30The

Architecture of Violence, <http://www.aljazeera. com/programmes/rebelarchitecture/2014/06/architecture-violence-2014629113556647744.html> 24:33

31Esther

Charlesworth, Architects without Frontiers: War, Reconstruction and Design Responsibility, Elsevier Ltd. (Oxford: 2006), page 160

32Sian

Johnson, “New Degree in humanitarian Architecture” in Architecture AU (October 5th, 2015): http:// architectureau.com/articles/new-degree-in-humanitarian-architecture/?utm_source=ArchitectureAU&utm_campaign=345c95c68e-AAU_2015_10_07&utm_medium=email&utm_term=0_e3604e2a4a-345c95c68e40188785&mc_cid=345c95c68e&mc_eid=300e6314d3

33For

more information on United Nations Habitat III, visit: https://www.habitat3.org

*All other images were either taken by or sent to the author, with the express permission from the subject as part of “I am for an architecture...”#humblearchitecture