May 2020
HANNEKE VAN DEURSEN
Syracuse University School of Architecture
Truth Games
Naturalizing the Neoliberal Subject
May 2020
Syracuse University School of Architecture
Hanneke van Deursen
A Thesis Submitted in Partial Fulfillment of the Requirements of the Syracuse University School of Architecture
Hanneke van Deursen
Candidate for Bachelor of Architecture and RenĂŠe Crown University Honors May 2020
Advisors: Francisco Sanin Yutaka Sho Marcos Parga
Honors Thesis in Architecture
Truth Games
Naturalizing the Neoliberal Subject
Dedication
Hanneke van Deursen
To the words which have carried me through this:
“There may not be much hope, but there remains a responsibility.” Francisco Sanin
And those which started this whole thing:
“Economies are the method: the object is to change the soul.” Prime Minister Margaret Thatcher
Truth Games
Naturalizing the Neoliberal Subject
Table of Contents
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Table of Contents
Contention
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Website Link
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Introduction
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Maps
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Neoliberalism
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Created by Neoliberal Policy
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The Neoliberal Subject
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The Long Take
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Capital Imaginaries
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Frame by Frame
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Truth Games
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Digital Exhibition
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A Revised Manifesto
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Bibliography
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Appendix: Honor’s Reflection
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Contention
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This thesis analyzes Neoliberalism, and architecture as its active agent, not only in constructing space, but constructing subjectivity within that space. If Neoliberalism exists in two forms, policy and ideology, I contend that architecture serves as a mediator between these forms: shaped by policy and naturalizing ideology. Truth Games – constructed “truths” which embed themselves in common knowledge and practice – allow the city to appear as banal and incidental, maybe even nice. However, the urban environment is a powerful weapon. The Truth Games embedded in architecture legitimate forms of power that operate on and through the constitution of the self (as per Foucault). This thesis operates upon the hypothesis that the city can be read, delaminated, unmasked, in order to script its Truth Games and therein begin to subvert them. The array of Neoliberal policies manifest particular environments which aggressively naturalize Neoliberal subjectivity. I collect these spaces under the term, Capital Imaginaries, as they take on a utopian image of the city according to the market. It is within these islands of raw and exaggerated capital that Truth Games, typically obscured, sit in the foreground and begin to expose themselves. The objective of this thesis is to examine these spaces in order to unmask their Truth Games and lay bare the production of subjectivity, re presenting the city without its veil. The Capital Imaginaries of Kop van Zuid (Rotterdam), Canary Wharf (London), and Hudson Yards (New York) become the subjects of this examination, each revealing one aspect of the market’s ideal subject. The thesis works to uncover their truths hidden in plain sight, through the mechanisms of timelines, voyeuristic films, financial diagramming, and mappings of subjectivity. This unmasking of the city lead me back to the 1970s ideas of radical architecture: Superstudio, Archizoom, and OMA. I took ‘the manifesto’ as an operation, and revised Archizoom’s – by extension revising the images they use to explore their ideas and reediting them in relation to my three subjects. These ideas are collected in a digital exhibition, providing multiple paths that take one through layers of information on the same issue. This website architecture is akin to the layering and unmasking that the project aims to do, and constructs a truth within itself. The exhibition and the manifesto are a call to see. To criticize. To reexamine the banal. The city is not incidental. It is deliberately constructed.
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Digital Exhibition
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to the Digital Exhibition
HANNEKE VAN DEURSEN.COM
This document serves as an archive of the above digital exhibition. To best experience the work, visit the link.
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Introduction
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Let me introduce some of the terms which are essential to this thesis.
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Maps This page contains the various mediums through which to analyze Kop van Zuid, Canary Wharf, and Hudson Yards. By clicking any of the boxes, you can find a way in to the project. Use the modifiers on the side to add layers of information to this map.Â
Created by Neoliberal Policy
The Neoliberal Subje
Neoliberalism
Click the links to navigate the document
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Map
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To return to this page, click here
Contention
Truth Games
A Revised Manifesto
Digital Exhibition
The Long Take
Frame by Frame
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Plain English
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Highlights
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Chronological
Mediums
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Neoliberalism I’ll begin with a series of assumptions. I contend that Neoliberalism exists in two forms: policy and ideology. That architecture serves as the mediator between these forms. On the policy side, Neoliberalism’s tenants are deregulation, privatization, and competition. It’s these policies which shape the space of the contemporary city. On the ideology side, I contend that the market is taken as an ordering system, not just for the economy, but for society. In order to naturalize its existence, Neoliberalism plays a Truth Game, telling us: our society is too complex for us to understand, and therefore it cannot be ordered by humans. By contrast, the market is itself a mechanism of spontaneous order, and therefore is better suited to calculate, process, and order our society. Subsequently, it is humans who must adapt to the needs of the market. This Truth Game is actionoriented. Those market-needed thoughts, beliefs, and aspirations, the market-needed subjectivity must be formed. It is here that architecture assumes her role in the cycle of ideology informing policy, policy creating space, and space naturalizing ideology. And so the proposition of my thesis was to uncover the Truth Games played by architecture in the Neoliberal city. To unmask the production of the Neoliberal subject through spatial means.
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Created by Neoliberal Policy In order to unmask this production of the subject by architecture, I choose three paradigmatic islands of Neoliberal City-making: Kop van Zuid, Canary Wharf, and Hudson Yards, which I have called Capital Imaginaries. The proposition of my thesis was to unmask the truth games at work within these spaces. These mechanisms of unmasking included timelines, site plans, financial diagrams, films, and image manipulation. This first series of drawings establishes Kop van Zuid, Canary Wharf, and Hudson Yards as paradigms of Neoliberal Policy through site plans situating their form, timelines exploring their political context, and economic elevations diagramming their financial underpinnings.
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Site Plan 36
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Timeline 38
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Economic Elevation 40
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Site Plan 42
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Timeline 44
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Economic Elevation 46
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Site Plan 48
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Timeline 50
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Economic Elevation 52
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The Neoliberal Subject In another layer, the Neoliberal Subject is understood as a pacified individual in a constant state of production or consumption. This subjectivity is produced in all spaces, but I identified that each of the three Capital Imaginaries exemplifies one aspect of that Neoliberal Subject. This subjectivity is legitimized through spatial mechanisms which I explore through these images. I concluded that in Kop van Zuid, the rendering of the city as view constructs the Depoliticized Individual. In Canary Wharf, the simulation of an idyllic city produces the Uncritical Laborer. And in Hudson Yards, the spectical-ization of the city constructs the entertained consumer. Together, the Capital Imaginaries reveal in exaggerated form the subjectivity which is naturalized in all times and all spaces. A subject comprised of the three characters, at once the depoliticized Individual, the uncritical laborer, and the entertained consumer.
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Delaminated Marketing Material 56
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Delaminated Underground Station 58
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Delaminated Car Launch Event 60
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The Long Take What is important to understand about Truth Games is that they do not rule from outside or above, but by embedding themselves in common knowledge and practice. Because Capital Imaginaries are raw and exaggerated moments of Neoliberal space-making, I hypothesized that within them, their Truth Games would float at the surface and begin to expose themselves. Therefore I turned to daily life as a window into these Truth Games. The medium of film allowed me to capture the relationship between the subject and their spatial environment. These films, produced in fiveday on-site immersions, utilize slowness and the long take to invite criticality back into the banal and everyday.
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Kop van Zuid: The Depoliticized Individual 64
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https://vimeo.com/383450223 65
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Canary Wharf: The Uncritical Laborer 66
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https://vimeo.com/383173141 67
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Hudson Yards: The Entertained Consumer 68
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Capital Imaginaries In January, the films were presented in an exhibition I designed which sought to throw the viewer into the role of voyeur, peeking into the surreal world of Capital Imaginaries, looking closely, defamiliarizing them. The exhibition simulated the wealth of information that becomes available when one stops and looks around.
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Frame by Frame The storyboards were a mechanism to qualify the observations gleaned from the filmmaking and break down the films frame by frame. A layer of annotation seeks available information revealed in every still.
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Kop van Zuid
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Truth Games With the discoveries of the conceptual analysis and the long takes of daily life, the Capital Imaginary’s Truth Games began to reveal themselves, and I began to script them. Similar to the observed Truth Games of Neoliberalism, the new Truth Games were held to parameters. They all begin with a neutral statement about a requirement of the market. From there, they build, one statement on top of the next, to reach seemingly absurd conclusions about the purpose of the city. Unveiled, I renamed the Capital Imaginaries: The Empty City, The Factory City, The City™. The Truth Games play like a film, each claim paired with a speculative rendering of a space their description illicits. The defamiliarization of the film’s imagery through repetition re-presents the Capital Imaginary in its unmasked form. The images, simply banal architecture mirrored, retain an incredibly seductive power, reinforcing the fantastic hidden in the everyday.
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With the Truth Games scripted, and the cities unmasked, the thesis became a project of representation. I designed this website as a digital exhibition to allow for a simultaneity of looking at the city and its truth games. With its multiple paths that take one through
layers of information on the same issue, the structure of the website is akin to the layering and unmasking that the project aims to do, and constructs a truth within itself. These diagrams are navigation assistants, unpacking the website’s architecture.
Website
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A Revised Manifesto And then, there is a moment of closure that is the manifesto. Through these multiple layers, and the Truth Games, I arrived at an overwhelming complexity, and I needed to test how these things came together. I found an echo of my work in the radical architectures of the 1970s. This moment of the 1970s was a crisis, economically and socially. It was a moment where the ideology of capital was reaching a breaking point, and its truth games were floating at the surface. Superstudio, OMA, and Archizoom saw these Truth Games and used spatial provocations to unmask them and represent the city underneath. That moment of crisis in the 1970s was saved by a new ideology, Neoliberalism, but now again it reaches a breaking point. I wanted to test this parallel. I saw that the idea in Archizoom’s No-stop City, that the city had become something obsolete to capitalist production, was similar to my idea that the city has become a simulacrum of what is in reality a factory constructing subjectivity and ideology. So, I proposed to revise their manifesto, recontextualizing it in today’s Neoliberal City. In the tradition of manifestos as forwardlooking or maybe retroactive, this is a revised manifesto. The act of revision as a form of design concludes that it is not new ideas that we need, but instead to think deeply about old ones and what they reveal about the environments we find ourselves in today. By extension, I took the images that Archizoom, Superstudio, and OMA used to explore their ideas and reedit them in relation to my Capital Imaginaries. To edit, to defamiliarize, allows me to rerepresent what is right in front of us. OMA / Kop van Zuid 150
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Superstudio / Canary Wharf
Archizoom / Hudson Yards 151
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Kop van Zuid The Depoliticized Individual emerges in a city which has lost its ground. If the anthropomorphic skyscraper’s in Madelon Vriesendorp’s Flagrant Délit show the double life of modern architecture, the icons of Kop van Zuid lead passive lives, their participation in the city neutralized by their status of view. The collective destroyed by the picture plane. What is left is a city composed of alienated domestic cells, without a ground to connect them. The placeless city is filled only by the spectacle of its occupants. And so OMA’s city of the captive globe, once celebrating the simultaneity of ideology made possible by a regulated grid, now leaves an empty city at ground level. Eliminating the collective and presenting the city as an aggregate of individuals.
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The City Without Ground 161
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Depoliticized Individuals 162
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The Empty City 163
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Canary Wharf
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Canary Wharf The Uncritical Laborer emerges in an environment dominated by surface. Surface is smooth, and demands movement and productivity. In their projects Supersurface and the continuous monument Superstudio uses the surface as liberator, freeing man from induced needs and behaviors. But in Canary Wharf the surface is deployed as an undifferentiated factory floor. There is no interior, there is no city only ground, because the apartment / cafĂŠ / gym / bar / park have all become a wellequipped office. When unmasked, Canary Wharf is a factory, which is posing as a city in order to co-opt the emotions, desires and creativity that fuel post-industrial production.
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Factory Floor 167
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All Spaces Become Spaces of Labor 168
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Well-Equipped Office 169
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Hudson Yards The Entertained Consumer emerges in a city which has made consumption a productive act. If Archizoom concludes that the city is obsolete, and takes the factory and supermarket as models for total urbanization, I draw the illusion which Neoliberalism requires in order to maintain consumptive production. Architecture becomes the container of experience, producing an environment for the body to be entertained. Consumption is as much an obligation as production and by repeating the components of Hudson Yards, the futility of the spectacle is revealed. The Vessel only makes sense if there is one.
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The City Constructed to Sell Its Experience 173
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Menu of Experiences 174
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There Can Only Be One 175
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Bibliography
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Bibliography
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PRIMARY Arendt, Hannah. The Human Condition. Chicago: University of Chicago Press, 2012. Aureli, Pier Vittorio. The Possibility of an Absolute Architecture. Cambridge, MA: MIT Pr., 2011. Baudrillard, Jean. Simulacra and Simulation. Ann Arbor: University of Michigan Press, 2018. de Beistegui, Miguel. “The End of Neoliberalism?” The Burden of Our Times: The Intellectual Origins of the Global Financial Crisis. 2009. Deamer, Peggy. Architecture and Capitalism 1845 to the Present. London: Routledge, 2014. Foucault, Michel. The Birth of Biopolitics. New York: Palgrave Macmillan, 2011. Harvey, David. A Brief History of Neoliberalism. Johanneshov: MTM, 2019. Schaik, Marinus, and Máčel Otakar. Exit Utopia: Architectural Provocations 195676. Munich: Prestel, 2005. Spencer, Douglas. The Architecture of Neoliberalism: How Contemporary Architecture Became an Instrument of Control and Compliance. London: Bloomsbury Academic, 2018. Tati, Jaques. Playtime, 1967. Film. Trummer, Peter. “Architecture in the Age of Hyperobjects.” Log45, no. Anyone Corporation (2019).
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NEOLIBERALISM Baudrillard, Jean, and Jean Nouvel. The Singular Objects of Architecture. Minneapolis: Univ. of Minnesota Press, 2002. Böhme Gernot, and Jean-Paul Thibaud. The Aesthetics of Atmospheres. London: Routledge, Taylor & Francis Group, 2018. Brullmann, Cuno. Re-Searching Utopia: When Imagination Challenges Reality. Sulgen: Niggli, 2014. Chayka, Kyle. “Welcome to AirSpace.” The Verge, August 3, 2016. Davis, Mike. “Who Will Build the Ark?” New Left Review, January 2010. Deleuze, Gilles, and Guattari Félix. A Thousand Plateaus: Capitalism and Schizophrenia. London: Bloomsbury, 2013. Easterling, Keller. Enduring Innocence: Global Architecture and Its Political Masquerades. Cambridge, MA: The MIT Press, 2008. Eisenman, Peter, and Patrik Schumacher. “I Am Trying to Imagine….” Log 28 (2013). Fezer, Jesko. “Design for a Post-Neoliberal City.” e-Flux Journal, June 2010. Fisher, Mark. Capitalist Realism: Is There No Alternative ?Winchester, UK: Zero Books, 2010. Florian, Berci. “The City as Trademark.” Archis, 2001. Foucault, Michel. “Different Spaces.” Architectural Studies Circle. March 14, 1967. Gehl, Jan, and Birgitte Svarre. How to Study Public Life. Washington, DC: Island Press, 2013. Hackworth, Jason. The Neoliberal City: Governance, Ideology, and Development in American Urbanism. Ithaca, NY: Cornell University Press, 2007. Harman, Graham. Object-Oriented Ontology a New Theory of Everything. London: Pelican, an imprint of Penguin Books, 2018. Harvey, David. Spaces of Hope. Berkeley: Univ. of California Press, 2008. Harvey, David. “The Political Economy of Public Space.” Davidharvey.org, October 2013. Hatherley, Owen. “The Architecture of Neoliberalism by Douglas Spencer Review – Privatising the World.” The Guardian, January 12, 2017. Hays, K. Michael. Modernism and the Posthumanist Subject: the Architecture of Hannes Meyer and Ludwig Hilberseimer. Cambridge, Mass.: The MIT Press, 1995. Ibelings, Hans. Supermodernism. Rotterdam: NAI Publishers, 2007. Jameson, Fredric. Postmodernism, or, the Cultural Logic of Late Capitalism. Duke University Press, 1989. Koolhaas, Rem. Delirious New York, 1980. Koolhaas, Rem. Generic City. Sassenheim: Sikkens Foundation, 1995.
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Krumwiede, Keith. Atlas of Another America: an Architectural Fiction. Zurich: Park Books, 2016. Lahiji, Nadir. The Political Unconscious of Architecture: Re-Opening Jamesons Narrative. Farnham, Surrey, England: Ashgate, 2012. Lavin, Sylvia. “Architecture in Extremis.” Log 22 (2011). Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. University of Minnesota Press, 1979. Moussavi, Farshid. The Function of Style. New York: ActarD Inc., 2015. Petty, Josh. “Escaping the Fog of Capitalist Realism.” Medium, February 20, 2019. Rasmussen, Mikkel Bolt. “Postfascism, or the Cultural Logic of Late Capitalism.” Third Text 32, no. 5-6 (February 2018): 682–88. Sharma, Sarah. In the Meantime: Temporality and Cultural Politics. Durham: Duke University Press, 2014. Sorkin, Michael. Variations on a Theme Park: The New American City and the End of Public Space. Farrar, Straus and Giroux, 1992. Speaks, Michael. “Individualization without Identity.” In City Branding: Image Building & Building Images, 50–62. Nai, 2002. Schumacher, Patrik. Corporate Fields: New Office Environments by the AA DRL. Edited by Brett Steele. AA DRL, 2005. Verebes, Thomas Richard. Masterplanning the Adaptive City: Computational Urbanism in the Twenty-First Century. London: Routledge, 2014. Whyte, William H. The Social Life of Small Urban Spaces, 1980. Film. Yaneva, Albena. Mapping Controversies in Architecture. London: Routledge, 2016. Zaero-Polo, Alejandro. “Order out of Chaos.” Architectural Design: The Periphery64, no. 3/4 (1994). Zaero-Polo, Alejandro. “The Politics of The Envelope.” Log13/14, no. Aftershocks: Generation(s) since 1968 (2008). Žižek Slavoj. Like a Thief in Broad Daylight: Power in the Era of Post-Human Capitalism. New York: Seven Stories Press, 2019.
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KOP VAN ZUID “1995 Operatie Heerma Woningcorporaties Op Eigen Benen.” Accessed May 11, 2020. https://www.canonsociaalwerk.eu/nl_vhv/details.php?cps=21. Acioly, Claudio. “Housing in the Netherlands A Closer Look at the Social Housing Sector and the Role of Housing Associations” n.d., 121. Architectuurprijs, Rotterdam. “Boston & Seattle.” Accessed May 11, 2020. https:// www.rotterdamarchitectuurprijs.nl/vorige-edities/2018/boston-seattle. html. Architizer. “Montevideo, Rotterdam, Netherlands.” Accessed May 11, 2020. https://architizer.com/projects/montevideo-rotterdam-netherlands/. Benthem Crouwel Architects. “Projects.” Accessed May 11, 2020. https:// benthemcrouwel.com/projects/. BKHF. “Nieuw bestemmingsplan Kop van Zuid Rotterdam,” October 4, 2018. https://www.bkhf.nl/bouw-nieuw-bestemmingsplan-kop-van-zuidrotterdam/. Boelhouwer, Peter, and Hugo Priemus. “Demise of the Dutch Social Housing Tradition: Impact of Budget Cuts and Political Changes.” Journal of Housing and the Built Environment 29, no. 2 (June 1, 2014): 221–35. https://doi.org/10.1007/s10901-013-9387-9. Boelhouwer, Peter. “Social Housing Finance in the Netherlands: The Road to Independence,” n.d., 5. Card, Nell. “Madelon Vriesendorp: Architecture’s Lost Heroine.” the Guardian. Accessed May 11, 2020. http://www.theguardian.com/lifeandstyle/nginteractive/2019/apr/08/madelon-vriesendorp-architectures-lost-heroine. Corporate housing factory. “Luxurious Apartments in Rotterdam,” August 11, 2017. https://corporatehousingfactory.com/new-orleans-luxuriousapartments-rotterdam/. “Cruise Terminal Rotterdam.” Accessed May 11, 2020. http://www. cruiseterminalrotterdam.nl/historie/. Divisare. “TomDavid Architecten, Ossip van Duivenbode · Cruise Terminal Rotterdam [H.A.L.].” Accessed May 11, 2020. https://divisare.com/ projects/317211-tomdavid-architecten-ossip-van-duivenbode-cruiseterminal-rotterdam-h-a-l. Easterling, Keller. “Envisioning Power, Corporate City.” Accessed May 11, 2020. http://kellereasterling.com/exhibitions/rotterdam-biennale. Eijk, Gwen. “Exclusionary Policies Are Not Just about the ‘Neoliberal City’: A Critique of Theories of Urban Revanchism and the Case of Rotterdam.” International Journal of Urban and Regional Research 34 (December 1, 2010): 820–34. https://doi.org/10.1111/j.1468-2427.2010.00944.x. Engerink, Gerard Oude, and Frank Miedema. “Governing Urban Regeneration: The Case of Rotterdam.” Geographische Zeitschrift 89, no. 2/3 (2001): 114–24. Gemeente Rotterdam “De Kop van Zuid.”March 2009. https://www.yumpu.com/ nl/document/read/7879157/de-kop-van-zuid-gemeente-rotterdam.
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Rotterdam, World Port Center. “The Building - World Port Center Rotterdam.” Accessed May 11, 2020. https://www.worldportcenter.nl/en/the-building. Rouvoius, Niels. “Stijlvol slapen in historisch Rotterdams pakhuis.” May 2018. https://architectura.be/nl/nieuws/20941/stijlvol-slapen-in-historischrotterdams-pakhuis. Onderzoek010. “Ruimtelijke Ordening, Wonen & Verkeer Rotterdam.” Accessed May 11, 2020. https://onderzoek010.nl/dashboard/dashboard/ruimtelijkeordening--wonen-en-verkeer. OMA. “De Rotterdam.” Accessed May 11, 2020. https://oma.eu/projects/derotterdam. “Volkshuisvesting in de jaren negentig: een overzicht.” Digibron.nl, 19911201. https://www.digibron.nl/viewer/collectie/Digibron/ id/795c8288e8d93fa8a4d4bbb5bfcb94b1. Trip, J. J. What Makes a City?: Planning for “Quality of Place” : The Case of HighSpeed Train Station Area Redevelopment. IOS Press, 2007. Wagendorp, tekst Wilma de Rek & Bert. “Der Nederlanden Gordijnen, open; Mosselen; Trom, Dik.” de Volkskrant, August 28, 2010. https://www. volkskrant.nl/gs-be35334c. Gemeente Rotterdam. “Kop van Zuid.” Accessed May 11, 2020. https://ocw. tudelft.nl/wp-content/uploads/SO_4_2010_Westrik_Kop_van_Zuid.pdf.
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CANARY WHARF A Day in the Life of a Banker in Canary Wharf, London. Accessed May 11, 2020. https://www.youtube.com/watch?v=MF8ny8gEUzU. Başeren, Zeynep Cansu. “A Baudrillardian Reading of Canary Wharf: Space as Economic Simulacrum.” Accessed May 11, 2020. https://www.academia. edu/7299925/A_Baudrillardian_Reading_of_Canary_Wharf_Space_as_ Economic_Simulacrum. Barber, Lynsey. “Bye-Bye Birdie: Canary Wharf Owner Songbird Estates Will deList from AIM after Qatar Brookfield Takeover,” CityAM. March 24, 2015. https://www.cityam.com/bye-bye-birdie-canary-wharf-owner-songbirdestates-will-de-list-aim-after-qatar-brookfield/. Canary Wharf Group. Accessed May 11, 2020. https://canarywharf.com/. Chu, Ben. “From Thatcher to Qatar: A Turbulent Docklands History,”The Independent. January 29, 2015. http://www.independent.co.uk/ news/business/news/from-thatcher-to-qatar-a-turbulent-docklandshistory-10009745.html. City Security Magazine. “Complexities of Canary Wharf Security,” July 13, 2018. https://citysecuritymagazine.com/security-management/complexitiescanary-wharf-security/. Foster + Partners. “Jubilee Line Extension - Canary Wharf Station.” Accessed May 11, 2020. https://www.fosterandpartners.com/news/ archive/1999/09/jubilee-line-extension-canary-wharf-station/. Gerrard, Dougie.“Focus On Canary Wharf: There’s More than Just Money in E14,” CityAM. June 28, 2019. https://www.cityam.com/focus-on-canary-wharftheres-more-than-just-money-in-e14/. Greater London Authority. “Isle of Dogs and South Poplar Opportunity Area Planning Framework.” Accessed May 11, 2020. https://data.london.gov. uk/dataset/isle-of-dogs-and-south-poplar-opportunity-area-planningframework. Hammond, Ed. “The Man Who Built and Lost Canary Wharf,” October 25, 2013. https://www.ft.com/content/8bb8bf5a-3db6-11e3-9928-00144feab7de. Ije, Ike. “Canary Wharf: Eighties Revival.” Building. Accessed October 27, 2019. https://www.building.co.uk/buildings/canary-wharf-eightiesrevival/5094332.article. Harvey, David. “The Invisible Political Economy of Architectural Production.” In The Invisible in Architecture, 420–27. London: Academy Editions, n.d. Kollewe, Julia. “Canary Wharf Timeline: From the Thatcher Years to Qatari Control.” The Guardian, January 28, 2015, sec. Business. https://www. theguardian.com/business/2015/jan/28/canary-wharf-timeline-londonbuilding-docklands-thatcher. London County Council “Modern Docklands: Modern Commercial Developments,” Survey of London: Volumes 43 and 44, Poplar, Blackwall and Isle of Dogs. 1994. https://www.british-history.ac.uk/survey-london/ vols43-4/pp702-707#fnn7. Martinson, Jane. “Canary Wharf: Life in the Shadow of the Towers,” The Guardian. April 8, 2018. http://www.theguardian.com/commentisfree/2018/apr/08/ canary-wharf-life-in-the-shadow-of-the-towers.
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Minton, Anna. Big Capital: Who Is London for? UK: Penguin Books, 2017.
Raymundo, Gisele. “Towards Urban Waterfront Redevelopment,” n.d., 77. Rose, Eleanor. “Tube Commuters Display Amazing Queue Etiquette without Being Told,” Evening Standard. February 23, 2018. https://www.standard.co.uk/ news/london/tube-commuters-display-amazing-queue-etiquette-withoutbeing-told-at-canary-wharf-station-a3773866.html. Ruddick, Graham. “Will Canary Wharf Be Baroness Thatcher’s Greatest Lasting Legacy?” April 9, 2013, sec. Finance. https://www.telegraph.co.uk/ finance/newsbysector/constructionandproperty/9981618/Will-CanaryWharf-be-Baroness-Thatchers-greatest-lasting-legacy.html. Sahloul, Fareed. “Canary Wharf Architect Sir George Iacobescu to Stand down as CEO.” Accessed May 11, 2020. https://www.fnlondon.com/articles/ canary-wharf-architect-sir-george-iacobescu-to-stand-down-20190814. SOM. “Canary Wharf Master Plan.” Accessed May 11, 2020. http://www.som. com/projects/canary_wharf_master_plan. The Battle for Docklands: The Story of the LDDC. Accessed May 11, 2020. https://www.youtube.com/watch?v=_tIHBxUBXWA. Thatcher, Margaret. “Speech Inaugurating Canary Wharf.” Margaret Thatcher Foundation. Accessed May 11, 2020. https://www.margaretthatcher.org/ document/107834. “Timeline History Of Canary Wharf.” Medium. Accessed October 27, 2019. https://medium.com/@shikhar_writer/timeline-history-of-canary-wharf3ba94bff3f28. Tour of HSBC Headquarters, Canary Wharf, London. Accessed May 11, 2020. https://www.youtube.com/watch?v=UU5iAFEp6s8. Ward, Stephen. “Leverage Planning: The London Docklands Development Corporation.” Accessed May 11, 2020. https://southwarknotes.files. wordpress.com/2012/03/lddc-leverage-planning-remaking-planningbook-1996.pdf. “West India Docks - London’s Docks and Shipping - Port Cities.” Accessed March 6, 2018. http://www.portcities.org.uk/london/server/show/ ConFactFile.83/West-India-Docks.html. Williams, Richard J., and Dick Williams. The Anxious City: English Urbanism in the Late Twentieth Century. Psychology Press, 2004. Wolmar, Christian. “Docklands’ Pounds 450m Road Tunnel ‘Should Not Have Been Built,’” The Independent. June 16, 1995. http://www.independent. co.uk/news/uk/politics/docklands-pounds-450m-road-tunnel-should-nothave-been-built-1586620.html. Working in Canary Wharf. Accessed May 11, 2020. https://www.youtube.com/ watch?v=TFzPtr14g1c.
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HUDSON YARDS Arak, Joey. “Yardsmania #3: Related Sends Out a New Friend Request.” Curbed NY, November 19, 2007. https://ny.curbed.com/2007/11/19/10583912/ yardsmania-3-related-sends-out-a-new-friend-request. Bagli, Charles V. “2 Groups Sue to Halt Action on Jets Stadium.” The New York Times, December 23, 2004, sec. New York. https://www.nytimes. com/2004/12/23/nyregion/2-groups-sue-to-halt-action-on-jets-stadium. html. Bockmann, Rich. “Ohio teachers’ pension fund makes $432M investment in Hudson Yards,” The Real Deal New York. May 18, 2018. https:// therealdeal.com/2018/05/18/ohio-teachers-pension-fund-makes-432minvestment-in-hudson-yards/. Brash, Julian. Bloombergs New York: Class and Governance in the Luxury City. Georgia: University of Georgia Press, 2011. “City Unveils Gigantic Plan To Transform Far West Side.” The New York Times, June 22, 2004, sec. New York. https://www.nytimes.com/2004/06/22/ nyregion/city-unveils-gigantic-plan-to-transform-far-west-side.html. Bagli, Charles V., and Mike McIntire. “Mayor and Council Reach Deal on West Side Development.” The New York Times, January 11, 2005, sec. New York. https://www.nytimes.com/2005/01/11/nyregion/mayor-and-councilreach-deal-on-west-side-development.html. Bagli, Charles V., and Michael Cooper. “New York State Board Rejects Plan to Fund West Side Stadium.” The New York Times, June 6, 2005, sec. New York. https://www.nytimes.com/2005/06/06/nyregion/new-york-stateboard-rejects-plan-to-fund-west-side-stadium.html. Bagli, Charles V. “Rezoning Will Allow Railyard Project to Advance.” The New York Times, December 21, 2009, sec. New York. https://www.nytimes. com/2009/12/22/nyregion/22hudson.html. Barone, Joshua. “The Shed Is Finally Open. Here’s What You Need to Know.” The New York Times, April 4, 2019, sec. Arts. https://www.nytimes. com/2019/04/04/arts/design/guide-the-shed-hudson-yards.html. Behind The Lens: Hudson Yards. Accessed May 11, 2020. https://www.youtube. com/watch?v=qvbYjUhdVzM. Bendix, Aria. “Hudson Yards Is the Biggest New York Development since Rockefeller Center. ” Business Insider. Accessed May 11, 2020. https:// www.businessinsider.com/hudson-yards-rundown-major-buildingsfinished-2018-10. Berger, Bennat. “What The Shed at Hudson Yards Means for Public Space in NYC.” Medium, August 2, 2017. https://medium.com/@BennatBerger/ what-the-shed-at-hudson-yards-means-for-public-space-in-nycc5b84361efa5. Brash, Julian, Andrew Herod, Melissa Wright, and Nik Heynen. Bloomberg’s New York: Class and Governance in the Luxury City. Athens: University of Georgia Press, 2011. Cameron, Christopher. “Tour the Epic New Hudson Yards — and Its Literal Mile of Shops.” New York Post (blog), March 13, 2019. https://nypost.
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com/2019/03/13/tour-the-epic-new-hudson-yards-and-its-literal-mile-ofshops/. Capps, Kriston. “Opinion | Another Reason to Hate Hudson Yards.” The New York Times, April 16, 2019, sec. Opinion. https://www.nytimes. com/2019/04/16/opinion/hudson-yards.html. Capps, Kriston. “The Worst Thing About Hudson Yards Isn’t the Architecture.” CityLab. Accessed May 11, 2020. https://www.citylab.com/ equity/2019/04/hudson-yards-financing-eb5-investor-visa-programimmigration/586897/. Dalrymple II, Jim. “The Crazy Tech behind NYC Mega-Development Hudson Yards.” Accessed May 11, 2020. https://www.inman.com/2019/02/19/ subterranean-garbage-chutes-and-a-cooling-system-for-trees-the-crazytech-behind-hudson-yards/. Davidson, Justin. “Superhuman City: A Walk Through Hudson Yards.” Intelligencer, April 18, 2018. https://nymag.com/intelligencer/2018/04/ superhuman-city-a-walk-through-hudson-yards.html. Equinox Hotels. “Equinox Hotel New York Luxury Hotel in Midtown NYC.” Accessed May 11, 2020. https://equinox-hotels.com/nyc/. “Erosion of Consumer Choices.” David Harvey’s Anti-Capitalist Chronicles (podcast), April 24, 2019. “Guide To Hudson Yards: The Food, The Public Space, The Buildings, And More.” Gothamist, March 14, 2019. https://gothamist.com/arts-entertainment/ guide-to-hudson-yards-the-food-the-public-space-the-buildings-andmore. Horsley, Carter. “Goldman Sachs Has Withdrawn from Hudson Yards Project in West Midtown.” Accessed May 11, 2020. https://www.cityrealty.com/ nyc/market-insight/carters-view/behind-the-buildings/goldman-sachswithdrawn-hudson-yards-project-west-midtown/1658. Hudson Yards. Accessed May 11, 2020. https://www.hudsonyardsnewyork.com/. “Hudson Yards | Finance Solutions” NYCEDC. Accessed May 11, 2020. https:// edc.nyc/program/hudson-yards. “Hudson Yards CMO Stacey Feder: ‘Rethinking your business is critical.’ The Glossy Podcast (podcast), August 20, 2019. Hudson Yards Development Corporation. Accessed May 11, 2020. https://www. hydc.org. “Hudson Yards Master Plan Preferred Direction.” New York City. February 2003. Accessed May 11, 2020. https://www1.nyc.gov/assets/planning/ download/pdf/plans/hudson-yards/prefdir.pdf. Hudson Yards New York | NYC’s Newest Neighborhood| The Vessel | My Experience. Accessed May 11, 2020. https://www.youtube.com/ watch?v=0Avxrm0aKUM. Hudson Yards Video Game. Accessed May 11, 2020. https://www.youtube.com/ watch?feature=youtu.be&v=ZeQMxy-Uf3M&app=desktop.
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Hughes, C. J. “Hudson Yards: A City Within a City.” The New York Times, April 5, 2019, sec. Real Estate. https://www.nytimes.com/2019/04/05/realestate/ hudson-yards-a-city-within-a-city.html. “Hudson Yards Plan and Overview.” New York City Projects and Proposals. Accessed May 11, 2020. https://www1.nyc.gov/assets/planning/ download/pdf/plans/hudson-yards/hyards.pdf. Kimmelman, Michael, Alicia DeSantis, Mika Gröndahl, Yuliya Parshina-Kottas, Karthik Patanjali, Emily Rhyne, Matt Ruby, et al. “Hudson Yards Is Manhattan’s Biggest, Newest, Slickest Gated Community. Is This the Neighborhood New York Deserves?” The New York Times, March 14, 2019, sec. Arts. https://www.nytimes.com/interactive/2019/03/14/ arts/design/hudson-yards-nyc.html, https://www.nytimes.com/ interactive/2019/03/14/arts/design/hudson-yards-nyc.html. KPF “Hudson Yards by Kohn Pedersen Fox.” Accessed May 11, 2020. https:// www.kpf.com/projects/hudson-yards. Kwok, Marianne. “Manhattans Last Frontier Becomes a Mini City.” CTBUH Journal, 2015. https://global.ctbuh.org/resources/papers/download/2547manhattans-last-frontier-becomes-a-mini-city.pdf. Maddrey, Thomas. “ASMP Strongly Opposes Hudson Yards’ Terms and Conditions Related to the ‘Vessel.’” ASMP (blog), March 19, 2019. https:// www.asmp.org/legal/asmp-strongly-opposes-hudson-yards-terms-andconditions-related-to-the-vessel/. Mattern, Shannon. “Instrumental City: The View from Hudson Yards, circa 2019.” Places Journal, April 26, 2016. https://doi.org/10.22269/160426. Mzezewa, Tariro. “Equinox Gets Into the Hospitality Game.” The New York Times, July 10, 2019, sec. Travel. https://www.nytimes.com/2019/07/10/travel/ equinox-fitness-hotels-hudson-yards.html. New York City Industrial Development Agency and New York City Economic Development Corporation. “Second Amended and Restated Uniform Tax Exemption Policy of the New York City Industrial Development Agency.” December 12, 2006. https://edc.nyc/sites/default/files/filemanager/NYCIDA/ Financial_Public_Documents/ANNUAL_REPORT/2006_Hudson_Yards_ UTEP.pdf. Nonko, Emily. “Hudson Yards Wants to Become NYC’s next Great Neighborhood.” Curbed NY, September 19, 2018. https://ny.curbed. com/2018/9/19/17861164/hudson-yards-new-york-development-relatedcompanies. Olson, Carly. “Go Inside the World’s First Equinox Hotel.” Architectural Digest. Accessed May 11, 2020. https://www.architecturaldigest.com/story/ equinox-hotel-hudson-yards. Plitt, Amy. “Hudson Yards Timeline: From the Olympics to NYC’s ‘next Great Neighborhood.’” Curbed NY, March 13, 2019. https://ny.curbed. com/2019/3/13/18252323/hudson-yards-new-york-construction-timeline. Reid, Tiana. “The Shed Sucks: A Dispatch From New York’s Latest Cultural Megaspace,” May 23, 2019. https://www.thenation.com/article/archive/
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the-shed-hudson-yards-vessel-essay/. Solomont, E.B.. “Inside the Hudson Yards financing playbook.” The Real Deal. August 24, 2016. https://therealdeal.com/2016/08/24/inside-the-hudsonyards-financing-playbook/. Robert. “Hudson Yards: Bankers vs. Hotties (& Three Other Bids).” Curbed NY, October 12, 2007. https://ny.curbed.com/2007/10/12/10586914/hudsonyards-bankers-vs-hotties-three-other-bids. Stevens, Philip. “Hudson Yards: Everything You Need to Know about the NYC Development,” Designboom July 2, 2017. https://www.designboom. com/architecture/hudson-yards-new-york-masterplan-shed-vesselroundup-07-02-2017/. Swanson, Carl. “How Stephen Ross Became the Most Powerful City-Shaper Since Robert Moses.” Intelligencer, February 18, 2019. https://nymag. com/intelligencer/2019/02/stephen-ross-hudson-yards.html. The $14 Million New York Penthouse at 15 Hudson Yards. Accessed May 11, 2020. https://www.youtube.com/watch?v=xmsLCCDLc6U. Small, Zachary. “The Financing of Hudson Yards Is Worse Than Its Architecture,” Hyperallergic. April 15, 2019. https://hyperallergic.com/494907/thefinancing-of-hudson-yards-is-worse-than-its-architecture/. The Vessel at Hudson Yards - NYC Tourist Trap or Must Visit? (New York Attraction Review). Accessed May 11, 2020. https://www.youtube.com/ watch?v=xyYrQn7h4jE. “Uncovering Hudson Yards.” The Bowery Boys: New York City History (podcast), March 21, 2019. Walker, Ameena. “Tracking the Biggest Buildings Taking Shape at Hudson Yards.” Curbed NY, April 4, 2018. https://ny.curbed.com/2018/4/4/17115600/ hudson-yards-nyc-guide-buildings-apartments-map. Ward, Vicky. “Stephen Ross Is Building New York City’s Next Must-See Destination.” Town & Country, February 16, 2018. https://www. townandcountrymag.com/society/money-and-power/a15928590/ stephen-ross-hudson-yards/. Williams, Keith. “The Evolution of Hudson Yards: From ‘Death Avenue’ to NYC’s Most Advanced Neighborhood.” Curbed NY, December 13, 2016. https:// ny.curbed.com/2016/12/13/13933084/hudson-yards-new-york-historymanhattan. Wilson, Duff. “New York Unveils Sweeping Olympic Bid.” The New York Times, November 17, 2004, sec. New York. https://www.nytimes. com/2004/11/17/nyregion/new-york-unveils-sweeping-olympic-bid.html.
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Honor’s Reflection A reflection on the production of the three-part film series: Capital Imaginaries in fulfillment of the Honors Requirements for an Honors Thesis in Architecture.
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My Experience Producing Capital Imaginaries, A Reflection. Hanneke van Deursen When given the opportunity to engage a field adjacent to
architecture for the honors component of my thesis, I challenged myself to try something new. From early on, there were ideas about making a movie. The first source of inspiration was a documentary, The Social Life of Small Urban Spaces, which analyzed the use of urban plazas in the 1970s. It made me wonder, fifty years later, how has our use of space (and the space itself) changed? Second, there was a gloomy Sunday afternoon in London stuck in my head. In February 2018, on a class assignment, I had stumbled into Canary Wharf. Its eeriness had haunted me since. These two experiences gave me the idea to implement film as a medium to research the urban condition. In the following months, I built my thesis. By final Thesis Preparation reviews in early December, a body of research had emerged which
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van Deursen 2 established a three-way analytical case study of Kop van Zuid in Rotterdam, Canary Wharf in London, and Hudson Yards in New York. I began to call these environments Capital Imaginaries, interpreting them as the dystopian imaginations of perfect urbanism under capitalism. The analysis danced between politics, economics, geography, and urban studies to establish between the Capital Imaginaries a common origin in Neoliberal policy. From there, a hypothesis was established on truth games, the play of logics which Capital Imaginaries employ to naturalize Neoliberal Ideology. I positioned architecture as an active agent in these truth games and argued that architecture works in service of the market, naturalizing a passive subject in a constant state of production or consumption: the Neoliberal Subject.
At the Thesis Preparation review, each Capital Imaginary was presented in a series of analytical drawings. Each began with a detailed site plan, the drawing of which granted me immense control and understanding over the physical space. Next to the site plan hung a multilayered timeline, which tracked connections between policy, public institutions, public/private partnerships, private individuals/companies, and the construction of the site. The timelines revealed that Neoliberal policy (tax breaks, quasi-public organizations, visa incentives) was directly responsible for creating each of the Capital Imaginaries. Next to the timeline hung elevational drawings. These street elevations layered information about financial models, tenants, architects, and programmatic functions onto each individual building. Next to these three research-based drawings hung my hypothesis on each Capital Imaginary. I extracted their truth games and represented them in both text and image. For example, in Rotterdam’s Kop van Zuid, the truth games say that it is the architectural mechanism of ‘view’ which flattens the city to an image and constructs the depoliticized individual behind its picture plane. It is those truth games, a means of understanding ideology, which enable the architectural environments of Capital Imaginaries to construct the Neoliberal Subject. During the review, two big questions arose: what’s next? And where is your voice? What’s next was straightforward, at least in the short term. I was flying to London two days later to begin producing a 3-part film series. As far as finding my voice went, the production of the films, and therein 192
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taking a month-long detour from the policy / economics / architecture side of the thesis, was intended to shift my focus towards observation and image production. The films would be the lynchpin between my thesis prep research, and my thesis design project. My honors reader, Vasilios Papaioannu, came to see the review, and put his perspective on the work. For him, it was a project of translation. He saw the same place unpacked through the lenses of politics, geography, economics, sociology and architecture. To follow his rhetoric, my next step was to make another
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translation, this time articulating the ideas through film.
There was a bit of a problem with my filmmaking plan: over the years, I developed a sensibility for taking photos, but had never worked with moving pictures. Rather than attempt to master filmmaking in a month, we decided it would be stronger to leverage my existing skills of careful observation and photographic composition to create for a simple, static, and voyeuristic film that would offer a peek into the world of a Capital Imaginary. Each clip would be a living photograph. Professor Papaioannu lent his sensibility for the editing and in the end we were able to create something I had never expected to turn out so well. The following is a reflection on my experiences making the films, Capital Imaginaries: Canary Wharf, Kop van Zuid, and Hudson Yards. As scheduled, I flew to London two days after my thesis prep review. Emerging from Canary Wharf Underground station, my eyes darted around in wonder. lt was like stepping into the world of a videogame I had been playing for months. Since October images, google models, and drawings of this strange place had occupied my screen. And now I was in it. The next six days were spent fully immersed in Canary Wharf. Armed with my subtle little video camera, I walked and observed and sat and chatted. My hope was to capture the way in which Canary Wharf avoided criticality, and perpetuated a constant state of work. As I looked around, moments would catch my eye (a beautiful composition, an interesting interaction). Doing my best to keep still, I would aim the camera at that moment and wait. At least 30 seconds, no more than five minutes. This became my technique for all three films: full immersion into the environment, long and steady takes, keep looking for the next shot. In the process of making each film,
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van Deursen 4 and thus in occupying the Capital Imaginaries, a series of unexpected observations surfaced. The following are my observations in Canary Wharf: 1. At first, I was extremely paranoid about getting caught. Canary Wharf is private property, and the private security could remove me from the premises at any moment for any reason. The website specified that filming required a permit (though not for student work) and filming security equipment, building entrances, etc was strictly prohibited. This is precisely what I needed to film. A man with a large camera told me that security had spotted him within fifteen minutes. But, after a while, I began to realize that no one really noticed me. My camera was small, which helped avoid security, but even those being filmed at a single meter’s distance did not see me. My paranoia waned as time and time again I was completely invisible to the subjects of my film. Those who did notice me were typically not those wearing business suits. 2. My hotel was just beyond the border of the property, which meant it was 4m below the ‘ground level’ of Canary Wharf. This strange boundary was masked by an art piece that obscured the view from Canary Wharf beyond its border. To get to the hotel, I would have to go to a stair tucked into a neighboring building to get down. From street level, a tunnel entrance was visible. It took me four days to build up the courage, but after going inside I discovered the entire site is connected by the tunnel system. 3. Those who did not appear to be high income individuals were almost always in a uniform which clearly communicated their occupation. It appeared as a sort of justification for why these people were occupying the space of Canary Wharf, that without the uniform they would be out of place.
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4. After three days of filming within the Canary Wharf property, I needed some shots from the surrounding area with the skyscrapers in the background. The experience of leaving was surreal. It was as if I had forgotten what a city really was like. There was a texture to the surrounding neighborhood, sounds, grit, people hanging out, that had been smoothed out in Canary Wharf. What stunned me was that even while making a film about the editing of urbanity which Capital Imaginaries produce, I too fell was subject to its
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naturalization.
The themes which emerged in the Canary Wharf film were: relationship between upper class and working class, the radiant gentrification impact, the edges/borders, the tight control of the environment, the obliviousness of the workers, and the banality of the architecture. After my week in London, I took a train to Rotterdam, editing together my first cut of Canary Wharf on the journey. It was coming together nicely, and so expectations for the Rotterdam film were high. The goal for this film was to capture how Capital Imaginaries distance their occupants from the life of the city, and instead make the city an object to look at. This film was going to be different. I had lived in Rotterdam for 7 months in 2018, and so the city was familiar to me. While I assumed this would make things easier, Kop van Zuid became by far the most difficult place to figure out. The following are some of my observations: 1. My approach matched that in London: walking around and filming compositions and interactions. The issue was I could not get a feel for the place. After filming some ‘B-roll’ (nice shots of buildings without any action), there had not been many interactions to observe. There were few people to begin with, and when there were people they would be strolling, seemingly going nowhere. I did not know what to film. No themes were emerging. 2. After a few days of stressing about the illegibility of Kop van Zuid, I spoke with a Rotterdam-based friend of mine who put it quite simply. Kop van Zuid is a destination, not a place. With this in mind, the argument of the film began to fall into place. I focused on the 195
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van Deursen 6 relationship between the image of Kop van Zuid from far away, the urban skyline, and the reality of the experience on ground level, sterile, empty and windy. 3. I began to notice that most of those strolling were couples. Their walk was a promenade of sorts, like they were parading their relationship in the place so it could be seen. Most visitors seemed to come over the Erasmus Bridge and do a lap around Kop van Zuid without any particular destination, just to get out of the house and stroll around. 4. There were many people at Kop van Zuid to take selfies, the city serving as backdrop. 5. There were multiple tours: segway tours, school groups, which reinforced the idea that Kop van Zuid is a place to go. Usually, the tours had little to see once they arrived, the group and I being the only people around. 6. So many people saw me and the camera. After my experience in Canary Wharf, this reinforced the see-and-be-seen nature of Kop van Zuid. I, with my camera, was a spectacle for visitors to observe, while, at the same time, some performed for the camera (waving, kissing, pointing). The themes which emerged in the Kop van Zuid film were: city as photo backdrop, seeing and being seen, image of the skyline vs. experience at street level, and emptiness/non-place. After a two-week break, I moved to my final location: New York City. Here, the film would capture how Capital Imaginaries relegate free time to consumption. This film was the easiest. Hudson Yards is small in comparison to the other two Capital Imaginaries, and it is exceptionally clear in its production of an Entertained Consumer. It was packed with people, so I had no shortage of subjects, and the mall even had a charging station, eliminating camera battery concerns. The following were some of my observations producing the final film:
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1. Like in Canary Wharf, my fear of getting caught waned as I realized that no one noticed me. Moreover, everyone was there taking photos, so if anything I blended in.
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2. The security, while less overt than in Canary Wharf, was incredibly present. People were frequently directed, checked in on, and monitored to ensure that the place ran like a well-oiled machine. 3. Everyone there looked like they would shop at the stores in the mall (ranging from Zara to Rolex). There were no homeless people, artisttypes, and barely any working class people from my observations. There were, however, many tourists. 4. There was an extended metaphor between Little Spain (the Spanish ‘market’) and the entire complex of Hudson Yards. Little Spain reflects the Chelsea Market permanent-food-stall model, but all by a single chef. It is intended to recall a Spanish market, as the branding on the walls heavily insinuates, with around ten stalls that each sell a different category of product (sandwiches, meat, seafood, fruit). The displays are so neatly staged that the food appears fake. In the case of the jamón (an entire pig leg), the grossest part (the foot) is cut off so as to alienate the product from the animal it came from. 5. There is a store called b8ta full of gadgets that people can play around with. The place was always packed. On my third day, I learned that the business model of the store does not derive profit from sales, but instead from data collected on the customers. The whole store is rigged with cameras which detect age, race, gender, and duration of interaction to sell the consumer data to the startups. 6. I overheard someone say “they just don't build stuff like this anymore, it's all in China now, all the good architects are over there.” This was quite amusing, especially considering that the buildings he was referring to were likely designed by western architects, a condition made possible by Neoliberalism. The themes which emerged in the Hudson Yards film were: control of space and movement, commodification, spectacle, selfie-taking as 197
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van Deursen 8 interaction with public space, the shed as controlled public space, and the banality of the architecture. After the shooting, came the editing. I made an effort to finish at least the first cut of each film before starting to shoot the next. That way, the editing occured in the same headspace as the shooting. After a ‘first cut’ was ready, Professor Papaioannu would watch the film together via Skype. He would pause and give notes: “put this one a little bit longer,” “wait until she leaves the frame to cut,” “cut before he moves his head.” Because I had never made a film before, the editing session on the first movie, Canary Wharf, required about two hours to work through the 20 minute film. Professor Papaioannu was incredibly helpful in describing to me the rationale of where you cut and when. Through the editing process my sensibility began to develop. Editing the Kop van Zuid film was as difficult as shooting it. There was 500GB of footage, but no clear direction. In an effort to make sense of it, I went through all the footage, selected the clips that were working well, and set in and out points for them (where the clip will start/stop). With screenshots of the 80+ selected clips, I started arranging the scenes in Adobe Illustrator to make a storyboard. With the visual oversight that Illustrator gave me, my architectural brain was much happier and the clips started to form more logical sequences. In our first-cut Skype session, Professor Papaioannu agreed that Canary Wharf and Kop van Zuid were two very different movies, but validated that it was because of the qualities of Kop van Zuid (or lack thereof) that the movie was so difficult to make. In the end, the film managed to capture the confusion of place that Kop van Zuid produces. Hudson Yards was by far the easiest. This was a combination of my skills improving with every movie, the conceptual clarity of ‘The Entertained Consumer’, and the overt presence of this subject in the environment. This time having a printer on hand, I cut out my storyboards and began to move them around. There was so much strong footage that the initial storyboard contained 120 possible clips (to be whittled down to 66). The editing session with Professor Papaioannu was quick and easy, he noted that my
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skills as an editor had improved drastically, and that in every movie the strongest element was my composition. It was an incredible feeling to finish the three movies, and I truly surprised myself with the result. The films were shown in an immersive installation designed for the thesis mid-reviews in early February. The films began as a fun project, and a way to engage another discipline, but they have revealed themselves to be the mechanism for carrying my thesis project forward. The long-takes, prolonged shots where the camera does not move, force the viewer to unpack the image themselves. In so doing, the films begin to unravel the illusion of the Capital Imaginaries. It returns criticality to the banal environment. In the coming months, my thesis will draw from these long-takes to produce a project which unmasks the truth game. The films will invariably remain an active agent in the development of the thesis from here on out.
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