Hanneke van Deursen Spring 2017
AGAINST PLACELESSNESS 5/Introduction 12/Satellite Image/The Land Ordinance of 1785/Supersurface 16/Boring Postcard 18/Walgreen’s 20/World Centre 24/Airport Rocking Chairs 26/Villaggio Mall 28/Tourist Map 31/Primrose Winery 34/Window of the World 36/Disneyland Tunnels 39/Works Cited
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In order to get to Drummond, Wisconsin from Rochester, Minnesota, you take highway 52 north twenty minutes to the Zumbrota exit. Put out your right blinker as the car rolls to a stop, fighting the incline that sprouts off of the Twin Cities pipeline. Welcome to Highway 63. With a few exceptions—some easy-to-miss turns, marked by insignificant signs tucked into the corn—it is a straight shot north to Drummond, four hours give or take. It is a trip I have taken many times. It leads from my hometown, the third largest city in Minnesota, to a blip on Northern Wisconsin’s map with 463 residents and our humble lakeside cabin.1 This drive is never tiresome. Unlike superhighway 52, highway 63’s speed limit maxes out at 55 miles per hour on the threads of two-lane road spanned from town to town. The sign asserting the town reads 25 miles per hour, so you have no choice but to roll along the nostalgic main street of an America long forgotten. I spend my time staring 1
United States Census Bureau. "Drummond town, Bayfield County, Wisconsin." American Fact Finder. October 05, 2010. Accessed May 06, 2017.
out the window, trying to achieve just the right balance of boredom and wonder. The further north 63 takes you, the closer the tree line creeps to the road. The rolling hills of soy and corn become dotted with lakes while you speed forward. The unassuming lakes multiply as you are unwittingly thrust into total Northwoods territory. There are no Wal-Marts, no Home Depots, and only one, lonely McDonald’s along the route. The small towns have subverted the homogenization of corporate America simply by being too insignificant to generate profit. By the time you veer off county road D onto Pigeon Lake’s dirt road, you are in a different world entirely. Rocks strike the body of the van, and the car plummets into the forest each bend in the road looking more and more like the last one. It is not the cabin itself, but rather the experience of getting there—the crawl from mile to mile, the slow transformation of the landscape—that gives the final turn onto lot 10735 its relief—its authenticity. The journey is what locates the cabin. Distance is understood.
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Anthropological nuances are registered. The cabin is contextualized to such a degree that its location is integral to its identity. It could not be plopped down anywhere to the same effect. No, it has an attachment to its geographical location, it has a sense of place. Anthropological place, as defined by Marc Augé in Non-Places, “is formed by individual identities, through complicities of language, local references, [and] the unformulated rules of living know-how.”2 Place, like that of the cabin, is a delicacy in the United States. More commonly we have the ageographical city, visible in shopping malls based by nationalchain department stores, endless suburbs sprawled without cities, anonymous airports with only sad references to the layover’s location, and national corporations with selfsimilar stores plopped down every thirty miles.3
In “Junkspace,” Rem Koolhaas likens the American landscape to a Megastructure without its superstructure. Subsystem only, it is dotted with “orphaned particles in search of a framework or pattern.”4 Most of America is a collage of architectural product branding and superhighways flanked by “nowhere.” This condition is termed placelessness. In Variations on a Themepark, Aaron Sorkin sees American cities as, “homes, offices, factories, and shopping malls that float in a culturing medium, a ‘[placeless] urban realm’ that provides the bare functions of a city, while doing away with the vital, not quite disciplined formal and social mix that gives cities life.”5 The placeless place, or non-place, “creates the shared identity of passengers, customers or Sunday drivers.”6 In a non-place there is no “singular identity nor relations; only solitude, and similitude.”7 Placeless is anonymous. It is
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Augé, Marc. Non-places: Introduction to an Anthropology of Supermodernity. London: Verso, 2006. 101. 3 Sorkin, Michael. Variations on a Theme Park: the New American City and the End of Public Space. New York: Hill and Wang, 2005. xi
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Koolhaas, Rem. "Junkspace." October 100 (2002): 178. 5 Sorkin, Michael. Variations on a Theme Park. xii. 6 Augé, Marc. Non-places. 101. 7 Augé, Marc. Non-places. 103.
a “lifelong immersion in the arbitrary.”8 It is so completely ageographic that it can be “inserted equally in an open field or in the heart of town.”9 Its locational purely does not matter.
feel comfortable. However, what they achieve has the adverse effect: the placelessness of their buildings destroy any sense of home to begin with.
If place is understood as authentic individual identity, then placelessness is its opposite: identity loss and role-playing. There is a temporary joy in suspension of identity.10 It can be a relief to assume the blank role of customer 10293, student 404667956, voter 3824012. However identity loss quickly becomes dehumanizing, and severs attachments to one’s surroundings. Augé writes, “the sign of being at home is the ability to make oneself understood without too much difficulty, and to follow the reasoning of others without any need for long explanations.”11 But with today’s perpetual placelessness, people are always and never at home. Corporations use architecture as branding to make their buildings feel familiar. They want customers to
Along the cabin route, we stop just for groceries and gas. Most towns are only acknowledged through the illumination of the brake lights and a pause in the monotony of Wisconsin’s landscape. The towns give us little to remember them by aside from the signs large enough to read from the passenger seat. Baldwin’s obnoxious fireworks warehouse tells me we’re one third of the way; Turtle Lake’s painted water tower is half. Cumberland has that biodiesel pump for which my curiosity has never been quite enough to justify stopping.
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Koolhaas, Rem. "Junkspace." October 100 (2002): 174. 9 Sorkin, Michael. Variations on a Theme Park. xiii. 10 Augé, Marc. Non-places. 103. 11 Augé, Marc. Non-places. 108.
In this sense, these towns are placeless. We only pass through them, and so they are measured in units of time.12 However, their physical locations as interventions on the highway prove their geographical importance. Forcing drivers down their main streets— instead of being exits along a freeway— 12
Augé, Marc. Non-places. 104.
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strengthens their ties to the local, physical, and cultural geographies of those spaces.13 And so they have place. Highway 63 is a relic from a time before the construction of major freeways. A time when “the passing motorist [would] see something of towns which have today become names on a route.”14 Augé mourns how today, the freeway avoids all the major places to which it takes us.15 Instead of passing through towns, highways post large signs, listing their notable features. “In a sense the traveler is absolved of the need to stop or even look” at the town which they are hurtling past.16 These places are not like Turtle Lake and Cumberland because they are no longer places at all. The towns that flash by on the freeway signs are reduced to only a name on a sign. They are abstracted to a mile countdown, and once they are passed they cease to exist.
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Sorkin, Michael. Variations on a Theme Park. xiii. Augé, Marc. Non-places. 99. 15 Augé, Marc. Non-places. 97. 16 Augé, Marc. Non-places. 97.
Non-places rely on signage. Highways, grocery stores, and airport terminals “have the peculiarity that they are defined partly by the words and texts they offer us”17 write Augé. Non-places are filled with text in order to mediate between individuals and their generic surroundings. The signs are prescriptive (one way), prohibitive (no smoking), and informative (aisle 4, chips and cookies). “This establishes the traffic conditions of spaces in which individuals are supposed to interact only with texts, whose proponents are not individuals but 'moral entities' or institutions”18 In a non-place intrapersonal communication is obsolete. The sign becomes the ultimate mediator between the individual and the brand. This is our contemporary landscape, and in this landscape the sign for Drummond has the potential to be as real as place itself. As the mesmerizing effect, watching neat rows of corn go by relentlessly, starts to settle in, you are pulled further and further from society by Highway 63. The towns and villages along
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Augé, Marc. Non-places. 96. Augé, Marc. Non-places. 96.
the way become a series of moments strung along a familiar string, spaced by long, blank pauses. Suddenly driving into Hayward, Wisconsin, a town of 2,317, is cause for sitting up in your seat and looking out the window with renewed vigor. By the time Pigeon Lake is reached, stress has melted away and the cabin stands as a little oasis where one can just be. It is curious how easily your reality can shift. How a four-hour drive can change your priorities. How a gloomy day can depress your life. How Disney World can thrust you back into childhood’s wonder. However, in the case of Disney World, nostalgia is the result of a highly constructed Simulacra generating $2.6 billion dollars every year.19 Disney World is inherently placeless; it is a fantasyland built in a Floridian swamp. It is devoid of authenticity, and yet it appropriates elements of place to produce a simulation of an impossible reality.
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Harwell, Drew. "How Theme Parks like Disney World Left the Middle Class Behind." The Washington Post. June 12, 2015. Accessed May 06, 2017.
In Variations on a Themepark, Aaron Sorkin writes that at Disney, “any geographic, cultural, or mythical location, whether supplied by fictional texts, historical locations, or futuristic projections, could be reconfigured as a setting for entertainment.”20 Lighting, sets, sounds, smells, and staff all contribute to the illusion of being in Tom Sawyer’s world. Disney even appropriates the cultural significance of currency to counterfeit a feeling of foreignness. Visitors can pay with “Disney Dollars” which are exchangeable one to one with USD and offer no advantages or discounts. They serve no purpose other than to heighten the simulation of visiting a special place where life is different.21 Sorkin argues that television and Disney work similarly, “by means of extraction, reduction, and recombination, [Disney and television both] create an entirely new, antigeographical space.”22 These spaces produce a real experience for the visitor, but they are so far 20
Sorkin, Michael. Variations on a Theme Park. 16. Sorkin, Michael. Variations on a Theme Park. 223. 22 Sorkin, Michael. Variations on a Theme Park. 208. 21
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removed from place that they become its antitheses. In Disney, “the idea of distinct places is dispersed into a sea of universal placelessness as everyplace becomes destination and any destination can be anyplace.”23 Disney’s worlds are anti-places. Inherently placeless entities have learned from Disney’s appropriation. The West Edmonton Mall “borrowed [a] design principle from Disneyland: the spatial compression of themes.”24 At Disney, Main Street, Hollywood, the African Jungle, and Mt. Everest are all viewed simultaneously. Crossing between various realities is as easy as flipping through television channels. The West Edmonton Mall takes this one step further. Instead of sticking to themed worlds, the West Edmonton Mall releases a “frenzy of free-floating images.” The mismatched themes of individual stores collage together into a Frankenstein of stolen identities. Walking through the mall is less like
flipping through channels and more “turning on all the channels at once.”25 The appropriation of place is not necessarily a bad thing. If the public buys into the simulation, and enjoys it, is there harm done? In some cases, one prefers the simulation to the reality. Sorkin writes, “for millions of visitors, Disneyland is just like the world, only better.”26 He writes, “If postmodern culture can be said to be about the weaving of ever more elaborate fabrics of simulation, about successive displacements of ‘authentic’ signifiers, then the Japanese family sitting in front of the Sony back in Nagaski, watching their home videos of the Animatronic re-creation of the creative geography of a Hollywood ‘original,’ all recorded at a simulacrum of Hollywood in central Florida, must be said to have achieved a truly weird apotheosis of raw referentiality.”27 What the discussion boils down to is the concept of authenticity. What specifically establishes an anthropological place as 25
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Sorkin, Michael. Variations on a Theme Park. 217. 24 Sorkin, Michael. Variations on a Theme Park. 16.
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Sorkin, Michael. Variations on a Theme Park. 16. Sorkin, Michael. Variations on a Theme Park. 216 27 Sorkin, Michael. Variations on a Theme Park. 229 26
genuine? What specifically distances the built environment from its location rendering it ageographic? What is real and what is imitation? At what point does the simulation become the reality? There is a paradox in placelessness: lost in a foreign country, a traveler only feels at home in the anonymity of the highways, gas stations, malls, or hotel chains. The familiarity of McDonald’s golden arches is reassuring, comforting. Ironically countries who cannot attract worldwide corporations, are alluring to foreigners precisely because it retains their exoctism. There is a necessary balance between familiarity and originality. As we move into the digital age, the authenticity of place becomes more critical. With modern technology, sophisticated communication no longer relies on physical proximity. “Knowing where a person, building, neighborhood, town, or city is located no longer provides a reliable guide to understanding human relationships and institutions.� 28 The questions become: what will place mean in the digital realm? And 28
at what point is the engineered simulation become equivalent to an authentic reality? This exhibition explores the spectrum of placelessness. First it establishes the built residue of placelessness staining the American landscape. Then it examines instances where place has been appropriated. Inspecting for breaches in authenticity and speculating on why those breaches could be tolerable or not. Finally, it looks at the boundaries of authenticity, and at what point a simulation becomes the new reality.
Sorkin, Michael. Variations on a Theme Park. 59
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Satellite Image.
The Land Ordinance of 1785.
Supersurface.
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Goodhue, MN.
Thomas Jefferson.
Superstudio.
In “Junkspace,” Rem Koolhaas compares the American Landscape to a megastructure without its superstructure. This is quite accurate considering that the Land Ordinance of 1785 prescribed a political superstructure on the new territories that dictated the development of the Midwest. Stretched across the Midwest, the Land Ordinance of 1785 split the land into townships of 36 square miles. Those townships were gridded into 36 one mile square plots, which could be further subdivided for sale. In this way, the frontier was abstracted into neat, evenly distributed, square parcels of land. The model for the Land Ordinance of 1785 laid the foundation for the sprawl present in the American Midwest today. Because the parcels of land were all of equal size and distribution, the settlers, too, were evenly distributed across the landscape. Towns stayed small and their culture struggled to survive, contributing to widespread placelessness in the Midwest. There was no proximity to generate community. The traces of the Land Ordinance of 1785 are clearly visible in aerial photographs of the Midwest, like this photo taken of Goodhue, Minnesota. The infinite grid of the Midwest’s landscape is reminiscent of Superstudio’s Supersurface project. Here, an undifferentiated gridded surface is laid over the entire planet. People have to freedom to occupy the surface however they would like, but the surface never changes. The surface itself has no identity or place. It creates a completely placeless world.
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Boring Postcard.
Martin Parr.
The postcard is an artifact of a place traveled to. Typically, it features the big icon of a place: the Eiffel Tower, the Brooklyn Bridge, the Hollywood Sign. It acts as evidence and display of a visitor’s travels. However, In Martin Parr’s book, Boring Postcards USA, he collects postcards which proudly showcase the mundanity of the American landscape. This postcard showcases “Picturesque Indiana,” which most visitors are only driving through. In Wisconsin, Highway 63 is able to acknowledge place. Drivers must slow down for every town around their route. They drive down its main street, glance at its shops, pause at its crossroads. In this postcard, Indiana’s roadway is like that of Highway 52. It bypasses small towns in pursuit of speed. The once vibrant places of Indiana are lost to the abstraction of their names. Their identities only exist on the signs leading up to their exits. After an 80-mile countdown, the big moment finally arrives: “Exit 107, Constantine.” But as soon as the fork in the highway passes—the one only taken in pursuit of a restroom— Constantine ceases to exist. Merely the highway, flanked by anonymous fields remains. This postcard shows the Indiana that visitors experience. Picturesque, empty scenery. Unspecified. Placeless.
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Walgreen’s. These images of New Haven’s Walgreen’s Pharmacy must feel familiar. Although the images are black and white one can easily fill in the exact shade of green on the verandas. A visit to any Walgreens is a visit to every Walgreens. The corporation uses architecture as branding. The building is a three-dimensional billboard recognizable from three blocks away. This strategy is used by many national chains. Wal-Mart, McDonald’s, and Walgreen’s all use store prototypes. These are standardized plans and elevations which only need to be adapted to specific site concerns like orientation and parking access. This approach is inherently neglectful of place. It is exemplified by New Haven’s Walgreens on Whalley Ave. The store sits on a corner site, as Walgreen’s usually does. The prototype calls for an entrance on the corner, the
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Whalley Ave. New Haven, CT. most basic urban gesture for a corner lot. However, this Walgreen’s has an entrance which faces the corner created by the street and the building’s parking lot. The actual street corner is left with a savagely anti-urban blank wall. Using architecture as a billboard is useful for corporations, but the resultant built form lacks authenticity. The buildings appropriate architectural elements to create an image for their company. The resultant building usually has no relevance to the town’s history or identity. A town comprised of only logos as buildings is left without any authenticity in the built environment.
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World Centre.
Hendrik Christian Anderson.
The project of the World Centre of Communication was published as an enormous book and sent to major governments and academic institutions around the world. It was a proposal for world peace by means of architecture. Hendrik Christian Anderson’s project proposes a capitol of the world that would be built from scratch. It is a large, amazingly intricate Beaux-Arts plan. It charges to create a city in which world leaders can communicate clearly and peacefully. The plan also includes the construction of miniaturized versions of the global capital in countries around the world. The same city would be replicated over and over, intended to house foreign diplomats and deserving citizens. This plan is an amazing proposal to remove place from politics. Anderson aims to create a neutral ground from which to negotiate for world peace. The satellite cities would act as large-scale versions of today’s national corporations. The entire city would be architecture as branding of neutrality and peace. The intention would be for those who traveled often would feel at home walking the streets of the satellite cities whether they be in Italy or Nigeria. However, one must question if the same city were available in France, China, or Zimbabwe, why one would bother visiting the India location too. What would be the effect of a culturally neutral city acting as the political hub for a highly cultured world?
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Airport Rocking Chairs.
Charlotte, NC.
Airports are among the most placeless building typologies. They are often cast away to the outskirts of the cities whose names they hold. Isolated from the life of the city, they are a station from which to depart. However, airports host an immensely interesting hoard of people. Every minute flights are landing and taking off, dropping new travelers into the terminals. There is an energy in airports. There is an excitement about where one is going and where another came from. Yet there is little focus on where one is. The layover is not considered a visit to Charlotte if one spends her five hours there snacking on Chick-fil-A at gate A23. Airports have little relation the city they are named after. Travelers miss the opportunity presented by a layover to get an experience out of the place they have briefly dropped in on. In Charlotte, the airport has attempted to fashion a connection with the culture of the South. They appropriated southern “porch culture” in order to generate public space in their large atriums. The indoor walkways are dotted with white rocking chairs resting in the shade of small trees. It is odd to catch a glimpse of southern living—a woman reading peacefully in her chair while sipping sweet tea—on one’s rush to her gate. The charm is welcome, but there is failed authenticity in the chairs being there.
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Villaggio Mall.
Doha, Qatar.
The Villaggio Mall in Qatar takes the appropriation of place to an unprecedented level. In the middle of the desert, Venice has been rebuilt with Disney precision as a series of two-dimensional facades. The degree of replication is borderline copyright infringement with details like Venetian lampposts and Gondola rides down the mall’s canal. Villagio’s slogan is “a place of shopping, entertainment, and social interaction, where the décor transports you to a world unlike your own.” The mall’s aim is to project luxury, emphasizing all the luxury brands available. The image of Venice, its place, is used to promote a feeling of luxury. Though the mall’s experience entirely inauthentic, the branding strategy is effective. 50,000 customers come through every day. There has been a long-standing fascination with Venice. It stands as a relic of a once powerful and beautiful city. However, now it is overrun by tourists with crowds worse than any amusement park. Only a fraction of the people living in Venice are Venetian, the rest have left to escape the tourists. Venetian tourism has gotten so extreme that the city is starting to lose its authenticity. Venice no longer has a life of its own. Similarly, there are so many replicas of Venice that the real city does not stand out. Venice blends in with its appropriations. Like with architectural objects, singularity is important for a city’s unique identity. The many copies of Venice degrade the integrity of the original.
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Tourist Map.
Hollywood, CA.
The tourist map undermines place. It breaks the city up into disparate parts and edits out the real meat of a city. This map of Hollywood shows the icons of Los Angeles with stars, preying on the reputation of the movie industry. It lists El Capitan Theater, the Hollywood sign, and Madame Tussad’s Wax Museum as “must-see” locations. In between all the starts and fun cartoons of the area’s architecture are lush patches of greenery. In reality, these green patches are apartment building and, predominately, parking lots. The version of LA on the map is far from the version experienced on the ground. Los Angeles has place. It has a very strong identity and a gritty authenticity. However, the place of LA is not the place shown on the tourist map. The real LA is about restaurants hidden in strip malls and the attitudes of each of the freeways. It is about the freedom of cruising through the hills not the cramped tables at the Hard Rock Café. The tourist map thus acts as an instrument of estrangement. It generates a secondary version of the city, one which a local would not recognize. This undermines place, because authenticity is destabilized when there are multiple readings of the same landscape. Can there be a version which is definitively the real LA? 30
Primrose Winery.
New Glarus, WI.
New Glarus, Wisconsin was originally settled by immigrants from Switzerland. The immigrants built homes in the manner they knew, and so many of the buildings in New Glarus adopted Swiss architectural elements. The city realized that building a “Little Switzerland” in Southern Wisconsin could be profitable and make a name for New Glarus. The city put building codes in place that mandated all downtown buildings have facades with elements of Swiss architecture. In their research, Nicole McIntosh and Jonathan Louie discovered curious confrontations of American and Swiss architecture in the buildings of New Glarus. In one of their studies, the Primrose Winery, the front façade appropriates Swiss architectural style with its wood front and gaveled roof. This façade is the one featured in their marketing. Looking from the opposite corner, one notices that the façade is only an applique onto a standard, balloon framed, aluminum sided, American house. New Glarus had authentic. Its unique buildings were the result of immigrants who built what they knew. However, the town of New Glarus has managed to appropriate its own history, resulting in the silly pasting of Swiss-looking facades onto cheap American buildings. The authenticity of New Glarus disappears as soon as one looks around the corner. 31
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Window of the World.
Shenzhen, China.
In Shenzhen, China there is a theme park called Window of the World. For thirty dollars, tourists can experience all the icons of the world. Most people today live in placelessness. They live in anonymous apartment buildings stacked high into the smog-filled sky. In this world, place becomes appropriated as a commodity and a source of entertainment. Tourists pay to pose in front of miniaturized replicas of cultural icons. The images overlaid on the park map are Instagram posts from the last week. Most of the captions had little to do with the site. They were focused on elevating the image of the poster. Instagram is already an inauthentic medium; it shows a highly curated version of user’s lives. For many, the goal of Instagram is to elevate follower’s perception of the user. Travel is an enormous component of projecting an enviable lifestyle. Visiting a famous monument is visiting hundreds of photoshoots, documenting each tourist’s presence. This is not new to the digital age, taking photos has long been part of the stereotypical tourist’s manner. However, it is new to use backgrounds as props for instant boosts in self-image. The Window of the World is a reflection of the dissolution of authenticity in the digital realm. 35 Online, reality of place is not important so long as the image looks real.
Disneyland Tunnels.
Anaheiam, CA.
The Disney corporation is nothing short of a champion at the appropriation of place. The magical nostalgia of Disney is not by chance. It is the result of a highly engineered and highly regulated Simulacra. Every detail of the Disney parks is paid attention to so that the simulation is not broken. It is all fake. There is no authenticity in the Miesian building disguised as a malt shop. There is no authenticity in the underground passageways ensuring the realities of life stay out of view of the guests. Disney is so inauthentic, so engineered, so placeless, that it starts to adopt a different kind of place of its own. The Simulacra of Disney is something we have bought into so deeply that seeing the photo Mickey Mouse outside of his fantastical setting in the park above, feels off. It is the same jarring effect of seeing a coworker at the gym, in one’s mind the two universes do not coexist. Mickey belongs in Disney, a place real enough to us that seeing him in the tunnels feels incongruent. Moreover, the tunnels underneath Disney become their own placeless underbelly reliant on signage and graphics for orientation. The sign in the photo points to imaginary places, Fantasyland and Adventureland, yet the sign has real meaning. As we move into the virtual realities of the future, what will it mean for a place authentic? Will the whole digital realm remain placeless because it is constructed? When the simulation is so airtight that we can no longer tell the difference between reality of place and the simulation of place, is it still simulation? 36
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Satellite Image/The Land Ordinance of 1785/Supersurface Richard P. McCormick, “The ‘Ordinance’ of 1784?,” William and Mary Quarterly, Jan 1993, Vol. 50 Issue 1, pp 112–22 Photos: Google Maps. http://imgur.com/VA1gF1x. http://www.teladoiofirenze.it/tag/adolfo- natalini/. Boring Postcard Parr, Martin. Boring postcards USA. London: Phaidon, 2004. Photo: Martin Parr, Boring Postcards USA. Walgreen’s LeCavalier, Jesse. The rule of logistics: Walmart and the architecture of fulfillment. Minneapolis: University of Minnesota Press, 2016. Photo: Google Maps Streetview. World Centre Andersen, Hendrik Christian. Creation of a World Centre of Communication. Paris, 1913. Photo: Hendrik Christian Anderson, World Centre of Communication. Airport Rocking Chairs Sharma, Sarah. In the meantime: temporality and cultural politics. Durham: Duke University Press, 2014. Photo: JohnnyJet.com Villaggio Mall Villaggio Qatar. Accessed May 07, 2017. http://villaggioqatar.com/AboutUs/?cat=Welcome To Villaggio. “Venetians pack their bags as tourism takes its toll.” Reuters. November 12, 2016. Accessed May 07, 2017. http://www.reuters.com/article/us-italy-venice- protests-idUSKBN1370J0. Photos: Instagram, usernames: _carlo.inc_, rohinreghunath, shairinific, andreapabs Tourist Map Wood, Denis. The power of maps. London: Routledge, 1993. Photo: http://www.parthcement.com/Tourist-Map-Of-Hollywood.html. Primrose Winery Architecture Office Observations, Nicole McIntosh and Jonathan Louie Photos: Google Maps Streetview. http://mapio.net/s/13642742/. Window of the World Photos: http://ferrani-kasma.blogspot.com/. Instagram, usernames: rmarchel, thisisjoyymbong414, _jhilmil._, anggungea14, se7en.17, _kozyrsvetlana_, inkink_, zabishkaaa, ragil_apriyati. Disneyland Tunnels Photo: http://vintagedisneyparks.tumblr.com/page/533
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