The Architecture of Hip-Hop by Stephen Parsons

ISSU E 01.

05-17

URBAN(E). T H E A RCHIT ECT U R E OF HIP-HOP

GEOGR A PHIC U R BA N ISSU ES

M AY 2017

H O W T H E BU ILT E N V IRON M E N T C U LTIVAT E D A GE N R E

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

Contents 2

Geographic Urban Issues

Introduction

Contents Abstract

The Birth of Hip-Hop

1520 Sedgwick Avenue

The Four Pillars

DJ's EmCee's B-Boy's Graffiti

The Fifth Pillar

The Built Environment Cultural Shifts

Le Corbusier

Le'Esprit Nouveau Ville Contemporaine Towers in the Park: Paris

Robert Moses

The Cross Bronx Expressway N.Y.C.H.A. Housing Projects Towers in the Park: New York

Post Occupancy Report

Inner City Voices Conclusions

References Audio Print Video Web

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

Abstract Although the beginnings of For decades, hip-hop artists hip-hop are geographically have relied on hooks and debated by some, it’s often verses to serve as a method universally accepted that of allusion illustrating the the musical genre as we know relationship between hip-hop it today was born in the and the built environment. basement recreation rooms From Brooklyn’s own Nas and at 1520 Sedgwick Avenue The Biggie, to Detroit’s Esham, Bronx, New York City, New York. Houston’s DJ Screw, to the Characterized as an otherwise Los Angeles line-up more unremarkable high-rise just formally known as N.W.A, hipnorth of the Cross Bronx hop artists have used their Expressway and hard along the music to offer a glimpse Major Deegan Expressway , 1520 into the disenfranchised, Sedgwick Avenue is a 100+ unit overcrowded, and degraded housing project in the Morris urban spaces and built Heights Neighborhood opened environment that have served as the result of community as a backdrop to the genre displacement and white flight since its inception. caused by the construction of the Cross Bronx Expressway. The Architecture of Hip-Hop: How The Built Environment Initially beginning as form of Cultivated a Genre seeks to musical expression, hip-hop explore and understand how quickly grew into an eccentric urban geographic process and diverse culture defined shaped and influenced hip-hop by various interpretations into the global phenomenon and combinations of song, it is today. A look into word, dance, and artwork. the four separate pillars Although diverse in practice, that were influential to the characterizations and development of hip-hop in vignettes of the trials and their own respective ways tribulations brought about by will be conducted followed life in the inner city have by an argument to promote and created a fabric that unifies advocate for a fifth pillar: hip-hop as a culture. the built environment.

The Birth of Hip-Hop.

Now way back in the days when hip-hop began. With Coke LaRock, Kool Herc and then Bam. B-boy's ran to the latest jam. But when it got shot up they went home and said... Damn. KRS-One South Bronx

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

1520 Sedgwick Avenue Initially beginning as form of musical expression, hip-hop quickly grew into an eccentric and diverse culture defined by various interpretations and combinations of song, word, dance, and artwork. Although diverse in practice, characterizations and vignettes of the trials and tribulations brought about by life in the

inner city

have created a fabric that

unifies hip-hop as a culture.

Characterized as

an otherwise unremarkable high rise just north of the

Cross Bronx Expressway and hard along the Major Deegan Expressway, 1520 Sedgwick Avenue is a 100+ unit housing project in the Morris Heights Neighborhood opened as the result of community displacement and white flight caused by the construction of the Cross Bronx Expressway.

The Four Pillars.

The new sound produced in the basement recreation rooms of 1520 Sedgwick Avenue sought to create a new order and harmony from New York City and refuted the concept of the city as an cultural disaster.

Unknown

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

The Foundation The Hip-Hop culture has long been defined and characterized by four distinct sub-cultures. Once DJ’s hit the scene in the basement recreation rooms of the housing projects in the South Bronx, the prolific rise of emcee’s, b-boy’s and graffiti artists was quick to follow. Each of these four pillars has played a significant role in not just the history of Hip-Hop but also its development.

Geographic Urban Issues

DJ's Without DJ's, the argument could be made that HipHop, as we know it today, simply wouldn't exist. In the unimaginably dense yet tight-knit communities that occupied the housing projects of the South Bronx, interaction amongst residents was common. What began as block parties and get together in the basement recreation rooms of these housing projects quickly grew into a cultural movement.

EmCee's Although Hip-Hop was born on the turntable(s), the rise of improvisational lyricists was not far behind. While DJ's were spinning tracks the EmCee's took over the mic. What began as shoutouts and banter between the crowd quickly morphed into a form of musical poetry. Coining phrases that are still heard in Hip-Hop today, EmCee's helped lay the foundation for the genre.

B-Boy's While DJ's were popularizing breakdowns, B-Boy's took center stage. As one of the most influential pillars of Hip-Hop in regards to it's growth, B-Boy's often traveled to across town parties repping their neighborhood crew. What the A1 B-Boy's were doing on the floor influenced not only the DJ's spinning tracks but also EmCee's on the microphone.

Graffiti Although the relationship between Hip-Hop and graffiti has been shrouded in controversy, it is without question that both of these cultures flourished simultaneously. The graffiti writerâ&#x20AC;&#x2122;s work, with its use of the built form as canvas and its inherently projective representational logic, carries more artistic gravity than any of the other pillars.

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

DJ's: Kool Herc Without DJ's, the argument could be made that Hip-Hop, as we know it today, simply wouldn't exist. In the unimaginably dense yet tight-knit communities that occupied the housing projects of the South Bronx, interaction amongst residents was common. What began as block parties and get-togethers in the basement recreation rooms of these housing projects quickly grew into a cultural movement.

MCs never showed loyalty yet. Kool Herc ainâ&#x20AC;&#x2122;t never get a royalty check. I do work, no question, and bomb your set. Iâ&#x20AC;&#x2122;m calm collect, sharp like my name Gillette The Roots The Web

Geographic Urban Issues

Kool Herc is often touted as

Hercâ&#x20AC;&#x2122;s use of dual turntables and

a revolutionary in regards to

his emphasis on what he called

the

and

breakdowns served as a catalyst

history of Hip-Hop. His basement

to the birth and evolution of

recreation room parties brought

not just Hip-Hop but also two

together

other pillars of the genre, the

cultural

development

communities

where

rhythm, song, dance and the arts

EmCeeâ&#x20AC;&#x2122;s and the B-Boy's.

flourished. 15

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

EmCee's: Coke La Rock Although Hip-Hop was born on the turntable(s), the rise of improvisational lyricists was not far behind. While DJ's were spinning tracks in the basement recreation rooms of the South Bronx, the EmCee's were took over the mic. What began as shoutouts and banter between the crowd quickly morphed into a form of musical poetry. Coining phrases that are still heard in Hip-Hop today, EmCee's helped lay the foundation for the genre.

Now way back in the days when hip-hop began... With Coke LaRock, Kool Herc and then Bam... B-boy's ran to the latest jam... But when it got shot up they went home and said... Damn.

KRS-One South Bronx

Geographic Urban Issues

Long time friend and musical partner to Kool Herc, Coke La Rock helped lay the foundation for Hip-Hop as one of the genres first EmCee’s. What began as shout-outs and banter between him and the audience slowly grew into a form of poetry.

Coining phrases such as Hotel, Motel...You don’t tell, We don’t tell, Coke La Rock cemented himself as Hip-Hop’s first improvisational lyricist garnering the respect of all that would follow in his footsteps.

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

B-Boy's: Crazy Legs While DJ's were popularizing breakdowns, B-Boy's took center stage. As one of the most influential pillars of Hip-Hop in regards to it's growth, B-Boy's often traveled to across town parties repping their neighborhood crew. What the A1 B-Boy's were doing on the floor influenced not only the DJ's spinning tracks but also EmCee's on the microphone.

Cause you never seen styles like these. Even got b-boys on the scene. They bring the crowd straight to they knees. Warriors, dance floors, under siege, Grandmaster Flash Tribute to the Breakdancer

Geographic Urban Issues

At the basement recreation room Through his keen observation, parties in the South Bronx, the he witnessed the attitude and DJ’s brought the music, the energy of the audience reach EmCee’s brought the rhymes, and its peak when tracks hit their the B-Boy’s brought the energy. instrumental breaks. After DJ Herc fused the instrumental Kool Herc popularized the break breaks of various funk records beat, the B-Boy's quickly jumped using two turn tables while on the opportunity. gauging the effects on a live audience.

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

Graffiti: DONDI White Although the relationship between Hip-Hop and graffiti has been shrouded in controversy, it is without question that both of these cultures flourished simultaneously. The graffiti writerâ&#x20AC;&#x2122;s work, with its use of the built form as canvas and its inherently projective representational logic, carries more artistic gravity than any of the other pillars.

Yo, what the fuck happen to reality spitting rhyme slayers? These days everybody trying to be a thug or a player. Where did all the real motherfuckers go in the game? Bring back the break dancers and graffiti writers with fame. Immortal Technique Revolutionary

Geographic Urban Issues

As the Fourth Pillar of Hip-Hop, As tag's, throw-up's, and later in can be argued that the works more elaborate pieces became of graffiti artists carries the popular...no surface was left most weight when advocating untouched. Street walls, bridges, for the Fifth Pillar. The built billboards, and most importantly environment served as a canvas subway cars shifted dramatically in which graffiti permanently from their engineered, dystopian and systematically altering the aesthetic to a more vibrant yet communicative piece that perception of the inner city. characterized the inner city.

The Fifth Pillar.

Housing projects are a great metaphor for the government's relationship to its poor citizens. These huge islands built mostly in the middle of nowhere, designed to warehouse lives. Jay-Z

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

The Built Environment Although diverse in practice, characterizations and vignettes of the trials and tribulations brought about by life in the inner city have created a fabric that unifies hip-hop as a subculture.

Geographic Urban Issues

When analyzing each of the three

significant

cultural

eras in Western civilization, Modernism, the Baroque, and the Renaissance, it becomes clear

that

each

these

movements promoted expression through five distinct creative

While DJ's, EmCee's, B-Boy's and Graffiti

outlets: music, song, dance,

are all acounted for, somehow Architecture

artwork,

was lost. Whether its inaccessability is

Cross

and

architecture.

examination

between

relative to the status of the underclass

these three cultural eras and

and underprivledged can be debated, Hip-

Hip-Hop reveals that each of

Hop, as we know it today, however, would not

these "creative outlets" has

exist without the significant influence

its

that the built environment served in its

counterpart

within

four pillars of Hip-Hop.

the

creation. 25

Le Corbusier.

Society is filled with violent desire for something which it may obtain or may not. Everything lies in that: Everything depends on the effort made and the attention paid to these alarming symptoms. Architecture or Revolution? Revolution can be avoided.

Le Corbusier

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

Le'Esprit Nouveau 28

Geographic Urban Issues

Ville Contemporaine An influential and icon architect and urban planner at the turn of the 20th century,

Charles-Édouard

Jeanneret,

known more formally as Le Corbusier, devoted

himself

and

his

works

advocating for those disparaged by the conditions of dense, inner city living. His theories have left a significant mark on not only architects but urban planners and policy makers alike. Based on the imaginative theories of his mentor, Auguste Perret, Le Corbusier envisioned what he hailed as his Ville Contemporaine. Authoring a series of personal essays and articles published in L’Esprit Nouveau (The New Spirit), Le Corbusier developed a utopian plan to remedy dense inner city conditions. As a part of his Ville Contemporaine, Le Corbusier’s famous Towers In The Park

concept,

high-rises

series

interspersed

of with

soaring parks,

aimed to bring democracy and equality through

the

built

environment.

believed enlightened buildings would create enlightened citizens. Officials in Paris thought his idea were crazy and never implemented Le Corbusier’s plans. 29

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

Towers in the Park: Paris "To be modern is not a fashion, it is a state. It is necessary to understand history, and he who understands history knows how to find continuity between that which was, that which is, and that which will be." Le Corbusier

Paris: Le Corbusierâ&#x20AC;&#x2122;s Towers In The Park proposal hoped to not only provide a physical resource to the working middle class, it also sought to bring social, political, and economic capital to the declining inner city as well. The Towers In The Park Proposal was designed as a solution addressing the dense and blighted central business district of Paris. Often criticized as a direct transposition of his preceding proposal, Contemporary City for Three Million, Le Corbusiers Towers In The Park included buildings organized in a repetitive, orthogonal grid occupying a predominant section of the right bank of the Seine River. Le Corbusiers Towers In The Park Concept was highly structured and emphasized two new traffic arteries which essentially bisected the city, both north to south and east to west. 30

Setback from these arteries, a series of soaring high-rises interspersed with parks, aimed to bring democracy and equality through the built environment. Le Corbusier believed enlightened buildings would create enlightened citizens. Officials in Paris thought his idea were crazy and never implemented Le Corbusierâ&#x20AC;&#x2122;s plans.

Geographic Urban Issues

Physical Amongst his other ventures, Le Corbusier was an architect after all. His proposal for densely populated, soaring towers bisected by unbound park space was the cornerstone of his ideas laid forth in Le'Esprit Nouveau. The physical landscape was to be complemented by the following.

Social Within the built environment that defined his Towers in the Park Proposal, Le Corbusier advocated for public spaces designed and programmed to promote social interaction amongst members of the community encouraging not only a sense of belonging but ownership.

Political As a proponent of democracy and equality for citizens disenfranchised brought about by their surrounding built environment, Le Corbusier emphasized social and political involvement of those in which he advocated for by creating environments which promote diplomacy at the public level.

Economic Without economic opportunity, the working class of the dense and declining inner city was simply destined to fail. Along with the physical, social, and political aspects of Le Corbusier's vision, economic opportunity was essential to the success of his Le'Esprit Nouveau. 31

Robert Moses.

The housing shortage will bring about revolution. Be alert to housing.

Architecture Au Revolution

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

Cross Bronx Expressway The The New York City Housing Authority under the direction of Moses implemented many of these physical utopian styles stripped of the social, political, and economic objectives that their predecessors emphasized.

Cross

Bronx

Expressway,

known

colloquially, was the brainchild of Robert Moses. Historically,

this

urban

renewal

project

has

been blamed for bisecting the Bronx roughly in half, causing a migration of middle and upper class residents to the north and leaving South Bronx to become an underserved slum of lowincome residents. It displaced as many as 5,000 families when an alternate proposed route just one block south would have only affected just 1-2% of that amount. Favoring

a culture center

around the automobile, Moses place significant emphasis on building highways instead of subways in order to grow the city. More on Moses and his influence later...

Geographic Urban Issues

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

URBAN(E). / Issue No. 1 May 2017

N.Y.C.H.A. Housing Projects The construction of The Cross not

Bronx only

Expressway

altered

the

physical landscape of the neighborhoods

South

Bronx but also the social, political,

and

landscape

economic

well.

Displacement of families led to the establishment of

poorly

funded

minimally high

and

maintained,

density

projects

housing

leaving

South 4.

Bronx in a perpetual state of decay. Unbeknownst to Moses, many of the housing projects as

are

ground

now

zero

known

for

culture that emerged from the rubble of his utopian vision. The adjacent map illustrates four of the most influential housing projects in regards to the development of Hip-Hop.

Geographic Urban Issues

The adjacent map illustrates many of the housing projects built following the construction of the Cross Bronx Expressway.

The distribution of housing projects between North and South Bronx should be noted.

1. Cedar Park Hip-Hop’s Mecca. At the western terminus of the Cross Bronx Expressway, Cedar Park shares a home with 1520 Sedgwick Avenue. 2. Morris Heights Neighboring Cedar Park, Morris Heights was a breeding ground for the Hip-Hop culture home to many of the genres O.G’s. 3. Tremont Bisected by the Cross Bronx Expressway, Tremont remains in a perpetual state of poverty and disrepair credited to the expressways construction even though more viable options existed. 4. Bronx River Houses At the confluence of the Cross Bronx Expressway and the Bronx River Parkway, it’s often argued that this project is considered ground zero of hip-hop culture. 37

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

Towers in the Park: New York City "That is Utopia, itâ&#x20AC;&#x2122;s what Robert Moses thought he was bringing to the inner city as well, as he implemented this idea of slum clearance during the construction of the Cross Bronx Expressway." Mike Ford

New York City: Although Robert Moses, at one point in time, held twelve simultaneous public positions within the City of New York, he was never elected to any form of public office. Regardless of his position, Moses developed numerous positions of authority that essentially gave him autonomy from both the general public as well as elected officials. Sometimes characterized as tyrannical yet undoubtedly In an adaptation of Le Corbusiers efficient, Robert Moses accomplished original theories, Moses' New more during his forty-year tenure Urbanism significantly increased in sculpting the physical, social, the divide between class and culture, political, and economic conditions a divide that was already existent required for the birth of Hip-Hop. in the post-war New York landscape. Moses' vision for the city of New Robert Moses' plans for urban York indifferently bulldozed its renewal propped up the affluent and way through poverty stricken slums, relegated the impoverished to public middle-class neighborhoods, and housing projects and overcrowded penthouse estates alike. city transit...a perfect breeding ground for an emergent culture.

Geographic Urban Issues

Physical In an attempt to reduce the displacement caused by development and construction of the Cross Bronx Expressway, Moses looked to Le Corbusier for inspiration implementing many of these physical utopian styles stripped of their social, political, and economic objectives. Social Within the built environment that defined his Towers in the Park Proposal, Le Corbusier advocated for public spaces designed and programmed to promote social interaction amongst members of the community encouraging not only a sense of belonging but ownership.

Post Occupancy Report.

Step in to my highrise hell, you gots to be on the up and up. Watch your back, pump your crack, but don't forget to re-up. A burner's your God and you pray to it all day, then at night, you catch a body. But it's just the shit you got to do, cause if you wasn't watchin...they'd catch your ass too. Mobb Deep Project Hallways

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

URBAN(E). / Issue No. 1 May 2017

Inner City Voices.

The question is, how can we use these vignettes and characterizations as a lens? As many of Robert Moses' high

density,

low

income

housing

projects continue to deteriorate, an investigation into the implications of the built environment through the music, song, dance, and artwork of the Hip-Hop culture needs to be conducted. Whether it's Grandmaster Flash, Nas, or the Wu-Tang Clan, Hip-Hop

artists

have

used

their

music to offer a glimpse into the disenfranchised, overcrowded, and degraded

urban

environment

spaces

that

have

and

built

served

a backdrop to the genre since its Within

the

structures

inception.

inspired

by Le Corbusier and built at the recommendation

Robert

Moses

stands the Fifth Pillar of Hip-Hop. Juxtaposing the buildings in which the

culture

flourished,

extreme

density rates with minimal space catering

privacy,

created

breeding ground where the other four pillars of Hip-Hop were conceived. For decades, hip-hop artists have relied on hooks and verses to serve as a method of allusion illustrating the

relationship

between

hip-hop

and the built environment. 42

Geographic Urban Issues

Grandmaster Flash The Message Broken glass everywhere, people pissin' on the stairs. You know, they just don't care. I can't take the smell, can't take the noise. Got no money to move out, I guess I got no choice.

Nas Project Windows I used to stare, five stories down, basketball courts, shot up playgrounds. I witnessed the murders, police shake-downs. Yo the hustlers and hoes, the drugs and fofo's. This was the life of every kid lookinâ&#x20AC;&#x2122; out project windows.

Wu-Tang Clan S.O.S. Street chronicle, wise words by the abominable. High honorable, rap quotable phenomenal Seniority kid, I speak for the minority. Ghetto poverty, f*** the housing authority.

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

Conclusions The Architecture of Hip-Hop "Music is the liquid state of architecture; Architecture is frozen state of music."â&#x20AC;? Johann Wolfgang von Goethe

Similar to the design development process used by Architects and Urban Planners alike, the early works of DJ's and EmCee's align closely with their cohorts in regards to method and practice. Through the use of sampled tracks and improvisational lyrics, DJ's and EmCee's used what was familiar to most in a fresh and engaging manner. A similar methodology is commonly used by architects not only in the design process, but also in regards to adaptive reuse and historic preservation. If you look past the commonly discussed relationship between dance and architecture, an argument centered around use of public space and even exercises in place-making could be made to justify the relationship between B-Boy's and Architecture. What began at the recreation room parties slowly found its way to street corners, subway platforms, and back alleys...temporary installations centered around a cardboard box. If DJ's and EmCee's account for method and process, B-Boy's represent the form.

Lastly, Graffiti. It can be argued that the works of graffiti artists carries the most weight when advocating for the Fifth Pillar. The built environment served as a canvas in which graffiti permanently and systematically altering the perception of the inner city. While Architecture as a discipline, profession, and practice has not unilaterally embraced the Hip-Hop culture, the same sentiments are not reciprocated.

Ladies and Gentlemen, The Bronx is Burning. Howard Cocell

URBAN(E). / Issue No. 1 May 2017

The Architecure of Hip-Hop How the Built Environment Cultivated a Genre

References Audio:

Print:

Video:

Project Hallways: Mobb Deep

Archi.Pop: D. Medina Lasansky

American Experience, The World

Project Windows: Nas

Black Los Angeles: Hunt & Ramon

That Robert Moses Built: PBS

Revolutionary: Immortal

Hip-Hop & Urban Policy: Sylvia

Hip-Hop Evolution: HBO Original

Technique

Faure

Series

S.O.S: Wu-Tang Clan

Hip-Hop Urbanism Old and New:

Screwed In Houston: Vice

South Bronx: KRS-One

Michael Jeffries

The Get Down: Netflix Original

The Message: Grandmaster Flash &

Music & Urban Geography: Adam

Series

The Gurious Five

Krims

The Web: The Roots

Origins of the Urban Crisis:

Tribute to the Breakdancer:

Thomas Sugrue

Grandmaster Flash & The Furious

The Aesthetics of Equity: Craig

Five

L. Wilkins The Fifth Pillar, A Case for HipHop Architecture: Sekou Cooke The Hip-Hop Wars: Tricia Rose The Hood Comes First: Murray Foreman The Power Broker: Robert Caro Wrapped Space, The Architecture of Hip-Hop: Craig Wilkins

Archi. Pop

The Origins of the Urban Crisis

Mediating Architecturein Pop Culture

Race and Inequality in Postwar Detroit

D. Medina Lasansky

Thomas J. Sugrue

Geographic Urban Issues

Web:

Los Angeles Riots: Rap Foretold

1520 Sedwick Avenue: Wikipedia

Them & Grew After Them: Los

The Cross Bronx Expressway: Wikipedia

Brandnu Design Group

Angeles Times

The Fifth Element: Hip-Hop As A

Extended History for the Hip-

North America’s Radiant City, Le

Weapon Of The Oppressed

Hop Industry of Houston: Marco L.

Corbusier’s Impact on NYC: Arch

The Geography of Hip-Hop: Vice

Daniel

Daily

The Hidden World of Rap in the

Hip-Hop & Sense of Urban Place:

North Americas Radiant City, Le

City: The Protocity

Expertsure

Corbusiers Impact on New York:

The Holy House of Hip-Hop: New

Hip-Hop Culture And Graffiti

ArchDaily

York Magazine

Today: Hip-Hop Area

Relationship Between Hip-Hop &

The Legacy of Robert Moses: PBS

Houston & Lean: A Hip-Hop

Architecture: Vibe

The Watts Riots

Tragedy: Houston Press

Robert Moses & The Cross Bronx

Towards a Hip-Hop Architecture:

How Architecture & Shitty Urban

Expressway: Hip To The Hop

Section Cut

Planning Created Hip-Hop: Detroit

Culture

Towers In The Park, Le

Metro Times

Robert Moses & The Cross Bronx

Corbusiers Influence in NYC: 6SqFt

How Bad Urban Planning Led to

Expressway: History 3460

the Birth of a Billion Dollar

Robert Moses: Untapped Cities

Genre: Fader

Robert Moses: Wikipedia

How Music & Environment

Screwed In Houston: Vice

Influence Each Other: Curbed

Documentary

Le Corbusier: Wikipedia

Stamen Maps

The Aesthetics of Equity

The Hood Comes First

The Power Broker

Notes on Race, Space, Architecture, and Music.

Race, Space, and Place in Rap and Hip-Hop

Robert Moses and the Fall of New York

Craig L. Wilkins

Murray Forman

Robert A. Caro

T H E A RCHIT ECT U R E OF HIP-HOP H O W T H E BU ILT E N V IRON M E N T C U LTIVAT E D A GE N R E

2 0 17