Structuring the Tradition:
Reinventing the New Queer Space for the Contemporary Society bricks wall
performing stage
red steel column
Written by Kian-Lek CHOI
I hereby declare that this dissertation is my own work and has not been submitted for any other award. All other sources of information that have been used in this dissertation have been acknowledged.
15 JAN 2017
NAME
Choi Kian Lek
UNIVERSITY
University of Greenwich ID NUM
000 903 627
DECLARATION
3
Table of Content
ABSTRACT
7 10
Keywords
A
INTRODUCTION
A1
12 A2
Gender Queer
Gender, Sexuality, Community and Architecture
16 22
A3
Queer Space
B
C
FRAMING
27
B1
Voyeurism, Spectatorship and In/Visibility
'The Skin I Lived In'
STRUCTURING
C1
42 C2
D
E
Vauxhall Pleasure Garden’s Queer Appeal
NARRATING
Proprietor’s Ambitious and Patron’s Desires
48
56
CONCLUSION
D1
Royal Vauxhall Tavern
E1
72
BIBLIOGRAPHY 78
The New Queer Design Methodology
Reinventing the New Queer Space for the Contemporary Society
I cannot claim t ‘Queer Things’ tre pages are ‘unknow very queer indee But most of them considered and not except by those lies that way.
ABSTRACT
7
Harper, 1924
that many of the reated of in these wn’. It would be ed if they were. m are but little ot greatly visited whose business
Reinventing the New Queer Space for the Contemporary Society
8
Architecture is enduring an obvious revolution in the discourse between aesthetics and form-making, gradually less concerned due to the discussion between gender, sexuality and space performances. The argument in this dissertation engages in ‘ ’. This discussion provokes and offers us an opportunity with the space to reorient queerness as a new structure and educate mode of desiring that bring new animated social realm, opportunities and potential by discussing between the critiques of patron’s desires on thinking and manipulating space performances, practices and the toiling of new gender and sexuality aspect, defining this as queer space.
9 More specifically to consider a space is queer, it is particularly important of which way social uses in space transforms fields of relationships in voyeurism, spectatorship and visibility. In the first chapter, I will introduce a film conceived and produced by Pedro Almodóvar, The Skin I Live in, which has defined spatial attempts to reveal the shifting spatial relationships and voyeuristic scenes between genders. Following by the second chapter, I will discuss queer space contextually and attempt to draw back some queer historic textures from my design studio research site in Vauxhall Pleasure Gardens and Vauxhall Royal Tavern, Wandsworth in London. This chapter will map out how Vauxhall Pleasure Gardens contextually encouraged a queer social-culture formed in the past based on the tension between proprietor’s ambitious and patron’s desires. Seeing this contemporary society or patrons of Vauxhall Pleasure Gardens back at the old times majority as heteronormative, this dissertation is the most rigid evidence to frame the formation of ‘queer’ and ‘non-queer’ cultural and community based on certain encouraging and discouraging context. But “queerness” is untouchable yet it is an ideality. (Muñoz, 2009) The shaping of queer capital is clearly noticeable to us now within the urban environment when the boundary between the normative and non-normative social structure is become gradually ambiguous. Tracing, recovering and structuring the queer past in its spatial dynamics is undoubtedly a tricky affair. Somehow I could be never quite sure what I am looking for. People are not all heterosexual or homosexual, our community is built upon various races, identities, cultures and
sexualities. Consequently, to study queer space from these case studies, I investigate how the space is used and manipulated by the occupant’s gender, sexuality and their desires. From this, it might be assumed that architecture is influenced and challenged by new gender and sexuality through people's everyday practices and performances. Therefore, this dissertation considers about queer theories and studies which surrounding the context encouragement and shifting spatial relationship of queer space, on one level, to map the queer space. Beginning with defining the term ‘gender queer’ and ‘queer space’, I use ‘queer’ to suggest some approaches from my film study, The Skin I Lived In and my design studio research site, Vauxhall Pleasure Gardens and Royal Vauxhall Tavern. Study of the dimension of queer space within gender and sexuality is intended to constitute a new comprehension and understanding of queer space for the contemporary society.
ABSTRACT
Reinventing the New Queer Space for the Contemporary Society
10
space performances and practices new genders and sexuality voyeurism and spectatorship ABSTRACT
11
proprietor’s ambitious and patron desires
Keywords
building visibility
Reinventing the New Queer Space for the Contemporary Society
Part A1
12
GENDER, SEXUALITY, COMMUNITY AND ARCHITECTURE INTRODUCTION
Gender, Sexuality, Community and Architecture
13 Architecture has always been discussed by theorists, critics and historians after designed by professional architects, self-contained objects in terms of style and aesthetics. On the other hand, in my case studies, Vauxhall Pleasure Garden and Royal Vauxhall Tavern have been discussed by social critics before and they refer them as a process of capitalism through architecture. In other words, it delivers political, social and cultural values through architecture. (King,1980) After all, such works have been discussed from various aspects solemnly but they rarely focused on issues of gender and sexuality specifically. Thus, some theorists and architects started to examine and extend on the critical methodologies to reorient and reconsider architecture which start from the potential issues regarding spatial placing, in/visibility, economics and the politics of assimilation and exclusion which are keys to study of queer spaces in London. (Avery and Graham, 2016)
Reinventing the New Queer Space for the Contemporary Society
14
Space is not measured geometrically, but virtually guiding by people’s everyday practices. In some way, it directly influences our socialcultural phenomenon. (Rendell, Penner and Borden, 2000) Refering to the Vauxhall Pleasure Gardens researcher, David Coke said, the success of Vauxhall Pleasure Garden is because of the Gardens is well manipulated by the proprietor in providing an attractive atmosphere given to feed the huge crowd desires by a great combination of music performances like orchestra, thousands of candlelit lamp, fireworks and light refreshment. (Anon, 2016) This was their profitable magic to be an outstanding garden-game player at that time by fitting in the space performance and practices into patron’s desires.
INTRODUCTION
Gender, Sexuality, Community and Architecture
15
Seeing this contemporary society or patrons of Vauxhall Pleasure Gardens back at the old times majority as heteronormative, this dissertation is the most rigid evidence to frame the formation of ‘queer’ and ‘non-queer’ cultural and community based on certain encouraging and discouraging context.
manipulated by the occupant’s gender, sexuality and their desires. From this, it might be assumed that architecture is influenced and challenged by new gender and sexuality through people everyday practices and performances.
But “queerness” is untouchable yet it is an ideality. (Muñoz, 2009) The shaping of queer capital is clearly noticeable to us now within the urban environment when the boundary between the normative and non-normative social structure is become gradually ambiguous.
Therefore, t his disser tation considers about queer theories and s t u d ie s w h ic h s u r r ou nd i n g t he context encouragement and shifting spatial relationship of queer space, on one level, to map the queer space. Beginning with defining the term ‘gender queer’ and ‘queer space’, I use ‘queer’ to suggest some approaches from my film study, The Skin I Lived In and my design studio research site, Vauxhall Pleasure Gardens and Roya l Vauxha ll Tavern. Study of the dimension of queer space within gender and sexuality is intended to constitute a new comprehension and understanding of queer space for the contemporary society.
Tracing, recovering and structuring the queer past in its spatial dynamics is undoubtedly a tricky affair. Somehow I could be never quite sure what I am looking for. People are not all heterosexual or homosexua l, our communit y is built upon various races, identities, cultures and sexualities. Consequently, to study queer space from these case studies, I investigate how the space is used and
Reinventing the New Queer Space for the Contemporary Society
Part A2
16
GENDER QUEER INTRODUCTION
Gender Queer
17
What is your understanding of Gender Queer? In a broader context to define the term gender queer, it is principally used to identify those who “queered” gender by defying oppressive gender norms in the course of their binary-defying activism, and this term has been used broadly since the 1990s. (Urquhart,2015) By separating the term into “gender” and “queer”, gender defined as “Sex tends to refer to biological differences, while gender refers to cultural or social ones.” By referring to the Oxford Dictionaries Online, it defines gender as “the state of being male or female” only. Unpacking gender is a complex task since there are psychological and socio-cultural factors in shaping of gender identity. On the other hand, queer, which is a word that has been used rottenly as a tool to insult people, and it is now more commonly used as an umbrella term to refer to LGBT rights and theory, as in “Queer Theory”, and to refer to all non-normative sexualities and gender identities. In my point of view, genderqueer is envisioned to comprehend people who feel confused and insufficient to define their gender and sexuality by using the terms like male and female or man and women, or it can be understood as somewhat newer and less politicised term non-binary.
Reinventing the New Queer Space for the Contemporary Society
Genderqueer is ab that gender expres is not binary, tha than just two ge Jordan Miller, a Atlanta w ho d es as genderqueer, transgender, and f
INTRODUCTION
Gender Queer
19
bout acknowledging ssion and identity at there are more enders,” explained grad student in scribed zirself transmasculine, femme. 1 “Ze and hir” is the most popular form of gender-free pronoun in the online genderqueer community, derived from the earlier “sie and hir,” which were considered too feminine/female-sounding since “sie” is German for “she” (among other things), and “hir” was a feminine pronoun in Middle English. The current forms are still leaning on feminine, by using the same declensions as “she.” “Hir,” although it’s supposed to be pronounced “here,” is read as “her” by many people unfamiliar with the term, and the less-gendered alternative, “zir,” along with “ze” itself, often runs into problems when it follows a word ending in an “s” or “z” (or “th”) sound, sometimes sounding just like “her” and “he.” For example, read this sentence aloud: “As ze looked up at the stars, ze realized that this was zir favorite moment of them all.” This isn’t as much of a problem with “ze,” which doesn’t follow words ending in s/z terribly often, but the problem occurs much more often with “zir” than it did with any of the declensions of “ne” or “ve.”
Urquhart, 2015
1
Reinventing the New Queer Space for the Contemporary Society
20
An alternative view is provided from Marilyn Roxie (a non-binary rights and education advocate) article about Genderqueer to give a clearer picture of how to define gender queer, and it has been categorised into six groups as below. (Roxie,2011) 1
2
3
man,and woman in one body neither man nor woman shifting between two or more genders INTRODUCTION
Gender Queer
4
21 third gendered or other-gendered (a group who like better “genderqueer” or “nonbinary” to describe their gender without labelling it otherwise)
5
overlap / blur of gender
6
queer gender in presentation or otherwise, who may or may not see themselves as non-binary or having a gender that is queer; this category may also include those who are consciously political or radical in their understanding of being genderqueer
Thus, LGBTQ community, as representing the term and definition of gender queer, they provoke themselves are intellectually based in queer theory and culturally practiced by individuals instead of based on the binary gender. It implies that what they share is a deep, persistent unease with being associated only with the binary gender assigned to them from infancy. Apart from that, their expression, experiences, and preferences vary greatly from individual to individual.
Reinventing the New Queer Space for the Contemporary Society
The perception of not what the spac performances and society may never but it can be f illumination of ho potentially.
INTRODUCTION
Queer Space
23
MuĂąoz, 2009
f queer space is ce is but of its d practices. The r touch queerness feel as the warm orizon imbued with
Reinventing the New Queer Space for the Contemporary Society
Part A3
24
QUEER SPACE INTRODUCTION
Queer Space
25
Understood this way, the term “queer space” is not about static architecture when we drift into queer studies, it is an ideality, or even it might be not yet existing. (Muñoz, 2009, pp.1) Conversely, the perception of queer space is not who and what the space designed for but of its performances and practices when it comes to same-sex desire or gender queer. Regarding the quotation above from the book Cruising Utopia by José Esteban Muñoz, “the warm illumination” suggests me to think that it can be drawn as the activeness of the space performance and people’s everyday practices, and all these are contextually encouraged. Performance or installation art, normally it is a performing event which directly engages with space from one or a group of people present to the audiences or through an individual behaviour passively activating the space by his own way.
Reinventing the New Queer Space for the Contemporary Society
26
Strictly speaking, throughout the both ways of how performances engage directly with space are not just for identities the space to queer, but it is challenging and stimulating the normative uses of architecture vigorously as they relate to issues of relationship of subjectivity and objectivity, voyeurism and spectatorship as well as visibility. Based on how Simon Avery interpreted ‘queerness’ of Vauxhall Pleasure Gardens, it is all about oddness and defamiliarization. Yet, it still needs to deal with the gender revolution and nonnormative behaviours. (Avery and Graham, 2016, pp.4) Hereafter, in a bigger aspect to discuss, architecture space has undergone processes of queering, a large social landscape is transformed and occurred based on the relationship between queer identity and the society. For instance, questions and topics surrounding nonnormative social structure and perceived transgressive behaviours and sexualities are methodically coming up in this society. Subsequently, queerness is existing and evolving in our social realm, but in so far, it somehow potentially develops the future of social relations. And queer space does not exist yet until the shifting spatial relationships associate with the space occupants based on a series of gender, sexuality and desires analyses.
INTRODUCTION
Voyeurism, Spectatorship and Visibility
Part B1
27
VOYEURISM, SPECTATORSHIP AND IN/ VISIBILITY FRAMING
The Skin I Live In, 2011
Reinventing the New Queer Space for the Contemporary Society
30
A film written and directed by Pedro Almodóvar, a director who enjoys sexy darkness pleasure and induces horror and queasiness story without screams or frights. In most of his previous movies, he introduced voluptuous perversion, tricky story diversion, a devious interlacing between the past and present, and it illustrates them on a striking colour canvas. (Ebert, 2016) 01
The Skin I Live In (fig.01), is one of the few scripts that Almodóvar has adapted somebody else’s story. (Rendell, 1986) It drenched with truly macabre suspense thriller ingredients by implicating outraged scie nt ist, b o d y p arts, twisted revenge, personal captives and hidden revenge.
fig.01
Opening of the movie shows the surveillance camera which was placed in the Jail-Bedroom of Young Vera.
Yet, what stands this film out is the director has indicated crazed and voyeuristic scenes for the audiences to unfold on a screen at home, treating it like a torturing entertainment rather than those typical entertainments. A film indirectly projects different aspects and issues of our society nowadays such as social, cultural, political or even gender and sexuality to open audience viewing’s pleasure. On a deeper analysis, Pedro Almodóvar incredibly perverse this film based on the theme of sexuality and the prison house, a new realm of the sick-room is taken in this luxury pulp fiction. Dr. Robert Ledgard (Antonio Banderas), a skilled and wealthy plastic surgeon who has tried to investigate a new skin that could save his wife, Vera who died of burns in a car crash accident. Robert was secretly experimenting to create the new skin on the body of the gorgeous submissive young Vera (Elena Anaya) in his own private operating theatre with full equipment, which located inside his palatial home. Finally, after 12 years, Robert succeeded to create a new artificial skin for young Vera by mutating it from pig cell. Treated as a prisoner has everything luxury except freedom, is the young Vera his long-lost beloved wife? Or it might be someone else completely? Why and what is the reason behind Robert of trying to resemble her? Either way, captor and captive appear to be in love. All these scenes are playing in my head continuously by inspiring the relationship of the occupants and the space.
FRAMING
Voyeurism, Spectatorship and Visibility
31
A Devoted Surveillance: Robert and His Scientific Toy
Reinventing the New Queer Space for the Contemporary Society
32
In this scene (fig.02), Robert watches the young Vera on a big closed-circuit TV in his own room like an art work, imagining how he can use plastic surgery to resemble the ideal woman in his mind from originally a male body Banderas. In this movie, Robert is using television as a tool between spaces to active the voyeurism, in which way a practice for him to gain sexual pleasure from observing young Vera while she is naked.
M eanw hile, psychologists also considered and proved that television is related to hum an psyche. (C o l o m b i a and Blommer, 1992, pp.214)
chanic, young Vera is lying on the other side of the bed, naked, with her back to the screen. Despite the darkness, Robert is contemplating the perfect curve of her shoulder and hips, the roundedness of her buttocks, outlined against the background of the wall covered with graphics. With all these promising settings, interestingly the television is not pure and simple anymore. The action and desire of the space occupants show that the television has become a media to build the voyeurism spacebridge between him and young Vera.
02
Moreover, the psychoanalysis based on television or film is also specifically studying to reflect human behaviours, motivations, and desires. (Benshoff, n.d) In this scene, a big screen television, pure and simple me-
fig.02
Robert observes Young Vera through a big closed-circuit TV from his room, while Young Vera completely know when he does it.
FRAMING
Voyeurism, Spectatorship and Visibility
33
Back to post-war America, when television still often suggested, women controlled husband’s sexual desires through television when there was a repeated of inversion of the gender separation of spheres (fig.03). (Colombia and Blommer, 1992, pp.214) Deviate the binary, young Vera is an inverted beautiful woman, she tried to seduce Robert through the screen to bring him into her room in exchange to get a chance from escaping out of the mansion, or a word “prison” might suit better for her. In this case, the subject and the object of the gaze have been reserved. Hence, the layers of voyeur ideology arise from the action of Robert from staring at the TV screen in his room, where the observed is also being the observer. Robert treats this as a fantasy experience for himself, an experience of “hyperrealism” through his own imaginative construction. However, the ascend of single-side (fig.04&05) and both-side (fig.06&07) voyeurism between them levelled the realm and atmosphere of the space. The conclusion of this part can be drawn with the scene engages with the practice of queering space through its atypical relationship. The queer space is not only building a space-bridge through layering of voyeurism from the television screen from Robert’s room to young Vera’s room, but also
fig.04 & 05
Movie Scenes show one-sided voyeurism relationship. Space-bridge is not built.
considered that they challenged the non-normative structure, transgressive practices and behaviours between the same sexed body. Despite Robert’s desire although he already aware young Vera is an inverted woman, and the unwillingness of young Vera does exist, this is when queer peculiar space appeals. 03
fig.03
Illustration portrayed the women tried to block the man’s view from the screen and censored make desire by standing in front of the set.
04
05
06
07
fig.06 & 07
Movie Scenes show double-sided voyeurism relationship. Space-bridge is built.
Reinventing the New Queer Space for the Contemporary Society
The “voyeur� in has become the ob gaze; she is caug seeing, entrapped ment of control view, the theatre the viewer.
FRAMING
Voyeurism, Spectatorship and Visibility
35
Colomina and Bloomer, 1992
the “theatre box” bject of another’s ght in the act of d in the very mol. In framing a e box also frames
Reinventing the New Queer Space for the Contemporary Society
36 A
B
C
A
Robert stared at young Vera secretly while she is doing yoga, one-sided voyeurism relationship occurred.
B
Robert and young Vera stared at each other for their own reasons and desires, double-sided voyeurism relationship occurred.
C
Thus, queer space enacted regarding on how space-bridge is built based on the space occupants’ desires through the voyeurism relationship.
FRAMING
Voyeurism, Spectatorship and Visibility
37
The Opaque Theathre Box
Reinventing the New Queer Space for the Contemporary Society
38 09
convoluting the relation between visibility and the space practices.
By discussing how a building melts in as a queer space, this scene reminds me of my research and study last year in “Redefining Urban Practices: Same-sex Desires and the Queer Space” about Philip’s Johnson Glass House and the Guest House challenge the norms. This opaque theatre box (fig.09) would introduce the hybrid from Johnson’s buildings, one completely transparent facade and exhibitionism while another is brick, almost windowless and entirely opaque. (Graham, 2016) The difference between Philip Johnson’s buildings and Robert’s operating theatre is Johnson’s buildings are separate but Robert’s is attached.
Robert’s private operating room, a reflection of Robert’s characteristic in the movie. It is a space where fully covered by red bricks and this space consider completely deviated from the world outside. From here it can be hypothesized that the solid wall acts as Robert’s mask, a mask where everyone sees but no one knows about his deep consciousness. In contrast, Robert hides his real expression in the transparent glass box. The layer of interior exposes the sexual-desires of reproduction, a space for Robert to express his crazy sex reassignment surgery. Thus, between the intersection of visibility and invisibility, queering is constantly running every time when Robert tries to hide himself while doing all these unspeakable experiments.
Space In/Visibility In the matter of voyeurism architecture, Adolf Loos defined all the architecture as an envelope of human body, and he described how clothes cover the body as how he designed his interior to cover and engage the occupants. (Colomina and Bloomer, 1992, pp.92) The picture (fig.09) shows Robert’s own private and operating theatre, a static ground-transparent glass box located precisely in the middle within an opaque space with brick walls everywhere. To discuss queerness of the theatre box, the scene breaks down the condition of the house by radically
fig. 09 Robert’s own operation room to examine his private experiment.
FRAMING
Voyeurism, Spectatorship and Visibility
39 S p a c e Pra c t i c e s Performance
&
The opaque theatre box becomes a place where the idea of architecture challenges the social norms. It is an architecture space where transgression happened. The space is to challenge, or go beyond architecture codes, disciplines, expectations and values together with challenge society norms itself. (Rice and Little field,2015, p.1) Robert completely replaces young Vera skin with a strange smooth simulated element from his secret experiment, which is transgenically derived from a pig skin. Regarding to that, the opaque theatre box is a space for Robert to break, fringe, violate or even go beyond the boundaries of his skill. At second viewing, in fact, why is this space illustrating a queer space?
It can be argued that the queer space is introduced based on the strong reflection of the occupant’s identity and practicing of transgression inhabits within this opaque yet exhibitionism theatre box. As a consequent of the queer space study from this film resulted in the layering of activeness performance between the character sexuality and personality within the space is far more captivating than the space itself. The tension between spaces and characters brings you into a virtual space of your imagination to study new dimension architecture that is related to issues and relationship of subjectivity and objectivity, voyeurism and spectatorship as well as in/visibility. When especially the young Vera is transgender inside the movie, together with space occupant’s ambitious and desires like Robert, a piece of queer space enacted. The movie itself creates exciting critics and new comprehension in queer architecture aspect of gender and sexuality, at least in this dissertation.
Transformation of Banderas from a male body to a female body in Robert’s operating bed.
Reinventing the New Queer Space for the Contemporary Society
Part C1
42
PROPRIETOR’S AMBITIOUS AND PATRON’S DESIRES STRUCTURING
Proprietor's Ambitious and Patron's Desires
43 11
fig. 11 Vauxhall Pleasure Gardens General Site Plan.
Reinventing the New Queer Space for the Contemporary Society
44
fig. 12 Old Site Plan of Vauxhall Pleasure Gardens.
Proprietor's Ambitious and Patron's Desires
45
In my dissertation as well as my Year 3 design studio project, Vauxhall Pleasure Garden has been chosen as my research site (fig.11). Vauxhall Pleasure Gardens established in the mid-seventeenth century on a twelve-acre site in Lambeth on the south bank of the River Thames (fig.12). It was a garden where it was only accessible by boats from the opposite of River Thames before the Vauxhall Bridge has been built in the 1810s. The main reasons of this gardens have become my research site is its intriguing social-cultural context and the presence of rich history values.
Since 1661 to 1859, for over 180 years the Vauxhall Gardens served the community as a dream-amusement place filled from subject music to visual art, it was known as one of the prominent public amusement venues in London. Running entertainment business p r i v a t e l y o n s i t e s i n g a rd e n f o r m , it was known as one of the great English inventions. This has led a huge transformation of how was the community defined a truly public space. Vauxhall Pleasure Gardens, officially relaunched by Tyres family as the earliest and significant true commercial pleasure garden in 1732. (Coke, 2015) The noteworthy enormous crowd moment of Vauxhall Pleasure Garden was in 1826 with 20,000 visitors just in one night. (Anon, 2016)
Reinventing the New Queer Space for the Contemporary Society
46
The attractive atmosphere (fig.13) given to feed the huge crowd desires by a great combination of music performances like orchestra, thousands of candle-lit lamp, fireworks and light refreshment. (Anon, 2016) This was their profitable magic to be an outstanding garden-game player at that time.
Increasing of similar amusement places in London has caused the gardens closed for a year in 1840 but re-opened in 1841 because of proprietor’s financial problem. Unfortunately, the garden was permanently closed in 1849 even Vauxhall Station was opened and mainly sustained the business of Vauxhall Pleasure Garden at certain level. (Anon, 2016)
As now, the Vauxhall Pleasure Garden is treated as a public park to the Vauxhall Community and managed by London Borough of Lambeth. The magnificent part of the gardens is to allow us to trace the connection between the business intention with the changing status and purposes of the garden over years of the both proprietor and, particularly, the patron. Jonathan Tyres, an important figure and the proprietor of Vauxhall Pleasure Garden, one-man band of business methodology might be the key reason why it was far succeeding as a commercial pleasure garden by comparing with the other gardens at that time, as historian David Coke (the author of Vauxhall Gardens: A History) explains during the trip to Vauxhall Pleasure Garden organized by Unit Seven on 8 November 2016. Vauxhall Pleasure Garden represented the revolution from an old traditional garden to a modern commercial pleasure garden mediated by desires, economy, ambition or other constraints. However, regarding to the research done by the David Coke (Coke, 2015), he stated that how Jonathan Tyres grew his extraordinary
STRUCTURING
Proprietor's Ambitious and Patron's Desires
47
business by focusing the space performance and practices to fit into the patron’s desires. Hence, a new and strong type of space can be formed and introduce to the public while the shifting of desire adapts and merge with the new aspects of construction and sociocultural practices are completely changed from the past. 13
14
15
fig. 13
fig. 14 & 15
Vauxhall Pleasure Gardens’ experience and atmosphere.
Vauxhall Pleasure Gardens Walking Tour with David Coke, great historian who spent 40 years to investigate Vauxhall Pleasure Gardens.
Reinventing the New Queer Space for the Contemporary Society
[It] is peculiarly a of the English nat mixture of curious bition, musick, vo tal, not too refin ear – for all whi is paid – and, tho good eating and dri choose to purchase
STRUCTURING
Vauxhall Pleasure Garden's Queer Appeal
49
Dr Johnson, quoted by Boswell (1776)
adapted to the taste tion; there being a s shew , gay exhiocal and instrumenned for the general ich only a shilling ough last not least, inking for those who that regale.
Reinventing the New Queer Space for the Contemporary Society
Part C2
50
VAUXHALL PLEASURE GARDEN’S QUEER APPEAL STRUCTURING
Vauxhall Pleasure Garden's Queer Appeal
51
Responding to the quote on page 49, Sarah Jane Downing stated that the Gardens’ entrance fee was only a shilling per evening, except for masquerade nights. Taken as a whole, Vauxhall Pleasure Gardens was never truly exclusive, it welcomed different class of social communities. (Downing,2009) Throughout the previous discussion, a new spatial relationship is demonstrated to the community based on how the proprietor constructed the significant public space by manipulating the space performances and practices by fitting into patron’s desires. Thus, I attempt to interpret ‘queer’ identification in this chapter through the construction and shifting of desires between the patrons while challenging the non-normative and perceived transgressive behaviours and sexuality. Besides, ‘queer’ also can be taken as a tension between how its diverse meanings might function or also how those interpretations might be connected or constructed based on
the question of history or associated with the historical. (Avery and Graham, 2016, pp.27) Granting of the Vauxhall Pleasure Gardens were well established within amusement field, and it all has been recorded in our historical parameters collection. There is, then, all these recorded histories allow us to open potential questions and problems of how we can define queer space. For instance, obviously and vitally, the quote above mentioned about gay exhibition together with curious shew and music performance, it illustrates and deals with specific moments and spaces in the Vauxhall Pleasure Gardens. Incidents such as the gardens’ pathways became a potential transgressive space for make samesex desires, and the first man who dressed like a woman appeared in the gardens are recorded in our history. Consequently, these incidents from the recorded history inform us the shifting of sexuality, gender and desires of the patrons did play a certain position in the formation of Vauxhall Pleasure Gardens queer space and those incidents will be developed specifically in the following writing.
Reinventing the New Queer Space for the Contemporary Society
52
The Dark Walks
STRUCTURING
Vauxhall Pleasure Garden's Queer Appeal
53 However, Vauxhall Pleasure Gardens also known as exotic outdoor pleasure garden because of its diverse entertainment. Predominantly the pathways inside the gardens, it has been designed by gardens’ designers with many rolls of floors height trees and the meandering walkways located in the middle of wooded areas. (Vauxhallandkennington.org.uk, 2016)
It was a pleasure pathways offered by the gardens, the families and children could enjoy the rural promenade securely. But, when the day turn dark, the space activated by threatening atmosphere. (Coke,2016) Other than pickpockets, these pitch-black pathways suggest the opportunity of romantic and sexual assignation to the patrons. Because of the almost concealed location and unlit atmosphere with the criticised of space of cross-class socialising, these pathways quickly enjoyed the notorious reputation caused by the prostitution and stealing activities. (Avery and Graham, 2016, pp.4) Back at 1712, Joseph Addison’s friend stated that he would be a more consistent patron of the Gardens if there were more Nightingales, and fewer Strumpets.’ (Downing, 2009, p.14) Nevertheless, the arrow also pointed the Gardens as a potential trans-
gressive space for male same-sex desire from the recent work by historians and geographers, with Miles Ogborn analysing the ‘malleability of identity associated with the Macaronis, whose ‘luxurious effeminacy’ wanted to confuse the heterosexual structuring of gazes.’ (Ogborn, 1997, pp.452,457) Furthermore, Michael Chanan and Rictor Norton stated few examples of molly and cross-dressing culture there. (Chanan, 1999, p.17) (Norton, 2016) Later at 1825, the dark walk forced to be lighten up by rolls of lamps due to the Gardens criticised by the local officials it was too popular in that respect, specifically is how the space utilised by the patrons during the dark time. (Avery and Graham, 2016, pp.5) The shifting and collapsing between cross-class socialising, upper and lower classes, heteronormative and homonormative desires within this garden space were consistently practicing. Hence, the dark walks were imaginative and reality constructed by the strangeness, threatening and defamiliar space atmosphere based on the patron’s desires shifting to uncover a new spatial relationship. Within this context, Vauxhall Pleasure Gardens raised the formation of queer space which augmented the potential of transgressive practices and behaviours in relates between same-sexed body and the urban space.
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Princess Seraphina: The First Man Who Dressed Like Women Appeared in the Pleasure Gardens
STRUCTURING
Vauxhall Pleasure Garden's Queer Appeal
55 Princess Seraphina was a regular patron of Vauxhall Pleasure Gardens, she went to these masquerades in the women appearance. To argue that the gardens is a piece of queer space, with her calico gown, mop-cap and smock, Michael and Rictor Norton are stating the example of molly/cross-dressing culture in the Gardens. (Norton, 2016) Thus, undoubtedly, it is one of the reason of the queer space is enacted based on this culture shifting. For instance, his “Midnight Masquerades” were strange and challenging but it tremendously successful, and provided many people -- women as well as men -- with the opportunity to explore fetishism and transvestism. Men disguised themselves as witches, bawds, nursing maids and shepherdesses, while women dressed as hussars, sailors, cardinals and boys from Mozart’s operas. (Coke,2016)
It was a pleasure pathways offered by the gardens, the families and children could enjoy the rural promenade securely. But, when the day turn dark, the space activated by threatening atmosphere. (Coke,2016) By structuring the formation of Vauxhall Pleasure Gardens’ queer space, a person we will never deviate from the history is John Cooper, also known as Princess Seraphina. She was a gentlemen’s servant, and acted as a messenger between mollies
(gay men). (Norton, 2016) Furthermore, the recorded history also gestured that she danced, flirted and shared sex experiences with the gentlemen in the Gardens. Besides, she even gained money by prostitution, and by arranging assignations between sodomites. (Anon, 2016) Within the repeats practicing of male same-sex desires, the gardens fundamentally formed a potential transgressive space, a heterosexual licentiousness space. Consequently, the queer space relationship here can be analysed based on the disruption of normative structure and a challenge of both heterocentric models between the Princess Seraphina and other patrons. This new concept of modern leisure, or we call it queering practices here, it plays a broad spatial turn in the socio culture and humanities. But this shifting from the gardens’ original leisure to so called ‘modern leisure’ was overwhelmed back at early nineteenth century and it always intricately bounded up with the pleasures that the gardens had to offer through culture consumption. Apart from that, with all these evidences, it provides various ways for us to cross-examine how queer space create, promote, control of narrow down to sexual identities and space practices. And how, in turn, these identities, practices and communities inf luence and structure spaces.
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NARRATING QUEER SPACE： ROYAL VAUXHALL TAVERN NARRATING
Narrating Queer Space
57
16
fig. 16 Royal Vauxhall Tavern, South London
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By structuring Vauxhall Pleasure Gardens’ queer space within the discussion between the space shifting relationship and the promotion of occupant’s transgressive and non-normative encounter, Royal Vauxhall Tavern (fig.16) has been selected as my case study building to discuss queer space more specifically. This chapter aims to concentrate the analysis from the previous chapters, such as the study 17
18
STUFF SPACE PLAN SERVICES STRUCTURE SKIN SITE
of voyeurism, spectatorship, and in/visibility from film study, The Skin I Lived In. Besides, also the study from Vauxhall Pleasure Gardens based on how shifting of occupant’s desires can erected queer space. In this chapter, I was inspired by an image from Stewart Brand’s book, How Building Learns: What Happens After They’re Built. Referring to the image from the book (fig.17), it simply and clearly illustrates out how the building layers and their use interact. (Brand, 1994, pp. 2,3) From there, I will unpack and narrate queer space based on the image and start from the site history, tavern’s building facade, followed by the interior layout, space performance and practices, last but not the least, the interactions between the performers and audiences.
Royal Vauxhall Tavern was the first solid building (fig.16) built at the corner beside Vauxhall Pleasure Gardens within 3 years when the Gardens fell into failures. It mainly operating as a music hall for the community. By the post-second world war period, Royal Vauxhall Tavern has been shifted to a recognised and predominant queer venue for the LGBTQ community, and it was well known particularly in d r a g p e r f o rmance. (Anon, 2015) For the first time, the Brit a in c ou ld offer access to cutting-edge music, art, fashion and food, all in one place. It makes the tavern become a highly sophisticated machine for new modern leisure. (Avery and Graham, 2016, pp.7) From legendary to historic relics, and the tavern foresees us a future for the LGBTQ communities at the edge of the century. In other words, Royal Vauxhall Tavern is virtually practicing a piece of queer space by creating temporary relationships between strangers, strange bodies that last for fluctuating periods of time in fluctuating places, this performance leaves these spaces with queered history. AUDIENCES
PERFORMERS
SPACE PERFORMANCE INTERIOR LAYOUT TAVERN’S FACADE SITE HISTORY
fig. 17 Building layers diagram from How Buildings Learn, Stewart Brand. fig. 18 Building layers diagram for Royal Vauxhall Tavern’s Queer Space study
NARRATING
Narrating Queer Space
59
fig. 19 Royal Vauxhall Tavern: Facade & Key Interior Elements’ Exploded Diagram
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Faรงade As A Mask To Preserve Queer Identities
NARRATING
Narrating Queer Space
61
To analyses queer space of Royal Vauxhall Tavern, unquestionably it would have introduced the topic and relationship within the exterior and interior since both are relates to privacy and visibility. This is very interesting to discuss because it directly links to exhibitionism and voyeurism of space performance and target audiences itself. Yes, despite some of the audiences are heteronormative.
Regarding to Aaron Betsky, building facade as a mask to cover the space performance and practices, then to allow someone with queer identities appeared and follows the rules set up by the heteronormative society. (Betsky,1997) In this tavern’s architecture performance (fig.19), Royal Vauxhall Tavern façade visibly turn up as an appearance that presents a certain guise to the normative world. Tavern’s façade give the whole building an unmistakable mark of a solidly conservative corporation. For instance, the curve façade consists of two floors height of red brick wall with twelve panels of traditional arch-shape window design, adding up the windows and doors are close to the public almost all the time until it’s operating hours. Thus, the inactiveness of the building elements and the heavy scale of building materiality creates a disconnect to those on the street level
during the daytime. This argument can be supported by also how Adolf Loos engages his architecture like an envelope of human body, he illustrates how he utilise interior cover and engage with the occupants. (Colomina and Bloomer, 1992, pp.92) Consequently, this muscular façade arguably become an evidence it appears as a mask to wrap and preserve the queer space performance and identities inside.
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Interior Layout, Columns and Stage to Construct Desires
NARRATING
Narrating Queer Space
63 20
fig. 20 Royal Vauxhall Tavern’s Interior
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The tavern building architecture seems inconspicuous and closed off from outside, it indirectly disconnects those people from the street level. But once I enter to the tavern during its operating hours, the interior is lighted up under the dark and dramatic space with a welcoming and joyful space experience. Interestingly, you can almost smell the delightfulness in the air, it feels like it is a shift and new advancement of the modern leisure culture had offered from the demised Vauxhall Pleasure Gardens to Royal Vauxhall Tavern. Performance Stage (fig.20), it will be a great evidence to show it acts as monumental interior element of the tavern because it will be the first place you will glance at once you step into the tavern. Stage also has been the focus point for amusement places. In there, the stage is a combination from the main stage and the sub-stage, the long round table connected by the columns. The main stage is not big and it rises from a black and grey check board floor. The striking red curtains on the stage function as a border to separate the back and front stage for all the drag performers. Furthermore, the sub-stage, long-round table to interpret as another stage between the drag performers and the audiences, it just out into audiences to create a more intimate relationship with the audiences. For instance, this small stage acts like a catwalk stage for some events (fig.21).
With this performance, it demonstrates that it invisibly informs the audiences about a queer appropriation of high fashion. To argue this discussion, author of Cruising Utopia, Jose Esteban Munoz explained the same situation happened at Catch One, which is a black gay space where LGBTQ community will go at Los Angeles. (MuĂąoz, 2009, pp.101-103) From this, it might be assumed that this queer stage is demonstrating the status of queer lives in an epidemic way based on the space performance and practices on the stage. Moreover, the rehearsal of LGBTQ identities on the stage is enable us to see the connectedness outside of the actual temporality of club life.
21
NARRATING
Narrating Queer Space
65
One of the very real and well-documented to uncover the queerness of Vauxhall Pleasure Gardens has been shifted to Vauxhall Royal Tavern are the six red-steel-columns (fig.22). While the critics such as Carolyn Dinshaw, Heather Love, Elizabeth Freeman and Jose Esteban Munoz have all questioned the need and desire for queer history, they also questioned in how to construct queer identities or how queer communities might speak to each other across different historical moments. (Avery and Graham, 2016, pp.27) The relationship bet ween these six red-steel-columns and Royal Vauxhall Tavern have answered those questions. Regarding to the research, the columns might be the last few known remnants of the pleasure gardens, it might be from the structure of their column-lined promenades and pavilions. (Walters, 2016)
fig. 21 Small stage acts like a catwalk stage to demonstrate the audiences about a queer appropriation of high fashion. fig. 22 Six red-steel-columns that might shifted from Vauxhall Pleasure Gardens after demised.
22
In relation to this, steel columns are narrating the queer histories from the demised Vauxhall Pleasure Gardens into the tavern through building materiality, the old-fashioned amusement endorsed with tavern’s new modern leisure, hence, the queer history is shimmering the future of LGBTQ community.
Royal Vauxhall Tavern Events’ Posters
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Drag Performances and the Audiences
NARRATING
Narrating Queer Space
69 Going further than the discussion between exterior and interior to explore the underlying meaning of queer space, this chapter also seeks to analyse the space experiences between the occupants. The tavern has been well known because of their drag performance since the 80’s to the present day. Therefore, drag performance (fig.25) became gradually visible practice at the period, despite from the issues of building visibility and voyeurism.
Regarding to Sylvia Lavin, she used “kissing” to interpret architecture into contemporary performance. From there, she concluded 3 type of kisses from her studies. The last kiss from her is the most suitable concept which allows me to interpret the queerness from Royal Vauxhall Tavern to this contemporary society,she stated the technique is counting past one is to radicalise the terms by which we understand and generally limit and control – architecture itself. (Lavin, 2011, pp.66-68)
From that method, the tavern has begun the discover the interest in investing the interior with particularity such as drag performance rather than relegating the interior just simply a building inside. However, to understand how drag performance raise a queer space, firstly, we need to know heteronormativity within our society has a significant impact on how we come to view and understand gender identity. In this dissertation, we discuss about how fluctuating can the space and occupants be based on the changing of time and history through the inf luence of new genders and sexuality (gender queer). Within the tavern’s interior space, although drag performers they appear and ref lect the attitude of a woman, they still maintain an image of both gender bending and the ways that the gender is socially taught. For instance, Lily Savage (Paul O’Grady) (fig.24), a main drag performer for years at Royal Vauxhall Tavern, he stated during the RVT’s Future Campaign that the tavern is his very own school of dramatic art, and he also appreciates Royal Vauxhall Tavern is now one of the few remaining venues to showcase new and old talent every week (fig.23) (Anon, 2017). Hence, drag performers’ character are constantly developing, they allow a break and a positive educating influence in the heteronormative gender structure while also reinforcing the social image of what it means to look like a woman. Consequently, with the blurring and flexibility of gender and sexuality from Lily Savage and all drag performers, it could be hypothesised the important of new genders and sexuality to archi-
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tecture and society, or to feasibility of construction, invention and change of queer space. Furthermore, from how Sylvia stated architecture can cultivate through the combination of empirical uniqueness and perceptual design singularity that characterises the “kiss” as an event (Lavin, 2011, pp.66-68)
Royal Vauxhall Tavern celebrates their status with events like its drag, burlesque, mime, spoken world, film and live music (fig.23). With all these diverse amusements offer to the public, Royal Vauxhall Tavern directly draws a history link back to the original Pleasure Gardens. Hence, an alternative view is provided by Kelsey, a curious combination of interior events helped define the mood in gay bars, even all those were extreme in the old days. (Avery and Graham,
2016, pp.106) Subsequently, the queer space by rediscovering the new interior with not only a building inside, while the drag performance is not architecture proper, but it is undeniably queer. With a series of actions, Royal Vauxhall Tavern’s interior space is tied strong with the drag performance realm, in spite of this, drag performance becomes another perspective to analyse the ways in which minorities claimed dominant spaces and architecture. To conclude this chapter, by examining the shifting relationship between all those layers (fig.18,19), Royal Vauxhall Tavern offers an architecture of transgression potential, materialism, social mixing and sexual license. Interestingly, the queerness of Royal Vauxhall Tavern might have lost at one time or appear with full visibility in a new sexual cartography, it all happens within the same space, the queer space. In this regard, the queer of the tavern is not constructed only through inhibition of architecture, also with temporary performances and the new genders and sexuality. fig. 25 Drag Performance held at Royal Vauxhall Tavern
NARRATING
Narrating Queer Space
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24
25
fig. 24
Lily Savage (Paul O’Grady)
Reinventing the New Queer Space for the Contemporary Society
For, as today, the are progressively i has been faced r epidemic of LGBTQ since 2010.
CONCLUSION
The New Queer Deisgn Methodology
73
(Feargus, 2016)
e “gaytrification� increasing, London recently with an business closures
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THE NEW QUEER DESIGN METHODOLOGY
CONCLUSION
The New Queer Deisgn Methodology
75
With regards to the current climate in London, considering governmental cuts to welfare, the rise of the neoliberal academy and widespread gentrification, necessarily leaves impacts on LGBTQ Londoners, especially those who face intersecting forms of oppression. For, as today, the “gaytrification” are progressively increasing, London has been faced recently with an epidemic of LGBTQ business closures since 2010. (Feargus, 2016) Due to a general sense of precariousness for the LGBTQ community, it will be clear that a new comprehension and understanding of queer space is overdue to the contemporary society. Whereas we have discussed in the previous chapters about how spaces are challenged to be queer when the boundary of gender and sexuality meet specific desires, way of inhabiting architecture or space performances. To start with how specific desires enacted a queer space, we discussed the film, The Skin I Lived In by learning how Robert and young Vera offer a new architecture dimension based on the layering and relationship of subjectivity and objectivity, voyeurism and spectatorship as well as in/visibility. Followed by my design studio research site, Vauxhall Pleasure Gardens, recorded history introduced us a new socio culture concept of modern leisure and how new genders inhabited the gardens from their own way, even it was overwhelmed for some back at early nineteenth century. The next research is a deeper case study to analyse Royal Vauxhall Tavern by examining the shifting between the site history, tavern’s building facade, followed by the interior layout, space performance and practices, last but not the least, the interactions between the performers and audiences. It implies that queer space
is constructed through inhibition of architecture, also with history relationship temporary performances and the toiling of new genders and sexuality.
We know LGBT people, especially young LGBT people, have higher incidence of depression, selfharming and suicide,” says Butchart – Kelly (LGBT Forum Deputy Chair/Media and Comms Officer). Isolation is a major source of stress, and if you remove the ability to socialise, it’s a real issue. On reflection of the glory moment of Vauxhall Pleasure Gardens, a modern leisure concept has shifted into an enclosed tavern, which is Royal Vauxhall Tavern. To celebrate the future version of modern leisure concept, or let say it might be the new version of Vauxhall
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Pleasure Gardens, a space engage with all the sense must be reintroduced. Through the final chapter, The New Queer Design Methodology, I will approach and debate a new sense of the shifting relationship between the dynamics of social and public behaviour while still envision a new comprehension and understanding of queer space through my final year designs studio project. I go on suggesting a LGBTQ Community Centre to build a space of unity while architecture itself understands the queer context and history of Vauxhall, as well as materiality, space programs, space occupants and social advancement (refer to appendices). Through developing the space and architecture, Vauxhall LGBTQ Community Centre itself acts as education tool to translate the patron’s desires into an architectural reality. Furthermore, all these spaces are born to longstanding empower individuals, to transform institutions, to change hearts and mind or even to change the laws. The architecture is presenting new wondrous spaces at Vauxhall which welcome the public and LGBTQ Community while preserve the queer art and culture of Vauxhall as a united community. In a nutshell, this dissertation provokes and offers us an opportunity with the space to reorient queerness as a new structure and educate mode of desiring that bring new animated social realm, opportunities and potential by discussing between the critiques of patron’s desires on thinking and manipulating space performances, practices and the toiling of new gender and sexuality aspect, defining this as queer space.
CONCLUSION
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Reinventing the New Queer Space for the Contemporary Society
78 1
2
3
Anon (2015) The RVT's history in pictures - Future of the Royal Vauxhall Tavern, Future of the Royal Vauxhall Tavern, [online] Available at: http://www.rvt.community/rvt-history-pictures/ (Accessed 16 November 2016) A non (2016 ) A BOU T VAU X H A LL - Gay Vauxhall, Gay Vauxhall, [online] Available at: http://gayvauxhall.com/about-vauxhall/ (Accessed 17 November 2016). Anon (2016) Places for sex, Historic England, [online] Available at: https://historicengland. org.uk/research/inclusive-heritage/lgbtq-heritage-project/meeting-and-socialising/places-forsex/ (Accessed 19 December 2016).
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13
Downing, S. (2009) The English pleasure garden, 1660-1860, 1st ed, Oxford, Shire, p. 14,22.
14
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MuĂąoz, J. (2009) Cruising utopia, 1st ed, New York, New York University Press. Norton, R. (2016) Homosexuality in 18th-cent. England: Princess Seraphina, 1732, Rictornorton.co.uk, [online] Available at: http://rictornorton.co.uk/eighteen/seraphin.htm (Accessed 19 December 2016).
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Picture References
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By Vince Choi Kian Lek
Figure 2 :
By Vince Choi Kian Lek
http://putlocker.ac/watch-the-skin-i-live-inonline-free-putlocker.html
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Figure 8 : By Vince Choi Kian Lek
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h t t p : // w w w . g a y s t a r n e w s . c o m / a r t i c l e / li ly-sava ge-reborn-t here s-not h ing-pa nto-dame141212/#gs.19xxFHg
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University of Greenwich (Greenwich Maritime Campus)