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Brandon Brooks Architectural Design


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BIO

Brandon Brooks is not interested in one aspect of design; he is working towards understanding & mattering “Scale� through good scale comes experiential design. Brooks is from Charlotte, North Carolina, studied abroad in Copenhagen, Denmark. He is currently working towards his BFA in Architecture and Design at Maryland Institute College of Art. Brooks would like to continue traveling around the world and soaking up as much as he can about life and design and eventually earn his M. Arch from the desired school.


ACKNOWLEDGEMENTS

Only through the support of Friends, Family, and Teachers have I been able to reach this level in my education. Without those people, I would not be the Black Man I am today I am clueless about where I would be, and for that, I’m eternally grateful, and I will represent as I walk through life. A Special thank you to My Mother Antonius Bui Frank Fantauzzi Timmy Aziz Michael Maggio Jennifer Hock Ziger/ Snead Architects


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PREFACE Androgyny is the language of form that inhabits the body. Marcel Duchamp, Vito Acconci, and the Air Force used androgyny to explore duality in space, and duality in the body. Duchamp used his alter ego Rrose Sélavy meaning arus is life, to access multiple genders. Vetal Achnichy redefined room planes and redirected masculine and feminine gazes making people into objects in space. The “air force dedicated itself to the production of masculine subjects, within the campus females as well as males train to become “men.” We define the qualities of androgyny by the categories of masculinity and femininity based on existing attributes of the body. Bodies are organized into groups, walls & doors are used to its devices. Doors and walls use framing, cutting, opening, closing, hanging, hinging, and sliding notions of controlling gazes and choreographed bodies in places. The body shares a similar language to doors always receiving and giving; exits become entrances and entrances become exits. The door is the real keeper of androgyny by framing.


TABLE OF CONTENTS

SPLASH FACTOR

CONDITION OF DOUBLENESS

THE ORIGIN OF LOVE

FIFTH FACADE

FOUND IMAGE


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SPLASH FACTOR

SPLASH FACTOR SPACE PRECEDENTS DRAWINGS PROCESS


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A system of outdoor showers, toilets, and urinals located on the coast of Denmark. The partially underground space acts as a bridge for people to access the ocean from residential buildings. Space is naturally lit from square lightwells the constant crossing of people is expressed inside the space by shadows moving arouse. The doors are permanently transparent due to the materiality of the steel mesh.


SPLASH FACTOR

An outside stainless steel urinal in the historic meatpacking district in Copenhagen, Denmark. A bike rack creates some privacy separating the urinal from the usual walking path.


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Two identical nongendered restrooms that have been transformed from male and female restrooms. They are located in a modern museum in Stockholm, Sweden.

The tube situated in the middle of the spaces expresses the interior experience on the exterior, making the user conscious of an individual unit. The doors to enter are permanently opened, implying complete transparency inside


SPLASH FACTOR

Two toilet units separated by a wall, the lighting is consistent in both spaces. The user has to step up onto a platform that holds the toilet. Both doors open out, the left door open into a urinal (not pictured).


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Two urinals behind the door without privacy dividers. There is no plain between the door and urinals. The user has to pass this area to move in and out of the men’s restroom. The hinging of the wall is expressed in the joining of the brick outside of the space.


SPLASH FACTOR

The door’s into gender-neutral toilet units. Located somewhere in Europe.


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Double door’s into gender-neutral toilet units. Located in Barcelona Spain. The divided doors allow the user to customize the level of privacy.


SPLASH FACTOR

One industrial window is allowing light into a single toilet unit in Copenhagen, Denmark.


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Catholic Confessional Drawing


SPLASH FACTOR

Telephone Booth Drawing


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Gender

Scale

Close

Race

Rotate

Bathroom

Tranfermation

Anxious

Swing

Shame

Hang

Public

Masculinity

Hinge

Gaze

Nervous

Private

Utopia

Religion

Race

Bend

Pivit

Organization

Score

Desire

Symbols

Design

Feminity

Culture

Sexuality

Lower

City

Fold

Body

Divourse

Open

Scale, Gender, Sexuality, Desire Feminity, Masculinity, Public, Body Private, Gaze, Bathroom, Culture


SPLASH FACTOR


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CONDITION OF DOUBLENESS PROCESS DOOR STUDY DRAWING PROCESS BODY COLLAGE GRINDER COLLEGE STUDY PROCESS PLAN RENDER SECTION


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CONDITION OF DOUBLENESS

A Door “usually swinging or sliding barrier by which an entry is closed and opened; also: a similar part of a piece of furniture.” The purpose of the door is to guard desire, only opening, and closing when permitted by the gatekeeper. When left unsecured and cracked glimpses are obtained past the threshold. The body is, therefore, reaching satisfaction. The body shares a similar language to architecture it opens and closes, eye, the anus, the vulva, the mouth, and the heart. The body is always receiving and giving; exits become entrances and entrances become exits. The door has been a celestial object to the Greek, Romans, Indians, and Africans. The Romans had three gods that guarded the doorways. The Liminal deity, lintel derived from the word, this deity watches transitional space. Portunus, the guard of the door, port meaning portable. The third greek god Janus who controlled the “beginnings and transitions, most importantly hinges. He is normally portrayed as a two-faced god, gazing to the future and the past. Janus was celebrated in January, the time of beginning and ends, a transition time. Jan in Hebrew meaning a gift from God. Janus resited over the beginning and ending hence he controlled the keys of doors and the hinge. The hinge is the object that gives the door power. Making the responsibility of “properly closed and properly opened doors.” A hinge is a framing machine, and its only job is to hang and frame. The action of slamming or pulling is the ultimate entrance or exit that expresses desire and intent on the other side of the door. “Pure space actives walls, floors, and ceilings space that appeared and disappeared continually is the space of androgyny .”


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Scan of process diagram


CONDITION OF DOUBLENESS

Scan of process diagram


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Door Study Drawings C 6.5” by 11.5” Carbon paper/ pastel pencil on BFK Rives


CONDITION OF DOUBLENESS

Door study drawings that would be applied to space precedents. Expresses a verity of ways to frame the body by using one object.


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Scan of process collage


CONDITION OF DOUBLENESS

Scan of process collage


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The words “Bring Me Men” are incised in stone above the entrance of Skidmore, Owings, & Merrill’s Air Force... The academy as a site dedicated to the production of masculine subjects irrespective of the soldier’s biological sex. Within the campus females as well as males train to become “men.” - Stud The male body is projected, represented, and inscribed in the design of buildings and cities and in the texts that establish their ideology. The female body is suppressed or excluded. - Iain Borden, Barbara Penner, Jane Rendelll

Cadet bed size 7’- 0”


CONDITION OF DOUBLENESS

Datum dirived from the cadet bed 14” 21” 28” 42”

U.S. Air Force Academy Stone Paver Size

21”

Control over the City


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Body Collage Study Found Images 6.5” by 10.75” Concluded that the body is a collection of parts if those parts have no context gender and sexuality can me lost. The body is being framed in 2” squares.


CONDITION OF DOUBLENESS


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CONDITION OF DOUBLENESS


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Grinder Collage Study Found Images 6.5” by 10.75”


CONDITION OF DOUBLENESS

An expression of contemporary framing. The user has selected a portion of there body to display to the world. Each frame was picked and collaged.


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Scan of process sketches


CONDITION OF DOUBLENESS

Scan of process sketches


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Scan of process sketches


CONDITION OF DOUBLENESS

TO INVITE

TO REPEL


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Plan Scans of Forum Models Foam core and Matboard 5.5” by 5.5” A verity of spaces can be created through the moving of doors and walls. After the movements, many people occupy the areas that we originally designed for one. The spaces that were voids now become the occupied space. This is space that appears and disappears based on knowledge.


SPLASH FACTOR


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CONDITION OF DOUBLENESS

Photo Renders of Forum Models Foam core and Matboard 5.5� by 5.5� A verity of spaces can be created through the moving of doors and walls. After the movements, many people occupy the areas that we originally designed for one. The spaces that were voids now become the occupied space. This is space that appears and disappears based on knowledge.


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CONDITION OF DOUBLENESS


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The Origin of Love

HINGING & PIVOTING 1 : 1 MOCK UP PURPPOSED INSTALLATION FOR THESIS SHOW DOCUMENTATION OF INSTALLATION


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THE ORIGIN OF LOVE

I began with the simple notion of how to join two existing spaces by using the doors for those respective spaces. For example, combining two toilet stalls, two portable potties, two telephone booths, or two adjacent rooms. Who would be the user of these spaces? How would they function? When would they be activated?


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The hinging and pivoting mock-up was an opportunity to test the quality of how a door can create spaces through unorthodox movement.


THE ORIGIN OF LOVE


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THE ORIGIN OF LOVE


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NORTHWEST VIEW OF MODEL

SOUTH VIEW OF MODEL

0 1

N

2

4

8 3/16” = 1’ - 0”


THE ORIGIN OF LOVE

V

V

B

C

V

A

0 1

N

2


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VIEW A OF INSTALLATION

VIEW B OF INSTALLATION


THE ORIGIN OF LOVE

INSTALLATION MONTANGE VIEW C


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INSTALLATION MONTANGE


THE ORIGIN OF LOVE


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FIFTH FACADE

ZINE DRAFT


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Once the grid is sucked dry, spent, limp, you find it’s a net. The city is willing to be configured into a pouch, sling, or thong. Lord, make it an instrument of thy will. - MARK ROBBINS

A ZINE ABOUT ---Presented in fulfillment of independent study research with Jennifer Hock Ph.D. in parallel with thesis studio.

DRAFT


FIFTH FACADE

1 Restrooms are a unique space due to their docation of the intersection of public and private space. The restroom begins to serve and divide people based on gender, sexually, race, ability, class, height, culture, and age. It is activated on many levels, lending itself as a social space of many interactions, whether by writing on surfaces, verbally throughout stalls, at urinals, or sinks. The narrative of the restroom forces the five senses to be activated in order to experience the space. The only difference between the form of the Women’s Restrooms and Men’s Restroom is the urinal, a symbol that directly references how masculinity and feminite bodies and how they differ. The role of the restroom goes further than defecating and urinating, preparing yourself for the world happens here as well as in other places. A list of voids in space that have been given a new programed by communitys is below.

2 The restroom is a place that describes the nature of a relationship, it’s designed for solitude and independence but generates space for reflection and expression. The restroom and closet are the most similar spaces on the list. It’s the construction site of yourself which you enter every morning and night. It’s where gender is prepared for the sole purpose of being displayed on the streets. “Architecture sets the conditions in defining the habitus of gender through distribution of bodies in space and delimiting and demarcating the interaction of male/ female bodies in space.”1 The decisions that happen in the listed spaces are reflected in the mirror, an object that captures the montage and hinges into phenomenon. It has the qualities of forming confidence in a world full of doubt. The mirror is now being taken out of homes and inscribed in the city using materials such as glass and stainless steel.

Confessional Urinal Locker room Shower Telephone booth Elevator Closet Cars Trains Air Planes Bed Porta Potty Baths

Image 1

The use of material is adding to the notion that gender identity is supported in the city.


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3

“The gendering of architecture is not straightforwardly visible since the value and ideologies architecture embodies claims universal status and are normally taken as gender free. However architecture as a system of representation is saturated with meaning and values which contribute to our sense of self and our culturally constructed identity.”2 The city has been designed by white men in the self-image of whiteness, only using the female body as ornamentation in the interior and exterior of buildings (Image1). Black communities and Queer communities have been treated similarly pushed aside and relocated, I will elaborate more in this writing. The architects of the city have not formed the urban environment in the image of the blue collar people, instead they have used the Greek god as a symbol of what should be built.

Image 2 Caryatid Columns

“The well shaped man should resemble a building, and not just any building, but a fucking greek temple. Or, better yet make that a fucking greek column, made of muscle hard as marble. A male bodybuilder ideally has no interior. It is to contain no space, but be solid, lean meat. It is not that women can not become as muscular as males - they can, and do- but that they must not.” 3


FIFTH FACADE The symbol of the Greek god has been preserved since the Egyptian, Roman, Greek, and Germanic republics. Gender roles are still reinforced by the inherent language of Architecture that has been divided from the former republics. The spaces listed on the page 1 are commonly physical boxes that float and are established in multiplies, exposed at the top and bottom. That exposure creates the ambiguity between public and private, revealing, and framing portions of the body to the outside. These boxes begin to take on the organization of personal space, “physical space immediately surrounding someone, into which any encroachment feels threatening to or uncomfortable for them.” 4 When moving through space, the notion of an invisible box surrounding us at all times begins to form a grid, and boundaries can then be marked on the grid. “The grid accomplishes more than simply insuring an image or regularity and control exceeding the architects intentions, it determines not only the organization of space but the movement of bodies within them.” 5 Boundaries are significant in the experiencing of the city. The Air Force has inscribed it’s ideal personal space intervals in the Skidmore, Owings, & Merrill’s campus using paver titles that directly reference the human body.

4

5

The fifth facade hides the underside of masculinity; a vast network of underground tunnels hide by the plinth shelter unauthorized “spirit” activities-” unbecoming” conduct that the military recognizes as essential for the production of men. - STUD


ANY PERFORMANCE OF GENDER REQUIRES PROPS “At the academy the grid regulates the articulation and static placement of every architectural element. In short, the grid serves as an architectural manifestation of the order and regimentation the cadets are subject to… the governing modules ( 28”, 14”, 3’- 6”, and 1’-9”) derive from the 7’-0” dimension of a cadets bed the scale of the receptacle of the male body at rest.” 6 The most potent force in the world of Architecture is the human body; the body is the creator of limits. Limits as in physical and psychological facts but boundaries have shaped the grid based on personal space. There are places where boundaries, walls, and floors have been eliminated; instead, a knowledge-based space appears and disappears. “The grid accomplishes more than simply insuring an image or regularity and control exceeding the architects intentions, it determines not only the organization of space but the movement of bodies within them.” 7 Some of the spaces have an internal hierarchy embedded in them. For example, the confessional gives the power to the central void, generally occupied by a Priest who has been permitted by God to forgive sin. The central void and perimeter voids have an opposing relationship to the outside world, but the three voids are dependant on each other. The two perimeter voids are framing the body to the central void and outside. What is being revealed to the central void is drastically different from what is being framed to the outside.

6

7 The relationships are dependent on the bodies position inside of the voids. The Romans had designed restrooms as a place for congregation that was not restricted to one gender. The architectural plan of the restroom was similar to the baths. They used basic wooden toilets that operated on an underground aqueduct system. Space did not use dividers; the sight lines were completely open. The contemporary design of the bathroom resembles the Romans expect we have placed cheap massed proceed partition between toilets creating semi-private space. Society has assigned genders to almost identical spaces that are separated by a parting wall. The distance of the toilets has not changed from the Romans, just the interaction. One could also say the number of materials and labor to create arches, vaults, lentils, and columns would be unnecessary, and a distraction from the most fundamental classical orders. The expression of Queer desire has been a driving force in the contemporary restroom culture. The feeling of shame is now the most present emotion in this sim-private space. What architecture always does: it allows us to place ourselves in the world, define ourselves in relation to place ourselves in the world, define ourselves in relation to others and create another artificial world that replaces the one we have remade. The Danish Urban Designers and Architect Jan Gahl break down the inherent meaning of distance and bodies.


FIFTH FACADE

8

“...different forms of communication take place at different distances, and distances vary constantly depending on the subject and nature of the contact… Intimate distance 0 to 18 inches is the distance of love, tenderness and consolation, as well as the distance for communicating anger and rage… Contact is close, warm, intense, and emotionally charged. 18 inches - 4 feet is the contact distance between close friends and family members. Personal distance can be illustrated by a family gathering around a dining table. Social distance 4 - 12 ft describes the distances at which conversations about work, vacation memories, and other ordinary information can be exchanged. Public distance more than 12 feet describes the distance of more formal contract and one way communication.” 9 These boundary spaces that Jan Gahl would refer to as intimate distance have been named by academics, as queer space, but the queer user has not named those spaces, so I will only refer to them as ---- in this writing. You should think of ---- as voids that are located in the grid. The grid can vary in scale. Images 3, 4,& 5

image 3 Toronto, Canada

image 4 New York City’s Greenwich Village, Chelsea

image 5 Philip Johnson Glass House Plan


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9 Those voids are desirable to queers who are constructing themselves outside the closet and especially inside the closet. Queer people have been forced to experience life in voids away from the straight gaze. ---- is disappearing because monetary value is being expressed in the land. “These spaces were also closed off, quite secret, and dark, in a deliberate attempt to create an artificial environment that traced the real world and, through its ritualized actions, choreographed it. Often these spaces were described as uncomfortable physically, as if they were meant to draw our attention back to the reality of the bodies.” 10 “These queer spaces infected and influenced our built environment, pointing the way toward an opening, a liberating possibility. Almost as soon as they were started, they disappeared into that culture, has their very power became useful for advertising, lifestyles, and occupation of real estate.” 11 The New York City Highline is a prime example of this space. The leading architecture firm on the project was Diller Scofidio + Renfro. Since the Highline’s redevelopment “ $5 billion in new development along its path helping Chelsea evolve into one of the city’s hippest neighborhoods” 12 That money has been the inspiration. Non queers do not see the experience in ---- until it is displayed to them. ---- “space is not an absolute, fixed and indifferent reality, a mere container of agencies and events. Space is rather conceived of as existing in and through events; events that are themselves composite, complex and plural.” 13 To experience queerness, one must occupy a void. “Queer space is not one place: it is an act of appropriating the modern world for the continual act of self-construction.” 14 “The streets and parks served them as social centers as well as sites of sexual rendezvous, places where they could meet others like themselves and find collective support for their rejection of the sexual and gender roles prescribed them.” 15 ---- does not revolve around the act of orgasm, tho it might seem that way at times, it is about the gaze. The queer experience is an array of architectural conditions, consisting of privacy, self-obsession, and thresholds. It takes all three variables to make ----. An order is not present in an authentic ----. Queers have adopted techniques to create temporary homes in the city.


FIFTH FACADE

10 Influencers of placemaking are more than just architects and designers, it’s users of places who forge the way. An architect can be an influencer but the role should not be limited to just them, or we will continue getting architecture reflecting Witness. Some notable influencers are voguers, club kids, visual artists, performing artists, and popular queers. These groups are essential to the adoption of nonplaces that will eventually be turned into places.

DRAFT


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FIFTH FACADE

Citation

1. Lico, Gerard Rey. Architecture and Sexuality: The Politics of Gendered Space. Ph.D Thesis. 1-12. 2. Lico, Gerard Rey. Architecture and Sexuality: The Politics of Gendered Space. Ph.D Thesis. 1-12. 3. Sanders, Joel. Stud: Architectures of Masculinity. New York: Princeton Architectural Press, 1999. 4.GoogleSearch.AccessedApril21,2018.https://www. google.com/search?q=personalspace&rlz=1C5CHFA_ enDK728DK728&oq=personal 5. Rendell, Jane. The Pursuit of Pleasure: Gender, Space & Architecture in Regency London. London: Athlone Press, 2002. 6. Sanders, Joel. Stud: Architectures of Masculinity. New York: Princeton Architectural Press, 1999 7. Rendell, Jane. The Pursuit of Pleasure: Gender, Space & Architecture in Regency London. London: Athlone Press, 2002. 9. Gehl, Jan, and Lord Richard. Rogers. Cities for People. Washington DC: Island Press, 2013. 10. Garrity, Jane. Queer Space. Boulder, CO: Department of English, University of Colorado, 2007.

11. Garrity, Jane. Queer Space. Boulder, CO: Department of English, University of Colorado, 2007. 12. “The High Line NYC.” Hudson Yards. August 23, 2017. Accessed April 21, 2018. http://www.hudsonyardsnewyork. com/discover/the-high-line/. 13. Rendell, Jane. The Pursuit of Pleasure: Gender, Space & Architecture in Regency London. London: Athlone Press, 2002. 14. Garrity, Jane. Queer Space. Boulder, CO: Department of English, University of Colorado, 2007. 15. Sanders, Joel. Stud: Architectures of Masculinity. New York: Princeton Architectural Press, 1999. 16. “Behind the Bushes: The Gay History of the High Line | The High Line Blog.” The High Line. Accessed April 21, 2018. http://www.thehighline.org/blog/2017/06/22/behind-

DRAFT


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We define the qualities of androgyny by the categories of masculinity and femininity based on existing attributes of the body. Bodies are or...

ANY PERFORMANCE OF GENDER REQUIRES PROPS  

We define the qualities of androgyny by the categories of masculinity and femininity based on existing attributes of the body. Bodies are or...

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