Emmanuel Nwandu Portfolio 2021_

emmanuel nwandu

Carnegie Mellon University School of Architecture B.Arch Graduate

“With great power there must also come great responsibility” -Uncle Ben (Benjamin Parker).

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Landscapes of Disease and Health F20| Professor Nida Rehman

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Migration, Medium, Mirage

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Scenic Design

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The Environmental Charter School

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Future Fictions

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Manifesting Identities

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S20| Professor Mary-Lou Arscott

S20| Professor Dick Block

S19| Professor Matthew Huber

F19| Professor Heather Bizon

S21| Professors Heather Bizon & Sarah Rafson

“These discursive campaigns reinforced, redefined, or reproduced the fault lines of race, class and gender in San Francisco, forcefully - and forcibly - pushing the physiognomically different, the sexually threatening, and the economically burdensome further into the political margins” (Craddock, p.247)

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Landscapes of Disease and Health F20|Professor Nida Rehman In collaboration with Vincent DeRienzo, Colleen Duong, Zhecui (Doris) Zhang

In examining the role of architecture as an actor in the histories and geographies of disease, it is clear it has often relied on social constructions of purity and filth and on a racialized calculus of valued and disposable lies. The COVID-19 pandemic has laid bare the untold fractures of a segregated landscape of health in America. Entrenched in the nation’s perception of primitiveness towards racial others, political rhetoric masquerading as public health discourse has often connected marginalized groups with the spread of infectious diseases. In her book, City of Plagues, Susan Craddock details the paradoxical nature of disease spread in San Francisco during the 19th and 20th century, recounting how the city’s pathologized public health policy created the conditions for the public neglect of Chinatown. These practices shaped the nature of marginalization experienced by various communities – the Chinese, the urban poor, and women – and from which clear social and ethnic hierarchies were established and continue today. The Tenderloin neighborhood, experiences extreme housing and food insecurity, in addition to some occupants dealing with drug abuse and mental health problems. In collaboration with Vincent DeRienzo, Colleen Duong and Zhecui (Doris) Zhang, the Tenderloin Network of Care was developed, partnering with the previously established local cared-based organizations to strengthen existing efforts for community building and infrastructure for economic and social resilience. Inspired by the stories of people coming together to help one another during the pandemic, our initiative speculates on how the juxtaposition of both formal, informal, spatial, and social networks of care and community wellbeing are leveraged to transcend the racialized and classed enactments of power.

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p.76 Artists rendition of Chinatown, late nineteenth century. Courtesy of the Bancroft Library, University of California, Berkeley.

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p.81 The Chinese Threat. Courtesy of the Bancroft Library, University of California Berkeley.

p.79 Accommodation in Chinatown, late nineteenth century.

p.78 A street in Chinatown, late nineteenth century.

p.205 Spot Map of tuberculosis cases 1912-14.

p.44 South Market, circa 1860.

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Social and spatial boundaries excluded the Chinese from the rest of the city and formed a metaphorical box around Chinatown. During the outbreak of small pox in 187576, the already segregated population was blamed, such that Chinatown and smallpox were seen as synonymous.

Physical Boundaries.

This created the idea of a “city within a city” where the Asian “threat” was bound to separate them from the rest of the population. These boundaries that were created around Chinatown formed a perceived idea of the City of San Francisco.

Physical Boundaries: Upper class residences and other commercial buildings surrounded Chinatown, becoming enclaves of health in an increasingly dangerous city, preventing Chinatown’s expansion despite its rapidly rising population.

Social/Cultural Boundaries.

Social/Cultural Boundaries: Language, culture and physiognomy, kept Asian immigrants as “the other”.

Limiting the process of cultural assimilation.

Mental Boundaries: Pathologized public policy convinced the white community that the poor living conditions of Chinatown were solely responsible for the spread of disease. A false sense of security developed, believe you were safe from infection as long as you weren’t Chinese.

Mental Boundaries. <<< “Imaginary Anatomies” - predisposition to disease determined by ethnicity and physique rather than systemic inequities and social standing

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Patterns of Migration: The Perception v. The Reality of the transmission of smallpox in the late nineteenth century.

Health officials ascribe the triumvirate of disease, dirt and deviance to the Chinese population of San Francisco.

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Timeline of Government Policy Related to COVID-19.

Red: policy to control the spread of COVID-19. Blue: recovery plan for the housing insecure

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San Francisco responded quickly to the threat of COVID-19. The city declared a local emergency on February 25, 2020. It was one of the first cities to go under lockdown and led the mask mandate and stay-at-home orders in the state of California in March.

Due to San Francisco’s high rates of housing insecurity and homelessness, many homeless encampments have long been established throughout the city. Since the pandemic, the number of encampments on the street has drastically reduced, because of the fear of spreading the COVID-19 virus from overcrowding by moving these people to other, controlled areas. The city and homeless shelters established various “safe-sleeping sites” across the city.

The following drawings are based on the new outdoor encampment (safe-sleeping site) set up on Fulton Street, adjacent to City Center. The Center for Disease Control (CDC) offered Interim Guidance on Unsheltered Homelessness and Coronavirus Disease 2019 (COVID-19) for Homeless Service Providers and Local Officials to advise public officials and medical professionals in setting up and caring for encampment shelters during the pandemic.

Parking Lot.

Electrical and surveillance infrastructure.

Food and plumbing infrastructure.

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Social Distancing Layout. Each individual is assigned a 12 feet x 12 feet living space.

Proposed pathways. Highly regimented movement protocol.

Speculative pathways. Improvisational nature of those staying in the encampments.

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Network of existing local cared-based organizations and properties in Tenderloin, San Francisco.

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In addition to the several organizations based in the Tenderloin, there are several pop-up resources and community groups within Tenderloin that do not have a permanent space or building that they operate within but take up the corners or cafes on weekly rotations to provide additional support to the neighborhood. For example: Free Phone & Cell Services Tabling, Kids take over Turk Street for Play Streets Tenderloin, and For The People, By The People: Designing a Safer Taylor Street.

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The Cast. Based on real individuals a speculative group of people, of various backgrounds and needs were created to inhabit our proposal. Top: T.K, Gloria, Beth & Sterling, Aaliyah. Middle: Randall, Freya, Luna. Bottom: Justin & Tessa, Katie, Jac.

The Cast (cont’d). Social Workers: Eugene and Rio

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POD. An informal and person specific network of care with people you can call on in times of need. Pods are fluid, and individuals can be in more than one pod as relationships and needs shift.

Shows relationship between the hub and pod by defining which programs and people are provided which services.

Expands relationship to include who is receiving which services.

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201 Turk has 175 units of permanent, affordable rental housing for families with various types of unit sizes.

There is a childcare facility directly connected to the building and many multipurpose spaces.

This site was specifically chosen to become a family & women’s resource care hub because of it’s connection with the childcare facility next door and for its diverse spatial types inside of its building and within its large courtyard space.

201 Turk Building. Original Plan.

Private Meeting Spaces.

Welcome Center.

Permanent Infrastructure.

Outdoor Meeting Space.

Food Distribution Kiosk.

Exterior Mobile and Temporary Infrastructure.

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Outdoor Meeting Spaces.

Interior Temporary Infrastructure.

Additional Meeting Spaces (Group and One-on-One).

Standard 6’ Social Distancing.

Reconfigurable/Flexible Spaces.

Over time the infrastructure implemented in 201 Turk (both in the building and in the courtyard) will change depending on what types of events will be hosted by the organizations involved with Family & Women’s Care, reprogramming itself to fit the needs of the people visiting the site.

This study studies how these infrastructures can be safely interacted with by multiple people while maintaining a safe, physical distance from one another, during the COVID-19 pandemic.

People and Spatial Interactions.

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Click here to see the full conversation.

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We now commit this body to the ground; From earth to earth, ashes to ashes, dust to dust: In sure and certain hope of the resurrection to eternal life…

Amen.

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Migration, Medium, Mirage S20|Professor Mary-Lou Arscott

Migration, Medium, Mirage considered the phenomenon of contemporary migration, through the language of film. The cohort developed ideological frameworks through experimental film, model making, narrative exploration and studying the works of Arthur Jafa, Christina Sharpe, Hito Steyerl, Tina Campt, Mona Hatoum, and many others. We teased out links between the real and the surreal of migration as we worked individually and collectively towards our final installation. The culmination of this work are the following projects: ‘The Hold, The Rift, The Encoded’ and ‘Eulogy’.

The Hold, The Rift, The Encoded [Click title for video]

This early proposed speculative exhibit explores the involuntary migration of Africans to the Americas during the North Atlantic chattel slave trade.

The sequence was designed to take you through 3 of the stages of this migration. The Hold representing the journey on the slave ship, dangerous, cramped and swaying. The Rift representing the eradication of one’s culture through cultural assimilation. The Encoded representing the systemic targeting and dehumanization of particular ethnic groups.

Eulogy [Click title for video]

Eulogy was my contribution to our cohorts planned collective installation.

It is a photo-series and experimental film project articulating the tangible and intangible connections between, people, place, and artifact. Mati Diop’s film ‘Atlantics (Atlantique)’ shifted my focus towards exploring the migration of one’s soul– death, as a form of migration. The fictitious narrative project sought to study the act of migration (physical, spiritual, voluntary, and involuntary) by documenting the objects left behind.

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‘The Hold’

‘The Rift’

‘The Encoded’

Prec.

(Light, Sound Projections)

Technical Considerations

Atmosphere/Treatment

Scene

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hazy; wade; uneasy ▶ ▶

reflection; fractured; ordered

swaying and darkness moving through the narrow passageway towards the light, weaving through and around the bodies reaching out of the wall

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No light source in the passageway.

Small pendant lights dangling from the ceiling above the weaved plane; slightly rocking to shift shadows and induce swaying sensation.

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Ambient.

Wind.

Water; wading and waves Wood creaking.

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Footsteps of hard surface.

Faint footsteps in water.

Sound of associated video in projection.

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Light Sentence by Mona Hatoum

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Shifting Time by Camille Utterback On Venus by Patrick Staff

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Harper

Isaiah

Claire

Elijah

Julian

Autumn

Adrian

Kaylee

Amelia

Landon

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Claire

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Kamila

Nathan

Hayley

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Julian

Amelia

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Claire

Elijah

Autumn

Adrian

Kaylee

Landon

Peyton

Hunter

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Claire

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Kaylee

Landon

Peyton

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Claire

Elijah

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Adrian

Kaylee

Landon

Peyton

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Isaiah

Claire

Elijah

Autumn

Adrian

Kaylee

Landon

Peyton

Hunter

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Kamila

Nathan

Hayley

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Harper

Julian

Amelia

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Autumn

Landon

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Claire

Adrian

Peyton

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Peyton

Elijah

Kaylee

Hunter

Elijah

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Elijah

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Elijah

Kaylee

Hunter

Kamila

Nathan

Hayley

Kamila

Nathan

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Kamila

Nathan

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Kamila

Nathan

Hayley

Harper

Julian

Amelia

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Amelia

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Amelia

Harper

Julian

Amelia

Isaiah

Claire

Elijah

Autumn

Adrian

Kaylee

Landon

Peyton

Hunter

Isaiah

Claire

Elijah

Autumn

Adrian

Kaylee

Landon

Peyton

Hunter

Isaiah

Claire

Elijah

Autumn

Adrian

Kaylee

Landon

Peyton

Hunter

Isaiah

Claire

Elijah

Autumn

Adrian

Kaylee

Landon

Peyton

Hunter

Kamila

Nathan

Hayley

Kamila

Nathan

Hayley

Kamila

Nathan

Hayley

Kamila

Nathan

Hayley

Harper

Julian

Amelia

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Isaiah

Autumn

Landon

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Claire

Adrian

Peyton

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Elijah

Kaylee

Hunter

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Kamila

Nathan

Hayley

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Hayley

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barren; systematized; bleak

Emerge from dark space ▶ into bright space. You are surrounded by a sea of figures wrapped in foil, frozen in time.

You watch a projection on the wall that depicts black experiences, shifting time based on proximity and motion of the viewer.

Turn the corner to find a wall filled with names that have been codified; made impersonal.

Projection onto foil base on ▶ back wall. ▶ Projections onto flattened bodies on the floor , using captured footage from viewers.

Reflective; mirrored floor, simulating water and many foil wrapped figures.

Wall filled with encoded names.

Reflective; mirrored floor and ceiling to project the names into a large infinite space.

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Ambient

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Process Sketches

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Installation proposal developed in collaboration with Jonathan Liang

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Final Proposal

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We now commit this body to the ground; From earth to earth, ashes to ashes, dust to dust: In sure and certain hope of the resurrection to eternal life…

Amen.

I thought I wanted to be made of the things that made you, You You know, all the little things Family dinners, almost first kisses, love letters to our crush, dancing in the rain I thought that would make me what you wanted That somehow you would stay If I tried hard enough All because I thought I wanted the promise of a fairytale ending One where you were still here, not just Still.

Today I ask the question What was it all for?

Cause’ the walls of my cage are painted red And the amber breaks free While the embers burn me Lived content with the assurance that I was safe with you, Never stopped to consider if you were safe with me A tragedy or destiny?

Fate, maybe?

How could this be?

Too long since I have been on bended knee and prayed to thee You set fire to the lives of your disciples So, maybe we’ll set fire to the church How dare you ask us for our faith?

When you were the one that cursed me first So, you damn right I am angry Do you know what you took from me?

My language, my culture My home and my homeland My father, my mother My sisters and brothers My faith and holy place The only place I ever felt safe, you ask me to put on a brave face No. You took my identity So who am I? Cause’ when you died a part of me went with you But since I’m still here then part of you lives too But what the hell does that mean though Am I resigned to be made of a million little things that I do not know?

Resigned to sit at home With a bird In a cage Never knowing which one I am Staring at the pictures on the wall.

I see a door.

A way out.

But where am I supposed to go I thought I wanted to be made of the things that made you, you But I just want You. Eulogy - a poem.

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“MARELA: No, everything in life dreams.

A bicycle dreams of becoming a boy, an umbrella dreams of becoming the rain, a pearl dreams of becoming a woman, and a chair dreams of becoming a gazelle and running back to the forest.” (Cruz, p.30)

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Scenic Design S20|Professor Dick Block

As a design exercise these shows were not built or performed.

Ghosts by Henrik Ibsen This design is centered on ideas of fragmentation and defamiliarization, to stir up a dream-like quality as the show progresses. A painted scrim wall is used, while it predominantly presents as a solid wall, the scrim provides the opportunity to manifest the ghosts of the past throughout the show. In lighting the scrim from behind, it disappears, allowing the audience to witness the shifting figures and silhouettes of the actors, suggesting a second presence in the house. It evokes an uneasiness, akin to the many secrets being kept.

I was struck by one of the final moments of the show as the light grows, steadily, it washes out almost everything and everyone and we are left with a trace.

Anna in the Tropics by Nilo Cruz In collaboration with Joshua Wyatt (Director), Julia ‘JuJu’ Nieto (Dramaturg), Sebastian Adkins (Costume Designer), Margaret Shumate (LX & Sound Designer). Our initial readings and discussions of the play brought up the following themes: Integration (isolation without privacy), Traditional v. Untraditional, Invasion (radio and literature) and Naturalism v. Magical Realism. The group decided to approach the play as being immersive, meaning the lines between set and audience were blurred and constantly shifting. Given the size of the space at Studio 201, the set was approached as a puzzle: the desks, the barrels, the crates, the hanging tobacco all acting as a way to define the space and draw your focus in the warehouse.

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Precedent/Research Images

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Top: Background abstraction studies. Middle: Light Collage studies + Sketches. Bottom: Process shot from 3D model.

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scrim

scrim

scrim wall

scrim wall

masking

masking

scrim wall

scrim wall

Wing

Wing

enium Arch

Proscenium Arch

Ground Plan

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Emmanuel Nwa

Ghosts_ Groun

Scale: 1/2”

Act 2: Fire at the orphanage.

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Act 1: Top of Show.

Act 3: Final Moment of the Play.

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Precedent/Research Images

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Sketches

Axonometric 3D model of set

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Act 1 Scene 1

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Act 2 Scene 2

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Section.

Ground Plan.

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Sky cracks!

Red-breasted robins spar above the Sycamore. Once more.

Though their thoughts I know not, Each breath seems a thrill of, Pleasure Lamented by laughter, Children frolic amongst the trees, Running from place, to place, Where the two peaks of the sky, come to meet, In search of novelty, To satisfy their curiosity, They appear perpetually, Of, giddiness, restlessness, and anxiety

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The Environmental Charter School S19|Professor Matthew Huber

The Environmental Charter School in Lawrenceville is surrounded by four major site boundaries: the Allegheny River, The National Robotics Center, 40th Street Bridge and the railroad tracks. The school offers a multi-disciplinary learning approach that engages students with their physical environment. The school aims to promote the use of alternative and innovative teaching methods, create new professional opportunities for teachers, and expand the available educational prospects to both parents and students. The design prioritizes connections with green space by physically and visually blurring the boundaries between interior and exterior. To the northwest of the site, a wetland mediates the space between the school building and the Allegheny River, improving biodiversity, site water management and providing students with ample educational opportunities. Like much of the waterfront property in Pittsburgh, this area of Lawrenceville has a deep industrial past. A reclaimed industrial pathway is located to the east of the site and members of the community use it as an outdoor, open-air multi-purpose space for community events. The façade facing the community intends to pay homage to this industrial lineage through its material palette of brick and perforated patina copper shading screens. Five ventilation towers rise from the ground, and between them a sequence of full height arches articulate the classroom spaces adjacent. Accents of patina copper is used throughout the exterior and interior so that the occupants can see the building age. The folded roof structure was designed to direct rainfall into the wetlands. In addition to the administrative and classroom spaces, the site/building are also equipped with an edible garden, a cafeteria (multi-purpose space), a project gallery (multipurpose space), pavilions (for outdoor learning) and a bridge through the wetlands.

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Site Views

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Concept Analytique

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Site Plan- Roof

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1st Floor Plan

2nd Floor Plan

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North Elevation

South Elevation

East Elevation

West Elevation

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Foundation - Roof Wall Section (East Facade)

Interior Finish (Clay) 5/8” Substrate 2x6” Steel Stud framing at 16” O.C. w/ mineral wool cavity insulation Glassmatt Sheathing Vapor Barrier 2” Rigid Insulation 1” Air Gap Standard Brick (Black) Oak Floor Finish 4” Concrete Slab Waterproof membrane 2” Rigid insulation 5” Compact gravel 4” CMU Concrete Block Foundation Wall Concrete Block Concrete Footing w/ rebar 2x10 Wood I-joist Steel and Wood Composite

Beam 20. 4” Concrete slab w/metal decking 21. Angled Shelf 22. 4” Rigid insulation 23. Sloped Gravel 24. Exterior of Ventilation Stack 25. Flashing 26. 2’-0” Double glazed window w/ I-shaped mullion 27. Standard CMU Block (8x8x16) 28. 2x4 Steel Stud framing @ 16” O.C. 29. Steel and Wood Composite column 30. Wood and Polycarbonate shingles fastened to transparent mullions

Ventilation Stack + Classroom Wall Detail

Glazing Detail (West Facade)

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Section Perspective

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Common Frog

Tussock Cottongrass

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Pickerel Weed

Water Lily

Yellow Loosestrife

Mallard Duck

Heron

Duckweed

Salamander

Freshwater Turtle

Site Section + Wetland Detail

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“What will be the role of architecture in relation to different issues that exist today accelerated into tomorrow?”

-Heather Bizon

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Future Fictions F20|Professor Heather Bizon

In many ways architecture is always a future speculation. These projections into the future can become mere fantasy or offer great lenses for critical engagement in contemporary issues, allowing us to comment on our own moment through the advancing of a particular crisis into the future. It can be as simple as proposing a new domestic lifestyle or as grand as imagining a new city with new social relations. The discipline places immense pressure on the representation of these scenarios, to create the plausibility for this new reality. Clearly articulated aesthetics can shift the familiar into strangely other, resulting in gained political influence, and new constituencies. The site for our exercise in narrative and aesthetics was Pittsburgh. Much like now, it was the testing bed for issues of politics, social conditions, infrastructure, and identity.

From a collectively developed deck of trading cards – places, people, events, and artifacts in Pittsburgh – pairs developed narratives from the randomly assigned cards. Once projects were complete, new cards were added to the deck and the cycle repeated. We worked individually and collectively using a variety of techniques embedded in the mashup, to blend and reconfigure our projects.

Apis Dei An exhibition documenting the outbreak and life during the Apis Influenza in collaboration with Louis Suarez Joe George Survival Guide [Click title to view full survival guide] How to survive New Pittsburgh in collaboration with Jonathan Liang Triptych A vision of New Pittsburgh in collaboration with Daniel Noh House of {Wo[men](s)?}

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The Carnegie Museum of Art presents

Apis Dei

Apis Dei is a curated collection of work by artist Patrick Bardini, whose recent work has focused on depicting the transformation of Pittsburgh since the Apis Influenza outbreak in 2040. The virus was introduced into the city of Pittsburgh by local Peter Jackson (commonly known as Bee-Boy) and is responsible for reshaping of the urban fabric and social choreography within and around the city. The exhibition includes additional work from notable Pittsburgh architect Mathew Z. Huber and Dr. Celine A. Roberts an infectious disease specialist and Head of Epidemiology at UPMC. While the mortality rate for the virus has remained extremely low, the physical and mental transformations of those infected has resulted in a culture of fear in and around the city. The federal government quickly issued a cordon sanitaire forcing the people of Pittsburgh to learn to live with their new counterparts. Homo sapiens and Apis sapiens, will they be able to live in harmony or will the city of Pittsburgh fall?

The one thing that is certain is it will never be the same again.

Patrick Bardini Patrick Bardini was an American painter and photographer originally from Pittsburgh, Pennsylvania. His early output consists of black-and- white photography documenting scenes of playgrounds. In 2041, Bardini fled to Poland to escape the Apis Influenza outbreak.

This event greatly impacted the artist, causing him to give up photography. Bardini spent his remaining years in Łódź making paintings depicting the terror caused by the Apis Flu in Pittsburgh.

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Patrick Bardini First Day, 2059 Oil on Canvas Even after he moved to Łódź, Bardini continued to follow news of the Apis Flu in the United States. Here, he paints a scene at the Pittsburgh International Airport, in which a hoard of infected Steelers fans are apprehended and quarantined by a hazmat team.

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Patrick Bardini Nerves, 2056 Oil on Canvas Nerves was Bardini’s first painting after a long creative hiatus following emigration to Poland 2041. The painting depicts the Pittsburgh neighborhood Shadyside as the spinal cord of a cadaver infected with the Apis Flu.

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Patrick Bardini Rapture Apidae, 2067 Oil on Canvas As Bardini’s last known work, Rapture Apidae presents an unsettling conclusion to the epidemic. The final stage of the virus reaches the infected person’s mind, altering their behavior, and leading to an integration of bee and human culture.

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Peter Jackson (a.k.a Bee-BOY) Patient Zero Infected 2040 Died 2047 Long before he was infected, Peter Jackson was known as Bee-BOY; it wouldn’t be until 2040 that he and the rest of Pittsburgh would realize why. Unbeknownst to him, his supply of honey was contaminated and distributed, leading to the outbreak at the Thanksgiving Game on November 24th, 2040 between the Steelers and Bears. His physical mutation is still the most severe case documented till date. **Medical Note** Peter Jackson, remains the only person whose infection resulted in a fatality.

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Dr. Celine A. Roberts, PhD Head of Epidemiology at the University of Pittsburgh Medical Center, since 2037. Primary point of contact for UPMC as they coordinated their research efforts with the Center for Disease Control (CDC). It was Dr. Roberts who discovered the first asymptomatic and genetic carriers of the Apis Flu. She treated Patient Zero, and documented the physical mutations associated with Apis Flu. Her work with Patient Zero and subsequent discoveries about the virus were crucial in the efforts to create the immunization Pickle Pin. She is still working at UPMC and lives in Shadyside with her wife and three children, one of whom carries the virus.

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Matthew Z. Huber, AIA, LEED BD+C Local Pittsburgh architect, who graduate from CMU, with a Bachelor of Architecture degree in 2011. He went on to earn his PhD from MIT, in 2022, and has been working in Pittsburgh since; constantly challenging, navigating and strengthening the relationship between ecology and architecture.

In 2040, during the initial outbreak of the Apis Flu, Dr. Huber escaped unscathed. However, in 2052 when the effects of the ‘Flu’ on architecture became more prominent, he returned to Pittsburgh to document the evolving urban fabric of the great city of Pittsburgh. .

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The Apis sapiens have caused a hyper pollination, prompting an influx of flora and fauna in the Pittsburgh region. The rivers have grown and their chemical make up has shifted. Most residential neighborhoods have been completely overtaken with vegetation. The Apis sapiens are thriving here.

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Still dealing with the culture of fear surrounding the Apis Influenza and the subsequent creation of the Apis sapiens, many Homo sapiens in Pittsburgh have locked themselves behind the wall. The wall is meant to prevent the spread of the overgrowth, and to keep segregate the Apis sapiens.

Homosapiens in their fear of the Apisapien species have reverted back to their industrial ways, pumping toxins into the air in an effort to keep the overgrowth and the intruders at bay.

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The deconstructed house acts as the set for our performance of gender and familial roles. The entourage are clippings from the gendered ads from the 50’s.

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Flipping the perspective, the roles have switched. Man becomes woman, woman becomes man. Utilizing the subversive modern images of sexists ads from the 50’s used in the previous view. The house remains deconstructed an set like, suggesting that the subversion of these gender roles if just as perfomative as the gender role itself.

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While everyone has their role to play, our identity is not fixed or singular. We exist as a multiplicity of selves, our roles and identities are fluid and remain in a constant state of flux.

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Got a barrel to my back,and Won’t nobody there to film it So if they gunned me down How you think they’d frame it?

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Manifesting Identities S21|Professor Heather Bizon & Sarah Rafson Advisors: Samantha Stern-Leaphart, Mary-Lou Arscott, Hal Hayes, Dick Block

Manifesting Identities aims to detail, augment, transpose and break open the notion of archival documents by fictionalizing them, to reveal a richer image of black social life, and to make accessible someone else’s view and experiences of the world. It uses fragmentation to imply a whole. It places us in a more intimate setting, imagining the things whispered behind closed doors, amplifying the moments of withholding, laying bare the radical thinking and diversity of thought, too often thought extinguished. Black is not a monolith. To this end, I employed Saidiya Hartman’s mode of close narration that places me, the voice of the narrator, and the characters entangled, so the vision, language, and rhythm of the wayward shape the text, as I re-discover, re-document, and re-imagine memory, myth, and legacy in African America.

All the characters and events in this project are NOT real; some are semi-fictional. What I know about the lives of these characters has been curated as a semi-fictitious archive, with the information taking the form of journals, interviews, audio notes, photographs, news articles, police reports, video, transcripts, architectural drawings and etc.

In this project, I made use of a vast range of archival materials and modes, including real memories, the subjective archive which reflows and reshapes with time. The project leverages the inherent power and authority of the archive to set limits on what can be known and by whom, and whose stories matter, to translate the city into the sensory and capture the rich landscape of black social life - the quotidian and the refractory.

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a silent river Splash! into the deep I plunge please remember me

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Fire and Bullets, O, how it paints the street in red, O, spare the children No.

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pass me a plate, Of Cornbread and Collard greens, homestyle. Damn it smells good. mhmmm

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[Marshall kneels down to pray]

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View the full project here.

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emmanuel nwandu