AAD_SU21_049

al·ter·I·ty

concept

A

lterity implies a state of being other or different. This concept of otherness is fundamental in understanding how identities are constructed and is reflected in individuals and groups in distinct ways. Ethnic identities, gender identities, race identities, and so on. These qualities shape us as individuals and give u s a s e n s e o f b e l o n g i n g , r e l a t a b i l i t y, a n d c o m m u n i t y. T h e n o t i o n o f “ t h e o t h e r ” i s v e r y much related to these features of oneself when models, standards, and binaries are imposed within these categories, making individualities alien identities within these c o n t e x t s . A d d i t i o n a l l y, a l t e r i t y c a n b e expressed as the antonym of sameness, which refers to everything standing within the canon. Then any entity can stand in opposition to what has been constructed as its identity, suggesting the capacity to differentiate within self and imposed association. Therefore, recognizing the presence of multiple individualities within these very same classifications.

This compilation of ideas, designs, and explorations aims to commemorate and acknowledge alterity within the lens of g e n d e r, e t h n i c i t y, a n d r a c e . U n d e r s t a n d i n g how these identifiers not only comprise what unifies us as communities but also embody in their varied manifestations what makes us unique as individuals.

gender 弻 wearable chest pump - inducing lactation stimulation & improved milk extraction

弻 polaris

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ethnicity 弻 common ground - streets as networks for empowerment 弻 breathing blocks

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race 弻 performing history 弻 space as praxis as identity - identity and subjectivity within the practice of inhabiting and design

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gender

content

wearable chest pump for inducing lactation stimulation & improved milk extraction

Feminist Technoscience for Gender Equitable Futures Ani Liu

summer studio

Current protocols and products regarding lactation serve as guidelines for the care of breastfeeding mothers.

However, transgender men and gender nonconforming people are able to conceive and deliver babies, and therefore, are candidates for postpartum breastfeeding.

Changing social and cultural attitudes can enable a larger recognition and a better understanding of the feelings, experiences and health care needs of trans and non-binary couples who wish to or become pregnant, specificly in aspects regarding gender identity, gendered bodily aesthetics, and call attention across social, cultural, legal, and academic spheres. Lactation is one way to examine how more inclusive narratives of pregnancy and birth bring new understandings to the embodied and gendered processes of parenting.

On the other hand, lactation helps parents and babies form a secure attachment and can be induced without an accompanying pregnancy. Usually, those who induce lactation are non-gestational parents who did not carry their children due to unique family structures, adoption, or surrogacy.

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wearable chest pump

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Lactation is then of special concern for: Non-gestational parents who may want to share breastfeeding duties for instance cis gender men supporting their partner through co-nurcing or trans women who can benefit from the experience with significant emotional benefits. Gestational parents who do not feel comfortable with public breast/chest feeding may want to pump. This can happen to women in public spaces or transgender men whos outward appearance while pregnancy and chestfeeding may not match their gender identity. Finally, gestational parents who need to induce or increase their milk supply. This can happen after breast reduction surgery for women and trans men.

Latest models for breast pumps have advanced significantly in terms of technology, mobility, and convenience, however, there is still room for improvement especially including a wider range of bodies. Contour and size adaptation are achieved by buying complementary parts adding to the high cost of these devices. They are still very bulky and may increase the breast/chest size up to two cups, Which many women described as being uncomfortable when using in public spaces and even more so for transgener men or non binary people.

Complementary reusable milk containers instead of disposable ones may increase costs and represent a disadvantage in terms of environmental waste as well.

Finally the motor in the latest devices does not match a hospital grade breast pump which means that they may not be useful for inducing lactation.

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Taking into consideration the previous issues, I’m attempting to develop a prototype for a Wearable Chest Pump that could support and improve milk extraction while providing inducing lactation stimulation as well. The device acts as a wearable vest that uses a pneumatic system to adapt its surface to multiple and diverse topographies. There is existing technology available like vacuum forming or vacuum seal, however, a team in MIT MediaLab is experimenting with an enabling technology to build shape-changing devices through pneumatically-actuated materials. The shape changing states are computationally controllable and their applications can range from height changing buildings to a morphing bar cell phone or shape shifting lamps.

Non-gestational parents can start preparing for breastfeeding as soon as they decide to grow their family and the only necessary component to induce lactation in most cases is stimulation. This can happen using a variety of manual techniques. The device aims to provide the necessary breast/chest stimulation to induce lactation through multiple air chambers that inflate and deflate using specific patterns that simulate hand stimulation.

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summer studio

wearable chest pump

COMPILED VIEW

spandex fabric

FRONT VIEW

FRONT VIEW pauch and valve

seal assembly

summer studio

wearable chest pump

BACK VIEW

battery and motor

SIDE VIEW

TOP VIEW

seal assembly

solid BPA free plastic

INTERIOR VIEW

13 air chambers

SEAL

close system for maximum hygiene

FRONT VIEW

CONTAINER

reusable pouches (fridge containers)

vacuum forming PBA free plastic

POCKET

COMPILED VIEW

COMPILED VIEW

attachment to flanges & vest

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vest manual alignment with the flange seal

wearable chest pump

The device is made out of 6 parts. Starting with the vest, it incorporates the battery and motor of the device and is made out of spandex fabric that allows malleability and adaptation to different upper body sizes. The design does not require a specific pressure from the vest which means that if it’s tighter or looser in different bodies it makes no difference it relates more to the user preference.

The flanges are made of a relatively solid BPA free plastic that allows air in between the flange and the skin surface in order to enable the suction to happen.

The form is flatter than the regular sizes and forms from other breast pumps making it more discreet. Inside it has a pouch and valve that can be pressed when holding them against the skin in order to allow them to adhere to the breast/chest and regulate the level of suction.

The plastic sheet is made of a vacuum forming plastic formed of two layers that shape 13 air chambers. When using the device the vest is aligned manually with the flange. After the vest is aligned then air is sucked from the inside of the sheet, so that it wraps around the body.

Simultaneously, air is slightly blown into the chambers in charge of stimulation. This allows that regardless of the topography the device is adjusted appropriately and aligned with the flanges.

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wearable chest pump

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A close system for maximum hygiene is ensured thanks to the seals that also attach the flanges with the plastic sheet. And finally the milk containers are reusable pouches that can serve as fridge storage containers as well. This is the only object within the device that may add volume to the chest area however it depends on the amount of milk production which is not more than 2 oz that will only reflect half a cup projection.

Nonetheless the design aims to address social aspirations in terms of normalising breastfeeding in public spaces and allowing it to shift its association to cis women. Therefore, the aesthetic approach is an open ‘inside-out’ device with its structural elements partially exposed on the exterior, thus allowing visibility for practical use as well as exposing the milk extracted in favour of acknowledging its significance and inspiring relatability within the public realm and communities .

Thank you so much.

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wearable chest pump

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polaris notions of the sublime predicated on scale and vastness

Techniques of the Ultrareal - Phillip Crupi In collaboration with Kassandra Lee, Andres Alvarez & David Musa

technique s of the ultrareal

polaris

The project sought to evoke colorful and monumental crystalline structures set within a snow-capped, alpine landscape. The concept for the images evolved from a series of related ideas: notions of the sublime, predicated on scale and vastness; surreal imagery; and the expressionists Bruno Taut and Paul Scheerbart, who conjured a world adorned with huge glimmering structures and all manner of futuristic visions in colored glass. Furthermore, the shades are fairly explicit and challenge the opposite sides of the strong-delicate spectrum associated with gender binaries. But which shade sits where?

Three distinct images, each of which explores a slightly different nuance of our initial concept. The first is a night scene; in the massive scale of the proposed building, it constitutes the clearest exploration of sublime aesthetics. The second is a morning scene, which explores an elongated composition and situates the structures in a vast landscape. The third is an interior view, in which the surreal qualities of the vision sought to conjure come into focus. The project aimed to reinforce this quality through the composition, the design of furniture and the relationship between the interior and the fanciful floating structure that looms over the mountainous landscape.

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technique s of the ultrareal

polaris

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technique s of the ultrareal

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ethnicity

common ground streets as networks for empowerment Sunset Park, Brooklyn

Kitchenless Stories - Anna Puigjaner In collaboration with Pabla Amigo

adv studio VI

common ground

Common Ground is a network of spaces that serve the increasing migrant women community of Sunset Park, where they experience lack of domestic space, job opportunities and public infrastructure to support them.

The project works together with organizations like Mixteca that aims to enrich and empower the Latinx community in Brooklyn. Overall the intent is to promote alternative activities to achieve economic independence and free hours by managing the lack of child care.

These spaces are proposed as a result of restructuring the residential street typology as an urban fraction that can be replicated. Therefore, allowing an upgrade within the community in terms of opportunities to achieve education, resources, and overall improvement of quality life.

Mostly immigrants, around 80% of Sunset Park’s residents face multiple difficulties in terms of rent burden and economic struggle. High-density rates within the neighborhood are almost double the NYC average and considering that Sunset Park’s main housing typologies are around 2 to 4 stories high, the question of where are these residents living is raised.

The high housing demand versus the evident lack of space translates to numerous cases of illegal dwelling conversions. The overcrowding of these typologies has made them sleeping units, where the kitchen, workspaces, eating, chatting, everything collapse in one minimum room.

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By analyzing the street and the spatial connection with the housing units the project rethinks how daily life is contained, defining the street as the site for intervention.

Sunset Park is organized in 4 main avenues: 3 Av, which is the limit between the Industrial and residential areas defined by the Gowanus expressway. 4 Av where three main lines of the subway run by, as well as the location of some urban facilities. 5 Av which is the main street for commercial activity and the presence of the Latino community portraying multiple aspects of Mexican and Latin culture. And 8 Av where there is a significant presence of the Chinese community. However, these 4 avenues function in an individual way and not much exchange is produced between them. The perpendicular residential streets that should connect them lack any kind of urban life.

Streets in Sunset Park prioritize vehicular transportation.

The results are dull sidewalks with few planters along them and large areas designed for parking. Is the entire area dedicated to traffic and parking entirely necessary?

The residential street typology in Sunset Park presents an opportunity to not only create more public and pedestrian spaces but to expand the domestic sphere and alleviate the pressure within the housing units from overcrowding conditions. Likewise, there are initiatives currently taking place by the DOT (Department of transportation) including the expansion of bike lanes or street seats by replacing parking spaces throughout the city. Similarly, in response to COVID-19, there has been an increased motivation to activate spaces through adaptations of the streets.

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common ground

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common ground

Common Ground is a short-term transformation of the residential street structure that provides spaces for microeconomic activities, childcare, living, and learning spaces for migrant women. The adaptation of the street proposes to limit the parking lanes to half capacity allowing the use of the freed spaces. The architectural features of the row house typology along with the sidewalk take on the existing parking space in front of each unit creating a shared area for pedestrian and community use.

To achieve this intervention, a DIY Tool Kit is developed for the spatial configuration of these areas. The Tool Kit uses 1 m modules corresponding to a 3x3 m grid.

The grid responds to the urban dimensions of the residential street which are the width of the row house front facade, the sidewalk, and the street.

The idea is to provide adaptable spaces through a snapfit building system that can be effortlessly assembled with no formal skills or training. Composed of 10 basic lightweight pieces of plywood that would be prefabricated mostly from recycled material, considering as well, the second life of some of the existing structures generated during COVID-19. The Kit incorporates supports that adapt the height according to the site’s slope, protecting the module from ground humidity and SIP panels that reinforce the structural system. The project serves as a support for the community and domestic life. During warmer times the project is open relating to the street, while in winter it functions towards the interior allowing cozy spaces by closing the facade.

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common ground

Through the research, primarily 4 programs were narrow down to empower migrant women, even though it would be possible to configure multiple other alternatives.

In Sunset Park achieving a job opportunity is very difficult for immigrants as a result of various aspects.

Primarily education, the percentage of residents who have not been able to achieve a high school degree in Sunset Park is alarmingly high. Additionally, there is limited English proficiency in both Mexican and Chinese populations. Within this framework, immigrant women are in a concerning situation. From 2007 to 2017, the percentage of women migrating from Mexico to the United States increased by 20%. Most households are Heteronormative Families or women as householders with no partner present in their family nucleus. Men usually take on the task of learning English and figuring out how to navigate the city while limiting their partner’s independence. Consequently, cases of domestic violence and sexual assault are frequent.

Therefore, the first program is related to Learning. In alliance with Mixteca, the project proposes spaces that allow the supply of services related to mental and physical health, education, skills development, entrepreneurship, and finally spaces in favor of justice and defense for the immigrant community.

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Another concern ongoing within the neighborhood is the lack of childcare. Sunset Park is one of the areas with the lowest childcare capacity where only 17% of children have access to care centers. This issue not only involves the lack of supply, but the women who provide this service as well. Women’s independence and emancipation are achieved by placing substitute workers (immigrant women) into their homes.

Therefore, the second program proposed is for Childcare. The spaces would be arranged for 6 children between 6 and 12 years old and 1 adult, regarding the NYC Childcare regulations and policies. The space would be open essentially after school hours, however, some of them will function during the day together with the existing childcare infrastructures within the neighborhood for toddlers.

Some of the economic activities that are currently developed by the community are food products, retail, homemade remedies, handcrafts, and ornamental plants. Therefore, the third program is a market space that would be arranged for 5 adults and would be located primarily near the avenues for commercial activation.

Finally, the fourth program is an extension of domestic and cultural life. Acknowledging that not only the lack of space is a concerning situation for the community of Sunset Park but the oppression for cultural identity, life, and expression on their streets as well. The living space would be equipped with restrooms, drinking fountains, and kitchen spaces like counters. These areas will also provide covered open spaces where communal life can be developed.

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common ground

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common ground

For the purpose of grounding the project to the specificities of Sunset Park, the residential streets with the highest density were mapped through information gathered from the Zoning and Land use in NYC and claims regarding illegal conversions. The number of childcare, learning, market, and living spaces respond to the specific density and demographics of each street gathered through the Census data.

Moreover, to expand over time and win territory the project proposes the supply of water, energy, and drainage systems by connecting to the existing infrastructure of the residential area. These points would be distributed every 27 meters according to the grid, allowing not only the provision of these utilities to the DIY modules but facilitating these temporary measures to envision the future of the residential streets.

With minimum interventions, Common Ground depicts how domestic and urban life can be entangled into a more balanced distribution of vehicular, communal, and pedestrian areas on the residential street typology of Sunset Park. Projecting as well the proposal throughout the neighborhood resulting from its replicability quality.

The project allows the residents to empower and express their cultural identity in the public space as well as the reclamation of the streets on behalf of the community.

Overall, the space is transformed by replacing the street with an uninterrupted common public area.

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breathing blocks Melrose and Mott Haven, Bronx

X-Information Modeling - Luc Wilson In collaboration with Anirudh Chandar and Luis Miguel Pizano

The project proposes a block configuration in the Bronx neighborhoods of Melrose and Mott Haven that weaves public infrastructure, urban landscape, public-private spaces and multimodal systems into a network of breathing urban blocks. This network aims to reduce air pollution by re-thinking building type arrangements within the city block and redirecting street airflows in response to local wind patterns and seasonal changes.

building science and technolog y

breathing blocks

Maximized Lots

Connected Commons

The Project Methodology interfaces with building types, streets, parcels and wind vectors in order to suggest amenable conditions for urban depollution.

In recent years, extreme lot maximization in the Bronx neighborhoods of Melrose and Mott Haven has eroded publicly-accessible, community-oriented spaces.

Moreover, undiscriminating land use patterns have resulted in increased levels of urban air pollution. Large metropolitan arteries bear witness to noxious air quality conditions for pedestrians most notable of which is Asthma Alley in the Bronx.

Designers, developers and policy-makers must find new spatial solutions to redirect pollution away from common urban spaces, while ensuring that these spaces can foster gathering, recreation and delivery of services.

Otherwise, the quality of life in urban neighborhoods will continue to decay, which will result in population loss, real estate devaluation, a weakened tax base and the defunding of essential public services - a process which the Bronx experienced in the 70s.

Residential Units

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Street Options

Block Parcels

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Wind Vector

building science and technolog y

breathing blocks

The Breathing Blocks proposes a vision of the Bronx in 2030 that optimizes block and street configurations to reduce air pollution in common areas. These configurations result from a computational model that 1) re-classifies streets relative to mobility uses and wind vector directions and 2) organizes building relationships at the city block scale so as to produce common spaces that are safe for public use. The resultant urban network connects residential units, common spaces across property lines and mobility systems and public infrastructure.

According to yang et al, “air pollution in cities may be considered a result of the effects of wind environment and urban spatial form. The wind environment, influenced by spatial form and influencing air pollution, functions as a bridge throughout this process, linking spatial form with urban air pollution.” Moreover, if cities optimize and adjust the urban form so as to respond to and produce favorable conditions for wind speed, air pollution may be re-distributed away from residential centers through channels specifically designated for this use.

“Breathing Blocks” suggests a context-sensitive methodology for the organization of building types within the city block in response to air pollution. Our primary metric, average airflow reduction (%), can be used to analyze both existing and proposed development scenarios to minimize the flow of polluted air into pedestrian areas.

The project sets up two street types - vehicular primary streets that generate blocks and carry pollution away from the blocks and secondary streets that create sheltered pedestrian streets within the blocks. The goal is to optimize wind-flow within the primary streets and minimize wind flow within the secondary streets, thereby safely moving pollution away from the pedestrian centric public spaces.

Street Option 68

Parcel Angle

FAR Variation 69

Parcel Width

Secondary street angles can be optimized within each street type based on parcel angle to minimize air flow. Additionally, the results suggest a hierarchical correlation between block orientation and parcel angle. In turn, this relationship determines secondary street definition.

The project proposes the transformation of three building types (tower & plinth, courtyard and row house) by prioritizing the connection of semi-open ground floor spaces, courtyards, and rear yards. This scheme for urban integration requires that the building types be modified in a few important ways. The tower & podium type and the courtyard type are partially lifted in order to provide access to ground floor and courtyard common areas.

Conversely, the row house type is shifted in order to connect rear yard areas into a common park zone, with varying degrees of openness. These areas are subsequently connected into a network of shared urban common spaces. Types are arranged in order to maximize the barrier between street and common space and to reduce the scale and depth of urban street canyons, which typically house higher levels of air pollution.

Floor Area Ratio

Building Typology

Porous Block

Tower & Plinth

The project incorporates variable parcel widths and FAR ratios inputs according to the above ranges. These inputs generate a framework that allows us to test out the correlation between spatial form and urban air pollution. Parcel angle and street options are inputs that relate directly to our wind analysis. Street options incorporate primary streets that carry away pollution and secondary streets that shelter pedestrian streets within the blocks. Street types for all given scenarios can be optimized based on parcel angle to minimize or maximize air flow. Subsequently, the performance of these iterations can be analyzed to achieve a maximum barrier between the street and common space.

Block Air Flow

Courtyard

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Row House

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building science and technolog y

breathing blocks

PA R AM E T R IC T Y PE S GOAL S : M a xi mi ze pu bl ic c omm on s

S TR E E T O PT I ON S GOAL S : Va r y w in d fl ow wi t hi n bl ock s

PA RC E L AN G LE S

W IN D A N A LYS IS CO N CL USIO N

GOAL S : Op por t un iz e w in d sh a de poc ket s wi t hi n bl ock s

GOAL S : M a xi mi ze Pr im a r y S tr e et Ai rfl o w M in i mi ze Se con da r y St re et Ai r fl ow

Primary Street Airflow Reduction :58.8%

90o Orientation

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Row Home

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Rounded Street Option

60o Orientation

75o Orientation

Secondary Street Airflow Reduction :48.8%

Secondary Street Airflow Reduction :46.9%

Secondary Street Airflow Reduction :46.8%

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Courtyard 75o Orientation

60o Orientation

This is because a perpendicular relationship between parcel orientation and primary street creates internal block configurations that do not support intersection between primary and secondary streets. Greater intersectionality between streets at an angle that favors the N-S axis stated above will slow down the speed of air flow through primary streets, which will increase the amount of urban canyons and air pollution levels.

Secondary Street Airflow Reduction :46.6%

Secondary Street Airflow Reduction :45.1%

Secondary Street Airflow Reduction : 58.8%

90o Orientation

0% Airflow Reduction

FAR Variation

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Tower & Podium

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Rectilinear Street Option

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75o Orientation

60o Orientation

Primary Street Airflow Reduction :27%

Given the desirable quality of urban form relative to urban air pollution advanced by Yang et al, desirable results produced by the computational model favored low reduction of airflow in primary stress and high reduction of airflow in secondary streets.

According to this logic, the curvilinear street option performed highly, for it generated strong primary N-S axes and relatively perpendicular secondary streets which produced unfavorable channels for southerly wind vectors. Additionally, scenarios in which block parcels are oriented perpendicular to primary streets performed better.

Secondary Street Airflow Reduction : 58.9%

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Primary Street Airflow Reduction :62.5%

Secondary Street Airflow Reduction :47%

Secondary Street Airflow Reduction : 59.1%

90o Orientation

Diagonal Street Option

Our custom wind analysis tool measures optimal conditions for wind airflow. It identifies primary streets on each iterative scenario in relation to the primary wind direction, sorting those that are within 30 degrees or less of separation from the northsouth axis. This axis is determined based on an analysis of New York City wind directions in summer, the season with highest measurable pollutants in the Bronx according to reports from New York City Community Air Survey. The tool then analyzes every secondary street directly related to the relevant primary streets and measures their angle of intersection. Iterations are subsequently generated by varying parcel angles within each block.

Parcel Width

Parcel Angle

Street Option

0.7

300

60

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250

75

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50% Airflow Reduction

Average Daylight Hours

100% Airflow Reduction

Total Park Area

Primary Street Average Airflow Reduction

Secondary Street Average Airflow Reduction

Total Volume

Total Area of Development

Optimal

Optimal

Minimum

Optimal

High

Maximum

Minimum

Minimum

Optimal

Minimum

Low

Minimum

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building science and technolog y

breathing blocks

PA R AM E T R IC T Y PE S GOAL S : M a xi mi ze pu bl ic c omm on s

S TR E E T O PT I ON S GOAL S : Va r y w in d fl ow wi t hi n bl ock s

PA RC E L AN G LE S

W IN D A N A LYS IS CO N CL USIO N

GOAL S : Op por t un iz e w in d sh a de poc ket s wi t hi n bl ock s

The methodology implemented by “Breathing Blocks” can be deployed by designers learning about the relationship between urban form and air pollution.

By using the metrics of primary and secondary street airflow reduction (%), project teams will understand the relationships between air flow speed in primary channels and minimized airflow in residential and pedestrian areas.

building science and technolog y

breathing blocks

GOAL S : M a xi mi ze Pr im a r y S tr e et Ai rfl o w M in i mi ze Se con da r y St re et Ai r fl ow

Primary Street Airflow Reduction :58.8%

Primary Street Airflow Reduction :62.5%

Primary Street Airflow Reduction :27%

90o Orientation

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Row Home

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Rounded Street Option

60o Orientation

75o Orientation

The next steps for implementing the “Breathing Blocks” methodology can and should be geared towards the analysis of residential density in the resultant city blocks, so as to measure the impact of airflow channels on at-risk populations.

In addition, the analysis of mobility infrastructure can qualify the accessibility or inaccessibility of these structures. The current model assumes frictionless vertical transportation between the residential structures, street curves, park areas, train stations and beyond.

Courtyard

Secondary Street Airflow Reduction : 59.1%

Secondary Street Airflow Reduction :47%

Secondary Street Airflow Reduction :48.8%

Secondary Street Airflow Reduction : 58.9%

Secondary Street Airflow Reduction :46.8%

Secondary Street Airflow Reduction :46.9%

Secondary Street Airflow Reduction : 58.8%

Secondary Street Airflow Reduction :45.1%

Secondary Street Airflow Reduction :46.6%

90o Orientation

02

02

75o Orientation

Our computational model is regulated by checks and balances that take into account the specific vulnerabilities of the communities of Melrose and Mott Haven. The Breathing Blocks model considers all possible users, with a focus on underserved users affected by pollution in the Bronx.

Moreover, it focuses on the transparency of our protocols and the explainability of the model by clearly stating inputs.

It also frames project questions by defining the impact of the existing urban fabric relative to questions of commercial and residential areas.

Diagonal Street Option

60o Orientation

90o Orientation

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Tower & Podium

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Rectilinear Street Option

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75o Orientation

0% Airflow Reduction

FAR Variation

60o Orientation

Parcel Width

Parcel Angle

Street Option

0.7

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0.5

250

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50% Airflow Reduction

Average Daylight Hours

100% Airflow Reduction

Total Park Area

Primary Street Average Airflow Reduction

Secondary Street Average Airflow Reduction

Total Volume

Total Area of Development

Optimal

Optimal

Minimum

Optimal

High

Maximum

Minimum

Minimum

Optimal

Minimum

Low

Minimum

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race

performing history Pearl St. and Wall St. Manhattan Bridge Arch St Mark’s Church in the Bowery

Protocols of Care: Bodies of Assembly - Prof. Mabel O. Wilson & Jordan Carver In collaboration with Skylar Royal

adv studio V

performing history

Historical consciousness is an important part of engaging civic action. The project want to highlight and uncover more information about the history of black people in lower Manhattan as it has been erased over the years, and use this awareness to help drive the protocols. In 1626, the first slaves were brought over into Manhattan, becoming with time an essential site to the slave trade. Essential locations of oppression, rebellion, and property relative to the St. Mark’s church site such as the slave market, the first settlement for freed slaves along today’s bowery, African burial grounds, sites of rebellion in 1712 and 1741, and the 1863 draft riots.

In looking at how these sites line and branch off from the present day Bowery, it creates a type of protest route stretching from present day Battery Park up to union square on 14th. This historic artery makes the procession the project intends to highlight.

The project intervention has three specific sites as nodes along the procession. The first site is at the intersection of Pearl St. and Wall St. where the slave market was originally located. The second site is the Manhattan Bridge Arch in the intersection between the Canal St. and Bowery. Finally, the third site its St Mark´s Church in the Bowery. Common daily occurrences are interrelated with the program´s actions and movements, and different ways that the sites can be occupied throughout the day.

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performing history

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performing history

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performing history

Structures

Markers along the path

Assembly options Columns Semi arch Full arch Semi arch merge

Base Block

The structure has two base sections, a column and the top part of a semi arch. These can be assembled in multiple ways generating possible variations in size and shape. The surfaces is be made out of nylon rope; the density and tension of the knitted fabric will vary to serve different purposes such as showcasing print art, allowing transparency and movement or load-bearing capacity.

The system will work through wires and rails that will allow the deployment of the fabric throughout the structure. In an attenp to bring back the BTLM protest and thinking in stories intended to be share and how these unfold through the project, the projects takes inspiration from “Black on both sides – A racial history of trans identity” by C. Riley Snorton. Highlighting specifically the transitive relationship between blackness and transness in the 19th century. The sites will expose 4 fugitive narratives featuring cross-dressed and cross-gender modes of wonder and scape, as well as background sounds related to the purpose of each site.

The full deployment mode will be orchestrated and run

by Danspace as a full performance on the street going along the procession and in St. Marks Church site.

As for the mural art showcase on the textile, facades and grounds of the site we will be working with Kenkeleba House, an alternative art space that preserve, interpret and encourage the development of art by African Americans and the broader African Diaspora.

Base Section

Names Structure Permanent Marker

Nylon rope

density + print art showcase (3) - more transparency (1,2)

Rails

tension + more load-bearing capacity (2,3) - flexivility to movement (1,2)

Wires

Sound Port and slave market

4 fugitive narratives featuring “cross-dressed” and “cross-gender” modes of wonder and scape

Singing bowl breathing space

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Woven textile

System

Partnership Performance - Danspace - Progressive integration between site 2 and 3 - Full performance at site 3

Mural Art - Kenkeleba House - facade - textile - ground

adv studio V

performing history

Site 1

Structure Arch Semiarch Rail

Printed Textiles

Site 2

Pathway marker

Low tension and density allowing movement

Site 3

Structure Columns Wires

Progressive integration performance

90

Structure Semiarch Merge

Full performance Danspace

Singing bowl Breathing room

Fugitive narratives

High tension and density load-bearing capacity

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adv studio V

performing history

The project incorporates the term “fungible” into its narrative for the first site. In the context of slavery in terms of defining someone as fungible, as an object of compensation, in an attempt of grasping the sense of violence that requires turning a human being into something fungible.

Establishing this as the place of remembrance and historic care, Through the act of listening the project aims to shade light into the fugitive narratives mention previously, establishing the first site as the starting point walking the journey to freedom.

During off hours, arch and semi arch structures are what is displayed and then at the times of deployment it stretches out showing the stories with the fabric coming from the arch.

The deployed arches help capture the sound used to expose the fugitive narrative stories while scaling down in certain areas to allow for seating

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The second site incorporates the fungibility term and translates it into gender fungibility and how ungender blackness provided the grounds of (trans) performance to freedom. The Manhattan Bridge arch is marked as the breaking point into free land, from this point forward we enter the first settlements for freed slaves.

Understanding as well, that is “not only the journey from slavery to freedom but also the journey from slavehood to manhood”. This entails a new whole mindset of feeling and embodiment. This is how the body protocol is connected to the site by responding to the idea to revive the body through breathing, rest and nourishment.

The lower density and tension textile used on the second site allows movement, which will match breathing patterns to benefit, relax and rest the body after participating or taking in content that could be draining.

The structure starts out exposed and then when it is deployed provides places to sit and covered areas for shade since it is deployed during major break times and hours of high sunlight during the day. The shape also lends to the more complex intersections of that site by not having a front or single point of entry blurring as well, the threshold between inside and outside spaces.

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The third site will translate gender fungibility not as mean for freedom, but as freedom in itself, however highlighting that viciousness does not end with the achievement of freedom. Throughout time within “freedom,” there is always a threat of violence for the outnumbered, for the “diverse”. This is a way to bring the narrative to the present time and sensing a dimension of what history is telling us that hasn’t happened yet.

Through the action of voice, as the right of expression, this site intends to assemble and amplify the project’s narrative as a call for action, the structure is emerging from the semi arch extending out from the church, expanding to create spaces of gathering, performance, and speaking. The structure takes over the plaza in front of the church, replacing the existing benches and extends through the sanctuary, allowing for a multi-use passageway for performers to go through between acts, or to allow visitors to pass through without disturbing the rest of the floor.

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space as praxis as identity identity and subjectivity within the practice of inhaniting and design

Dark Space: Architecture Representation Black Identity Prof. Mario Gooden

St arting from the basis that signifies the true purpose of architecture as the relationship betw een the ideal form and the real experience from inhabitation. It can be said that the essenc e of sp ac e ap p ear s not in c onc ep tion (design) but in the p r ac tic e of inhab iting. Then, the association betw een these tw o practices related to space (inhabitation and design) is that they are inevitably intertw ined. To w hat extent does architecture being imagined and subsequently c o nceived, informs and defines everyday lived experiences? Are these the politics of design?

RosaLee Goldberg

“It is in space that ideas are materialized and experienced, an essential element in the notion of practice” (1975, Golberg).

Bearing in mind the previous statement, one can depict a virtual connection between architecture, space, and cultural identity, not only through art and performance but also through daily occupation and experience. Architecture has the ability to facilitate the construction of identity through whether the support or the restrain of the interactions within it.

Furthermore, understanding spatial relationships as the representation and generation of cultural identities implies that the external facade is an image of the object in itself and not of its essence, in other words, its identity.

Identity is created through Praxis and is made real through actions and interactions. That being said, there is a real potential among these informal environments and the exchanges they generate in everyday life. In this regard, in order to understand the true identity of space, it is necessary to explore its provenance, the architect, and the occupant. The argument will be reviewed through varying case examples but specifically through the lens of immigrants residing in New York City as occupants and generators of space identity.

Genuinely reclaiming and asserting identity and subjectivity through space can only be done by the individuals who inhabit the space and define themselves with it. Subsequently, spatial identity can not be defined or determined by the architect, as it is likely to fall into stereotypes and hasty interpretations. The film Architecture d’aujourd’hui - Architecture of today

(1929) was directed by Pierre Chenal featuring Le Corbusier, as the main actor. The film aimed to expose and analyze the modern building advantages from a technical point of view, where new revolutionary materials are used and from the functional and aesthetic perspective as well, showing the space and light distribution inside the building, among others. Beatriz Colomina analyses this film among other examples of Le Corbusier and Adolf Loos’s works in her paper “The Split Wall: Domestic Voyeurism”. She exposes multiple arguments related to the way women are framed not only within the film but in the architectural space of some of these examples concerning the male gaze and notions of domesticity. However, we will focus on the concept of inhabitation and how she argues that the house is merely conceived for its materiality, turning it into a simple object from which particular imaginaries can be extracted. In other words, the house is nothing else than photographs planned by “the visitor” which she defines as the architect, in a similar fashion as a filmmaker.

“I knew that the region where we wanted to build consisted of 10 to 15 kilometers of hills along the lake.

A fixed point: the lake; another, the magnificent view, frontal; another, the south, equally frontal. Should one first have searched for the site and made the plan in accordance with it? That is the usual practice. I thought it was better to make an exact plan, corresponding ideally to the use one hoped from it and determined by the three factors above.

This is done, to go out with the plan in hand to look for a suitable site.”

(1991, Le Corbusier)

Returning to the notion of inhabitation and this action being determined through the factors announced by Le Corbusier further illustrates the thought of generating space for the sole purpose of creating a composition and an image that is not intended to be experienced only admired. Inhabitation here is orchestrated by the architect serving his idealized view of the space, but never to be seen as the experience of the real people occupying and acquiring the house as a space of their own. It is possible to notice the same approach to spatial representation through the photographs taken of some Le Corbusier projects, specifically of the interiors. Often, we are presented with an image of an inhabited room.

There is, in some cases, evidence of the subject. However, the subject is removed from his own home.

The evidence is shown as objects in the photographs like a hat, book, glasses, a mug. Nevertheless, neither of these objects relate a real sense of inhabitation in the space, nor describe in any sense the subject living in the house. By lacking any recognition of domesticity within the spaces, the architecture lacks any sense of identity as well. Moreover, what is more concerning is the total absence of acknowledgment in terms of the possibility of another subject or identity other than the spatial male patriarchal figure, or far worse other than Le Corbusier’s own. In this sense, the architect is a visitor as Colomina argues, we never inhabit the spaces beyond their conception and consequently, remain entirely detached from the work. Therefore, spatial identity can not be defined by the architect, even when there is a genuine intention it is likely to lack authenticity in their interpretations as the essence of space appears while experiencing it.

through an analogy where the facade and its materiality no longer identify with the object’s form but being transformed into a bleached even surface on which to draw and depict the possibility of appropriation.

Contrary to most films about architecture, like the precedent referenced previously, the film Koolhaas HouseLife 2008, concentrates less on describing the house and more on allowing the observer to understand the hidden everyday domestic labor. This film by Ila Beka and Louise Lemoine focuses on the House in Bordeaux, 1998, designed by Rem Koolhaas, an architecture that holds striking spatial compositions. However, the movie leaves that aside and acknowledges the functionality of the architecture based on design efficiency in favor of habitation. Evaluated essentially by the inhabitants who interact with the space. In reference to the Bordeaux house, the architecture is exposed through Guadalupe who is responsible for the everyday maintenance of the house. She acts like the guide who exposes the peculiarities of the architecture within her daily chores, openly describing the defects of the house. In the architectural discourse, iconic well-known buildings are depicted as untouched monuments.

But the film avoids that representation in support of a genuine engagement with the living space. The movie exposes distinct approaches to architecture and expands the form of representation promoting as well further deliberation regarding the real purpose of design.

Similar theories had been discussed even back in the 19th century

by Gottfried Semper a German architect, art critic, and professor of architecture. He proposed a switch in the architectural discourse at the time.

He argued that architecture should not follow the idea of progressively covering the structures with ornament, but start the spatial conception through the ornament. It is worth noting that the institution that’s mentioned in Semper’s theory and that indeed defines or identifies the subjects in his narrative, responds to the European universal character. However, what is valuable to highlight are the ways of constructing the space even from the actual stages of conception emerging from the social subject and its individuality as well as its relation and interactions with others that emerge within the space. In Bekleidung or The Theory of Dressing, he argues that a building emerges through the use of woven fabrics especially in the definition of spaces of domesticity. For him, the substance of architecture comes from the textile. Semper argues that domesticity is directly related to the body and its essence, in other words, the subject and its identity define the social character of the space.

The social subject, like the body with which it is associated, is a production of decorative surfaces. The idea of the individual and its identity can only emerge within the institutions of domesticity established through the construction of the textured surface that is the house.

By way of illustration of everything said so far, the expansion of the notion

The architect’s approach should then respond to the idea of providing a blank canvas. We could imagine this

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of immigrant subjectivity must have a place. Also, acting as a segway to grasp how identity materializes in the spaces inhabited by immigrants in New York City as they represent almost 43% of the total population in the city. The framework will be set within a general view of their present reality to then emphasize on their subjectivity and what this implies.

The average population of immigrants arriving in New York City identifies primarily as Latin or Asian. Younger than the citywide average, around 38% are below the poverty line facing the difficulty of the rent burden and repercussions from high-density rates within most of the affordable neighborhoods in the city. The high housing demand versus the lack of space and income translates to a significant amount of immigrants living in illegal dwelling conversions and precarious conditions. Threatened as well, by the uncertainty of real estate speculation, most of the areas where immigrants reside go through processes of urban renewal which are activations for gentrification.

Furthermore, achieving a job opportunity is yet more difficult as a result of various aspects, setting apart their illegal status which is the main restrain. Education is a primary factor, as the percentage of immigrants who have not been able to achieve a high school degree is alarmingly high.

Additionally, there is limited English proficiency in mainly the Mexican and Chinese communities. On the other hand, from 2007 to 2017 the percentage of women migrating to the United States increased by 20%.

Most households are heteronormative families or women as householders with no partner in their family nucleus.

Men usually take the task of navigating the city while limiting their partner’s social and economical independence.

Women coming alone are likely to fall victim to sex trafficking or abuse.

and dismissed as the other. There is also a use of deceitful identities to describe those communities, as a similar feeling among minorities of perversity, otherness, queerness. The illegal status only adds to the idea of not being considered human but a generalization that requires control and constant observation and a sense of distrust. Born in Oklahoma City in 1985 Tatyana Fazlalizadeh is a Black / Iranian visual artist and painter whose work addresses the daily oppressive experiences of marginalized communities. Through one of her paintings is portrayed the notion of the preconceptions and accepted ideas that have been implanted in the collective psyche of a nation. Portrait of my father as an Alien is described in her own words in the following quote:

“How we treat each other is based not only on our interpersonal interactions but on how social and political structures inform our opinions of people and subsequently how we treat or mistreat them. I’m curious about how the hateful rhetoric and policies of our current administration influence our impressions of immigrants. “Portrait of My Father as an Alien” is an oil painting based on his “resident alien” ID card photo from when he came to the United States from Iran in the 1970s.

My intention was to take an image of him that was presented as “alien” to this country, and to view it with the understanding that he was a person a father, a husband, a human being. It is essential to ask ourselves, how do we resist the dangerous narratives of immigrants that have been presented to us and instead see and uplift the humanity and rights of individuals?”

(2018, Lescaze)

To my understanding, there is a clear identity conflict that is present in the immigrant community not

only characterized by the constant misjudgment but as well by the distance from a source of culture related to their own. There are significant sources of information that expand on the notion of an individual’s cultural identity and how it may be lost during the assimilation process of moving within a host society. Through the interaction between the minority community and the predominant community, there is always a desire for assimilation that can lead to rejection and in consequence promote a process of deculturation. At the same time, the concept of “becoming” in A Thousand Plateaus by Félix Guattari and Gilles Deleuze provides a way of theorizing a positive force of adaptation without reference to an idea of imitation that is constantly being rejected. They argue that becoming is a form of untying memory, as memories are attempts to control fleeing ephemeral becomings of the past. Becoming is not an act of imitation but of embracing multiplicity.

Becoming is always minoritarian and aims to integrate to a stable majority that organizes and embraces the multiplicity of minorities. In a way, the subject in a process of becoming is always struggling, as entering a becoming-minoritarian that renders him from his major identity.

Thus in an attempt to counteract the deculturation that can take place during these processes of adaptation, there is an effort of materializing identity in space. Taking into consideration the notion of reappropriation of home and family concepts that occurs to subjects that have been distant from their place of origin for years, it is important to understand the identity of the traditional house which is still

rooted in most of the immigrant’s cultures, especially the Latin culture.

Also, acknowledging that houses

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and domestic spaces in their places of origin are developing for an extended period along with the flow of remittances. A long construction process developed by the community itself without the presence of an architect, unlike the cases previously exposed designed by Le Corbusier.

This implies a significantly different way of appropriation of the domestic space both in its physical and ideological value. The social institution of marriage is naturalized on the basis of the spatial identity of the house.

Marriage is the reason for building a house. The word Oikos comes from ancient Greek and refers either to the house defined as the physical building or the family as being the household and the hierarchical divisions defined within its members. There is a shared identity between these two. The dweller is the “husband,” and the house is the space that protects the children and his genealogical claims (being the wife). So space is also understood as a means for isolating women from other men. In a sense, the physical space of the house promotes the patriarchal organization that is being applied.

and the process of reshaping and appropriation of their personal space. These photographs allow an understanding of a broader representation of culture, ownership, and memory through symbolic ways of adornment. There is an ability for collective representations of popular culture that leads to shared social formations and cultural transformations. Some legendary figures and stories persist through history, preserving their original identity and multiplying through other images and references. These figures and emblems come to form part of the psychic vocabulary both of the individual and the collective culture of a community as well. To my mind, these images and stories function like symbols that have the ability to retain memories and that reflect a truthful interpretation of identity through space.

be“Idepicted in various neighborhoods and turning themininto temporary photograph these environmental portraits a participatory installations, and with carving as manner. I ask the women: “How do you like to be this seen or rep-

Despite that, the current condition for immigrants residing in New York City is quite different. The building’s identity as a home is reflected on the white wall surfaces, not of the house but the room that it has been reduced to. Cinthya Santos Briones, is an artist, anthropologist, ethnohistorian, and community organizer based in New York and originally from Mexico. Her work uses multimedia to approach subjects related to homeland, immigration, memory, identity, and self-representation through an interdisciplinary process. Her project “Abuelas” focuses on undocumented Mexican immigrant women that have lived in New York City for the past two or three decades. Through time some of them have built new lives, others remain in touch with their families in Mexico, but they all share their illegal status which keeps them in a condition of invisibility. The project is composed of a series of photographs that portray these women in the intimacy of the spaces they live in, trying to communicate their relation to the place

Likewise, a materialization of identity in space is introduced as well in the cultural exchange between communities and the public spatial appropriation. Romare Bearden’s collage The Block, (1971) is a tribute to Harlem and presents multiple aspects of life in the neighborhood. Through his work, he depicts architecture as the frame for spatial dynamics construction and by simplifying its representation, allows the enactment and exhibition of urban life. In Sunset Park, a neighborhood in the southwestern part of Brooklyn, a similar grade of interaction and appropriation of the street takes place. Immigrant groups started moving to the neighborhood throughout the 20th century due to its relative affordability. Nowadays the neighborhood’s population is primarily composed of Chinese and Latin (predominantly Mexican) communities.

Along with less perceptible areas of the remaining traces of earlier, workingclass Scandinavian, Irish and Italian communities. A similar condition can

on this street is such that it is virtually impossible to read or hear any word in a language other than their own.

Following Bearden as precedent, I wanted to depict to a certain extent the spatial appropriation of the streets and sidewalks but more importantly the cultural production of everyday life that is generated in these spaces which entail a different and richer urban dynamic.

resented through photography?” They choose how and where they want to be seen in their homes and what outfits they want to wear. The series seeks to offer them the opportunity to face the camera and be depicted in a way that reflects their own sense of identity.”

Cinthya Santos Briones.

throughout the city. However, in this particular neighborhood, the spatial appropriation of the streets or in this case avenues is very distinctive.

Fifth Avenue is the main area for commercial activity and presence of the Latino community portraying in this street multiple aspects of Mexican and Latin culture. This avenue has acquired the name Little Mexico. However, only three blocks away on Eighth Avenue is where Brooklyn’s Chinatown is located.

The presence of the Chinese community

Finally, the last case example to illustrate identity and subjectivity within the practice of space is the Anarchitecture movement founded

by Gordon Matta-Clark (1943-1978).

He studied architecture at Cornell University, and evolved into a kind of urban land artist by reshaping and transforming architecture into an artwork that exposes conditions or situations and in that sense “the real identity” of the space, its surroundings and acknowledging by this exposition other subjectivities.

His work is characteristic for cutting, slashing, carving, splitting up buildings,

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well the language in order to create other possibilities and architectural conceptions of the self. His project Conical Intersect (1975) consisted of spatial modifications that he made into a building that was being demolished in Pars in order to make way for the Centre Pompidou.

This project draws attention to the way in which modernity constantly demands the

deconstruction or in this case, the destruction of spaces and whatever identity they hold, to build and create.

This is in that sense the same dynamic of gentrification which we mention before very briefly. However, it gives a different representation of the body as well. Thinking about how bodies are shaped, framed, built, and unbuilt. So, by cutting circles into building as attempts to dismantle the different hierarchies that architecture dictates and exposing them to the city.

In 1974 there was a house that was sitting on a piece of land that some of his friends bought but they had no interest in the house in itself. So MattaClark generated an artwork Splitting (1974) out of it by literally splitting the house down the middle.

to later make the cut and then allow the house to fall open on its own.

That gesture is embedded in the very essence of Anarchitecure where there is no need to bring a whole thing down but through calculated moves (cutting, slashing, carving, or in this case splitting) allow it to fall open on its own. The Anarchitecture group that included people like Richard Landry and Laurie Andersen, set themselves against order enforcing ways of conceiving urban design, so to protest that in a way they carried out all kinds of projects that were not only architectural. Bronx Floors (1972-73) aims to call attention to, for instance to

very compelling in the way it exposes the interior domestic surface of the floor. These operations made

by Matta-Clarke can also be seen in the context of “unlearning whiteness” by using the spaces as ways to go against the eurocentric subjectivity.

Jack Halberstam mentions in his talk Wild Things: An Aesthetics of Bewilderment How the Anarchitecture movement envisions an architecture that doesn’t seek to contain but unleash spatial chaos and holds seeds of possibility within that idea.

Through that final statement, arouses a possibility of looking back on these theories for some indications on how to move forward.

Away from pretentious and self-centered representations and more into attempts of understanding and acknowledging subjectivities within spaces. Leaving room for an opportunity that allows those subjectivities to adapt and appropriate the architecture in order to understand the true identity of space, its provenance, and the occupant.

List of References: Crippa, E., & Vandeputte, T. (2011). Space as Praxis. Log, (21), 33-37. Retrieved March 23, 2021, from http://www.jstor.org/ stable/41765393 Beatriz Colomina, editor ; Jennifer Bloomer ... [and others]. (1992). Sexuality & space. New York, N.Y. :Princeton Architectural Press

This project calls attention to the logic of the house, the way that was set up for a certain kind of domestic order. By the act of splitting he’s acknowledging as well the possibilities within the architecture and with this a reminder of the way in which bodies occupy space. There is also something worth noting in the very process of developing this work. Because to be able to split the house in that way he tilts the house back to its foundations

the way the city was contaminated in various ways especially in places like the Bronx, which was very detrimental to the communities living there back in the 1970s. This project was one of Matta-Clark’s first interventions in the urban architectural fabric; he cut pieces of the floors from abandoned buildings in the South Bronx. One of the remains of the floors is this piece that is now displayed in the museum of modern arts. This particular piece is

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Le, C. (1991). Precisions on the present state of architecture and city planning: With an American prologue, a Brazilian corollary followed by the temperature of Paris and the atmosphere of Moscow. Cambridge, Mass: MIT Press.

Mallgrave, H., Rykwert, J., & Semper, G. (1983). London Lecture of November 11, 1853. RES: Anthropology and Aesthetics, (6), 5-31.

Retrieved March 12, 2021, from http://www.jstor.org/stable/20166696 Wigglesworth, R. (2010). Architecture and textiles - Master Thesis Explanatory Document. Victoria University of Wellington, Wellington, New Zealand. https://core.ac.uk/download/pdf/70765658.pdf Lescaze, Z. (2018, June 19). 13 Artist On: Immigration. The New York Times. https://www.nytimes.com/2018/06/19/t-magazine/ immigration-art.html Adkins, B. (2015). Deleuze and Guattari’s A Thousand Plateaus: A Critical Introduction and Guide. Edinburgh: Edinburgh University Press. Retrieved March 12, 2021, from http://www.jstor.org/stable/10.3366/j.ctt1g0b18p Smith, R. (2018, January 11). Back in the Bronx: Gordon Matta-Clark, Rogue Sculptor.The New York Times. https://www.nytimes. com/2018/01/11/arts/gordon-matta-clark-bronx-museum.html

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Camila Núñez GSAAP - M.S.AAD

2020-2021

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