EoYS21_MArch_21

A COLLECTION OF WORK THAT EXAMINES QUESTIONS OF PRESERVATION, GRIEF AND GRIEVANCE, RELIGIOSITY AND STEWARDSHIP, WATER FUTURES, DEATH RITUALS, HOUSING, THE STREET, AND ALLEGORY.

ASHLEY ESPARZA COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARCHITECTURE, PLANNING AND PRESERVATION M. ARCH PORTFOLIO 2018-2021

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PRESERVATION

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CARE

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RELIGIOSITY AND STEWARDSHIP

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HOUSING

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WATER FUTURES

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DEATH RITUALS

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THE STREET

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VACANCY

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ALLEGORY

ASHLEY ESPARZA

architecture, design, and writing portfolio contact: apr2136@columbia.edu 3

PRESERVATION TOWARDS SPACE IS THE PLACE

ADV VI STUDIO: GUNS AND BUTTER INSTRUCTORS: IFE VANABLE AND AMANDA WILLIAMS SITE: SCHULZE BAKING PLANT, SOUTH SIDE, CHICAGO, IL

This project reimagines the remains of the Schulze Baking Plant into a visualization of re-colonization. Playing on the notion of the “artist colony” and all the implications of the phrase, this design draws from the legacy of the Black artists and thinkers of the South Side and reclaims space to foster renewed occurrences of study and shared forms of knowledge by concentrating intellectual, political, and creative pursuits.

Rather than looking at the building’s history and considering its preservation as such, I approached the design from a perspective of territorial reclamation, fortification and excess. An architecture of thickness adds permanence and weight to the structure while artist studios, residences, music rooms, and spaces for performances and gatherings fill out the building’s activities.

In short, architectural preservation often works to preserve an underlying status quo, and in the case of Chicago, that status quo is structural racism and widened class divides.

In the face of these destructive forces, Black residents of the South Side made space to build community, political movements, and artistic and intellectual practices.

While looking to the work of the Black Panther Party as a countervailing force to the ongoing racial violence, I was captivated by a particular building - a movie theater - that had a brief tenure as the Affro Arts Theatre in the early 1970’s. Founded by Phil Cochran, this space was a locus point for musicians and artists who intersected various movements at the time.

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THE STORIED HISTORY OF 3947 DREXEL

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SURVEY OF BRONZEVILLE SURROUNDS THROUGH THE LENS OF “PRESERVATION”

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TYPOLOGICAL PRECEDENTS Starting with the Affro Arts theater and follow its many threads, from Sun Ra’s aesthetic visions to typologies of musim temples and fortification structures employed by colonial forces found in fortresses and castles.

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EXISTING BASEMENT PLAN

STACKED BASEMENT PLAN

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EXISTING PLANT FLOOR PLAN

THICKENED “PLANT” FLOOR PLAN

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CARE LANDSCAPE OF GREIF AND GRIEVANCE

ADV V STUDIO: PROTOCOLS OF CARE INSTRUCTOR: MABEL WILSON SITE: ST. MARK’S CHURCH, EAST VILLAGE, MANHATTAN, NY WORK IN COLLABORATION WITH REEM YASSIN

Our project looks to the performance of religious, spiritual and cultural grief rituals as an entry point for analysis of spaces used to care for the dead and the bereaved. In deconstructing institutionalized spaces of grief our interest lies in the material trace or artifact towards transforming cultural grief programs to meet the everydayness of grief - the grief not always associated with death - and more importantly, the grief around the very material substance of inequality centered in the BLM movement.

Focusing on Aftrican American burial grounds and unmarked graves, the history of the site has proven again that not everyone was afforded a dignified burial. While the yards surrounding the church were exclusively used for vault interments - Stuyvesant himself, along with 40 of his enslaved people were buried in the family vault beneath the church - the burial plack does not mention, name or commemorate the enslaved people who were buried there.

The location of these vaults served as an organizing strategy for our design, which looks to these gaps or spaces between the tombs as a site of care. Rituals around grief and remembrance in religious and spiritual institutions, and the taxonomies of space associated, informed our soundscape of memorial and performance.

The spatial strategy for marking space with sound is manifested in terms of program - the root garden, altar corridor, grief rooms, and routunda - all of which extend upwards to allow for sound and light interaction above and below ground, connecting sacred-civic spaces of grief to the city.

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UNMARKED BURIAL GROUNDS ADJACENT TO SARA D. ROOSEVELT PARK

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UNMARKED BURIAL GROUNDS AT ST. MARK’S CHURCH AND ADJACENT BLOCK

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RELIGIOSITY AND STEWARDSHIP ECOLOGICAL TRANSECTS

ADV IV STUDIO: IN THE NAME OF GOD INSTRUCTOR: ZIAD JAMMALEDINE SITE: ISLAMBERG, NY WORK IN COLLABORATION WITH REEM YASSIN AND LEAH SMITH

The design operates at three scales as an evolution of architecture and landscape over 30 years. Bioswale campsites, filtration pavilions and aqueduct tree harvesting transform the landscape through the phasing of pathways and infrastructure capacity for temporal and permanent tactile learning environments -- facilitating practices of religiosity and cross-cultural stewardship.

The hamlet of Islamberg sits in a wetland valley where groundwater and precipitation runoff accumulates as part of the larger Delaware river basin. A short walking distance north of our site, an active bluestone quarry releases particulate matter that drifts into the air, contaminated runoff that flows down Laurel Creek to Islamberg, and pollutants that seep into the water table.

Our proposal questions the extent to which intentional communities such as Islamberg can be isolated from cities and other communities through the analysis of our site as a regional transect that connects multiple stakeholders at various scales: the NYC protected reservoir which provides the city with its drinking water, the privately owned Bluestone quarry, the African American Muslim community of Islamberg and nearby NY state-regulated wetlands. By suggesting the adoption of year-round camp activities, relationships between religions, communities and jurisdictions can be forged in a mutual effort to remediate environmental sites of risk, ecological and man made.

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QUARRY EXPANSION, HISTORICAL AND PROJECTED

ECOLOGICAL SITES OF RISK IN THE REGION

BLUESTONE QUARRY Bluestone mines throughout the region provide NYC with stone for concrete manufacturering

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WETLAND ECOSYSTEM Regional watershed filtration for the Delaware River Basin

STATE PROTECTED WETLANDS Conservaton sites of ecological risk due to urban development

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PROPOSED PHASED INTERVENTION OVER 30 YEARS

The Sycamore tree’s large shallow root system substantially reduces stream bank erosion and encourages the development of deep pools of water. The Sycamore provides protection durring flooding events and the hydrology and ecology of the stream are improved through bioswale filtration.

PHASE I

BIOSWALE CAMPS

The Norway Spruce grows to 40-60 feet tall at a rate of ~ 13”-24”per year.

As the fastest growing spruce tree, it is ideal for long term organized tree farming. The tree can be used for dimensional lumber and pulp, and its roots can be used for weaving when dried.

NORWAY SPRUCE AQUEDUCT

The Pin Oak is fast growing with a growth rate of 2’-3’ per year. It’s root system assists in filtering out sediment and pollutants from stormwater runoff. As a broad leaf tree it is also valued for its air filtration qualities. The Pin Oak is effective in flood mitigation, ideal in addressing revegetation, and its wood strenght is ideal for structural use.

PHASE II

PIN OAK FILTRATION PAVILION

PHASE III

QUARRY RECLAMATION

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BIOSWALE CAMP

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PIN OAK FILTRATION PAVILION

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NORWAY SPRUCE AQUEDUCT

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HOUSING SHARED SANCTUARY

CORE III STUDIO: HOUSING INSTRUCTOR: DAISY AMES SITE: SOUTH BRONX, NY WORK IN COLLABORATION WITH SPENSER KRUT

Trends in modern luxury housing show an adoption of the rhetoric and aesthetic of the Silicon Valley sharing economy: co-working spaces, sleek common areas, small units, and in many cases, shared living quarters. But, rather than presenting a communitarian approach to shared affluence, the motivation is to achieve higher rents from more people packed into tighter spaces.

But what must be shared? The air we breathe, the water we drink, and the sun which lights our days. Often taken for granted, these basic resources are not evenly distributed in the city. Our site in the South Bronx is a low-income community that has taken the brunt of industrialization and poor city planning and now has some of the worst air-quality of any neighborhood in the city. Aging or lacking infrastructure make for inefficient energy use and higher costs while compounding environmental impacts.

Our approach seeks to address the environmental injustice directly by providing a sanctuary for residents. We look to fundamental design imperatives of space, using techniques for ventilation, filtration and decontamination the indoors becomes a refuge from pollution and open air spaces are decontaminated on site. Light is brought into the building through open-air patios providing private garden space and shared flex spaces that connect neighbors to one another on a more intimate scale.

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EMISSIONS

FUEL USE

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TYPICAL FLOOR PLAN

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LOW RISE TYPOLOGY

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VENTILATION AND FILTRATION STRATEGIES AND MATERIALS

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FLEX SPACE TYPOLOGIES

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Titanium Dioxide Facade Neutralizes Air Toxins

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Planters Garage

Operable sun-shading façade Prosolve 370e Titanium Dioxide Panel System Aluminum furring 30" O.C. Stucco Render In Slab Façade Reinforcement System Rigid Insulation Reinforcing Mesh Gypsum 5/8" Stud 6" Interior Plaster 1/2" Wood Furring Strip 2" Concrete Slab 10" Support Chairs 2.25" Rebar Radiant Slab Wood Floor 3" Panels Glass Brick 1'x1'x4" Mortar and Reinforcement 1/2" In-Slab Planters.

Sunscreen. Exterior Curtain.

Motorized Rail. Anodized Aluminum.

Anemometer.

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Titanium Dioxide Facade Neutralizes Air Toxins

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GROUND FLOOR PLAN

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THIRD FLOOR PLAN WITH “GARAGE”

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WATER FUTURES NYU HOSPITAL HEALTH AND WELLNESS CAMPUS

TECH SEQUENCE: ATV - URBAN SYSTEMS INTEGRATION INSTRUCTOR: EARL JACKSON SITE: SUNSET PARK, BROOKLYN, NYC WORK IN COLLABORATION WITH HAO CHANG, MELISSA CHERVIN, FLORENCIA YALALE, AND SARAH ZAMLER Our project is a health and wellness campus centered around water culture.

Water futures is an architectural prototype - a network to absorb as much water as possible. Historically, water infrastructure has manifested through a variety of scales and programs. One of particular importance has been the bathhouse, with its inherent community forming functions, rituals and practices, it continues to stand out today as a civic infrastructure that recognizes the health and social benefits of water culture.

The culture of water as defined in our project borrows from traditional water practices using water as a method of healing, gathering and play. Interweaving historic values associated with water culture with new sustainable innovations that collect, redirect, filter, and sequester water to reinforce a connection between the community and their waterfront. The “baths” as implemented in this landscape imaginary cares for the wellness of people and natural ecologies through a series of remediation and recreation facilities.

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The proposed mitigated condition takes advantage of our proximity to the interceptor catchment drain that runs below 1st Avenue. This will allow us to directly store and filter combined sewage to potable within our small wastewater treatment facility.

Bioswales benefit air quality and waterfront biodiversity and mitigate urban heat island effects. Each bioswale can soak up about 2500 gallons of street runoff, intercept particulate matter and sequester carbon with broad leaf vegetation. The 155 gardens proposed will manage about 400k gallons per storm event.

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The campus is situated at the nexus of three outfall sites triggered by much less rainfall than New York City averages and remediating the frequency of these CSOs is a concern for the site and driver for design. By converting two large fuel tanks on site that hold #4 oil, a fuel that is being phased out of use for environmental concerns, the design proposes taking advantage of existing infrastructure to include additional CSO filtration and holding.

The reclaimed CSO tanks, a recognizable artifact of carbon city infrastructure, creates a visual anchor for discussions around environmental education and water as a social health infrastructure.

One of our main site strategies is adaptive reuse. As a former industrial area, the site has several buildings in need of service upgrades, including envelope enhancements, structural improvements, accessibility improvements and the relocation of vulnerable equipment.

For all new construction, we are employing several types of renewable energy and several passive strategies to reduce the carbon footprint of our project.

To reduce our energy demands overall, we are using passive design strategies, such as solar shading, ventilation, and natural daylighting.

These tanks are playfully incorporated in the design using color and serve as a folly to underscore the filtration processes taking place on site - purple wastewater pipes and blue recycled water pipes accent the landscape and narrate the internal functioning of the water system.

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DEATH RITUALS A THIRD SPACE FOR COMMUNAL USE AND RITUAL

CORE II STUDIO: ARCHIVE OF ABSENCE INSTRUCTOR: KARLA ROTHSTEIN - DeathLAB; LATENT SITE: SARA D. ROOSEVELT PARK, LOWER EAST SIDE, MANHATTAN, NY

The archive of absence seeks to recognize and memorialize the history of the site, a place of forgotten burial grounds, by making a new space for sustainable practices around death for urban life. With anaerobic bio conversion as a sustainable alternative to land intensive burial and energy intensive cremation, the archive of absence seeks to build a third-space for the public that focuses on place-making through communal use and ritual.

With rituals of death, mourning and celebration that convert to electrical power for the park, public use and emotional investment are built into the infrastructure, creating a bulwark against corporate and real-estate interests. Unlike other public park projects that draw crowds of tourists, the space seeks to serve the community primarily. With the energy harnessed, the park can remain open for public use at night-time, providing a place for gathering without the pretense of commerce and consumption.

By combining everyday use with celebrations of life events to the memory of our lost ones, we create a new space where our past is tied to our present and hopes for the future.

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THE STREET MAKE SPACE

CORE I STUDIO: BROADWAY STORIES INSTRUCTOR:LINDY ROY - Roy Studio SITE: BROADWAY, MANHATTAN, NY

Make Space seeks to harness entrepreneurial diversity through storefront reclamation.In a 33-block study area along Broadway in NYC there are 22 banks with street level storefronts - many of which exceed the 25’ corporate storefront regulation policy of 2012.

The experience of walking along Broadway is bounded by episodic accumulations of a recognizable condition - the proliferation of retail banks, occupying a high percentage of storefront space while acting as billboards for their respective brands.

The multiplicity of these sites stakes a major claim on public street life and undermines our sense of community. While the banks’ oversized building footprints and bright logos dominate the street-level experience, their interior spaces are mostly unused - a stark contrast with street life outside.

The proposal looks to these empty facades as an opportunity to extend the interior to the street -- creating alternative experiences and new networked conditions that engage with the social life of the neighborhood while re-orienting our value system.

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VACANCY THE CONTENTIOUS VACANCY OF MIDTOWN SUPERTALLS

VISUAL STUDIES: POINTS UNKNOWN: CARTOGRAPHIC NARRATIVES INSTRUCTORS: JUAN SALDARRIAGA CHAUX AND MICHAEL KRISCH -- Brown Institute for Media Innovaton, Columbia Journalism School SITE: BILLIONARES ROW, MIDTOWN MANHATTAN, NYC WORK IN COLLABORATION WITH GUSTAVA GRUENTUCH AND AAYUSHI JOSHI In New York City the lack of affordable housing has long been a contentious issue undermining residential diversity. As planning policy has shifted steadily towards urban liberalism, the city relies on relaxed zoning regulations and tax incentives to provide housing and public amenities. These very upzoning policies intended to bolster vital aspects of the city have inflated real estate values and created a sweet spot for developers with little in it for most New Yorkers.

In spite of the city’s density, many luxury apartments are unoccupied. Midtown, as an anchoring commercial hub of Manhattan and beyond, and through its history of incentivized zoning policy since 2002, has become the nexus for the rise of the Supertall. These ultra slim luxury apartment buildings have vacancy rates ranging from 40-50%. Supertalls use combinations of zoning loopholes that taken together have sidestepped traditional planning review processes and created an excess of the most exclusive housing supply.

Scan to visit the interactive story featuring audio interviews

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In the land use map of 2000 we see the distribution of use before Bloomberg’s appointment as mayor in 2002. As he was commonly known to maintain a “pro-developer” approach to governance, he was successful in rezoning approximately 40% of the city. The process of relaxing zoning regulations is designed to incentivise development within boundaries drawn by municipal planning departments.

From 2000 to 2017 the number of mixed use lots increased nearly 50%. In exchange for privately owned public space on the ground floor, storefront commercial businesses, capital redirected to preserve the city’s landmarks, or a 25-30% inclusion of affordable housing, developers can build denser and taller buildings without a planning review process. These transactions are now termed, “as of right.”

Along central park south, Billionaire’s Row emerges during these years as the market boomed before the 2008 financial crash.

LANDUSE 2017

LANDUSE 2000

MIXED USE SHIFT 2000-2017, +50%

The percentage of vacant housing units of the total housing units on a Manhattan city block can be surprisingly high - resulting in more than half of the available units remaining vacant in some areas.

These blocks in Midtown, along the southern end of Central Park represent some of the highest vacancy rates in Manhattn. Located within “Billionaire’s Row” these are amongst the tallest buildings in the world, exceeding 1000 feet and containing ultra luxurious residential units. The answer to why they were able to come up in the last decade, lies in the shift of planning policy away from public goods and sustaining pushes towards neoliberal forms of governance. There are specific parts of this shift that take form in a change of zoning regulations, tax incentives, and the transfer of air rights.

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his paper aims to appropriate and expand upon Zahia Smail Salhi’s double research approach in order to discuss personal allegory and the navigation of identity amid imperialist and sexist fantasies in selected artworks. This analysis is positioned at the intersection of these discursive spaces of feminist practice and the concept of home. This understanding posits the notion that feminist work is estranged from the idea of home. Focusing specifically on the construction of the image in the context of feminist narratives, I will discuss the video works of Arab artists, Mona Hatoum and Shirin Neshat, and Film Still photography of the American artist, Cindy Sherman. The crux of this analysis aims to explore discursive spaces respective to each artist, with an emphasis on 20th century feminist ideology, and imperialist discourse and the narratives around it, which includes the othering of people as part of the imperialist fiction.

In order to think about narrative and perception through the lens of photography and video I would like to introduce the video work Here and Elsewhere, by Jean-luc Godard. In the 1976 documentary style film Godard uses still footage from the 1970 proPalestinian film titled Jusqu’à la victoire, made by Godard and JeanPierre Gorin. In Here and Elsewhere, Godard deconstructs traditional forms of Western filmmaking and plot narrative that traffic in imperialist war motifs specific to American films and provides a critique for understanding the fragmented reality of memory in conflict zones. At a fundamental level, movies are still images strung together to construct a narrative; however, Godard takes this assumption and distills the narrative process of filmmaking to its very basic elements.

After the actors exhibit each image to the lens of the video camera - manually constructing each scene in front of the video camera lens - the actor moves from the front of the on-screen video camera lens to behind the camera echoing this exhibition of an image off screen. This echoing of the image speaks to the conception memory in the narrative of the film where “each

ALLEGORY DISCURSIVE SPACES OF EXILE AND FEMINIST ART PRODUCTION

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SEMINAR: ART, POWER AND SPACE IN THE MIDDLE EAST INSTRUCTOR: MARIO GOODEN RESEARCH PAPER

distinction narrows our focus of exile to that of exile within her own society.

[image] is a copy and the original of each other” (Godard) and Godard makes clear this notion of fragmented identity that exists within physiological and psychological spaces of memory.

In Untitled Film Still #2 (1977) Cindy Sherman takes the didactic elements of the constructive narrative in Godard’s film and works backwards. Here, the fantasies and fictions around satisfying societal norms and expectations are turned literal and the actress plays a fictional woman gazing at herself in the mirror. Sherman pulls out a fragment of the narrative as a means of dissecting assumptions that the image is indeed a still from a film, that there’s a story implicitly behind it, and that there is 96

In Reflections on Exile, Edward Said describes a different kind of constructed narrative or fantasy around imperialism useful to the dialectic of feminist art production and exile. Said expands on the physical and psychological conditions of longing and living in exile and implies this other philosophical space of analysis and understanding.

As a Palestinian exile, Said asserts an understanding of able to see both sides of imperial discourse the a distinct clarity because of his position as an exile navigating an in-between space.

an actress playing a part. The image implies a familiar hollywood narrative presenting archetypal femininity which is a fantasy that viewers are complicit in creating.

Through the photograph, Sherman dissects the gaze and makes the viewer aware of multiple types of viewing and perception. We see the actress looking at herself in the mirror as a fiction that she is both participating within and also deduce that she is undermining these archetypal assumptions about femininity. From the perspective of the viewer’s gaze, we see herself as a fiction looking at her reflection, and as an actress seeing herself as an individual.

Although the framing of the image suggests that it is a film and therefore implicitly relates to the social space, the framing of views in the image calls into question the notion of the third space, and the idea that the woman herself is understood to be caught in her own reflection.

Shirin Neshat’s video work, Rapture, produced and exhibited in 1999, speaks to the role of narrative in the construction of identity. This work navigates intersections of psychology, geopolitics of the Iranian Revolution and exile. As an Iranian artist in exile who has been living in New York since

the 1980’s, Neshat’s work explores allegory in a discursive space of tension and lived experience of longing and estrangement from home. In Rapture, black and white split screen projections are exhibited on facing walls and the composition of these two corresponding films are distinguished according to a male-female gender binary.

Neshat returned home to Iran multiple times throughout the 1990’s, however, as Salhi communicates the idea of “coming near home” in Defining the Arab Diaspora, Neshat contends with the reality of being near home and speaks to a sense of loss due to the fact that the Islamic Revolution made home unfamiliar to her [ted talk]. This

In thinking about the critique of Western imperial film narratives in Godard’s video, Here and Elsewhere, and perceptions of imagery on screen in Foster’s essay, Obscene…, Neshat positions the viewer in the gallery space between two screens of essentially competing images in a way that highlights the shifting of the viewer’s gaze from side-to-side as an integral element in the construction of the narrative. Where images replaced one another successively in Here and Elsewhere to construct a narrative, Rapture animates the viewer as an actor integral to the allegory. In the framing of multiple views, Rapture’s spatial tension between two screens mirrors didactic elements in Film Still #2 where views are manipulated within the image.

In Measures of Distance, a layered video artwork by, Mona Hatoum, the artist 97

stages a critique of a Western audience and the consequences of imperialist warfare and ideology through the lens of what Foster describes as “psychological estrangement.” Hatoum, a Palestinian artist born in Lebanon and living in exile in England, works in a discursive space of displacement - living in London, and her mother in Beirut, Measures of Distance seeks to bridge the gap of distance and culture. In this artwork, we see this psychological view of exile “from within” as the artist collapses time and space in the video. This notion of a projected identity that “seems to come from within,” is one element lifted from Foster’s tripartite categorization of the gaze used to support his theory of “psychological estrangement” in Sherman’s “self-surveyed” female subjects. Where identity and this notion of the schizophrenic self seems to be caught in the reflection and the in Untitled…, it is interesting to draw connections to Measures…, where the woman’s body is literally caught between layers of geographical distance, spoken word, written language, and time.