https://acsa-justice.org ACSA Justice Thu, 27 Jun 2024 02:43:25 +0000 https://acsa-justice.org en https://acsa-justice.org/Journal-of-Architectural-Education Sun, 17 Mar 2024 17:19:30 +0000 ACSA Justice https://acsa-justice.org/Journal-of-Architectural-Education Journal of Architectural Education <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/8130743cbac141e47798fc1e9e11c03d4657f31d55f8c3826da53a3481aba6a7/infidelitiescover_2.jpg" data-mid="206982258" border="0" src="https://freight.cargo.site/w/1000/i/8130743cbac141e47798fc1e9e11c03d4657f31d55f8c3826da53a3481aba6a7/infidelitiescover_2.jpg" /> Infidelities Volume 78&nbsp; Issue 1 Spring 2024 Infidelities Aya Musmar, Nishat Awan, and Menna Agha Audre Lorde &amp; The Allama on the Way Mustafa Faruki; theLab-lab In Conversation with Yara Sharif Aya Musmar Umm Kamel’s Affair How Infidelity Liberated the Night Sky in Jabal ‘Amil Mohamad Nahleh Roaming Therapeutic and Design Practices for Indigenous Healing Janet McGaw, Alasdair Vance, Uncle Herb Patten, and Saran Kim To Know No Nation Will Be Home Until One Does Aya Musmar, Nishat Awan, Menna Agha, and Ozayr Saloojee Kinship Shahzia Sikander <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/dcef0794f66646ac399f83ad0ed6cb283b134c9ebeff125494d6273e4178c609/deserts.jpg" data-mid="206982245" border="0" src="https://freight.cargo.site/w/1000/i/dcef0794f66646ac399f83ad0ed6cb283b134c9ebeff125494d6273e4178c609/deserts.jpg" /> Deserts Volume 77 Issue 2 Fall 2023 Deserts Ersela Kripa, Francesco Marullo, Stephen Mueller Visualizing the Desert Karl S. Twitchell and the Environmental Imaginaries of the Saudi Arabian Desert, 1936–48 Dalal Musaed Alsayer The Desert Has Everything Episodes in Praise of Dryness Faysal Tabbarah Tactical Landscapes Abstractions and Power Practices Yousef Awaad Hussein,&nbsp;Asaiel Al Saeed,&nbsp; Saphiya Abu Al-Maati, Aseel AlYaqoub Desert Dreams and Techno-Utopian Nightmares: The Complex History of California City and the Colonial Gaze Toward the DesertEzgi İşbilen In Conversation with Brahim El GuabliInterview by Ersela Kripa, Francesco Marullo, and Stephen Mueller Conquest(s) of the Desert Dante Furioso (Open Access) / (PDF) Food Desert: Feeding the Regional Economic ImaginaryPatty Heyda In Conversation with Menna Agha Interview by Ersela Kripa, Francesco Marullo, and Stephen Mueller Repertoire as Infrastructure for Architectural Historiographical Crafts in the Sahrawi Refugee Camps Julien Lafontaine CarboniDesert Depths Multivalent Architectural Narratives of Belonging in the Negev/Naqab DesertPiper Bernbaum and&nbsp;Zach Colbert Dry Matters Speculations for an Arid FutureDanika Cooper In Conversation with Gonzalo Pimentel Interview by Ersela Kripa, Francesco Marullo, and Stephen Mueller Displacements of Mohammed Abdalah During His Life Transformations of Western Sahara after the Spanish Colony Alvaro Velasco Perez <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/f6377b92419e54dd68fd71f5f9aee0b15380d1393380b652afb08a6b765427a1/reparations.jpg" data-mid="206982246" border="0" src="https://freight.cargo.site/w/1000/i/f6377b92419e54dd68fd71f5f9aee0b15380d1393380b652afb08a6b765427a1/reparations.jpg" /> Reparations! Volume 77 Issue 1 Spring 2023Reparations! (Reparations! JAE Website) V. Mitch McEwen, Cruz Garcia &amp; Nathalie Frankowski (PDF) Holding the Future: In Conversation with Rasheedah Phillips V. Mitch McEwen &amp; Cruz Garcia (PDF) “Soul and T-Square”: An Architectural Reparations for Watts Rebecca Choi (PDF) Conservation as Reparations: The Refuting Power of the Julius Rosenwald Schools Gorham Bird On Reparations and the Possibility of Other Systems: In Conversation with Mabel O. Wilson Nathalie Frankowski &amp; Cruz Garcia Toward Reparative Design Pedagogies: Futuring Green Infrastructures with Youth in the Black Belt South Lily Song Spatializing Reparations: Mapping Reparative Futures Danika Cooper Economies and Circuits of Repair: On Reparative Justice Within/Beyond the State - In Conversation with Jovan Scott Lewis Desirée Valadares Bad Bodies: Unearthing Belonging and Dispossession of Muslim Diaspora in the US Burial Landscape Samiha Meem Lessons from the Black Indigenous Atlantic: Land and Collective Repair (Open Access) Thabisile Griffin How to Establish Value: In Conversation with Keeanga-Yamahtta Taylor V. Mitch McEwen &amp; Cruz Garcia Seeking Redress: A History of Little Tokyo’s San Pedro Firm Building (Open Access) Nate Imai &amp; Matthew Okazaki Fugitive Practice Jerome W. Haferd &amp; Curry J. Hackett To Enter the Crater: In Conversation with Sean Connelly Cruz Garcia Riotous Repertoire Jovan Scott Lewis Notes Toward a Critical Race Practice of Preservation Marisa Angell Brown Trouble with the Word ‘Repair’: In Conversation with Dream The Combine V. Mitch McEwen &amp; Cruz Garcia Measuring What Matters: The True Cost of St. Louis’s New National Geospatial-Intelligence Agency Linda C. Samuels &amp; Bomin Kim When You are Critical Mass: In Conversation with Tina Campt V. Mitch McEwen Guerrilla Maneuvers in Architectural Preservation Gabriel Cira &amp; Kris Manjapr Review At the End of the Tunnel: Bad Bunny’s Vid(e)ocumentary Sheds Light (and Music) into Boricuas’ Struggle against DispossessionJuan Carlos Quiñones REVIEW “EL APAGÓN/AQUÍ VIVE GENTE” BAD BUNNY <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/0b3e6d62eaece02c79b9f5ec9602a3b1d1cea201f76dc7af442ef24a58a84979/broken-world.jpg" data-mid="206982248" border="0" src="https://freight.cargo.site/w/1000/i/0b3e6d62eaece02c79b9f5ec9602a3b1d1cea201f76dc7af442ef24a58a84979/broken-world.jpg" /> Pedagogies of the Broken World Volume 76 Issue 2 Fall 2022 Pedagogies for a Broken World Jay Cephas, Igor Marjanovic, &amp; Ana Miljački Disabled Practices for the Architectures of the Countercollapse Ignacio G. Galán Broken Down David Gissen Fractures Mpho Matsipa Broken Sources (gatekhili tsqaroebi) Sarah Cowles Re-Producing the Status Quo Peggy Deamer Framing Survival: Questions of Safe Space in Design Pedagogies Kush Patel in collaboration with Johnson Jament, Merin Mathew Protest as Pedagogy Bradford C. Grant Transforming Minds Sharon Egretta Sutton De-Colonizing Indigenous Housing Chris Cornelius Critical Race Theory as Architectural Pedagogy Carla Jackson Bell <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/e2386f432dbd39a84da1307d33e713744ed8e14f13782dbd258e413cac1e4f53/health.jpg" data-mid="206982253" border="0" src="https://freight.cargo.site/w/1000/i/e2386f432dbd39a84da1307d33e713744ed8e14f13782dbd258e413cac1e4f53/health.jpg" /> Health Volume 76 Issue 1 Spring 2022 A ‘Holding Place’: An Indigenous Typology to Mediate Hospital Care Janet McGaw, Alasdair Vance, Uncle Herb Patten Equity &amp; Dignity by Design: Co-creating Guidelines with Planned Parenthood Affiliate Health Centers Deborah Richards &amp; Angela M. Person <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/f2ed57e4e5012598905cd154bbbb9185ff16fd6f214e8487b68018e6375462e9/building-stories.jpg" data-mid="206982252" border="0" src="https://freight.cargo.site/w/1000/i/f2ed57e4e5012598905cd154bbbb9185ff16fd6f214e8487b68018e6375462e9/building-stories.jpg" /> Building Stories Volume 75 Issue 2 Fall 2021 An “Othered” Land Reclamation: Decolonization in Anticipation of Another Great Flood Arthur LeungFrames and Fictions: Designing a Green New Deal Studio Sequence Billy Fleming Elephant in the Room Rania Ghosn &amp; El Hadi Jazairy <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/04a9baf521564c49f91b42a00bb7129ab006adec534f1ba9d18f194c9a47d357/built.jpg" data-mid="206982255" border="0" src="https://freight.cargo.site/w/1000/i/04a9baf521564c49f91b42a00bb7129ab006adec534f1ba9d18f194c9a47d357/built.jpg" /> Built Volume 75 Issue 1 Spring 2021 Building Agnotology Kiel Moe Interview with Chris Cornelius of studio:indigenous Carolina Dayer, Ivan Rupnik, Jacob Mans Architectural Programming and Race in the CRS Archive Andrew R. Tripp <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/d78b581601f04efb264b858cbdd1b7c134f12d4a2734f54e738a5b89394c1367/othering.jpg" data-mid="206982254" border="0" src="https://freight.cargo.site/w/1000/i/d78b581601f04efb264b858cbdd1b7c134f12d4a2734f54e738a5b89394c1367/othering.jpg" /> Othering Volume 74 Issue 2 October 2020 Othering Tanya Southcott &amp; David Theodore Call to Action: ArchiteXX, Now What?!, and Creating New Futures Lori Brown, Sarah Rafson, Andrea J. Merrett &amp; Roberta Washington Call to Action: A (Little) Manifesto for Doing Dis/Ability Differently in Architecture Jos Boys Constructing Health: Representations of Health and Housing in Charlottesville’s Urban Renewals Kevan J. Klosterwill, Alissa Ujie Diamond, Barbara Brown Wilson &amp; Jeana Ripple Decolonizing Prisons Cathi Ho Schar, Nicole Biewenga &amp; Mark Lombawa Shrouded in Dust: The Unseen Labor of African American Cement Workers Vyta Baselice “Nos están matando”: (We Are Being Killed) Catalina Mejía Moreno Travels Across Othered Landscapes: Teaching an Architectural History of Difference Sharóne L. Tomer Praxxis: Always Personal, Always Political, Always Pedagogical Helen Aston, Emily Crompton, Sarah Renshaw &amp; Kathryn Timmins Between Borders and Bodies: Revealing the Architectures of Immigration Detention Ella den Elzen Interview with Susan Stryker Tanya Southcott &amp; David Theodore https://acsa-justice.org/JAE-Fellows Sun, 17 Mar 2024 17:19:31 +0000 ACSA Justice https://acsa-justice.org/JAE-Fellows Journal of Architectural Education Fellows The JAE and ACSA recognize the critical need to support the scholarship of architectural educators and researchers who face and continue to encounter systemic and structural obstacles, including racism, within academia and beyond. As a step toward this commitment, we have established one-year Fellowships and online publication commitments for cohorts of four architectural educators, designers, and researchers per year who self-identify as Black, Native/Indigenous, and/or as members of groups that are and have been historically and systemically marginalized and excluded, and whose academic labor is precarious, including adjunct, lecturer, and other non-tenure track faculty. Proposals may be made by individuals or as part of a collective and will be selected for advancement by the JAE Fellows Advocates. A key component of the JAE Fellows program is to help shift conversations and systems around conventional forms of review and assessment, and to productively unsettle exclusive systems and platforms of scholarship, design, research, and creative practice. <img width="1008" height="672" width_o="1008" height_o="672" data-src="https://freight.cargo.site/t/original/i/28ade223ca5bc9d41257f3a3ffa14d7a1af7356a5d649c05e2ca620022680d55/BZhangCover.gif" data-mid="206982273" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/28ade223ca5bc9d41257f3a3ffa14d7a1af7356a5d649c05e2ca620022680d55/BZhangCover.gif" /> “There is a body (mine), looking.” BZ Zhang Essay Fellow 2022-23 I. I only found Chinese diaspora in the Sanborn Maps because I was looking for oil. As a practitioner trained first in Western art and secondly in Western architecture, I have been looking—for, at, with, from, in light of, in spite of—in very particular ways for some time. While I am licensed in California to build, and there is much building needed, I am pulled equally to unbuild: to understand how disciplinary tools of architecture have been used historically to construct, uphold, and reify existing systems of oppression, and how they might instead be used to unveil, imagine (to look), and otherwise draw forth futures beyond. I’m also looking as a Mandarin-speaking Chinese-diasporic person1 whose family lives on both sides of the Pacific Ocean, in mainland China as well as in the continental US. There is a body (mine), looking, whichever trainings and teachings it has received. It follows that much of how I approach my work involves translations across diaspora, and it all tends to converge in one particular painting (Figure 1). <img src="https://jaeonline.org/wp-content/uploads/2023/12/Bz-Figure-1.png" width="2844" height="86" style="width: 488.554px; height: 14.7734px;"> Figure 1. 张择端 Zhāng Zéduān, 清明上河圖 Along the River During the Qingming Festival, 1085–1145 CE. (click to view) Over five meters long, this scroll painting by eleventh century artist 张择端 Zhāng Zéduān, titled 清明上河圖 Qīngmíng Shànghé Tú or Along the River During the Qingming Festival, was painted nearly 1000 years ago. My attempt to show you the extents of the work within these margins results in us not being able to see it at all, and that may be precisely the point. Scroll paintings were in fact choreographed to be unveilings, unravelings of a spatial-temporal narrative in which the viewer is able to freely move around the work, shifting the view itself, rather than moving in front of a view already fixed. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-2-update.gif" width="900" height="600" style="width: 488.554px; height: 325.702px;"> Figure 2. 张择端 Zhāng Zéduān, 清明上河圖 Along the River During the Qingming Festival, 1085–1145 CE. (click to view moving image) In words more familiar to those of us with architectural training: parallel projection allowed 张择端 Zhāng Zéduān and other East Asian artists to create expansive, sweeping visual and spatial analyses of class, gender, geography, and daily life with great precision (Figure 2). As well, in East Asian painting traditions, text was often incorporated as poetry to heighten the experience, in this case suggesting a long journey upriver home to care for the tombs of ancestors. Earlier this year, my mother made her way home to 安徽 Anhui for the first time since 2019 to bury her father, who left us before Chinese diaspora were allowed to return,2 in time for 清明节 Qīngmíng Jié, the Tomb Sweeping Festival. All of these sweeping translations of landscape into meaning—I was taught this by my Chinese-diasporic family, but to no surprise, neither in art school nor architecture school in the US. In Western schools, I would not ever be taught the Mandarin for parallel projection, 等距透视 děngjù tòushì, but I would learn from Chinese children’s shows after school the term, 宇宙 yǔzhòu, meaning, generally speaking, universe. Taken apart, the two words by themselves mean, respectively, “space” and “time,” because in traditional Chinese cosmology dating to 2000 years ago, the universe has always been simply space-time as one continuum. This cosmology and the representational tool of parallel projection emerged contemporaneously, informed one another greatly, and certainly might explain to us today why humans in the first century might have thought this would be a fun way to draw. While cultures across the world have used axonometries throughout time, sixteenth and seventeenth century Jesuit missionaries expedited exchanges of East Asian parallel projection from the East to the West,3 along with silk, tea, gunpowder, paper, and spice. As historian Lisa Lowe describes, these imperial and colonial encounters were deeply and intimately connected to, and spurred, the same imperial and colonial encounters across the Atlantic in search of another route to India and China, gold, glory, and the expropriation of Indigenous and African sovereignty.4&nbsp;By the time it is documented in the West by William Farish, who in 1822 writes “On Isometrical Perspective”5&nbsp;to explain the utility of this representational tool in an industrializing Britain, there is no mention within his claim of authorship of any significance elsewhere, cultural or cosmological. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-3.jpg" width="608" height="625" style="width: 488.554px; height: 502.214px;"> Figure 3. William Farish, optical-grinding engine model from “On Isometrical Perspective,” 1822. In this way, drawing-as-cosmology becomes displaced over space and time into a representational tool for describing machines in service of capital (Figure 3). This isn’t to romanticize (and therefore flatten) the many origins of parallel projection, but to, in these same margins, give breathing room to the scale of how many diasporic translations of ideas have nestled up atop one another in our bodies and in the spaces we inhabit. II. Regardless of the project, architects create documents that facilitate translations and transitions between past, present, and future. These documents—by which I mean drawings, specifications, contracts, schedules, diagrams, photographs, and other visual artifacts—play an outsize role not only in physical construction, but in cultural construction—particularly through historical and legal records. For instance, this Sanborn Fire Insurance Map from 1919 is one of the only detailed plans of a petroleum plant design available to the public today, following the inaccessibility of both institutions (governments, industries, and their archives) and of the drawings themselves, which can be purposefully difficult to read without specialized training (Figure 4). <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-4-1024x768.jpg" width="1024" height="768" style="width: 488.554px; height: 366.415px;"> Figure 4. 1919 Sanborn Fire Insurance Map of General Petroleum Corporation, Vernon, Los Angeles County, California. Tongva lands. Library of Congress. Significantly, this was documented, not because of educational foresight, but because of a lucrative desire to assess fire risk and thus insurance value. The ways in which this Sanborn surveyor looked at and represented this site of extraction through linework and negative space create colonial footprints, or what Cruz García and Nathalie Frankowski describe as historical narratives that, like propaganda, “satisfy the positions of settler-colonization, ruling classes, capitalism, white-supremacy, and heteropatriarchy.”6 In the case of this Spanish colonial diseño of Rancho San Pablo (present-day Contra Costa County), to “design” Ohlone and Miwok lands was quite literally to signify the boundaries of settler colonial land theft (Figure 5). <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-5-1024x765.jpg" width="1024" height="765" style="width: 488.554px; height: 364.984px;"> Figure 5. Former lands of Mission Delores, or San Pablo, or Cuchiosmos, or Cuchiguenos, or Cuduyunes Rancho, 1834. Ohlone and Miwok lands. California State Archives. It is therefore both incredibly powerful and dangerous to make these documents, as unequal documentation has not only contributed to white supremacist and settler colonial structures and systems, but has perpetuated their mythologies and exacerbated their erasures. “You reproduce something by stabilizing the requirements for what you need to survive or thrive in an environment,” Sara Ahmed points out,7 as architects continue ad nauseam to reproduce certain representations and ideas of space at the expense of the possibility of others. “The more the path is used, the more the path is used.”8 Meanwhile, our experiences of global petrochemical empire are embodied in every sense: pipelines through ancestral sites, refineries along our beaches, pumpjacks on our street corners, wells across from our bedroom windows, and chemicals in our lungs. While their spatial violences are indisputably embodied, the scales, forms, and boundaries of these architectures of extraction are often intentionally obscured and thus difficult to dismantle. My practice and research thus wonder aloud about representations of violence and the violence of representations by asking questions both using and about architectural tools. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-6-update.gif" width="724" height="534" style="width: 488.554px; height: 360.342px;"> Figure 6. Photo and video of McKittrick Tar Pits in Kern County, California, Chumash and Yokuts lands. Photograph and moving image by author. (click to view moving image) The first time I saw a real live seeping tar pit—outside Bakersfield, California, where Yokuts and Chumash communities have used tar for millennia (Figure 6)—I was so surprised at how earthly it looked and sounded and smelled and felt. I had an uncanny desire to taste it, too. It was a reminder of what Métis scholar Zoe Todd writes, that oil is kin—that these fossil former beings are not themselves harmful, but rather, “the ways that they are weaponised through petro-capitalist extraction and production turn them into settler-colonial-industrial-capitalist contaminants and pollutants.”9 Architecture’s visual strategies can be quite good at seeing and understanding entanglements at both systems and body scales. But whereas folio depictions of Western European mineral extraction in Diderot and D’Alembert’s Encyclopédie (1768) show geological details and vignettes above and below ground through sectional perspectives (Figure 7)—and even 200 years later, Standard Oil, now Chevron, itself commissioned a plan oblique for its promotional materials (Figure 8)—today, it is hard to come by representations of sites of extraction that are not stylized or abstracted from above. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-7-190x300.jpeg" width="190" height="300" style="width: 190px; height: 300px;"> <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-8-248x300.jpg" width="248" height="300" style="width: 248px; height: 300px;"> Figure 7. Diderot and D’Alembert, “Mineral Lodes or Veins and their Bearings,” from Encylopédie, vol. 6, 1768; Figure 8. Chevron promotional booklet, undated ca. 1970. Tongva lands. El Segundo Historical Society. I started making my own drawings of oil landscapes—crude representations, if you will—because in researching sites of extraction and resistance, I regularly found that most existing representations (architectural and otherwise) are neither accurate nor precise about adjacencies, and thus could not become accurate or precise about their impacts. When oil infrastructures are adjacent to our homes and communities (as they always are at some scale), these documents tend to not include both places at once—or to otherwise misrepresent spatial violence. For instance, an image search for Point Molate Beach and the adjacent Chevron refinery in Richmond, California yield photo-narratives of place that seem worlds apart—and yet these two places are only imagined as separate but are really one petrochemical landscape. As Richmond organizers and residents fighting environmental injustice can attest,10 this is a harrowing and dangerous oversight with extreme harms done to communities and ecosystems. Since the 1990s, along with Communities for a Better Environment (CBE) and other environmental justice organizations, the Asian Pacific Environmental Network (APEN) has organized refugee and immigrant communities, primarily Laotian and Southeast Asian, against environmental health violations committed by Chevron and their agents. Confronted with what Nicholas Mirzoeff describes as “complexes of visuality,” which visualize history to enable claims to authority,11&nbsp;I follow the work of radical thinkers and organizers like APEN and CBE in trying to exercise a right to look—and the right to visualize our own histories. One of my most recent works, Crude Neighbors: Chevron Refinery, Richmond California, is a 36-by-36-inch acrylic on canvas painting of the refinery in Richmond, on Ohlone and Miwok lands, the first refinery built by Standard Oil in California (Figure 9). Although, insofar as acrylic paint is a petroleum product, I’ve started to more truthfully refer to it as an “oil painting.” The work is set to a scale, meaning every one inch represents 250 feet, and it employs axonometry, in this case, oblique parallel projection, historically an East Asian landscape painting technique, later co-opted by Western architecture for military and industrial use. If it sounds a bit convoluted to create a landscape painting at an engineering scale in a projection that comes from both Chinese art and Western architecture, it is perhaps in that messiness that I seek some kind of clarity. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-9-update-1024x559.jpg" width="1024" height="559" style="width: 488.554px; height: 266.701px;"> CalArts REEF Artist-in-Residence in downtown Los Angeles. Tense Renderings Figure 9. Bz Zhang, Crude Neighbors: Chevron Refinery, Richmond, California. Acrylic on canvas, 36 x 36 inches, 2022. Ohlone and Miwok lands. I could make this painting by translating and projecting two- and three-dimensional data, integrated from publicly available sources like OpenStreetMap, NASA, the US Geological Survey, and so forth. These tools of architecture can approximate real-world spatial conditions with remarkable precision, so that we see representations of buildings and freeways and railways and the contours of the land. However, this precision is only as good as the data we put in. Whereas publicly available sources attempt to give us the reality of built structures, they do not (and could not) show us everything. As designers (from the Latin designare, to designate), we strive to represent the stories and spaces that interest us and fail to represent those that do not. Oil infrastructures, or the spatial typologies of what Neeraj Bhatia describes as the “surfaces, containers, and conduits” running through our cities and landscapes,12 so often do not. Although seen from above in satellite imagery, these oil infrastructures are conspicuously absent in publicly available linework, which turns out to not be accurate at all (Figure 10). <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-10-1024x1024.jpg" width="1024" height="1024" style="width: 488.554px; height: 488.554px;"> Figure 10. Bz Zhang, Crude Representation(s): Chevron Refinery, Richmond, California, 2022. Layers of linework compiled by author using OpenStreetMaps, NASA, and US Geological Survey files representing Richmond, California, Ohlone and Miwok lands. Today, this satellite image is usually how we, the public, would see sites of extraction (Figure 11), and this bird’s eye, which itself has roots as a military technology, distorts our relationship to them, hindering our understanding of how they work and the types of spatial violence they may be inflicting. This refinery in particular is notorious for toxic gas flares, spills in the San Francisco Bay, and even explosions. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-11-update-1024x1024.jpg" width="1024" height="1024" style="width: 488.554px; height: 488.554px;"> Figure 11. Bz Zhang, Crude Representation(s): Chevron Refinery, Richmond, California, 2022. Acrylic painting behind 2022 Google Maps satellite image of Richmond, California, Ohlone and Miwok lands. We think of architectural linework or satellite imagery as more technologically advanced and thus more accurate, while we assume paintings, for instance, are not. Perhaps this is mostly the case, but when we see blank gray fills instead of oil infrastructures in municipal zoning maps, with which the city of Richmond determines lawful land use, it becomes clear that something huge has been missed in the accuracy of its visual representation and its accountability to the public. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-12-update.jpg" width="1500" height="1500" style="width: 488.554px; height: 488.554px;"> Figure 12. Bz Zhang, Crude Representation(s): Chevron Refinery, Richmond, California, 2022. Acrylic painting framed by 1915 US Geological Survey map of Richmond, California, Ohlone and Miwok lands. In the first US Geological Survey map of Richmond in 1895, we can see that what was once wetland ecosystems in kinship with Ohlone communities is today an infilled network of pipes, railways, tanks, boilers, and tailing ponds. On the edge of a subsequent 1915 geological survey (Figure 12), we can see that Point Molate was actually the site of a Chinese shrimping village, one of dozens found across the San Francisco Bay between the late nineteenth and early twentieth centuries, from Richmond to West Oakland to Marin to Hunters Point, of which only one exists today. And, having been founded in 1902, we can also already see Standard Oil’s pier, from which Chevron still today receives oil tankers. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-13-update.jpg" width="1500" height="1500" style="width: 488.554px; height: 488.554px;"> Figure 13. Bz Zhang, Crude Representation(s): Chevron Refinery, Richmond, California, 2022. Acrylic painting framed by 2021 US Geological Survey map of Richmond, California, Ohlone and Miwok lands. Only the pier remains visible in the most recent publicly available USGS map of Richmond, from 2021, which uses the same pale blue fill to code both toxic tailing ponds in the refinery yard at the top of the image and the San Francisco Bay water on the bottom and omits any other markings that would indicate the presence of oil (Figure 13). But most of us are not looking at maps by the USGS to move through the world. Most days, we might all be looking at one particular map from Alphabet, which applies the same representational logic. Just as freeways on Google Maps are flattened to approximate surface roads, which softens our perception of their violent past and present, oil infrastructures melt into soft grays and blues, as if they weren’t even there. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-14-update.gif" width="1500" height="1500" style="width: 488.554px; height: 488.554px;"> Figure 14. Bz Zhang, Crude Representation(s): Chevron Refinery, Richmond, California, 2022. Acrylic painting framed by maps of Richmond, California, Ohlone and Miwok lands: 1895 US Geological Survey, 1915 US Geological Survey, 2016 municipal zoning map, 2021 US Geological Survey, 2022 Google Maps. (click to view moving image) Across time and space, these strategies for obscuring complex systems are, as we know, by design (Figure 14). At the core—and often contractually—we reproduce systems of oppression by stabilizing them in documents through claims of neutrality, through our omissions, our complicitness, through our carelessness. As reported by Stand.earth and Amazon Watch, half of the Amazonian crude oil extracted and exported from Ecuador, where Chevron famously was sued over an oil spill in 2011, comes to California.13 With the San Francisco Bay and Los Angeles as critical nodes, the flows of oil and capital crisscross borders and oceans, creating a continuous oil landscape and continuous frontline. But tools come from many space-times and can be used in many other ways. As Macarena Gómez-Barris has described, we can “utiliz[e] the same technologies of research and digital output that corporations use [and yet] divert and repurpos[e] them to deauthorize the extractive view.”14 In disentangling representational tools of Western art and architecture—the so-called “master’s tools”—from what Audre Lorde terms “the master’s concerns,”15&nbsp;I am following practices of Indigenous, Black, and decolonial countervisualities, from collective mapping by the Native Lands Advocacy Project, the Watch the Line Project made by coalitions to Stop Line 3, to Imani Jacqueline Brown’s Unraveling Industry: Follow the Oil project mapping petrochemical landscapes in Louisiana. In particular, I look to the trans and nonbinary and queer and woman and disabled and worker futurities within them that have each distinctly and collectively resisted extractivism of lands and bodies for centuries. III. While Crude Neighbors, the “oil painting,” was being exhibited in Los Angeles,16 I was driving to an artist residency halfway across the continental US and stopping by more sites of extraction along the way: the Hoover Dam bisecting the Colorado River in Nüwüwü and Hualapai lands; silver and gold and copper and salt mines across California, Nevada, Utah, and into Colorado. In doing so, I followed the waters stolen every day by the Los Angeles Department of Water and Power up to their source in Colorado, and I tumbled down the other side into the Mississippi River watershed, where the South Platte River led me to my new temporary home. But curious things had been happening for a while. The year before, while accompanying Mexican-American and French-Tunisian artist Red Rotkopf in his research and photography on California settler colonialism, we turned a corner from the Misión de Santa Bárbara, on Chumash lands, and found ourselves unexpectedly in front of a cocktail bar, still wearing its first name, “Jimmy’s Oriental Gardens,” in an old Chinatown I’d never heard of. Another time, at an abandoned borax mine in Death Valley, Western Shoshone lands, I squinted to see the unmarked ruins of housing for Chinese laborers in the flats below, which had been noted only in passing on the interpretative sign. Now, in Denver—Cheyenne, Arapaho, Ute, and Oceti Sakowin lands—where I stopped to eat banh mi at my sister’s favorite spot, I visited the wall downtown where a plaque had just been removed because of its racist and derogatory language placing blame on Chinese residents for the 1880 race riot carried out against them (Figure 15). <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-15-1024x768.jpg" width="1024" height="768" style="width: 488.554px; height: 366.415px;"> Figure 15. Location of former plaque memorializing the so-called “1880 Chinese Riot,” which was an anti-Chinese race riot instigated by white residents of Denver, Colorado, on Cheyenne, Arapaho, Ute, and Oceti Sakowin lands. The white mob of about 3,000 burned down Chinatown, killed one Chinese man, and wounded others. None were held accountable. It is not a coincidence that the removal of the plaque and official apology has been overseen by Mayor Michael Hancock, Denver’s second Black mayor. Photograph by author. The message I read on this wall was: There is a body (mine), looking. In her book Ornamentalism, Anne Anlin Cheng offers a feminist theory for the “yellow woman,” whose peculiar experiences both intersect with and depart from other racialized and gendered subjectivities surviving between personhood and objecthood. To survive in Western, white supremacist spaces in a body that is Asian and femme is to be “[s]imultaneously consecrated and desecrated as an inherently aesthetic object.”17 It is from this vantage point that I have been sitting with a set of Chinese phrases, permeating across the Pacific since our first encounters with Westerners: 丢脸 diūliǎn, to lose face; 保全面子 bǎoquán miànzi, to save face; 给面子 gěimiànzi, to give face; even 要 yào or 不要脸 bùyào liǎn, to want or to not want face. There are at least a dozen other turns of phrase describing the demonstration of respect, deference, or the failure thereof, and even a line in Alice Wu’s iconic queer Asian film, “Saving Face,” from 2004, in which father says to daughter, “我这辈子的脸被你都丢光了 Wǒ zhè bèizi de liǎn bèi nǐ dōu diū guāngle! You have lost me my entire lifetime’s worth of face!”18 <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-16-update.jpg" width="2533" height="1200" style="width: 488.554px; height: 231.451px;"> Figure 16. Details from Bz Zhang, 丢脸 diūliǎn / lose face series while artist-in-residence at Art Farm (Marquette, Nebraska), 2022. Oceti Sakowin and Pawnee lands. Photographs by author. In Nebraska, Oceti Sakowin and Pawnee lands, I worked from this focal point in hopes of physically, culturally, and emotionally excavating experiences of shame, dysphoria, agency, and identity through a queer trans Chinese-diasporic lens, by literalizing these actions taken upon a face (Figure 16). Particularly through the eyes of this “yellow woman,” who lives within my body even as I do not self-identify as yellow nor woman, I asked: Who owns a face, whose is it to lose or to save, and where has it gone when lost? As “someone too aestheticized to suffer injury but so aestheticized that she invites injury,”19 how does one—borrowing from trans and queer Black and Brown ballroom culture—serve one’s own face instead? By chance, this artist residency was a stone’s throw away from the eastern terminus of the first transcontinental railroad in the United States, in Council Bluffs, Iowa, which I visited dutifully, and by chance, I had planned to drive along I-80 to my next engagement, at the western terminus in Gauh Gāmsāan (旧金山, Jiùjīnshān, San Francisco). Tracing this route, I left paper masks—lost my faces—one by one at sites of Chinese diasporic settlement. I was traveling forwards on the colonizer trail to California and yet meeting the ghosts of my ancestor-cousins living and working and inevitably loving themselves and others inland, and thus somehow I was going forwards and backwards at the same time (Figure 17). <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-17-update.gif" width="600" height="338" style="width: 488.554px; height: 275.219px;"> Figure 17. Details from Bz Zhang, 丢脸 diūliǎn / lose face series while artist-in-residence at Art Farm (Marquette, Nebraska), 2022. Oceti Sakowin and Pawnee lands. Moving image by author. (click to view moving image) <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-18-update.gif" width="803" height="600" style="width: 488.554px; height: 365.046px;"> Figure 18. Details from Bz Zhang, 丢脸 diūliǎn / lose face series while artist-in-residence at Art Farm (Marquette, Nebraska), 2022. Oceti Sakowin and Pawnee lands. Photograph and moving image by author. It finally occurred to me that in my makeshift procession along this haunted infrastructure, I had not been losing my face in all those gestures, but perhaps giving it to—meaning to show due respect for—ancestor-cousins of mine along the railway (Figure 18). The faces aside, I was still looking for more sites of extraction hidden in the Sanborn Fire Insurance Maps when I stumbled across one word a dozen times, then a dozen more, and more again: “Chinese,” a word which looks and sounds nothing like our many words for ourselves—scrawled across maps made by an Anglo-American company to finesse capital out of fire. These maps are well-known to architects as a time capsule of nineteenth and twentieth century US cities and towns for our reference, but they were in fact created by and for Anglo-Americans to sell fire insurance policies from urban centers based on a surveyor’s assessment of hazard. And while these maps were never made with non-white communities in mind, nor for their safety, nor their participation, at site after site of nineteenth century extraction, I found traces of Chinese diaspora in handwritten capitalized letters. The sites I was now tracing had been inscribed and reinscribed into land by a succession of US white settler colonial infrastructures: the California Trail (established 1811–1840), the First Transcontinental Railroad (constructed 1862–1869)—which exploited Chinese bodies and labor to dispossess Indigenous peoples and lands and to suppress Black resistance and liberation20—and finally, Interstate 80 (constructed 1956–1986). Their sequence was, incidentally, traced again in 1988 by recently arrived Chinese students, my parents in the Beautiful Country (美国 Měiguó USA), and, suddenly, in 2022, by me, searching. Looking and searching became 给面子 gěimiànzi—giving face—to Chinese-diasporic informal architectures across the continental US, outside of all the major cities where we’d expect them. In some cases, there is one remaining building—such as in Truckee, California, where Chinatown was destroyed three times, and the last remaining building, an herbal store, is now an office for an interior design firm—or perhaps a reconstructed facsimile as a museum, as in China Camp State Park, where I was sharing the view with a white wedding party in Marin County. In others, there is just one street sign—as in “Plum Alley” outside of a parking garage in Salt Lake City, Utah, or “Ahsay Avenue” named for a Southern Chinese labor organizer in Rock Springs, Wyoming (Figure 19). While I ran out of paper masks of my own face to leave behind, I continued taking with me photographs on my phone, oriented and cropped as if documenting progress on a job site. Truthfully, these are ongoing sites of construction. As bell hooks wrote of Black cultural genealogies of resistance, “the vernacular is as relevant as any other form of architectural practice.”21 Up and down Main Street in Lohk gēui jan (樂居鎮, Lèjūzhèn, Locke, California) in Sacramento County, the largest surviving rural Chinatown, the material histories of the “vernacular” (and its historic preservation or lack thereof) speak plainly of cultural legacies, politics of land ownership, and the coevolution of multiethnic communities. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-19-update.jpg" width="1500" height="946" style="width: 488.554px; height: 308.114px;"> Figure 19. Clockwise from top left: Truckee, California, Washoe lands; Marin County, California, Coast Miwok lands; Salt Lake City, Utah, Eastern Shoshone and Goshute lands; Rock Springs, Wyoming, Eastern Shoshone and Cheyenne lands; Walnut Grove, California, Lisjan Ohlone and Plains Miwok lands; Santa Barbara, California, Chumash lands; Locke, California, Lisjan Ohlone and Plains Miwok lands; Evanston, Wyoming, Eastern Shoshone lands; Locke, California, Lisjan Ohlone and Plains Miwok land. Photographs by author. But in nearly all cases of rural Chinese diaspora in the US West, Chinatown was purposefully set on fire and burned to the ground, as in Reno, Nevada, where it was burned down at least twice, the second time by the Reno government (Figures 20 and 21). Locke was only founded after the Chinatown of nearby Walnut Grove was consumed by flames in 1915. And so, in nearly all cases of Chinatown burned to the ground, I continue to look for and find traces of us in the insurance maps they drew in case of fire. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-20-1024x768.jpg" width="1024" height="768" style="width: 488.554px; height: 366.415px;"> Figure 20. Ruins of Chinatown in Reno, Nevada, 2022. Washoe and Northern Paiute lands. Photograph by author. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-21.jpg" width="800" height="558" style="width: 488.554px; height: 340.766px;"> Figure 21. Ruins of Chinatown in Reno, Nevada, 1908. Washoe and Northern Paiute lands. In engaging Sanborn maps, which most often labeled Chinese structures as hazards, as seen in the green highlight of Chinese-owned laundries in San Rafael, California, I used translation to reconstitute Chinese diasporic structures—or, in truth, a phantom or shadow of them—out of the technical details left by Anglo-American surveyors: 1-story or 2-story; stove pipes or terracotta or brick chimneys; composite or shingled roofs, fire walls, and so forth (Figure 22). There are virtually no other architectural documents of these Chinese diasporic settlements, and yet, translating what is on the page only reveals the limits of translation, in what truths are not there. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-22-update.gif" width="1500" height="1500" style="width: 488.554px; height: 488.554px;"> Figure 22. Giving face to ancestor-cousins in 1887 Sanborn map of San Rafael, California, Coast Miwok lands. Animated image by author. These architectural pasts and presents reflect the calculus of white supremacist settler colonization in time and space—on the one hand, “The Chinese Must Go!” (a rallying cry originating in the 1870s in California, in many ways the birthplace of anti-Asian racism in the US); and on the other, instances of their forced enclosure, when, for example, the US Federal Army was stationed in Rock Springs, Wyoming for fourteen years, following the 1885 Chinese Massacre, in order to prevent Chinese miners employed by the Union Pacific from escaping white racial violence (Figure 23). As Tao Leigh Goffe has written about enslaved African, indentured Asian, and racialized peoples across empires, “in the historical ledger barely a trace of these subjects’ intimate, interior lives is recorded,”22 and thus we must utilize interdisciplinary, subversive strategies and draw upon our converging histories and intellectual traditions to see them. <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-23-update.gif" width="1500" height="1500" style="width: 488.554px; height: 488.554px;"> Figure 23. Giving face to ancestor-cousins in 1890 Sanborn map of Rock Springs, Wyoming, Eastern Shoshone and Cheyenne lands. Animated image by author. Back in Los Angeles, I worked with artist and bookmaker Taylor Zanke of Allowing Many Forms to produce an artist book, titled In Case of Fire 万一火灾,23 which could attempt to make visible what is missing from the archives while giving face to the people who endured horrific violence and yet were more than those experiences (Figure 24). I was guided by brilliant artists and scholars in sifting through archival photographs and my own photos to register narratives across time, following methodologies of Mitchell Squire’s portraiture and performance, Saidiya Hartman’s speculative histories,24&nbsp;Katherine McKittrick’s critical geographies,25&nbsp;the Chinese diaspora archeologies of Kelly N. Fong 方少芳, Laura W. Ng 伍穎華, Jocelyn Lee 李紫瑄, Veronica L. Peterson 孫美華, and Barbara L. Voss,26&nbsp;and what Édouard Glissant termed le droit à l’opacité, or the right to opacity.27 <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-24.gif" width="1024" height="791" style="width: 488.554px; height: 377.389px;"> Figure 24. Details from Bz Zhang, In Case of Fire 万一火灾, handmade artist book, created while artist-in-residence at Allowing Many Forms (Los Angeles, CA), 2022. Photographs by Allowing Many Forms. (click to view moving image) I found that by directly situating original source materials, rather than translating each archival and contemporary photograph into architectural drawings and documents, I could register more than spaces across time: I could in fact register a Chinese-diasporic gaze (mine) to both spaces and other gazes (most often, white and cis and male). At most of these sites, I had a choice of whether to include violent images and texts, and whether certain translations ought not to be made, and whether other translations might 给面子 gěimiànzi instead, to properly see these lives lived in wholeness. As well, hegemonic narratives of Chinese diaspora in the Americas continue to disregard (or are unable to comprehend) experiences that are not cis and male. As Fong et al. write, “historic censuses list few Chinese American women and children… but family histories and missionary records describe diverse households, including intergenerational households, heterosexual nuclear families, single parents, and single-gender households.”28 I follow writers Patricia Powell, in The Pagoda, and, more recently, C. Pam Zhang, in How Much of These Hills is Gold, in wondering aloud: if even one Chinese-diasporic person assigned female at birth was there, I want us to look for them. IV. I have passed countless hours in the last years with Sanborn Fire Insurance Maps, most frequently peering at digital reproductions through computer screens and scanning page-by-page for oil wells, refineries, coal mines, and then work camps, rail stations, lumber yards, and then Chinese laundries, “shanties,” and the words “female boarding” designating places of sex work. The time moves slowly. The cautious excitement of finding precious traces turns sour with the repetition of the archive’s callous disinterest—the word “C H I N E S E” stretched across entire neighborhood blocks without further detail—and I remind myself often to sit up straighter. One day, I found a phrase I hadn’t yet seen before, scrawled on a 1904 Sanborn map of Reno, Nevada (the Chinatown had already been burned down once, in 1878, and would be burned down again four years later): “Chinese vegetable garden” (Figure 25). <img src="https://jaeonline.org/wp-content/uploads/2024/01/BZ-Figure-25-1024x768.png" width="1024" height="768" style="width: 488.554px; height: 366.415px;"> Figure 25. Detail from Sanborn Fire Insurance Map, Reno, Nevada, 1904. Washoe and Northern Paiute lands. Library of Congress. I unexpectedly cried upon reading those three words. I looked up from my desk involuntarily, as if to register whether anyone else (any other gaze) had seen it, too. I felt I needed to know who had written those words: was he—it was almost certainly “he”—struck by the garden’s size, its abundance, its smells, its sounds of Hakka, Toisan, Cantonese words and laughter? Was he disgusted; did he consider it a nuisance, a hazard to be documented; did he see the gardeners as human? Did he speak with them, the ways I wish I could? Elsewhere, scholars have documented cultural exchanges between Chinese and Shoshone, Paiute, Ute, and other Indigenous peoples, including the sharing of baahk choi (白菜, báicài, bok choy) and medicinal herbs,29 as well as the dependence of white Anglo-Americans on Chinese cooks and gardeners for survival in the West.30&nbsp;I wasn’t necessarily uncovering something for the first or even the hundredth time, but I felt I had, in looking from this body, caught and held momentarily, across 100 years, the gaze of another body, looking at my ancestor-cousins and writing, by hand, those three words. I don’t know that we can know the exact circumstances for how the words “Chinese vegetable garden” made it onto this fire insurance map, nor the dreams held by those who planted seeds within it. But on her way back from her own father’s funeral, my mother brought me seeds from our ancestral village in 安徽 Anhui and planted them for me in my backyard in 洛杉矶 Luòshānjī, Los Angeles. Without missing a beat, she harvested long stalks of bamboo, serving only as ornamental hedging in the moment before, and improvised a trellis for those vines to grow. In an instant, she and I became bodies (ours), looking, from within an ocean of generations who have tended to choi yùhn (菜園 càiyuán, vegetable gardens)—diasporic translations of ourselves, our memories, and our communities as seeds passed through hands and earth and sea and sky, carried across unfurling scrolls of space and time. Bz Zhang 张迪 (they/them) is an architect and artist based on unceded Tongva land (so-called Los Angeles) using disciplinary tools of architecture to imagine futures beyond settler colonialism, racial capitalism, and cisheteropatriarchy. They organize with Dark Matter U, the Design As Protest Collective, and the Los Angeles Neighborhood Land Trust. Zhang is a 2022 Journal of Architectural Education Fellow, 2021 USC Citizen Architect Fellow, and a licensed architect in California. As a design professional, they have learned from and worked alongside contractors and fabricators in Philadelphia, architects and nonprofits in the San Francisco Bay Area, and artists and land trusts in Los Angeles. Their teaching practice has developed in collaboration with students and co-instructors at the University of Southern California, California College of the Arts, University of Michigan, University at Buffalo, University of California, Berkeley, Jefferson University, and Brown University. Zhang received a Master of Architecture from the University of California, Berkeley, and a Bachelor of Arts with Honors in Visual Arts from Brown University. In their free time, they look for birds and trash in the Los Angeles River. Notes I trace my roots to 安徽 Anhui on my mother’s side and 山东 Shandong on my father’s side. I identify as Han in ethnicity and Chinese-diasporic as a political identity in kinship and solidarity across oceans and borders, in opposition and resistance to nation-states and empires everywhere. In this personal narrative, I primarily use simplified Chinese characters and pinyin transliteration to reflect my cultural context. However, in specific instances where referencing Chinese diasporic populations that speak in the Cantonese language family, I use the Yale transliteration of Cantonese and traditional Chinese characters first.Although my mother is a naturalized US citizen with a ten-year visa to China, all of our visas were suspended during China’s “zero-COVID” policies until March 15, 2023. Her father, my 外公, left us on December 29, 2022. We last saw him in person in the summer of 2019. Within the diasporic Sinosphere, I hardly know a single family who hasn’t been impacted in this way.Massimo Scolari, Oblique Drawing: A History of Anti-Perspective (Cambridge: The MIT Press, 2015), 341.Lisa Lowe, The Intimacies of Four Continents (Durham: Duke University Press, 2015).William Farish, “On Isometrical Perspective,” (Cambridge University Press, 1822).Cruz García and Nathalie Frankowski, “History Doesn’t Exist,” in A Manual of Anti-Racist Architecture Education (LOUDREADERS Publishers, 2023), 10.Sara Ahmed, “Queer Use,” Arcus Endowment of the College of Environmental Design, 16 Feb. 2018, University of California, Berkeley, https://grad.berkeley.edu/news/announcements/campus/sara-ahmed/Sara Ahmed, What’s the Use? On the Uses of Use (Durham: Duke University Press: 2019), 41.Zoe Todd, “Fish, Kin and Hope: Tending to Water Violations in amiskwaciwâskahikan and Treaty Six Territory,” Afterall: A Journal of Art, Context and Enquiry 43:1 (Spring 2017): 107Sandy Saeteurn, “11 years ago, the Chevron refinery exploded. It wasn’t a surprise,” Asian Pacific Environmental Network, August 6, 2023, https://apen4ej.medium.com/11-years-ago-the-chevron-refinery-exploded-it-wasnt-a-surprise-389c58f33927Nicholas Mirzoeff, The Right to Look (Durham: Duke University Press, 2011).Neeraj Bhatia, “The Other California,” FOOTPRINT, The Architecture of Logistics. 23 (Autumn/Winter 2018).Angeline Robertson, “Linked Fates: How California’s Oil Imports Affect the Future of the Amazon Rainforest,” Stand.earth and Amazon Watch (2021), https://stand.earth/resources/linked-fates-how-californias-oil-imports-affect-the-future-of-the-amazon-rainforest/Macarena Gómez-Barris, The Extractive Zone: Social Ecologies and Decolonial Perspectives (Durham: Duke University Press, 2017), 98.Audre Lorde, “The Master’s Tools Will Never Dismantle the Master’s House,” in Sister Outsider: Essays and Speeches (Berkeley: Crossing Press: 1984), 110–14.Tense Renderings: The Will and Won’t of Spatial Logics, curated by Simone Zapata and Fía Benitez, CalArts The Reef, Los Angeles, June 24–July 24, 2022.Anne Anlin Cheng, Ornamentalism (New York: Oxford University Press, 2019), 2.Saving Face, directed by Alice Wu (Destination Films, Forensic Films, GreeneStreet Films, 2004).Cheng, Ornamentalism, xi.Manu Karuka, Empire’s Tracks: Indigenous Nations, Chinese Workers, and the Transcontinental Railroad (Oakland: University of California Press, 2019).bell hooks, “Black Vernacular: Architecture as Cultural Practice,” in Art on My Mind: Visual Politics (New York: The New Press, 1995), 151.Tao Leigh Goffe, “Intimate Occupations: The Afterlife of the ‘Coolie,’” in Transforming Anthropology 22:1 (May 2014): 53.Whereas the English title, “In Case of Fire,” reflects the technical life and safety term in buildings and fire insurance maps, the Mandarin title, “万一火灾,” translates loosely and colloquially to “in case of a fire (disaster),” the way my mother might tell me to bring an umbrella in case it rains (“万一下雨!”).Saidiya Hartman, Wayward Lives, Beautiful Experiments: Intimate Histories of Riotous Black Girls, Troublesome Women, and Queer Radicals (New York: W.W. Norton and Company, 2019).Katherine McKittrick, Demonic Grounds: Black Women and the Cartographies of Struggle (Minneapolis: University of Minnesota Press, 2006).Kelly N. Fong 方少芳, Laura W. Ng 伍穎華, Jocelyn Lee 李紫瑄, Veronica L. Peterson 孫美華, and Barbara L. Voss, “Race and Racism in Archeologies of Chinese American Communities,” Annual Review of Anthropology 51:233–50 (October 2022).Édouard Glissant, Poetics of Relation (Ann Arbor: University of Michigan Press, 2010), 189.Fong 方少芳 et al., “Race and Racism”: 242.Hsinya Huang, “Tracking Memory: Encounters between Chinese Railroad Workers and Native Americans,” in The Chinese and the Iron Road: Building the Transcontinental Railroad, eds. Gordan H. Chang and Shelley Fisher Fishkin (Stanford: Stanford University Press, 2019), 189.Sue Fawn Chung, “Beyond Railroad Work: Chinese Contributions to the Development of Winnemucca and Elko, Nevada,” in The Chinese and the Iron Road, eds. Chang and Fishkin, 325. <img width="1807" height="1417" width_o="1807" height_o="1417" data-src="https://freight.cargo.site/t/original/i/cf02c4e16f3d9a43f2d212cc52f03d1c6e530e1713a0e26f091ed5866345a02d/Main-Figure-e1704904250536.jpg" data-mid="206982274" border="0" src="https://freight.cargo.site/w/1000/i/cf02c4e16f3d9a43f2d212cc52f03d1c6e530e1713a0e26f091ed5866345a02d/Main-Figure-e1704904250536.jpg" /> INTERVIEW A Conversation at the Biennale Architettura 18th International Architecture Exhibition Dele Adeyemo Fellow 2022-23 Jennifer Newsom &amp; Jerome Haferd MAY 20, 2023“The Laboratory of the Future” Curated by Lesley Lokko Foreword by Jerome Haferd, September 2023 I had the pleasure of meeting up with participants Dele Adeyemo and Jennifer Newsom at the opening of the 18th Venice Architecture Biennale to talk about their respective contributions in situ. The Biennale is a convergence of threads, bringing together in physical space these two individuals, already in dialogue through the JAE Fellowship as Fellow (Dele) and Advocate (Jennifer). Their work and our conversation, situated within the geometric “Blackness” of the show, explores ideas of Black Geometry from different orientation points. Dance of the Mangroves, Adeyemo’s work, and Afterimages by Newsom and her partner Tom Carruthers (Dream The Combine), reside within the Arsenale Exhibition Space. The Arsenale’s capacious former military facility—now a massive series of enfilade chambers draped in near darkness in many areas with works and projections floating in the void—will, I think, be remembered as the most powerful and clear statement of the “Black Biennale.” Adeyemo’s piece can be found near the entrance, suspended in an eddy-like room within a cavernous black abyss that characterizes the opening rooms of the gallery. The work is finely crafted, mixed-media, and interactive, and can best be described as a divination table. The eccentric ellipse of the table’s “bowl” holds a thin layer of sand which receives a video projection of Nigerian shoal dwellers from above. The form feels simultaneously contemporary and yet laden with cultural lineage and practice. Passersby step up to the table and carefully spread the sand with a broom that Adeyemo has provided. The physical installations serve as literal orientation points themselves; this interview took place partially in motion, while traversing the cavernous space of the Arsenale, passing numerous exhibits, and weaving a considerable distance to connect the two works and a single conversation. Newsom and Carruthers’ installation dwells deep in the Arsenale and emerges into view is a series of giant tubes and cables that thrust into view as one approaches, cascading out of relatively well-lit chamber walls, disorienting the viewer and casting shadows throughout the gallery—as if it is in motion. Though minimalist and restrained, there is a “hand” to the work that is subtle, developed, and particular. Perhaps it is fitting that this is my first encounter with Adeyemo and his work—a theoretical research-heavy practice based in the ephemeralities of critical geography, but now approaching a sense of craft and abstraction—while I perceive and consider Newsom’s within the context of Dream The Combine’s lineage of projects: often muscular and structurally expressive as objects, but hiding a deeper interest in perception, movement, (Black) aesthetics of urbanity and rurality, and perhaps even diaspora. One lineage of work that is approaching a cultural expansiveness from a basis in minimalism and craft, and another beginning in the ephemerality of cultural experience, then distilling it into the making of a refined architectural object expanding. It is also fitting that these two practices meet here at this Biennale, which attempts to stitch together the ephemeral, the built, the diasporic, and the futuristic into a more complete and apt framing of architecture for the coming era. <img src="https://jaeonline.org/wp-content/uploads/2023/12/Figure-1_Dele-scaled.jpg" width="2560" height="1922" style="width: 488.554px; height: 366.797px;"> Dele Adeyemo, Dance of the Mangroves, 2023 <img src="https://jaeonline.org/wp-content/uploads/2023/12/Fig3_dreamcombine_venice_biennale.jpeg" width="640" height="427" style="width: 488.554px; height: 325.957px;"> Dream The Combine, Afterimages, 2023 Jennifer Newsom: I just really love the tactility of what you’re doing—even just standing here and watching people interact with it. It has a kind of breath… I love seeing reflections in the water and the rippling of the image projected onto the sand. It’s really quite beautiful. Can you tell us a little bit about the film? Tell us what we’re looking at! Dele Adeyemo: Yeah. So, in brief, the film the project is called a Dance of the Mangroves. It’s about showing the entangled lifeworlds, the spiritual, social, and ecological lifeworlds of a lagoon, at the heart of the megacity of Lagos. Lagos is known quite well now in popular culture through Afro beats and things like Nollywood. The emergence of Nigerian culture is bringing the megacity of Lagos to the forefront of people’s imaginations. But when people think of the megacity, they generally think of incredibly dense populated spaces and traffic, you know? And this film is really a portrait, like an attempt at a loving portrait of a community right in the center of the megacity, in a community called Oworonshoki. And right at the center of the community is the lagoon. I’ve been collaborating with people in the community for four or five years, and I recently had the opportunity to go out on the water with the fishermen from the community. As soon as I went out on the water with them, I realized the lagoon itself was a whole other world. From the motorway known as Third Mainland Bridge (that connects the mainland to the islands that house the CBD) the lagoon looks like an empty void in the center of the megacity, when in actual fact it’s teeming with life, ecological as well as&nbsp; social life, where people live either directly on the water or dotted around the edge of the lagoon. So through collaborating with this community and collaborating with a group of young dancers, who were also community organizers and activists, I started to learn that the kind of sociality that exists within these communities that are in direct connection to the lagoon is a kind of sociality that stems from another logic. Another logic to urban planning, another logic providing spaces that have another worldview. This other logic exists because these spaces weren’t planned by the forms of colonial urbanization and colonial planning that expanded the city. <img src="https://jaeonline.org/wp-content/uploads/2023/12/Figure-2_Dele-scaled.jpeg" width="2560" height="1922" style="width: 488.554px; height: 366.797px;"> Dele Adeyemo, Dance of the Mangroves, 2023 These spaces were in fact planned by inland settlements like Ile Ife, sending people to migrate, to be adjacent to Lagos in order to trade. But when people traveled there, they weren’t traveling there to become part of the colonial administration. So this space emerged through a&nbsp; kind of native or Indigenous form of planning that persists within these spaces. And so when I started to learn about this community, this space, and how the people arrived there another world came into view. For example, when people traveled, they migrated with their shrines, which are a little like alters encompassing spiritual artifacts, right? But it’s mainly the worldview, it’s mainly this connection to the world of the spiritual, the connection to the world of ancestors that they took with them. So when they’re migrating, they’re also migrating with traditions like masquerade, for example, which is a form of placemaking it’s a technology of society building. So you have the masquerade and the spiritual shrine, and then there are technologies and knowledges for inhabiting lagoon environments such as the canoe that enable the use&nbsp;of plant life, in particular the mangroves, that’s what people were migrating with. And, of course, the colonial mentality, the colonial form of planning, erases all of that—it separates people from these knowledges. And that’s what makes these spaces like Oworonshoki incredibly valuable, because they appeared along a different line of planning, they actually maintain a lot of these knowledge systems as you see in my film, where the practice of fishing using the mangrove is described. As the fishermen, they cut the branches, they use them to create fish traps called the Akaja. But the community also used the mangroves as medicine. When prepared with certain herbs the bark of the mangrove acts as a &nbsp; prophylactic against malaria. But when the British arrived, they started cutting the mangrove down and sand filling as a form of urbanization because malaria was the single greatest barrier to colonizing West Africa. The death rate was so incredible the British had to find a solution. And rather than using Indigenous technologies and knowledges, of course… Jerome Haferd: They eradicated the mangroves. DA: So yeah, what I’ve realized is that these performance cultures like the ones that you see, in the performance at the end of the film, are a part of a heritage and a lineage that can be understood as form of Indigenous knowledge and Indigenous practices but played out within the contemporary space of the megacity. It’s not an idealized romanticized idea of what Indigeneity is, right? It’s a hybridized lifeworld that’s produced. So that’s what I’ve tried to celebrate with this film. JH: And I think you’re sort of taking that highly architectural idea and creating a&nbsp; generative object, because now we’re in Venice you constituted another space, here, that’s&nbsp; using an interdisciplinary set of mediums to sort of motivate a performance in a different location. So I’m curious about even how you made this object, how you’re ending with this comment&nbsp; not on a frozen Indigeneity but a sort of generative Indigeneity. JN: Yes, also it seems as though you are evoking the sand as a kind of carrier. It’s a communicative medium. It’s quite literally the territory on which these performances, these lives are lived. But now it also becomes the device through which colonizing forces are operating in that place, right? It’s like, “We’re going to cut the mangrove and then sand fill it.” And now, here in Venice, the sand becomes an interactive surface. I like how it’s activated in this new context. I’d love it if you’d talk about the construction of this artifact in general, but also the particular choice of materials that you’re using. DA: Yeah, so first of all, I’ve been working a lot with writing, reflecting through writing. And also reflecting, by creating film. And so this exhibition is an opportunity to reflect on the realisations I arrived at through on writing and making films about community, but in this instance I express these realisations through generative forms. As I was saying to you yesterday I had an opportunity to have a wonderful conversation at lunch with Torkwase Dyson, about a year and a half ago. It was just so inspiring to speak to her because I realized that, in her work, she’s grappling with what I would call, Black geometries. JN: The triangle, the circle as these expansive and generative shapes. DA: Yeah. Yeah. Which then becomes trapezoid and curve. And by speaking to her, I understood that geometries and forms can have another inheritance—it doesn’t have to follow the Western canon of modernity, these geometries and forms can come through a kind of Black genealogy. And so that was kind of opening for me. JH: …and part of a larger research, in a way. DA: Yeah. And so it really made me think, okay, what other Black geometries are there? What are the African geometries that exist within the space that I’m working with? And so this bowl that I created is&nbsp;inspired by one of the many vessels that appears everywhere for carrying things and for holding and displaying things in the market like grains, rice, garri, or beans. We see large bowl&nbsp;vessels everywhere&nbsp;in&nbsp;the street markets of Lagos.&nbsp;The form&nbsp;of the sculpture&nbsp;is also referencing the technology of the canoe of course, but I’m particularly interested in&nbsp;referencing the&nbsp;technology of the Ifa divination board. In the Ifa divination board, Babalawo (the divination priest) uses sand to draw marks in the process of divination, so it made sense for me to reimagine&nbsp;that&nbsp;connection to sand in the sculpture that I designed to screen my film. In fact, in the process of researching the origin story of Ile-Ife, the ancestral home of Ifa the indigenous belief system of the Yoruba people, I discovered traditional tales that describe&nbsp;the creation of the world&nbsp;by sand&nbsp;being dropped from the sky and spread across the primordial waters. So&nbsp;the shaping of sand&nbsp;and sediments is not just a contemporary practice in the&nbsp;region but is intimately connected to the Ifa worldview. So I was thinking about all of these things as well as the mangrove forests of course, and the form of the mangrove trees take. This is how I arrived at the idea to create a stand for the divination bowl which was representative of the twisting aerial roots of the mangroves. I wanted to create a joint that created the effect of&nbsp;the wooden legs twisting around each other. So as a design challenge, it’s technically very difficult for the fabricator to make because you can’t exactly see where it’s load bearing. JN: There’s a multiplicity of how it’s skittering on these legs. It is interesting—a long time ago, I made an object that had a similar multiplicity of base elements. It imbued the upper structure with a kind of unpredictable movement. The multiplicity can give it its own internal choreographic gesture. DA: And it’s all referencing the more ornate Ifa divination bowls that you see that sit on a carved plinth. So you have a bowl, and then it’ll be on a stand with elaborate carvings of figures, human figures, and symbolic images. So this is really a play on these traditional designs but starting from this idea of the geometry of the vessel and the curve. JH: And you’ve suspended it and it’s floating in real time. Yeah. Which is where we all, in a way, when you said African geometry, and then you said Black geometry, I think those are two different things. JN: Hmmm, yeah, I think so too. JH: It’s the kind of reflection, the liveness of gravity, and the sort of real time juxtaposition of all those things. Yeah. It’s a sort of Black geometry. JN: I think the platform is a curatorial artifact and the object is your intervention, right? There’s an intersection to the display. We’re contending with all of these presences that are here and now activated. They encounter a new audience who is coming to this with their own histories, their own knowledge, their own ignorances, etc. What I love about this work is that it has such a strong voice that I think it touches you even if you don’t fully understand all the narratives it may hold. It has such a lush texture, and the imagery is evocative. It’s easy to fall into it. It’s very seductive. JH: And even without the curatorial gesture of the plinth, you’re contending with gravity, which I think is something you’re both sort of contending with and thinking about as well as (W. E. B.) Dubois , who was working with abstraction, data visualization, and the Black condition. Yeah. And, you know, and we’re here in Venice, to the extent where, I was telling you yesterday, my equilibrium is now almost completely inverted. I’m feeling more, sort of, at home when I’m in motion. And I think there’s a Blackness to that. DA: On that point, this is a new iteration of a larger project called Wey Dey Move. Wey Dey Move is a Nigerian pidgin term for things change and constantly evolve, but obviously, when people say Wey Dey Move, it also sounds like the way they move. So, there’s these multiple readings, but it also captures a sense of something essential to Blackness, but a particular kind of Lagosian Blackness. The Lagosian experience is very improvisational. People are constantly in motion, constantly changing, constantly responding to changing situations. This movement comes from the natural environment, but it also comes from the social economic environments that people find themselves in. So you have the constant motion of the tides and the changing shape of the coastline. But you also have the imposed precarity of people’s lives, because of the structural imbalances of the position of precarity that much of Africa is held in which is particularly intensely felt within Lagos. So, to return to the point of this differentiation between Blackness—and I wouldn’t say a differentiation, but rather the nuance—this nuance between Blackness and African-ness is created by the line drawn by modernity, with its founding forms of violence which are generated through transatlantic slavery. Because of my heritage and being born in Nigeria, having a Nigerian father and Scottish mother, growing up here—in the West—and being born there… Passing viewer: Congratulations! DA: Oh, thank you. Another passing viewer: Congratulations, beautiful exhibition. DA: Oh, thank you. Thank you. Thank you. …So yeah, because I was born there, I have this sense of my African-ness and yet I grew up in Scotland. So I have this sort of rupture within myself. And it’s because of these structural conditions that though I was born there, I grew up elsewhere. So I’m very interested in that rupture in its many different contexts. I like to talk about the rupture created by the Door of No Return (the last doorway in the slave castle that enslaved subjects would pass through before they were loaded on the slave ships), as operating in all directions, rippling in all directions through space and time, but I’m particularly interested in how modernity unfolds within the African experience. Blackness is articulated differently according to which side of that rupture it was on. I love the way Arthur Jafa talks about Blackness in America as an existence created out of this rupture, and how it was an opportunity to reimagine all kinds of traditional African practices. But that also happened in Africa too, right? It happens within the urban context. It happens in places like Lagos, where traditional life is totally ruptured by slavery and colonialism. JH: And modernity. DA: Yeah, and modernity. The separation from traditional practices generates a form of modernity, but one that remains in interaction with the context of Indigenous practices, one that is still in interaction with the land and still present, within the geography. JH: Which brings us full circle to the fact that no matter where you are, there is a particular landscape that we’re contending with and engaging with, which is where a kind of “Indigenous” practice becomes very specific. JN: Yeah, but I love how you’re speaking to this idea of a kind of simultaneity—both continuity and rupture exist within this context. I mean, you’re talking with two Americans… JH: two African Americans… JN: …two Black Americans. I’ve been thinking about the door of no return in the context of our project Afterimages, also shown in the Corderie building. Our work is an open portal that you pass under and through. The steel structure is two overlapping perspectives, an intersection of two horizons. The work is conceptual, it is an abstraction of two ways of viewing the same figure. Being a witness means you are both part of the physicality of the event but also outside of it, distanced in a way. Our piece is dedicated, in humble gratitude, to Darnella Frazier, the young woman who captured the video of George Floyd’s murder in my hometown. She was there, it had an impact on her own life, but she also was a conduit for seeing and sharing, through images, this unthinkable violence. I think it’s very interesting that we are circling around some of these same issues of rupture, of modernity, of the Black body and its images, of our present condition, but coming from two sides of an ocean. JH: Yeah. Recently I’ve been looking at graphic representations of the transatlantic slave trade. And, you know, these millions and millions of individuals cascading across that void is a kind of opening, right, even though there’s a sort of psychology of closure of rupture, of break. But that break is also this opening. JN: I mean, I think that is in some ways what Jafa is talking about. JH: Which makes me think of your piece, Jennifer! Can we talk about your piece? Should we go over there? JN: Yes, let’s walk over there; we can walk and talk. This Biennale so beautifully shows how we are all moving in the same present. We’re bringing our various thoughts and trajectories to intersect in this moment, and those ideas will go off into the future. To see how this work is braided together right now is exciting. Dele, I’m curious to hear more about your experience as a JAE Fellow in preparation for this exhibition. You are a Guest From The Future, according to the curatorial framing. What is it like being here, seeing your work in relation to all the other work that is also here? We can talk about that in dialogue with my work, sure, but also more generally about this contemporary moment where there’s an intersect. These threads will potentially diverge again, but maybe some will still stay entangled. How is this whole process, the year, the fellowship, being here now and projecting into the future affecting you? How are you thinking about these relationships between your work and the things outside of it? DA: I mean, it’s inspiring for me, it’s great for me to have this dialogue with you. Because, I think we have been discussing this idea of, what is the Black form? What it is, is not something as simple as an aesthetic practice of creating pattern on a façade, not that that isn’t interesting in its own right.&nbsp; JN: I’m not interested in graphic pattern at all! [laughs] DA: Yes, that isn’t what we’re interested in. And for me, it was tremendously exciting to be able to engage with you because this is something that you’re also grappling with in your work. JN: I’m interested in the dry space, a void in legibility. The mark making is like an erasure, a revealing of something that had been hidden. I’m not interested in re-inscription of a certain pattern, graphic, or symbol. Our work is much more open and abstract in my estimation. JH: Yeah, certainly it’s also not simply the presence of someone Black doing a piece. Exactly, exactly. Which we’ve been talking about a lot. DA: Yeah, it has to be far more fundamental than that. But I think that’s also the opportunity of creating art, as opposed to having to create living buildings. You know, you’re able to push at these limits. Like when I look at your work, I think about Ralph Ellison’s Invisible Man, I think about jazz, and I think about the strangeness of the urban environment. And going back to that idea of form inspired by Torkwase Dyson’s questions, it makes me think about the strangeness of a Black experience in urban space. JN: And that there are these infrastructures, these spatial conditions that are meant to alienate us from ourselves. JH: And disciplinary conditions, pedagogical conditions. JN: And people often ask us about the violence in our work. We’re not trying to shy away from what’s uncomfortable about it, even as we explore it and try to reckon with it ourselves. JH: You know, it reminds me of something Walter Hood said, the first time I saw him speak in person, which is we’ve had to walk and chew gum at the same time, right? JN: Yeah, chew gum, tap dance…[laughs] JH: And that’s where the Blackness of the work is addressing these issues at a multivalent level. An acknowledgement of violence, of complexity. And of different mediums that that registers on. JN: I like how you brought in the disciplinary violence because we were talking about that a little bit on the boat yesterday. At a gathering in honor of the Black Reconstruction Collective and in partnership with Deem Journal, Mitch [McEwen] was talking about stepping into the space of this exhibition… JH: Having to protect oneself from the discipline. JN: Yes, and not needing to protect oneself from the discipline when you are here. Stepping into the space of this exhibition, you don’t feel that need for protection. It’s like, oh, no, I’m the center. JH: And not only that I’m the center, but there is an acknowledgement of the wholeness of experience that we contain. DA: Yeah. There’s a line in Tina Campt’s book Listening to Images in which she talks about the agency of a group of African women who have been photographed that she finds in a colonial archive in South Africa. On one level, it may seem like they’re being photographed under coercion. But then she asks you to look closer at the images, the expressions, the posture of the women. And she uses this term like, there’s a muscular tension in their bodies, in their posture and facial expressions, which reveals their agency and resistance in the moment. This is what I get from looking at your work as well, Jennifer. It represents to me all of these challenges about having to contort and hold your body to suit what is seen as the discipline of architecture whilst overcoming questions about ‘how is a Black architecture relevant? How is the Black experience relevant, architecture is supposed to be universal?’ Your work challenges all these questions. And &nbsp;I guess I see all that tension not as tension but as energy, as potential kinetic energy. JN: I appreciate that you say that because I think we certainly thought about this piece through folks’ movements around it through parallax, and we have been referring to the central element as a “figure.” Relative to one horizon, the figure is laying down. Relative to the other horizon, it is standing. And then as you circle around and look back, the figure is in flight. We thought about this piece as a kind of portal. This is the web that we’re in, and we’re all trying to navigate our way through. JH: Absolutely. And this is where, you know, again, at a visual level, but also sort of like empathic level. If not for the transatlantic slave trade, I wouldn’t exist. Do you know what I mean, to really think about the kind of natural force that is Blackness? Right? And just contending with that tension? You know what I mean? If not for the violence of Blackness, I wouldn’t be here. Right. So how do we contend with the, with that muscular tension, of the hopefulness of Blackness, the generative Blackness, and the violence all at the same time? DA: Well, I think I think it’s the generative, I really like… JH: And the joy. DA: Yeah, yeah. I mean, so the joy, like the joy… I talk about the dancers in my film, I talk about virtuosic, vibrant outbursts of accumulated tension in their bodies. You know, because of the condition that people are living in… the pressure of the precarity of the urban space, it lives in, as they say, it lives in their bodies, but it flows out in this incredibly generative way. And so I don’t see the violence as a positive, I’m not thankful for the violence that we must overcome, but I also know that there is no perfect state, you know, there’s no perfect state in nature. So, it’s this interplay that’s always at work. JN: I was just going to say, to make a link back to your film, we’ve been working on an open-ended conversation with the performance artist Jasmine Hearn who has been producing their own research in response to our work. They’ve been spending time with it, doing movements in response to it, and creating an embodiment score. So I think there’s a way in which that kind of muscular tension, that liveness, is part of the work quite literally. It is a movement and moving through. Jasmine’s body has so many different types of knowledge that I don’t necessarily have. It has been powerful to see them move. The visual artist Elle Pérez made a film of Jasmine’s interaction with our work, which also speaks to this kind of buoyancy, liquidity, water, and multiple horizons that are inscribing these worlds. Elle manipulated the camera so the steel, its shadows, and Jasmine’ body were in continual resonance as various horizons in the space of the film. As we stand here, we each bring our own horizon with us. The vanishing point is within each of us. <img src="https://jaeonline.org/wp-content/uploads/2023/12/Fig4_dreamthecombine.jpeg" width="457" height="640" style="width: 457px; height: 640px;"> Dream The Combine, Afterimages (detail of shadows), 2023 <img src="https://jaeonline.org/wp-content/uploads/2023/12/Fig5_dreamthecombine.jpeg" width="640" height="427" style="width: 488.554px; height: 325.957px;"> Dream The Combine, Afterimages (detail of central figure), 2023 JH: And practicing that… that constant change of equilibrium. JN: Yes, this constant negotiation, to go back to what you were saying earlier, and… JH: …that frequency. So go back to Tina Campt. Which we were discussing with her yesterday on the boat. JN: Yes, that was so wonderful to be in conversation with Tina! The conversation continued what she spoke about at The Loophole of Retreat, held in Venice the previous October, which I also had the pleasure of attending. That event was also an incredible, generative moment, a nourishing moment. Tina and I talked about frequency as a definable thing that has movement, resonance, and flow. Dele, we’re using very different material expressions and different forms. But I think it’s interesting that we’re holding a lot of similar attitudes. I keep returning to this metaphor of meeting on either side of the ocean. We’re trying to speak to one another in some way, even though we are not using the same language, the same words. So there’s a kind of a slippage there. DA: Yeah. The last thing that I will say, because I really must run, I’m late, I’m sorry, but I mean, I really enjoyed this conversation. And, hopefully, we can keep it going. The other thing is, obvious—you are using architectural materials, very industrial architectural materials, but they’re being reassembled in these interesting ways. And I would love to talk more about it but I really have to go. JN: The materiality of infrastructure, of modernity. That’s intentional. Yes, to be continued… DA: I thought that was really amazing. JN: Me too! JH: Wonderful. Dele Adeyemo&nbsp;is a Scottish/Nigerian artist, architect, and critical urban theorist based in London and Lagos. In his creative practice and research, he interrogates the processes embedded in racial capitalism’s spatial production and the contemporary life-worlds in its midst. Through drawing, film, and installation,&nbsp;Adeyemo’s work constitutes a transdisciplinary practice encompassing embodied cultures of movement and circulation to mobilize what he’s calling “the Black radical spatial imaginary.” Adeyemo’s projects have been presented internationally, including the 13th and 18th Venice Architecture Biennales, the 13th International Architecture Biennale of Sao Paulo, the 5th Istanbul Design Biennial, and the 2nd Edition of the Lagos Biennial. Adeyemo&nbsp;is the recipient of the JAE Fellowship, the Canadian Centre for Architecture &amp; Andrew Mellon Fellowship, and Het Nieuwe Instituut’s Research Fellowship. He is completing a CHASE-AHRC awarded doctoral thesis, titled “Last Dark Continent,” in the Centre for Research Architecture at Goldsmiths, University of London. Jennifer Newsom&nbsp;is an architect and conceptual artist working across scales in installation, architecture, sculpture, film, drawing, and social practice. In 2013, Newsom and Tom Carruthers cofounded Dream The Combine in Minneapolis, MN. The duo move between the Midwest and Ithaca, NY, where they are faculty at Cornell AAP. They have produced numerous site-specific works that explore metaphor, perceptual uncertainties, and the boundary between real and illusory space. Newsom and Carruthers consider these as frameworks for vision and movement that complicate the relationship between body, space, image, and environment. Dream The Combine was named a 2023 Emerging Voice by The Architectural League, 2022–2023 Rome Prize Fellows in Architecture by the American Academy in Rome, 2022 Fellows in Architecture and Design by United States Artists, 2021 Visual Artist Fellows by the McKnight Foundation, 2020–2021 J. Irwin and Xenia S. Miller Prize winners by Landmark Columbus, and 2018 MoMA PS1 Young Architects Program winners by The Museum of Modern Art. Their writing and interviews have appeared in the Journal of Architectural Education, Log, Architectural Design, Wallpaper, Metropolis, MasContext, and Reconstructions: Architecture and Blackness in America. Jerome W. Haferd is an architect, public artist, and educator based in Harlem, New York. He is principal of the award winning Jerome Haferd Studio. Haferd is an assistant professor of architecture at City College’s Spitzer School of Architecture where he codirects the new Place, Memory, and Culture Incubator. Haferd is a core initiator of Dark Matter U, a transdisciplinary network geared towards new models of design pedagogy and practice. He received the 2022 #BlackVisionaries award as part of a DMU cohort and co-led the DMU Constellation exhibit at the 2022 Lisbon Architecture Trienale : Terra. Haferd’s practice critically engages built environment projects in both urban and rural contexts, often looking to Black, Indigenous, and other marginalized histories to unlock a new imaginary for architecture, design, and cultural infrastructure. His work on complex sites includes collaborations with the Harlem African Burial Ground, Roots to Sky Collective, The Park Avenue Armory, and the National Black Theatre. The firm recently completed the Sankofa installation in Harlem and is one of the first prize recipients for the International Africatown Design Competition in Mobile, AL with their proposal, “In The Wake.” https://acsa-justice.org/JAE-Reviews Sun, 31 Mar 2024 05:04:00 +0000 ACSA Justice https://acsa-justice.org/JAE-Reviews Journal of Architectural Education Reviews These Reviews appeared first in The Journal of Architectural Education Index Review: Bad Bunny, “El Apagón - Aquí Vive Gente” At the End of the Tunnel:Bad Bunny’s Vid(e)ocumentary Sheds Light (and Music) into Boricuas’ Struggle against Dispossession Juan Carlos Quiñones Review: Bad Bunny At the End of the Tunnel:Bad Bunny’s Vid(e)ocumentary Sheds Light (and Music) into Boricuas’ Struggle against Dispossession Juan Carlos Quiñones Review:“El Apagón - Aquí Vive Gente” Bad Bunny Soundscape: la clave. A beat of bomba rhythm. Bomba is the first autochthonous music of Puerto Rico, created by enslaved Black people, forcibly and violently brought from different parts of Africa to be exploited for labor in the sugar plantations more than 400 years ago. It is a quintessential expression of Puerto Rican cultural identity, and it has survived every attempt at eradication by the powers that be. Seascape/landscape: An aerial drone view hovers over a shoreline. To the left, the Atlantic Ocean, waves crashing on the shore of a rocky beach. To the extreme right, Calle Norzagaray, the frontier-street that separates El Viejo San Juan from La Perla. El Viejo San Juan, Old San Juan, is the colonial city, a world-renowned tourist destination. Some of the buildings shown here are probably properties currently owned by foreign investors benefiting from Act 60 (previously known as “Act 20-2022”), the Individual Investors Act, designed to attract wealthy investors from other countries. Surely, most of these properties have by now been repurposed to be rented to tourists—especially as Airbnbs, which have taken hold of the once primarily local-owned properties. Dead Center: La Perla, The Pearl. This slum or shantytown community was established during the eighteenth century by slaves, proletarians, and people of the lower classes on the margins of the main colonial city. Historically, it has been a locus of class struggle, social and economic inequality resulting in conflict and sometimes violence, as the small but lively population has been neglected and systematically discriminated against. Recently, the exponential increase in properties bought by foreign investors has brought a wave of sometimes unfriendly and undesired tourism to the El Hoyo neighborhood, and has attracted the interest of further foreign investment and capital in the area. Tourist-oriented bars, discos, and restaurants have proliferated. Originally the product of gentrification, the community sees itself a victim of gentrification once again. This aerial view visually synthesizes the dynamics of race, colonialism, capitalism, exploitation, gentrification, displacement, inequality, and oppression that are taking place on our island. As is the rest of the island, La Perla is a battleground. Testimony/Impression/Subjective The first time I watched Bad Bunny’s video “El apagón/Aquí vive gente”(“The Blackout/People Live Here” in that other language) I was in transit. I was riding the AMA bus (AMA stands for Autoridad Metropolitana de Autobuses, the dramatically unreliable public transportation system) from my apartment in el caserío Residencial Luis Llorens Torres (a sprawling public housing project) to El Viejo San Juan, where I sometimes stay with my partner. It was early afternoon, and I noticed that other people in the bus were watching the video simultaneously. The news of the video’s release went viral almost instantaneously, and the collective feeling was one of pompeaera (a heightened sense of excitement), an all-too-fleeting sense of communal belonging, and a deep feeling of pride. The atmosphere (both in the physical and the social media realms) was familiar. It felt just the way we boricuas feel when the island’s contestant for the Miss Universe pageant wins the crown (it happens often), when we kick everybody’s ass in sports (it happens often), or when, well, one of our supernaturally talented artists makes it big on the world stage. Like Bad Bunny, for example. We feel proud. As the introduction of the video establishes unequivocally: “A nosotros nos sale natural ser leyenda. Porque al final, no hay orgullo más grande que decir, después de cada logro ‘yo soy de P fuckin’ R’.” (“Being legendary comes to us naturally. Because in the end, there’s no greater pride than to say, after each achievement ‘I’m from P fuckin’ R’.”) As soon as I got home, I summoned the tribe (my partner, her brother, and her nieces), and we all gathered to watch the video on a big screen. I think we watched it at least three consecutive times. We sang. We laughed. We danced. We made jokes, poked fun at the neocolonizers and politicians portrayed in the documentary. We discussed different aspects of the piece. And we embraced.&nbsp; It felt like hope. Don’t expect total objectivity from this reviewer. Because less than an hour after the viewing (and as it happens all too often nowadays in Puerto Rico), the lights went out. Another apagón leaves us all again in total darkness. Puerto Rico está bien cabrón (Puerto Rico is fucking great) After an introduction in which we see footage of sold-out concerts establishing the enormous fandom of the singer, interspersed with quick images of Bad Bunny’s participation in the massive protests during what has become known as el verano del ‘19 (“The Summer of ‘19”), the first section of the music video shows Bad Bunny singing along with individual people of all ages, genders, and identities mouthing the lyrics of the song. The song and the video both make references to distinguished superstar figures of our sports and music pantheons such as Puerto Rican musician Tego Calderón and J. J. Barea, an NBA basketball player. And then, boom!! Boom With the fiery explosion of a power plant, the video becomes a documentary-exposé called “Aquí vive gente,” featuring the reporting of local investigative journalist Bianca Graulau, a Puerto Rican independent journalist. The power plant in question is a main supplier of energy to the island. Immediately, Graulau describes how—with a criminal, cynical negligence and a lack of honesty—the government privatized the electrical grid by selling it to a foreign private company, promising that service would improve. LUMA, the North American company that bought the Autoridad de Energía Eléctrica (AEE), didn’t deliver as promised; even worse, it increased the cost of electricity for all. Not only did service not improve, it got abysmally worse. This part of the documentary ends with the journalist reporting on the dissatisfaction and anger that Puerto Ricans feel over the sellout. Simultaneously, there is footage of several marches and protests, some of them massive. People took to the streets, denouncing privatization, LUMA’s role in the people’s suffering, and the uncertainty of the power service. Graulau’s presence is significant because as an independent journalist she works outside the world of local news outlets, and doesn’t respond to the agendas of mainstream media, which is known to be unreliable and biased. The importance of this “sucker punch” political strategy cannot be overstated. This insertion is totally unexpected and very effective, as it allows for the documentary (and its public denunciation of government policy) to reach a maximum audience. Maldita sea, otro apagón (Goddammit, Another Blackout) After this interlude, Bad Bunny comes back with a literal vengeance, viscerally expressing Puerto Ricans’ anger and frustration with the constant blackouts that torment the population and announcing his desire to slap the current governor of the island, Pedro Pierluisi. “Vamo’ pa’ lo’ bleacher a prender un blunt / antes que a Pipo le dé un bofetón,” warns the singer (“Let’s go to the bleachers to light up a blunt / before Pipo gets a slap in the face.”. “Pipo” is the generalized derogatory nickname that Puerto Ricans have given the governor by consensus. While the lyrics of the song work as free-floating signifiers, clichés of pop music, the regaettón genre and the celebration of the island’s encantos (wonders) that can be taken as banal and frivolous in themselves, the images of the video anchor three words, charging them with a powerful political message. By itself, the line “El sol es Taíno” (“The sun is Taíno”) can be taken as just a glorified reference to the Caribbean Paradise that Puerto Rico signifies in a specific touristic imaginary. But when Bad Bunny is singing those words, we fleetingly see an iconic image: an artistic depiction of the drowning of Salcedo. This is a folkloric Puerto Rican story based on the idea that the Taínos (the Indigenous inhabitants of the island) thought that the Spanish colonizers were white gods. Wanting to prove or disprove this theory, a group of Taínos approach a Spanish soldier and offer to help him cross a river. While in the middle of the stream, the men push the Spaniard underwater until (of course) he drowns, showing that these people were just men and not gods, dissipating the fear that prevented the Taínos from fighting back against the genocidal European invaders. The seemingly innocuous phrase takes a more ominous meaning accompanied by this image. Somos más y no tenemos miedo (We Are More, and We Ain’t Afraid): The Summer of ‘19 “El apagón” came out as part of the record called Un verano sin ti (A Summer Without You), released on May 6, 2022. (A corny expression of spite and of longing for a lost lover, it is an allusive reference to the unprecedented series of revolutionary protests in Summer 2019 that forced the then-governor of Puerto Rico, Ricardo Roselló, to resign. Bad Bunny played a significant role in solidarity with the people’s plight).[i] With this allusion, the album title becomes a warning to the current governor, Pierluisi, implying that he must change his oppressive political ways. It works as the expression of longing for a time when he is no longer the governor of the island. The reference to the current governor’s role and liability in the mess of criminal negligence in the issue of privatization will be made explicit in the second part of the music video. BOOM!!, with a literal bang, comes the first part of the documentary summarized above. “Somos más y no tenemos miedo” (“we are more, and we ain’t afraid”) was the slogan that expressed the anger and defiance of the Puerto Rican people during the protests. Me gusta la chocha de Puerto Rico (I Like the Pussy of Puerto Rico): The Revolution Will be a Hip-Hop Party The next part of the video starts with footage of people on motorcycles and ATVs heading to a party. Again, a commonplace and stock trope of regaettón videos gets resignified in the context of the el verano del ‘19, when hundreds of motorists from all around the islands participated in the protests en masse organized by a man nicknamed “Rey Charlie.” They get to an underground tunnel where a rave party is taking place, with Bad Bunny as the singer, singing “Puerto Rico está bien cabrón” once again. Some partygoers are brandishing flashlights in obvious reference to the constant blackouts endured by the population. Again, there are young people of all races, genders, and identities, with strong representation of queer and Black people dancing. The Black Puerto Rican flag, a symbol of resistance during el verano del ’19 and ever since, and the rainbow LGBTQ pride flag are being waved by people in the crowd. This is a party, though. The people are dancing, frenetically in some instances, with a lot of pleasurable and sexual overtones. Like the perreo combativo, I read this party as a political action, as a joyful form of rebellion against the oppressive and criminal status quo that leaves us literally in the dark. This form of “joyful protest” is transgressive not only to the powers that be (the purpose of the gathering is to protest, to express anger and frustration and to demand change) and the capitalist logic of the opposition between “work and play,” but also to the orthodoxy of the most rigid and rancid sectors of the political left that frown upon such joyful expressions of dissent. This type of action is radical even to them. Yo creo que el público sabe que esto es una cosa má’ o meno’ informal (I Think the Public Knows This Is a Sort of Informal Thing): There’s Light at the End of the Tunnel In the last part of the music video, the rave party is winding down and we hear an MC’s voice saying matter-of-factly: “Yo creo que el público sabe que esto es una cosa má’ o meno’ informal” Then we see a young woman swaying to the suddenly mellow music and singing the following lyrics: Yo no me quiero ir de aquí que se vayan ellos lo que me pertenece a mi se lo quedan ellos que se vayan ellos (I don’t want to leave this place let THEM go what belongs to me they keep for themselves let THEM go). The words speak for themselves. The rave party is over. It is dawn, and people are coming out of the tunnel to a beautiful beach with palm trees and sand. The people seem exhausted and contented, and we see same-sex and opposite-sex couples strolling through the beach. The atmosphere is relaxed, contented, blissful. Establishing the parallelism between joy and political action, we get glimpses of the protests of el verano del ’19 (we also get the contrast of the potential for violence between the police forces of repression and the protesters) and finally, brief footage of Bad Bunny’s participation during the protests, standing on top of a van and waving a large Puerto Rican flag. Between snippets of drone footage depicting the shore, again we see glimpses of diverse people smiling. We hear a sweet and melodic female voice singing: Esta es mi playa este es mi sol esta es mi tierra esta soy yo (This is my beach this is my sun this is my land this is me) I think that it is in that last line (“this is me”) where the strongest political argument takes place. By identifying the “body of the island” and “my body,” some of the lyrics that come before acquire political meaning. The “Puerto Rico está bien cabrón” line gives a voice of pride to the body of the island. It is the island speaking. “Me gusta la chocha de Puerto Rico,” far from being a disrespectful vulgarity, becomes a declaration of lustful, joyful, erotic love and desire for the island. With the phrase “Yo creo que el público sabe que esto es una cosa má’ o meno’ informal,” all this wording deploys what I call a pragmatic of politics, body politics, and post-ideological politics of common sense. Like the “normal” that Bad Bunny repeats in his lyrics from time to time, this language points toward a radical political positioning beyond traditional politics, extremely critical of the agendas of the traditional political parties and a politics of direct action, movement, and activism. Que se vayan ellos/Aquí vive gente Journalist Bianca Graulau returns with an exploration of the damning effects of gentrification upon the communities of Puerta de Tierra and Dorado, respectively, due in part to Act 60 and an influx of private foreign developers. She interviews people from the communities, community leaders, workers, politicians, and activists who give their take on the issues. In a very clear and educational way and by using simple visual resources, she explains how American foreign investors have bought a lot of properties in the barrio of Puerta de Tierra, displacing dozens of longtime residents and skyrocketing rental and sale prices of housing. These neocolonizers are taking advantage of Act 60, a law that unfairly benefits foreigners by exempting them from paying capital gain taxes, making Puerto Rico a haven of cryptocurrency millionaires and investors. In Dorado, she reports on how private touristic developers have appropriated public beaches, making it impossible for locals to enjoy the beaches and turning them into de facto private properties. She also reports on the actions of community groups and activists who resist these oppressive forces. Illuminating (Other) Geographies: Impact on Latin America and the Rest of the World It is fair to ask how effective “El apagón” is as a political tool, and how impactful its strategies are in terms of conveying its political message. Some statistics would be helpful. Un verano sin ti, the album in which the song appears, was streamed a record-breaking two billion times in the first month of its release. The vid(e)ocumentary itself has been viewed eight million times—701,368 times to the date of this review (full disclosure: a couple of hundred of those viewings may have been by this reviewer). The public reception of “El apagón” has been overwhelmingly positive. The video has more than 26,000 comments on YouTube. I decided to browse through them. What I discovered was astonishing. In general, viewers’ reactions to the video can be divided into three groups: solidarity with the Puerto Rican plight and struggle against capitalism and the United States’ colonial regime, comparisons between Puerto Rico’s struggle and the situation of privatization in the commentators’ own countries, and expressions of how the documentary has ‘opened their eyes’ to new political realities. In different countries, people are taking the vid(e)ocumentary message and are applying it to their own personal and collective experiences in their places of origin. This outpouring of solidarity and awareness is not limited to Latin America: I found comments from different countries in Africa, Europe, and Asia as well. If this becomes a trend (I hope it does), this kind of pop-political artifact could be added to the arsenal of political activism, with global reach and tangible potential for change. Note [1]. For an analysis of these protests see Luis Othoniel Rosa, “Pensar en panal: Apuntes sobre las protestas masivas en Puerto Rico, Julio 2019,” first published in Puerto Rico Review (http://www.thepuertoricoreview.com/rickyrenuncia) and later in Ediciones Mimesis, August 7, 2019. Author Bio: Juan Carlos Quiñones (Río Piedras, Puerto Rico, 1972) is a novelist, essayist, translator, and editor. He studied literature and philosophy at the University of Puerto Rico. His texts have been published in Puerto Rican, Latin American, Spanish, and North American magazines and anthologies, both in print and electronically. He is a regular contributor to the magazine 80 Grados+, Revista Plenamar (Dominican Republic), and was a co-editor of the Latin American electronic literary magazine Letralia. In addition to the novel Adelaida recupera su peluche (How Adelaida Got Her Stuffed Toy Back) he has published the prose books Breviario and Todos los nombres el nombre (All The Names in a Name), the novel Bar Schopenhauer, and the children’s novel El libro del tapiz iluminado (The Book of Illuminated Tapestry). His books have been recognized in the competitions of the Pen Club of Puerto Rico, El barco de vapor, and the Institute of Puerto Rican Literature. How to Cite This: Quiñones, Juan Carlos. Review of “El apagón/Aquí Vive Gente,” by Bad Bunny, JAE Online. This music video was released on September 16, 2022. It is an audiovisual project and documentary directed by Kacho Lopez Marii and incorporating reporting by journalist Bianca Graulau. Review: Urban Renewal and School Reform in Baltimore:Rethinking the 21st Century Public School <img width="1250" height="781" width_o="1250" height_o="781" data-src="https://freight.cargo.site/t/original/i/0bf4af0dcf3390e0113cd14bafc21aae2eb2c4857a818e98e7abd8bf99e4619b/urban-renewal.jpg" data-mid="207942517" border="0" src="https://freight.cargo.site/w/1000/i/0bf4af0dcf3390e0113cd14bafc21aae2eb2c4857a818e98e7abd8bf99e4619b/urban-renewal.jpg" /> Urban Renewal and School Reform in Baltimore:Rethinking the 21st Century Public School Nicole King Review: ERKIN ÖZAYROUTLEDGE, 2020 Many hopes and promises of “fixing” today’s struggling cities center on the twenty-first-century public school as a potential panacea. In Urban Renewal and School Reform in Baltimore: Rethinking the 21st Century Public School, Erkin Özay uses the Henderson-Hopkins school campus in East Baltimore as a case study to analyze and unpack the promises of urban renewal. Henderson-Hopkins, which opened in 2014, was the first new public school in East Baltimore in over twenty years and a great deal depended on its success. Özay deftly explores the role of public schools in attempts to address decades of disinvestment and decline in Black neighborhoods while acknowledging the limits of what public schools can provide. Özay makes it clear that no one school, no matter how innovative, can address the trauma from decades of racial segregation and disinvestment. However, the book shows those in power attempting to use design to counter the effects of development with displacement as they try to rebuild better. Özay shows that the material realities did not always reflect the lofty ideals. The author writes on page 5: “Led by high-minded ideals of city and school building, the case reveals the potencies and fault lines in our current thinking on the role of the public school as an instrument of urban redevelopment in distressed neighborhoods.” As the first city to legalize neighborhood segregation in 1910, Baltimore also, according to historian Emily Lieb, used public schools to initiate and sustain neighborhood segregation.1 Public school segregation drove neighborhood segregation and, therefore, reforming public education serves as a logical tactic to shift and refocus how we envision cities today. Özay provides the history and broad context of the immense East Baltimore Development, Inc. (EBDI), an initiative founded in the first years of the twenty-first century. Nearly $2 billion has been invested in EBDI. It has served as a model of redevelopment through “eds and meds,” where institutions of higher education and hospitals act as anchors and catalysts for rebuilding cities. In recent scholarship, EBDI has also served as a representative case of development with displacement as the poor and Black Middle East neighborhood was largely demolished and transformed into Eager Park. EBDI led the extensive redevelopment efforts surrounding the Johns Hopkins Medical Campus and the creation of the Henderson-Hopkins school, itself a redevelopment project of massive scale. <img src="https://jaeonline.org/wp-content/uploads/2022/04/Figure-1_Demolitions-on-Castle-Street-300x200.png" width="1448" height="965" style="width: 488.965px; height: 325.864px;">Figure 1. Demolitions on Castle Street, July 2014. In the background is a Hopkins-affiliated garage ramp bridging over the street—an extension of what the Middle East residents called “the wall.” Image © Pat Gavin. [Urban Renewal, 7] The book is comprehensive, interdisciplinary, meticulously organized, and readable. The first chapter goes over the history that led East Baltimore to a crisis and the narratives of community-focused development and education that offered potential solutions. In the next chapter, the author gives an excellent summary of the rise of the EBDI development and its many players. The third chapter addresses the emergence of the community school as a way to recalibrate this massive development project towards the community. Chapter 4, “A New Park and a New School,” delves deepest into the design and built environment that emerged from the lofty rhetoric and the attempt to be less top-down. This chapter includes numerous maps, renderings, and photographs. The final chapter locates the East Baltimore case study within the scope of similar initiatives in the comparable cities of Detroit and Milwaukee. Özay locates the planning and construction of the Henderson-Hopkins campus and its innovative design within both the history of the redevelopment and contemporary debates. The book blends analysis of urban design, architecture, and education policy. It begins by exploring why this school matters for those debates. The push for a new public school in East Baltimore was something community organizers and developers could agree on as a potential public good. Community organizers like Lucille Gorham are central in understanding both resistance and the human costs of displacement. Baltimore’s Mayor when EBDI was founded, Martin O’Malley, leaders from Johns Hopkins University, and powerful non-profits involved in the development project all saw the extensive displacement of Black residents as a “bitter but necessary first step” (5). <img src="https://jaeonline.org/wp-content/uploads/2022/04/Figure-2_An-example-of-an-integrated-and-expanded-conception-237x300.png" width="1439" height="1822" style="width: 488.965px; height: 619.106px;">Figure 2. An example of an integrated and expanded conception of an educational facility in Pittsburgh, proposed by Urban Design Associates. The firm prepared the first East Baltimore Development Initiative master plan in 2001. Source: Urban Design Associates . [Urban Renewal, 12] The design of the Henderson-Hopkins campus was intended to work with and reflect the feedback of the community; however, much of the community had been displaced and dispersed. EBDI hired consultants to try and track down those who were displaced from earlier stages of the redevelopment, without much success. The school’s design was an innovative and iterative process. The traditional classroom model was replaced by a more open and malleable group of common spaces with moveable “huts.” Flexible learning areas and smaller, more integrated classrooms and open spaces were implemented, but they demanded a great deal from educators and students. It becomes clear that it was far easier to tear things down than to rebuild them in East Baltimore. <img src="https://jaeonline.org/wp-content/uploads/2022/04/Figure-3_Middle-East-after-demolitions-203x300.png" width="1441" height="2130" style="width: 488.965px; height: 722.759px;"> Figure 3. Middle East after demolitions, August 2006. Image © Janne Corneil. [Urban Renewal, 77] One strength of the book is that it develops characters, from the community organizers to the university presidents involved. Rather than voice a tirade against a redevelopment project that did not realize its social goals, Özay shows what had potential and what failed. The vision was not truly collaborative. A major flaw was in perspective—specifically the inability of developers to truly see Middle East and its residents when designing Edgar Park. Quoting Donte Hickman, an East Baltimore pastor, Özay writes: “the EBDI endeavor changed how East Baltimore communities perceived urban interventions, often raising the question, ‘Who are you building for?’” (120). This is a central question in the book and one that is still heard throughout Baltimore and cities like it today. Özay’s case study of the Hopkins-Henderson campus provides insight to better envision the human potential already within the urban landscape. Still, at the conclusion of the book, the reader is left wondering why cities continue to focus on failed redevelopment plans that cannot see a community as an asset until it has been wiped from the landscape. Books like this one get us to reflect on the process of redevelopment, design, and the public good. Part of that ongoing and iterative process is for scholars and policy makers to learn to see what is already on the landscape. Such studies may provide us with a deeper understanding of urban redevelopment and design based on seeing one another’s humanity and thinking more critically about what we lose before we start tearing things down. Notes: Emily Lieb, “’Shove Those Black Clouds Away!’: Jim Crow Schools and Jim Crow Neighborhoods in Baltimore before Brown,” in Baltimore Revisited: Stories of Inequality and Resistance in a U.S. City,&nbsp;ed. P. Nicole King, Kate Drabinski, and Joshua Clark Davis (Ithaca, NY: Rutgers University Press, 2019), 24–36. Nicole King, PhD, is an associate professor in the Department of American Studies and director of the Orser Center for the Study of Place, Community, and Culture at UMBC. Her research focuses on issues of place, power, and economic development. She is an editor of the book Baltimore Revisited: Stories of Inequality and Resistance in a U.S. City (Rutgers University Press, 2019). How to Cite This: King, Nicole. Review of Urban Renewal and School Reform in Baltimore: Rethinking the 21st Century Public School, by Erkin Özay, JAE Online, April 22, 2022. https://acsa-justice.org/Technology-Architecture-Design Sun, 17 Mar 2024 17:19:33 +0000 ACSA Justice https://acsa-justice.org/Technology-Architecture-Design Technology | Architecture + Design <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/0953db19e5e19c013fdbc509a7e9125150d9e4d733995134c961e771b6183487/tectonics.jpg" data-mid="206982290" border="0" src="https://freight.cargo.site/w/1000/i/0953db19e5e19c013fdbc509a7e9125150d9e4d733995134c961e771b6183487/tectonics.jpg" /> TectonicsIssue 7.1 Spring 2023 Architectural Tectonics in the Age of Climate Crisis, Social Change and Digital Fabrication Anne-Catrin Schultz (PDF) Tectonics by Any Other Name Germane Barnes(PDF) <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/16af577385371b749e5ff5344bb3447809cc69dea08f4c382e72476f76f2e4c3/histories.jpg" data-mid="206982291" border="0" src="https://freight.cargo.site/w/1000/i/16af577385371b749e5ff5344bb3447809cc69dea08f4c382e72476f76f2e4c3/histories.jpg" /> Histories Issue 6.1 Spring 2022Technologies and Stewardship of a Native American City Sarah Baires (PDF) Modern Architecture and Climate: Design Before Air Conditioning Gabrielle Brainard (PDF) <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/c6c64193dcd49cd4044bd32321d77c69b2af908f637b290f7221343251ae0f11/translation.jpg" data-mid="206982292" border="0" src="https://freight.cargo.site/w/1000/i/c6c64193dcd49cd4044bd32321d77c69b2af908f637b290f7221343251ae0f11/translation.jpg" /> Translation Issue 4.1 Spring 2020 Racial Equity and the Future of Work Henry Renski, Laurel Smith-Doerr, Tiamba Wilkerson, Shannon C. Roberts, Shlomo Zilberstein &amp; Enobong H. 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When everything stopped, the extraction of resources for construction went on. The initiative argues for a drastic change to construction protocols toward non-extraction. Until then, new building activities should pause. stopconstruction.cargo.site/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/cfeec278b93b0a99d284a33a5b0b6018a92e764c357eec1bbee08cd097b30366/aaup.jpg" data-mid="206982314" border="0" src="https://freight.cargo.site/w/1000/i/cfeec278b93b0a99d284a33a5b0b6018a92e764c357eec1bbee08cd097b30366/aaup.jpg" /> American Association of University Professors (AAUP) Advancing and protecting academic freedom is the AAUP's core mission. Academic freedom is the indispensable requisite for unfettered teaching and research in institutions of higher education. As the academic community's core policy document states, "institutions of higher education are conducted for the common good and not to further the interest of either the individual teacher or the institution as a whole. The common good depends upon the free search for truth and its free exposition" (1940 Statement of Principles on Academic Freedom and Tenure, which has been endorsed by more than 250 national scholarly and educational associations).aaup.org/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ebdfcb5be011a39ccb34b93005d6ff6dadd3b00e200511729d2611511bbe4f3c/df.jpg" data-mid="206982333" border="0" src="https://freight.cargo.site/w/1000/i/ebdfcb5be011a39ccb34b93005d6ff6dadd3b00e200511729d2611511bbe4f3c/df.jpg" /> Design Futures Forum Design Futures is a place to reimagine the role of the designer in addressing and dismantling systemic oppression in the built environment. Dedicated to aligning the field of spatial design with social movements, Design Futures creates critically needed design education spaces by bringing together students, faculty and practitioners together to learn and advance community-based design practice.designfuturesforum.org/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ceebc747ca946981d18072ec6ba4aefa40bfe29b12a3c0d688bd3aa6abc39cb3/deans.jpg" data-mid="206982320" border="0" src="https://freight.cargo.site/w/1000/i/ceebc747ca946981d18072ec6ba4aefa40bfe29b12a3c0d688bd3aa6abc39cb3/deans.jpg" /> Dean’s Equity and Inclusion Initiative As leaders of Design and Built Environment Schools, we seek to nurture a diverse population of emerging scholars teaching and researching the built environment to advance socio-ecological and spatial justice, equity, and inclusion. deansequityandinclusioninitiative.com/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/2a6a48be08a170d86a371bfc0eedc4e39e5da6c2a3407baa31c745ac99e00554/dmu.jpg" data-mid="206982321" border="0" src="https://freight.cargo.site/w/1000/i/2a6a48be08a170d86a371bfc0eedc4e39e5da6c2a3407baa31c745ac99e00554/dmu.jpg" /> Dark Matter U Dark Matter U is a democratic network with the following principles guiding its actions.&nbsp; Manifesto We cannot survive and thrive without immediate change toward an anti-racist model of design education and practice. Exisiting systems have not been able to transform away from centering and advancing whiteness, through their reliance on an implied dominant and racialized subject audience. The impacts of that centering are widespread and can be felt in the inequities that global extraction, racial capitalism, and colonialism have created. The Earth and the majority of its people have suffered tremendous harm as a result. Collective liberation cannot only occur within the confines of individual institutions-Dark Matter U is founded to work inside and outside of existing systems to challenge, inform, and reshape our present world toward a better future.&nbsp; darkmatteru.org/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1e58eec42476b4c0fa7803906c87d6793fd9e18690dee533e2b51242cefc6ad5/dap.jpg" data-mid="206982322" border="0" src="https://freight.cargo.site/w/1000/i/1e58eec42476b4c0fa7803906c87d6793fd9e18690dee533e2b51242cefc6ad5/dap.jpg" /> Design as Protest Design as Protest is a collective of designers mobilizing strategy to dismantle the privilege and power structures that use architecture and design as tools of oppression. Co-organized by BIPOC designers, we exist to hold our profession accountable in reversing the violence and injustice that architecture, design, and urban planning practices have inflicted upon Black people and communities. Design as Protest champions the radical vision of racial, social, and cultural reparation through the process and outcomes of design. dapcollective.com/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/b932123de3c6bcd50599b6a19d31a40ee94e30c6eae59af997770715f1824365/egde.jpg" data-mid="206982332" border="0" src="https://freight.cargo.site/w/1000/i/b932123de3c6bcd50599b6a19d31a40ee94e30c6eae59af997770715f1824365/egde.jpg" /> Emergent Grounds for Design Education Emergent Grounds for Design Education (EGDE) is an interdisciplinary collective of architectural designers, educators, advocates, artists &amp; dreamers living across the colonized North American continent. We organize and educate to advance racial justice among students and emergent practitioners from our positions as recent alums of US architecture and design schools.eg-de.org/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ae27d77e5bf7bc2c4778e0d7dbd4d94b8f53a4aaa78e98b078135a2c0c729208/faculty-first.jpg" data-mid="206982335" border="0" src="https://freight.cargo.site/w/1000/i/ae27d77e5bf7bc2c4778e0d7dbd4d94b8f53a4aaa78e98b078135a2c0c729208/faculty-first.jpg" /> Faculty First Respondents Isaac Kamola started Faculty First Responders to proactively educate and support faculty and administrators about the causes and consequences of right-wing attacks on faculty, while providing advice about how to effectively respond to targeted harassment. <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d1234d3aff7c401b1e2237f31b8dbc8f9dfcf82b116a19f47de7b9cb8b06173d/FA.jpg" data-mid="206982323" border="0" src="https://freight.cargo.site/w/1000/i/d1234d3aff7c401b1e2237f31b8dbc8f9dfcf82b116a19f47de7b9cb8b06173d/FA.jpg" /> Forensic Architecture Forensic Architecture (FA) is a research agency based at Goldsmiths, University of London. Our mandate is to develop, employ, and disseminate new techniques, methods, and concepts for investigating state and corporate violence. Our team includes architects, software developers, filmmakers, investigative journalists, scientists, and lawyers. We are an interdisciplinary agency operating across human rights, journalism, architecture, art and aesthetics, academia and the law; in 2022, the Peabody Awards programme wrote that we had co-created ‘an entire new academic field and emergent media practice’. Since 2020, FA has supported the growth of agencies worldwide that practice and apply our methods. The Investigative Commons is both a global network of practitioners, and a physical space in Berlin, within the offices of our sister agency Forensis.forensic-architecture.org/ <img width="1500" height="938" width_o="1500" height_o="938" data-src="https://freight.cargo.site/t/original/i/41d5aab15727dea99a9ffa031cf1a46235054f2d0d84d3eefccad8bd29e5b7a1/landgrabu.jpg" data-mid="207924319" border="0" src="https://freight.cargo.site/w/1000/i/41d5aab15727dea99a9ffa031cf1a46235054f2d0d84d3eefccad8bd29e5b7a1/landgrabu.jpg" /> Land-Grab Universities Nearly 11 million acres of Indigenous land. Approximately 250 tribes, bands and communities. Over 160 violence-backed treaties and land seizures. Fifty-two universities. With the information provided below, you can untangle the powerful and painful strains of myth and money behind the land-grant university system, which broadened access to higher education in the United States. Land-grant universities were built not just on Indigenous land, but with Indigenous land. It’s a common misconception that the Morrill Act grants were used only for campuses. In fact, the grants were as big or bigger than major cities, and were often located hundreds or even thousands of miles away from their beneficiaries. High Country News has located more than 99% of all Morrill Act acres, identified their original Indigenous inhabitants and caretakers, and researched the principal raised from their sale in the late 19th and early 20th centuries. HCN reconstructed approximately 10.7 million acres taken from nearly 250 tribes, bands and communities through over 160 violence-backed land cessions, a legal term for the giving up of territory. <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/8949bfe960bf8501a7961a4efb770fda2787ce6aece74451dbbbdc0fc6bd25fb/loudreaders.jpg" data-mid="206982325" border="0" src="https://freight.cargo.site/w/1000/i/8949bfe960bf8501a7961a4efb770fda2787ce6aece74451dbbbdc0fc6bd25fb/loudreaders.jpg" /> Loudreaders LOUDREADERS is a platform of public vocational education of architecture, urbanism, and related fields.&nbsp; Loudreaders produces, designs, and supports a public literacy of the built and destroyed environment by means of online and physical exhibitions, publications, lectures, symposia, workshops, events, installations, and spaces.Since its foundation in 2020, LOUDREADERS has provided over 100 lectures and workshops and has produced several publications and exhibitions both digital and physical (available on the main page).Publications include the free edition of ‘A Manual of Anti-Racist Architecture Education’ and ‘Un Manual de Educacion Antirracista en Arquitectura’, and the forthcoming ‘Love &amp; Anarchy: The Writings of Luisa Capetillo.’ loudreaders.com/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/7d62a40534821f3076bc4a6904c7fb2990a86b83ea742e1541d99e87312a122d/archlobby.jpg" data-mid="206982326" border="0" src="https://freight.cargo.site/w/1000/i/7d62a40534821f3076bc4a6904c7fb2990a86b83ea742e1541d99e87312a122d/archlobby.jpg" /> The Architecture Lobby The Architecture Lobby (TAL) is a grassroots organization of architectural workers — architects, landscape architects, planners, designers, students, and others — advocating for just labor practices and an equitable (built) environment. We believe that building solidarity between architectural workers and fostering capacity for organizing labor is a critical tool in confronting the white supremacist and heteropatriarchal systems woven through the architecture and design fields.architecture-lobby.org/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/bb6d9a732f88662251e802094bb0b29bc7027b824a86692daadaf6206608ce55/SAH.jpg" data-mid="206982328" border="0" src="https://freight.cargo.site/w/1000/i/bb6d9a732f88662251e802094bb0b29bc7027b824a86692daadaf6206608ce55/SAH.jpg" /> Society of Architectural Historians The Society of Architectural Historians promotes the study, interpretation, and conservation of architecture, design, landscapes, and urbanism worldwide for the benefit of all.sah.org/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/0910d50d72469d753a795e14347d23342e80bafa9cf19ad683e1de361fa4473e/just-environments-lab.jpg" data-mid="206982329" border="0" src="https://freight.cargo.site/w/1000/i/0910d50d72469d753a795e14347d23342e80bafa9cf19ad683e1de361fa4473e/just-environments-lab.jpg" /> Just Environments Lab JE-L researches policy and design for the creation of just environments. We are acquainted with the major academic-led theories in this space (from political ecology to environmental justice), but always test and contrast these theories against the lived experiences of the communities we serve. We are currently working with underrepresented communities across: Puerto Rico, the Río Grande Valley of South Texas, and California. Their community-led theories and community science form the basis for all of our work. The Just Environments Lab (JE-L) was founded in 2018 first as Comunidad. The lab changed names in the summer of 2020 to expand its focus.just-environments.org/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/06651c427bf0cb3b993bae367cf05d675ed8db8b4a36c893de17433e1b650bf1/office-hours.jpg" data-mid="206982330" border="0" src="https://freight.cargo.site/w/1000/i/06651c427bf0cb3b993bae367cf05d675ed8db8b4a36c893de17433e1b650bf1/office-hours.jpg" /> Office Hours Office Hours shares professional and experiential knowledge by and for BIPOC artists, architects, designers, storytellers and cultural workers in an online setting, free of charge. office-hours.design <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/e0a1cfaaabd99744f8e8e87ef76766bfc56ec996923191c5675b62071a366101/wwa.jpg" data-mid="206982331" border="0" src="https://freight.cargo.site/w/1000/i/e0a1cfaaabd99744f8e8e87ef76766bfc56ec996923191c5675b62071a366101/wwa.jpg" /> Women Writing Architecture At the heart of Women Writing Architecture is an ever-growing annotated bibliography, an open-access list of texts written by women about architecture that challenges the boundaries of each of these three terms Created collectively through conversations, invitations and spontaneous suggestions, it is offered as a resource for gathering, publishing and sharing annotated lists of textsfor encouragement, for finding and promoting new writersand for insight into what is happening in the vivid realm where women speak up for themselves womenwritingarchitecture.org/ https://acsa-justice.org/LandBack-Publications Thu, 27 Jun 2024 02:43:25 +0000 ACSA Justice https://acsa-justice.org/LandBack-Publications From Land Grab to LandBack LandBack Landscape Poems De la destitución a la restitución Poemario de paisajes de restitución <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/da83840f5f058d70632b8518f20e393ebc7fb57ca8134853811981dd34682dd0/cover_updated.jpg" data-mid="213700065" border="0" src="https://freight.cargo.site/w/1000/i/da83840f5f058d70632b8518f20e393ebc7fb57ca8134853811981dd34682dd0/cover_updated.jpg" /> Download / Descarga&nbsp;From Land Grab to LandBack / De la destitución a la restitución&nbsp;<img width="1200" height="1200" width_o="1200" height_o="1200" data-src="https://freight.cargo.site/t/original/i/4e60651ebc09dfb7d466abc1ca89a0585284c8f0e4824924c43e3807c856c90e/triangleleft.png" data-mid="214469829" border="0" data-scale="2" src="https://freight.cargo.site/w/1000/i/4e60651ebc09dfb7d466abc1ca89a0585284c8f0e4824924c43e3807c856c90e/triangleleft.png" /> Download / Descarga&nbsp; LandBack Landscape Poems /&nbsp; Poemario de paisajes de restitución <img width="1200" height="1200" width_o="1200" height_o="1200" data-src="https://freight.cargo.site/t/original/i/4e60651ebc09dfb7d466abc1ca89a0585284c8f0e4824924c43e3807c856c90e/triangleleft.png" data-mid="214469829" border="0" data-scale="2" src="https://freight.cargo.site/w/1000/i/4e60651ebc09dfb7d466abc1ca89a0585284c8f0e4824924c43e3807c856c90e/triangleleft.png" /> Part Rematriation manifesto, part anti-colonial propaganda pamphlet, part anti-imperialist exhibition catalog, From Land Grab to LandBack / LandBack Landscape Poems brings in print format calls, strategies, and prose against the ecological and social spoliation produced by different forms of colonialism. Produced in two separate, continuous publications, From Land Grab to LandBack / LandBack Landscape Poems documents a year of texts, projects, and reflections by architects, artists, filmmakers, legal scholars, activists, poets, writers, and educators exploring calls for Land Back from Palestine to Vieques, from South Africa to the Great Plains. The publication includes contributions Sikowis Nobiss and the Great Plains Action Society, Samia Henni, &nbsp; Jason Mena, Pete Goche, Douglas Spencer, Colectiva Feminista en Construcción, Bibi Naniki Reyes Ocasio, Caney Orocovis, CAN Jibaro, Simphiwe Mlambo and students from the GSA Johannesburg, Papel Machete, Marakianí Olivieri, Dima Srouji, Mariana G. Iriarte Mastronardo, Peter Zuroweste, Hasan Shurrab, Nadia Huggins, Samiha Meem, Killian O’ Dochartaigh &amp; Edward Lawrenson, Marili Pizarro, Jason Fitzroy Jeffers, Jonathan David Kane, Vashti Harrison, Audrey Jean-Baptiste and Maxime Jean-Baptiste, Alexandra Pagán Vélez,&nbsp; Post-Novis, Hilary Wiese, Rose Florian, Christopher Rey Perez, Luis Othoniel Rosa, and WAI Architecture Think Tank / Nathalie Frankowski &amp; Cruz Garcia.Events and publication produced with the support of Center for Excellence in the Arts and Humanities, Department of Architecture, College of Design, and Institute for Design Research and Outreach (IDRO) at Iowa State University, Estudios de Mujer y Género Facultad de Estudios Generales Universidad de Puerto Rico-Río Piedras, Graduate School of Architecture University of Johannesburg, LOUDREADERS with the support of the Mellon Foundation, re:arc institute, Producer Hub, ACSA Fellowship to Advance Equity in Architecture. Edition and Graphic Design: WAI Architecture Think Tank Nathalie Frankowski &amp; Cruz Garcia LoudreadersPaperback Pamphlets112 PagesDimensions: 170mm x 255mm ISBN: 978-2-9544145-2-2 Download From Land Grab to LandBack /De la destitución a la restitución LandBack Landscape Poems / Poemario de paisajes de restitución En parte manifiesto de rematriación, en parte panfleto de propaganda anticolonial, en parte catálogo de exposición antiimperialista, De la destitución a la restitución/Poemario de paisajes de restitución presenta en formato impreso llamados, estrategias y prosa contra el expolio ecológico y social producido por diferentes formas de colonialismo. Producido en dos publicaciones separadas y continuas, De la destitución a la restitución/Poemario de paisajes de restitución documenta un año de textos, proyectos y reflexiones de arquitectos, artistas, cineastas, juristas, activistas, poetas, escritores y educadores que exploran los llamados a Land Back. desde Palestina hasta Vieques, desde Sudáfrica hasta las Grandes Llanuras. La publicación incluye contribuciones de Sikowis Nobiss y Great Plains Action Society, Samia Henni, Jason Mena, Pete Goche, Douglas Spencer, Colectiva Feminista en Construcción, Bibi Naniki Reyes Ocasio, Caney Orocovis, CAN Jibaro, Simphiwe Mlambo y estudiantes de la GSA Johannesburgo. , Papel Machete, Marakianí Olivieri, Dima Srouji, Mariana G. Iriarte Mastronardo, Peter Zuroweste, Hasan Shurrab, Nadia Huggins, Samiha Meem, Killian O' Dochartaigh &amp; Edward Lawrenson, Marili Pizarro, Jason Fitzroy Jeffers, Jonathan David Kane, Vashti Harrison, Audrey Jean-Baptiste y Maxime Jean-Baptiste, Alexandra Pagán Vélez, Post-Novis, Hilary Wiese, Rose Florian, Christopher Rey Perez, Luis Othoniel Rosa y WAI Architecture Think Tank / Nathalie Frankowski &amp; Cruz Garcia. Eventos y publicaciones fueron producidas con el apoyo del Center for Excellence in the Arts and Humanities, Department of Architecture, College of Design, Institute for Design Research and Outreach (IDRO) Iowa State University, Estudios de Mujer y Género Facultad de Estudios Generales Universidad de Puerto Rico - Río Piedras, Escuela Graduada de Arquitectura de la Universidad de Johannesburgo,LOUDREADERS con el apoyo de la Fundación Mellon, re:arc Institute, Producer Hub, ACSA Fellowship to Advance Equity in Architecture. Edición y Diseño Gráfico: Grupo de expertos en arquitectura WAI Nathalie Frankowski y Cruz García LoudreadersPamfletos de carpeta blanda112 PaginasDimensiones: 170mm x 255mm ISBN: 978-2-9544145-2-2 Descargar From Land Grab to LandBack /De la destitución a la restitución LandBack Landscape Poems / Poemario de paisajes de restitución <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/246bf2b7e950b026c186345caf991a35ea4d90976d2795784049ffeb065e93f9/sp2.jpg" data-mid="213700068" border="0" src="https://freight.cargo.site/w/1000/i/246bf2b7e950b026c186345caf991a35ea4d90976d2795784049ffeb065e93f9/sp2.jpg" /> <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/f17f1214e94cac0b7891d49f866afdf2b9cb1b44844ba9b611c532dc855af740/sp3.jpg" data-mid="213700073" border="0" src="https://freight.cargo.site/w/1000/i/f17f1214e94cac0b7891d49f866afdf2b9cb1b44844ba9b611c532dc855af740/sp3.jpg" /> <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/2e689c25496585ef21d14d085541e5d9f81b47ccecb7b54fc09b0a6ec9408b2b/sp4.jpg" data-mid="213700074" border="0" src="https://freight.cargo.site/w/1000/i/2e689c25496585ef21d14d085541e5d9f81b47ccecb7b54fc09b0a6ec9408b2b/sp4.jpg" /> <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/5124cb9249855873285293faf1e940074dff3144a68e96c02f3df04f3b9873a6/sp5.jpg" data-mid="213700075" border="0" src="https://freight.cargo.site/w/1000/i/5124cb9249855873285293faf1e940074dff3144a68e96c02f3df04f3b9873a6/sp5.jpg" /> <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/56c8ad5f1ee5f4f8a2e466ba4f132ed6657f90865f67c2ef6d0fa64ea93eda71/sp6.jpg" data-mid="213700076" border="0" src="https://freight.cargo.site/w/1000/i/56c8ad5f1ee5f4f8a2e466ba4f132ed6657f90865f67c2ef6d0fa64ea93eda71/sp6.jpg" /> <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/d8e6f6781d27368ef4bcbbbc11efd109f671edd3f135d8fd442407efc23b13b6/sp7.jpg" data-mid="213700077" border="0" src="https://freight.cargo.site/w/1000/i/d8e6f6781d27368ef4bcbbbc11efd109f671edd3f135d8fd442407efc23b13b6/sp7.jpg" /> <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/0d9d5645788ae57a1ddc99f9b0a07e8c6a2920f2bb2a23bc75669fe9f76a4665/sp8.jpg" data-mid="213700078" border="0" src="https://freight.cargo.site/w/1000/i/0d9d5645788ae57a1ddc99f9b0a07e8c6a2920f2bb2a23bc75669fe9f76a4665/sp8.jpg" /> <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/1ad2ea0628509a1a1f3295320e07b7be95881ea110ed708ebde3f3627dccc9ff/sp9.jpg" data-mid="213700079" border="0" src="https://freight.cargo.site/w/1000/i/1ad2ea0628509a1a1f3295320e07b7be95881ea110ed708ebde3f3627dccc9ff/sp9.jpg" /> <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/6dd2f03d9b3b72ab9bcc958508bec5b7f3ce4ae24939bd49268ae866f2528d60/sp10.jpg" data-mid="213700080" border="0" src="https://freight.cargo.site/w/1000/i/6dd2f03d9b3b72ab9bcc958508bec5b7f3ce4ae24939bd49268ae866f2528d60/sp10.jpg" /> <img width="3200" height="3200" width_o="3200" height_o="3200" data-src="https://freight.cargo.site/t/original/i/99e97a9d6a30f5b14b3fdc066cc68e497428fa0f73c4bb594d8e2d034b605923/sp11.jpg" data-mid="213700081" border="0" src="https://freight.cargo.site/w/1000/i/99e97a9d6a30f5b14b3fdc066cc68e497428fa0f73c4bb594d8e2d034b605923/sp11.jpg" /> https://acsa-justice.org/Letters-of-Demands Sun, 17 Mar 2024 17:19:37 +0000 ACSA Justice https://acsa-justice.org/Letters-of-Demands LETTERS &amp; STATEMENTS Index 1 Academic Statements, Letters, and Demands 2 Letters and Statements against Apartheid and in Solidarity with Palestine Academic Statements, Letters, and Demands The following list includes links and references to different letters writen in response to the Black Lives Matter protests of 2020.&nbsp; Open Letter to the Andrews University School of Architecture &amp; Interior Design (PDF) <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/b892dbf9ea1db076f0c38884236cdceb84a1c8793114664f5dde670ceef6c6c3/1709178539649-d1b7d543-be8e-40cd-a66e-6f8aed47f5df_1.jpg" data-mid="206982463" border="0" src="https://freight.cargo.site/w/791/i/b892dbf9ea1db076f0c38884236cdceb84a1c8793114664f5dde670ceef6c6c3/1709178539649-d1b7d543-be8e-40cd-a66e-6f8aed47f5df_1.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" 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data-src="https://freight.cargo.site/t/original/i/32693a92583ee63c68cee45ca4088f73f48771357d21ec6a48e7a95bcb35276a/1709178538595-b3f89b49-647d-4342-9e30-871316041df4_1.jpg" data-mid="206982383" border="0" src="https://freight.cargo.site/w/791/i/32693a92583ee63c68cee45ca4088f73f48771357d21ec6a48e7a95bcb35276a/1709178538595-b3f89b49-647d-4342-9e30-871316041df4_1.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/43a4120557c6c8310192692df55d4a3cc33ddda5c4a75a36e2b629afbb1ffa91/1709178538595-b3f89b49-647d-4342-9e30-871316041df4_2.jpg" data-mid="206982384" border="0" src="https://freight.cargo.site/w/791/i/43a4120557c6c8310192692df55d4a3cc33ddda5c4a75a36e2b629afbb1ffa91/1709178538595-b3f89b49-647d-4342-9e30-871316041df4_2.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/7681879b68a69900c84617a4b4d751a1e408f6ab7653de1314a3f2641094a581/1709178538595-b3f89b49-647d-4342-9e30-871316041df4_3.jpg" data-mid="206982385" border="0" src="https://freight.cargo.site/w/791/i/7681879b68a69900c84617a4b4d751a1e408f6ab7653de1314a3f2641094a581/1709178538595-b3f89b49-647d-4342-9e30-871316041df4_3.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/6dc152d6cc18812fc124d522c833b9d8d8b016440ad3dd419460a87a5447c9c7/1709178538595-b3f89b49-647d-4342-9e30-871316041df4_4.jpg" data-mid="206982386" border="0" src="https://freight.cargo.site/w/791/i/6dc152d6cc18812fc124d522c833b9d8d8b016440ad3dd419460a87a5447c9c7/1709178538595-b3f89b49-647d-4342-9e30-871316041df4_4.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" 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data-src="https://freight.cargo.site/t/original/i/71e0a78935956c7d911689d8d6cd45932189f5f7cb0b8265e65967b9f4659ad2/1709178946518-fa2f89ca-141a-4f54-ba4b-cfcce555b6f8_13.jpg" data-mid="206982462" border="0" src="https://freight.cargo.site/w/723/i/71e0a78935956c7d911689d8d6cd45932189f5f7cb0b8265e65967b9f4659ad2/1709178946518-fa2f89ca-141a-4f54-ba4b-cfcce555b6f8_13.jpg" /> Columbia University UNLEARNING WHITENESS (PDF) 2020 <img width="1700" height="2200" width_o="1700" height_o="2200" data-src="https://freight.cargo.site/t/original/i/2efb44b8b34b0a0613df73ecc5882e3b26e8f654988d31babcc0c894272d2866/UNLEARNING-WHITENESS_Page_1.jpg" data-mid="206982360" border="0" src="https://freight.cargo.site/w/1000/i/2efb44b8b34b0a0613df73ecc5882e3b26e8f654988d31babcc0c894272d2866/UNLEARNING-WHITENESS_Page_1.jpg" /> <img width="1700" height="2200" width_o="1700" height_o="2200" data-src="https://freight.cargo.site/t/original/i/02ac524fc776c1c9cd341929644aa3e2466bbc7284115e9b10d342091e401ff2/UNLEARNING-WHITENESS_Page_2.jpg" data-mid="206982361" border="0" src="https://freight.cargo.site/w/1000/i/02ac524fc776c1c9cd341929644aa3e2466bbc7284115e9b10d342091e401ff2/UNLEARNING-WHITENESS_Page_2.jpg" /> <img width="1700" height="2200" width_o="1700" height_o="2200" data-src="https://freight.cargo.site/t/original/i/869166c5ed786b934da874a2a6ab950e61295bcc9f72a039aab392f7e2c63a34/UNLEARNING-WHITENESS_Page_3.jpg" data-mid="206982362" border="0" src="https://freight.cargo.site/w/1000/i/869166c5ed786b934da874a2a6ab950e61295bcc9f72a039aab392f7e2c63a34/UNLEARNING-WHITENESS_Page_3.jpg" /> Columbia University GSAPP Responds (PDF) 2020 <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/468f6abf2b9c5bdabc3f9dfef992ba4d245ca5d983148a8957773b6e2a1479d6/1709178540693-cf3c95e7-3f4e-49c2-8e67-e3a1f9d0ef5e_1.jpg" 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(PDF) 2020 <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/2201b5e5ff12fd94004f49d270b61b1e53acc7079e7e07c95580ccb2c673122c/1709178539555-b2416741-48de-4f6d-9ec2-dbe40341396f_1.jpg" data-mid="206982466" border="0" src="https://freight.cargo.site/w/791/i/2201b5e5ff12fd94004f49d270b61b1e53acc7079e7e07c95580ccb2c673122c/1709178539555-b2416741-48de-4f6d-9ec2-dbe40341396f_1.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/a2705da90413580f783db2f8c5070bac02f1eb372bd4d4fc43ffd5dba0d08641/1709178539555-b2416741-48de-4f6d-9ec2-dbe40341396f_2.jpg" data-mid="206982467" border="0" src="https://freight.cargo.site/w/791/i/a2705da90413580f783db2f8c5070bac02f1eb372bd4d4fc43ffd5dba0d08641/1709178539555-b2416741-48de-4f6d-9ec2-dbe40341396f_2.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" 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data-src="https://freight.cargo.site/t/original/i/ec05abb5c57945d907578cc47f5d854242432131a2325f1250c59abd061d3a6f/1709178541870-6d1e2a9a-17c5-41e0-bcd7-686e51856143_15.jpg" data-mid="206982623" border="0" src="https://freight.cargo.site/w/791/i/ec05abb5c57945d907578cc47f5d854242432131a2325f1250c59abd061d3a6f/1709178541870-6d1e2a9a-17c5-41e0-bcd7-686e51856143_15.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/94a607c61b6e2e28ee4543254dbc47436cdca53624bdfb5aad11c6e2b01bf8b9/1709178541870-6d1e2a9a-17c5-41e0-bcd7-686e51856143_16.jpg" data-mid="206982624" border="0" src="https://freight.cargo.site/w/791/i/94a607c61b6e2e28ee4543254dbc47436cdca53624bdfb5aad11c6e2b01bf8b9/1709178541870-6d1e2a9a-17c5-41e0-bcd7-686e51856143_16.jpg" /> University of British Columbia Re: SALA’s Statement: “Support for Black Lives Matter” (PDF) <img width="791" height="1024" width_o="791" height_o="1024" 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data-src="https://freight.cargo.site/t/original/i/b9ed150249ce110399a25b73e39f3abf631ed980c04bad2415e241f7cf0b1539/1709178540571-17a080af-ab8b-4603-8ad8-d30bc9d289b5_16.jpg" data-mid="206982639" border="0" src="https://freight.cargo.site/w/791/i/b9ed150249ce110399a25b73e39f3abf631ed980c04bad2415e241f7cf0b1539/1709178540571-17a080af-ab8b-4603-8ad8-d30bc9d289b5_16.jpg" /> University of Houston Dear Dean Patricia Belton Oliver and CoAD Community (PDF) 2020 <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/dd5591784061b4e744290709f4ec7c474795a72542218f4046cdcd374eda3353/1709178540793-a4946ca9-d7ce-4c1f-9970-2251008f307c_1.jpg" data-mid="206982640" border="0" src="https://freight.cargo.site/w/791/i/dd5591784061b4e744290709f4ec7c474795a72542218f4046cdcd374eda3353/1709178540793-a4946ca9-d7ce-4c1f-9970-2251008f307c_1.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" 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data-src="https://freight.cargo.site/t/original/i/aedc2fed311598ef76091c91d62c1c64211eb2da6597f5618611ee234b3b6489/1709178540793-a4946ca9-d7ce-4c1f-9970-2251008f307c_10.jpg" data-mid="206982649" border="0" src="https://freight.cargo.site/w/791/i/aedc2fed311598ef76091c91d62c1c64211eb2da6597f5618611ee234b3b6489/1709178540793-a4946ca9-d7ce-4c1f-9970-2251008f307c_10.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/7ef13d425bd17aebab9b3df8fb33b329cd751c57e22f91b5ff8b76492332140b/1709178540793-a4946ca9-d7ce-4c1f-9970-2251008f307c_11.jpg" data-mid="206982650" border="0" src="https://freight.cargo.site/w/791/i/7ef13d425bd17aebab9b3df8fb33b329cd751c57e22f91b5ff8b76492332140b/1709178540793-a4946ca9-d7ce-4c1f-9970-2251008f307c_11.jpg" /> University of Kansas We find ourselves in a time when history seems to be repeating itself. <img width="744" height="744" width_o="744" height_o="744" data-src="https://freight.cargo.site/t/original/i/425384442e8d1ed242b2176185d55736bf11b4d76184299de2edfb536c897c64/uk1.jpg" data-mid="206982355" border="0" src="https://freight.cargo.site/w/744/i/425384442e8d1ed242b2176185d55736bf11b4d76184299de2edfb536c897c64/uk1.jpg" /> <img width="744" height="744" width_o="744" height_o="744" data-src="https://freight.cargo.site/t/original/i/f4b5181cae4add98477fde6c522b88e0bf3a363c7c0f1484a0eb1e3affe86cef/uk2.jpg" data-mid="206982356" border="0" src="https://freight.cargo.site/w/744/i/f4b5181cae4add98477fde6c522b88e0bf3a363c7c0f1484a0eb1e3affe86cef/uk2.jpg" /> <img width="744" height="744" width_o="744" height_o="744" data-src="https://freight.cargo.site/t/original/i/85ae1f3f41f09aa809d3e9178f9670438648418fc95d81c355e58d3207e25fb0/uk3.jpg" data-mid="206982358" border="0" src="https://freight.cargo.site/w/744/i/85ae1f3f41f09aa809d3e9178f9670438648418fc95d81c355e58d3207e25fb0/uk3.jpg" /> <img width="744" height="744" width_o="744" height_o="744" data-src="https://freight.cargo.site/t/original/i/3dca652b7cd2de72b17938b0e6873cfb445f422cce8762bf6385405c5da5baad/uk4.jpg" data-mid="206982359" border="0" src="https://freight.cargo.site/w/744/i/3dca652b7cd2de72b17938b0e6873cfb445f422cce8762bf6385405c5da5baad/uk4.jpg" /> University of Maryland Design Justice for Black Lives(PDF) <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/08627cac8619e1da4357d2028ae7525c9473d0dac7bbb9eed706bf5538fc3022/1709178538555-48624906-22b3-4709-b903-df20a19a0d91_1.jpg" data-mid="206982682" border="0" src="https://freight.cargo.site/w/791/i/08627cac8619e1da4357d2028ae7525c9473d0dac7bbb9eed706bf5538fc3022/1709178538555-48624906-22b3-4709-b903-df20a19a0d91_1.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/97ec022a727965ecb1d88fe11d581a6eeb0f49cec6e6bc64e42c5c8c9fc8023e/1709178538555-48624906-22b3-4709-b903-df20a19a0d91_2.jpg" 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src="https://freight.cargo.site/w/791/i/9fb2010a4e34a0092e0a01716a95153718ae7209c12648ba6d2ea21fad7616ce/1709178538555-48624906-22b3-4709-b903-df20a19a0d91_4.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/27ebe99e55998970de3a8d6630266ebf3435d6975d6112cad4c45a2c76029df9/1709178538555-48624906-22b3-4709-b903-df20a19a0d91_5.jpg" data-mid="206982686" border="0" src="https://freight.cargo.site/w/791/i/27ebe99e55998970de3a8d6630266ebf3435d6975d6112cad4c45a2c76029df9/1709178538555-48624906-22b3-4709-b903-df20a19a0d91_5.jpg" /> University of Michigan2020 Design Justice Actions for Taubman College (PDF) <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/3a77be99fcaefa2d16156c31aff6a0fffa63d091b12ca340f6d6cc9679c1fe47/1709178538920-a98ba158-fad1-4469-85f6-378e8bf7a5cf_1.jpg" data-mid="206982651" border="0" 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data-src="https://freight.cargo.site/t/original/i/1f0d333ef07ede57d66d7af11aa2d70c50f86cb064e22a7d04a67f6fc649486a/1709178541404-1e864167-ebf4-4af1-af96-c045cdac860b_15.jpg" data-mid="206982784" border="0" src="https://freight.cargo.site/w/791/i/1f0d333ef07ede57d66d7af11aa2d70c50f86cb064e22a7d04a67f6fc649486a/1709178541404-1e864167-ebf4-4af1-af96-c045cdac860b_15.jpg" /> <img width="791" height="1024" width_o="791" height_o="1024" data-src="https://freight.cargo.site/t/original/i/aaead0d62a374907fd7005d785979b61051bce7c7507ead8979655783a89c921/1709178541404-1e864167-ebf4-4af1-af96-c045cdac860b_16.jpg" data-mid="206982785" border="0" src="https://freight.cargo.site/w/791/i/aaead0d62a374907fd7005d785979b61051bce7c7507ead8979655783a89c921/1709178541404-1e864167-ebf4-4af1-af96-c045cdac860b_16.jpg" /> Letters and Statements in Solidarity with Palestine Letters and statements by professional organizations and educators.&nbsp; Call for Immediate Action to Architecture and Planning Programs, Organizations, and Individuals to Stand Against the Destruction of Lives and Built Environments in Palestine, and to Protect Academic Freedom Architects and Planners Against Apartheid2023 <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/271beda806d33ab17d40ffb79b0797abf4ab647abd33db9299394dd9597daa8e/1-Architects-and-Planners-Against-Apartheid.png" data-mid="206982342" border="0" src="https://freight.cargo.site/w/1000/i/271beda806d33ab17d40ffb79b0797abf4ab647abd33db9299394dd9597daa8e/1-Architects-and-Planners-Against-Apartheid.png" /> <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/b7d0419b4b54fded094cda0d5689ff4b86b41fb581b86e7e31892d4aa9421302/2-Architects-and-Planners-Against-Apartheid.png" data-mid="206982343" border="0" 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data-src="https://freight.cargo.site/t/original/i/7967ddcf48858d1e9f5f7b3e77443d0999f2aeca7b86a6b03acab5315104b62d/7-Architects-and-Planners-Against-Apartheid.png" data-mid="206982348" border="0" src="https://freight.cargo.site/w/1000/i/7967ddcf48858d1e9f5f7b3e77443d0999f2aeca7b86a6b03acab5315104b62d/7-Architects-and-Planners-Against-Apartheid.png" /> Solidarity with Palestine The Editors, The Avery Review 2023 <img width="1080" height="1056" width_o="1080" height_o="1056" data-src="https://freight.cargo.site/t/original/i/b8a49fc24f4e02492b4ee873f571ec60c2880607cfada929f6c01b1bb288c698/averyi1.jpg" data-mid="206982378" border="0" src="https://freight.cargo.site/w/1000/i/b8a49fc24f4e02492b4ee873f571ec60c2880607cfada929f6c01b1bb288c698/averyi1.jpg" /> <img width="1080" height="1053" width_o="1080" height_o="1053" data-src="https://freight.cargo.site/t/original/i/6974f3cdbec7c116f09c4641f1ef00a4ebaa1d4f97abbc61ea10ef2ff28ab2d7/averyi2.jpg" data-mid="206982379" border="0" 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data-src="https://freight.cargo.site/t/original/i/7d5ea878d45ab41b460c754904476cc400a572c5a8a400eb2353f9e4e46a6ddc/averyi5.jpg" data-mid="206982382" border="0" src="https://freight.cargo.site/w/1000/i/7d5ea878d45ab41b460c754904476cc400a572c5a8a400eb2353f9e4e46a6ddc/averyi5.jpg" /> Architecture and urban planning organizations stand in solidarity for Palestine Architects and Planners Against Apartheid2021 <img width="828" height="684" width_o="828" height_o="684" data-src="https://freight.cargo.site/t/original/i/ce4a4174a9c91191c9be6ecb24a3cddbc7215049170f41a04dbc294cfbed47fc/APAA.jpg" data-mid="206982363" border="0" src="https://freight.cargo.site/w/828/i/ce4a4174a9c91191c9be6ecb24a3cddbc7215049170f41a04dbc294cfbed47fc/APAA.jpg" /> E-Flux Article Google Doc https://acsa-justice.org/Joint-Statement Sun, 17 Mar 2024 17:20:07 +0000 ACSA Justice https://acsa-justice.org/Joint-Statement JOINT STATEMENT <img width="1500" height="781" width_o="1500" height_o="781" data-src="https://freight.cargo.site/t/original/i/9fe068e2502ab77123e30f90264781b96a58f285e3bb008269fad9db20564c51/joint-statement_bk.jpg" data-mid="206982791" border="0" src="https://freight.cargo.site/w/1000/i/9fe068e2502ab77123e30f90264781b96a58f285e3bb008269fad9db20564c51/joint-statement_bk.jpg" /> JOINT STATEMENT | PROHIBITIONS ON DIVERSITY, EQUITY, AND INCLUSION WILL LIMIT THE PROFESSIONS Washington, D.C. September 21, 2023 The planning, design, and use of built and natural environments have direct and indirect impacts on people. Competent practitioners of architecture, landscape architecture, urban planning, and interior design must understand the histories of their profession and of the communities with which they will work. They must also be able to understand the impact of their work on people and communities as a result of practice today and in the future. Practitioners must understand the factors that affect vulnerable people and communities, including people of color, women, LGBTQIA people, and people with disabilities. No understanding is fully possible without access to educational information and discussion about social factors including privilege, bias, discrimination, sexism, and racism, among others. “This united declaration stands as a strong objection to the legislation that silences educators from sharing the histories of the architectural profession. Practitioners, educators, and students must be granted access to the complete narrative. Being privy to only a portion of the story significantly disadvantages us all,” Mo Zell, 2023-24 ACSA President. The boards of directors of the four organizations representing university programs and educators in architecture, landscape architecture, planning, and interior design—ACSA, CELA, ACSP, and IDEC— jointly communicate our opposition to any legislation that prevents educators from teaching and sharing complete and accurate knowledge about the built environment for the purpose of shielding students from “divisive” or “disagreeable” content related to the impact of race and racism in American and global society, as well as other pedagogy related to gender and LGBTQ+ identities. Such legislation has already been passed in Arkansas, Florida, Iowa, South Dakota, and Virginia, and other moves are underway. These laws serve to suppress student exploration of pressing issues that affect the country and that are essential to preparing future practitioners in the built environment disciplines. The decisions to eliminate certain sectors of discourse in public institutions is especially concerning, because they impinge on students’ right to free speech, on the basic principles of faculty’s academic freedom, and on the ability of American citizens to participate fully in democratic use of our shared resources. Limited access to educational resources in K-12 education also impinges on students’ access to future educational opportunities. We call on federal, state and local governments to respect the professional expertise of educators at all levels in preparing for the next generation of practitioners. We call on Federal, State and local governments to support educators as they provide students of all ages and backgrounds with the proper skills for emerging technologies. <img width="336" height="131" width_o="336" height_o="131" data-src="https://freight.cargo.site/t/original/i/4dcb5fcf7a2896afceac07f44a252c20f9a48f0809d785b4a6bc54f2b32c0829/ACSA-full-logo.png" data-mid="206982788" border="0" data-scale="48" src="https://freight.cargo.site/w/336/i/4dcb5fcf7a2896afceac07f44a252c20f9a48f0809d785b4a6bc54f2b32c0829/ACSA-full-logo.png" /> ACSA. The mission of the Association of Collegiate Schools of Architecture is to lead architectural education and research. Founded in 1912 by 10 charter members, ACSA is an international association of architecture schools preparing future architects, designers, and change agents. Our full members include all of the accredited professional degree programs in the United States and Canada, as well as international schools and two- and four-year programs. Together ACSA schools represent some 7,000 faculty educating more than 40,000 students. ACSA seeks to empower faculty and schools to educate increasingly diverse students, expand disciplinary impacts, and create knowledge for the advancement of architecture. For more information, visit www.acsa-arch.org. <img width="660" height="165" width_o="660" height_o="165" data-src="https://freight.cargo.site/t/original/i/1a0631dd81788143fbb4880f794f93835cf235620cdb9a031ba41c9161389e2c/CELA-logo.jpg" data-mid="206982789" border="0" data-scale="55" src="https://freight.cargo.site/w/660/i/1a0631dd81788143fbb4880f794f93835cf235620cdb9a031ba41c9161389e2c/CELA-logo.jpg" /> CELA. The Council of Educators in Landscape Architecture (CELA) can trace its beginnings to 1920 and for more than ninety years it has been concerned with the content and quality of professional education in landscape architecture.&nbsp; The mission of CELA is to encourage, support and further education in the field of landscape architecture specifically related to teaching, research, scholarship, and public service. CELA is composed of virtually all the programs of higher learning in landscape architecture in the United States, Canada, Australia and New Zealand. There also are individual and institutional members, located internationally, who belong to the CELA family. For more information, visit thecela.org. <img width="446" height="171" width_o="446" height_o="171" data-src="https://freight.cargo.site/t/original/i/c7333156c05f1d87336e6fcfa1b244f6ddcfb825bb8f2a0e4fd05be3a00ff7a3/ACSP-logo.jpg" data-mid="206982792" border="0" data-scale="62" src="https://freight.cargo.site/w/446/i/c7333156c05f1d87336e6fcfa1b244f6ddcfb825bb8f2a0e4fd05be3a00ff7a3/ACSP-logo.jpg" /> ACSP. The Association of Collegiate Schools of Planning (ACSP) is a consortium of more than 125 university departments and programs offering planning degrees as well as programs that offer degrees affiliated with planning. ACSP also has individual faculty, retired faculty, and student members. The majority of our school members are located in the U.S., but in Canada as well, and our individual members are from around the world. ACSP connects educators, researchers, and students, to advance knowledge about planning education and research. We are committed to promoting the field of planning as a diverse global community that works collectively toward healthy, equitable, and sustainable neighborhoods, cities, and regions. More about the ACSP. <img width="341" height="118" width_o="341" height_o="118" data-src="https://freight.cargo.site/t/original/i/8a9054aae4ecb5838054770b044b40dca1a177780967f2e1bb4aabe775e6826e/idec.png" data-mid="206982793" border="0" data-scale="59" src="https://freight.cargo.site/w/341/i/8a9054aae4ecb5838054770b044b40dca1a177780967f2e1bb4aabe775e6826e/idec.png" /> IDEC. The Interior Design Educators Council (IDEC) is a professionally recognized association for interior design educators. IDEC has a predominantly North American membership base, organized around five geographic regions and comprised of nearly 700 members. Conceived in 1962, IDEC was named and formalized at its first conference in 1963 with the goal to network educators and strengthen interior design education. This broad purpose enabled IDEC’s founders to lay the groundwork for a long and significant history, one that has had a major impact on the interior design profession and influenced interior design education worldwide. IDEC’s mission is the advancement of interior design education, scholarship, and service. A membership organization, IDEC is recognized as the leading organization on interior design education. For more information, visit https://idec.org/. https://acsa-justice.org/Bibliographic-References Sun, 17 Mar 2024 17:20:08 +0000 ACSA Justice https://acsa-justice.org/Bibliographic-References BIBLIOGRAPHIC REFERENCES <img width="1250" height="651" width_o="1250" height_o="651" data-src="https://freight.cargo.site/t/original/i/ff60a0e72e7d2f7971d68667587513845a75fa3e84d3196d5a25a20250cc6f19/manual-of-anti-racist.jpg" data-mid="207851205" border="0" src="https://freight.cargo.site/w/1000/i/ff60a0e72e7d2f7971d68667587513845a75fa3e84d3196d5a25a20250cc6f19/manual-of-anti-racist.jpg" /> A Manual of Anti-Racist Architecture Education WAI Architecture Think Tank (Loudreaders Publishers, 2023)A Manual of Anti-Racist Architecture Education is an unprecedented tool that centers architecture and architectural education in the struggles against racism and the material legacy of white supremacy. A valuable resource for designers, educators, students, and anybody who’s lives are affected by the built and destroyed environment, this anti-racist manual unveils how architecture and architectural education is shaped by the construction of race and outlines ways to imagine emancipatory architectures. Divided in three parts, the manual discusses economic, cultural, political, spatial, and historical hurdles that must be overcome before, during, and after school. An appendix presents an overview on the precarious labor of anti-racist education. Through diagrams, analytical texts, and manifestos, A Manual of Anti-Racist Architecture Education asks many questions about the current state of architecture and imagines a future centered on social and ecological justice. Written, illustrated, and designed by architects, educators, and authors Cruz Garcia and Nathalie Frankowski of WAI Architecture Think Tank, A Manual of Anti-Racist Architecture Education is equally a tool for activism, design education, and worldmaking.Loudreaders Hardcover 62 Pages Dimensions: 10.2 in x 10.2 in x .5in or 259mm x 259mm x 12.7mm Weight: 0.51 kg or 1.12 lb ISBN: 978-2-9544145-0-8 Download Here.&nbsp; Loudreaders.com <img width="1500" height="938" width_o="1500" height_o="938" data-src="https://freight.cargo.site/t/original/i/a99a24971182c6254a8e638cc57aa395d52d7df0006def0591f90f35a9374f37/a-third-university-cover.jpg" data-mid="207924798" border="0" src="https://freight.cargo.site/w/1000/i/a99a24971182c6254a8e638cc57aa395d52d7df0006def0591f90f35a9374f37/a-third-university-cover.jpg" /> A Third University is Possible la paperson (University of Minnesota Press, 2017) A Third University is Possible unravels the intimate relationship between the more than 200 US land grant institutions, American settler colonialism, and contemporary university expansion. Author la paperson cracks open uncanny connections between Indian boarding schools, Black education, and missionary schools in Kenya; and between the Department of Homeland Security and the University of California. Central to la paperson’s discussion is the “scyborg,” a decolonizing agent of technological subversion.Drawing parallels to Third Cinema and Black filmmaking assemblages, A Third University is Possible ultimately presents a framework for hotwiring university “machines” to the practical work of decolonization.ISBN978-1-4529-5846-0 ISSN2373-5074 Download Here.&nbsp; Read Online Here.&nbsp; <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/279b854b9c861a85fb27a35098ecd5e1750a460aa4fa8af3e70019ba46fb8903/counterrevolution.jpg" data-mid="206982807" border="0" src="https://freight.cargo.site/w/1000/i/279b854b9c861a85fb27a35098ecd5e1750a460aa4fa8af3e70019ba46fb8903/counterrevolution.jpg" /> Architecture of Counterrevolution The French Army in Northern AlgeriaSamia Henni (Zurich: gta Verlag, 2023.)After over 120 years of French colonial rule in Algeria, the growing aspirations for independence culminated in the Algerian Revolution of 1954, which lasted until 1962. In order to combat the uprisings, the French civilian and military authorities reorganized the entire territory of the country, swiftly erected new infrastructures and pursued building policies that were ultimately intended to stabilize French dominance in Algeria. The study describes the architectural responses undertaken in the midst of this protracted and bloody armed conflict. It analyses their origins, evolutions and objectives, identifies the actors involved and reveals the underlying design methods.2023. 16.5 × 24.5 cm, PDF336 pages, 73 illustrationsISBN 978-3-85676-452-4Text in English Download Architecture of the Counterrevolution here. GTA Website link. <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/955bf22c5613d386b9c84875fe98f4ce9de8c08193637751c28e17af5dedec41/are-prisons-obsolete.jpg" data-mid="206982805" border="0" src="https://freight.cargo.site/w/1000/i/955bf22c5613d386b9c84875fe98f4ce9de8c08193637751c28e17af5dedec41/are-prisons-obsolete.jpg" /> Are Prisons Obsolete?Angela Y. Davis (Seven Stories Press, 2003)A short, impassioned, argument for abolition. Davis eloquently points out that mass incarceration has had little or no effect on crime, how disproportionate numbers of the poor and minorities end up in prison, and the obscene profits the system generates. Who needs it! "In this extraordinary book, Angela Davis challenges us to confront the human rights catastrophe in our jails and prisons. As she so convincingly argues, the contemporary US practice of super-incarceration is closer to new age slavery that to any recognizable system of 'criminal justice'..." —Mike Davis Download Are Prisons Obsolete? Here. <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/5ac5c83d4a627f0ae220ab1bbc72577517f84c99be7df72f49dd3c6c5c6d72b4/acsa-equity.jpg" data-mid="206982810" border="0" src="https://freight.cargo.site/w/1000/i/5ac5c83d4a627f0ae220ab1bbc72577517f84c99be7df72f49dd3c6c5c6d72b4/acsa-equity.jpg" /> Equity in Architectural EducationAIA / ACSA (AIA/ ACSA, 2022) The American Institute of Architects (AIA) and the Association of Collegiate Schools of Architecture (ACSA)&nbsp;have published a supplementary edition of the Guides for Equitable Practice, focusing on schools and institutions. Equity in Architectural Education provides actions and prompts intended to inspire discussions about creating welcoming environments to attract and retain those currently underrepresented in academia and in the profession. This resource defines the concept of culture in architectural education while describing impacts in the workforce. Equity in Architectural Education deepens the understanding of architecture education culture for anyone involved with it, students or professionals. Office and school cultures feed and reinforce each other, and long-standing traditions, viewpoints, and biases in academia are strong. Attaining an increase in diversity and creating a welcoming culture for all within academia accelerates progress towards equity, diversity, and inclusion (EDI) in each sector of the profession. Download Equity in Architectural Education&nbsp;Here. acsa-arch.org/resource/aia-acsa-equity-in-architectural-education/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/3489f290f58d705ecc93555bb4709bf084cdbe238e8fe261f62adbb9e72ac056/forensis.jpg" data-mid="206982809" border="0" src="https://freight.cargo.site/w/1000/i/3489f290f58d705ecc93555bb4709bf084cdbe238e8fe261f62adbb9e72ac056/forensis.jpg" /> Forensis: The Architecture of Public TruthForensic Architecture, ed. (Sterberg Press and Forensic Architecture, 2014) Forensics originated from the term “forensis” which is Latin for “pertaining to the forum.” The Roman forum was a multidimensional space of negotiation and truth-finding in which humans as well as objects participated in politics, law, and the economy. With the advent of modernity, forensics shifted to refer exclusively to the courts of law and to the use of medicine, and today as a science in service to the law. The present use of forensics, along with its popular representations have become increasingly central to the modes by which states police and govern their subjects. By returning to forensis this book seeks to unlock forensics’ original potential as a political practice and reorient it. Inverting the direction of the forensic gaze it designates a field of action in which individuals and organizations detect and confront state violations. The condition of forensis is one in which new technologies for mediating the “testimony” of material objects—bones, ruins, toxic substances, landscapes, and the contemporary medias in which they are captured and represented—are mobilized in order to engage with struggles for justice, systemic violence, and environmental transformations across the frontiers of contemporary conflict. This book presents the work of the architects, artists, filmmakers, lawyers, and theorists who participated directly in the “Forensic Architecture” project in the Centre for Research Architecture at Goldsmiths University of London, as well as the work of associates and guests. It includes forensic investigations undertaken by the project and its collaborators aimed at producing new kinds of evidence for use by international prosecutorial teams, political organizations, NGOs, and the UN. It also brings together research and essays that situate contemporary forensic practices within broader political, historical, and aesthetic discourse. March 2014, English17×24 cm, 744 pages, 825 color and b/w ill., softcover with dust jacketISBN 978-3-95679-011-9 Download Forensis Here. <img width="1250" height="782" width_o="1250" height_o="782" data-src="https://freight.cargo.site/t/original/i/acf2ebcd4a8e13eaf2cf4ba246816bb1e196c4507c63204cb879a56edf83a91c/from-land-grab-to-landback.jpg" data-mid="214491225" border="0" src="https://freight.cargo.site/w/1000/i/acf2ebcd4a8e13eaf2cf4ba246816bb1e196c4507c63204cb879a56edf83a91c/from-land-grab-to-landback.jpg" /> From Land Grab to LandBackLandBack Landscape Poems&nbsp; De la destitución a la restituciónPoemario de paisajes de restituciónWAI Architecture Think Tank, ed. (Loudreaders Publishers, 2023) Part Rematriation manifesto, part anti-colonial propaganda pamphlet, part anti-imperialist exhibition catalog, From Land Grab to LandBack / LandBack Landscape Poems brings in print format calls, strategies, and prose against the ecological and social spoliation produced by different forms of colonialism.Produced in two separate, continuous publications, From Land Grab to LandBack / LandBack Landscape Poems documents a year of texts, projects, and reflections by architects, artists, filmmakers, legal scholars, activists, poets, writers, and educators exploring calls for Land Back from Palestine to Vieques, from South Africa to the Great Plains.The publication includes contributions Sikowis Nobiss and the Great Plains Action Society, Samia Henni, &nbsp; Jason Mena, Pete Goche, Douglas Spencer, Colectiva Feminista en Construcción, Bibi Naniki Reyes Ocasio, Caney Orocovis, CAN Jibaro, Simphiwe Mlambo and students from the GSA Johannesburg, Papel Machete, Marakianí Olivieri, Dima Srouji, Mariana G. Iriarte Mastronardo, Peter Zuroweste, Hasan Shurrab, Nadia Huggins, Samiha Meem, Killian O’ Dochartaigh &amp; Edward Lawrenson, Marili Pizarro, Jason Fitzroy Jeffers, Jonathan David Kane, Vashti Harrison, Audrey Jean-Baptiste and Maxime Jean-Baptiste, Alexandra Pagán Vélez,&nbsp; Post-Novis, Hilary Wiese, Rose Florian, Christopher Rey Perez, Luis Othoniel Rosa, and WAI Architecture Think Tank / Nathalie Frankowski &amp; Cruz Garcia. En parte manifiesto de rematriación, en parte panfleto de propaganda anticolonial, en parte catálogo de exposición antiimperialista, De la destitución a la restitución/Poemario de paisajes de restitución presenta en formato impreso llamados, estrategias y prosa contra el expolio ecológico y social producido por diferentes formas de colonialismo.Producido en dos publicaciones separadas y continuas, De la destitución a la restitución/Poemario de paisajes de restitución documenta un año de textos, proyectos y reflexiones de arquitectos, artistas, cineastas, juristas, activistas, poetas, escritores y educadores que exploran los llamados a Land Back. desde Palestina hasta Vieques, desde Sudáfrica hasta las Grandes Llanuras.La publicación incluye contribuciones de Sikowis Nobiss y Great Plains Action Society, Samia Henni, Jason Mena, Pete Goche, Douglas Spencer, Colectiva Feminista en Construcción, Bibi Naniki Reyes Ocasio, Caney Orocovis, CAN Jibaro, Simphiwe Mlambo y estudiantes de la GSA Johannesburgo. , Papel Machete, Marakianí Olivieri, Dima Srouji, Mariana G. Iriarte Mastronardo, Peter Zuroweste, Hasan Shurrab, Nadia Huggins, Samiha Meem, Killian O' Dochartaigh &amp; Edward Lawrenson, Marili Pizarro, Jason Fitzroy Jeffers, Jonathan David Kane, Vashti Harrison, Audrey Jean-Baptiste y Maxime Jean-Baptiste, Alexandra Pagán Vélez, Post-Novis, Hilary Wiese, Rose Florian, Christopher Rey Perez, Luis Othoniel Rosa y WAI Architecture Think Tank / Nathalie Frankowski &amp; Cruz Garcia. Edition and Graphic Design:WAI Architecture Think TankNathalie Frankowski &amp; Cruz GarciaLoudreadersPaperback Pamphlets112 PagesDimensions: 170mm x 255mmISBN: 978-2-9544145-2-2 Download / Descarga From Land Grab to LandBack / De la destitución a la restitución Download / Descarga&nbsp; LandBack Landscape Poems /&nbsp; Poemario de paisajes de restitución Loudreaders.com <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/5f47baaf434db1d01de4740db051586b7b50e9362dec2184eb1813f6e3084e68/green-reconstruction.jpg" data-mid="206982803" border="0" src="https://freight.cargo.site/w/1000/i/5f47baaf434db1d01de4740db051586b7b50e9362dec2184eb1813f6e3084e68/green-reconstruction.jpg" /> Green Reconstruction: A Curricular Toolkit for the Built EnvironmentReinhold Martin, Jacob R. Moore, and Jordan Steingard, Eds. (The Temple Hoyne Buell Center for the Study of American Architecture Columbia University,2022) Change is learned. On the streets and in the public sphere, imagination, knowledge, and know-how go hand in hand. At a time of mounting social and ecological turmoil, planning and designing a just, equitable built environment requires professional focus anchored in intellectual ambition. Rote allegiances to orthodoxy must reorient toward new realities. Professional education, in short, must be rethought. For the arts and sciences of the built environment, change therefore begins in the classroom, as a shared learning that rebuilds the imagination from the ground up: Green Reconstruction. Green Reconstruction is an outline, an open work, for the repair of a world ravaged by three intersecting crises—of mutual care, of racial oppression, and of climate, all intersecting in turn with economic inequality—that moves along two axes, the Green axis of ecological transformation, and the gilded axis of material redistribution, or Reconstruction. The Green axis refers to the ecological and economic ambitions of proposals like the Green New Deal and its counterparts around the world, all of which continue to merit serious academic and public attention. The second axis recovers the unfinished project of what W. E. B. Du Bois called, in Black Reconstruction in America (1935), “abolition democracy,” and with it, the political and economic restructuring of a system for which the expropriation of Black and Brown lives is business as usual, as racial and ecological apartheid remain global norms. More specifically for the arts and sciences of the built environment, Green Reconstruction names a new curriculum, a change of course. By this we recognize the central role of professional, academically sanctioned expertise in constructing and maintaining a status quo, including a status quo nominally devoted to perpetual innovation. To mean anything and to change anything, Green Reconstruction must speak from below; but to endure, it must find its own designers, planners, and technicians. Such figures, both scholars and practitioners, link the powers below with the powers above, with the aim of supplying technical equipment with which to make things change. To assist in teaching these questions and answering them the Buell Center has fashioned, with the help of many, this curricular toolkit for professional education in the planning and design of the built environment. It is organized to suggest different ways of learning together. Introductory material lays out the stakes and goals; a dossier of assessments and suggestions regarding how we learn offers pre-curricular back doors into long-established pedagogical practices, through which new strategies might be introduced. To activate these possibilities, a subsequent section outlines sample course content with an “object lesson” connecting three small American cities, that raises questions that must be addressed for anything like Green Reconstruction to be conceivable. This section is divided between a planning-oriented description of these cities from the perspective of built environment professionals working in each, and an architecture-oriented visual survey of their respective fabrics. A brief conclusion puts the sample material in context, looking to the challenges ahead. Released digitally and in print, Green Reconstruction: A Curricular Toolkit for the Built Environment is available for no cost to anyone interested in the relationship between curricular and societal change. The PDF is available for download here, and the print edition, for which limited quantities are available, can be requested here. We note emphatically: This research is preliminary, as are the corresponding suggestions. None derives from specialized expertise but rather, from open, unwieldy conversations of the sort we have tried to model. We assemble it here as an invitation to join these conversations and to start new ones, and to bring to them the deepest knowledge and the most profound imagination. Download Here. <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f3937b1f734491b70d7cb540262bcdabde64ff1b2fe720538374efe5e52dc909/the-red-deal.jpg" data-mid="206982804" border="0" src="https://freight.cargo.site/w/1000/i/f3937b1f734491b70d7cb540262bcdabde64ff1b2fe720538374efe5e52dc909/the-red-deal.jpg" /> The Red Deal: Indigenous Action to Save our Earth Part One: End the Occupation Part Two: Heal our Bodies Part Three: Heal our PlanetThe Red Nation The Red Deal Indigenous Action To Save Our Earth is an action plan for decolonization in Turtle Island and beyond. The Red Deal is divided up into three parts. Part 1: Divest – end the occupation. Part 2: Heal our bodies- reinvest in our common humanity. Part 3: Heal Our Planet- reinvest in our common humanity. The Red Deal is a political plan to decolonize a world for all. Published by Red Media and Common Notions. Download&nbsp;Part 1 Here.&nbsp; Download Part 2 Here. Download Part 3 Here.&nbsp; therednation.org/ <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/2645b2e4bd67102395b56fffbebbf39b6ea5f72b0064eba40cb040fa0867df51/undercommons.jpg" data-mid="206982806" border="0" src="https://freight.cargo.site/w/1000/i/2645b2e4bd67102395b56fffbebbf39b6ea5f72b0064eba40cb040fa0867df51/undercommons.jpg" /> The Undercommons: Fugitive Planning &amp; Black StudyStefano Harney &amp; Fred Moten (Minor Compositions, 2013) In this series of essays Fred Moten and Stefano Harney draw on the theory and practice of the black radical tradition as it supports, inspires, and extends contemporary social and political thought and aesthetic critique. Today the general wealth of social life finds itself confronted by mutations in the mechanisms of control, from the proliferation of capitalist logistics through governance by credit and management of pedagogy. Working from and within the social poesis of life in the undercommons Moten and Harney develop and expand an array of concepts: study, debt, surround, planning, and the shipped. On the fugitive path of an historical and global blackness, the essays in this volume unsettle and invite the reader to the self-organised ensembles of social life that are launched every day and every night amid the general antagonism of the undercommons. ISBN 978-1-57027-267-7 Download The Undercommons here.&nbsp; <img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/7b436820e8a252d729675c3e3fbba47886156b10574e14b8926a5c354716be99/war-zones.jpg" data-mid="206982808" border="0" src="https://freight.cargo.site/w/1000/i/7b436820e8a252d729675c3e3fbba47886156b10574e14b8926a5c354716be99/war-zones.jpg" /> War ZonesSamia Henni, ed. (Zurich: gta Verlag, 2019.) After the Second World War and at the onset of the Cold War, warfare took different forms. War zones often lost their clear demarcations. People, landscapes, and built environments came to be subjugated to the strains and constraints of new forms of war that served both civil and military purposes. The contributions to War Zones investigate some of these implicit or explicit conditions, legacies, and impacts. From colonial or total war, asymmetric war or counterinsurgency, barricaded or besieged cities, refugee camps or borderlines, nuclear bunkers or ‘war ghosts’, to the state of emergency and drone warfare – these texts disclose the spatial aspects, statuses, and formation processes of past and current war zones. 2019. 21 × 29.7 cm,&nbsp;PDF134 pages, 89 illustrationsISBN 978-3-85676-440-1Text in English Download&nbsp;War Zones here. GTA Website Link. https://acsa-justice.org/Lecture-Series Sun, 17 Mar 2024 17:20:09 +0000 ACSA Justice https://acsa-justice.org/Lecture-Series Traveling Lecture Series Spring 2024Series From LandBack to Abolition De la restitución a la abolición February 8, 2024Universidad de Puerto Rico in Collaboration with Women and Gender Studies, Iowa State University, and Loudreaders <img width="3000" height="3000" width_o="3000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/bc61cbf50fa100992a177b0b00590d8204cd46749567ab2cc2ad5f626e0b86a6/restitucion_abolicion-copy.jpg" data-mid="206982814" border="0" src="https://freight.cargo.site/w/1000/i/bc61cbf50fa100992a177b0b00590d8204cd46749567ab2cc2ad5f626e0b86a6/restitucion_abolicion-copy.jpg" /> From LandBack to Abolition from WAI Think Tank on Vimeo. From LandBack to AbolitionWhile Land Grab is part of the extractive logic of capitalism, with its systems of accumulation, toxicity, and incarceration, LandBack seeks forms of redistribution, rematriation, and abolition. In the face of imperial and colonial military escalation, and the expansion of the prison-complex into perpetual states of exception at the planetary scale, abolitionist imaginaries point towards futures of social and ecological justice and the collective emancipation of the oppressed peoples of the world. Building on the foundations of “From Land Grab to LandBack,” From LandBack to Abolition outlines infrastructures of resistance and the architectures of worldmaking. Through a series of talks, film screenings, roundtable discussions, and workshops From LandBack to Abolition interrogates the many intersections between anti-colonial struggles, and abolitionist practices. Participants include:&nbsp; Marili Pizarro, Sofía V. Delgado Torre, Victoria King Martínez, Paulina G. Seneriz Góme, Ariana S. Villegas Cruz, Catherine Marsh, Jorge Díaz / Papel Machete, Alexandra Pagán,Mariana Iriarte y Natalia Ibrahim Abufarah Dávila, Nora Akawi, Ilze Wolff, WAI Architecture Think Tank.&nbsp;De la restitución a la aboliciónSi bien la desposesión es parte de la lógica extractiva del capitalismo, con sus sistemas de acumulación, toxicidad y encarcelamiento, la restitución (LandBack) busca formas de redistribución, rematriación y abolición. Frente a la escalada militar imperial y colonial, y la expansión del complejo penitenciario hacia perpetuos estados de excepción a escala planetaria, los imaginarios abolicionistas apuntan hacia futuros de justicia social y ecológica y la emancipación colectiva de los pueblos oprimidos del mundo. Partiendo de los cimientos de “From Land Grab to LandBack” (de destitución a restitución) , De la restitución a la abolición (From LandBack to Abolition) describe las infraestructuras de resistencia y las arquitecturas de la creación del mundo. A través de una serie de charlas, proyecciones de películas, mesas redondas y talleres, De la restitución a la abolición interroga las numerosas intersecciones entre las luchas anticoloniales y las prácticas abolicionistas. Participantes incluye: Marili Pizarro, Sofía V. Delgado Torre, Victoria King Martínez, Paulina G. Seneriz Góme, Ariana S. Villegas Cruz, Catherine Marsh, Jorge Díaz / Papel Machete, Alexandra Pagán,Mariana Iriarte y Natalia Ibrahim Abufarah Dávila, Nora Akawi, Ilze Wolff.&nbsp; Samia HenniFebruary 21, 2024Loudreaders / Iowa State University See the full information in&nbsp;LOUDREADERS Loudreaders 47: Samia Henni from WAI Think Tank on Vimeo. Samia Henni is a historian of the built, destroyed and imagined environments. She is the author of the multi-award-winning Architecture of Counterrevolution: The French Army in Northern Algeria (gta Verlag 2017, 2022, EN; Editions B42, 2019, FR), and Colonial Toxicity: Rehearsing French Radioactive Architecture and Landscape in the Sahara (If I Can’t Dance, Framer Framed, edition fink, 2024), and the editor of Deserts Are Not Empty (Columbia Books on Architecture and the City, 2022) and War Zones (gta Verlag, 2018). She is also the maker of exhibitions, such as Performing Colonial Toxicity (Framer Framed, If I Can’t Dance, Amsterdam, 2023–04), Discreet Violence: Architecture and the French War in Algeria (Zurich, Rotterdam, Berlin, Johannesburg, Paris, Prague, Ithaca, Philadelphia, Charlottesville, 2017–22), Archives: Secret-Défense? (ifa Gallery, SAVVY Contemporary, Berlin, 2021), and Housing Pharmacology (Manifesta 13, Marseille, 2020). Samia received her PhD in the history and theory of architecture (with distinction, ETH Medal) from ETH Zurich and has taught at Princeton University, ETH Zurich, the University of Zurich, Geneva University of Art and Design, and Cornell University. In&nbsp;the summer of&nbsp;2024, she&nbsp;will&nbsp;join the faculty of McGill University’s&nbsp;Peter Guo-hua Fu School of Architecture. Imani Jacqueline BrownMarch 27, 2024Loudreaders / Iowa State UniversitySee the full information in LOUDREADERS Loudreaders 50: Imani Jacqueline Brown from WAI Think Tank on Vimeo. Imani Jacqueline Brown is an artist, activist, writer, and architectural researcher from New Orleans, based in London. Her work investigates the “continuum of extractivism,” which spans from settler-colonial genocide and slavery to fossil fuel production and climate change.
 In exposing the layers of violence and resistance that form the foundations of settler-colonial society, she opens space to imagine paths to ecological reparations. Imani's practice combines photography and videography, archival research, ecological philosophy, legal theory, people’s history, remote sensing, and counter-cartographic strategies to disentangle the spatial logics that make geographies, unmake communities, and break Earth’s geology. Her research is disseminated internationally through art installations, public actions, reports, and testimony delivered to courts and organs of the United Nations. Among other things, Imani is currently a PhD candidate in Geography at Queen Mary, University of London, a research fellow with Forensic Architecture, and an associate lecturer in MA Architecture at the Royal College of Arts. Fall 2023 Series From LandGrab to LandBack September 25-30, 2023 Iowa State University See the full program of From Land Grab to LandBack in Loudreaders.com <img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/00982c705ef6909ab2a0f959dcaf233c86c88b79ee3e8ec1b27565d1ca158af2/landback-poster_names.jpg" data-mid="206982813" border="0" src="https://freight.cargo.site/w/1000/i/00982c705ef6909ab2a0f959dcaf233c86c88b79ee3e8ec1b27565d1ca158af2/landback-poster_names.jpg" /> See the full programming of From Land Grab to LandBack here.&nbsp; A multimedia and interdisciplinary symposium spanning three continents, From Land grab to Landback explores the role of architecture and spatial practices in the politics of land and water rights, occupation, displacement, sovereignty, property, dispossession, reparations, ecological spoliation, capital, wealth accumulation and distribution, production, and on-going struggles against settler colonialism. &nbsp;The symposium seeks to bring together diverse perspectives on how the built and destroyed environment shape and are shaped by power relations, struggles for land rights, stewardship, and extraction, and alternative visions of land use and custodianship. Co-organized by the Department of Architecture at Iowa State University with support from the Center for Excellence in the Arts and Humanities,&nbsp; ACSA Fellowship to Advance Equity in Architecture, the School of Architecture of the Universidad de Puerto Rico-Rio Piedras, Graduate School of Architecture at Johannesburg, and Loudreaders with support from the Mellon Foundation, re:arc institute and Producer Hub, the symposium is part of a series of events, exhibitions, roundtables, and publications to be celebrated in Ames (USA), Rio Piedras (Puerto Rico), and Johannesburg (South Africa). Shelley Buffalo From Land Grab to LandBack Discussion September 25, 2023 Iowa State University Shelley Buffalo (she/they) is an enrolled member of the Meskwaki Nation and lives on the Meskwaki Settlement in Iowa with her teenage son Rider. Her older son, Thomas, works for the Intertribal Buffalo Council. Shelley earned a BFA from Iowa State University, with an emphasis in visual and literary arts and has a long career as an artist, community organizer, and in food sovereignty, social &amp; land justice advocacy. Currently, Shelley is building her firm, Water Panther Consulting, and working with Great Plains Action Society to create a ReMatriation framework to hold returned land and return Indigenous landscapes by building on a vision of an Indigenous future.&nbsp; Prior to Water Panther Consulting, Shelley served the Meskwaki community as a coordinator at Red Earth Gardens and the Meskwaki Food Sovereignty Initiative. It was through this work that Shelley found the healing power of rematriation by becoming a seed keeper and found sisterhood with the Indigenous Seed Keepers Network. She coordinated the Meskwaki seed rematriation partnership with the Chicago Field Museum and the Meskwaki display that is part of the “Native Truths: Our Voices, Our Stories” exhibition. Shelley coordinated the Meskwaki seed rematriation partnership with Seed Savers Exchange and served as moderator for the SSE Seed Rematriation Webinar series,&nbsp; She coordinated the production of seed rematriation interviews and videos for these seed rematriation partnerships, for the museum display, and for Meskwaki Food Sovereignty Initiative outreach materials. The Meskwaki are unique in that their land based community is a settlement, not a reservation. Established in 1857 with the purchase of 80 acres near Tama, Iowa, the Meskwaki Settlement has grown to over 8,600 acres.&nbsp; Here’s a link to learn more about the Meskwaki: https://www.meskwaki.org/history/ Sikowis Nobiss Great Plains Action Society September 26, 2023Iowa State University From Land Grab to LandBack: Sikowis Nobiss from WAI Think Tank on Vimeo. Sikowis Nobiss (she/her) is Plains Cree/Saulteaux of the George Gordon First Nation in Saskatchewan, Canada and grew up in Winnipeg, Manitoba, Canada. At 19 she began her life's work of uplifting Indigenous rights and voices when she got her first job at the New Brunswick Aboriginal Peoples Council in Fredericton, Canada during the Burnt Church Rebellion. Between 2010 and 2015, Sikowis attempted to work with various Indigenous folks in Iowa City to build a climate and environment organization but was unsuccessful. However, her goal to found such an organization became a reality in 2016 when she joined the fight against the Dakota Access Pipeline. This led her to co-found Little Creek Camp in February 2017, which transformed into Indigenous Iowa (later renamed Great Plains Action Society). From August 2017 to September 2020, she helped found the national influencer organization Seeding Sovereignty from the ground up. As her heart is with her people and the prairies, Sikowis returned to Great Plains Action Society where she can work at a grassroots level and a fully Indigenous-led organization.Sikowis has a Masters Degree in Religious Studies and Graduate Minor in Native Studies from the University of Iowa. While attending the U of I from 2005-2008, she sat on many diversity and climate committees and was also the Chair of the U of I Native American Student Association. In 2021 she received the Impact Through Advocacy award from the Iowa Environmental Council. In June 2022, her dedication to the 2SLGBTQIA+ community earned GPAS the OneIowa Community Partnership Award. In March 2023, her work earned Great Plains Action Society recognition for being a women-led organization doing excellent work in the realm of sustainability from the Johnson County United Nations Association Chapter.&nbsp; Sikowis is also a commissioner on the Iowa City Truth and Reconciliation Commission. She also sits on the Midwest Environmental Justice Grant Advisory Committee, the Centering Equity in the Sustainable Building Sector Governance Team and the Just Transition Power Force as a guest expert working to reduce harmful practices in corporate procurement processes.Sikowis is also a speaker, writer, and artist. She believes that environmental and social justice work are inextricably linked and change will only happen when we dismantle corrupt colonial-capitalist systems and rebuild them with a decolonized worldview. She fights for a better future for her two young children.https://www.greatplainsaction.org/ Sean ConnellySeptember 25, 2023Iowa State University From Land Grab to LandBack: Sean Connelly from WAI Think Tank on Vimeo. Dr. Sean Connelly (1984, Pacific Islander American, Illocano) is an artist born, residing, and working in Honolulu, Kona, Oʻahu. Sean's multifaceted practice encompasses sculpture, installation, film, design, and cartography, frequently integrating architectural and experimental methodologies. Their work delves into the interplay with the built environment, intersecting oceanic intellect and futures in contemporary practice, spanning both tangible and theoretical domains. This exploration is informed by cultural, ecological, historical, material, water, food sovereignty, and land justice themes. Dima SroujiSeptember 25, 2023Iowa State University From Land Grab to LandBack: Dima Srouji from WAI Think Tank on Vimeo. Dima Srouji is an architect and visual artist exploring the ground as a deep space of rich cultural weight. Srouji looks for potential ruptures in the ground where imaginary liberation is possible.&nbsp; She works with glass, text, archives, maps, plaster casts, and film, understanding each as an evocative object and emotional companion that help her question what cultural heritage and public space mean in the context of the Middle East, especially in Palestine. Her projects are developed closely with archaeologists, anthropologists, sound designers, and glassblowers.Srouji is currently the Jameel Fellow at the Victoria &amp; Albert Museum and leading the MA City Design studio at the Royal College of Art in London. Her work is part of the permanent collection at the Stedelijk Museum Amsterdam. Gabriela Leandro PereiraSeptember 26, 2023Iowa State University Gabriela Leandro Pereira (PHd) is a professor and researcher at the School &nbsp;of Architecture and at the Graduate Program in Architecture and Urbanism at Universidade Federal da Bahia (UFBA). She is a member of the Grupo de Estudos Lugar Comum [Common Place Research Group] and coordinates the Grupo de Estudos Corpo, Discurso e Território [Body, Discourse and Territory Study Group], at UFBA. Her research and investigations focuses on narratives, histories, memories and epistemologies produced about the city, urbanism, architecture and their erasures, intersected by the debate of racialities and gender. In 2017, she won the Theses Award from the National Association for Graduate Studies and Research in Urban and Regional Planning that resulted in the publication of the book "Corpo, discurso e território: Cidade em disputa nas dobras da narrativa de Carolina Maria de Jesus" ("Body, discourse and territory: City in dispute in the narrative folds of Carolina Maria de Jesus"), in 2019. Gabriela works as a guest editor in specialized journals such as the Brazilian Journal of Urban and Regional Researchers and Journal ABPN - Brazilian Association of Black Researchers. In partnership with journalist Bianca Santana, in 2021, she coordinated the course "Makers of Black Memories", offered by Casa Sueli Carneiro, where she is a counselor. In 2022, she participated in the 13th International Biennial of Architecture of São Paulo, with the work "Herança + O fabuloso inventário das Obras do meu Avô" ("Heritage + The Fabulous inventory of the work of my grandfather), co-authored with Maria Leandro Pereira. Nadia HugginsSeptember 27, 2023Iowa State University From Land Grab to LandBack: Nadia Huggins from WAI Think Tank on Vimeo. Nadia HugginsNadia Huggins was born in Trinidad and Tobago and grew up in St. Vincent and the Grenadines, where she is currently based. A self taught artist, she works in photography and, since 2010, has built a body of images that are characterized by her observation of an interest in the everyday. Her work merges documentary and conceptual practices, which explore belonging, identity, and memory through a contemporary approach focused on re-presenting Caribbean landscapes and the sea.Nadia’s photographs have been exhibited in group shows in Canada, USA, Trinidad and Tobago, Jamaica, Barbados, Ethiopia, Guadeloupe, France, and the Dominican Republic. In 2019, her solo show Human stories: Circa no future took place at Now Gallery, London UK. Her work forms part of the collection of The Wedge Collection (Toronto, Canada), The National Gallery of Jamaica (Kingston), and The Art Museum of the Americas (Washington DC, USA). Nadia was selected for the New York Times Portfolio Review (2018),&nbsp; and her work has been included in several publications, including A to Z of Caribbean Art. She is the co-founder of ARC Magazine and One Drop in the Ocean – an initiative that aims to raise awareness about marine debris.nadiahuggins.com Marakiani OlivieriSeptember 28, 2023Iowa State University Marakiani OlivieriMarakianí Olivieri Ventura has a Master in Architecture from the University of Puerto Rico. Born and raised in Vieques island. She was an active participant in the civil protest against the invasion of the US NAVY and military exercises in the island. Throughout her academic trajectory, she has dedicated a great part of her studies and research to the history and resistance of the people of Vieques against militarization and imperialism. Recently, she has collaborated with both Columbia University in New York and Illinois University with research about the military impact in the urbanism of underdeveloped cities like Vieques island.Marakianí Olivieri Ventura tiene una Maestría en Arquitectura de la Universidad de Puerto Rico. Nacida y criada en la isla de Vieques, participó activamente en la protesta civil contra la invasión de la Marina de los EEUU y los ejercicios militares en la isla. A lo largo de su trayectoria académica ha dedicado gran parte de sus estudios e investigaciones a la historia y resistencia del pueblo de Vieques contra la militarización y el imperialismo. Recientemente, ha colaborado con la Universidad de Columbia en Nueva York y la Universidad de Illinois con investigaciones sobre el impacto militar en el urbanismo de ciudades subdesarrolladas como la isla de Vieques. Oleksiy RadynskiSeptember 29, 2023Iowa State University Oleksiy RadynskiOleksiy Radynski is a filmmaker and writer based in Kyiv. His films have been screened at International Film Festival Rotterdam, Kurzfilmtage Oberhausen, Docudays IFF, the Institute of Contemporary Arts (London), S A V V Y Contemporary (Berlin), and e-flux (New York) among other places, and have received a number of festival awards. Michael Smith MasisEntre Nos Central University of Texas Arlington&nbsp; School of Architecture Critical Path Lecture Series MICHAEL SMITH-MASIS Arquitecto (2005) San José Costa Rica, Master en Diseño Ambiental Sostenible del Architectural Association de Londrés (2008) y Loeb Fellow de la Universidad de Harvard (2019). Es director de la Oficina Entre Nos Atelier Central y de la Plataforma Justicia Espacial. Es profesor e investigador en la Universidad de Costa Rica, Universidad Veritas, Tecnológico de Monterrey y de la Universidad de los Andes. Su trabajo ha recibido importantes premios y distinciones a nivel nacional e internacional, fomentando la participación, colaboración, justicia espacial y sostenibilidad. Architect (2005) San José Costa Rica, Master in Sustainable Environmental Design from the Architectural Association of London (2008) and Loeb Fellow from Harvard University (2019). He is director of the Entre Nos Atelier Central Office and the Spatial Justice Platform. He is a professor and researcher at the University of Costa Rica, Universidad Veritas, Tecnológico de Monterrey and the Universidad de los Andes. His work has received important awards and distinctions at the national and international level, promoting participation, collaboration, spatial justice and sustainability.