Envisioning a Hip-Hop Urbanism in Washington DC
The following is a manifesto, in search of a movement... In it, I am proposing a theory of architecture based around a ruffneck, antisocial, hip-hop, rudeboy ethos. [1]? Kara Walker
Collage from Ivy City, a preliminary stage of the Ivy City Redux project. Image © Kyle Simmons
The following is a manifesto, in search of a movement... In it, I am proposing a theory of architecture based around a ruffneck, antisocial, hip-hop, rudeboy ethos. [1]
? Kara Walker In her companion publication to the 2014 group exhibition ?Ruffneck Constructivists,? the show?s curator, Kara Walker, lays down a radical manifesto for urban intervention. Just months before Ferguson [2] and a year before Baltimore, [3] Walker proposes her theory through which installation artists (along with architects and designers by extension) can become ?defiant shapers of environments.? [4] The invocation and juxtaposition of the terms hip-hop and architecture in the intro to her manifesto is particularly remarkable given the show?s exclusive assembly of visual and installation artists.Hip-hop architectural theory seeks to reify a form of expression that is a natural component of any cultural movement, but was largely inaccessible to teenaged Blacks and Latinos in 1970s South Bronx. As illustrated in my first essay on the subject, ?[e]ach major cultural shift in Western society?Renaissance, Baroque, Modernism?has had its register in a plurality of creative outlets: theater, music, dance, fine art,...
Collage from Ivy City, a preliminary stage of the Ivy City Redux project. Image © Kyle Simmons
The following is a manifesto, in search of a movement... In it, I am proposing a theory of architecture based around a ruffneck, antisocial, hip-hop, rudeboy ethos. [1]
? Kara Walker In her companion publication to the 2014 group exhibition ?Ruffneck Constructivists,? the show?s curator, Kara Walker, lays down a radical manifesto for urban intervention. Just months before Ferguson [2] and a year before Baltimore, [3] Walker proposes her theory through which installation artists (along with architects and designers by extension) can become ?defiant shapers of environments.? [4] The invocation and juxtaposition of the terms hip-hop and architecture in the intro to her manifesto is particularly remarkable given the show?s exclusive assembly of visual and installation artists.Hip-hop architectural theory seeks to reify a form of expression that is a natural component of any cultural movement, but was largely inaccessible to teenaged Blacks and Latinos in 1970s South Bronx. As illustrated in my first essay on the subject, ?[e]ach major cultural shift in Western society?Renaissance, Baroque, Modernism?has had its register in a plurality of creative outlets: theater, music, dance, fine art,...
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