Prince Peregrine and the Evil Drag Queen: A Queer Architectural Fairytale On Seriously Valuing The Unserious

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Citation for the original published paper (version of record):

Burroughs, B. (2019)

Prince Peregrine and the Evil Drag Queen: A Queer Architectural Fairytale On Seriously Valuing The Unserious

Trans Magazin 34: YOUTH, : 143-148

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PRINCE PEREGRINE AND THE EVIL DRAG QUEEN—

A QUEER ARCHITECTURAL FAIRYTALE ON SERIOUSLY

VALUING THE UNSERIOUS Brady Burroughs

Brady Burroughs, born 1970, holds a PhD in Critical Studies of Architecture from KTH (The Royal Institute of Technology), Stockholm, currently teaches second year design studio, and obviously spent too much time watching the Netflix series

‹Ru Paul’s Drag Race› and ‹Once Upon a Time› over the winter holidays.

«Join Prince Perri’s quest to save the architectural king- dom from the plague of academic seriousness, giving serious attention to the unserious and asking what can architects, design students, and ultimately architecture

‹do› with humor?»

An Fonteyne graduated from Ghent University. She worked for DKV Architekten in Rotterdam and David Chipperfield Architects in London. Together with Philippe Viérin and Jitse van den Berg she established Brussels-based noAarchitecten in 2000. Currently, the office is working on the restoration and extension of the Steen, Antwerp’s oldest building and they are designing the ambitious Kanal—Centre Pompidou in Brussels—together with Sergison Bates architects and EM2N. Before joining the ETH, An Fonteyne taught at TU Delft and was professor at Hasselt University.

Wham!». It is not like that. But it must be talked about, trying to define the relations, in order to comprehend the larger whole. In that sense this interview, these questions and discussions are useful.

TM We also think this is important and it does help us as well. These interests are strongly personal and intuitive, so you have to test them out in the discussion with others.

AF I am not a huge fan of the word ‹intuition›. I be- lieve that the interest is consciously chosen.

You can be surprised by situations or the discov- ery of new work, but you should be selective and in control. Maybe this whole endeavour is to overcome intuition.

John Zorn, the jazz musician, once stated in an interview that he had been very much influ- enced by cartoon scores. Imagine, one of the great innovators in jazz being inspired by the music of cartoon clips for children! It makes us, his audience, also listen to cartoons differently and realise the quality of the accompanying music. Just to look at things outside of your field and paying attention to them, taking these observations seriously, is a wonderful source of thinking and understanding your personal acts.

After all, everything is language and broaden- ing your vocabulary, discovering new meanings, is a most exciting endeavour.

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144 Video stills, 2018. Isa Da Costa Lopes, Malin Rosvall, Tove Ekström, Leni Ellburg Hillström Join Prince Perri’s quest to save the architectural kingdom

from the plague of academic seriousness, giving serious attention to the unserious and asking what can architects, design students, and ultimately architecture ‹do› with humor?

Once upon a time, there was an evil drag queen named Fran- zine von Patri-Archy, known for her large wigs of wild red hair.

Queen Franzine, from the Kingdom of Architectural Practice, married into the Kingdom of Architectural Education, joining these two lands. She rose to power amidst the turmoil of the sudden loss of its king and forgot the critical intention of drag, to undermine the status quo with its queer campiness.1 The evil queen wanted to maintain the ruling order of the architectural kingdom and keep all of the power for herself, so she made architecture a serious endeavor, forbidding frivoli- ty, humor and play. Any architectural educator who dared to question the values produced and reproduced within models of serious architectural education, as well as the power struc- tures inherently intertwined and interconnected with these values, would be punished with precarious employment and be banished to the adjunct dungeon for all eternity.

Deep in the forest, near an abandoned grove of pear trees, lived Prince Peregrine Mehno Paughs (Prince Perri for short), an androgynous being who preferred gender-neutral pronouns and was known for speaking up against the injustices of the royal kingdom.2 Like many ‹feminist killjoys› before them, Prince Perri was deemed ‹difficult› and had never experienced permanent employment.3 Although the prince was nearly fifty and had invested their life’s work in service to the royal kingdom, they had no academic career to speak of, and therefore, nothing to lose in questioning the evil queen’s decree. Prince Perri yearned for an alternative to the serious business of architecture. So much so, they wrote manuscripts describing improper and irreverent practices, developed out of ideas from the prince’s ‹untimely› dissertation, on their own time and on their own royal shilling.4

Prince Perri knew that there must be other architectural sub- jects out there, with a similar desire to share these unconventional methods and unorthodox learning experiences. In fact, the prince had supported an uprising by an editorial group from a distant architectural kingdom before, in their effort to bring more love to architecture.5 There were rumors that this group was challenging the notion that the vulnerability of youth was a sign of weakness, asking «Couldn’t the expres- sion of one’s own vulnerability even lead to a productive at- titude?»6 Prince Perri suddenly felt hot, as if the body would self-combust, and set out on a quest.

Unbeknownst to the evil queen or any of her royal colleagues, the prince held a series of five two-hour secret training ses- sions during the spring of 2018.7 Prince Perri masqueraded as a town crier, riding across the land and reading a notice calling all willful master’s architecture students for a course in ‹Unserious Architecture›. The notice read:

*

Hear ye, hear ye! «Very rarely do you see the word ‹hilari- ous› in the same sentence as the word ‹architecture›. There

might be joy, of a high-flown, transcendent, quasi-religious kind, or pleasure variously luxurious or minimalist, aes- thetic or ascetic, but we don’t see many straight-up gags.

Reverence is the order of the day. Irreverence won’t do; … What a mob of funsters we all are.»8

Respected leader from the Kingdom of Architectural The- ory, Naomi Stead, describes how humor has long been used by architectural critics as a means «to smuggle critique into the master’s house» in order to be both «amusing and critical.»9 She explains that the humor found in the critical designer blog FYNCT (Fuck Your Noguchi Coffee Table) is effective due to the fact that these designer-bloggers are so knowledgeable within their field and yet «have chosen to turn their flaying wit back onto the subject of their exper- tise.»¹⁰ They are able to be critical from the inside, because of their willingness to implicate themselves and their own profession in the process. They are not joking ‹about› design and the culture surrounding it; they are also part of the joke.

Come join a course in Unserious Architecture, a space of ex- perimentation with the words and methods that architects use, to take a critical look at the ‹serious› language of architecture and its values, and imagine otherwise. Weekly tasks will be co-produced, documented and collectively curated on a digital platform, giving insight into the field of ‹design practice research›. Preparation outside of your regular royal studios will be limited, while active participation, a sense of humor, and the willingness to be the butt of your own joke is required.

As an alternative critical approach, it asks us to take risks and be vulnerable together, to see our own royal design work from a different (queer) angle. It also asks that we defy Queen Franzine’s decree and take ourselves, and architecture, a little less seriously!

*

And so it began. Nineteen brave young architects from far and wide met on that faithful day in the pear grove, to train in the art of the unserious.¹¹ Little did they know, the evil drag queen got word of these secret meetings through her loyal sidekicks and royal henchmen who spied on suspects of deviant architectural activity.

Session 1: Five Minute Werk¹² Out!

Prince Perri welcomed the young architects and asked: Why work with ‹the unserious›? The prince explained that ‹the serious› is bound up with norms, habits, and assumptions of what is valued in architecture. If someone has made a ‹serious› proposal or if they are taken ‹seriously›, this usually means that the proposal or the person is considered with approval; they are valued. Within the architectural kingdom, the system of values that decides what is considered

‹serious› holds power. Working with ‹the unserious› is one way to question that power, along with its system of values, hence the royal decree.

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The first warm-up exercise was to create a common theoretical base. In smaller groups, participants read, discussed, and prepared a five-minute summary of key texts that dealt with humor as a critical tool and/or unserious practices in architecture or academia.¹³ The fearless knight of ‹queer seriousness›, Sir Gavin Butt of Visual Culture, asked: «What might be the power in embracing purportedly non-serious forms of behavior? Might there be a kind of politics to that?»¹⁴ While Despina Stratigakos, venerable sage of Feminist Architectural History, contemplated the lessons of Architect Barbie: «Inside architecture’s hallowed halls, Barbie’s ‹girlie› attributes were not a mark of oppression, but of resistance. These dolls looked you right in the eye and asked, ‹Why can’t architects wear pink?›»¹⁵

These texts had touched upon ideas and experiences that were relatable, with a language that wasn’t exclusionary, showing that humor can be used as a critical tool, even if there are risks involved. For something to be experienced as humorous, we have to ‹get it› and not feel like the object of ridicule. Camp humor is not mean-spirited. As the queer rule of camp humor goes, «You can’t camp about something you don’t take seriously.»¹⁶

Session 2: Critical Love Letters

Prince Perri could feel the deadly plague of academic seriousness spreading and knew that it was time to address critique and criticism, the central ‹serious› modes for learning and valuing within the architectural kingdom. The exercise was to critically reflect on the act of critique of a built work and an awareness of one’s own position in critically engaging with that work. The object of critique, The New Architecture School of the royal kingdom by the queen’s architects Tham & Videgård, was chosen for its familiarity to most of the group, as this was the location of their regular royal design studios.¹⁷

After a collective brainstorm to list all their complaints about the building they used every day (a traditional critique), the prince asked them to write love letters to the architects or architecture, conveying their ‹critical love› in inventive and humorous ways. Thanks to a magic potion from bell hooks, the revered sorceress from the Kingdom of Feminist Theory, everyone was able to adopt what she calls a ‹love ethic›, «to critically examine our actions to see what is needed so that we can give care, be responsible, show respect, and indicate a willingness to learn.»¹⁸ They tested how a shift in position (from critic to sweetheart) and in the words architects use (from criticism to critical love) could change the act of critique, through various writing forms, from text messages, to sonnets, to unrequited teenage love letters:

«Dear Architecture School,

What you do to me… I don’t know where to start… I run in circles over you. You make me dizzy. You hold me so tight.

You make me lose my breath. There’s nowhere I can hide…

I can’t eat, I can’t sleep, I get constant shivers… It feels like the best parts of you are out of my reach, if only I had the

guts to call you and maybe you would open up. It’s probably for the best… and even though I turn my back on you every night, I can’t help myself, I keep coming back. Some nights not leaving at all, and the few nights we spent together I still felt lonely… Love is blind. You’re still my favorite. I wouldn’t have it any other way.»¹⁹

Emboldened by this exercise, one of the participants post- ed their critical love letter within the walls of the royal kingdom’s New Architecture School, in an act of (loving) resistance. This did not go unanswered, as the evil queen kidnapped the participant and sent a spy in their place.

A master of illusion, Queen Franzine was one of the best drag queens in the land, so the exchange went undetected.

Session 3: Architectural Karaoke

The constant pressure of fighting the evil queen’s decree took its toll on the group. One participant became visibly irritable, so before Architectural Karaoke began, Prince Perri mentioned that Queen Franzine was once considered the greatest karaoke performer in the royal kingdom. The participant’s eyes lit up as they exchanged glances, and the prince felt warm and began to sweat. Caught off guard by unexpected feelings, Prince Perri avoided eye contact and began with the instructions: «Just as changing medium in the development of a design project can bring about new discoveries— moving from drawing to building a model, a change in genre can have a similar effect on textual ideas.

Today’s training involves listening to what architects say about architecture, and helping them re-say it with a song.»

In new groups, they identified ‹serious› architectural ideas and key themes expressed in a YouTube architect interview and translated them into ‹unserious› genres, by propos- ing alternate lyrics of at least one verse and chorus from a cheesy pop song. The session ended with a group sing- along. French architect Odile Decq, known for her use of bold colors, met Madonna’s ‹Material Girl› 1984, with lyrics like: «Some use orange. Some use yellow. I think they‘re ok.

If they don‘t give me proper color, I just walk away.»²⁰ There were two renditions of Indian architect Anupama Kundoo’s ideas on time, luxury, and craftsmanship; first transformed by Cindi Lauper’s ‹Time After Time› 1983, followed by ‹that›

participant’s performance of a heart-wrenching rendition of Bonnie Tyler’s ‹Total Eclipse of the Heart› 1983. «And I need to craft tonight. And I need it more than ever. And if you only craft this right. We‘ll be crafting on forever.»²¹ Prince Perri became flushed.

Session 4: Chillin’ Like A Villain

Others noticed. There was gossip. Something was strangely familiar about this participant, but the prince couldn’t put their finger on it… Regardless, this was the last training session in preparation for the final examination, an exercise in positioning and repositioning through fictional personas, while connecting movement of bodies in space to architectural conditions.

Chillin' Like a Villain, KTH, Stockholm, 2018.

Photograph: Iwa Herdensjö

Video stills, 2018.

Queen Franzine (Moa Sellerfors)

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148

A conversation with Sam Keller

about generations

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Prince Perri asked everyone to come dressed as their favorite villain, an alter ego (much like drag), including dom- inant personality traits, strengths/weaknesses, special physical attributes, bad habits, comportment, catch phrases, as well as any necessary objects or props. Remembering the words of the sorceress, «When we all take risks, we partici- pate mutually in the work of creating a learning communi- ty.», the prince dressed in costume as well.²² Most villains came from works of literature or film, except for ‹that› participant, who dared to come as the evil queen! The likeness was uncanny!

As she beamed with confidence, Prince Perri pretended not to be awestruck by the drag skills of this queen. Fortunate- ly, the guest instructor, Squire Iwa Herdensjö, took over.²³ Expert in practices connecting design to choreography, she taught the group four basic choreographic moves that dealt with architectural elements or conditions; climbing stairs, opening doors, twisting torsos (Calatrava reference), and polishing façades (rubbing one’s butt on a surface). They rehearsed together and broke off into smaller groups, with the task of implementing and adapting these four moves to their new personas. Each group was to clip a short film to view together at the end of the session.

Although they were beginners in expressing an architectural idea through movement, the personal distance created by the personas made ‹dancing as architect› easier, pro- viding a fun way to interact with built space in full scale.

Convinced that their cause would defeat the plague once and for all, they invited architects throughout the royal kingdom to the final spectacle. Meanwhile, the queen (yes, it was her) had such a good time that she released her captive. Participation in the tactics of unserious architecture had brought back fond memories from her queer campy youth, so Queen Franzine came to the World Pre- miere. Everyone discovered that the queen had infiltrated the group. Now it all made sense! But… did this mean? No.

Prince Perri couldn’t have fallen in love with the evil queen!

In the past, the prince did have a thing for ‹bad girls›, but come on! That’s what all the royal therapy was for!

Final Examination: World Premiere!

When preparing the final task of the soon to be unserious architects, Prince Perri was inspired by the wizard John Bohannon’s pedagogical trickery, in his annual ‹Dance your PhD› contest.²⁴ With skills gleaned in the previous session, participants were to prepare a two-minute video of a chore- ographed dance depicting some aspect of their royal studio projects; a construction detail, the movement of light, a se- quence of spaces, or even an underlying theoretical idea.

The production was to include costumes, location, lighting, sound, text, and anything that helped convey a story and left the viewer wondering: Are you serious?

All nineteen architects proved through their architectural performances that they did not take themselves too seriously. After the screening, the prince made a short speech:

«This training has introduced critical theory and possible,

although unconventional, approaches to design research, as a complement to your royal studio projects. It’s difficult to know what questions these unserious practices will raise and how they might shift royal architectural values. I do know, however, that the ‹youthful› qualities of playfulness, curiosity, and a willingness to show vulnerability will serve you well as survival skills in the future. The confidence to try things that might fail, to do things that aren’t perfect and put them out there anyway, is a true sign of brave unserious architects.» The crowd cheered and celebrations began.

And what of the prince and the queen, you may ask? This is a fairytale after all. Well, in this queer version, Prince Perri believed that marriage was a patriarchal institution and enjoyed the freedom of living on their own. Rather than marry the queen and assume the throne as (drag) king, the prince left the royal architectural kingdom altogether, in search of the mythical land of meritocracy. Perri continued to meet Franzine— who renounced her title and returned to the drag scene, in a casual and consensual relationship.

And Prince Peregrine Mehno Paughs and Queen Franzine von Patri-Archy lived happily ever after.

The End

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166 167167 166

l’on consomme un peu partout (…), à toute heure (internet), et globalement de mille manières»

2 Pier Vittorio Aureli, ‹Manet: Images for a World Without People›, 2012. http://thecityasaproject.org/2012/09/manet-images-for-a- world-without-people/

3 Ibid.

4 Fala Atelier, Interview 10.01.2019

5 August Schlegel, ‹Vorlesungen über schöne Litterature und Kunst›, 1801-02, Translation by Harry Francis Mallgrave.

6 Harry Francis Mallgrave, ‹The architect’s Brain: Neuroscience, Creativity, and Architecture›, 2010, p. 65.

7 Rowe Colin, Fred Koetter, ‹Collage City›, 1987 8 David Hockney, A Bigger Splash, 1967 9 Garage House, Fala Atelier

10 Henri Rousseau, le Rêve, 1910 11 Frame house, Other Architects 12 Fala Atelier, Interview 10.01.2019 13 Other Architects, Interview 30.01.2019

14 Ibid

15 Steven Holl, see Jennifer A. E. Shields, collage and architecture, edited by Taylor and Francis, 2014. p. 2

P.143 PRINCE PEREGRINE AND THE EVIL DRAG QUEEN—A QUEER ARCHITECTURAL FAIRYTALE ON SERIOUSLY VALUING THE UNSERIOUS

Brady Burroughs

1 Fabio Cleto, ‹Camp: Queer Aesthetics and the Performing Sub- ject›, Edinburgh: Edinburgh University Press 1999.

2 Gender neutral pronouns: they, them, their.

3 Sara Ahmed, ‹Living a Feminist Life›, Durham: Duke University Press 2017, p. 36-39.

4 Brady Burroughs, ‹Architectural Flirtations: A Love Storey›, Stockholm: ArkDes 2016.

5 Brady Burroughs, ‹What’s Love Got To Do With It?›, in: Saida Brückner, Dorothee Hahn, Julius Henkel, Selina Sigg (Eds.),

‹trans 32: Liebe›, ETH Zurich: gta Verlag 2018.

6 Call For Contributions, Trans 34 Youth: www.trans.ethz.ch/lang- en/article/53. Retrieved: 3.1.2019.

7 The Unserious Architecture course included seven seminars.

Two have been omitted, Architect BINGO and Room Specs Gone Wild, to limit the length and scope of this article.

8 Naomi Stead, ‹About That Noguchi Coffee Table: On humor in design criticism›, in: ‹Places Journal›, October 2014. https://placesjournal.org/article/about-that-noguchi-coffee-table/. Retrieved:

25.1.2018.

9 Ibid.

10 Ibid.

11 Participants in the master’s elective course Unserious Architec- ture, held at KTH in Stockholm, spring 2018: Ingrid Bernerstedt, Malin Bjärkstedt, Tove Ekström, Emelie Frisk, Diana Güney, Leni Ellburg Hillström, Robin Julin, Philip Lindh, Isa Da Costa Lopes, Aleksandra Mladenovic, Elin Landerö Monie, Sandra Myrnäs, James Oakley, Sarah Peers, Annkristin Rohrbach, Malin Rosvall, Moa Sellerfors, Balu Suresh, (Phoebe) Wong Ho Ching 12 Werk is a drag term meaning «To strut» or «To give an outstand-

ing presentation.» See: http://rupaulsdragrace.wikia.com/wiki/

RuPaul’s_Drag_Race_Dictionary#W. Retrieved 4.1.2019.

13 Mathias Danbolt, ‹Dismantling the Serious Machine: An Interview with Gavin Butt›, in: ‹Trikster-Nordic Queer Journal

#3› 2009, http://trikster.net/3/butt/1.html. Retrieved: 25.1.2018;

Nathan Hall, ‹@AcademicsSay: The Story Behind a Social-Me- dia Experiment›, in: ‹The Chronicle of Higher Education›, July 1, 2015. http://chronicle.com/article/AcademicsSay-The-Sto- ry/231195. Retrieved: 25.1.2018; Naomi Stead, ‹About That Noguchi Coffee Table: On humor in design criticism›, in:

‹Places Journal›, October 2014. https://placesjournal.org/article/

about-that-noguchi-coffee-table/. Retrieved: 25.1.2018; Despina Stratigakos, ‹What I Learned From Architect Barbie›, in: ‹Places Journal›, June 2011. https://placesjournal.org/article/what-i- learned-from-architect-barbie/. Retrieved: 25.1.2018.

14 Danbolt, 2009.

15 Stratigakos, 2011.

16 Christopher Isherwood, ‹The World In The Evening›, in: Fabio Cleto (Ed.), ‹Camp: Queer Aesthetics and the Performing Sub- ject›, Edinburgh: Edinburgh University Press 1999 (1954), p. 51.

17 www.dezeen.com/2015/12/07/kth-school-of-architecture-stockholm-royal-institute-of-technology-tham-videgards-stockholm-weathering-steel-corten/. Retrieved 25.1.2018.

18 bell hooks, ‹all about love: new visions›, New York: Harper Perennial 2000, p. 93-94.

19 Excerpt of critical love letter by Malin Bjärkstedt, Emelie Frisk,

Ingrid Bernerstedt, and Sarah Peers, 2018.

20 Excerpt from karaoke lyrics by Balu Suresh, Elin Landerö Monie, and Malin Bjärkstedt.

21 Excerpt from karaoke lyrics by Sandra Myrnäs, Diana Güney, Tove Ekström, Leni Ellburg Hillström.

22 bell hooks, ‹Teaching Critical Thinking: Practical Wisdom›, NY and London: Routledge 2010, pp. 20-21.

23 Iwa Herdensjö is a graphic designer, illustrator, set/costume designer and choreographer based in Stockholm, Sweden, https://

iwas.se/Home.

24 Elizabeth Weingarten, ‹You Move Like a Sex-Crazed Fruit Fly›, in: ‹Slate›, October 2011. www.slate.com/blogs/future_

tense/2011/10/20/dance_your_ph_d_winners_of_the_annual_in- terpretive_dance_contest.html. Retrieved 5.1.2019.

P.153 HEDONIC MOTIVATION AND THE PERFORMATIVE SELF Fabian Reiner

1 Michalinos Zembylas, ‹Risks and pleasures: a Deleuzo—Guat- tarian pedagogy of desire in education›, in ‹British Educational Research Journal›, Vol. 33, No.3, 2007, p.331

2 Tim O’Keefe, ‹The Cyrenaics on Pleasure, Happiness and Fu- ture-Concern›, in ‹Phronesis›, Vol. 47, No. 4, 2002, p. 395 3 Jasmina Sopova, ‹Michel Onfray: A Philosopher of the Enlight-

enment›, in ‹The UNESCO Courrier›, No. 9, 2007, p. 6 4 Rikke Toft Nørgård, Claus Toft-Nielsen, Nicola Whitton, ‹Playful

learning in higher education: developing a signature pedagogy›, in ‹International Journal of Play›, Vol. 6, No. 3, 2017, p. 278 5 Mark Rakatansky, ‹Identity and the Discourse of Politics in Con-

temporary Architecture›, in ‹Tectonic Acts of Desire and Doubt›, 2012, p.235

6 Susan Engel, ‹The Hungry Mind: the Origins of Curiosity in Childhood›, 2015

7 Kent Berridge, Terry Robinson, ‹What is the role of dopamine in reward: hedonic impact, reward learning, or incentive salience?›, in ‹Brain Research Reviews›, No. 28, 1998, p. 311

9 Ibid., p.339 10 Ibid., p. 337

11 Frank Pignatelli, ‹Education and the subject of desire›, in ‹Re- view of Education/Pedagogy/Cultural Studies›, No. 20, 1999, pp.

337-352

III

P.81 A NATION’S FACELIFT IN THREE ACTS: IRAN’S PLEDGE FOR A NEW IDENTITY

Alexander Poulikakos

1 Defined as such by Oxford Dictionaries URL:https://en.oxford- dictionaries.com/definition/social_engineering, 2019 2 Borj-e Azadi commissioned by Mohammed Reza Shah Pahlavi

to mark 2500 year anniversary of Persian Empire, Architect:

Hossein Amanat, built 1971 P.105 MANIFEST DES NON-AGEING

Claudio Weber

1 Naomi Watts, für L'Oréal Paris

P.101 EGYPT’S NEW CAPITAL: YEARNING FOR URBAN YOUTH Charlotte Malterre-Barthes

1 «Egypt Unveils Plans to Build New Capital East of Cairo,» ‹BBC News›, 2015. http://www.bbc.com/news/business-31874886 (accessed 29 December 2017).

2 The involvement of Dubai-based real-estate developer Emaar Properties PJSC, as well as the one of semi-private Chinese developer China Fortune Land Development have been volatile, changing from day to day.

3 Matt Walker, «Egypt’s New Capital Attracts New Invest- ments, Also Locks Country into Chinese Loans, Technology,»

‹Daily News Egypt›, 2018. https://www.dailynewsegypt.

com/2018/10/31/679701/ (accessed 4 January 2018).

4 Fahmy, Khaled, «Chasing Mirages in the Desert,» ‹Cairo Observ- er›, March 2015, http://cairobserver.com/post/113543612414/

chasing-mirages-in-the-desert (accessed 7 January 2019).

5 See Marc Angélil and Charlotte Malterre-Barthes, ‹Cairo Desert Cities›, Berlin: Ruby Press, , 2017.

6 Jeroen Warner, «The Toshka Mirage in the Egyptian Desert—

River Diversion as Political Diversion,» ‹Environmental Science &

Policy› 30, 2013.

7 René Boer, «Erasing the Remnants of a Revolution,» ‹Failed Architecture›, 2015, https://www.failedarchitecture.com/erasing-the-remnants-of-a-revolution/.

8 Ursula Lindsay, «The Anti-Cairo,» ‹Places Journal›, 2017. https://

doi.org/10.22269/170314 (accessed 06 Jan 2019).

9 Associated Press, «What Happens to Cairo after Egypt Builds Its New Capital?» ‹Haaretz ›, 2018. https://www.haaretz.com/

world-news/what-happens-to-cairo-after-egypt-builds-it-s-new- capital-1.6660270 (accessed 6 January 2019).

10 Salma Mansour, «New Law, Old Problems: The Egyptian Rent Control Dilemma» ‹The Chronicles› 1, Spring 2010.

11 Associated Press.

12 See Janet L. Abu-Lughod, ‹Cairo: 1001 Years of the City Victori- ous›, Princeton: Princeton University Press, 1971.

P.95 REIMAGINING HONG KONG’S SPATIAL FUTURE: UMBRELLA MOVEMENT FOUR YEARS ON

Wilson Fung

1 Ortmann, Stephan. «The umbrella movement and Hong Kong’s protracted democratization process.» Asian Affairs 46.1 (2015):

32-50.

2 Ming Pao (in Chinese). «後雨傘運動：告別政治冷感的年代.» 明報新聞網—每日明報 Daily News, 29 Nov. 2014, news.mingpao.com/pns/

觀點/article/20141129/s00012/1417197542046/後雨傘動-告別政治冷感的年代.

3 Ming Pao. «金鐘出現風力發電裝置 (23:00)—20141103—港聞.» 明報新聞網—每日明報 Daily News, 3 Nov. 2014, news.mingpao.com/

ins/港聞/article/20141103/s00001/1415026900986/金出現風力發電裝置.

4 Foucault, Michel. «Space, knowledge and power.» The foucault reader 239.256 (1984).

5 Rosenberger, Robert. «How Cities Use Design to Drive Home- less People Away.» The Atlantic, Atlantic Media Company, 19 June 2014, www.theatlantic.com/business/archive/2014/06/

how-cities-use-design-to-drive-homeless-people-away/373067/.

6 Luk, W. L. «Privately owned public space in Hong Kong and New York: The urban and spatial influence of the policy.» The 4th International Conference of the International Forum on Urbanism (IFoU). 2009.

7 Asia Art Archive. «Privatising Public Space: Times Square Incidents in Hong Kong.» Search | Kwok in Beijing | Asia Art Archive, 1 Apr. 2015, aaa.org.hk/en/ideas/ideas/privatising-public-space-times-square-incidents-in-hong-kong.

8 Kuo, Lily, and Lily Kuo. «Hong Kong’s Umbrella Move- ment Is Starting to Splinter.» Quartz, Quartz, 7 Nov. 2014,

qz.com/292835/hong-kongs-umbrella-movement-is-starting-to- splinter/.

9 Siu, Phila, and Yu, Alan. «Occupy Central Marshals Keep an Eye over Hong Kong’s Democracy Protesters.» South China Morning Post, South China Morning Post, 11 November 2014, www.scmp.com/news/hong-kong/article/1637340/occupy-central-marshals-keep-eye-over-hong-kongs-democracy-protesters.

10 Mitchell, Don. «The end of public space? People’s Park, defini- tions of the public, and democracy.» Annals of the association of american geographers 85.1 (1995): 108-133.

11 Rancière, Jacques. «Politics, identification, and subjectiviza- tion.» October 61 (1992): 58-64.

12 Soja, Edward W. «The socio-spatial dialectic.» Annals of the Association of American geographers 70.2 (1980): 207-225.

13 Pickerill, Jenny, and Paul Chatterton. «Notes towards autono- mous geographies: creation, resistance and self-management as survival tactics.» Progress in human geography 30.6 (2006):

730-746.

14 Cammaerts, Bart, Alice Mattoni, and Patrick McCurdy, eds.

Mediation and protest movements. Intellect Books, 2013.

15 Fromm, Erich. Escape from freedom. Macmillan, 1994. A wiki- pedia.org/wiki/Umbrella_Square#/media/File:Cellphones_in_

Hong_Kong_during_2014_Hong_Kong_protests.jpg B http://wendytang.info/photos-occupy-central/dsc00031/

C www.facebook.com/HKPSI/photos

/a.1141349992596653/1141350099263309/?type=3&theater P.115 BLOCK TO BLOCK BLACK AND HISPANIC YOUTH AGAINST

NEW YORK CITY Lorenzo Lazzari

1 See Dan Berger, Outlaws of America. The Weather Underground and the Politics of Solidarity, AK Press, Chico 2006, pp. 89-105.

2 Peter Shapiro, Turn The Beat Around. The Secret History of Disco, Faber and Faber, New York 2009, p. xvii; 1. ed. 2005.

3 Tim Lawrence, Life and Death on the New York Dance Floor, 1980–1983, Duke University Press, Durham 2016, p. 3.

4 Parasite 2.0, «Cosmology, Subcultures and Urban Wilderness», in Archinect, 12 maggio 2017, https://archinect.com/features/article/150007079/cosmology-subcultures-and-urban-wilderness.

Consulted on December 19, 2018.

5 See Raymond Girard, Jacques Kaprielian, «New York. La démesure et la peur», in Le troisième œil, October 13, 1972.

6 See Jeff Chang, «It’s a Hip-Hop World», in Foreign Policy, 163, 2007, pp. 61-62.

7 Jeff Chang, Can’t Stop Won’t Stop. A History of the Hip-Hop Generation, Ebury Press, London 2007, pp. 64-65; 1. ed. St Martins Press, New York 2005.

8 «Block Parties», in The Outlook, October 16, 1918, 246. Avail- able at http://www.unz.com/print/Outlook-1918oct16-00246.

Consulted on February 20, 2018.

9 Ibid.

10 Jean-Jaques Rousseau, Politics and the Arts. Letter to M.

d’Alembert on the Theatre, Cornell University Press, Ithaca-New York 1968, p. 126; or. ed. Lettre à d’Alembert sur les spectacles, Marc-Michel Rey, Amsterdam 1758.

11 Furio Jesi, Spartakus. The Symbology of Revolt, Seagull Books, London-New York-Calcutta, Seagull Books 2014, p. 53; or. ed.

Andrea Cavalletti (ed.), Spartakus. Simbologia della rivolta, Bollati Boringhieri, Turin 2002.

12 «One of the essential ways of describing carnival focuses upon the ritual inversions which it habitually involves. […] Carni- val gives symbolic and ritual play, and active display, to the inmixing of the subject, to the heterodox, messy, excessive and unfinished informalities of the body and social life. It attacks the authority of the ego […] and flaunts the material body as a pleasurable grotesquerie–protuberant, fat, disproportionate, open at its orifices». Peter Stallybrass, Allon White, The Politics and Poetics of Transgression, Methuen, London 1986, p. 183.

13 Iain Chambers, Urban Rhythms. Pop Music and Popular Culture, Macmillan Education, London 1990, p. 190; 1. ed. 1985.

IV

P.129 #COLLAGE: A CATALOGUE OF FRAGMENTED ARTWORK Julia Martignoni & Karina Breeuwer

1 François Chaubet, ‹La mondialisation culturelle›, Paris 2013, p.

68. original text:«cette hyperculture globalisée, ses répertoires inépuisables et séduisants de récits et d’images procurent aux individus des éléments d’identification essentiels (…) On se trouve en effet dans l’hyperconsommation dans le sens où