Applied Science, Faculty of
Architecture and Landscape Architecture (SALA), School of
DSpace
UBCV
Huser, Emily
The thesis imagines a speculative narrative set in the spaces of Kim Stanley Robinson’s science fiction novel New York 2140 to explore architecture’s relationship with capitalist urbanization. The novel caricatures a future New York beset by disastrous impacts of climate change and a housing crisis precipitated by financial speculation. The thesis speculates on architects’ role in this future society. While architecture plays a role in the negative social impacts resulting from capital accumulation through the built environment, buildings in and of themselves lack agency. The thesis questions the architectural discipline’s focus on design objects, as opposed to alternative modes of practice, as solutions to the negative impacts of capitalist urbanization.
This Is Not a Design Project A Work of New York 2140 Architectural Fanfiction Emily Huser Bachelor of Architectural Science British Columbia Institute of Technology, 2017 Submitted in partial fulfillment of the requirements for the degree of Master of Architecture in The Faculty of Graduate Studies, School of Architecture and Landscape Architecture, Architecture Program Committee: Dr. Sara Stevens (Chair) John Bass Jennifer Cutbill University of British Columbia © December 2021 ii Abstract The thesis imagines a speculative narrative set in the spaces of Kim Stanley Robinson’s science fiction novel New York 2140 to explore architecture’s relationship with capitalist urbanization. The novel caricatures a future New York beset by disastrous impacts of climate change and a housing crisis precipitated by financial speculation. The thesis speculates on architects’ role in this future society. While architecture plays a role in the negative social impacts resulting from capital accumulation through the built environment, buildings in and of themselves lack agency. The thesis questions the architectural discipline’s focus on design objects, as opposed to alternative modes of practice, as solutions to the negative impacts of capitalist urbanization. iii This thesis was undertaken on the traditional, ancestral, and unceded territory of the Musqueam people. iv Table of Contents Front Matter Abstract ii List of Figures v Acknowledgments viii Part One: Field of Inquiry 1 Introduction 3 Context Urbanization 4 Architectural Culture 7 Architectural Practice 13 Method Overview 19 Precedents 22 Part Two: The New York 2140 Architectural Fanfiction 35 End Matter Bibliography 131 v List of Figures Figure 1. Ville Contemporaine. Jeanneret, Pierre & Le Corbusier. 1922. 10 Figure 2. Big U. Bjarke Ingels Group. 2014. 12 Figure 3. Atlas of Another America. Keith Krumweide. 2016. 24 Figure 4. Exodus, or the Voluntary Prisoners of Architecture. Rem Koolhaas et al. 1972. 26 Figure 5. Supersurface. Superstudio. 1972. 28 Figure 6. No-Stop City. Archizoom. 1969. 30 Figure 7. The Future Archaeologist in Citizens of No Place. Jimenez Lai. 2021. 32 Figure 8. Kilamba. Santa Martha, 2011. 34 Figure 9. New York 2140. Stephan Martiniere. 2017. 39-40 Figure 10. Map of Manhattan in 2140. Author. 41-2 Figure 11. Diagram of relationship between the novel and the thesis. Author. - 43-4 Figure 12. Map of Manhattan. Author. 47-8 Figure 13. Render of Heavenly Sky Pillar. Author. 49-50 Figure 14. Organizatonal chart of Fantastical Forms Ltd. Author. 51-2 Figure 15. Diagram of building production in the dry city. Author. 53-4 Figure 16. Floor plans of apartment unit in the dry city. Author. 55-6 Figure 17. Floor plan of apartment unit in the dry city. Author. 57-8 Figure 18. Diagram of Fantastical Forms Ltd. staff forming the Collective.. Author. 61-2 Figure 19. Map of Manhattan.. Author. 63-4 Figure 20. Image of Metropolitan Life Tower. Author. 65-6 Figure 21. Plan of Metropolitan Life Tower. Author. 67-8 Figure 22. Plan of Metropolitan Life Tower. Author. 69-70 Figure 23. Metropolitan Life Tower section. Author. 71-2 Figure 24. Detail of Metropolitan Life Tower section. Author. 73-4 Figure 25. Detail of Metropolitan Life Tower section. Author. 75-6 Figure 26. Diagram of the cooperative. Author. 79-80 Figure 27. Metropolitan Life Tower section. Author. 81-2 Figure 28. Diagram of building cooperative network in the wet city. Author. 83-4 Figure 29. Diagrams of the cooperative. Author. 85-6 Figure 30. Metropolitan Life Tower plan. Author. 87-88 Figure 31.-Metropolitan Life Tower plan. Author. 89-90 Figure 32. Diagram of the Spectacular Spaces Committee. Author. 91-2 Figure 33. Metropolitan Life Tower section. Author. 93-4 Figure 34. Metropolitan Life Tower section detail. Author. 95-6 vi Figure 35. Image of water damage. Author. 99-100 Figure 36. Diagram of exchange between Fantastical Forms Ltd. and cooperative through staff / members. Author. 101-2 Figure 37. Render of Metropolitan Life Tower. Author. 103-4 Figure 38. Render of Metropolitan Life Tower. Author. 105-6 Figure 39. Diagram of repairs. Author. 107-8 Figure 40. Diagram of repairs. Author. 109-10 Figure 41. Diagram of repairs. Author. 111-12 Figure 42. Diagram ofspace allocation. Author. 113-114 Figure 43. Metropolitan Life Tower plan. Author. 117-8 Figure 44. Metropolitan Life Tower plan. Author. 119-20 vii viii Acknowledgments Thank you to my thesis chair Sara Stevens for her invaluable guidance, support, and kindness throughout the project. Thank you to my committee John Bass and Jennifer Cutbill, for their time and feedback on the project's development. Thank you to Natalie Nguyen, Jeremy Shigemitsu, and Ranveer Singh Sandhu for your encouragement, help, and friendship during our time at SALA .1 2 Part One: Field of Inquiry 3 Introduction The thesis topic is architecture’s relationship to growth- and profit-driven urbanization in terms of the tension between architecture in service of capital accumulation and social justice. While architects are implicated within these processes, buildings in and of themselves lack agency. Therefore, the thesis will explore architects’ roles in working towards equitable processes and outcomes of urbanization through a critique of architecture’s role in naturalizing the effects of capitalist urbanization. The thesis will argue that design proposals alone will not solve the problems resulting from profit- and growth-driven urbanization. Therefore, the thesis will use a fictional narrative to critique the architectural discipline’s focus on design proposals alone, instead of alternative modes of practice, as solutions to systemic built-environment issues. Through this critique, the thesis will argue for new or alternative techniques that shift the focus from the design of buildings towards synthetic problem-solving broadly defined. The thesis will also argue for new or alternative constituencies for architectural services, with a view of architectural practice as social engagement, seeking to situate building production within social and economic systems in a way that aims to challenge the power hierarchies of those systems. 4 Urbanization This section of the report outlines factors that influence the relationship of architecture and capitalism, including the impact of capitalism and urbanization, urban planning policy approaches to managing the relationship between capitalism and urbanization. The built environment reflects political and economic hierarchies. As buildings are significant investments, economic and political elites can most afford to build and therefore tend to influence the built environment the most. The development of capitalism added a dimension to the relationship between economic power and the built environment, as geographer David Harvey argues, “capitalism is perpetually producing the surplus product needed by urbanization, and capitalism needs urbanization to absorb the surplus product it perpetually produces”1. With the advent of finance capitalism, urban space became a commodity itself. Philosopher and sociologist Henri Lefebvre argues that the commodification of the built environment, brought about by neoliberal political approaches favouring free-market capitalism, deregulation, and reduction in government spending2 , exacerbate material inequalities, as investment in and growth of cities become ends in and of themselves3. With economic growth as a primary objective of urban policy, urban planner Samuel Stein notes that all actors in the production of the built environment (including politicians, planners, 1 David Harvey, Rebel Cities (London: Verso, 2012), 5-6. 2 Oxford English Dictionary, 3rd ed. (Oxford: Oxford University Press, 2003), s.v. “Neo-liberalism.” 3 Henri Lefebvre, The Urban Revolution, trans. Robert Bononno (Minneapolis: University of Minnesota Press, 2003), 159 5 architects, and developers) work to increase property values by enhancing the investment function of the built environment. With ever-increasing property values, lower income residents and less financially viable uses can be displaced, reinforcing “the asymmetries of economic and political power embedded in the practices of capital accumulation”4. Also, the increased integration of the built environment into global financial markets, argues architect Matthew Soules has increased the importance of investment value at the expense of use-value in the production of the built environment5. This tension is acute in housing. Financialization has caused widespread lack of access to housing – rising housing markets driven by speculative investment can decrease housing affordability and falling housing markets can lead to wealth destruction and dispossession. Architect Jack Self and architectural historian Shumi Bose argue that architecture contributes to the financialization of housing, as architectural design can bolster market faith, but the ability for housing to function primarily as an investment or as shelter is determined by factors beyond architects’ control. 6 While economic growth and equity are not necessarily opposing objectives of urbanization, alternatives to capitalist policy approaches attempt to address these economic and political assymetries. 4 James Connolly and Justin Steil, “Introduction: Finding Justice in the City.” In Marcuse, Searching for the Just City, 4. 5 Matthew Soules, “Financial Formations”, in Industries of Architecture, ed. Nick Beech, Katie Lloyd Thomas and Tilo Amhoff (Taylor and Francis, 2015), 204. 6 Jack Self and Shumi Bose, “Introduction: Fulcrum” in Real Estates: Life Without Debt (London: Bedford Press, 2014) 6 The concept of the “just city” is an urban policy approach based on ensuring all residents have the right to inhabit and shape their cities. Urban planners James Connolly and Justin Steil note that the concept of the “just city” is meant to provide a guiding framework for both discourse and action in urban planning. 7 Urban planner Susan Fainstein argues that urban planners must balance the objectives of economic growth and redistributive justice. Based on the concept of the “just city”, she argues that governments should work towards ensuring all residents can exercise their rights to shape their cities through equitable processes and outcomes of urbanization. Governments should also work towards ensuring residents have the right to inhabit their cities by emphasizing public space and adequate housing as policy objectives8. Contrastingly, David Harvey and urban planner Cuz Potter argue that a “just city” cannot be achieved within an economic system based on growth and capital accumulation, because the economic system supports entrenched class power hierarchies in a way that precludes justice. 9 The urban policy context plays an important role in determining the types of projects that get built, and who benefits from the value created through architectural design. 7 Connolly and Steil, “Introduction,”5. 8 Susan S. Fainstein, “Planning and the Just City.” In Marcuse, Searching for the Just City, 19. 9 David Harvey and Cuz Potter. “The right to the Just City.” In Marcuse, Searching for the Just City, 40. 7 Architectural Culture The architectural discipline recognizes the negative social and environmental impacts of profit- and growth-driven urbanization discussed in the previous section and believes the discipline, with its expertise in shaping the built environment, can and should play a role in solving these problems. These problems result from the interaction of political, economic, and social structures with architectural design, but architects often propose speculative solutions based only on architectural design. The proposed design solutions are often ineffective as the underlying structures that caused the problems remain. Furthermore, these speculative architectural design solutions can distract from other potential modes of engagement with the structural causes of built-environment problems. The argument is based on both historical and contemporary examples, outlined in the following paragraphs. Historically, the architectural discipline’s articulation of progressive social objectives paralleled the rise of capitalist urbanization. Architectural historian Manfredo Tafuri argued that the modernist movement sought to reclaim disciplinary control over the form of the built environment from extra-disciplinary exigencies of capitalist urbanization, by attempting to expand the discipline’s social relevance by aligning architectural production more closely with industrial capitalist production methods10. The architectural avant-garde took on the negative impacts of capitalist urbanization as design problems and failed.11 These avant-garde design proposals are also argued to have culturally advanced the project of capitalist urbanization in a way that was contrary to their stated objectives. 10 Manfredo Tafuri, “Problems in the Form of a Conclusion” in Architecture and Utopia: Design and Capitalist Development, (Cambridge, Mass: MIT Press, 1976), 170-182. 11 Charles Jencks, The Language of Post-Modern Architecture, (New York: Rizzoli, 1977), 9. 8 Architectural historian Pier Vittorio Aureli, in his discussion of Tafuri’s argument, states that the architectural avant-garde movements were the ideological prefiguration of upcoming effects of capitalist development, and therefore architectural culture played a role in naturalizing the effects of this development. The utopian rhetoric used to frame these design proposals was argued to have helped culturally naturalize the effects of capitalist urbanization.12 Architect Giancarlo De Carlo builds on this argument. He argues that the definition of architecture should be expanded to include all of the objects and subjects in the built environment, and that architecture’s primary responsibility should be to the general public. The article also argues that, though structures must change to make space for architecture that does not perpetuate structural problems, the architectural discipline must develop the vision of alternative architecture. He provides the example of avant-garde designs for mass housing, that emphasized spatial efficiency to make the housing affordable by reducing construction costs. These proposals did not ultimately solve the problem of providing adequate housing for all, but did normalize the idea that affordable housing should be spatially constrained. 13 Modernist aesthetic and planning principles were widely adopted for public housing design but abandoned as they failed to live up to utopian expectations. The architectural discipline also deemphasized progressive social objectives 14 12 Pier Vittorio Aureli, “Manfredo Tafuri, Archizoom, Superstudio, and the critique of architectural ideology” in Architecture and Capitalism: 1845 to the Present, ed. Peggy Deamer, (New York: Routledge, 2014), 138. 13 Giancarlo De Carlo, “Architecture’s Public,” in Architecture and Participation, ed. Peter Blundell Jones, Doina Petrescu, and Jeremy Till (New York: Spon Press, 2005), 8. 14 Jeremy Till, Architecture Depends, (Cambridge, Mass: MIT Press, 2009), 174-178. 9 However, as discussed in the Architectural Practice section, the potential architecture’s expanded social impact is again a disciplinary concern. Both 2016 Pritzker prize winner Alejandro Aravena, and 2021 Pritzker prize winners Anne Lacaton and Jean-Philllippe Vassal, were cited for the consideration of social responsibility in their work. Aravena’s “holistic understanding of the built environment” that connects “social responsibility [and] economic demands with design of the human habitat and the city” in a way that “meaningfully expanded the role of the architect” was emphasized. 15 Furthermore, Lacaton and Vassal are “renewing the legacy of modernism” through a “democratic approach to architecture [that] integrate[s] architectural quality and environmental responsibility”. 16 The contemporary disciplinary engagement with expanded social impact also intersects with environmental sustainability. Climate change is an urgent disciplinary concern that is also being exacerbated by profit- and growth-driven urbanization. Furthermore, groups already economically marginalized have less resources with which to deal with the impacts of climate change. 17 I believe the critique articulated by Tafuri and De Carlo, can be extended to include the architectural discipline’s engagement with climate change. Landscape architect and urban planner Billy Fleming argues that design professionals should focus on supporting the climate movement, rather than promoting the ability of design to 15 “Jury Citation”. Alejandro Aravena. The Pritzker Architecture Prize. 2016. www.pritzkerprize.com 16 “Jury Citation”. Anne Lacaton & Jean-Philippe Vassal. The Pritzker Architecture Prize. 2021. www.pritzkerprize.com 17 Yosef Jabareen. "Planning the Resilient City: Concepts and Strategies for Coping with Climate Change and Environmental Risk." Cities 31, (2013): 221. 10Figure 1: Avant-garde modernist urban planning proposals culturally advanced the project of capi-talist urbanization while attempting to resolve its negative social impacts.Jeanneret, Pierre & Le Corbusier. 1922. Ville Contemporaine.11 address climate change. He contrasts the role design professionals have played in design competitions that allocate funding for resiliency projects with the role design professionals could play in articulating the Green New Deal. He describes the Rebuild by Design competition launched by the U.S. Department of Housing and Urban Development, where multidisciplinary design teams worked with communities to develop innovative proposals. Thought the competition was meant to allocate funding to execute the projects, many have not been built or are being executed in a way that negates both the design and community engagement efforts. Fleming contrasts the competition with the Green New Deal policy proposal, which outlines an intent for extensive investment in the built environment to enable the U.S. to adapt to climate change. He argues that design professionals would be more effective in addressing climate change by supporting the political movement proposing the Green New Deal and working to “reinstitutionalize design” in public service agencies that would be responsible for implementing the Green New Deal.18 The thesis intends to focus primarily between the relationship between architecture and the creation of value within capitalism, not architecture’s role in climate change adaptation. However, as the proposed trajectory of the thesis involves speculation on future built-environment conditions, the thesis will engage with the impact of climate change on value creation in the built-environment. 18 Billy Fleming, “Design and The Green New Deal”, Places Journal, April 2019, https://placesjournal.org/article/design-and-the-green-new-deal/#0 Figure 2: Rebuild By Design competition winning proposal. Bjarke Ingels Group. 2014. Big U. 1213 Architectural Practice While the architectural discipline recognises the need for democratic practice that engages with social needs, as discussed in the previous section, most architects work in private practice as professional service providers.19 As a result, most architectural design serves existing wealth and power hierarchies, making it difficult for the mainstream mode of architectural practice to address systemic inequities in the built environment. Furthermore, the scope of architectural professional expertise within the building industry is shrinking, as other professions take over areas of expertise historically within the scope of architecture, reducing the discipline’s influence over and responsibility for the built environment.20 Alternative modes of architectural practice are necessary for the discipline to not only retain its ability to shape the built environment, but to engage with social and environmental issues manifest in and perpetuated by the built environment. An expanded definition of the architectural profession, argues architect David Salomon, allows architects to move outside of their “conventional role as an expert for hire to a more proactive approach” through “the incorporation of new techniques and new constituencies”21 into architectural practice. Salomon describes three elements of expanded architectural practice: 19 Royal Architectural Institute of Canada, Canadian Handbook of Practice for Architects (2009), 2. 20 Craig Wilkins, "Once More unto the Breach," in Space Unveiled: Invisible Cultures in the Design Studio, ed. Carla Jackson Bell, (Routledge: 2014), 62-73. 21 David Salomon, "Plural Profession, Discrepant Practices," in The SAGE Handbook of Architectural Theory, ed. Grieg Crysler, Stephen Cairns and Hilde Heynen, (London: SAGE Publications Ltd, 2012), 430-50. 14 “1. the emphasis on inter- and intra-disciplinary collaborations – collaborations that emphasize architecture as a social process between different members within the design profession and/or the relationship between design professionals and non-professionals; 2. the use of digital tools for designing, fabricating and communicating design ideas; ones in which the creation and use of information networks are central; and 3) the proliferation of community-based design-build practices where design and aesthetics are seen as a means to address social and political issues, rather than ends in themselves.”22 The above elements of expanded architectural practice all shift the focus from the design of buildings towards imaginative problem solving broadly defined. Architect Peggy Deamer argues this shift is essential for maintaining the relevance of architecture as a discipline, and the ability for architecture to both create a better value proposition for itself within a capitalist economic system, in service of both more effective capital accumulation and in service of social innovation 23. The broadening of the definition of architectural practice includes both an expansion of architects’ involvement in the building design process, and a broader engagement with systems adjacent to the building design process. Architect Bryan Bell argues that an expanded definition of architectural practice focuses not only on the “built-form” of designs, but on “pre-form”, or the decision-making processes that define architectural project briefs, as well as “post-form” or the use of buildings after construction is completed, as the success of architectural designs are heavily contingent on both the appropriate definition of design problems as well as the effective operation of projects after 22 Ibid. 23 Peggy Deamer, “Architectural Work,” in Architecture and Labour, (New York: Routledge, 2020), 22-38. 15 they are built24. Architect Craig Wilkins argues that, as architectural practice already synthesizes disparate information into coherent and transformative solutions, this ability should be expanded to engage with a broader array of actors and systems beyond the building production process, so that solutions may result in buildings but may take other forms, such as policy proposals or business plans.25 Architectural practice as spatial agency views architectural practice as social engagement and seeks to situate building production within social and economic systems in a way that challenges the power hierarchies of these systems, as described by architects Nishat Awan, Tatjana Schneider and Jeremy Till. 26 Instead of dealing only with the “how” of building design, architectural practice also interrogates the “why” of the power structures that determine what is built27. To do so, Wilkins proposes a realignment of architectural practice with social entrepreneurship, or the development of innovative solutions to social problems through a combination of design solutions with delivery methods. Furthermore, Wilkins argues for a definition of architectural practice looks to the design of new processes of engagement with the political forces that shape theories, practices, academies, policies, and communities. Systems determining the built environment, though seemingly fixed, can be 24 Bryan Bell, “Dialogue One: Pre-Form and Post-Form Design Activism” in Architecture from the Outside in: Selected Essays, ed. Robert Gutman, Dana Cuff, John Wriedt, and Bryan Bell (New York: Princeton Architectural Press, 2010), 76. 25 Wilkins, "Once More unto the Breach," 65. 26 Nishat Awan, Tatjana Schneider, and Jeremy Till, Spatial Agency: Other Ways of Doing Architecture (Abingdon, New York: Routledge, 2011), 28. 27 Giancarlo De Carlo, “Architecture’s Public,” in Architecture and Participation, ed. Peter Blundell Jones, Doina Petrescu, and Jeremy Till (New York: Spon Press, 2005), 3-22. 16 changed, and processes initiated with the goal of changing the built environment can also influence these systems. 28 Returning to architect Giancarlo de Carlo’s argument discussed in the previous section, he states that a renewal of architecture needs to be tied with a “general renewal of the structures of society” - a new architecture that is “credible” or relevant to the public will not be possible without it. Yet, architecture can also show what the built-environment results of these new social structures will be, and these visions need to be developed from within architecture. 29 The thesis will not propose a new mode of architectural practice – the authors previously discussed have proposed many ways architectural practice could be changed. The thesis will critique exclusive focus on building design solutions proposed as means of addressing the needs for both more democratic access to architectural design, and for architecture to engage with broader social needs. Through this critique, the thesis intends to expose opportunities for alternatives modes of architectural practice in relation to new social conditions in a speculative future world. 28 Till, Architecture Depends, 189. 29 De Carlo, “Architecture’s Public”, 7. 17 18 Method 19 Overview The thesis will use the method of speculative fiction. The following section of the report will discuss the potential of speculative fiction as a method, and position the method proposed for the thesis in relation to architectural precedents that work with speculative fiction. Speculative fiction, by imagining an alternative to reality, can both provoke critical examination of the present and suggest potential ways of moving from present conditions towards an imagined reality. Sociologist Ruth Levitas argues that fiction, in the form of utopian imagination, can provide “distance from the existing state of affairs which allows us to judge what we are doing in the light of what we could or should do”. 30 Industrial designers Anthony Dunne and Fiona Raby argue that fiction, in the form of critical design proposals also provokes “a gap between reality as we know it and the different ideas of reality referred to in critical design proposals”, and that this gap can provoke new insight into the present reality, such as: exposing the ideologies underlying design proposals and speculating on the future effects of current design proposals. 31 Architect Amy Butt, in her discussion of the value of science fiction for architecture, argues that science fiction can also function critically, as a tool for reflecting back a version of the world that is estranged, and through this estrangement, the imagined and the real can be viewed alongside each other. 32 30 Ruth Levitas, Utopia as Method: The Imaginary Reconstitution of Society, ( Palgrave McMillan, 2013), xvii 31 Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming, (Cambridge, Massachusetts: The MIT Press, 2013), 36. 32 Amy Butt. “‘Endless Forms, Vistas and Hues’: Why Architects Should Read Science Fiction.” Architectural Research Quarterly 22, no. 2 (2018): 151–60. 20 Within architecture, speculative fiction is a powerful tool, allowing architects to both critique existing conditions and propose new ways of living. Speculative fiction has particularly been used to critique architecture’s relationship with capitalism. The following precedents provide examples of several different approaches to architectural speculative fiction. The precedents were chosen to illustrate different ways in which architectural design has been used as a form of critique, as well as different methods of combining text narratives and drawings in works of speculative fiction. 21 22 Precedents 23Atlas of Another America: An Architectural FictionKeith Krumweide / 2017 / United States of AmericaThe project is a satirical proposal for a suburban utopia based off a hybridization of the Jefferson grid with contemporary suburban development. Each square of the grid is a self-sufficient community, including agricultural land, housing, energy production and waste management infrastructure. The communities are meant to evoke a combination of the benefits of urban, suburban and rural life. The fiction is created through collages of both architectural drawings and texts. The drawings include large-scale masterplans, floor plans and perspectives, with much of the original material taken from contemporary suburban architecture. The main narrative is also primarily a collage between an explanation of the fictional world of the project and texts from early American politicians describing their visions for the nation. Through these methods, the project critiques both American and architectural culture. 33 34The precedent is relevant to the thesis because the project’s use of architectural drawing to critique the values and cultural ideas driving the design of the built environment. Also, the precedent engages with the scale of multiple sites, an approach the thesis will also adopt. 33 Krumwiede, Keith. Atlas of another America: An Architectural Fiction. Zuࡇrich: ParkBooks, 2016.34 Griffiths, Jason. “Review of Atlas of Another America: An Architectural Fiction, by KeithKrumwiede.” JAE Online, December 18, 2019. Figure 3: Keith Krumweide, Atlas of Another America24Town Plan The Mowers at a Chateau, FreedomlandBuilding Plan - The Ledoux25 Exodus, or The Voluntary Prisoners of Architecture Koolhaas, Vriesendorp, Zenghelis and Zenghelis / 1972 / London The project uses a combination of text, architectural drawings and collages to create a narrative. The project proposes a prison that acts as an oasis, where the occupants voluntarily confine themselves in order to gain freedom to engage in extreme activities. The enclave or prison proposes a series of fantastical architectural interventions to support these activities.35 The project architecturalizes the idea that the architectural institutions are removed from engagement with reality, and parodies the architectural discipline through programs that parody elements of architectural discourse36. The project argues that architectural practice should immerse itself in reality as opposed to theory. The project makes these arguments by parodying disengagement through the device of the prison enclave. This device also makes an argument for architecture to explore the potential to support new ways of living by making space for new programs. 37 The project relates to the thesis in that the thesis will also create a fictional narrative through text and images, and the representation or communication of the characters’ motivations will create meaning in the project. The thesis will also use extreme conditions to reinforce the narrative. 35 Jeffrey Kipnis, “Exodus, or the Involuntary Prisoners of Architecture” in Perfect Acts of Architecture, (New York: Museum of Modern Art, 2001), 14. 36 Emmanuel Petit . “Chapter 6: Rem Koolhaas” in Irony, Or, the Self-Critical Opacity of Postmodern Architecture, (New Haven: Yale University Press, 2013), 193-4. 37 Kipnis, “Exodus”, 14. Figure 4: Rem Koolhaas et al, Exodus, or the Voluntary Prisoners of Architecture in Jeffrey Kipnis, Perfect Acts of Architecture, 19.2627 Supersurface Superstudio / 1972 / The planet The Supersurface is a speculative project that proposed to cover the planet in a grid that would provide for life's necessities. This grid would make permanent buildings obsolete, as people would be able to plug into the grid anywhere on the planet. The grid would liberate people from the power hierarchies expressed in the built environment, by liberating them from the need for buildings. The grid would also enable unprecedented freedom in lifestyle. Through the form of a grid, the project critiques power differentials and uneven capital accumulation in the built environment, as the grid would be egalitarian and non-hierarchical.38 The project is represented through collage, which reinforces the surreal nature of the project. The idea of the project is related to the thesis in that, if the thesis seeks to present a fiction wherein architects do not practice in service of capital accumulation the Supersurface could present a narrative where architecture, and therefore architects, have become obsolete. However, this interpretation allows for speculation on the potentential for new lifestyles for occupants of the grid, as well as new roles for architects. The project could also be viewed as the ultimate outcome of contemporary trends towards the continued narrowing of architectural scope and influence. 38 Elfline, Ross K. "Superstudio and the "Refusal to Work"." Design and Culture 8, no. 1 (2016): 55-77. Figure 5: Superstudio, Supersurface2829 No-Stop City Archizoom / 1969-on / Entire planet The No Stop City proposes an endless interior city, a homogeneous space of production and consumption. Reacting to new typologies including supermarkets, parkades and factories, the resulting urbanimsm is a totalizing architecture, that in its totality loses its traditionally defining features. The project critiques consumer capitalism and architecture's engagement therein, by taking modern ideas to the extreme, in a way that creates both a non-hierarchical environment that would provide for all users' needs equally, but that also foregrounds consumer products.39 The project is represented through architectural drawings. The project is related to the thesis in that there is a potential for the thesis to take the spatial manifestations of finance capitalism, and subvert or critique them through architectural drawing, using similar strategies of combination and expansion. 39 AndrewHiggott. "the Opposite of Architecture: Archigram and Architectural Design in the 1960s." In Mediating Modernism, 125- 160: Routledge, 2007 30Figure 6: Archizoom, No-Stop City31 Citizens of No Place: An Architectural Graphic Novel Jimmenez Lai / 2012 / . . . Graphic novel of a collection of stories on architecture and urbanism. Each narrative centers around spatial elements, however the work relies on the storylines in each narrative to express ideas and raise questions. 40 The precedent is related to the thesis in that the thesis will also use a narrative as the basis of the project, with spatial elements used to support the narrative. 40 Jimenez Lai. Citizens of no Place: An Architectural Graphic Novel. First ed. New York: Princeton Architectural Press, 2012 Figure 7: Jimenez Lai, The Future Archaeologist: On History in Citizens of No Place3233 The Masterplan Reinier De Graaf / 2021 / Fictional city Novel written from the perspective of an architect who has been hired to provide the credibility of their reputation to the master plan for a new city, despite having no design control, as the design has been entirely determined by the developer / construction manager. The novel demonstrates that architects are no longer master builders, but that in abandoning those pretensions, opportunities still exist for architects to improve people’s lives. The precedent relates to the thesis in that the text narrative is the entire basis for the critique. 34Figure 8: Nova Cidade de Kilamba in Angola, on which the novel is based Santa Martha, Kilamba35 36 Part Two: The New York 2140 Architectural Fanfiction Prologue3837Prologue This thesis is set in the spaces of Kim Stanley Robinson’s novel New York 2140.Figure 9: New York 2140 cover Stephan Martiniere. 2017. New York 2140. 4039Prologue Manhattan in the year 2140LONG ISLAND RRRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADCONRAILPENNSYLVANIA TUNLPENNSYLVANIA TUNLRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROAD RAILROADRAILROADRAILROADRAILROADCONRAILCONRAILLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRMADISON SQUARE GARDENDRY citynew shoreline with 15m sea level riseWET cityThe novel imagines, or caricatures, a future city where sea levels have risen 15 meters due to climate change. The city is essentially divided at the new shoreline into a Dry City and a Wet City. The Dry city, or the neighbourhoods above sea level, have adapted to the new conditions in the intervening 119 years. The wet city, or the neighbourhoods below sea level, have been abandoned, and are now legally and politically undefined, land titles and buildings abandoned, and their future unclear. Otherwise, political and economic structures remain unchanged.Figure 10: Map of Manhattan in 2140. Author. 424115m sea level rise Present day yr. 2140 DRY CITY adapted,political and economic structures unchagedWET CITY abandoned WET CITY reinhabitation begins,land is treated as a commonsWET CITY reinhabitation completedMET LIFE TOWER cooperative is the focus BackstoryNovelMain StoryThesis The thesis is set in the spaces of Kim Stanley Robinson’s novel New York 2140 Prologue Relationship between the novel and the thesiselThesisThe thesis proposes a new narrative using pieces of the background and environment imagined by Robinson. This thesis imagines re-inhabiting some of the abandoned structures in the now-underwater, flooded landscapes of Manhattan, to explore the design possibilities of different scenarios of housing and architectural practice. More than any single design proposal or intervention, though, the thesis is its narrative structure and the world it represents.Figure 11: Diagram of relationship between the novel and the the thesis. Author. 4443Chapter 14645LONG ISLAND RRRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADCONRAILPENNSYLVANIA TUNLPENNSYLVANIA TUNLRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROAD RAILROADRAILROADRAILROADRAILROADCONRAILCONRAILLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRMADISON SQUARE GARDENDRY citynew shoreline with 15m sea level riseChapter 1 The dry city remains a desirable location to live and invest. Consequently, construction is widespread and the architectural designers of the future are busy.Figure 12: Map of Manhattan. Author. 4847Chapter 1 MORNINGSIDE TOWERFantastical Forms Ltd.Regeneration of the built environment is the primary economic activity of the future city, with most of the work is done by Fantastical Forms Ltd..Figure 13: Render of Heavenly Sky Pillar. Author. 5049Chapter 1 CHAPTER 1 - DRY CITY TITLE CORPORATIONTITLE CorporationCEOMarketing SalesDevelopment DesignV.P. DesignDepartment HeadSenior Manager Senior Manager Senior ManagerManagers Managers ManagersStaff Staff StaffLandscape Architecture EngineeringInterior DesignArchitectureDesign Production Construction AdministrationUrban DesignFinance Insurance Property ManagementConstructionLandBoard of DirectorsFantastical Forms Ltd.The corporation is a design, finance, development, marketing, construction, sales, property management, and insurance corporation, which is the only employer of architectural designers in the city.Figure 14: Organizational chart of Fantastical Forms Ltd. Author. 5251Fantastical Forms Ltd.This structure enables the realization of ever-greater feats of artistry, sustainability and city-building.Chapter 1 Figure 15: Diagram of building production in the dry city. Author. 5453MORNINGSIDE TOWERFantastical Forms Ltd.Penthouse A1Floors 298-30020,000 sf6 bedrooms8 bathroomsLevel 298 - Main Floor Level 299 - Second Floor Level 300 - Upper FloorArchitectural designers have unparalleled opportunities to imagine ever more formally novel and programmatically innovative housing, as design is valued as a means of attracting investors to New York.Chapter 1 Figure 16: Floor plan of apartment unit in the dry city. Author. 5655Unit C1Floor 2140 sf1 bedrooms1 bathroomChapter 1 Fantastical Forms Ltd.’s model is so successful that it is also able to offer abundant housing affordable to rent to the rest of the city’s population.MORNINGSIDE TOWERFantastical Forms Ltd.Figure 17: Floor plan of apartment unit in the dry city. Author. 5857Chapter 26059Chapter 2 Fantastical Forms Ltd.CollectiveIn response to these conditions, a multi-disciplinary collective is formed. Figure 18: Diagram of Fantastical Forms Ltd. staff forming the Collective. Author. 61 62Chapter 2 LONG ISLAND RRRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADCONRAILPENNSYLVANIA TUNLPENNSYLVANIA TUNLRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROADRAILROAD RAILROADRAILROADRAILROADRAILROADCONRAILCONRAILLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRLONG ISLAND RRMADISON SQUARE GARDENnew shoreline with 15m sea level riseMetropolitan Life TowerWET cityThe collective looks to the wet city as a potential site of critical spatial praxis, with the goal of giving new meaning to the currently abandoned buildings, through the performative potential of architecture. The collective seeks to draw on the untapped potential of the wet city as a political, legal and spatial grey zone, through active involvement in the socio-spatial development of their own living and working environment.Figure 19: Map of Manhattan. Author. 63 64Chapter 2 Metropolitan Life Tower The collective selects the Metropolitan Life Tower as their site. The lower floor flooded and the building is in a state of disrepair. Figure 20: Image of Metropolitan Life Tower. Author. 65 66Chapter 2 Metropolitan Life Tower Plan as found in 2140The collective selects the Metropolitan Life Tower as their site. The lower floor flooded and the building is in a state of disrepair. While none of the services are functional, the structure seems sound, though deteriorating. The collective works together to make the building habitable. abandoned hotelabandoned officeFigure 21: Plan of Metropolitan Life Tower. Author. 67 68new laundry new showersnew kitchenAccess to level 2 Doors added between floor areasStairs are the only circulation between levelsElevators do not worknew water system built using roof-collected rainwater new electrical system created with photovoltaic paintChapter 2 Level 2 plan showing interventions by the collectiveIn the beginning, the collective only occupies the tower temporarily, but as their work progresses, they eventually make the move to permanent occupation. Figure 22: Plan of Metropolitan Life Tower. Author. 69 70Chapter 2 SectionThe collective divides the second level of the tower into public space, shared space and private spaces. Figure 23: Metropolitan Life Tower section. Author. 71 72Chapter 2 SectionThe public space is used to host people outside the collective in the tower. Figure 24: Detail of Metropolitan Life Tower scetion. Author. 73 74Chapter 2 SectionSeeking an alternative to their isolating, individualized dwellings in the dry city, the collective members decide to share most of the floor space, dividing only the enclosed offices individually. Figure 25: Detail of Metropolitan Life Tower scetion. Author. 75 76Chapter 3- 10 years later - 7877Chapter 3 CollectiveCooperativeThe collective has successfully given new meaning to the spaces of the wet city. Figure 26: Diagram of Cooperative. Author. 79 80Chapter 3 SectionThey have been so successful that the group occupying the tower has grown. Figure 27: Metropolitan Life Tower section. Author. 81 82Chapter 3 Furthermore, many buildings throughout the wet city have been reoccupied. Figure 28: Diagram of building coopertative network in the wet city. Author. 83 84Chapter 3 The collective has formalized and organized itself as a cooperative, with an elected board overseeing committees that govern various aspects of the tower operation. Board elected by cooperative membership Committees manage various aspects of the cooperative Figure 29: Diagrams of the cooperative. Author. 85 86Chapter 3 Level 2 plan of Metropolitan Life TowerFuture architectural designers take on new roles within the cooperative - working with their fellow residents to design living spaces that negotiate between their needs and the available resources. Figure 30: Metropolitan Life Tower plan. Author. 87 88Chapter 3 Level 2 plan of Metropolitan Life TowerGathering and Rest SpaceSmall-scale Flexible Program SpaceActive Recreation Space Large-scale Flexible Program SpaceGathering and Rest SpacePerformance SpaceActive Recreation SpaceSmall-scale Flexible Program SpaceGathering and Rest SpaceThe designers also work in the hedonistic science of designing collective facilities that accommodate individual desires. Figure 31: Metropolitan Life Tower plan. Author. 89 90Spectacular Spaces CommitteeChapter 3 When members communicate desires for changes to the tower, the Spectacular Spaces Committee, a committee within the co-operative’s self-governing structure, defines the potential project and proposes it to the board and general membership. Figure 32: Diagram of the Spectactular Spaces Committee. Author. 91 92Chapter 3 Section If there is interest in developing the project, designers develop the design and engage the membership more extensively. When the proposal is complete and the required resources are known, the membership votes on the project. If approved, the project is built. Figure 33: Metropolitan Life Tower section. Author. 93 94Chapter 3 SectionWhile the dry city becomes more and more crowded with skyscrapers, the wet city attracts more and more New Yorkers.Figure 34: Metropolitan Life Tower section detail. Author. 95 96Chapter 49897Chapter 4 Water damageThe cooperative residents discover that the deterioration of the seawater-exposed structure at the base of the building is reaching a critical juncture - if the residents want to remain in the building, they need to make major repairs. The residents conclude that they need to drain the foundation to stabilize the building, but are unable to do this work themselves.Figure 35: Image of water damage. Author. 99 100Fantastical Forms Ltd.CooperativeChapter 4 ExchangeWith no other options, the residents hatch a plan to negotiate a trade for services with Fantastical Forms Ltd., the all-encompassing building production corporation - the residents of the cooperative hope to exchange use of floor space, infrastructure, and amenities in the tower for waterproofing the foundation and fixing the elevators. The Spectacular Spaces Committee creates a proposal. Figure 36: Diagram of exchange between Fantastical Forms Ltd. and cooperative through staff / members. Author. 101 102METROPOLITAN LIFE TOWERThe designers state that: “The project would aim to be the first part of a new neighbourhood that would set a global standard of urban living, expand human potential, and become a blueprint for future generations.As the dry city is being redeveloped, a shortage of air space is near, but housing remains inadequate.”Chapter 4 Figure 37: Render of Metropolitan Life Tower. Author. 103 104METROPOLITAN LIFE TOWER“Furthermore, vast resources exist in the wet city. The buildings of the wet city are being reclaimed and reinhabited with a multitude of uses, all connected with lush amphibious landscapes.” Chapter 4 Figure 38: Render of Metropolitan Life Tower. Author. 105 106“The project will expand the potential of the efforts already underway. The transformation of the wet city would permit one to respond to the city’s needs in an economic, and effective way while improving residents’ quality of life.”Chapter 4 Fantastical Forms caissons the buildingFigure 39: Diagram of repairs. Author. 107 108Chapter 4 Underwater level drained and waterproofed“The structural, geographic and spatial potential of the wet city is a valuable point of departure for radically improving housing conditions.”Figure 40: Diagram of repairs. Author. 109 110“In the Metropolitan Life Tower, the designers propose to breathe new life into the 20the century design, intending to transform the shell of the 49 storey building, beginning with foundation waterproofing and elevator repairs.”Chapter 4 Structure and elevators repairedFigure 41: Diagram of repairs. Author. 111 112Cooperative floorsShared floorDocks and walkwaysElevators, stairs and servicesRoofsCooperativeSharedFantastical Forms Cor-porationFantastical Forms Corporation floorsChapter 4 Distribution of space“There is an evident need to have a city for everyone, however, the dry city is not inclusive, there is a shortage of housing options and people are disconnected. However, there is a chance to prove a new model for society that offers people a higher quality of life and greater opportunity.”Figure 42: Diagram of space allocation. Author. 113 114- shortly after - 116115Penthouse A1Floors 21-2312,000 sf6 bedrooms8 bathroomsMETROPOLITAN LIFE TOWERFantastical Forms Ltd.Level 21 - Main Floor Level 22 - Second Floor Level 23 - Upper FloorChapter 4 Architectural designers are working on their latest project at Fantastical Forms Ltd: the Metropolitan Life Tower. Fantastical Forms Ltd.Figure 43: Metropolitan Life Tower plan. Author. 117 118Unit C1Floor 7140 sf1 bedroom1 bathroomFantastical Forms Ltd.Chapter 4 METROPOLITAN LIFE TOWERFigure 43: Metropolitan Life Tower plan. Author. 119 120Epilogue122121The Metropolitan Life Tower is divided between a commons on the lower floors and privatized on the upper floors. The designers proposed a vision for the wet city in general and the Metropolitan Life Tower in particular compelling enough to begin to secure capitalist investment in the wet city. The proposal, based on the value created through the cooperative`s existing interventions, presented the reclamation of buildings in the wet city as a potential economically and socially innovative project. However, when the project is built it replicates the spatial distribution of the dry city, as it is produced with the same capitalist system. The Metropolitan Life Tower could precipitate the enclosure of the commons created in the wet city, and remake it in dry New York’s image. However, the proposal also enabled the physical preservation of the commons in the Metropolitan Life Tower. The commons created conditions for publicly-oriented architectural practice (in that it is democratically controlled by the “public” of the cooperative membership) that enabled user access to control over the built environment, so the physical preservation of the commons also preserved space for this architectural practice. As the political and legal ambiguities of the wet city were initially exploited to create the commons, the residents of the Metropolitan Life Tower may use new political and legal tools to alter the spatial distribution in the tower in the future.Epilogue124123End126125127 Conclusion The speculative narrative gave me the opportunity to explore architecture’s relationship with capitalist urbanization. Science fiction novels in general, by imagining alternative realities can provoke critical examination of present conditions. The novel New York 2140 in particular dealt with the relationship of the built environment to capitalism by asking what would happen if a large part of New York City’s land became un-ownable. The premise allowed the author to explore alternative forms of value creation in the built environment, by imagining a world where much of the built environment is a commons. I thought this premise also raised interesting questions about architecture, and so would provide grounds for further exploration. Fiction as a framework also allowed me to reference a vast body of architectural utopian and dystopian precedents. Through the narrative structure, the thesis imagines the design possibilities of different scenarios of housing and architectural practice, in response to a disruption in the urban environment and the values underpinning its production. The thesis is called “not a design project” as it is intended to consider designers’ aspirations to design their way out of the constraints on their work imposed by capitalism. 128 Text References Chapter 2 In response to these conditions, a multi-disciplinary collective is formed. The collective looks to the wet city as a potential site of critical spatial praxis, with the goal of giving new meaning to the currently abandoned buildings, through the performative potential of architecture. The collective seeks to draw on the untapped potential of the wet city as a political, legal and spatial grey zone, through active involvement in the socio-spatial development of their own living and working environment. 41 Chapters 3 Future architectural designers take on new roles within the cooperative - working with their fellow residents to design living spaces that negotiate between their needs and the available resources, and in the hedonistic science of designing collective facilities that accommodate individual desires42. When members communicate desires for changes to the tower, the Spectacular Spaces Committee, a committee within the co-operative's self-governing structure, defines the potential project and proposes it to the board and general membership. Chapter 4 The designers state that: “The project would aim to be the first part of a new neighbourhood that would set a global standard of urban living, expand human potential, and become a blueprint for future generations. As the dry city is being redeveloped, a shortage of air space is near, but housing remains inadequate. Furthermore, vast resources exist in the wet city. The buildings of the wet city are being reclaimed and reinhabited with a multitude of uses, all connected with lush amphibious landscapes. The project will expand the potential of the efforts already underway. The transformation of the wet city would permit one to respond to the city’s needs in an economic, and effective way while improving residents’ quality of life. The structural, geographic and spatial potential of the wet city is a valuable point of departure for 41 Guerilla Architects. “About.” Guerilla Architects. December 22 2021. https://www.guerillaarchitects.de/en/about/ 42 Jeffrey Kipnis, “Exodus, or the Involuntary Prisoners of Architecture” in Perfect Acts of Architecture, (New York: Museum of Modern Art, 2001) 129 radically improving housing conditions. In the Metropolitan Life Tower, the designers propose to breathe new life into the 20the century design, intending to transform the shell of the 49 storey building, beginning with foundation waterproofing and elevator repairs. There is an evident need to have a city for everyone, however, the dry city is not inclusive, there is a shortage of housing options and people are disconnected. However, there is a chance to prove a new model for society that offers people a higher quality of life and greater opportunity.” 43 4443 Tom Ravenscroft. “Bjarke Ingels designing “new city in America” for five million people””. Dezeen. 22 December 2021. https://www.dezeen.com/2021/09/01/bjarke-ingels-telosa-city-marc-lore/ 44 Frédéric Druot, Anne Lacaton & Jean Philippe Vassal. “PLUS – Les grands ensembles de logements -Territoires d’exception.” Lacaton & Vassal. 22 December 2021. https://www.lacatonvassal.com/index.php?idp=46# 130 131 Bibliography Aureli, Pier Vittorio. “Manfredo Tafuri, Archizoom, Superstudio, and the critique of architectural ideology”. In Architecture and Capitalism: 1845 to the Present, edited by Peggy Deamer, 132-149. New York: Routledge, 2014. Awan, Nishat, Tatjana Schneider, and Jeremy Till. Spatial Agency: Other Ways of Doing Architecture. Abingdon, New York: Routledge, 2011. Bell, Bryan. “Dialogue One: Pre-Form and Post-Form Design Activism”. In Architecture from the Outside in: Selected Essays, edited by Robert Gutman, Dana Cuff, John Wriedt, and Bryan Bell, 76-80. New York: Princeton Architectural Press, 2010 Butt, Amy. “‘Endless Forms, Vistas and Hues’: Why Architects Should Read Science Fiction.” Architectural Research Quarterly 22, no. 2 (2018): 151–60. Connolly, James and Justin Steil. “Introduction: Finding Justice in the City.” In Marcuse, Searching for the Just City, 1-16. Deamer, Peggy. “Architectural Work”. In Architecture and Labour, 22-38. New York: Routledge, 2020. De Carlo, Giancarlo. “Architecture’s Public”. In Architecture and Participation, edited by Peter Blundell Jones, Doina Petrescu, and Jeremy Till, 3-22. New York: Spon Press, 2005. De Graaf, Reinier. The Masterplan. Amsterdam: Archis, 2021. Druot et al. “PLUS – Les grands ensembles de logements -Territoires d’exception.” Lacaton & Vassal. 22 December 2021. https://www.lacatonvassal.com/index.php?idp=46# Dunne, Anthony, Fiona Raby. Speculative Everything: Design, Fiction, and Social Dreaming. Cambridge, Massachusetts: The MIT Press, 2013. Elfline, Ross K. "Superstudio and the "Refusal to Work"." Design and Culture 8, no. 1 (2016): 55-77.Fainstein, Susan S. “Planning and the Just City.” In Marcuse, Searching for the Just City, 19-39. Fleming, Billy. “Design and The Green New Deal.” Places Journal. April 2019. https://placesjournal.org/article/design-and-the-green-new-deal/#0 Gàmez, José L.S. and Susan Rogers. “Introduction: An Architecture of Change”. In Expanding Architecture: Design as Activism, edited by Bryan Bell and Katie Wakeford, 18-25. New York: Metropolis Books, 2008.Griffiths, Jason. “Review of Atlas of Another America: An Architectural Fiction, by Keith Krumwiede.” JAE Online, December 18, 2019. Guerilla Architects. “About.” Guerilla Architects. December 22 2021. https://www.guerillaarchitects.de/en/about/ Harvey, David and Cuz Potter. “The right to the Just City.” In Marcuse, Searching for the Just City, 40- 132Harvey, David. Rebel Cities: From the Right to the City to the Urban Revolution. London, Verso, 2012. Higgott, Andrew. "the Opposite of Architecture: Archigram and Architectural Design in the 1960s." In Mediating Modernism, 125- 160: Routledge, 2007 Jabareen, Yosef. "Planning the Resilient City: Concepts and Strategies for Coping with Climate Change and Environmental Risk." Cities 31, (2013): 220-9 Jencks, Charles. The Language of Post-Modern Architecture. New York: Rizzoli, 1977 Kipnis, Jeffrey. “Exodus, or the Involuntary Prisoners of Architecture”. Perfect Acts of Architecture. 14-33. New York: Museum of Modern Art, 2001. Krumwiede, Keith. Atlas of another America: An Architectural Fiction. Zuࡇrich: ParkBooks, 2016. Lai, Jimenez. Citizens of No Place: An Architectural Graphic Novel. First ed. New York: Princeton Architectural Press, 2012 Lefebvre, Henri. The Urban Revolution. Translated by Robert Bononno. Minneapolis: University of Minnesota Press, 2003. Levitas, Ruth. Utopia as Method: The Imaginary Reconstitution of Society. Palgrave McMillan, 2013. Marcuse, Peter et al, ed. Searching for the Just City: Debates in Urban Theory and Practice. London; New York: Routledge, 2009. Ortiz, Roberto J. "Financialization, Climate Change, and the Future of the Capitalist World Ecology: On Kim Stanley Robinson’s New York 2140." Soundings (Nashville, Tenn.) 103, no. 2 (2020): 264-285. Petit, Emmanuel. “Chapter 6: Rem Koolhaas”. Irony, Or, the Self-Critical Opacity of Postmodern Architecture. 177-211. New Haven: Yale University Press, 2013. Ravenscroft, Tom. “Bjarke Ingels designing “new city in America” for five million people””. Dezeen. 22 December 2021. https://www.dezeen.com/2021/09/01/bjarke-ingels-telosa- city-marc-lore/ Robinson, Kim Stanley. New York 2140. New York: Orbit, 2017. Royal Architectural Institute of Canada. Canadian Handbook of Practice for Architects 2009. Salomon, David. "Plural Profession, Discrepant Practices." In The SAGE Handbook of Architectural Theory, 430-50. London: SAGE Publications Ltd, 2012. Self, Jack and Shumi Bose. “Introduction: Fulcrum”. Real Estates: Life without Debt. London: Bedford Press, 2014. Soules, Matthew. “Financial Formations.” In Industries of Architecture, edited by Nick Beech, Katie Lloyd Thomas and Tilo Amhoff, 199-209. Taylor and Francis, 2015. Stein, Samuel. Capital City: Gentrification and the Real Estate State. Brooklyn, NY: Verso, 2019. Tafuri, Manfredo. “Problems in the Form of a Conclusion”. In Architecture and Utopia: 133 Design and Capitalist Development, 170-182. Cambridge, Mass: MIT Press, 1976. Till, Jeremy. Architecture Depends. Cambridge, Mass: MIT Press, 2009. Wagner, Kate. “Opinion: No, “PR-chitecture won’t save us from the pandemic.” The Architects’ Newspaper, June 12, 2020. https://www.archpaper.com/2020/06/opinion-no- pr-chitecture-wont-save-us-from-the-pandemic/ Wilkins, Craig. 2014. "Once More unto the Breach." In Space Unveiled: Invisible Cultures in the Design Studio, edited by Carla Jackson Bell, 62-73. Routledge.
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This Is Not a Design Project : A Work of New York 2140 Architectural Fanfiction
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