ARCHITECTURE &

VOL. 02 PG. 01

SOCIAL CHANGE The Rising ClassA Thesis - Rhode Island School of Design - Toussaint M. Wallace III

Chelsea-Elliott Housing Development

Thesis Statement

The history of the New York City Housing Authority (NYCHA) can be defined within three ideological trends. The first is public housing as model housing as a municipal service. This trend lasted for approximately thirty years from 1934-68. The second trend of NYCHA public housing was to use it as a welfare-state; this trend lasted for approximately thirty years, from 1968-90. The trend that we see today is public housing as affordable housing.

From 1934-68 model housing was desperately needed in New York to clear the slums, to clear the 19th century tenements, and to provide an adequate model housing typology. As the name suggests, NYCHA’s model housing as a municipal service was exactly what it was, a site of decent public housing near municipal services such as train stations, schools, hospitals etc. During this period, NYCHA envisioned their

model public housing as a site for posi-tivity and change so they needed model tenants to move in. During this period, from 1934-68, NYCHA was very selec-tive about who they chose as their ten-ants; public housing was not a site for those on welfare. Public housing was the exact opposite during this period; as a result there were not many drugs and public housing was not seen as a site of violence.

New York’s vision in the 1930’s of public housing as model housing conflicted with the federal housing authority’s view of what public housing should be. The federal housing author-ity did not want public housing to com-pete with the private sector therefore their expectation for public housing was that it should be a poorhouse; in other words, only the poorest people should live in government subsidized housing. Due to this conflict of inter-

est, NYCHA slowly moved from public housing as a site for those who could afford it to allowing lower income families to move into its housing. As a result, higher-income families left public housing and were replaced by lower-income families; with this hous-ing as a poorhouse, cultural problems of drugs and violence were a result and NYCHA needed to create the nation’s first public housing police force.

It was not until 1968 that public housing became a welfare-state or a poorhouse; this was widely evident as public housing faced growing disor-der with increasing amounts of drug distribution and antisocial behavior. The ideal answer to the disorder of the public housing structure would have been to evict the troubled tenants but the welfare department made it legally challenging to evict tenants. As a result, the troubled tenants stayed and public

425 West 25th between 9th & 10th Ave. - Chelsea District

Review &

Response

When visiting Chelsea Housing my initial analysis of the place was that it did not allow for a range of spaces, there was barley any room for personal space and absolutely no room for social space; explaining why there was a lack of care for the premise. As I walked in the building I was confronted by urine in the elevator, hallway as well as the stairway. The architecture doesn’t allow

Conversation

With A Family

When visiting Chelsea Housing my initial analysis of the place was that it did not allow for a range of spaces; there was barley any room for person-al space and absolutely no room for social space which explains why there was a lack of care for the premise. As I walked in the building I was confront-ed by urine in the elevator, hallway as well as the stairway. The architec-

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2 THE RISING CLASS Vol 02, Architecture & Social Change

THE RISING CLASS

The degree project board is a pre-requisite to the thesis design process. For my degree project board I designed a collapsible structure that could be used as a wall system within a hous-ing unit. The structure was built into a

wall cabinet that hid the structure from the public’s view. My reasoning behind designing the structure in this way was to show the material possibilities. The structure collapses into a cabinet 22 inches in depth and expands 8 feet from

the wall. This was the first mockup that led me to where I am now. My degree project board shows a core principle of my thinking: the system must be able to disappear when necessary. The next step in this process is to connect the

structure to panels, so that when the structure is fully extended it makes a solid wall.

Degree Project Board

Vol 02, Architecture & Social Change THE RISING CLASS 3

named after Robert Rochon Taylor, an African American activist who was on the Chicago Housing Authority (CHA), was built as a site to house black resi-dents. The Robert Taylor Homes were meant to replace the ghettos of the Chi-cago black belt and provide adequate housing. Robert Taylor Homes was a mixed income housing development; a working black family would be next to a welfare family. This juxtaposition was thought to be a positive thing; it was thought that this environment would be a better living situation than the overcrowded ghettos. The reality of Robert Taylor Housing was the same as the ghettos that it was trying to get away from. Robert Taylor was an advocate of racially integrated housing; Robert Taylor wanted to create a certain hous-ing typology as a stop on the way to property ownership. Unfortunately, in 1962 the Chicago Housing Authority did not agree with Robert Taylor.

As Robert Taylor envisioned, I envision the same thing that there can be a housing development that is truly just a stop on the way to a better living condition. Public housing does not simply have to be a poorhouse - it can be a place that cultivates opportunity and a productive, healthy, and positive social environment. The rising class, as I am calling it, is a site for people in simi-lar situations to come together and cre-atively to provide for themselves. This group-reinforced self-improvement is highly dependent upon the design of the architectural structure; the structure of the architecture needs to allow for a flexibility of interest, congregation and economy. Public housing can become completely self-dependent and its own class since there is already a class dis-tinction evident in New York City. It is not the point to hide or be ashamed of this distinction, but instead to embrace it, because it is when you do not have money, or when you are down and out and at your last ends, that people can become the most creative. Looked at from that perspective, public housing as a welfare state today is actually housing some extraordinarily creative people because their struggle is forcing them to think outside of what is expected from a person living in welfare state hous-ing. Instead of trying to relocate these people I say let us redefine the living conditions to optimize creativity and culture and let them live in their exist-ing communities. People can stay in place if certain architectural problems are addressed which prevent resident from achieving their creative potential. The social calamity that is public hous-ing now already creates a noticeable class distinction and I question whether architecture could not be a poorhouse but could change the life of one person while at the same time changing the life of a city at an urban scale. I argue that architecture can and should do this.

I am interested in the rigidity of the unit; by unit I mean the apartment. I will design at the scale of the apart-ment; I theorize that once the unit is understood you can successfully tackle different scales from the principles of that unit. I am interested in how simple design can solve these problems on a very small scale, while setting up a much larger platform to tackle the city at an urban scale.

Thesis StatementCONTINUED

housing grew worse and worse and became a notorious place of violence and decay.

Federal programs such as The Department of Housing and Urban Development Hope VI (1992) were meant to revitalize the worst public housing projects by making them into mixed income housing develop-ments. This idea was seen as a better alternative than welfare housing. With these programs being widely accepted, NYCHA’s public housing changed from a welfare state to affordable housing. NYCHA, under its new affordable hous-ing program developed a new “working family” model that gives families the ability to move into subsidized govern-ment houses which made the housing into a mixed development. The result was that even though one family was working and making a decent living, their next door neighbor might have been on welfare. From the exterior, both apartments looked the same but

the life in the interior was vastly differ-ent.

Though affordable housing is a great structure and works as a site of mixed income living, there still are many welfare state public housing develop-ments such as the Chelsea Housing Projects in Chelsea on West 25th Street between 9th and 10th Avenues in Man-hattan. This welfare housing develop-ment is the focus of this thesis.

Looking back at history, one would think that public housing as a poorhouse could never work. I think not.

The culture of public hous-ing is shaped by architectural misfor-tunes. Historically, public housing was designed and built as an in-between space. Public housing was meant to be a temporary living situation for the people who depended upon the hous-ing system. Unfortunately, the reality

is the exact opposite. With an inability to escape the system, public housing became a site of multi-generational housing. History tells us that public housing was never meant to be a long-term place; as a result, there was no need to build communities of owner-ship within the architecture because the goal was that people would not stay. The environment of public housing provides minimum needs, housing people with the intention that they will capture the American dream and get themselves out of the system. As a result, histori-cally public housing has been a site of violence and poverty.

Public housing in Chicago is a good example of this problem, since the beginning of public housing in Chi-cago, it was meant as a site for minori-ties, or a poorhouse. Chicago, unlike New York, followed the federal hous-ing authority view that public housing should be only for the poorest tenants. The Robert Taylor Homes in Chicago,

A THESIS

4 THE RISING CLASS Vol 02, Architecture & Social Change

THE RISING CLASS

ture does not allow for communica-tion, thus there is no social interaction; instead unfortunately there is a cul-ture of people peeing in public spaces.

I plan to work through my investigation by having a conversation with a community; I will conduct inter-views with the residents of “The Chelsea Housing Project” in New York City to understand what it is the community needs. Through constant writing and research of public housing history and case studies I will form a metaphysi-cal architectural language as a start-ing point. From this starting point I will work with the built environment.

Though interviews are a por-tion of my research, making and test-ing ideas is a strenuous portion of my work. Through modeling and drawing I will test ideas; after testing I will pres-ent these ideas to the community for feedback. The community is my critic. I will subject my ideas and plan to the community’s critique while simultane-ously working through my own expe-

rience; this project will be collabora-tion between the community and me.

T.W. - What is the most influen-tial thing in the house for you?

MOTHER - These walls do something to your mind, at least to me it has. I’ve lived all my life in housing projects, from the lower east side I came to Chelsea and it’s just like; it confines. When I first moved here I was very into my apart-ment, I decorated it and designed it the way I wanted it to be, but now I have no love for this apartment; it’s just clut-tered. I can’t find a way to feel comfort-able here, I have a whole lot of stuff and I just don’t know what to do with this house anymore. So they told me that you were coming here and I’m hoping that you can give me some advice. I’m open for anything, any suggestions.

T.W. - My plan today is to come here and have a conversation followed by some pictures. I want to try to

get the floor plans of this apartment as well as the entire development.

MOTHER - You would have to go to man-agement downstairs, I’m not that close with them but I think someone will speak to you because you are a student and you’re trying to do something positive.

T.W. - Thank you, the next step for me is to build a 3D model of this build-ing as well as this apartment. Working through various design iterations my goal is to come up with ideas that I think would work better for you and people who live in a similar housing situation. Afterwards, I want to come back so I can show you my intentions for you and the community. I’ll say something like “I have this”, and “let’s think about things this way”, just to see what your response will be. There are two por-tions to what I want to do, the first portion is realistic, meaning something

that I can actually put in here and the second part is something much bigger.

MOTHER - Out of the box?

T.W. - Yes, something that I couldn’t do, for instance I couldn’t knock this wall down because I wouldn’t be allowed to. MOTHER - Wouldn’t it be lovely, can you knock this one down and this one and the one in the hallway.

T.W. - One thing I’m really interested in are wall systems and how they can be used for multiple functions, for instance one example is you can move the kitchen into a wall so when you want it you can have it, but when you don’t you can move it and move on.

MOTHER - Your making me smile, he is making me smile (speaks to son). Your making me smile because it sounds good, when you speak like that, you say you’ve grew up in these type of areas. It’s like you can only imagine things like that when you live in a house,

Conversation With A FamilyCONTINUED

Vol 02, Architecture & Social Change THE RISING CLASS 5

A THESIS when you live in an apartment (projects) you can’t imagine these thing. These things don’t exist, but regardless of the rules and regulations here we still kind of do what we want. We have a little bit of freedom; we can’t go around destroying things, like break-ing walls, that’s just something that we can’t do. We can build walls but we can’t break them. We can do things with floors, we can tear up this floor and put down a new one.

T.W. - I understand, when it comes to walls you can’t tear them down. I have been thinking about a concept for a new way of living here; it’s about space management. What people want is a diversity of space for instances a dark space & a light space or a quiet space & a loud space. Rooms don’t have to be permanently divided, they should allow for flexibility so that an office can be transformed into a bedroom or a kitchen into a dining room. Through my design I want to allow for and encourage communication so it’s not just that you live here in this unit and don’t know anybody.

MOTHER - Even though you say that I communicate with a bunch of people.

SON - I would say it’s the older generation; you guys talk and hang out but as far as what I think the communication and culture Tous-saint is talking about is… we don’t want to go outside with drug dealers and kids outside, that’s not the type of neighborhood we want.

T.W. - Yes, I agree, I question how much the architecture is encouraging these activities and I ask myself how I can allow for oppor-tunities of change through my design. I mean there are always going to be drugs.

SON - There are benches out-side, these benches aren’t used for….

MOTHER - This is where I and you have different views because I feel that bench-es don’t have anything to do with drugs etc., I grew up in the projects and we had a benches; that’s something. I mean you have a choice, if you want to sit in front of your building and socialize you have a right, but the kids now they want to sell drugs in front of the building and sit on the benches.

T.W. – The thing is, if that is what they want to do, they will do it whether or not there are benches. If the benches are taken away they will just sell drugs standing up.

MOTHER - On the lower eastside they pulled out the benches and I felt like “whoa, it was completely a stupid idea”. It was done to the tenets of the lower east side because they did not voice their opin-ion, they didn’t do a petition, they just let housing come in and do whatever they wanted to do and they had to accept it.

T.W. – No design will make things perfect, design will not stop the drug dealers. Design can only provide opportunities and maybe with these opportunities somebody will start to appreciate their building and think, “well I’m not going to sell drugs in front of my build-ing”, or “I’m not going to piss in the stairway…”

MOTHER - You are going to have some people who you are going to change their mind and then there are people who

are going to keep doing what they are doing. At least you got maybe a handful.

T.W. – Exactly, if you can touch one person isn’t that enough?

MOTHER - You touched me by being here.

T.W. – For my bigger idea I would like to…

MOTHER - You can do whatever you like. When my son told me about you I was like “wooow, I know there is a god.” I just came back from surgery and my house is not the cleanest, but feels free to open up the closets; do what you like. This is an apartment with 5 rooms, 3 bedrooms, a living room and a kitch-en and you are free to do whatever. I have a daughter in the back, she has wonderful ideas and my son has wonderful ideas, I’m 51 years old so I am going to talk to you about older things and they are more hip and modern.

T.W. – That’s funny you said that because my idea is to define a new class, this class I’m call-ing the rising class. These are people who are coming out of college, who are going to col-lege, who are new to the work force: my plan is to gut this building and redesign it to encour-age forming a culture and increase commu-nication. This new building typology will be placed within the housing projects around the city; there will be a program that allows for people to apply for this type of housing.

MOTHER - Can I say something? I strug-gled sixteen years to get this apartment and sometimes your income puts you in a class. A lot of people believe because you are a working class, for instance right now I’m not working, and sometimes circumstances puts you in a class that you don’t want to be in, a class that you shouldn’t be in just because things have happened and you are not able to change it. I noticed that housing has a lottery and depending on your income… I can be straight up forward with you right?

T.W. – Please do.

MOTHER - They are full of shit! Because they say by your income, but then they move into the other class, you know what I’m saying is, the minorities, they overlook us, and then they fall into focusing on the class of people that make much more money than us. There are some people that really care about their apartment that don’t sell drugs; I have good children. My son is a USC student that graduated from college, my daughter is an honors student. So some-times the reflection of our children show a whole lot, but we don’t get the opportunities. Like right now you are trying to do some-thing. It would be nice if you put fliers out, and maybe you can have a discussion with some kids that might be interested in your idea and they can learn from you because they don’t have the opportunity to learn. Sometimes the parents just don’t really care.

SON - Does your project factor in the devel-opment around us, because if you look out the window there are nothing but condos and high-rises and soon we are going to be enclosed by all this rich and wealth.

T.W. – That’s exactly my point. The city life is becoming way more popular, which is why I want to provide an archetype that can be self-sustained so that you don’t have to go broke because of what you can’t afford.

MOTHER – I like that.

6 THE RISING CLASS Vol 02, Architecture & Social Change

ARCHITECTURES RESPONSE TO CULTURE

THE RISING CLASS

for communication, thus there is not culture.

CRITIC questions the idea to redesign the wall that separates two units. Stating, wouldn’t it be interesting to work within the unit and not disrupt the privacy of individual families.

RESPONSE - This disruption is exactly what I’m designing. My design allows the option of privacy fostering interaction at a social and personal scale; a collective.

CRITIC states the utopian side is exciting but the architecture is limit-ing commenting that the wall system is something that could be outsourced to anybody. Critic ask how is mine dif-ferent?

RESPONSE – This misread-ing is something that I think I will constantly get from crit-ics, my design idea is not just a simple wall system. The wall system that I am designing is a part of the building, it attach-es to the existing structure. Though there is an element of the design that could be out-sourced, but even then that is expensive and not realistically budgetary to the everyday family that can barely afford the corner grocery store.

• Redraw a detailed diagram to contrast original diagram. (The critic misread my project based from the diagram. Original

diagram showed space relations e.g. quiet & loud, dark & light.

CRITIC asks what/where is the archi-tecture.

RESPONSE – The architecture is found in working with the existing structure, developing a new cladding/façade that houses the wall system. It is found in redefining the living spaces, defined by the creation of new systems, or the removal of units to create com-munal space. Bringing in new programs of use such as a café, the architecture needs to create opportunities. The building has to sustain itself.

CRITIC says the architecture is really thinking through how to thoughtfully enhance the design versus putting par-

tisan walls and actually being able to test it, and define it. I encourage you to go into construction, develop large details of parts, and look at urbanism and program.

CRITIC says the potential of the archi-tecture is that it is coming from within, continue to work inwards and devel-op a recladding solution and follow it through; present it to the planning board.

CRITIC - make the demising wall ambiguous; ask yourself how to struc-ture this wall. What are the consequenc-es of making the demising wall ambigu-ous, dealing with issues such as privacy, or the interior to exterior? What are the different scales of intervention that can be materialized through models?

Review & ResponseCONTINUED

Edward T. Hall said, “com-munication is the core of culture”, that language is the foundation upon which culture is understood. So, for a second let us take a look at the differ-ence between a 4’, 8’ and 12’ sidewalk. A 4’ sidewalk breeds a culture of people who do not stop to communicate; pass-ing without stopping is highly encour-aged because people feel that they will be in the way of other people walking, as a result there is less interaction and less building of community. Doubled to an 8’ sidewalk there is a little more room for opportunity and communication; two people may stop to converse for a brief moment without feeling like they are disturbing the flow of traffic. With an 8’ sidewalk opportunity may sprout. Tripled to a 12’ sidewalk a culture is created, a street life is experienced and built. The subtle change in the design of the sidewalk creates culture. Design shapes culture so much so that the cul-ture it affects is not even aware of the

effect; culture is found in the conscious, subconscious and the unconscious.

Architecture is a constructor of expe-rience, it shapes the way people view themselves. This can be seen in the earlier example of the dimensions of a sidewalk. The economic standing of a person can be told through the archi-tecture that surrounds them; this is not only noticeable to an outsider looking in but it is highly noticeable by the persons affected by the architectural conditions in which they live. Somebody who lives in the projects views themselves differ-ent than somebody living in a wealthier neighborhood!

Coming home to a modernis-tic building complex that is multiplied block after block with the sameness having no individuality begins to jus-tify why the inhabitants of this type of architecture have no care for the place in which they live. So as a result, you get piss in public areas, a lack of light, and a lack of gather or recreational space. This type of architecture groups togeth-er people who all have the same eco-

nomic struggle, fostering an environ-ment of unaccountability, because the environment is not accountable for the people which it is said to be culpable for. Architecture needs to respond to culture because it is one of its principal creators.

REALITY

Today’s reality is that the car is one of the leading reasons for climate change and that society now needs to look to a more walkable, urban way of living. There now is an abandonment of the old way of thinking, of the car cul-ture, and a looking towards a healthier way of life that promotes a green life-style. Public transportation is the way of the future; people want to move back to cities because they are environmentally friendly.

In the coming years city life will become more popular and people will migrate to cities. As culture has become a commodity, city life will become a

commodity. With the growth of cities, there will be a growth in the number of expensive tiny units, a trend that is evident today. Driving cars will con-tinue to be expensive and will become something that is no longer the norm. To drive a car will be only for the people who can afford it; the average person will not be able to drive a car because it will no longer be a sustainable way of transportation. To drive will become a weekend luxury. Public transportation will become the way of the future. The bus will dominate the road; it will be cheap because it will service so many. Trains will be the easiest and fastest way to make long distant travel. Density will subsidize cost because so many people will migrate to using public transporta-tion, making the need for a two dollar bus ride obsolete.

2’

4’

15’

Intimate Zone - ranges anywhere between 0 and1.5 feet

Personal Zone - ranges anywhere between 2 and 4 feet

Social Zone - ranges anywhere between 4 and 12 feet

Public Zone - is anything more than 12 feet

Vol 02, Architecture & Social Change THE RISING CLASS 7

A THESIS

8 THE RISING CLASS Vol 02, Architecture & Social Change

The primitive hut is seen as the origin of architecture according to Marc-Antoine Laugier the first modern architec-tural philosopher. Laugher in his philosophy critiques Renaissance and post Renaissance architecture; in his critique he references the primitive hut as the origins of architecture. Abbe Laugier in his book “An Essay on Architecture “(1755) argues that the principles of architecture are rooted in nature, that the archi-tecture of the primitive hut was built from nature; it is culture.

Laugier tells the story of a man who built himself a dwell-ing from his natural surrounding habitat. The principles of the primitive hut were widely accepted by architects and its ideas were viewed as law by architects. The law was seen as the proper way to construct. From these origins came a history and theory of architecture that shaped the profession as it is today. Since the Laugier’s book on architecture was written, many orders (styles) and types (laws) have been established. Over centuries architecture has gone through many phases and has moved away from its original principle - that is, to create a dwelling place that protects. Architecture has become a visual stimulus focused on making pret- ty building that can grant fame to the architect and establishing a new term, Starchitect. Today, we are living in a time when the world’s population is reaching seven billion, one billion of whom are living in slums, slums that do not have basic amenities like a toi- let or running water. Starchitecture has moved away from addressing culture and is more focused on form, on making a visually pleasing building; the future is in grave danger if this keeps up. The origins of architecture were formed based upon the culture of the primitive man; his culture was the environment in which he lived - nature. However, architecture does shape culture, it is a two way street; originally architecture was shaped and founded upon culture, but over time architecture has shaped the culture we live in today. Culture cannot be understood without understanding its architecture and architecture cannot be understood without knowl-edge of its culture. Therefore, an architectural thesis often makes a cultural claim that addresses its history and theory as it is practiced. A thesis is a new idea that addresses theory, history, and practice.

Origin Culture

PRIMITIVE HUT

There are many ways to define ownership. The American Heritage College Dictionary 4th edition, defines ownership as “the legal right to a possession of a thing”(2002). This writing focuses primarily on two types of ownership. One way is to define it is legally, as the dictionary does, to have legal title to a location. Another way is not legal, but personal, to have a feeling of ownership, to have “mental” title to a location. The first way is the American way; Americans often want to buy a property because they want to have control over that property.

But having the legal right to a possession is not the same as having control over a possession because some types of control

do not need a legal right to be the reality of someone’s life.

Many people

who migrated to America, having not having been landowners in their native lands, wanted to own land and a home because it was viewed as leading to a state of independence. This way of thinking has been passed down from generation to generation and has its ups and downs. In one way, to own can be good because the owner does not have to answer to anybody, the owner has complete control of his property though they are subject to state and local regulations. If the house goes up in value then the owner has both control and a financial gain. The

Ownership &

Control

The Rising Class

A Thesis

downside to owning is that to own ties a person to a particular place for a set amount of time. Though the owner has control, the good feeling of having control can get destroyed by being crushed financially.

For example, let us say a young woman was in danger of losing her job due to d o w n s i z i n g . Thinking ahead, she was lucky enough to find another job but in a different state. This woman has to sell her house, move and buy or rent another house. But let us say she could not find any buyers. Her other option would be to try to rent her house. But let us say she was not able to find renters. Her options now would be that she could then either decline the job and stay in the house with no income or move

out of the house and take the job in the other state and have some income. If she cannot continue to pay the mortgage then she would have to let the bank foreclose on the property. To own can be a beautiful thing, but simultaneously it can be a headache; people

can get stuck in thirty year mortgages that they can only get out of depending on the market. Renting allows the occupant to move more freely at a more flexible pace because

there is no mortgage payment to worry about, only a shorter term lease.

The second way ownership can be viewed is through a “mental title” to a location. A “mental title” is a feeling held by someone who actually does not have

legal ownership to a location but who has an emotional affiliation that is so strong that it becomes a type of ownership. When a person lives in a particular place for an extended period of time they connect themselves to that place because of the memories they create while living there. Place has a history and to leave that place is to leave history behind. As a result, a strong emotional association to a place can make the renter believe

that they are entitled to ownership. So when a grandmother, a mother, a child, or a grandchild, live and grow up in the same neighborhood, that long term lived experience,

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Vol 02, Architecture & Social Change THE RISING CLASS 9

The Rising Class A Thesis

CONTINUED

taking place in one location, begins to explain why people take “mental ownership” over a dwelling and land that they have no legal title to. When just one or a few people develop an emotional affiliation to a place it is one thing, but when a large group of people or families share emotional feelings to a location the experience is heightened. Housing projects, a site of multigenerational living, foster a group dynamic of emotional affiliation. This deep emotional attachment, coupled with the everyday struggle of the environment, makes what once was a manageable state of “mental ownership” difficult to maintain. To have a “mental title” over a place is not a bad thing, it is just something that happens when you stay in a particular period for an extended amount of time especially when a history is built. So let us say a farmer rents the land he and his family works, his family has rented this land for generations and have built a history there. This farmer, due to the history he and his family have built from working the land, develops a

“mental ownership” of the property even though he is only a renter. When circumstances are stable, social, and safe is when “mental ownership” is manageable but when multiple people live in a perilous environment is when “mental ownership” becomes hard to manage.

“Mental ownership” becomes everything when people live in a particular place for an extended amount of time; place and person become one and the same. People feel that they must protect the place in which they live as they must protect their family. People who live in housing projects that are affected by the heightened sense of “mental ownership” to place must protect the places in which they congregate just as they would protect their family because the places of congregation are the only places that they control, and this control, to people with a mental state of ownership, is just as important as family is to people who do not live in these environments.

Ownership &

Control

Communal Space

Communal Space

10 THE RISING CLASS Vol 02, Architecture & Social Change

E x i s t i n g S q u a r e F o o t a g e

Total Square Footage = 9313

1610 S.F 7 1/2 R.M.BEDROOM

510 S.F2 1/2 RM.

EFFICIENCY UNIT

1022 S.FENTRANCE/LOBBY

295 S.FPROGRAM RM.

1510 S.FBOILER RM.

2192 S.F MANAGEMENT

OFFICES

1154 S.FENTRANCE/LOBBY

1021PROGRAM RM.

Total Square Footage = 9313

740 S.F3 1/2 RM.

BEDROOM

929 S.F5 1/2 RM.

BEDROOM

831 S.FCIRCULATION

567 S.F2 RM.

EFFICIENCY UNIT

572 S.F3 1/2 RM.

BEDROOM

737 S.F4 1/2 RM.

BEDROOM

737 S.F4 1/2 RM.

BEDROOM

605 S.F3 1/2 RM.

BEDROOM

1013 S.F5 1/2 RM.

BEDROOM

1255 S.F6 1/2 RM.

BEDROOM741 S.F4 1/2 RM.

BEDROOM

567 S.FCIRCULATION

Total Square Footage = 9313

574 S.FCIRCULATION

584 S.FCIRCULATION

614 S.F3 1/2

BEDROOM

The goal is to create defensible shared communal spaces coupled with opportunities for economic independence of the environment that the residents live in. The places of opportunity to make and express creative solutions should be owned by the housing authority and the residents. The residents and the housing authority should share these new spaces and programs such as a gym, café, and library. These places can be places of combined ownership and control. Through design, the new programs will replace

the old way of living. For example, the money made from the café could supply the needed funds to the grow the vegetables in the community garden and then the food that is grown in the garden can either be sold back to the community through the café or can feed individual families.

The goal of this thesis is to eliminate the idea of solitary living in individual apartments and, to instead, re-imagine the entire building as the dwelling unit. The building is a collective that all the residents maintain and control. With

the creation of places of opportunity hopefully the residents will take care of the buildings. To sustain a safe environment there also needs to be collective programs that allow the residents to showcase their talents and to make money from them; this implementation of program is to supplant the need to sell illegal substances or to engage in other illegal money-earning activities to earn a living. In order to maintain a safe environment that feeds a positive outcome, the community needs to interact constantly with each other and

the building is the setting for this interaction; the building is a setting for communal ownership and control.

People yearn for ownership; they have a need to belong to the space they inhabit. An example of this yearning for ownership can be found in a conversation between two young men who grew up in the “Woodland Springs” apartment complex in Prince Georges County, Maryland, who have lived their entire lives in these projects. The men, being ten years apart in age, talked while relaxing

outside in front of the stoop of the housing development. One man said, speaking of the housing development,

This conversation is at the heart of my thesis! When hearing this conversation one must ask why people who do not own their homes fight

“look at this, this is our’s, we run this.” Stepping in,

interrupting him, the other man said, “no, in fact this is not our’s, we don’t own anything, the white man

owns it not us. We are just here fighting over tis, we

think we own this.”

COMMUNAL OWNERSHIP AND CONTROL

» Continued, PG. 11

Vol 02, Architecture & Social Change THE RISING CLASS 11

CONTINUED

Outdoor Communal Space & Indoor-

Personal/Communal Space

Outdoor communal spaces like the stoops, courts, and playgrounds are important spaces to the development of people; these places are very important and very vital to the sanity of individuals. People need to exercise, run around and learn from the human interactions that take place on stoops, the courts, and the

playgrounds. Though these places are very important these places are also very dangerous. These are the main hubs of criminal activity; crime is high in these areas because they are areas that criminals prey upon because of their accessibility and the availability of escape routes that that accessibility gives

them. In housing projects these are some of the only places to gather so people gather in hubs of criminal activity for the majority of the day. When a person is engulfed in an environment they become victims of that environment, just as a kid does what s/he sees his or her parents or elders doing.

Studies show that groups tend to follow the majority; this is the environment of outdoor communal space.

Indoor personal space or indoor communal space does not exist in housing developments. There is no place to gather except for the lobby and

the narrow hallways. Indoor space is a great opportunity to counter the hub of criminal activity that takes place in outdoor communal spaces. Through defensible designed spaces the residents can have opportunities to be agents of change of their own circumstances.

483 S.F5 BEDROOM

309 S.F3 BEDROOM

309 S.F3 BEDROOM 200 S.F

2 BEDROOM

over the space in which they live. Why do cultures take control of things that they have no legal ownership over such as the front stoops, the streets, the playgrounds, or the basketball courts,

instead of what they actually control, like “their apartment”. Especially, when these communal places are not the safest places to be, those who take control of these locations daily put themselves in a

potentially harmful situation while those who do not become prisoners in their apartments. These cultural spaces such as the stoops, the streets, the playgrounds, and the courts are the sites where

community happens. These are the places to teach and to learn. The stoops, streets, courts, and shops become a supplement to the apartment. This attachment to places that creates a sense of belonging is

why this young man living in Woodland Springs would say that the neighborhood is his to protect even if it means death. This culture is an embodied emotion cloaked in passion; belonging is something that

Protecting Family & Place

Oscar Newman, in his book Defensible Space (1972), speaks of the need of people to protect place. In his writ-ing, Newman explains the importance of shared spaces and how architecture makes evident, by the physical space, what is a shared extension of the private realms of a group of individuals. It is impor-tant for the group to define what the behavior norms of the shared space are in order to have clear, unquestionable control over what can occur within that place. Through

design, both inhabitant and stranger can perceive that an area is under an undisput-ed influence of a particular group; this clear boundary can make the resident con-fident enough to ensure the safety of the defined area and can make the resident able to anticipate an intruder at a moment’s notice. Newman writes that “when people begin to protect themselves as individuals and not as a community, the battle against crime is lost”(3) Newman described this protection as

defensible space, a model for residential environments, an environment that inhibits crime by creating the physical expression of a social fabric that defends itself.

It is important to define what this place actu-ally is that people are so des-perate to protect. This place is not actually the house where they lay at night; it is not even the building in which all of their friends live. It is the stoops, the courts, the streets, the places of congre-

gation, it is the places to learn, and it is the places to cre-ate memories. It is the place where that boy gets his first kiss or the playground where you have your first fight. It is the basketball court where you showcase your talents. These are the places people take mental ownership over, because these are the places they control.

The people who live in public housing projects act as if they have total con-trol over the environment

in which they live; just ask people who do not live in the projects, if they have an option to not walk through a public housing project, nine times out of ten they will try to avoid it. They avoid the projects because they have no control over the situation that they may put themselves in. The people who live in the projects have complete mental control even though it really is the housing authority that controls the property; the residents have a false since of ownership.

Communal Ownership & Control

12 THE RISING CLASS Vol 02, Architecture & Social Change

T r a n s f o r m a t i o n By René Wallace

I can’t remember a time that I haven’t been here. I’m 33 I have two children my angels/devils...I was surprised when they said twins 6 years ago, I wasn’t ready and of course you know baby daddy wasn’t ready either, then bam...a boy and a girl. Wow, I thought my life would be different than what it is now. I listened to what I was told, followed the rules that

Mommy and Grandma made for me. You know one thing I realize now is I was independent in my thoughts or was hard headed as my mother would say, I did things my way. I guess Mommy and Grandma did the same, because we all landed here! Yes we are all here I grew up in these projects and so did Mommy. I’m not sure how Grandma came to be here

but I bet it has to do with the fact she had so many children 9 to be exact. All of them lived in a 3 bedroom “apartment” yeah that’s putting a nice spin on it. The apartment was in the “projects”! Yeah it was a project all right... urine soaked elevators, the smell of piss everywhere, dark tight hallways, sad faces with stories of life that you could never imagine. Young

girls with men for days and old women clinging on to a life that once was. There is a range of talent in this community, drugs, thugs, working girls and crack heads to name a few. The only solace you have is behind your own front door and then it is what you make of it because you aren’t given much. Cramped rooms, cold in winter and hot in the summer

Community SpaceResidential

Inverse

Hallway

Elevator

Stair

The architect’s role is to be accountable for space conditions; the architecture designs spaces that dictate experience and culture. The architect needs to understand and analyze the culture of the housing development. The space within Chelsea Housing currently isolates its residents, housing them in prison like conditions with no social interaction within the building. The architecture constructs culture by determining program and the placement of program as well as materiality.

There are now shared living units and communal works area in my new redesign proposal for the Chelsea Housing Projects; the building now spaces to congregate. My role as the architect is to counter this and create spaces of social change. With the careful design of communal and program spaces the architect can change the environment of

the building. As the architect, my role is to determine what is missing and design to add to the life experience of the residents to create a better lived experience. In my new design spaces that where solely privately owned now can be shared spaces. For example, a resident shares his kitchen with one neighbor while sharing a living room with another neighbor. These spaces would allow for communication which would allow for ideas to develop into business opportunities. On the ground floor, of my new proposal are store fronts for the residents to use to make their business ideas into reality. Also there are communal programs that allow the building to become economically sustainable; on the ground floor is a café that services the community and which will bring revenue to NYCHA and the building. Apart of these new communal spaces are gardens, office spaces, a library, a farmers market, and work rooms so that when an idea develops the building allows for its execution.

Then & Now

Vol 02, Architecture & Social Change THE RISING CLASS 13

Transformation By René Wallace

with industrial white paint, hollow practical board doors, and cold floors.

When they said we had to move because of renovations my first thought was ok they are trying to get us out so they can make those fancy expensive condos...you know the ones that sell for a million or two, they are putting them up everywhere around our neighborhood. I said to myself you will never be back here again! It has now been about eight or nine months, my section of the building was the first to be renovated. I was given a voucher and able to live in a nearby community while the work was being done, this really went well for me because it did not disrupt the twins with school. I never thought this would happen, but they really did it! For once it wasn’t a lie…I have been lied to so much my entire life and now the truth…wow; we were given a real opportunity. I am frozen right now… I literally cannot move… I’m standing here looking at pure beauty in brick, steel and glass...hey that’s what it looks like to me, yes pure beauty! Now our building matches the rest of the neighborhood which is changing they are putting up those expensive condos I mention…we fit right in! My hand is trembling holding this shiny key all new and unused it represents the home I’m about to see and this card the “credit card” to enter the building technology wow they say you wave it in front of the door and wallah …open sesame! Boy all sorts of magic and wonder is happening today.

I want to look at everything myself so this is the perfect time while the twins are in school. I don’t know what to do should I go to my apartment or should I go to the garden or visit the shops; I never had options like this before. Oh god thank you this place really looks nice. I can’t stand here I’ve got to move so I decided to walk into the lobby, as I enter the one thing that brings pure bliss to my heart is the smell of the air it is clear of odor, gentle

and calm with a hint of fragrance, although I don’t know what the smell is it smells very good! Real plants and flowers beautiful colors, a slight breeze very subtle blows across my cheek. I can see the garden and shops from here, the public can shop in the store fronts that encompass our building yet we still have our privacy yes with the magic key…the credit card! Yes it is like one of those fancy buildings with a door man, I think I’m going to have to pinch myself, but the way things are going I don’t want to be bruised up!

I

am surrounded by glass and light it is bright and sunny, I imagine even on a rainy days it would still be beautiful with all of the plants and openness. There are connections for the buildings that you need the card to access which is great no more running between scary buildings to go visit my friends, now we can walk through flowers and safety, the idea to connect the buildings was genius! I’m standing here in awe; it is time to see my home. The elevator, oh boy I remember when my school took field

trips and we got to go to a concert or a play at these lavish theatres, they had these beautiful elevators with this shiny marble… that’s what ours look like, colors some of which I have never seen . The wall had long shiny streaks golden brown with circles that were green and orange there were very thin blue lines, real light blue that you see in the sky. The wall is like big cats eye or one of those fancy stones you see in the museum you know smooth and shiny. As I take this ride up to heaven I hear a gentle tone passing each floor, 4 ding, 5 ding, 6 ding, 7 ding ok this is my stop 702, that’s my number!

When I stepped off the elevator a cloud came over me...it brought back a time I did not want to think of it was like nothing had changed...the dark hallway it was almost black and the walls were painted in a dark blue color with old chipped paint, it was a very narrow walk way you hated to pass another person for fear of touching them in the cramped tight space. The lights that were supposed to be there were blown out and the one, yes only one, that was working was on its last leg. I saw Cassandra standing there, I remember how I walked up on them he was beating her in the face, I was so scared all I could do was scream and he ran away. We were only 19, so young and I wasn’t prepared for what I saw nor was she or anyone for that matter, prepared for what he did! I didn’t know what to do, she was crying all I could do was hold her head and yell until someone came for help, thank God my Grandmother came to our rescue. Neither Cassandra nor I knew the man and never saw him again, that was just one of the many casualties of war in the projects. I remember about 2 months after that

14 THE RISING CLASS Vol 02, Architecture & Social Change

happened Cassandra and her family moved away... it was six of them altogether...I don’t know where they went and have never seen her again. It’s weird until this moment I had never really thought of that incident and why am I thinking of it now? I have to come back from this dark place because it is truly gone I have all evidence I need before me. I closed my eyes to shut out the old memory and opened them to envision the present reality which is unbelievable.

The wall that was in the elevator has now spilled into the floor it is so lovely I don’t even want to walk... how did they make it look so seamless, like a fountain of chocolate so smooth and rich with the colors, golden brown, green, orange and the sky blue all sparkling throughout...amazing. Did they move the walls, this is not the same hallway...but it has to be I can’t believe the walls are bright yellow. The color was not the

yellow you would see on a crayon but the brightness and natural yellow that is creamy butter very clean, so the yellow walls make the floor just pop everywhere! I started spinning around like a child oh there is so much room to move... I didn’t have to worry about what or who could be lurking in the corner or if my arm would brush against someone as I pass them possibly starting a fight, this is the projects. I have to compose myself someone may come by and think I’m crazy, this place is so amazing!

When I did the paperwork to return home I was given an option, the counselor that helped me was very good she explained the changes even though no one could prepare me for this beauty! We could choose from an apartment style or a communal style. Now I am not shy on the ways of the world so let me say the communal style just frankly sounded a little freaky to me. But after the counselor

explained the concept I understood. The communal style would be geared more towards the elderly or families. Let’s say a senior would share their kitchen and living room, perhaps with a friend to keep an eye on each other like the “Buddy System”, but check this out the person you would share your kitchen with would not be the same person that shared your living room. You would share your living room with the person on the other side of your unit. A very unique concept let’s say my Grandmother was on one side of my unit and Mommy on the other, I would share the kitchen with Grandma obviously because she is the best cook and the living room with my mother. Well even though it was a wonderful thought I opted for the “single life” I chose the apartment. So now I’m face to face with my choice I must admit my stomach has butterflies, what the hell…I’m going in.

When I turned my key and

took a step I could not help but feel as though finally the program has changed… the living room was bright and airy. I was immediately drawn to the sliding glass door which took me out to an enclosed sunroom; the little ones can play on a sunny or rainy day. In our old place if the weather was bad of course the kids could not go out and sometimes it just wasn’t safe, now I have a place where they have fresh sun and light, they will be able to play independently and I will know they are safe. I also have this great balcony there is space for me to communicate with my neighbors above me or below me you know what I just thought…I guess they got me caught up in this “communal” thing somehow! My balcony also has a place for my own private garden, which is a great idea and it looks like there is a storage area for the rain water. I understand the concept; the residents can gather the water and use it for watering their plants which is very “Green”. Green

Vol 02, Architecture & Social Change THE RISING CLASS 15

is the way everything is going, the twins are learning about the environment in school and this will reinforce what they have learned. The summer is going to be beautiful. I have said beautiful so much that is what this place is all about the beauty that my home has transform into, the belief that change can happen and for the better.

Inside there are no visual barriers the apartment is open and airy believe it or not there is a moveable/retractable wall, for the bedrooms, yes it goes away which give me even more room let’s say I’m having a family function I can put the walls away to maximize my space for entertaining. I bet you are thinking where are the beds…guess what they are in the wall, I have what is called “Murphy Beds”, they are full size and in the kids rooms, they fold up into the wall, flip directly up in the air and disappear. The

bottom side of the bed is the same color as the wall and has the same decorative molding as the rest of the room. Putting the beds up gives me so much space it is very versatile. As for my bedroom it is conventional I have a walk in closet that has shelves for shoes and sweaters there is a bathroom that has a walk in shower and yes it is just like out of a magazine…marble everywhere… granite countertop like in the kitchen. I am getting overwhelmed and about to come to tears I feel like I don’t deserve all of this, but I do…I have to get use to it I deserve to be in a place just as nice as anyone else. Of course we have a bathroom in the hallway for the kids and guest. It is equipped with the same features as my bathroom with the exception of no shower but a bathtub in its place. This apartment was made with the best of modern and retro techniques. When it is time for privacy the walls can be

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16 THE RISING CLASS Vol 02, Architecture & Social Change

Commmunity Space

Circulation

Water Closet

Communal

Communal

pulled down and adjust the space to my liking. I was concerned about having to provide window treatments for all of these windows they are five feet tall then I realized they are energy efficient, the windows are tinted I remember when I was looking up from the outside, the tinting maximizes the amount of heat that my unit absorbs and it also provides security, the architect thought of everything.

The kitchen is equipped with all of the modern conveniences I have energy efficient appliances I love my fridge it has the freezer at the bottom, and no more dishpan hands as they say I have a dishwasher now…the old place did have that or even a garbage disposal! Beautiful grey granite countertops and cherry cabinets, I also have the wood laminate floors, the entire apartment has the same floors. There are two closets but wait one is a pantry and the other is a room for the stackable washer and dryer…OMG I never even thought about laundry, no more broken dryers and dirty machines I have my very own, this is so much to take pride in I feel as though I have made a great accomplishment with just a simple dishwasher and disposal, washer and dryer, things that people take for granted have filled me with joy. My place is all that I thought it would be and much more, I am so happy with my new home.

I am going to explore the rest of the building, there is more to see. The building is still under construction, however there are some areas that have been completed and one thing they did is if a particular area has not been complete they have display an easy to read drawing that lets you see the finished product. As I left my unit and went into the wonderful hall and entered the elevator I decided to go as far up as I could and see what I could find. To my surprise the elevator let me go to the roof which before would have been unheard of, for fear of someone tumbling down, it has happened. The roof had been secured you have to have your magic key card to enter…there is a hallway with his and her bathrooms and as you walk to the end of a hall there is a door that leads to the roof top. When I went into the “Her” door it was a lounge and restrooms with showers I’m sure the men’s room “His” was the same. As I exited the lounge I continued down the hall to the door that opened to the outside…but it wasn’t, the roof was retractable there were tropical plants and lounge chairs with nice cushions and can you believe it an actual pool, a life guard who told me the pool was open in the summer and winter. I could not believe it how is this possible, then he explained the retractable roof would be closed during the winter, the heat would be turned on in the pool so we would have year round access, again I need to pinch myself!

As I got back in the elevator and went down I noticed something I did not see before there were little images that indicated certain community areas on designated floors for example on the 6th floor was a little image of a swing, so that would be my next stop. When the doors opened you were outside on the playground. There were swings and jungle gyms, slides, ladders all sorts of playground gear that would be available to the children year round although they would have to bundle up in the winter and it would still be a great option for fresh crisp air. I couldn’t ask for more. Back in the elevator there I go to the “Community Level” 2nd floor, the elevator opens into an open area with directions like in a hotel to find a room number…a arrow points you in the direction of the, computer lab and community room. The computer lab is complete with Wi-Fi and you use a code that is assigned to you to log

on. This room has 12 computer stations and 6 empty stations, the computer stations are for those who need to use a computer and perhaps does not have one and then the empty station are for residents that may have a lap top or iPad and maybe not Wi-Fi, so they can use this area. Then there are lounge chairs and printers. Each resident is entitled to use the area, however, if you need to make copies or have to print there is a small charge which offset the cost of paper and ink, I know I won’t mind paying. The community room is equipped with flat screen TV’s but it is not complete and I could not see everything but the drawing did show a kitchen area with full size refrigerator and sink and all to the amenities including an ice make. There is a fireplace and very decorative tables and comfortable lounge chairs that circle the fireplace which is in the middle of the room. On the drawing it says residents are allowed to rent the room if they want to have a private function…oh my God a “private function” I feel like I have moved up just like George Jefferson!

From this floor you can look down on the first floor which houses the rental offices, garden and stores one of which is the “Farmers Market”. The Farmers Market sells produce that is grown in the community garden, so not only can you grow veggies and herbs in your own private garden as residents you have access to the community garden and can grow for the community to bring money back to the building. I walked down the stair way from the 2nd floor to the 1st it was well lit and very secure. I do see all of the shops and there are vacant spaces that I am told are going to be offered to the residents before being opened up to the community. Theses spaces are reserved for those that want to try their hand at opening a business in effort to uplift the community and promote their own financial growth. I see a huge room that is under construction it is the Library, which to will be accessible to the community. I’m

going to call Ashley, she is a friend who lived here and will be returning soon, I going to invite her to lunch in our new café!

As I walk out of the building on my way to pick up the twins, I am relieved. I have a path that is clear a future that is defined, I have a place to raise my children and uplift my life. I have opportunity for entrepreneurship and education; they are all at my front door. All of those who will return to this building have now been given a second chance a chance to make success of what was once broken. I just felt as though I needed to share my story with you…my community will be very successful.

Vol 02, Architecture & Social Change THE RISING CLASS 17

Works Cited

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2. Benedikt, Michael. For an Architecture of Reality. New York: Lumen, 1987. Print.

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4. Caicco, Gregory. Architecture, Ethics, and the Personhood of Place. Hanover: University of New England, 2007. Print.

5. Fishman, Robert. Urban Utopias in the Twentieth Century: Ebenezer Howard, Frank Lloyd Wright, and Le Corbusier. New York: Basic, 1977. Print.

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7. Hall, Edward T. The Hidden Dimension. Garden City, NY: Anchor, 1969. Print.

8. Hall, Edward T. The Silent Language. Garden City, NY: Doubleday, 1959. Print.

9. Hall, Peter. Cities of Tomorrow: An Intellectual History of Urban Planning and Design in the Twentieth Century. Oxford, UK: Blackwell, 2002. Print.

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12. Holl, Steven. Intertwining: Selected Projects 1989-1995 New York: Princeton Architectural, 1998. Print.

13. Le, Corbusier. The Radiant City; Elements of a Doctrine of Urbanism to Be Used as the Basis of Our Machine-age Civilization. New York: Orion, 1967. Print.

14. Mostafavi, Mohsen, and Gareth Doherty. Ecological Urbanism. Baden, Switzerland: Lars Mü ller, 2011. Print.

15. Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Chichester: Wiley- Academy, 2005. Print.

16. Phillips, Patricia C., and James Wines. Highrise of Homes. New York: Rizzoli, 1982. Print.

17. Sound Unbound: Sampling Digital Music and Culture. Cambridge, MA: MIT, 2008. Print.

18. Walker, Rebecca. “Black Cool: One Thousand Streams of Blackness [Paperback].” Black Cool: One Thousand Streams of Blackness: Rebecca Walker, Henry Louis Gates Jr.: 9781593764173: Amazon.com: Books. N.p., 2012. Web. 08 Jan. 2013.

19. Bloom, Nicholas Dagen. Public Housing That Worked: New York in the Twentieth Century. Philadelphia: University of Pennsylvania, 2008. Print.

20. Bowly, Devereux. The Poorhouse: Subsidized Housing in Chicago, 1895- 1976. Carbondale: Southern Illinois UP, 1978. Print.

21. Newman, Oscar. Defensible Space; Crime Prevention through Urban Design. New York: Collier, 1973. Print.

22. Plunz, Richard. A History of Housing in New York City: Dwelling Type and Social Change in the American Metropolis. New York: Columbia UP, 1990. Print.

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24. Venkatesh, Sudhir Alladi. American Project: The Rise and Fall of a Modern Ghetto. Cambridge, MA: Harvard UP, 2000. Print.

25. Laugier, Marc-Antoine. An Essay on Architecture. Los Angeles: Hennessey & Ingalls, 1977. Print.