Adrienne Economos Miller

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	<title>Adrienne Economos Miller</title>
	<link>https://adrienneeconomosmiller.cargo.site</link>
	<description>Adrienne Economos Miller</description>
	<pubDate>Fri, 19 Jul 2024 12:28:20 +0000</pubDate>
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		<title>Home Image Scroll</title>
				
		<link>https://adrienneeconomosmiller.cargo.site/Home-Image-Scroll</link>

		<pubDate>Sat, 20 Feb 2021 23:47:12 +0000</pubDate>

		<dc:creator>Adrienne Economos Miller</dc:creator>

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		<title>Info</title>
				
		<link>https://adrienneeconomosmiller.cargo.site/Info</link>

		<pubDate>Sat, 20 Feb 2021 23:47:12 +0000</pubDate>

		<dc:creator>Adrienne Economos Miller</dc:creator>

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About


Adrienne Economos Miller is a designer and educator who uses the trash pile as a tool for the deconstruction of architecture as an exploitative labor form. She is interested in heterogeneous materiality and the intentional demolition and reconstruction of the built environment toward new ends. She was the 2022–23 Schidlowski Emerging Faculty Fellow at Kent State University with the exhibition, “Refuse//Repose.” Her writing has been published in Disc, Log, and Perspecta and her work has been featured in exhibitions at A83, Kent State University, and the Cleveland Museum of Contemporary Art. She received their Bachelor of Science in Architecture from Ohio State University and a Master of Architecture from the Yale School of Architecture. She previously taught at Kent State University, Kean University, and Lehigh University. She has worked professionally as an architect and academic editor. She is currently an Assistant Professor at the University of Wisconsin-Milwaukee working on creating collective labor structures and thinking through trans* architecture.


 Adrienne also writes the Refuse//Repose newsletter, an extremely occasional&#38;nbsp; substack for architectural thinking. Sign up here!


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		<title>Refuse//Repose</title>
				
		<link>https://adrienneeconomosmiller.cargo.site/Refuse-Repose</link>

		<pubDate>Fri, 19 Jul 2024 12:28:20 +0000</pubDate>

		<dc:creator>Adrienne Economos Miller</dc:creator>

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1. Refuse//Repose


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REFUSE // REPOSE


1. Labor


Refusal of labor is the worker’s primary source of power. This power can only be enacted collectively: the individual refusal of labor ends in a wasted martyrdom. Collective refusal is one of the few acts of inaction able to produce mass change. It is a “productive” cessation.


Repose on the job is the individual subterfuge: the sixth cigarette break; the intentional inactivity of the machine. Repose does not change the underlying conditions, it is a ritual wasting for the self.


2. Waste


Refuse is the physical material of waste. It is the collected discharge of humanity’s overactive metabolism.


Repose is the quality of the trash pile: the slope at which material rests. For human refuse that angle is approximately 30 degrees.


3. Action

Re-fuse is an act of transformation. It implies the return of fragments to a previously held shape, but the prior whole is not necessary. Re-fusing can also imply the reconfiguration of existing things into new forms. It is chimaeric. 


Re-pose is a strategy of casual beauty. Re-pose is the lackadaisical cousin to re-fuse. Re-pose does not require transformation, nor does it require multiple objects. It only requires that a single object has multiple parts. 


4. Ends


Refuse//Repose is explicitly against the contemporary built environment. There is much of our construction that is unsaveable except as the quarry for future worlds. 


This exhibition is the culmination of the year of research undergone for the Kent State University Schidlowski Emerging Faculty Fellowship. The exhibition is comprised of 21 8’x’3’ panels built without drawings and filled with found architectural debris from across Northeast Ohio and Western Pennsylvania. By using architectural debris, the exhibition reorients its material extraction from original and neo-colonial landscapes to the backyard. Paired with the collective form of labor and design enacted with student assistants akin to gothic tracery, these intentional attitudes toward production outside of the imperial labor form aim to crack open the seemingly naturalized position of the “architect.”


One of Architect’s Newspaper most memorable exhibitions of 2023.
Panel 12: Beverly and Panel 21: Sophie currently on display at the Cleveland Museum of Contemporary Art.

Schidlowski Emerging Faculty Fellow 2022–23 Fellowship Exhibition

Adrienne Economos Miller

Student AssistantsDominic Holiday Nguyên Lê

Gallery CoordinatorRyan Scavnicky


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		<title>Apartment Block in Vienna</title>
				
		<link>https://adrienneeconomosmiller.cargo.site/Apartment-Block-in-Vienna</link>

		<pubDate>Sat, 20 Feb 2021 23:47:12 +0000</pubDate>

		<dc:creator>Adrienne Economos Miller</dc:creator>

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1. Apartment Block in Vienna


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The modern project of architecture relied on the material erasure of history from cities in order to enact its radical change. From the lost Paris of the Plan Voisin to American Urban Renewal to Marshall Plan Japan, modernism’s ghosts covered the earth. This program of demolition has transformed from serving the power of the Keynesian midcentury state to the tool of the developers of the neoliberal city. Gentrification has taken on the mantle of destruction from centralized planning as neighborhoods and histories are excavated from cities in order to present a clean image of capitalist power.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; This project is built from the refuse of these excavated histories. Operating as a shadow architecture to the developers’ city, the building is a collected mass of architectural debris, filling the courtyards of Vienna’s historical blocks. The dark space of the pile stands against the hyper-clean image of the solarized modernist and capitalist cities, offering a respite from the literal heat and visual vacuity of the contemporary city. The space within the pile resists commodification through its piled up immeasurability and its reliance on a collectivized construction.


H.I. Feldman Award Nominated Project.


First Drawing shown in “Working Remotely” at the A83 Gallery in Soho, New York.


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		<title>(re)Grounded</title>
				
		<link>https://adrienneeconomosmiller.cargo.site/re-Grounded</link>

		<pubDate>Sun, 21 Feb 2021 01:23:14 +0000</pubDate>

		<dc:creator>Adrienne Economos Miller</dc:creator>

		<guid isPermaLink="true">https://adrienneeconomosmiller.cargo.site/re-Grounded</guid>

		<description>
	
	
2. (re)Grounded


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	As virtual lines are made physical across the face of the earth through the unequal flow of industrial material and its waste, the house of the future must negotiate the accumulating arche-geological strata of human material. This strata presents a difficult contradiction: it encourages speculations toward techno-fetishistic flight, but these soil-less follies only reinforce wastefulness. The house of the future must counter ideas of being-without-the-earth while coming to terms with the literally and figuratively poisoned ground: microplastics, property, large-scale waste, blood and soil politics.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; An inclusion of human waste products within Geology redefines material extraction. As the earth is covered with waste, the quarry becomes more familiar, filled as it is with our childhood homes. In negotiating a new domesticity, (re)Grounded dives into the new quarry, allowing for a material reconstitution of the contradictions between modern immaterialism and anthropocenic “objectivity.”


	HOME Competition Honorable Mention.


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		<title>Yucca Mountain</title>
				
		<link>https://adrienneeconomosmiller.cargo.site/Yucca-Mountain</link>

		<pubDate>Mon, 22 Feb 2021 19:38:00 +0000</pubDate>

		<dc:creator>Adrienne Economos Miller</dc:creator>

		<guid isPermaLink="true">https://adrienneeconomosmiller.cargo.site/Yucca-Mountain</guid>

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3. Yucca Mountain


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This speculative project piles collected cultural symbols of death to pair with a narrative about the possibility and ultimate futility of continued conversation across geological time. Each image pairs with a short fictional description of an atomic priesthood tasked with keeping people away from the Yucca Mountain Nuclear Waste Storage Site for 10,000 years. The project posits three types of collective memory in an effort at extending the possibility of communication as far into the future as possible: Symbolic, Institutional, and Geological. The pile is designed to operate symbolically in the short term, institutionally in the midterm, and geologically in the long term. As the flippant symbols of death become obsolete, the institutional drive toward “collection” will remain behind, ultimately creating a human sedimented layer of material that leaves a stratigraphical layer between the future human and the current nuclear waste.


2050 C.E.


The Yucca Mountain priesthood is founded alongside parallel priesthoods at sister sites across the world. The early history of accumulation is marked by local symbolism as the priesthood establishes its pedigree as an international institution.


&#60;img width="844" height="1500" width_o="844" height_o="1500" data-src="https://freight.cargo.site/t/original/i/acfe4050ba2b4197ed7261d3fbae3ba02cd653ea7f483797e01f789585f2f998/Image2_Corruption.png" data-mid="99798060" border="0"  src="https://freight.cargo.site/w/844/i/acfe4050ba2b4197ed7261d3fbae3ba02cd653ea7f483797e01f789585f2f998/Image2_Corruption.png" /&#62;

	
	4305 E.o.A.


Perfect Formosus rejects the proposals put forward at the 75th International Conjunction of Collators and removes the Yucca Mountain delegation—now known as the Mori Valley Collective—from the international priesthood. Over the following years, the Mori Valley Collective withdraws into the collected mountain and completely cuts off all contact with the outside world.

&#60;img width="844" height="1500" width_o="844" height_o="1500" data-src="https://freight.cargo.site/t/original/i/8451c42092ec4364cb8cb59ee86f72e86d4999b8da0d71779520af6a4b988ebb/Image3_Ruination.png" data-mid="99798061" border="0"  src="https://freight.cargo.site/w/844/i/8451c42092ec4364cb8cb59ee86f72e86d4999b8da0d71779520af6a4b988ebb/Image3_Ruination.png" /&#62;

	
	9798 E.o.A.


Despite reformations after the Corruption, the priesthood begins a slow decline. The last Perfect dies alone deep in the collection.&#38;nbsp;

</description>
		
	</item>
		
		
	<item>
		<title>Material Collective</title>
				
		<link>https://adrienneeconomosmiller.cargo.site/Material-Collective</link>

		<pubDate>Mon, 22 Feb 2021 19:38:17 +0000</pubDate>

		<dc:creator>Adrienne Economos Miller</dc:creator>

		<guid isPermaLink="true">https://adrienneeconomosmiller.cargo.site/Material-Collective</guid>

		<description>
	
	
4. Material Collective


&#60;img width="1500" height="723" width_o="1500" height_o="723" data-src="https://freight.cargo.site/t/original/i/1c04ec3ecaff2985ed59db1cedc50ecb904e3d8f8f689f9175fac9485db4426f/MaterialCollective_Elevation.png" data-mid="99799381" border="0"  src="https://freight.cargo.site/w/1000/i/1c04ec3ecaff2985ed59db1cedc50ecb904e3d8f8f689f9175fac9485db4426f/MaterialCollective_Elevation.png" /&#62;

	
Commodified housing relies on an individual ownership model with fixed spatial and material boundaries. Static material boundaries tie all elements of a building to a single lifespan and limit the material agency of future residents. Alternatively, this co-housing prototype seeks to extend material lifespans through circular use and promote flexible boundaries that eliminate permanent, private ownership of units. An on-site material bank and workshop facilitates a community of craftsmen that experiment with flexible construction methods. Through this material changeability, the boundaries of individual units and shared spaces are regularly redefined within a fixed logic of modularity, structure, and systems. Elements ranging from furniture to entire wall systems can be moved to accommodate seasonal changes, growing families, or social activities.

Collaborative project with Katie Lau.


&#60;img width="1500" height="964" width_o="1500" height_o="964" data-src="https://freight.cargo.site/t/original/i/3246a3e8c87b6f5e380a7f49b6b850519ead0b36393d4946899bf14aa92e7aa7/MaterialCollective_SocioMaterialOrganization.png" data-mid="99799385" border="0"  src="https://freight.cargo.site/w/1000/i/3246a3e8c87b6f5e380a7f49b6b850519ead0b36393d4946899bf14aa92e7aa7/MaterialCollective_SocioMaterialOrganization.png" /&#62;
&#60;img width="1500" height="790" width_o="1500" height_o="790" data-src="https://freight.cargo.site/t/original/i/a102325f23460c0054a6f5b5eacffcd6f83d9597cfaa7f0555c617fe861b5448/MaterialCollective_SectionPerspective.png" data-mid="99799383" border="0"  src="https://freight.cargo.site/w/1000/i/a102325f23460c0054a6f5b5eacffcd6f83d9597cfaa7f0555c617fe861b5448/MaterialCollective_SectionPerspective.png" /&#62;
&#60;img width="1500" height="1386" width_o="1500" height_o="1386" data-src="https://freight.cargo.site/t/original/i/df719f81becd8ac279febef2cf3f66609c25b5f6a164dbe0d3a18d9748f5c031/MaterialCollective_Plan08.png" data-mid="99799382" border="0"  src="https://freight.cargo.site/w/1000/i/df719f81becd8ac279febef2cf3f66609c25b5f6a164dbe0d3a18d9748f5c031/MaterialCollective_Plan08.png" /&#62;
&#60;img width="1500" height="597" width_o="1500" height_o="597" data-src="https://freight.cargo.site/t/original/i/63f5633cfb1d75e14f007e95f086418381b541fdf01f26159bee2833579a5d78/MaterialCollective_SocialCyclesDiagram.png" data-mid="99799384" border="0"  src="https://freight.cargo.site/w/1000/i/63f5633cfb1d75e14f007e95f086418381b541fdf01f26159bee2833579a5d78/MaterialCollective_SocialCyclesDiagram.png" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Climate and Labor in La Gomera</title>
				
		<link>https://adrienneeconomosmiller.cargo.site/Climate-and-Labor-in-La-Gomera</link>

		<pubDate>Mon, 22 Feb 2021 19:38:35 +0000</pubDate>

		<dc:creator>Adrienne Economos Miller</dc:creator>

		<guid isPermaLink="true">https://adrienneeconomosmiller.cargo.site/Climate-and-Labor-in-La-Gomera</guid>

		<description>
	
	
5. Climate and Labor in La Gomera


&#60;img width="1500" height="790" width_o="1500" height_o="790" data-src="https://freight.cargo.site/t/original/i/93a9bf9bed0cc880278c6bcb36c9c00601685ac794336978ec967757abe36870/ClimateandLabor_Perspective.png" data-mid="99800603" border="0"  src="https://freight.cargo.site/w/1000/i/93a9bf9bed0cc880278c6bcb36c9c00601685ac794336978ec967757abe36870/ClimateandLabor_Perspective.png" /&#62;

	
It seemed that development was inevitable. This island was going to get developed and our brief was to put forward ways of working with locals as a sort of pump priming activity—as a kind of ginger group to try and suggest ways you could develop but preserve the spirit of the place, respond to the locale, if you like.

– Norman Foster, 1977 AIA Conference, London.

As the last of the projects commissioned by Norwegian shipping magnate Fred Olsen, Foster Associates’ La Gomera Regional Planning Study marks the end of a series of architecture-as-social-experiments performed by the firm in the 1970s. The study, by far the most radical of the Olsen projects, proposes methods for the ecological and economic rehabilitation of the island of La Gomera, one of the smaller inhabited Canaries. Focusing on green energy generation and material efficiency, the proposal aims to mobilize the inhabitants of the island as laborers reversing the negative effects on the island caused by exploitative lumber extraction, while at the same time developing the island for increased tourism managed by the Fred Olsen companies. As such, the project operated more as an exercise in systems management than traditional architectural design. The drawings made for the project can be roughly split into two groups, the ecological and the experiential. The team started by making a number of large-scale maps and diagrams showing the ideas and implications of their design as they affected the entire island. From solar farms to water desalination techniques, the team took a high-tech, prefabricated approach to restoring the ecosystem to a pre-Columbian state. On the other hand, the experiential drawings show tourists engaging in the usual activities of hiking, beach-going, and swimming at the same time that the inhabitants of the island labor to create “low-rise high-density,” vernacular-based hotel units and install the green-technology. Through these drawings the Foster Associates team proposes to solve two problems, the environmental problem and the surplus labor “problem.” Similarly, these images also show the two-scaled approach taken by the team in their proposal, that is, the scale of the territory and the scale of the body.

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; In his 2014 essay “Scale Critique for the Anthropocene,” Derek Woods defines scale variance as a mode of analysis that accepts and highlights the necessary disjunctions between scales. He writes, “scale variance means that the observation and the operation of systems are subject to different constraints at different scales due to real discontinuities.” In the case of the La Gomera project, scale variance opens up the possibility of understanding the multiplicity of factors that make up Foster’s proposal as necessarily disjunctive and open to their own praise and critique. While the large-scale ecological ideals of the project may be praise worthy, and even a bit ahead of their time, the smaller pieces of the proposal should simultaneously be considered for their own individual qualities and relationships.

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The exhibition aims to tease out these smaller aspects of the project through a collection of drawings made for the proposal, records of lectures and texts about the project, and, most importantly, through a series of previously unpublished photographs taken by the Foster Associates team while on a site visit in the 1970s. These materials are organized to show the differences in scale inherent in the project through the relationship of the hanging materials to those rising from the floor, relate to the historic labor conditions of the island as well as those proposed by Foster and Olsen through the metal roof structure and the counteracting banana boxes, and to encourage the visitors to ask questions both about the project itself and about our larger attitude toward climate and labor. More specifically, the exhibition asks its visitors to weigh the effects of a changing climate with the self-determination of an island population.

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; What was clear to the Foster Associates team in the case of La Gomera, and has been made increasingly clear over the 40 years since the project was shelved, is the need to adapt both technology and the organization of society to the changing climate. It is also clear that that change will require a mountain of labor both physical and intellectual, and it is the organization of that labor that the Foster Associates team proposed in the ‘70s. It is here that the photographs and drawings become key to the exhibition. The most important question that the visitors to the exhibition can ask is “who?” Who does the manual labor? Who does the intellectual labor? And, critically, who stands to gain the most from those labors?


&#60;img width="1159" height="1500" width_o="1159" height_o="1500" data-src="https://freight.cargo.site/t/original/i/964d81b63c281a442ede1004e8a11f11aadc05c06de57c733d36489f9e6db5e2/ClimateandLabor_Iso.png" data-mid="99800602" border="0"  src="https://freight.cargo.site/w/1000/i/964d81b63c281a442ede1004e8a11f11aadc05c06de57c733d36489f9e6db5e2/ClimateandLabor_Iso.png" /&#62;
&#60;img width="3572" height="5313" width_o="3572" height_o="5313" data-src="https://freight.cargo.site/t/original/i/9e2fcbb0ebf827511d6cb3846e73017d3b77b5c3da0a3b66ec9cab16f78809b8/Photograph-40.jpg" data-mid="99800613" border="0"  src="https://freight.cargo.site/w/1000/i/9e2fcbb0ebf827511d6cb3846e73017d3b77b5c3da0a3b66ec9cab16f78809b8/Photograph-40.jpg" /&#62;
&#60;img width="5281" height="3552" width_o="5281" height_o="3552" data-src="https://freight.cargo.site/t/original/i/8717f4362db44985c770c9ea1a1573e73e5d721294492ce864edbea263a4109f/Photograph-8.jpg" data-mid="99800605" border="0"  src="https://freight.cargo.site/w/1000/i/8717f4362db44985c770c9ea1a1573e73e5d721294492ce864edbea263a4109f/Photograph-8.jpg" /&#62;
&#60;img width="3601" height="5329" width_o="3601" height_o="5329" data-src="https://freight.cargo.site/t/original/i/4012adbf6bd30cc2482098256fa9fcfb6cb0f30e5411a4ef50c04a6f419f0b7a/Photograph-39.jpg" data-mid="99800612" border="0"  src="https://freight.cargo.site/w/1000/i/4012adbf6bd30cc2482098256fa9fcfb6cb0f30e5411a4ef50c04a6f419f0b7a/Photograph-39.jpg" /&#62;
&#60;img width="1500" height="899" width_o="1500" height_o="899" data-src="https://freight.cargo.site/t/original/i/c2b94e9fba57dcb2612f7fc5bb9100781780fb8d0a7dc5f8651917b33f632a7a/ClimateandLabor_Plan.png" data-mid="99800604" border="0"  src="https://freight.cargo.site/w/1000/i/c2b94e9fba57dcb2612f7fc5bb9100781780fb8d0a7dc5f8651917b33f632a7a/ClimateandLabor_Plan.png" /&#62;
&#60;img width="5329" height="3568" width_o="5329" height_o="3568" data-src="https://freight.cargo.site/t/original/i/5003fea2adf5e0703a3dfba49f34dfad1e0b49ddb80aeec18fdec725bbf2626b/Photograph-17.jpg" data-mid="99800608" border="0"  src="https://freight.cargo.site/w/1000/i/5003fea2adf5e0703a3dfba49f34dfad1e0b49ddb80aeec18fdec725bbf2626b/Photograph-17.jpg" /&#62;
&#60;img width="5329" height="3568" width_o="5329" height_o="3568" data-src="https://freight.cargo.site/t/original/i/5e26618d24194a4656f62c0bf9c12f484806973f743b280c21e4a18f782e7a33/Photograph-18.jpg" data-mid="99800609" border="0"  src="https://freight.cargo.site/w/1000/i/5e26618d24194a4656f62c0bf9c12f484806973f743b280c21e4a18f782e7a33/Photograph-18.jpg" /&#62;
&#60;img width="5329" height="3553" width_o="5329" height_o="3553" data-src="https://freight.cargo.site/t/original/i/658dfacbf5bd430b196bbbf384a68f66b4c737e5b9ab56b67b392d85c453928e/Photograph-24.jpg" data-mid="99800610" border="0"  src="https://freight.cargo.site/w/1000/i/658dfacbf5bd430b196bbbf384a68f66b4c737e5b9ab56b67b392d85c453928e/Photograph-24.jpg" /&#62;
&#60;img width="5312" height="3552" width_o="5312" height_o="3552" data-src="https://freight.cargo.site/t/original/i/519141f0ba221e7174a1ca428f08690c74819923c85c80b808853041d3f0dd81/Photograph-43.jpg" data-mid="99800614" border="0"  src="https://freight.cargo.site/w/1000/i/519141f0ba221e7174a1ca428f08690c74819923c85c80b808853041d3f0dd81/Photograph-43.jpg" /&#62;
&#60;img width="5328" height="3536" width_o="5328" height_o="3536" data-src="https://freight.cargo.site/t/original/i/2e1d0de1d6a75a73ae1fec221ae07bf2f9b4370105cb7462947fe20d1bc5d9c9/Photograph-16.jpg" data-mid="99800607" border="0"  src="https://freight.cargo.site/w/1000/i/2e1d0de1d6a75a73ae1fec221ae07bf2f9b4370105cb7462947fe20d1bc5d9c9/Photograph-16.jpg" /&#62;
&#60;img width="5329" height="3553" width_o="5329" height_o="3553" data-src="https://freight.cargo.site/t/original/i/faca19055925f6beeff71fe0d57f2c3fae102d6c5a2d559bf96d677455a300b6/Photograph-48.jpg" data-mid="99800616" border="0"  src="https://freight.cargo.site/w/1000/i/faca19055925f6beeff71fe0d57f2c3fae102d6c5a2d559bf96d677455a300b6/Photograph-48.jpg" /&#62;
&#60;img width="5314" height="3612" width_o="5314" height_o="3612" data-src="https://freight.cargo.site/t/original/i/238c131653415d2b387c36f48a5352f7aa6e28e5910ece58a03bc1035f2a4690/Photograph-10.jpg" data-mid="99800606" border="0"  src="https://freight.cargo.site/w/1000/i/238c131653415d2b387c36f48a5352f7aa6e28e5910ece58a03bc1035f2a4690/Photograph-10.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>The Right to Air</title>
				
		<link>https://adrienneeconomosmiller.cargo.site/The-Right-to-Air</link>

		<pubDate>Mon, 22 Feb 2021 19:38:54 +0000</pubDate>

		<dc:creator>Adrienne Economos Miller</dc:creator>

		<guid isPermaLink="true">https://adrienneeconomosmiller.cargo.site/The-Right-to-Air</guid>

		<description>
	
	
6. The Right to Air


&#60;img width="1501" height="428" width_o="1501" height_o="428" data-src="https://freight.cargo.site/t/original/i/5af31635a2068676ab4164d50c762c64675ea60834c9deb996e1837890a04370/RighttoAir_Triptych.png" data-mid="99801925" border="0"  src="https://freight.cargo.site/w/1000/i/5af31635a2068676ab4164d50c762c64675ea60834c9deb996e1837890a04370/RighttoAir_Triptych.png" /&#62;

	
This project takes the form of a diptych. The first phase of the research documents the quantity and estimated value of air rights created in a new zoning plan for East Harlem in 2018. This half is put forward as an investment proposal. The second half is a design proposal for programs to build on the roofs of buildings that have sold all of their air rights. Thanks to a zoning law loophole, if 90% of an area’s air rights are sold, the city can then reopen the air under its control. Our project took advantage of that loophole to utilize this empty and “unusable” space for affordable housing, urban agriculture, green energy, public recreational space, and extensions of institutional projects such as schools or kids sports programs. The project operates as a critique of both the capitalist condition that currently dominates real estate as well as the ability of “architecture” to affect real change on that system. 


A Collaborative project with Matthew Liu and Jackson Lindsay.


&#60;img width="1175" height="1502" width_o="1175" height_o="1502" data-src="https://freight.cargo.site/t/original/i/d37e7b598ad4f28d30f124c6b14d5614acb05ef780528324f3bd043d7863d0bb/RighttoAir_HiEnergy-01.png" data-mid="99802306" border="0"  src="https://freight.cargo.site/w/1000/i/d37e7b598ad4f28d30f124c6b14d5614acb05ef780528324f3bd043d7863d0bb/RighttoAir_HiEnergy-01.png" /&#62;
&#60;img width="1500" height="943" width_o="1500" height_o="943" data-src="https://freight.cargo.site/t/original/i/c94c13675ca174b86b539a656334a1c424077c2ab0ffdedabf3f2dd3db7c4aa9/RighttoAir_JAM-Book-One.png" data-mid="99802309" border="0"  src="https://freight.cargo.site/w/1000/i/c94c13675ca174b86b539a656334a1c424077c2ab0ffdedabf3f2dd3db7c4aa9/RighttoAir_JAM-Book-One.png" /&#62;
&#60;img width="1341" height="1497" width_o="1341" height_o="1497" data-src="https://freight.cargo.site/t/original/i/acb75ad0569f1c32089905b54f788c92d34f6a53700583e5482b12421647fc2c/RighttoAir_HighRec-01.png" data-mid="99802307" border="0"  src="https://freight.cargo.site/w/1000/i/acb75ad0569f1c32089905b54f788c92d34f6a53700583e5482b12421647fc2c/RighttoAir_HighRec-01.png" /&#62;
&#60;img width="1500" height="941" width_o="1500" height_o="941" data-src="https://freight.cargo.site/t/original/i/d6a594dcf09b5f31a25598ecf9fac4df68c464e9b548816004d3f5a528c73367/RighttoAir_JAM-Book-Two.png" data-mid="99802310" border="0"  src="https://freight.cargo.site/w/1000/i/d6a594dcf09b5f31a25598ecf9fac4df68c464e9b548816004d3f5a528c73367/RighttoAir_JAM-Book-Two.png" /&#62;
&#60;img width="884" height="1503" width_o="884" height_o="1503" data-src="https://freight.cargo.site/t/original/i/54f750a27404945ad3e2bab27d6f58cfaaaacd21cb10ed576a39701c9080cacb/RighttoAir_MidAgri-01.png" data-mid="99802312" border="0"  src="https://freight.cargo.site/w/884/i/54f750a27404945ad3e2bab27d6f58cfaaaacd21cb10ed576a39701c9080cacb/RighttoAir_MidAgri-01.png" /&#62;
&#60;img width="1285" height="1505" width_o="1285" height_o="1505" data-src="https://freight.cargo.site/t/original/i/776a66b4f9d9c6eb6750ee1729186431b7156bc4ae4277979ded9f6046210514/RighttoAir_HiHousing.png" data-mid="99802308" border="0"  src="https://freight.cargo.site/w/1000/i/776a66b4f9d9c6eb6750ee1729186431b7156bc4ae4277979ded9f6046210514/RighttoAir_HiHousing.png" /&#62;
&#60;img width="741" height="1498" width_o="741" height_o="1498" data-src="https://freight.cargo.site/t/original/i/fc8314cb2c0eda2ec6a015923958109f42b778f93f67f6045f48f10864739518/RighttoAir_LowRec-01.png" data-mid="99802311" border="0"  src="https://freight.cargo.site/w/741/i/fc8314cb2c0eda2ec6a015923958109f42b778f93f67f6045f48f10864739518/RighttoAir_LowRec-01.png" /&#62;
&#60;img width="1501" height="1000" width_o="1501" height_o="1000" data-src="https://freight.cargo.site/t/original/i/0019d87d61875575ece4e8733f0bae25ff77dae850554e6186cd71389bbecab3/RighttoAir_Model.png" data-mid="99802313" border="0"  src="https://freight.cargo.site/w/1000/i/0019d87d61875575ece4e8733f0bae25ff77dae850554e6186cd71389bbecab3/RighttoAir_Model.png" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>The Cast as Public Record</title>
				
		<link>https://adrienneeconomosmiller.cargo.site/The-Cast-as-Public-Record</link>

		<pubDate>Mon, 22 Feb 2021 19:39:11 +0000</pubDate>

		<dc:creator>Adrienne Economos Miller</dc:creator>

		<guid isPermaLink="true">https://adrienneeconomosmiller.cargo.site/The-Cast-as-Public-Record</guid>

		<description>
	
	
7. The Cast as Public Record


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The introduction of plaster casts into America began with their use as models for art education. Using Henry Frieze’s 1855 collection at the University of Michigan as a model, American universities collected casts of canonical works of sculpture and architecture to provide studies for their students. Eventually, institutions like the Metropolitan Museum of Art in New York and the Boston Museum of Fine Arts began to collect casts for public exhibition. Furnished by the rapidly increasing wealth of the industrialist class at the end of the 19th century, these collections were often exhibited to raise the art literacy of the American public. This trend continued into the early 20th century until the buying power of the donor class was great enough to purchase the more prestigious originals. 
&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;  In Pittsburgh, just as the cast was becoming obsolete, Andrew Carnegie collected what may be considered, architecturally at least, the apotheosis of plaster cast collections. From 1904 to 1907, The Carnegie Museum of Art, at Carnegie’s specific request, collected a large volume of works spanning from Scandinavian stave churches to Egyptian ruins. This collection, like the majority of American collections, was primarily made up of Greco-Roman sculptures and architectural objects, including fragments from Delphi, the Porch of the Maidens, and a full-scale cast of the facade of Temple of Athena Nike. The temple front was cast in 1906 by D.F. Donovan &#38;amp; Company, a plaster workshop in Boston, and installed in the Hall of Architecture in 1907, at its opening. The temple, which today sits next to a cast of the Choragic Monument of Lysicrates, is emblematic of the collection as a whole. By the turn of the century, these objects were bought, sold, and commissioned on an industrial scale. By the time the Carnegie Museum commissioned the cast, J.F. Donovan &#38;amp; Company likely used a pre-existing mold as new molds from original artworks and architecture were increasingly viewed as too damaging to the source. As the scale of plaster production increased and the buying power of museums increased, the price of the casts went down and the demand to bring originals to American institutions increased. This devaluation would eventually cause the casts to go out of style and be removed to warehouses or “sledge hammered and carried off by dump trucks.” In spite of this trend toward obsolescence, the Carnegie Museum’s collection of casts has been continuously displayed since its opening, even becoming the centerpiece for the museum through its novelty and scale.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; While the cast collection in the museum has remained unchanged for over 100 years, the city outside its walls changed rapidly. By 1907, Pittsburgh was firmly within the range of what Lewis Mumford would call a “Paleotechnic Paradise,” a trend he contends started in the city well before the 1850s—in fact the first complaints about smoke in the city started in the 18th century—but the city would not reach its polluted peak, or pit, until the 1940s when the city would finally stand up and apply standards, however weak, to its air quality. Mumford notes that increased spending on laundry, curtain cleaning, and general other cleaning could cost the city up to two million dollars per year, not including “the losses due to the corrosion of buildings or the increased costs of painting woodwork.” These losses, whether paid for by the city toward the maintenance of its own buildings, or by the inhabitants toward the maintenance of theirs, stand in stark contrast to the pristine ecology maintained in the museum on the hill. In fact, Cliff I. Davidson notes that in 1914 the city estimated the total cost incurred by the smoke at over ten million dollars a year. 
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Davidson also notes that through the 1870s and into the 1890s, the use of natural gas increased in Pittsburgh in both private and industrial contexts, greatly reducing the smoke in the air. The effect this had on the city was extreme, prompting an uproar as smoke would eventually creep back into the city. But, if once banished, why did smoke creep back into the city? First, the natural gas found near Pittsburgh in the 1870s was only in small supply, creating an initial surge in the market that soon returned to the status quo of cheap coal and imported gas. Second, in the 1880s Andrew Carnegie’s coke supplier, Henry Clay Frick, grew to have an increasing role in the management of Carnegie’s company, now completely vertically-integrated through the inclusion of Frick’s coke plants. Frick would manage the transition between the once-separate companies controlled by Carnegie and would, in general, perform the dirty work while Carnegie performed the public-facing image making. In 1892, Carnegie would give a speech to the Chamber of Commerce where he claimed that “the man who abolishes the smoke nuisance in Pittsburgh is foremost of us all.” But, while Carnegie made public plays toward the improvement of all, his private decisions would run counter to that image. Carnegie would not be the man to end smoke in Pittsburgh; Carnegie owned the coal and Carnegie burnt the coal.
&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;  Since the turn of the century, the times that Pittsburgh has been at its cleanest—until recent, meaningful action—have been times of economic depression, such as the Great Depression or the truly devastating crises of the 70s and 80s. In fact, the low emissions of the Depression, paired with the drastically increased production of steel for World War Two, led to calls for smoke abatement in the early 1940s. Without the paired nature of this bust and subsequent boom, it is unlikely that the cries of the public would have been loud enough to enact any real change. Historically, most calls for the abatement of smoke have come after a dip in emissions due to economic or material factors. These dips, predicated on the forced closure of Pittsburgh industry, show that the city’s atmosphere, despite its natural disadvantages, is constructed by human forces. Though not all human forces are the same; the smoke that lingers in the air above Pittsburgh is neither natural nor equally distributed. The means of smoke production have historically been held by the proportionally small class of industrialists. In this light, Carnegie’s call for a man to stand up and end the smoke once and for all sounds more like a challenge than a plea.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; As Mumford notes, the corrosive pollutants released from the burning of coal have greatly affected both the health of Pittsburgh’s inhabitants as well as the solidity of the built environment. Yet, inside the Carnegie Museum the cast of the Temple of Athena Nike stands in the Hall of Architecture almost as pristine and white as the day it arrived, the polluted atmosphere of the city being kept at bay by the curators and maintenance workers. 

&#38;nbsp; &#38;nbsp; The molding of the original object in Athens and its reproduction in plaster allowed for the “Temple of Athena Nike” to be exchanged as a commodity across the globe, redefining the work of art through its material abstraction and industrial reproducibility. Whether we agree with it or not, it is a common social norm to understand a white object as a blank canvas. The whiteness of the cast in particular was used to provide artists with the work of art as pure “form”; if the cast could not carry certain sensuous qualities with it, it could at least carry the original’s shape. The reduction and reproduction also allow it to be understood as a distributed object. It is unlikely that any cast in the Carnegie Museum is the only object hewn from the original mold. Therefore, we can expand our perception of the cast to include not only this exact material instance, but also the other casts from the same mold as a series of deployments in what Bruno Latour and Adam Lowe call the “career of a work of art.” These two qualities allow for a rereading of the cast as a single blank canvas in a series of similar blank canvases. 
&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;  Though it shares distributive qualities with other casts in its family, The Temple of Athena Nike in the Carnegie Museum of Art is also marked with individual qualities that stem from its history as a market commodity. The cast was given as a “gift” from Andrew Carnegie through the museum to the inhabitants of the city. This move, the philanthropic gift of arts education, doubles as both a move to garner positive publicity as well as a method of shaping the public through a paternalistic idea of the artistic canon. If we take these socially defined qualities of the cast, that is, its blankness and the moralistic value it carries as a philanthropic gift, and combine them with the aforementioned constructed atmosphere of Pittsburgh, we can see that both objects were delivered to the people of Pittsburgh rather than emergent from the people of Pittsburgh. We can then understand that the actions of the museum to preserve the plaster cast create a complex relationship between the object’s use-value and its moral value. It is true that through the cast’s removal from the market over 100 years ago that it has regained its use-value as a tool of education. Many visitors to the museum will never have the opportunity to see the original object in Athens, and, as such, it offers value to them outside of market systems. Unfortunately, the object—and the collection as a whole—does equal work to mythologize and mystify the capitalist accumulation that brought it into existence. The cast was traded on the market as a commodity, and its decommodification required both the institutional power of the museum and the economic power of one of the richest men of his era. 
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; It is here where the museum-object and the atmosphere may meet productively. The continued preservation of the plaster cast allows for the myth of Carnegie and the philanthropic spirit of the Industrialist class to continue. This project instead proposes the marriage of Carnegie’s two “objects”: the cast and the atmosphere. By removing the cast from the Carnegie Museum of Art and placing it into the city, it retains its use-value as an educational tool and adds another. As the whiteness of the cast fades, it becomes a record of Pittsburgh’s atmosphere. By comparing the cast in Pittsburgh to similarly situated casts in other cities, the cast would have made clear the damage being done to the environment and people, as well as directly tie together Carnegie’s “gifts.” The nature of the cast as once-commodity is crucial in making legible these natural conditions. The abstraction and the distribution of these objects allow them to be the perfect canvas on which to measure the ecological record. 


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