MASTER OF ARCHITECTURE
Michael Evola—ARCC King Medal
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Michael Evola—ARCC King Medal
About the Award
Acknowledging innovation, integrity, and scholarship in architectural and/or environmental design research.
ARCHITECTURE IN DRAG
Through imitation and parody, Architecture in Drag challenges architecture’s identity. “/” is an imitation of a building, a ballroom and a home. Situated in New York City, the birthplace of modern drag culture, / begins by separating and interconnecting two rowhouses through a horizontal structural grid. From the grid, all of its characters (program and circulation), are hung and interconnected through fluid architectonics. By hanging its characters, / removes the ground on which architecture rests upon. In its place, a series of fluid spaces affect the other. In this manner, space is boundless, inviting and encompassing. Similarly, / invites its audiences to customize it. Although its characters are organized within a grid, this, like the power of the grid within architecture is a false truth. Thanks to its semi-fixed industrial characters, all of /’s characters are free to be moved and be re-arranged Thereby, / has exactly half a plan. The industrial connections enabling this feature are appropriated from their intended use, like the appropriated fixtures drag performers utilize to re-arrange their identities. No material should be off-limit in the construction of architectural ideas. Moreover, no idea should be considered non-architectural. Architecture in Drag challenges the ground defining truths within abstractions such as architecture and gender. / is the byproduct of this challenge, it is a performance of architectural ‘truths’ parodied as fluid.
Acknowledging innovation, integrity, and scholarship in architectural and/or environmental design research.
ARCHITECTURE IN DRAG
Through imitation and parody, Architecture in Drag challenges architecture’s identity. “/” is an imitation of a building, a ballroom and a home. Situated in New York City, the birthplace of modern drag culture, / begins by separating and interconnecting two rowhouses through a horizontal structural grid. From the grid, all of its characters (program and circulation), are hung and interconnected through fluid architectonics. By hanging its characters, / removes the ground on which architecture rests upon. In its place, a series of fluid spaces affect the other. In this manner, space is boundless, inviting and encompassing. Similarly, / invites its audiences to customize it. Although its characters are organized within a grid, this, like the power of the grid within architecture is a false truth. Thanks to its semi-fixed industrial characters, all of /’s characters are free to be moved and be re-arranged Thereby, / has exactly half a plan. The industrial connections enabling this feature are appropriated from their intended use, like the appropriated fixtures drag performers utilize to re-arrange their identities. No material should be off-limit in the construction of architectural ideas. Moreover, no idea should be considered non-architectural. Architecture in Drag challenges the ground defining truths within abstractions such as architecture and gender. / is the byproduct of this challenge, it is a performance of architectural ‘truths’ parodied as fluid.
