
Generative Histories Harlem showcases work by CCNY Spitzer students and faculty in the Place, Memory, and Culture Incubator
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Its been almost two years since the Place, Memory, and Culture Incubator (PMCI) started at the Bernard and Anne Spitzer School of Architecture at the City College of New York (CCNY). The new multidisciplinary program is supported by a three-year, $1.5 million grant from Mellon Foundation. Its helmed by Spitzers dean Marta Gutman and CCNY assistant architecture professor Jerome Haferd. A new exhibition on view at Spitzer today speaks to the tremendous work underway at the PMCI by students and faculty. Generative Histories Harlem was designed by Haferd, and built in Spitzers first floor by architecture students. For Haferd, the show was about centering the pedagogical work by PMCI educators like Curry Hackett, Najha Zigbi-Johnson (author of Mapping Malcolm), Pedro Cruz Cruz, and others at the emerging fronts of community practice, preservation, and diasporic memory, he said.Often called the Harlem Incubator in short, PMCI is a test bed for new architecture, preservation, history, and theory pedagogies hyper-specific to the Harlem community that challenge the way we consider memory, context, aesthetics, and so forth. Artist Nia Love, Caribbean Cultural Center African Diaspora Institute (CCCADI), Uptown Grand Central (UGC), While We Are Still Here (WWASH), and other groups are PMCI partners.PMCI works with myriad artists, small businesses, and nonprofits spread throughout Harlem. (Anna Dave)The way I describe it is, instead of asking our partners to walk up the hill [at St. Nicholas Park] and talk to us, we walk down the hill and listen to what our partners have to say, and use that feedback as a springboard for action, Gutman told AN. Students and faculty are not trying to tell people what they think they should do, but rather learn from our community partners, what they want, and think about how we can work together to advance their needs.Generative Histories Harlem The new exhibition on view at Spitzer showcases work made by students who partook in PMCI studios, but also projects that have unfolded thanks to micro grants awarded by Mellon Foundation through Spitzer to small businesses. The micro grants have since helped local institutions carry out important archival work to help keep Harlems story alive amid wanton gentrification, namely the stories of the people who make it the place it is today. Students worked with Pedro Cruz Cruz for instance in collaboration with the Street Vendor Project, a 2,900-member organization that advocates on behalf of New York Citys many street vendors.The design propositions have come in many different shapes and sizes: PMCI students created beautiful collages; others prototypes, urban interventions, and scale models of 125th Street; while some pushed the boundaries of historical preservation by archiving the work of Franco Gaskin, a.k.a Franco the Great and the Picasso of Harlem. Gaskin has spent decades painting murals upon Harlems storefront grates, among other integral pieces of the lauded neighborhoods urban fabric. PMCI students dedicated time and resources to documenting Gaskins expansive output which transformed Harlem.One of the advocacy groups PMCI students worked with was the Street Vendors Project, a group which advocates on behalf of New York Citys many street vendors. (Anna Dave)In that light, Haferd said another part of PMCIs long-term goal is creating productive challenges to traditional modes of preservation, a mission which Gutman echoes. This idea from traditional preservation of tangible and intangible heritage is a false binary, Gutman said. I never understood that false distinction. The Harlem African Burial Ground for instance, the site is there. To say that this is an intangible heritage site is just nonsense.Toward New PedagogiesMouhamadou Dieng, a fifth year undergraduate student at Spitzer, took an advanced studio with Haferd about the Harlem African Burial Ground before working on the exhibition. The pedagogy Haferd employed that semester ultimately informed the exhibition on view at Spitzer today, and will surely have a lasting impact on those who graduate from the program. What struck me about that studio was the cultural sensitivity, but also how it challenged me to think about the place I live, Harlem. It became about imagining history in a way thats more experimental, and more in conversation with the place, Dieng said. It was a fascinating process. So many of the things we did were unconventional, Dieng added. Typically in site analysis, you go on Google, and read some peer reviewed essays. Instead, we were talking to people in the community. We went to the site and started foraging for objects in the ground. We read Saidiya Hartmans text, Wayward Lives, where she talks about the concept of critical fabulation, which is . This studio allowed me to use critical fabulation as an architectural tool. It made me think about architecture not as this physical imposition or manifestation, but how it really affects the forces around us, on a much deeper level.Spitzer students built the installation walls, which consisted mainly of sawtooth panels made of wood which jut out, affording more space for presenting models and drawings. This photo shows a large scale model students built of 125th Street. (Anna Dave)For Haferd, this approach Dieng speaks of fits into his overall pedagogical mission, that of combining aesthetics, ethics, and community visioning into one single ensemble. This program really came out of this process, where we asked: How can we continue to get better at what we do in relation to places like Harlem? This notion predates the use of buzz words like DEI and will post-date those buzz words. Weve always been expansive about who we work with, and whos doing the work. Like what Marta says, this approach is part of the schools DNA.The exhibition takes up much of the architecture schools first floor. (Anna Dave)One of the things the student work speaks to is this false, or problematic dichotomy many have between notions of community and aesthetics. I think here at PMCI were precisely interested in the opposite. How can we think about culture as an aesthetic? Haferd said, with emphasis. Theres a high aesthetic concern and stake in the built environment when it comes to places like Harlem, and around the country. Aesthetics has become this kind of taboo word. Theres this division between socially-engaged practices and high-design practices that I think students like [Dieng] are really challenging. Haferd added: Insisting that we, as Black people, and people of color more broadly must come out of this sensitive engagement with history; for me this is the most fertile ground to generate design work. Questioning these dichotomies is now more relevant than ever when students like [Dieng] are practicing, in particular in communities that need our design thinking the most.Its About Doing the WorkIts no secret that values like the ones PMCI holds true today are under threat by the new U.S. presidential administration. DEI has come under attack, as has academic integrity. Still, educators like Gutman and Haferd stand their ground, and maintain a long-term, fortified position against the status quo in Washington, D.C. Today, grants from the Mellon Foundation are absolutely essential in enabling this work to happen.Jerome Haferd and Marta Gutman speaking the night of the February 18 opening. (Anna Dave)We are an under-resourced public university, Gutman said. Were the premier public school of architecture in the New York metropolitan area. Our students are principally students of color, principally women, principally supported by public money one way or another. We couldnt do this without Mellon support, because when we go to work, we make sure every person we work with is compensated, which means nobody is giving us anything for free. The Mellon Foundation has allowed City College to funnel resources to community groups, which is really, really important. This is how we compensate people for their time, and how we support and fund interns who work at these organizations.With regard to DEI, or whatever we call it, Gutman continued, this is written into CUNYs DNA. This is ingrained in CUNYs charter document. And so, were not going to stop. Were just not.Its about doing the work, Haferd added.Generative Histories Harlem is on view through April 10.
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