Suchergebnisse

This article explores the entanglements of settler colonialism with the integration of the 20th century-built environment onto the UNESCO World Heritage List by focusing on architectural preservation in Brasilia. The addition of Brasilia to the World Heritage List in 1987 was the realisation of a longstanding effort to enhance institutional legitimacy by expanding the representation of 20th century sites in geographies from the Global South. However, I argue that the addition of the pilot plan as Brasilia implicated both the World Heritage Committee and purveyors of Brasilia's significance to architectural history in circumscribing the pilot plan from surrounding urban fabric. This argument is advanced by drawing on settler colonial studies, architectural history, architectural preservation, histories of Brasilia, and meeting notes from the World Heritage Committee. The article concludes that the preservation of the pilot plan as Brasilia 1) legitimates of spatial fragmentation in Brasilia through architectural history, 2) shows how settler colonialism is constitutive of the legitimacy of the World Heritage List, and 3) illustrates how international organisations have the potential to serve as vehicles for the reproduction of the logic elimination and the consolidation of settler spatial control.

What does it mean for the United Nations General Assembly (UNGA) building to be designed through modernist architecture principles on land acquired through settler colonialism? In 1947, construction began on the United Nations Headquarters (UNHQ) in Manhattan, a name derived from Manna-hata, a site within Lenapehoking, the homeland of Indigenous Lenape peoples violently displaced by waves of Dutch, British, and American settlers starting in the 17th century. This paper analyzes the structural dynamics that is in the literal foundations of the United Nations Headquarters, the post-World War II (WWII) worldmaking project intended to safeguard international order. By marshaling the history of Lenapehoking and analyzing the design principles informing the UNGA building, this paper narrows the claim that the post-WWII worldmaking project was contingent upon settler colonialism. Through a capacious reading of settler colonial theory, architectural history, and International Relations (IR), this paper aims to open up conversations on the ongoing structural and spatial dynamics embedded in the foundations of the UNGA building that are constitutive of the post-WWII international order.

Ghassan Moussawi's Disruptive Situations challenges the exceptionalist representations of lesbian, gay, bisexual, and trans (LGBT) experiences in Beirut through a focus on the everyday queer strategies and tactics. Moussawi analyzes the everyday practices of LGBT interlocutors navigating al-wad' (the situation), a term that refers to the normative order of disruptions, precarity, and instability that permeate daily life across contemporary Beirut. Al-wad' simultaneously features as a historical condition of perpetual instability bearing on daily life in Beirut, as well as a lens to analyze the practices of everyday life for Moussawi's LGBT interlocutors. Moussawi's inductive ethnographic approach charts the strategic use of identities, visibility, and "bubbles" or sources of solace in order to challenge exceptionalist representations of Beirut and LGBT experiences in the city. Moussawi critiques these reductive representations as "fractal orientalism", a reductive representation that embeds hierarchies and exclusion through geographic associations, such as in fashioning Beirut as the "Paris of the Middle East". Beirut becomes charming and "cosmopolitan" in a way that is similar to, but not quite, the same as Paris. Moussawi's focus on queer daily practices against the backdrop of al-wad' shows the limitations of these reductive representations in an effort to reimagine queerness, subjectivity, and politics.

AbstractThis paper engages with the political and spatial implications of UNESCO World Heritage Site designation. Specifically, the paper explores the relationship between notions of heritage, Modernist Movement World Heritage, and nationalist imaginaries. I argue that the World Heritage regime validates and enables state authorities to exercise new forms of hegemonic domination, namely the exploitation of historical narratives to graft specific forms of national identity onto World Heritage Sites with the concomitant erasure of alternative readings and historical layers of a site. This paper focuses on World Heritage Sites in the modernist aesthetic to show these processes in action. I first decouple notions of "heritage" from World Heritage for greater analytical purchase on the embedded politics of modernist World Heritage Site identification and preservation. I then rely on the case of the "White City" Tel Aviv to tease out the narrative construction, erasure of alternative histories and readings of the space, and most importantly, the exercise of new forms of spatial domination at this modernist World Heritage Site. The paper concludes with three recommendations for a more holistic, equitable, and representative World Heritage regime.