Foreclosing on the Familiar
“Fallen Star,” by the Korean born artist Do Ho Suh, is the newest sculpture installation at the Stuart Collection on the campus of the University of California at San Diego and debuted this week with more than a thousand visitors on opening day. It’s a small gabled cottage that has somehow crashed into the
roof of a seven story engineering building and now teeters over the edge… perhaps the Wizard of Oz was aiming for an advanced degree. It’s definitely a mortarboard mash-up. According to Mary Beebe, the collection director, “It was his idea and we produced it.” From the rooftop the house appears only a little off
kilter, but then as you peer over the railing you see that only engineering — i. e. the cantilever — is holding it up. It may be an art piece but it’s also a strong advertisement for structural daring. (“Go forth ye graduates, and engineer!”) The work explores Suh’s “on-going exploration of themes around the idea of home, cultural displacement, the perception of our surroundings, and how one constructs a memory of a space.” When he arrived in the U.S. from Seoul, Korea in 1991 to study, Suh understandably felt un-moored, which “led him to measure spaces in order to establish relationships with his new surroundings. He had to physically and mentally readjust.” The permanent installation is clever in the way it literally and figuratively readjusts — indeed, upends — the romantic notion of home, acknowledging that in today’s reality it remains both fixed and floating — or fleeting — for many.
In my mind this work is really a last minute West Coast entry in the current exhibition “Foreclosed: Rehousing the American Dream” at the Museum of Modern Art in New York, which I saw last month. The purpose of the show, organized by MOMA architecture curator Barry Bergdoll and which runs through August 13, is to explore new architectural possibilities for cities and suburbs in the aftermath of the recent foreclosure crisis. Five teams of architects, planners, ecologists, engineers, and landscape designers were asked to produce proposals for housing in five different suburban communities, from Temple Terrace, Florida to Rialto, California. The result is a series of essentially utopian schemes. I was most drawn to the solution called Nature City, for Keizer, Oregon by WORKac, a design firm in Manhattan. Inspired by the Garden City concept
espoused by influential late 19th century British urbanist Ebenezer Howard, (detail of part of a garden city plan shown above, courtesy Our Letchworth), they proposed developing a 225 acre parcel (already slated for big box stores and the like) in a way that is “five times denser than the adjacent suburban blocks but
has three times the amount of public open space, including a 158-acre nature preserve.” The idea is to create a symbiotic relationship between structure and site with a wide variety of housing types, from attached town homes to towers to
courtyard houses and long blocks like this “Cavern Building” with huge park-like pass-throughs and lake-like pools; the latter, glass-walled and three stories deep, is especially ambitious! (Model image courtesy MOMA). The most arresting
feature is a series of parks and pools that spiral around a great dome (shown above) that collects methane from a mound of solid waste and produces compost, while waste heat warms public pools at the rooftop. It’s an architectural circle of life — a rose is a rose is a Compost Hill. The show’s other four schemes offered equally suggestive architectural solutions for new construction (one, by Studio Gang, even inserted new housing into the shell of a derelict factory) but none addressed how to deal with existing neighborhoods where foreclosures are rampant — the house on the brink, as it were, to steal Suh’s metaphor. In the end that is the harder question.