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REMAPPING the NEIGHBORHOOD I. Neighborhood Dynamics

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REMAPPING the NEIGHBORHOOD I. Neighborhood Dynamics antiAtlas Journal #4, 2020 REMAPPING THE NEIGHBORHOOD Karen O’Rourke Abstract: In Houston’s Third Ward, residents join with artists and architects to revitalize a historic African-American neighborhood. What can their maps tell us? Biography: Karen O’Rourke is an artist and writer, emeritus professor at the University of Saint-Etienne. She is the author of Walking and Mapping: Artists as Cartographers (MIT Press, 2013) and a co-founder of La Fin des cartes? Keywords: art as remapping, database mapping, urban redevelopment, architecture. Fig.27. MF Problem, Mobile Block Party flyer (2011). To quote this article : O'Rourke, Karen, "Remapping the neighborhood" published on July, 10th, 2020, antiAtlas #4 | 2020, online, URL : www.antiatlas.net/04-remapping-the-neighborhood, last consultation on Date I. Neighborhood Dynamics Fig. 01. Project Row Houses: the original shotgun houses. The houses on this block are rented to young mothers. Left: the Holman Street view. Right: The shared backyard. Photo: Rice Building Workshop, Live/Work, 2006:38. Back in 1992 when artist Rick Lowe saw Happy Feet.” In the 1960s and 1970s, potential1 in the twenty-two rundown houses on population loss and disinvestment began to Holman street, his builder friends told him undermine that prosperity. “Dowling Street was they weren’t worth restoring. Better tear them like a small town within Houston,” notes down and rebuild. But he had in mind the photographer Earlie Hudnall, Jr, “and you know shotgun houses that structure John Biggers’s what has happened to small towns in America. 1 paintings of African-American communities. Most of them have died”. Desegregation saw Mobilizing volunteers from all over Houston to wealthier black families leave for the newly renovate the houses as spaces for art and integrated suburbs. Businesses shuttered. housing for young mothers, Project Row Houses Houses were torn down and longtime residents opened in 1994. evicted to make way for two major expressways that cut through the neighborhood fabric. In its heyday, Dowling Street was a thriving Other homes fell into disrepair and owners business district with grocers and could not get loans to fix them up. Absentee dressmakers, restaurants and repair shops, landlords neglected their properties. Taxes barbers and doctors, a lumber yard and a went unpaid. By the 1990s, the neighborhood printer’s. People came from all over to hear was in bad shape. Milton Larkin, T-Bone Walker, and Joe “Guitar” Hughes play at the Eldorado Ballroom, “Home of Fig.02. Left: Third Ward townhomes. Photo: K. O’R., 2018. Right: One of six historic houses torn down on April 2, 2020, this single-family two-story home was built around 1930. Photo: Ed Pettitt. 2 Yet when Lowe and his friends began cleaning up the houses on Holman Street, the Would long-time renters be neighbors eyed them warily. What were the real displaced by rapacious motives of these young people in dreadlocks and spiked blonde hair “coming to rebuild, to developers, like the African paint, to restore decaying porches”?2 Americans pushed out of downtown Houston? gentrification. They reassure affluent home- buyers whose investments bring steep increases 3 The presence of artists in a run-down in land values, property taxes and rents. neighborhood often smooths the way for its Fig.03. The Row House District, Houston. These maps show the 35-block area within Houston (left) and the Northern Third Ward (right). Maps: Rice Building Workshop, Live/ Work, 2006: 41-42 As prices in other parts of Houston rose, creative-class migrants from suburbia - young developers3 moved in on Third Ward, buying old professionals and empty-nesters eager to houses and tearing them down to build luxury reduce commuting time and enjoy urban townhomes. The absence of zoning in Houston amenities. Third Ward is less than ten minutes makes it all the more attractive to this new by car from Downtown, and closer still to construction billed as “green-friendly.” Midtown and the Museum District. Like Blocks of three and four-story dwellings built fortresses in hostile territory, the new above garages do make more efficient use of settlements stand aloof from the surrounding land than single-family split-levels sprawling neighborhood. on spacious lawns. They also reap more profit for developers. The moving vans bring in II. “Doing” and “To-Do” Maps 4 Project Row Houses began mapping the neighborhood at the outset. A visit to the Mapping is a way for them to archives, online research and conversations study the site they plan to build with key participants have netted two kinds of maps: “doing” maps (praxis) and “(re)framing” on maps (aisthêsis). The former are instrumental maps made by people who plan to build in the Mapping is a way for them to study the site area, or who develop strategies for they plan to build on, its surroundings and revitalizing it, while the latter are symbolic infrastructure. It allows them to identify objects, artworks. They shape reality by assets or drawbacks, and to present their shaping the way we view it. projects to city authorities, clients, funders, builders. Many of the “doing maps” were made by architects. Project Row Houses Plans and Models Architect Sheryl Tucker de Vazquez drew The shotgun is a narrow, rectangular one-story the5 first plans to obtain building permits and dwelling built on concrete block footings. It initial funding. She investigated the origins consists of aligned front and back doors, and of the site, and argued for its historical between them, three to five successive rooms. significance.4 Folklorist John Michael Vlach traces the form to West Africa – specifically the Yoruba togun5 (house). After coming to the New World on hung their washing. In the evenings people sat slave ships, it was adopted across the out on the porches – “talking places,” as John southern U.S. It is well-adapted to unstable Biggers called them. Around mid-century, terrains, often near waterways; the cross- shotgun houses began to lose their appeal ventilation provides natural air-conditioning (they lacked central plumbing) and gradually in sultry climates. The Holman street houses became a marker of poverty. This is when Dr. are a modified form of shotgun built in the Biggers began painting them –to rehabilitate 6 late 1930s. Although they don’t share walls, them as an African-American cultural heritage. they are small and stand close together (only three feet apart). Behind them is a common backyard where children once played and women Fig.04. Sheryl Tucker de Vazquez, Drawing for building permit, 1994. The drawings suggest that the original missing houses. In 1995 she was awarded a development6 contained thirty identical small grant from the National Endowment for the Arts houses, half of them facing Holman Street and to re-design the corner two-story building. the other half facing Division Street. Between Her plan defines “a flexible indoor/outdoor the two rows ran the narrow backyard. One map gathering place” with a kitchen, a restroom indicates which houses would serve as and a small vegetable garden. It reflects her galleries, residences and offices for the new vision of African-American culture as based on organization and includes one element of the reshaping the old and familiar, incorporating surrounding neighborhood, the parking lot skylight windows and a lattice-screened across the street. balcony to open up the original brick structure to its surroundings. She received an De Vazquez and her students at the University A.C.S.A. award for the completed design, but 7 of Houston built models of the main site and was unable to raise the money to build it. imagined interventions to replace five of the Fig.05. Sheryl Tucker de Vazquez, PRH two-story, 3D renderings of the prospective re-design, 1995/2019. On the right, Fig.06. Six Square House (1997-1999) was Rice Building Workshop’s first prototype for PRH. Top left: plan. Middle: assembling the panels. Right: The completed house in 1999. Bottom: axonometric drawings show the modular construction. Images: RBW/Construct website and Live/Work, 2006:58,60,61. 8 After founding the nonprofit and setting up there was other real estate around us”. “PRH its7 core programs –biannual exhibitions in the started to purchase more properties round art houses (“The Rounds” 1994), after-school town,” recalls former gallery director Shy workshops for neighborhood children (1995) and Morris. “Rick and I would go around to the the Young Mothers Residential Program (1996) - neighbors, knock on doors to educate the Project Row Houses turned to what Rick Lowe community about what was happening with 9 calls “real-estate speculation.” “We realized developers coming to buy their properties.” we were a real estate entity,” he says, “and 8 “We realized we were a real supported by grants that we applied for, and we had to be very creative about how we spent estate entity,” he says, “and the limited funds”.11 there was other real estate around us.” Working with nonprofit clients, the students “engage all facets Rick Lowe reached out to the founders of the Rice Building Workshop at Rice University. of the architectural process, Architects and Professors Danny Samuels and from conception through Nonya Grenader started Rice Building Workshop construction, allowing the act of in 1996 to give their students hands-on experience in building for the community. making to inform every aspect of Working with nonprofit clients, the students design.” “engage all facets of the architectural process, from conception through construction, After Lowe invited them to design a low-cost allowing the act of making to inform every house for the PRH campus, it took three years, 10 aspect of design”. In the Bauhaus tradition, and more than sixty Rice students, to complete the program emphasizes collaboration: students the “Six Square House,” a two-story 900-square- work closely with clients, consultants, foot structure inspired by the original row- contractors, suppliers, and craftspeople.
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