J. Yolande Daniels

J. Yolande Daniels is an American architect and educator. She is currently an Assistant Professor at the University of Southern California's School of Architecture. [1]

J. Yolande Daniels
EducationCity University of New York (B.S.) Columbia University (MArch)
OccupationArchitect

Committed to public works, she co-founded studioSUMO with Sunil Bald in 1995, offering design intelligence across different social and cultural contexts. [1] Daniels' work is innovative, responsive, and contextualized. She has received widespread recognition for her work, including numerous awards.

Education

Daniels received her Bachelor of Science in Environmental Science from the City University of New York and her Master of Architecture degree from Columbia University. [1]

After graduating from GSAPP, she entered the Independent Study Program (ISP) at the Whitney Museum of American Art, undertaking studio practice and cultural studies from 1997 to 1999. During the course of Whitney ISP, Daniels explored how social patterns inform the design of architecture objects and cities at multiple scales. [2]

Career

Daniels came to find her voice as a black woman, the figure she often found “objectified or negated in the approach to architecture.”[2] The highlights of her earlier works and personal research focus on the critiques on the techniques of power – gender, sexuality and race – and how these social structures shape the built environment in the form of architecture.

In 1996, Daniels devised a standing urinal for women first installed in a guestroom of New York City’s Gramercy Park Hotel, to challenge architecture, at the scale of space and object, to confront gender and sexuality as a biased technology in building and clothing codes. The straddle-style installation, FEMMEpissoire, consists of pipes for flush, a pair of rubber pants, a dryer addressing the commodification of female hygiene, and a mounted mirror for self-reflection of users’ bodies and identities.[3] The charge of “politics of standing” queries “whether the act of controlling the flow of urine constitutes an essential personal freedom for men." The work is also viewed as an echo to gay men’s reclamation of pissoire and public restroom in the 1990s from the historical felony against homosexual acts.[3][4]

With Intimate Landscape of the Shotgun House in Dallas, Texas, Daniels continued the dialogue on the materialization of power through the lenses of slavery history. In search for terms of domesticity in the Shotgun House, a vernacular typology in the US South to house enslaved people from West-Africa, she reprised the history of surrounding landscape through quotes from WPA slave narratives.[4] [5] The texts were projected on the interior walls, utilizing the power of lights and shadows, and gave agency to “the desire of the (plantation) landscape” to keep people together and apart at the same time.[5] Some earlier projects Daniels worked at studioSUMO brought racial issues to the forefront in similar fashion.

In her endeavors, Daniel confronted architecture to the heaviness of black history in scales ranging from territorial mapping to small-scale installations to publication and writings. De Facto/de Jure: by Custom/by Law, for example, researched and analyzed the legal cartography of exclusion and inclusion during the 20th century’s Great Migration along the Southern Crescent Railway Line.[4] For the reception area at The Museum of Contemporary African Diasporan Arts (MoCADA) in Brooklyn, Daniels devised a three-dimensionalized map tracing the migration of African diaspora.[4] [5] Her published essays on “advocacy architecture”, which dealt with the spatial politics of gender, race and class, included Crime and Ornament (YYZ Press, 2002), White Papers, Black Marks (Athlone Press, 2000), Black bodies, black space: A-waiting spectacle (2000) and Grey Areas (Chalkham Hill Press, 1999).[6]

Daniels’ body of work, both buildings and un-buildings, extends beyond the spatial politics of power and engage with different societal and cultural contexts to “inform the design of objects, to the form of the object, to the patterning of surfaces of objects.”[7] The two buildings, Josai School of Management and Mizuta Museum of Art, on Sakado Campus, integrated her earlier studies of lines, material and motifs for MoCADA into Japanese culture and climate.[5]

Before joining the University of Southern California as Assistant Professor in 2019, she has lectured at MIT and Yale University as Visiting Professor, focusing on studies of thresholds across cultural differences, and taught architecture at Columbia University, City College of New York, the University of Michigan. She also held the Silcott Chair at Howard University and was the Interim Director of the M.Arch program at Parsons School of Constructed Environments.[1] [2]

Projects
  • Josai University School of Business Management, Sakado, Japan
  • Museum of African Diaspora Art, Brooklyn
  • Leaney Harlem Duplex, Harlem
  • Museum of African Art (interior space), Long Island City
  • Mitan Housing, Miami
  • Mizuta Museum of Art, Sakado, Japan
  • iHouse Dormitory, JIU University, Togane, Japan

Publications

O: the apparatus in Crime and Ornament (YYZ Press, 2002) [8]

Essay in White Papers, Black Marks (Athlone Press, 2000) [6]

Essay in Grey Areas (Chalkham Hill Press, 1999) [6]

Awards and Honors
  • The American Academy of Arts and Letters Architecture Award, 2015 [9]
  • Emerging Voices Award, 2010 [10]
  • Design Vanguard Award, 2006-2007 [6]
  • MacDowell Colony Fellowship, 2005-2006 [11]
  • Rome Prize in Architecture, 2003-2004 [12]
  • Helena Rubinstein Critical Studies Fellow at the Whitney American Museum of Art, 1996-1998 [11]
gollark: Matrix server software also seems to be hilariously complex and slow.
gollark: ... oops.
gollark: <@650332315242725377>e Whose website?
gollark: Those don't appear to exist on the Discord side of this bridge.
gollark: Is anyone working on having postmarketOS available as a Project Treble "generic system image" thing? UBPorts apparently has one, and it could be really interesting as it would let it run on basically any recent device.

References
  1. "J. Yolande Daniels". USC School of Architecture. Retrieved 2020-07-26.
  2. "Faculty Spotlight: J. Yolande Daniels". USC School of Architecture. Retrieved 2020-07-30.
  3. Bonnemaison, Sarah; Elsenbach, Ronit (2009). Installations by Architects: Experiments in Building and Design. Princeton Architectural Press.
  4. "Yolande Daniels". School of the Art Institute of Chicago. Retrieved 2020-07-30.
  5. Rappaport, Nina (Spring 2019). "Yolande Daniels". Constructs. Yale School of Architecture: 5.
  6. "Yolande Daniels and Sunil Bald Charles and Ray Eames Lecture | Taubman College of Architecture & Urban Planning". taubmancollege.umich.edu. Retrieved 2020-07-30.
  7. "Surface/Sub-surface: Architectural Patterns and Objects | MIT Architecture". architecture.mit.edu. Retrieved 2020-07-30.
  8. "Crime and Ornament: The Arts and Popular Culture in the Shadow of Adolf Loos, Edited by Melony Ward and Bernie Miller". YYZBOOKS. 2012-03-03. Retrieved 2020-08-07.
  9. "2015 Architecture Award Winners – American Academy of Arts and Letters". Retrieved 2020-08-07.
  10. "Past Emerging Voices". The Architectural League of New York. Retrieved 2020-08-07.
  11. "Women in Architecture". Women in Architecture. Retrieved 2020-08-07.
  12. "AIArchitect, May 26, 2003 - American Academy in Rome Announces 2003-2004 Rome Prize Winners". info.aia.org. Retrieved 2020-08-07.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.