Bernard Tschumi in his theoretical text Architecture and Disjunction 1991 develops a two-part definition of Violence. The first is a formal metaphor: conflicts between objects (form versus form) where distortions, ruptures, compressions, fragmentations, and disjunctions are inherent in the manipulation of form. The second is programmatic: encompassing evil and destruction.
However, this thesis complicates the discussion as it interjects the racialized production of violence in space by bringing into focus the more nuanced manifestation of the everyday reality of violence in American communities of color. In its totality, it dares to investigate how an architectural transference of violence and inhabited trauma can enrich our understanding of bodies in spaces of sustained disruption, disproportionately high amounts of daily stressors, and anxiety as a result of unresolvable histories and unacknowledged losses.
In 1937, hailed as a utopian solution to black poverty, the Miami Housing Authority opened the first public housing project for Blacks in the Southern United States, Liberty Square (colloquially referred to as Pork and Beans). At the time, many New Deal planners considered Liberty Square one of the finest examples of low-cost housing in the United States. However, from infancy, Liberty Square’s disjunctive architectural challenges materialized in the form of a concrete segregation wall. On one side false certainties generally propagated by ideologists as Miami became the poster child for tourism, luxury, and utopia. While on the other, contemporary realities of complexity, poverty, and dystopia.