INTERVENTION IN EVERYDAY SPACE
Renata Lucas's Cruzamento
A dominant drive of site-oriented practices today is the pursuit of a more intense engagement with the outside world and everyday life…. Concerned to integrate art more directly into the realm of the social…, current manifestations of site-specificity tend to treat aesthetic and art historical concerns as secondary issues.
—Miwon Kwon[1]
In 2003, Brazilian artist Renata Lucas assembled a layer of plywood across a street intersection in Rio de Janeiro. The thin wood covered the intersection from the center and expanded slightly into the streets, creating a cross-like shape with curved lines that followed the curb. Along the curvilinear sides of the structure were cutouts for the gutters, which maintained the intersection’s functional requirements for drainage, implying that this wooden construction was not unplanned, but rather site-specific.[2] As cars and pedestrians traversed the intersection they interacted with Cruzamento (Crossing, 2003) visually, audibly, and tactilely. The plywood made a clacking noise under the weight and speed of the cars and was a bump for the commuters as they crossed its threshold, creating an interruption in their everyday routine. Spurred by this unexpected transformation of environment, driver, bicyclist, and pedestrian became alert at their point of crossing—a place where numerous accidents occur between the two. Through a simple physical alteration to the site, Lucas disrupts the order of things[3] to challenge commuters’ modes of spatial and social comprehension. Thus, the unanticipated encounter produces a subjective and, at the same time, collective experience that renews social awareness and politics of a shared space. Renata Lucas’ Cruzamento is a form of site-specific art that places primary emphasis on the context—social, economic, and political—of the site over its physical location. Cruzamento does this through a simple intervention in the physical space of an urban street intersection, shifting the perception of the commuters’ everyday routine to draw attention to the socio-political context of the site.
An intersection is a place where automobiles, bikes, and pedestrians meet. These everyday crossings occur all over the world in urban settings. The intersection of Cruzamento is the frontage road for Praia do Flamengo, the main beach freeway, and a small access street named Dois de Dezembro. Located near the public beach, this intersection is a place where a variety of people from different social classes encounter each other. This common intersection acts as the entry to the freeway and last main point of crossing for pedestrians, bicyclists, and car drivers. What changes a common space like this into a unique space? In its most general definition, space is a continuous area that is available or unoccupied.[4] We can identify space by locating it as a place on a map. French theorist Henri Lefebvre explains that, “[e]veryone knows what is meant when we speak of a ‘room’ in an apartment, the ‘corner’ of the street, a ‘marketplace,’ a shopping or cultural ‘centre,’ a public ‘place,’ and so on. These terms of everyday discourse serve to distinguish, but not to isolate, particular spaces, and in general to describe a social space.”[5] A place can be a private space, like a room in an apartment, or a public space, like a street corner, and as Lefebvre suggests, can become much more through acknowledging its context. In both private and public space, there is often affixed meaning—social, political, historical, cultural, or personal—whether it is apparent or abstruse. Through the recognition of the affixed context, the definition of a space or place becomes more finite, what I will call site.
In order to more clearly define site and its relationship to art, it may be useful to examine Richard Serra’s Tilted Arc (1981)—one of the most famous examples of site-specific art in the public sphere. Tilted Arc was a massive wall-like structure that bisected Federal Plaza in New York City and caused a conceptual and perceptual disruption of the space. Its presence changed the way people moved by forcing them to walk around it to enter the Federal Building. In addition to its length across the plaza, its substantial height obstructed vision from one side to the other. The disruption caused by Tilted Arc was not taken well by the occupants of the Federal Building, who were mostly government officials. A controversy arose when these government officials decided that Tilted Arc would be moved to another location—one where it would not disrupt people’s perception. Richard Serra’s response was that it was site-specific, meaning that it could only exist within the intended site. Serra famously stated that, “to remove the work is to destroy the work,” which became a fundamental concept for site-specific art.[6] This example presents a definition of site, in which the physical location is the primary factor. Can a site become something beyond its attachment to the physical domain? Can a site locate itself more prominently in its socio-political context?
Cruzamento fits into the everyday space by using the intersections layout and shape. At the same time, this artwork intervenes in the way the commuters recognize and use the space by disrupting the perceptual organization of the intersection. This intervention alters the commuters’ expectations of the site and uses physical interaction to heighten their consciousness of others around them. The essence of the site then develops beyond space and place to consider its role in the formation of social conditions. Art historian Miwon Kwon suggests a new type of site-specific practice that engages the public sphere and everyday life in order to “integrate art more directly into the realm of the social.”[7] Cruzamento’s transformation of the intersection is subtle at first, unlike the massive structure of Titled Arc that bisected Federal Plaza. Cruzamento does not stop the commuters’ from moving across the space. However, it intervenes in the design of the street to produce an uncomfortable proximity of its users. The construction of urban space, especially that of the street, is thoroughly planned out and horizontally divided into designated areas for each class of commuter—car, bike, pedestrian. The thickness of the plywood lifts the street, which is allocated for cars and bikes, close to the level of the sidewalk, which is the pedestrians’ domain. With this physical change, Cruzamento breaks down the hierarchy of space between commuters and effaces the design of urban planners. This disruption creates the context for the site, making the physical location a secondary factor. Therefore, Cruzamento interrupts the commuters’ routine in this everyday location to stimulate a consciousness of what may be greater implications of the site.
A common intersection can have multiple meanings to an individual and the community (i.e. the site of a fatal accident, a community block party, or a favorite part of a morning walk). In a place where a variety of people must cross, these meanings often go unnoticed, overridden by the vitality of the metropolis. German sociologist and philosopher Georg Simmel attributes the mental distance between city-dwellers to the density of a crowd saying, “the bodily proximity and narrowness of space makes the mental distance only the more visible.”[8] While the intersection may fluctuate in its density depending on the time of day, the commuters’ mental indifference is continuous in everyday urban routine. The intersection that Lucas chose for Cruzamento is located in Rio’s South Zone—the richest and most famous region of the city—and is adjacent to a public beach, which, with any public place, brings many types of people together. Rio de Janeiro is the second largest city in Brazil and, amongst its over six million population, suffers from an extreme disparity between the rich and the poor. While neighborhoods and modes of transportation–private versus public—may physically separate the two classes, public places, such as the beach, become locations for both to occupy. Thus, each class would most likely utilize this intersection on their way to these common spots. Intervening in a place where social classes cross, Cruzamento challenges the mental indifference of each person who moves through this shared space with a simple gesture of altering the surface of the intersection. Lucas elevates this common crossing place literally—by lifting the level of the street to the height of the sidewalk—and conceptually, creating a hiccup in the metropolis’ monotonous landscape. This disturbance of the everyday life aims at forming a unique awareness of place that advocates for a relationship between its many users—pedestrians, bicyclists, and drivers.
Aside from its functional use of getting from one place to another, an urban intersection has no obvious significance and is “a space which [is not] defined as relational, or historical, or concerned with identity.”[9] Therefore, as French anthropologist Marc Augé suggests, an intersection is a “non-place.”[10] Non-places occur in locations of movement or travel due to the commuter’s reliance on the interpretation of symbols.[11] On the surface of the intersection, symbols direct the flow of traffic—crosswalks, separation lines, stop signs, etc. These symbols communicate traffic laws and enforce social order. The directives tell each car, bike, and pedestrian where they should cross, stop, or give the other right of way. Cruzamento hides the street’s symbols with plywood. This simple action disrupts order, forcing the crossers to slow down and be more cautious. Confusion transpires as they approach a familiar place that suddenly does not meet their expectations, changing the way each person interacts with the space and one another. Cruzamento removes the prescribed order of an intersection and requires people to engage each other to communicate their crossing, creating new order that relies on awareness of one’s surroundings.
In addition to the visual removal of the symbols, Cruzamento modifies the space through the sound of the plywood clacking as cars, bikes, and pedestrians move over it. Audible signifiers replace the visual symbols that require cultural knowledge in order to traverse the intersection. In this altered space, a phenomenological experience is formed through the heightening of the senses. The sounds and movement of each car, bike, and pedestrian in the intersection inform the individuals not only of their presence on top of the plywood, but also of the negative space between the plywood and asphalt. Architect Juhani Pallasmaa talks about the way sound can create space when he says, “the space traced by the ear becomes a cavity sculpted in the interior of the mind.”[12] When the ear receives an auditory signal unmatchable with the past recollection of familiar situations, the mind then changes its perception of the space from that of stability to unexpected interference, producing attentiveness to one’s situation. The fragile material of wood produces an insecure ground, where a pedestrian feels every vibration from a passing car and the driver notices the physical shift as the interior of the car rumbles and shakes. The tactile sensation of the vibrations invades personal space and creates an invisible connection between pedestrians, bicyclists, and drivers. This sudden change in environment reinforces a renewed awareness of surroundings and signals a need for carefulness as each person makes his/her way across the intersection. By bringing a variety of people to an unfamiliar site and requiring them to uses their senses as a guide, Cruzamento produces a visceral experience that makes people forget about economic and social status, breaking down community divisions that are ever-present in Rio de Janeiro.
Lucas uses the simple material of plywood to build the makeshift structure of Cruzamento. The practicality of the material, for being inexpensive and easy to find, refers to the favelas—shantytowns—that line the hills of Rio de Janeiro. With an allusion to the favela in one of the riches parts of the city, Cruzamento denotes the political associations of a site that is used by people from a variety of social statuses. For Lucas, art is “a kind of politic[s], behavior influencing and challenging [a] way of life, administering doses of strange rationality and a bit of violent freedom because human feelings are wild.”[13] Cruzamento behaves as a diversion that challenges the prescribed order of an intersection, and promotes an awareness of the socio-political context of the site. This unanticipated experience allows each driver, bicyclist, and pedestrian to feel something radically different in their everyday commute—a feeling of empowerment to be the change that they want in the world.
Cruzamento intervenes in the plan of an intersection, challenges the mental indifference of urbanites, removes directive symbols that enforce social order, requires the individual to traverse a shared space while being knowledgeable about his/her physical surroundings, and draws out the socio-political tensions of Rio de Janeiro. The artwork, in its simplistic form, behaves as an instigator to stir up the prescribed way we interact with our physical location and each other in everyday space. In her essay, Strange Rationality, curator Clara Kim writes, “Related to these concepts of urban landscape, Lucas’ practice is a critical reimagining of the way our built environment determines actions, behavior, and social relationships, and by extension, society’s dependency on the preservation of prescribed definitions of space, property, and order.”[14] Lucas’ subversive installation provokes the viewers to question the established systems they encounter consistently in a man-made world. The altered intersection, through subjective experience of sight, sound, and touch, requires the individual (in car or on foot) to slow down and renegotiate the shared space. Lucas’ Cruzamento redefines site-specificity as more than just a response to location, but also a reaction to the context that affects the people who mix in the everyday space. Therefore, in this common place—an urban intersection in Rio de Janeiro--Cruzamento intervenes to promote a new order for social space, one where each individual must be more conscious of the other and the way they interact.
[1] Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity (Cambridge, Mass: MIT Press, 2002): 24.
[2] For more information on the history of site-specific art see: Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity (Cambridge, Mass: MIT Press, 2002).
[3] See Michel Foucault, The Order of Things; Archaeology of the Human Sciences (New York: Vintage Books, 1970).
[4] Definition from the New Oxford American Dictionary.
[5] Henri Lefebvre, “Plan of the Present Work” in The Production of Space (Oxford, OX, UK: Blackwell, 1991): 16.
[6] In 1989, despite the artist and community’s efforts, Tilted Arc was removed from the Federal Plaza in the middle of the night. Titled Arc was never reinstalled in a different location. For more information on the controversy see: Clara Weyergraf-Serra, and Martha Buskirk. The Destruction of Tilted Arc: Documents (Cambridge, Mass: MIT Press, 1991).
[7] Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity (Cambridge, Mass: MIT Press, 2002): 24.
[8] Georg Simmel, "The Metropolis and Mental Life" in The Sociology of Georg Simmel (London: MacMillian, 1950): 418.
[9] Marc Augé, “From Place to Non-Places” in Non-Places: Introduction to an Anthropology of Supermodernity (New York: Verso, 1995): 77–78.
[10] Ibid, 77–78.
[11] Ibid, 96.
[12] Juhani Pallasmaa, “Architecture of the Seven Senses” in Toward a New Interior, ed. Lois Weinthal (New York: Princeton Architectural Press, 2011).
[13] Clara Kim, Lynn Zelevansky, and Adriano Pedrosa, Renata Lucas (Los Angeles: Roy and Edna Disney/CalArts Theater (REDCAT), 2007): 18.
[14] Clara Kim, “Strange Rationality” in Renata Lucas (Los Angeles: Roy and Edna Disney/CalArts Theater (REDCAT), 2007): 20.
—Miwon Kwon[1]
In 2003, Brazilian artist Renata Lucas assembled a layer of plywood across a street intersection in Rio de Janeiro. The thin wood covered the intersection from the center and expanded slightly into the streets, creating a cross-like shape with curved lines that followed the curb. Along the curvilinear sides of the structure were cutouts for the gutters, which maintained the intersection’s functional requirements for drainage, implying that this wooden construction was not unplanned, but rather site-specific.[2] As cars and pedestrians traversed the intersection they interacted with Cruzamento (Crossing, 2003) visually, audibly, and tactilely. The plywood made a clacking noise under the weight and speed of the cars and was a bump for the commuters as they crossed its threshold, creating an interruption in their everyday routine. Spurred by this unexpected transformation of environment, driver, bicyclist, and pedestrian became alert at their point of crossing—a place where numerous accidents occur between the two. Through a simple physical alteration to the site, Lucas disrupts the order of things[3] to challenge commuters’ modes of spatial and social comprehension. Thus, the unanticipated encounter produces a subjective and, at the same time, collective experience that renews social awareness and politics of a shared space. Renata Lucas’ Cruzamento is a form of site-specific art that places primary emphasis on the context—social, economic, and political—of the site over its physical location. Cruzamento does this through a simple intervention in the physical space of an urban street intersection, shifting the perception of the commuters’ everyday routine to draw attention to the socio-political context of the site.
An intersection is a place where automobiles, bikes, and pedestrians meet. These everyday crossings occur all over the world in urban settings. The intersection of Cruzamento is the frontage road for Praia do Flamengo, the main beach freeway, and a small access street named Dois de Dezembro. Located near the public beach, this intersection is a place where a variety of people from different social classes encounter each other. This common intersection acts as the entry to the freeway and last main point of crossing for pedestrians, bicyclists, and car drivers. What changes a common space like this into a unique space? In its most general definition, space is a continuous area that is available or unoccupied.[4] We can identify space by locating it as a place on a map. French theorist Henri Lefebvre explains that, “[e]veryone knows what is meant when we speak of a ‘room’ in an apartment, the ‘corner’ of the street, a ‘marketplace,’ a shopping or cultural ‘centre,’ a public ‘place,’ and so on. These terms of everyday discourse serve to distinguish, but not to isolate, particular spaces, and in general to describe a social space.”[5] A place can be a private space, like a room in an apartment, or a public space, like a street corner, and as Lefebvre suggests, can become much more through acknowledging its context. In both private and public space, there is often affixed meaning—social, political, historical, cultural, or personal—whether it is apparent or abstruse. Through the recognition of the affixed context, the definition of a space or place becomes more finite, what I will call site.
In order to more clearly define site and its relationship to art, it may be useful to examine Richard Serra’s Tilted Arc (1981)—one of the most famous examples of site-specific art in the public sphere. Tilted Arc was a massive wall-like structure that bisected Federal Plaza in New York City and caused a conceptual and perceptual disruption of the space. Its presence changed the way people moved by forcing them to walk around it to enter the Federal Building. In addition to its length across the plaza, its substantial height obstructed vision from one side to the other. The disruption caused by Tilted Arc was not taken well by the occupants of the Federal Building, who were mostly government officials. A controversy arose when these government officials decided that Tilted Arc would be moved to another location—one where it would not disrupt people’s perception. Richard Serra’s response was that it was site-specific, meaning that it could only exist within the intended site. Serra famously stated that, “to remove the work is to destroy the work,” which became a fundamental concept for site-specific art.[6] This example presents a definition of site, in which the physical location is the primary factor. Can a site become something beyond its attachment to the physical domain? Can a site locate itself more prominently in its socio-political context?
Cruzamento fits into the everyday space by using the intersections layout and shape. At the same time, this artwork intervenes in the way the commuters recognize and use the space by disrupting the perceptual organization of the intersection. This intervention alters the commuters’ expectations of the site and uses physical interaction to heighten their consciousness of others around them. The essence of the site then develops beyond space and place to consider its role in the formation of social conditions. Art historian Miwon Kwon suggests a new type of site-specific practice that engages the public sphere and everyday life in order to “integrate art more directly into the realm of the social.”[7] Cruzamento’s transformation of the intersection is subtle at first, unlike the massive structure of Titled Arc that bisected Federal Plaza. Cruzamento does not stop the commuters’ from moving across the space. However, it intervenes in the design of the street to produce an uncomfortable proximity of its users. The construction of urban space, especially that of the street, is thoroughly planned out and horizontally divided into designated areas for each class of commuter—car, bike, pedestrian. The thickness of the plywood lifts the street, which is allocated for cars and bikes, close to the level of the sidewalk, which is the pedestrians’ domain. With this physical change, Cruzamento breaks down the hierarchy of space between commuters and effaces the design of urban planners. This disruption creates the context for the site, making the physical location a secondary factor. Therefore, Cruzamento interrupts the commuters’ routine in this everyday location to stimulate a consciousness of what may be greater implications of the site.
A common intersection can have multiple meanings to an individual and the community (i.e. the site of a fatal accident, a community block party, or a favorite part of a morning walk). In a place where a variety of people must cross, these meanings often go unnoticed, overridden by the vitality of the metropolis. German sociologist and philosopher Georg Simmel attributes the mental distance between city-dwellers to the density of a crowd saying, “the bodily proximity and narrowness of space makes the mental distance only the more visible.”[8] While the intersection may fluctuate in its density depending on the time of day, the commuters’ mental indifference is continuous in everyday urban routine. The intersection that Lucas chose for Cruzamento is located in Rio’s South Zone—the richest and most famous region of the city—and is adjacent to a public beach, which, with any public place, brings many types of people together. Rio de Janeiro is the second largest city in Brazil and, amongst its over six million population, suffers from an extreme disparity between the rich and the poor. While neighborhoods and modes of transportation–private versus public—may physically separate the two classes, public places, such as the beach, become locations for both to occupy. Thus, each class would most likely utilize this intersection on their way to these common spots. Intervening in a place where social classes cross, Cruzamento challenges the mental indifference of each person who moves through this shared space with a simple gesture of altering the surface of the intersection. Lucas elevates this common crossing place literally—by lifting the level of the street to the height of the sidewalk—and conceptually, creating a hiccup in the metropolis’ monotonous landscape. This disturbance of the everyday life aims at forming a unique awareness of place that advocates for a relationship between its many users—pedestrians, bicyclists, and drivers.
Aside from its functional use of getting from one place to another, an urban intersection has no obvious significance and is “a space which [is not] defined as relational, or historical, or concerned with identity.”[9] Therefore, as French anthropologist Marc Augé suggests, an intersection is a “non-place.”[10] Non-places occur in locations of movement or travel due to the commuter’s reliance on the interpretation of symbols.[11] On the surface of the intersection, symbols direct the flow of traffic—crosswalks, separation lines, stop signs, etc. These symbols communicate traffic laws and enforce social order. The directives tell each car, bike, and pedestrian where they should cross, stop, or give the other right of way. Cruzamento hides the street’s symbols with plywood. This simple action disrupts order, forcing the crossers to slow down and be more cautious. Confusion transpires as they approach a familiar place that suddenly does not meet their expectations, changing the way each person interacts with the space and one another. Cruzamento removes the prescribed order of an intersection and requires people to engage each other to communicate their crossing, creating new order that relies on awareness of one’s surroundings.
In addition to the visual removal of the symbols, Cruzamento modifies the space through the sound of the plywood clacking as cars, bikes, and pedestrians move over it. Audible signifiers replace the visual symbols that require cultural knowledge in order to traverse the intersection. In this altered space, a phenomenological experience is formed through the heightening of the senses. The sounds and movement of each car, bike, and pedestrian in the intersection inform the individuals not only of their presence on top of the plywood, but also of the negative space between the plywood and asphalt. Architect Juhani Pallasmaa talks about the way sound can create space when he says, “the space traced by the ear becomes a cavity sculpted in the interior of the mind.”[12] When the ear receives an auditory signal unmatchable with the past recollection of familiar situations, the mind then changes its perception of the space from that of stability to unexpected interference, producing attentiveness to one’s situation. The fragile material of wood produces an insecure ground, where a pedestrian feels every vibration from a passing car and the driver notices the physical shift as the interior of the car rumbles and shakes. The tactile sensation of the vibrations invades personal space and creates an invisible connection between pedestrians, bicyclists, and drivers. This sudden change in environment reinforces a renewed awareness of surroundings and signals a need for carefulness as each person makes his/her way across the intersection. By bringing a variety of people to an unfamiliar site and requiring them to uses their senses as a guide, Cruzamento produces a visceral experience that makes people forget about economic and social status, breaking down community divisions that are ever-present in Rio de Janeiro.
Lucas uses the simple material of plywood to build the makeshift structure of Cruzamento. The practicality of the material, for being inexpensive and easy to find, refers to the favelas—shantytowns—that line the hills of Rio de Janeiro. With an allusion to the favela in one of the riches parts of the city, Cruzamento denotes the political associations of a site that is used by people from a variety of social statuses. For Lucas, art is “a kind of politic[s], behavior influencing and challenging [a] way of life, administering doses of strange rationality and a bit of violent freedom because human feelings are wild.”[13] Cruzamento behaves as a diversion that challenges the prescribed order of an intersection, and promotes an awareness of the socio-political context of the site. This unanticipated experience allows each driver, bicyclist, and pedestrian to feel something radically different in their everyday commute—a feeling of empowerment to be the change that they want in the world.
Cruzamento intervenes in the plan of an intersection, challenges the mental indifference of urbanites, removes directive symbols that enforce social order, requires the individual to traverse a shared space while being knowledgeable about his/her physical surroundings, and draws out the socio-political tensions of Rio de Janeiro. The artwork, in its simplistic form, behaves as an instigator to stir up the prescribed way we interact with our physical location and each other in everyday space. In her essay, Strange Rationality, curator Clara Kim writes, “Related to these concepts of urban landscape, Lucas’ practice is a critical reimagining of the way our built environment determines actions, behavior, and social relationships, and by extension, society’s dependency on the preservation of prescribed definitions of space, property, and order.”[14] Lucas’ subversive installation provokes the viewers to question the established systems they encounter consistently in a man-made world. The altered intersection, through subjective experience of sight, sound, and touch, requires the individual (in car or on foot) to slow down and renegotiate the shared space. Lucas’ Cruzamento redefines site-specificity as more than just a response to location, but also a reaction to the context that affects the people who mix in the everyday space. Therefore, in this common place—an urban intersection in Rio de Janeiro--Cruzamento intervenes to promote a new order for social space, one where each individual must be more conscious of the other and the way they interact.
[1] Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity (Cambridge, Mass: MIT Press, 2002): 24.
[2] For more information on the history of site-specific art see: Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity (Cambridge, Mass: MIT Press, 2002).
[3] See Michel Foucault, The Order of Things; Archaeology of the Human Sciences (New York: Vintage Books, 1970).
[4] Definition from the New Oxford American Dictionary.
[5] Henri Lefebvre, “Plan of the Present Work” in The Production of Space (Oxford, OX, UK: Blackwell, 1991): 16.
[6] In 1989, despite the artist and community’s efforts, Tilted Arc was removed from the Federal Plaza in the middle of the night. Titled Arc was never reinstalled in a different location. For more information on the controversy see: Clara Weyergraf-Serra, and Martha Buskirk. The Destruction of Tilted Arc: Documents (Cambridge, Mass: MIT Press, 1991).
[7] Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity (Cambridge, Mass: MIT Press, 2002): 24.
[8] Georg Simmel, "The Metropolis and Mental Life" in The Sociology of Georg Simmel (London: MacMillian, 1950): 418.
[9] Marc Augé, “From Place to Non-Places” in Non-Places: Introduction to an Anthropology of Supermodernity (New York: Verso, 1995): 77–78.
[10] Ibid, 77–78.
[11] Ibid, 96.
[12] Juhani Pallasmaa, “Architecture of the Seven Senses” in Toward a New Interior, ed. Lois Weinthal (New York: Princeton Architectural Press, 2011).
[13] Clara Kim, Lynn Zelevansky, and Adriano Pedrosa, Renata Lucas (Los Angeles: Roy and Edna Disney/CalArts Theater (REDCAT), 2007): 18.
[14] Clara Kim, “Strange Rationality” in Renata Lucas (Los Angeles: Roy and Edna Disney/CalArts Theater (REDCAT), 2007): 20.
