Holley describes as providing viewers with a stark reminder of how un-habitual the process of voting has been for many in the US.
Holley describes as providing viewers with a stark reminder of how un-habitual the process of voting has been for many in the US.Commemorating “those that got killed along the way, literally got blown to pieces” in seeking the vote, Holley describes “the trail to vote” as simultaneously “a trail of tears.” To be in the grip of power, Holley’s work suggests, is to potentially inhabit a position of power and agency, but it can also mean being at the mercy of another.While Benjamin insists that we primarily engage architecture in states of distraction, voting booths are structures designed to force its users to attain a certain amount of focus—or to at least stage the appearance of such—by quarantining us from the rest of the world.
The booth Holley presents viewers in the gallery space seems at first glance like any other—a simple plastic and aluminum structure that one would bend down and lean into in order to fill out a ballot semi-privately.
However, if you stand back from the booth or approach it from the right side, you notice that when the user bends down to use the booth, their head becomes level with the muzzle of a handgun affixed to the outside of the booth and pointed directly into its interior.
While modern voting is largely treated as a private act done by the individual subject acting for themselves and by themselves, the desire to relocate civic participation to the public square and redefine citizenship as a social act of collective demand and public voice endures.
The different kinds of occupations within the planned and makeshift civic squares of Zuccotti Park, Ferguson, and Charlottesville mark the desires of publics of various sorts and merits to exceed the physical, social, and affective scales of the individual booth on state-sanctioned election days.
To attend to how architecture shapes our experience of citizenship, then, is to work against our perceptual proclivity to take in the built environment sideways, through sustained use and in states of distraction.
Essay On Habit Is Second To Nature Assignment Provision
This essay, then, is an attempt to marshal our attention to consider the distracted and circuitous ways architecture scripts our habits of citizenship as well as various attempts to reshape those habits using architecture.
The scale of the booth marks voting as the work of private individuals, presenting it as an act you do alone—for yourself and by yourself.
The material experience of these spaces can be somewhat awkward—the flimsiness of the booth’s construction makes you feel its impermanency, which may variously serve to heighten the distinctiveness of the occasion or mark its formal abnormality.
They are typically constructed of flimsy plastic and perched on tall aluminum legs, offering users just enough stability to be able to scratch a line on a paper ballot or to press a button.
Some booths allow users to slide a small curtain closed behind them, more fully producing the sensation of sequester privileged by modern voting.