“The center of architecture is shifting and cannot hold,” writes guest editor Bryony Roberts in Log 48: Expanding Modes of Practice. This moment of change, in which issues of inequity and intersectionality are coming to the fore, represents “an invitation to think differently, a chance to reask the questions that haunted the 20th century.” To that end, Roberts conducted a series of interviews with experimental architects exploring new forms of practice, including this conversation with Mabel O. Wilson.
Mabel O. Wilson is a scholar and designer who has become a leading voice in discussions on space, politics, and memory in black America. She is the Nancy and George Rupp Professor of Architecture at Columbia University, as well as a professor in African American and African Diasporic Studies and the associate director of the Institute for Research in African American Studies. Her books include Begin with the Past: Building the National Museum of African American History and Culture and Negro Building: Black Americans in the World of Fairs and Museums. Her interdisciplinary practice Studio & is part of the architectural team that designed the Memorial to Enslaved African American Laborers at the University of Virginia. She is also a founding member of Who Builds Your Architecture? (WBYA), a collective that advocates for fair labor practices on building sites worldwide. We talked at an outdoor cafe near Columbia on one of the last warm days in fall 2019.
Bryony Roberts: The catalogue for Torkwase Dyson’s show “1919: Black Water,” which opened at Columbia’s Arthur Ross Architecture Gallery in September, includes a great conversation between you and the artist. You talked about the importance of decolonizing the tools of creation and listed some as “the book, the argument, the essay, and the memorial.” This was after a longer conversation about decolonizing form. Could you talk more about how you approach decolonizing these tools in your own practice as someone who makes books, forms, and arguments?
