Homeless Paper Sergio EscuderoHarmonMechanics of Graphic DesignJune 19, 2012

table of contentslanding . . . 6grounding . . . 10finding . . . 14founding . . . 18Homeless Paper Space . 26bibliography . . . 30

landing

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Tucked just off one of Ann Arbor’s busiest and most iconic intersections, the white hole in the wall is as much a contrast to the bustle and color of State Street and East Liberty Street, as are its inhabitants to the rest of the city. It is a small nook on the east facade of State Street, that also serves as the entrance to a service alley behind it. Often closed, it vaguely suggests the notion of shelter, offering slight protection from the elements, as well as some privacy from the often scornful and ignoring foot traffic. As a volume, it measures 4.5’ deep, 9’ wide, and 8’ tall, and is strikingly delineated by the white washed planes that form the space. However, the open side of the space - the one facing the street - gives it a directionality and projects the spaceforward beyond the previous measurements. The white box instead frames a larger space up until it is met with the tree and landscaping on the edge of the sidewalk. That projected space is further enclosed by the tree canopy, though its boundaries are fluid and often subject to interuption byinvading objects - like trash bins - or by theconstant foot traffic.

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finding Two aspects unique to the white nook inform the project’s execution. Socially, this space is evidence of a unique and interesting competition among the Ann Arbor homeless, that makes it a worthwhile site. Secondly, if the project is to then respond to the space’s inhabitants, placement must also speak to the manner in which it is inhabited. Though belonging to the State Theaterbuilding, the small white nook has beenappropriated by Ann Arbor homeless, as atemporary space to occupy. Though not asobviously delineated as this white nook, several other spaces in the State Street and Liberty Street area have similarly been taken over by thehomeless and panhandlers. Among them: a spot on the ground below the faces mural, and the window ledges just south of the intersection on the west side of State street. Ann Arbor’s lax attitute towards the homeless allows for street loitering, and therefore these nooks along State and Liberty St. become valueable realestate for panhandlers: offering a degree of shelter while also access to foot traffic(therefore a potential to earn money). The nook in the wall next to Urban Outfitters is perhaps the most appealing space as it offers more shelter than any other - it most resembles a space.

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However, whether by animosity, competition or tradition, not all the panhandlers occupy all the available spaces. Instead, it seems that territory is divided among groups, and fights between the homeless can ensue if those divisions are not respected (Vick). That sense of ownership byoccupation and competition is one that this wallpaper should explore and respond to, especially if this wallpaper were to be replicated around the area, and used to demarcate territory - like flags. On a smaller scale, the wallpaper project should also empahsize the sense of home to those who have none, and to a space that barely serves as shelter. Therin, it becomes a contradiction as a wallpaper for homeless. As a place for panhandlers to occupy and remain for several hours at a time, it is no surprise that they are often sitting rather than standing. In contrast to the adjacent sidewalk, eye level is easily three feet lower. Placement therefore can either serve to mark the space for onlookers and foot traffic, or it can serve the homeless as a way to frame their home.

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VolumeWallpaper

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founding Initial versions of the pattern dealt more directly with the competitiveness of the panhandler groups. Incorporating imagery and symbolism, two versions of a thorned crown were overlayed.Intended to highlight how each group seems to oversee and rule their own spaces, and how they may bicker and war like old European Kingdoms. The thorns also speak to the homeless as a sect of society that exist, but are generally ignored and loathed. Perhaps participating in society, but likely kept at an arm’s length.

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founding The final version borrowed the rounded square from previous patterns, and opted for a simpler treatment. A modified corner becomes the focal point around which the shapes layoutorthographically. That figure is then tiled and every other colum is displaced vertically half a unit. A secondary color is added with a diagonally displaced identical tile. It recalls the social contestation of the space, while being less aggressive and hoping to frame the space more as a home, and less as demarcatedterritory. Should this exercise be repeatedthroughout the area, and inconjunction with the various panhandling groups, then each wallpaper could serve as an identity, and as a political and territorial mark.

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bibliographyGirot, Christophe. “Four Trace Concepts in Landscape Architecture”. 1999.

Vick, Nikki. Institute for Research on Labor, Employment and the Economy, University of Michigan. Interview: April-June 2012.