Table Of Content7
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Transgender archiTecTonics
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Gender, Bodies and Transformation
series editor: Meredith Jones,
University of Technology, Sydney, Australia
This series explores the intersection of two key themes in relation to scholarship
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1 on bodies: gender and transformation. Bodies are gendered via biology, culture,
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2 medicine and society, such that gender, so deeply and intimately connected to
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r identity, is a crucial part of any thorough analysis of the body. at the same time,
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u bodies are – and have always been – sites of transformation, whether through
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e ‘natural’ processes such as pregnancy, illness and ageing, or the more eye-
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2 catching, ‘unnatural’ transformations of cosmetic surgery, violence, extreme
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8 bodybuilding or dieting, cross-species transplantation, elective amputation or
2 tattooing.
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2 interdisciplinary in scope and welcoming work from a range of approaches,
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a including cultural and media studies, sociology, gender studies, feminist theory,
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o phenomenology, queer studies and ethnography, Gender, Bodies and Transformation
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ie publishes scholarly examinations of contemporary cultural changes that are
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n relevant to both gender and the transformation of bodies, whether in single
a bodies or between bodies.
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a,
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n also in the series
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a Fat Sex: New Directions in Theory and Activism
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f edited by helen hester and caroline Walters
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si Sport, Gender and Power
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e The Rise of Roller Derby
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n adele Pavlidis and simone Fullagar
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b The Weight of Images
d Affect, Body Image and Fat in the Media
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a Katariina Kyrölä
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Transgender Architectonics
The Shape of Change in Modernist Space
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a Lucas craWFord
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o Simon Fraser University, Canada
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First published 2015 by Ashgate Publishing
Published 2016 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
7 711 Third Avenue, New York, NY 10017, USA
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2 Routledge is an imprint of the Taylor & Francis Group, an informa business
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r Copyright © Lucas Crawford 2015
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2 Lucas Crawford has asserted his right under the copyright, Designs and Patents Act,
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8 1988, to be identified as the author of this work.
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2 All rights reserved. No part of this book may be reprinted or reproduced or utilised in any
at form or by any electronic, mechanical, or other means, now known or hereafter invented,
o] including photocopying and recording, or in any information storage or retrieval system,
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e without permission in writing from the publishers.
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n Notice:
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S Product or corporate names may be trademarks or registered trademarks, and are used
a, only for identification and explanation without intent to infringe.
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if British Library Cataloguing in Publication Data
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Ca a catalogue record for this book is available from the British Library.
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y The Library of Congress has cataloged the printed edition as follows:
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si Crawford, Lucas.
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e Transgender architectonics : the shape of change in modernist space / by
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ni Lucas Crawford.
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pages cm. – (Gender, bodies and transformation)
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y Includes bibliographical references and index.
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d ISBN 978-1-4724-5097-5 (hardback) – ISBN 978-1-4724-5098-2 (ebook) –
de ISBN 978-1-4724-5099-9 (epub) 1. Transgender people. I. Title.
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n HQ77.9.C73 2015
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o 306.76'8–dc23
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2015014514
ISBN: 978-1-472-45097-5 (hbk)
ISBN: 978-1-315-55003-9 (ebk)
Contents
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1 Acknowledgements vii
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r 1 Introduction 1
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e 2 Foundations and Ruins: Why Don’t Transgender and
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2 Architecture Get Along? 19
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2 3 How to Beat a Straight Flush: DS+R’s Brasserie and the
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2 Rhetoric of Transgender “Plumbing” 39
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o 4 “The Ladies Lavatory:” Woolf and the Transgender
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ie Biographical Imperative 67
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a 5 Woolf’s Einfühlung: An Alternative Theory of Transgender
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a, Affect, Space, and Time 87
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f 6 “I’ll call him Mahood instead, I prefer that, I’m queer”:
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a Samuel Beckett’s Spatial Aesthetic of Name Change 107
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y 7 Against Transgender Integrity: Beckett’s Grey Matter 123
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e 8 Epilogue: A Transgender Poetics of the High Line Park 149
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[ Works Cited 167
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b Index 177
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Acknowledgements
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2 This book began as a dissertation, which was mentored wisely by Cressida
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r Heyes and Dianne Chisholm at the University of Alberta. Their collective
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u intellect, wit, and participation in the spirit of the project made it possible for
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e me to go about my research with creativity in mind. I thank them, and the
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2 others at my alma mater who supported this work: Michael O’Driscoll, Mark
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8 Simpson, Susanne Luhmann, Karyn Ball, Cecily Devereux, Nat Hurley, Julie
2 Rak, Heather Zwicker, and Brad Bucknell.
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2 My colleagues at other institutions read, heard, critiqued, solicited, circulated,
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a and otherwise supported this project. I thank Susan Stryker, Dean Spade, Ann
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o Cvetkovich, Ian Carter, and Alexis Shotwell, Paul B. Preciado, Amanda Lim,
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ie Sarah Tobias, Yolanda Martínez-San Miguel, Sheila Christie, Robert Scott
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n Stewart, Trish Salah, David Getty, Carla Pfeffer, and a number of anonymous
a peer reviewers. I thank my editors, Meredith Jones and Neil Jordan, as well as
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a, Lianne Sherlock and Pam Bertram at Ashgate.
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n I thank my former mentors, who each contributed to my ability to write this
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f book: Jonathan Boulter, Kim Solga, and Annmarie Adams.
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a During the main stages of this project, I was kept company in Edmonton
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f by a great number of artists, thinkers, and friends who provoked my work –
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y especially Marco Katz, Rebecca Frederickson, Megan Morman, Derek Warwick,
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si Janis Ledwell-Hunt and Anthony Easton.
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e I gratefully acknowledge the support of The Pierre Elliott Trudeau
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n Foundation, the Social Sciences and Humanities Research Council of Canada,
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[ the Killam Trust, and the Government of Alberta.
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b Early and abridged excerpts from some of the book’s chapters appear in
d Journal of Homosexuality, Transgender Studies Quarterly, Seattle Journal of Social Justice,
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a Mosaic, and Talk About Sex (Cape Breton University Press). Thank you to the
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l editors and reviewers of these publications.
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Most heartily, I thank Jen Crawford, Joan Crawford, and Carmen Ellison.
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Chapter 1
Introduction1, 2
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2 In Chris Vargas’s short film, “Have You Ever Seen a Transsexual Before?”
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r (2010), the filmmaker poses with various American landmarks, from the
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u Mormon world headquarters to the Las Vegas Strip. Vargas flashes his surgically
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e altered chest to each scene and a path of faded scars – traces of a bilateral
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2 mastectomy, a procedure often pursued by FTM (female-to-male) trans people
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8 – crawls across Vargas’s chest with a beauty and singularity that is sorely missing
2 from most public scenes of flashing. As Vargas stages these spectacular acts of
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2 transsexual disclosure, he cheekily asks the film’s titular question to each space.
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a For instance, emphasizing and drawing out the word “transsexual” just a bit
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o longer than seems possible, he proclaims: “Hello, Death Valley, have you ever
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ie seen a transsexual before?” The tone is one of camp and mock solemnity. Yet, the
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n fun and adventurous tone of the piece changes after Vargas flashes Las Vegas.
a At that point, we see him flop onto his hotel bed, seemingly distraught. Viewers
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a, realize for the first time that the conversation of the film has been one-sided;
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n no responses are forthcoming from these landmarks. Abruptly, the film shifts
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f location and takes us on a wondrous trip through an animated dream world in
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a which Vargas plays with beach balls and watches birds while jaunty music plays.
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f In this world, each ball and each bird bears the same scars as does Vargas. The
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y viewer is therefore caught between 1) a series of potentially transsexual spaces
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si and 2) a fantastical cartoon trans utopia. Positioned between these worlds – one
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e designed as a whimsically trans alternate-reality, and the other as a series of
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n often silent spatial interlocutors to whom we reveal ourselves – Vargas gives us
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[ the opportunity to ask anew: what ought a transgender space to do?
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b One obvious answer is that transgender space in general may be defined
d simply by transgender spaces in particular – by those spaces that we visit and must
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a navigate on a daily basis. Following such a definition, transgender studies has
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l produced a keen field of texts that begins to pay attention to the role played by
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architecture and geography in the continued struggles (and of course pleasures)
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1 Some passages from Chapter 1 were first published as “The Blurring Capacities
of Transgender Architecture: Next Steps for Queer Space Studies”. In Talk About Sex:
A Multidisciplinary Discussion. Ed., R.S. Stewart. Sydney, NS: Cape Breton University
Press, 2013.
2 Some passages from Chapter 1 were first published in the Seattle Journal for Social
Justice, Volume 8/Issue 2 (2010).
