Scribbled in marker on a postcard-size slip of paper in 1973, the anarchitect Gordon Matta-Clark wrote: “Making the right cut somewhere between the supports and collapse.” The tenor of this note is duly reflected in two recent New York building developments: the Whitney Independent Study Program space, now permanently housed at the newly renovated Roy and Dorothy Lichtenstein former studio and home, and the multidisciplinary fabrication facility, Powerhouse Arts, located in a converted early-twentieth-century power plant in Brooklyn.
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There is a strong, albeit latent, relationship between the local identities of village communities, collective memories of place, and abandoned buildings. The potential for renovation in these rural villages is not so much about restoring derelict buildings to their original state, but rather rebuilding community cohesion through their transformation.