by Roxane Carré

Kicked off by Evie Klein, Assoc. AIA,—architect, planner, and environmental psychologist as well as founder of the AIANY Social Science and Architecture Committee—the “Forced Labor in Supply Chains: Examples of a Humanely Built Environment” panel was the second of a three-part series. Led by Sharon Prince, CEO and founder of the Grace Farms Foundation, which intersects nature, arts, justice, community, and faith, the Design for Freedom movement began in 2020: it stands as a “radical paradigm shift to eradicate forced labor in building materials’ supply chain, as demonstrated in its toolkit. Through the kit, architectural studios and firms at any scale can learn more about where their materials come from, who produces them, and how to do away with involuntary work.

This panel spotlighted humanely-built projects by architects Nina Cooke John, AIA, founding principal at Studio Cooke John Architecture and Design, and Diana Kellogg, founding principal at Diana Kellogg Architects. Specifically, it presented concrete ways in which to actualize architects and urban designers’ “moral and ethical responsibility to end forced labor” – per moderator Nadine Berger, architect and sustainability manager at AECOM iLab and SS+A Committee co-chair.

For example, Studio Cooke John’s “Shadow of A Face” (March 2023) in Newark, New Jersey, representing social activist Harriet Tubman, exemplifies humanely-built design. The monument also embodies Studio Cooke John’s mission to transform relationships between people and the built environment, through a multidisciplinary approach and inclusive placemaking. Lastly, the project’s humane construction reflects its role as a physical emblem for Civil Rights and Women’s Rights, characterized by Harriet Tubman—lead social activist in the movements—and replacing a Christopher Columbus statue.

Additionally, Diana Kellogg’s non-profit GYAAN Center in India—a multi-structure campus and women’s community space —represents humanely-built architecture. More than simply using responsibly-sourced materials, the project serves a greater purpose: its first phase, the Rajkumari Ratnavati Girls School (2021) “serves hundreds of local girls below the poverty line in the region” with “tools to further their education and independence.” The project also raises awareness about gender equality in India.

Looking back, Kellogg states that collaborating with Grace Farms and, specifically, with its Design for Freedom toolkit, changed her approach to architectural projects. Indeed, Kellogg now states two non-negotiables in future works: (1) a social giveback and (2) adherence to the Design for Freedom principles.

Echoing Kellogg, Cooke John stressed how important being part of the radical paradigm shift towards humanely-built environments is. In particular, Cooke John pinpointed how conversations with fabricators, instead of just contractors, is crucial for humane building. Personally, Cooke John noted that her (“small”) design firm approached the Design for Freedom principles through a material-tracking spreadsheet. Cooke John explained how working with Grace Farm representatives and with the toolkit had made material tracking more manageable; as a tip to other practitioners, Cooke John mentioned that collaborating with a LEED consultant helps ensure a smooth process. Further, Kellogg advised young architects and current practitioners to start their projects with the Design for Freedom principles, sharing how material selection, or constraints, boosts creativity.

Lastly, to guarantee humane building, both Kellogg and Cooke John reported having been especially mindful of including local culture and residents throughout the design process. Indeed, Studio Cooke John’s “Shadow of A Face” (2023) is part of a larger initiative to include communities in urban design processes and in a city’s socio-cultural fabric; Cooke John spotlighted the initiative, “Will You Be My Monument” which intends to “celebrate Black girls” and ask “What stories should be told in public spaces?” To this end, Cooke John shared how Newark residents had been invited to inscribe their own stories onto the Harriet Tubman monument for representation and collective memory.

Moreover, according to Cooke John, the Harriet Tubman monument has become more than architecture: in enabling local residents to “recognize[] their own stories in front of Harriet Tubman’s historical legacy,” the structure transformed into “a place of collective memory across space and time.” Adding to the monument’s significance in the public realm, Cooke John shared how “Shadow of A Face” (2023) has become “a place for community, performance, and occasional protest” instead of being just a park in which people walked through. Cooke John ended by underlining the importance of community engagement inside architectural and planning processes within urban areas to enable “feelings of ownership” from communities and residents. On this, Cooke John stated that “the city landscape… becomes activated only once the community activates it.”

As another perspective on humanely-built architecture, Kellogg shared wanting the GYAAN Center to be a home for young Indian girls living under the poverty line to pursue their education and independence. Precisely, the Center was to be a refuge where the girls could feel “safe, comfortable, nurtured, and free” (Kellogg, 2024). To ensure the project respected cultural norms and values, or pushed against them to support the DforF movement as well as benefit the girls (i.e. eradicating forced labor, including youth work), Kellogg’s team included local Indian women. Notably, Kellogg shared that during interviews the girls attending the Rajkumari Ratnavati Girls School reported “(…) f[eeling] safe there.” Since then, attendance has broken records for local schooling: a testament to the school’s purpose, need, and success as a learning haven.

To continue moving toward sustainable practice and social equity, organizations and practitioners in architecture need to examine their supply chain, reflect on material sourcing, and adhere to humane design principles all-around—Grace Farms’ Design for Freedom toolkit, easily accessible for download at the link, is a great place to start.

If you are interested in continuing or joining the conversation, please see below for the other events in the three-part series and information on joining the SS+A committee:

About the Author:
Roxane Carré is an independent researcher, freelance creative, and interdisciplinary strategist. Roxane is a recent graduate in sociology, economics, and psychology from Barnard College of Columbia University and holds certifications in urban planning & design from the Harvard Graduate School of Design and sustainable & strategic design from IE University, Madrid, Spain. At AIANY | Center for Architecture, Roxane is a member of the Social Science and Architecture Committee and acts as a liaison between the Interiors, Committee on the Environment (COTE), and Future of Practice committees, easing communications and event planning. Next, Roxane will be pursuing graduate studies in urban design, overseas.