The Rural Studio is a design and build architectural program at Auburn University in Alabama. The studio was co-founded by Samuel Mockbee and D.K. Ruth in 1992 with the mission of building an “architecture of decency” for families in Alabama’s Black Belt region that lacked access to stable and permanent housing. The studio utilizes found, discarded, and donated materials to craft innovative housing solutions and public spaces in and around Hale County—a region that has played a historic role in the state as the seat of King Cotton in the antebellum south; it has since seen economic disinvestment leave it ruined, and has notoriously claimed the tittle of one the country’s poorest counties. The Rural Studio aspires to confronting this historical legacy head-on by building private and public structures throughout the county at little to no cost to its citizens. This thesis brings the work of the studio into conversation with queer theories of metronormativity and anti-urbanism as developed by theorists including Judith Halberstam and Scott Herring. I develop the architectural practices of the studio and its relationship with its clients as a queer structure of feeling that challenges contemporary architectural values with its insistence on rural, vernacular building solutions—this, I claim, is parallel to self-identified rural queers who live in the country and defy metronormative and urbane conceptions of LGBT identity. By deconstructing modern, metropolitan definitions of queerness, I seek to expand the mantle of queerness to include the clients of the Rural Studio, as well as rural-identified queers who consider the country as an inherent aspect of their queer identity. By dissecting the geographic and temporal characteristics of the urban/rural dialectic, I attempt a rapprochement of rural space and queerness as such, disabusing the notion that to be queer is to be urban. Tracing the intersectional political alliances at the heart of the Rural Studio’s design-build process, I hope to view the studio’s work as a queer organizational model for marginal subjects— one that confronts the twin legacies of Queer and Southern history—through the production of strange and intersectional political and social alliances in rural spaces.
“When Hernando de Soto embarked on his civilizing mission through what would later become the American South, he left behind a trail of misery that extended from Florida to the eastern edge of the Rocky Mountains. Accompanied by priests, de Soto and his men burned their way through native villages, enslaving local citizens in iron neck collars and chains to work as beasts of burdens. The expedition was hungry for wealth, and when one slave fell from exhaustion, de Soto would behead him so as not to impede the progress of the journey. However, de Soto’s expedition was slowed down in 1540 by Tuscaloosa, the Black Warrior, king of the Mobiles. Historical accounts describe the Black Warrior as a man of gigantic stature, a commanding eminence who died, along with 11,000 of his subjects, in an intense battle with de Soto’s forces.
The Black Warrior River that winds along the western edge of Hale County, Alabama, takes its name from this decimate king. It flows from Bankhead Lake as a thin line and then opens into a thick-waisted body of water. Rivers like the Black Warrior are always somehow larger than life. They move like time, carrying along everything in their drift; they dry up and overflow and, like the history whose relentless current they suggest, constantly change shape. The land through which the Black Warrior curls is rich with defeat. One has only to kick at its red surface to detect the layers of hurt beneath it. Yet, there is a loveliness to the place that may come in part from the conflicting myths of freedom that shadow its soil. In the paintings, collages, drawings, and architecture of Samuel Mockbee, these shadows complicate everything living under them.
In these shadows, Mockbee has created a rural mythology. A place akin to William Faulkner’s Yoknapatawpha County, it is a living fiction in which Mockbee’s architecture, his wealthy clients, the projects of the Rural Studio, and its poor clients are interwoven with one another. This mythology is a work in progress. It is a process that continues to unfold as personal memories intersect with public histories and the poor and the black become Black Warriors, mother goddess, master of knots of fate, ciphers endowed with an agency that allows them to throw their sex hundreds of yards across a lake.”
-Samuel Mockbee and An Architecture of Decency