In "Through the Revolving Door," my photographic project delves into the nuanced accessibility of "semi-public space" within the context of our era's pervasive privatization. Echoing the concerns articulated by urbanist theorists like Michael Sorkin, who highlight the diminishing presence of true public spaces and its repercussions on social dynamics, my work explores the spatial dynamics of spaces classified as "semi-public." In alignment with Sorkin's definition of "semi-public space"— privately owned areas such as hotel lobbies, airport lounges, shopping malls, and privately owned parks, plazas, or atriums that are open to the public but subject to certain conditions and limitations - my project aims to unravel the spatial logic embedded in these environments.
The series scrutinizes the facade, whether manifested through doors or windows, as a symbolic gateway subjected to monitoring and mediation by the overseeing institution. This scrutiny extends to the determination of opaque accessibility to resources, unraveling the spatial utility of these entry points as sites of engagement and communication.
Through my lens, the revolving door becomes a metaphorical threshold, exploring the delicate balance between public access and institutional control. The images capture not just the physical barriers but also the invisible forces shaping our interaction with these spaces as actively produced environments that are subject to the influence of social practices, economic forces, and power dynamics. By contemplating the interplay of architectural elements and institutional intent, "Through the Revolving Door" invites viewers to reflect on the evolving nature of our interaction with semi-public spaces and the implications of this evolving urban landscape on our collective social experience.
