Generative Artifacts: Chinatown and an Ornamental Architecture of the Future

This article proposes the term ‘generative artifact’ to define a new method of imagining the future, one derived from artistic and architectural interpretations of non-linear time, material exploration, and relationship building. This contrasts the imagining that happened in the past by European and North American dominant culture, born out of fears of a declining Western hegemony and resulting in socially constructed hierarchies based on race. To investigate this historic and outdated imagining of culture, we trace the history of Chinatown and the ornamented feminine body as a physical example of hypervisibility in the North American city. First, we examine the current discourse on Chinatowns’ Orientalist aesthetics, legitimacy through institutionalized nonspecificity, and architectural/artifactual heritage, which serve as a mirror and moor for the Chinese diaspora today. Here, we find clues on how to navigate and leverage the spectacle of the racial image, the continuous merging of person and thing, and the tropes that the racialized body might find itself answering for. To illustrate the potential of the generative process and through the lenses of Anne Anlin Cheng’s theory of ornamentalism and Legacy Russell’s glitch feminism, this article places Chinatown adjacent to the worldbuilding and artistic practices of seven contemporary artists and architects. This includes Astria Suparak (performance critique), Curry J. Hackett (AI, installation), Shellie Zhang (sculpture), Lan “Florence” Yee (textile), Debra Sparrow (weaving, murals), Thomas Cannell (sculpture), and the author (performance). All are from varied cultural backgrounds who create ‘generative artifacts’ in their creative practices—works that playfully slip between sign/icon, high/low tech, and authentic/invented culture to point towards a path to imagining more expansive futures.