Margret Morton demonstrates the use of space in the urban city of New York by depicting the homeless utilizing the abandoned tunnel system. Nersessova’s article dives into the photos shot by Morton analyzing the most fundamental concept of having a home and self identification that comes with it.

In society’s urban metropolises, many view the homeless through the scope of lacking a home simply because their dwellings do not fit the traditional architecture of a home. The domestic architecture of the homeless is comprised of scrap materials to build cohesive structures. After the building of this dwelling, the human connection with space is unified allowing a sense of pride and personal touch to be experienced. Although, the homeless earn a sense of identity through their homes. Due to the fragile nature of their circumstances they are constantly faced the with ever-daunting reality of their homes being destroyed. Morton’s first peak into this reality was through the profound story of Pepe –A watchman within community of Bushville. The entire duration of Pepe’s story Morton monitors the progression of his house transforming from a pile of scraps to him fixing his structure to have better insulation in the winter, installing a kitchen and hoping to eventually install a bathroom. Pepe’s shanty structure was finally meeting the traditional criteria of a home. Unfortunately, Pepe’s place fell victim to the the crushing bulldozers of society only viewing him as homeless and leaving him again with only a pile of scraps. Morton demonstrated through Pepe that the homeless are only viewed as an economic problem, which holds no human connection of space when surrounding the homeless in the eyes of society.

The domestic space of today is formed around the capitalistic view of building urban spaces that appeal to consumer as tourist around the city. Cities like New York only advertise the success through the environment and also displaying the despair of the homeless. Nersessova examines the idea that cities show wealth through its building space and people placement of stability within their homes.  Although, many do not own their own homes or the land they’re built upon similar to the homeless. The separation of the two simply exist upon the idea that the individual with the “stable” home is happier. This happiness is measured through the amount of wealth acquired within the capitalistic environment. Happiness on this measurement scale continues to increase the gap between the wealthy and middle class and close the gap between the middle class and impoverished.

Morton’s pictures of the homeless developing tunnels as a place of refuge from the violence or simply as a place to call their own despite the view of society. The homeless are able able to carve out their own placement in the concrete jungle of Urban cities. Nersessova’s article formed a better understanding about the homes and how we identify with them in an urban setting. This transformation in thought brought forth the thinking that once urban cities appeal to creating spaces for all despite economic status and traditional standards, a better living space for all who live in urban environments will become achieved.

NERSESSOVA, IRINA. “Tapestry Of Space: Domestic Architecture And Underground Communities In Margaret Morton’s Photography Of A Forgotten New York.” Disclosure 23 (2014): 26. Advanced Placement Source. Web. 24 Jan. 2016.