Changó Cummings is reshaping the landscape of architecture, employing art and design as a tool to challenge traditional norms while strengthening and supporting marginalized communities. His work blends creativity with activism, turning public spaces into tokens of support and solidarity.
Cummings is a multidisciplinary architectural designer whose practice spans multiple disciplines, from sculpture to guerrilla urbanism. His work goes beyond aesthetics aiming to engage with social issues, particularly the lived experiences of Black communities, and reshape the built environment as a tool for healing.
Cummings is adamant about his work reflecting the voices and needs of the communities it exists within. He wants to reclaim space and offer restorative experiences for Black, Indigenous, and people of color (BIPOC).
“I was born and raised in the warehouse district of Minneapolis,” Cummings said. “My basis for my art, my design, and my play all was majorly developed on the intersection of Broadway and Emerson at [Juxtaposition Arts].”
Raised in a family of creatives, Cummings realized the power of artistic expression early on, particularly through his involvement with Juxtaposition Arts (JXTA). Founded in 1995 by his parents, Roger and DeAnna Cummings, JXTA has served as a hub for young artists in North Minneapolis, offering mentorship and resources to youth from historically underestimated backgrounds. It was here that he connected with mentors and peers who would support him throughout his career.
Cummings was one of JXTA’s earliest apprentices, and his experiences there helped shape his vision for art that not only challenges societal norms but also addresses the needs of the people. Throughout his years at JXTA, he became deeply involved in several public art projects in North Minneapolis, including Juxta Pocket Park and the creation of benches at the Emerson and West Broadway bus station.
These initiatives were designed to beautify the community while serving functional and restorative purposes. These early experiences solidified his belief that architecture can be a tool utilized to amplify and regenerate a community’s lived experience.
As his artistic practice grew, so did the scope of his work. One of his notable projects, Through the Glass Eyes, was a multifaceted performance, sculpture, and mural showcased at the 2018 Northern Spark all-night free art festival.
The work tackled the issue of mass surveillance in Black communities, particularly in North Minneapolis, where CCTV cameras have been used disproportionately to monitor Black and brown people. By projecting the true narratives of Black people, Cummings sought to dismantle the systemic stigmas that often frame these communities as criminal or suspicious.
Cummings’ other works reflect his commitment to creating spaces that merge cultural significance with physical utility. His Pod Pavilion for ITS Fest in 2021 was a spherical performance space built using plywood and digital fabrication techniques.
Drawing inspiration from indigenous hut structures, the pavilion was designed as a 360-degree stage with an afro-futurist lens. The structure represents a fusion of ancestral knowledge with modern design principles and served as a performance space for the festival.
Hattiesburg House ties directly to his own family’s history in Hattiesburg, Miss. His grandparents were the first Black people to own a Hattiesburg house and farm since it was established in the early 1900s. Cummings has been envisioning a regenerative design project to create sustainable housing and farming practices on the 50-acre plot of land. This project blends environmental sustainability with his personal history, offering a vision for a future where Black families can thrive on their own terms.
Cummings graduated from the Parsons School of Design, a prestigious but predominantly white institution, with a BFA in architecture. “I looked around and realized that these kids probably had never experienced being in such close proximity with a Black American,” Cummings recalled.
“Students would look at me like, ‘What are you doing here? What are you doing in this space?’ It was very alienating and disorienting at times. I was blessed enough to find the Obsidian Group, which was the Black designers cohort that I was able to use as my anchor.”
The first of its kind at The New School, Obsidian is a collective that supports the advancement of students who identify as members of the African Diaspora. It is an organization that fosters and promotes Black scholarship, creativity, and professional opportunities across various disciplines including visual arts and music.
In 2021, Cummings led the organization of The Black (Critique) at Parsons, an event designed to celebrate the graduation of Black students while providing feedback and mentorship from Black professionals. The event featured key speakers like Emory Douglas, a former Revolutionary Artist and Minister of Culture for the Black Panther Party, along with James Garret Jr., a mentor to Cummings, who led conversations around Black creativity.
After earning his degree, Cummings returned to Minnesota, where he has taken on several influential roles, including adjunct professor of architecture at the University of Minnesota’s College of Design. His courses, such as Build/Destroy and Livable Cities: Design & Culture in Australia, emphasize the intersection of design, social justice, and civic collaboration. His students are encouraged to challenge traditional architectural paradigms and to create spaces that address both the physical and spiritual needs of marginalized communities.
Cummings also serves as the Environmental Design Lab lead at Juxtaposition Arts, where he continues to mentor youth and guide them in designing sustainable, community-focused projects. His work at JXTA has expanded to include more youth employment opportunities, providing apprenticeships in design fields like architecture, environmental design, and public art.
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