LONDON TIME
Architectural Association School of Architecture 4 - 22 JULY 2016
In the summer of 2016, when you land at one of London’s airports, most of you will change your watches while still on the runway to London-time, GMT 0:00. But what is London; beyond the place and time where east meets west, where each day, year, millennium begins? Is it time to start over? This summer we will imagine the city as though experienced along its continuum. We will design a London that goes backwards and forwards through time, and will learn to design for a time-span, not just a single moment. The course is aimed at people who want to change their architectural lives, and experience first-hand the AA School’s famed unit system of teaching and learning architecture, driven by intensive agenda interests. This three-week, full-time course presents a challenging programme of design studios, field study, seminars and lectures. It offers participants a range of diverse design approaches, agendas and techniques, and represents a uniquely intensive and intimate environment that aims to expand formal and intellectual resources. Current students, recent graduates, architects, designers and other creative minds are all welcome.
LONDON TIME Architectural Association School of Architecture Summer School 2016
Director Natasha Sandmeier Programme Co-ordinator Andrea Ghaddar Assistant Co-ordinator Miruna Mazilu
UNIT 1 CLOCKWORK LONDON Antoine Vaxelaire, Ariadna Barthe, Derek Dellekamp and Frida Escobedo UNIT 2 SUBMLIME OASIS IN-TRANSIT Arantza Ozaeta and Alvaro Martin UNIT 3 FILMSCAPES: REFLECTIONS ON LONDON’S EAST END Aphrodite Stathopoulou and Melanie Wavamunno UNIT 4 LONDON (TEASING) TIME Ana Marti-Baron and Clement Blanchet UNIT 5 2 SECONDS CITY Sabrina Morreale and Valerio Massaro UNIT 6 MEMORY DEVICES Onur Ozkaya and Vikrant Tike UNIT 7 THE (NEW) MONUMENT: PATCHWORKING ENTROPIES Alvaro Velasco Perez and Javier Anton
LONDON TIME SUMMER SCHEDULE 2016
WEEK 1 4 July Mon
GROUP 1,2,3 GROUP 4,5,6 GROUP 5 GROUP 6 GROUP 3 GROUP 4 GROUP 1 GROUP 2 5 July Tue 6 July Wed 7 July Thu 8 July Fri 9 July Sat 10 July Sun
WEEK 2 11 July Mon 12 July Tue 13 July Wed
14 July Thu 15 July Fri 16 July Sat 17 July Sun
WEEK 3
18 July Mon 19 July Tue 20 July Wed 21 July Thu 22 July Fri
9:00 10:30 11:00 13:00 14:30 15:30 15:00 15:00 16:00 16:00 16:30 16:30 17:00 10:00 - 22:00 10:00 - 22:00 18:00 10:00 - 22:00 10:00 - 22:00 18:00 10:00 - 22:00 CLOSED
Registration, Coffee + Croissants Introduction Unit Presentations and Selections Lunch Computer Lab Introductions Computer Lab Introductions Tour of the AA Tour of the AA Tour of the AA Tour of the AA Tour of the AA Tour of the AA Team Announcements + Drinks Design Studio Design Studio *FORMAT Design Studio Design Studio *FORMAT Design Studio (Free Day!)
Dining Room & Soft Room 4 Morwell St 4 Morwell St Dining Room 16 Morwell St 16 Morwell St Entrance 36 Bedford Sq Entrance 32 Bedford Sq Entrance 36 Bedford Sq Entrance 32 Bedford Sq Entrance 36 Bedford Sq Entrance 32 Bedford Sq Terrace 4 Morwell St 4 Morwell St New Soft Room 4 Morwell St 4 Morwell St New Soft Room 4 Morwell St
10:00 - 22:00 10:00 - 17:00 10:30 - 12:30 13:00 - 22:00 18:00 10:00 - 22:00 10:30 - 22:00 18:00 10:00 - 22:00 10:00 - 22:00
Design Studio INTERIM REVIEW ALL UNITS *AA STUDENTS PRESENT WORK Design Studio *FORMAT Design Studio Design Studio *FORMAT Design Studio Design Studio
4 Morwell St 33 First Floor Front & Rear New Soft Room 4 Morwell St New Soft Room 4 Morwell St 4 Morwell St New Soft Room 4 Morwell St 4 Morwell St
10:00 - 22:00 10:00 - 22:00 10:00 - 22:00 10:00 - 22:00 10:00 - 17:00 17:30 - late
Design Studio Design Studio Design Studio Design Studio FINAL REVIEW! Summer School PARTY!
4 Morwell St 4 Morwell St 4 Morwell St 4 Morwell St Rear Presentation Space Terrace
** WORKSHOP INTRODUCTIONS will take place on a per unit basis on 5,6,7 July ** DIGITAL PROTOTYPING LAB INTRODUCTIONS will take place on a per unit basis on 5,6,7 July ** Individual unit schedules and special events will be announced by unit tutors
FORMAT July 6 - July 15 2016 FORMAT is the AA’s Summer ‘live magazine’ that looks at the shapes that discourse and knowledge take. The sixth issue will focus on the idea of ‘Couple Format.’ Mathematically speaking, a couple is the smallest unit of collaboration and therefore the most potent (or poisonous). Can we think of a working life together, or apart, as possessing shape? Invited guests share their ideas on Couple Formats from the worlds of art, architecture, literature, philosophy and more. - Organised by Shumon Basar WEDENSDAY 6 JULY 2016 SAM JACOB and CATHERINE INCE present the Couple Formats of architects DENISE SCOTT-BROWN & ROBERT VENTURI and RAY & CHARLES EAMES FRIDAY 8 JULY 2016 GUY MANNES-ABBOTT and JAMES WESTCOTT presents the Couple Formats of writer GERTRUDE STEIN & salon host/cook ALICE B. TOKLAS and performance artists MARINA ABRAMOVIĆ & ULAY WEDNESDAY 13 JULY 2016 CÉLINE CONDORELLI and AARON SCHUSTER present the Couple Formats of philosopher HANNAH ARENDT & author MARY McCARTHY and philosophers GILLES DELEUZE & FELIX GUATTARI FRIDAY 15 JULY 2016 NATASHA SANDMEIER and MADELON VRIESENDORP present the Couple Formats of New York’s urban mythologies 5TH AVENUE & BROADWAY and EMPIRE STATE & CHRYSLER BUILDINGS ALL EVENTS TAKE PLACE IN THE NEW SOFT ROOM AT 600PM ENTRANCE IS FREE AND OPEN TO THE PUBLIC www.format.aaschool.ac.uk for more details
The identity between love and work
AA OPENING HOURS Studio Hours Monday – Saturday (and Sunday 17 July) 10:00 – 22:00 Digital Prototyping Lab Monday – Friday 10:00 – 18:00 Computer Lab Monday - Friday 10:00 – 22:00 AA Workshop & Modelshop Monday 10:00 – 18:00 Tuesday – Thursday 10:00 – 21:00 Friday - 10:00 – 18:00 Saturday 10:00 – 17:00 Bookshop Monday – Saturday 10:00 – 18:30 Library Monday – Saturday 10:00 – 18:00 Printing Centre Monday – Friday 10:00 – 18:00 Bar Monday – Friday 9:15 – 19:00 Canteen Monday - Friday 12:15 – 14:30
UNIT 1
Antoine Vaxelaire, Ariadna Barthe, Derek Dellekamp and Frida Escobedo
1. Speakers’ Corner
12. Warburg Library
2. Kew Gardens 11. Penguin Pool 3. Colony Room
10. Fun Palace 09. John Soane Museum 08. War Room
4. Kubrick’s Archive 5. Saint Paul’s Cathedral
6. BroadGate Bld 7. Mary’s Room
UNIT 1
Directed by Ariadna Barthe (SPAIN) Frida Escobedo (MEXICO) Derek Dellekamp (MEXICO) Antoine Vaxelaire (BELGIUM)
... AND YOU!
AA Summer School 4-22 July 2016
Unit 1 Clockwork London
CHRONOGRAPHING S PA C E Building a Clock in which Hours become Spaces.
Flamsteed House
Octagon Room
Working on the Mechanism
In 1648, on the edge of London, a group of scientists built a house in which they dreamt of materialising their obsessions with T ime. Tw o h u n d r e d s y e a r s l a t e r, i n 1 8 8 3 , t h e y s u c c e s s f u l l y i n v e n t e d t h e f i r s t mechanical clock and subsequently the diagram that has o r d e r e d t h e w o r l d s i n c e t h e n : G M T.
!st Mechanical Clock
Its Mechanism
I n 2 0 1 6 , Clockwork London w i l l p u r s u e a n e q u a l l y a m b i t i o u s o b j e c t i v e a n d f o l l o w a similar working method than these scientists.
Objective:
Parting from the principle that time and space are inseparable and reciprocal, we aim to explore time as the trigger for perceiving, representing and imagining space.
Method: 1. Perceive: Experience an iconic room of London at opposing times (AM&PM). 2. Represent: Reveal what makes it a unique and fascinating space. 3. Imagine: Physically create your own new Room at opposing times (AM & PM). 4. Construct: Collectively assemble the Clockwork London.
Unit 1’s Studio Space
AA Summer School 4-22 July 2016
Unit 1 Clockwork London
BUILDING THE CLOCK’S MECHANISM AND ITS Q U A D R A N T. Clockwork London w i l l r e p l a c e t h e 1 2 h o u r s o f t h e q u a d r a n t w i t h 1 2 i c o n i c L o n d o n rooms, each activated at opposing times (ex:10am & 10pm). Working in groups of two, you will be in charge of one room.
THE MECHANISM:
T H E Q U A D R A N T:
TA B L A G R A M
CRONOTOPO
TA B L E A U + D I A G R A M
T I M E + S PA C E
What: U s i n g y o u r p e r s o n a l i n t e r e s t s and obsessions as a lens, you will draw a large scale tablagram that uncovers the specificities of your room.
What: Yo u r t a b l a g r a m w i l l r e v e a l m u l t i p l e c o n d i t i o n s o f y o u r r o o m ’s environment. The Cronotopo will be the physical translation of these qualities into a constructed space (model).
How: W e w i l l i n t r o d u c e t w o g r e a t tools of architecture and teach you how to combine them in one drawing.
How: T h e m o d e l w i l l p h y s i c a l l y represent your imagined room as time and space.
T H E U N I T F I N A L P R O D U C T:
CLOCKWORK LONDON During a three-week period, we will collectively work towards a common goal: a new kind of clock. All your individual work will be inseparable from the rest of the unit and will reach its full potential once placed within the large Clockwork London.
Unit 1’s
ARIADNA BARTHE Barcelona, ES
DEREK DELLEKAMP Mexico City, MX
After graduating from Interior Design in 2009 (EINA), Ariadna as worked as a Production Designer for CANADA, Nanouk, Mosaic and Escandalo Films. In 2009, Ariadna joined the AA School, where she graduated in 2014.
Derek founded Dellekamp Arquitectos in 1999, in Mexico City. Derek received the Architectural League’s Emerging Voices award in 2009, NYC. His work has been exhibited in major institutions such Centre Pompidou and the Venice Biennial.
Since then she works for Foster and Partners, currently living and working in Mexico City. Her interests have been always oscillating between the film industry and the architectural world.
Derek has been an invited to teach in many universities, such as Rice and University of Texas.
FRIDA ESCOBEDO Mexico City, MX
ANTOINE VAXELAIRE Brussels, BE
Frida has a bachelor degree in Architecture from University Iberoamerica and a masters degree in Arts, Design and the Public Domain from Harvard GSD.
Antoine first studied architecture in Lausanne before moving to London to join the Architectural Association, where he graduated with Honours in 2013. During his studies he has worked in several offices in Zurich, London and Brussels.
For four years she taught 2nd year studio in Iberoamerica. Last fall, she was a visiting professor at Columbia GSAPP, and last spring in Harvard GSD.
After graduating Antoine moved to Tokyo, where he worked two years. He now lives and works in Mexico City.
Frida founded her architecture studio in Mexico City.
*SMUPIDITY ORIGIN > late 20th century: mix of English smart and English stupid
AA Summer School 4-22 July 2016
Unit 1 Clockwork London
W H E N W E W I L L D O W H A T:
S C H E D U L E W E E K Monday 10:00
14:00
20:00
Tuesday
Wednesday
Introduction + Unit Presentations
UNIT KICK-OFF Secret Location
MasterClass 1 TABLAGRAM
Unit Selections + 1st Unit Meeting
GIFT Marathon Visits around London.
Work Session
Drinks!
Unit Space Introduction
Thursday
Monday
14:00
Tutorials Unit Space
Enjoy London
Enjoy London
Enjoy London
Enjoy London
Tutorials Unit Space
Unit Guest Work Session Eleanor Dodman on T. Demand. Unit Visit 1 Pinewood Studios
Unit Dinner
AA Cinema Unit Drinks Clockwork Orange
Tuesday
0 2
Wednesday
Thursday
Enjoy London
Unit Visit 2 BBC Archive
Tutorials Unit Space
Work Session
Enjoy London
Pre-Jury Rehearsal
INTERMEDIATE JURY
Post-Jury Discussion
Tutorials Unit Space
Work Session
Work Session
Enjoy London
Party!
MasterClass 3 CRONOTOPO
Unit Dinner @ St John’s Bakery
W E E K
20:00
Sunday
INTERMEDIATE JURY
Monday
14:00
MasterClass 2 TABLAGRAM
Saturday
Work Session
20:00
10:00
Friday
Tutorials Unit Space
W E E K 10:00
0 1
Tuesday
Wednesday
Thursday
Friday
Sunday
0 3 Friday
Tutorials Unit Space
Tutorials Unit Space
Tutorials Unit Space
Work Session
FINAL JURY
Work Session
Work Session
Work Session
Pre-Jury Rehearsal
FINAL JURY
Drinks @ French House
Saturday
End Party!
Saturday
Sunday
UNIT 2
Arantza Ozaeta and Alvaro Martin
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AA SUMMER SCHOOL 2016 LONDON-TIME
SUBLIME OASIS IN-TRANSIT [1]
This Unit proposes a brave appropriation of London Green Continuum [2] as a potential habitat for contemporary and connective migrant citizens i [1]
Sublime Oasis
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Londoners in-transit
[2]
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SCENARIO i!!
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SUBLIME OASIS
A site that exists only with reference to time
The city of London can be considered as the world’s largest urban forest with 8 millions of trees. More than 13.000 species -including humans-, inhabit 3.000 parks, 30.000 allotments, 3 million of gardens and 2 National Nature Reserves. Green space in Central London covers 47% of its area. It includes 8 Royal Parks, a large number of council-owned parks, many small garden squares (100 only in Kensington and Chelsea), and greenways such as Thames Path. A wide variety of wildlife inhabits London because it contains a great mixture of different ecological conditions. Foxes inhabit the city since the 40s, and today there are more than 10.000. We can find squirrels and badgers in garden squares and backyards; deer on city outskirts; Otters in wasteland areas and canals; pigeons, gulls and peregrine falcons flying over the city. Tall buildings, abundant food sources and a lack of predators make London a natural habitat for many birds and animalsii. It is heartbreaking, if not obscene to have to imagine here, a city (Rem Koolhaas, SMLXL, 1995) London is known as a green city. Its urban fabric includes a powerful network of green spaces that coexists together with the built landscape. Parks, woodlands, wetlands, gardens, groves, brownfield sites, and other semi-natural habitats and areas reclaimed by nature. We will act in these -apparently untouchable and overprotected- urban environments. We are interested in the double condition -manufactured and natural- of these environments with its own cycles of generation and decay. We will focus on the ecological interest of these urban sites, specially those areas of interaction among -human and no human- ecosystems (ecotones) where intensity of components is maximum. 'Nature' is simply another 18th and 19th century fiction (Robert Smithson, 1968) We understand ‘nature’ as a product, a projection of humanity. Therefore, since it is a design, it can be manipulated and changed, and by establishing new strategic relationships with this reality of London, we will build up new protocols of design. Processes defined through diverse time scales and whose management recognises change as inevitable. We pursue a migration of concepts and techniques from Environmental Sciences, because they give consistent responses within a context simultaneously natural and artificialiii. So, we will talk about Architecture in terms of dynamic understanding of elements, growth models, entropy, lifespan, methods of ecological control, dynamics of occupation and levels of integration.
SCENARIO II!! !
LONDONERS IN-TRANSIT
A population that exists only with reference to time
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Sony's Walkman planted the notion that music can be mobile. The BlackBerry made e-mail on the go seems normal since 1999. The personal-computer era started in the 1980s with Apple's commercialisation of the “graphical user interface” and the mobile era exploded in 2007 whit the iPhone and its user-friendly touch interface. Today, Cloud computing, that provides shared processing resources and data on demand, becomes a super-intensive and hyper-connected system that is used by 80% of world’s population. Surfers stays in the same (summer) place by moving in sequence with climatic progression, in order to stay in the same temperature year round (an endless summer). Offshore havens facilitate a new form of cartographical expertise to locate funds in legal subsidiaries by an ingenious planning of migration routes for funds. Retirees, workers tied to seasonal tourism or people suffering from seasonal affective disorder avoid cold temperatures of northern winter and invade Mediterranean Area. Avoiding citizenship, Perpetual Travellers pass through different countries fast enough that they don’t become legal resident status so no have legal obligations. There is nothing like a dream to create the future (Victor Hugo, Les Miserables, 1862) A new social creature emerges from this global and increasily mobile world. With the scale, the accessibility and the immediacy of contemporary global displacements, we have developed a more “liquid”iv relationship with places and people. We live in constant flux and we inhabit a global flow. Our identity is not defined through an own place or an own stuff, but we live on the go and we have fewer belongings and more sharing. Our relationship to time, to place and to other people is different. Environment provides us with what we need, and no matter where we are we can create our own “emotional space” without any place restrictionv. Even the most striated city gives rise to smooth spaces: to live in the city as a nomad, or as a cave dweller (G. Deleuze & F. Guattari, 1987) London is constantly reshaped by new waves and changing tides of human migrants. The city is a valuable pit-stop for this rolling citizensvi that re-shape culture because of its mobility. We will track these mobile populations moving among settled populations. They have been called nomads, migrants, travellers, neo-Bedouins, etc. but we will update this concept in terms of current (hyper)connectivity. They are “Londoners In-transit” -such as Snowbirds, Digital nomads, Urban Campers, Expatriates, Third Culture Kids, Techno-Bedouins or Perpetual Travellers. As Geographers, Ethnographers and Strategists, we will unveil their “transit space” vii, in terms of both time and place; as Anthropologists and Cultural Practitioners, we will identify their policies and identities; and finally will develop new spatial models according to their mobile culture –from urbanity to domesticity-.
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AA SUMMER SCHOOL 2016 LONDON-TIME
METHODOLOGY ACCUMULATIVE CONTINUUM cabinet of wonders During the course, we will consider 2 scenarios in London: overprotected Oasis & Londoners In-transit / a potential site & an elusive inhabitant. As creative explorers, we will collect evidence of these realities. Everything becomes data –documents, numbers, graphics, interviews, maps, images, objects, artefacts about climatology, history, politics, economics, art, technique, etc. Day by day, we will build up our CABINET OF WONDERS: an encyclopaedic collection of (extraordinary) objects that attempt to tell stories about the wonders and oddities of the (selected) world, of our Unit Microcosms. This is both an operative and accumulative tool, an ideological as well as technical construction. We will define it by an overlap of successive statesviii, and we will adopt an expertise role and use a different narrative tool per state.
SPECULATIVE CONTINUUM WALLPAPER OF REAL FANTASIES
Londoners in-transit will colonize Sublime Oasis: this is our dual scenario for specula(C)tion and here we start our game of reciproCITIES, in the way Sophie Calle and Paul Auster did with the character of Maria Turner in the book “Double Game”. By using the collected documents and objects, together with certain fictional evidence, we will build up a succession of projective moments that will be arranged in a continuous and common WALLPAPER: a visual masterpiece between the fictional and the distilled real fragments of our cabinets, an artificial landscape where fiction and collection collideix . Horizon and scale are multiple, manipulating frame and disrupting linear sequence. !
Narrative continuum SEQUENCE SHOT of INTERACTIVE DOCUMENTARY
This Wallpaper will be considered a performative space, sensitive and reactive. And we will explore its narrative potential by turning into an INTERACTIVE DOCUMENTARY: an interface that provides an in-depth tour through our “Sublime Oasis in-transit”, including texts, images even videos to enrich the storytelling. We will establish a sistematical and interconnective articulation of those projective and architectural moments, pursuing that hypermedia transgresses the logical boundaries of physical space/time/frame. This will be our collective construction of the “Sublime Oasis In-transit”, in the way of a complex system of individual events that are infrastructurally assembled. Finally, we will film one of the possible journeys in an uninterrupted shot of 10 minutes that constitutes an entire scene –SEQUENCE SHOT.
REFS: OLDEMAN Profile of a Forest/ GREENE Gardener’s Notebook/ REISER+UMEMOTO Global migration patterns of Surfers/ HAMILTON Just What Is It That Makes Today's Homes so Different, So Appealing?/ HAUS RUCKER Oasis nº7/ WUNDERKAMMER Ferrante Imperato/ DUCHAMP Box in Valise/ OMA-AMO Prada Wallpapers/ EAMES OFFICE: Moscow International Exposition 1959.
Schedule st
1 week SUBLIME OASIS
We will track those apparently untouchable and overprotected green spaces of London. We will unveal their botanical variety, climatic condictions, growth models, human and no-human inhabitants, patterns of occupation, cycles of generation and decay. TAGS: OASIS - GARDEN - WILDLIFE - ECOLOGY - ECOTONE - NATURE/FICTION - NEW NATURALNESS - HUMANS&NO HUMANS - GARDENER EXPERIENCES & VISITS + EXPEDITION ‘GREEN LONDON’: we will explore and experience a green and wild city by visiting semi-natural habitats, such as The Royal Botanical Garden Kew, Thames Path, Serpentine Park and Pavillion, garden squares, community allotments and the Barbican Conservatory. + WILDLIFE GARDEN and CENTRE OF UK BIODIVERSITY, at Natural History Museum, with more than 2.600 species of British flora and fauna. + THE GREATER LONDON NATIONAL PARK CITY: through this campaign we will understand London as the world's first National Park City. We will be explorers at the way of Daniel Raven-Ellison, and will follow research about the capital's wildlife and wild spaces by London Wildlife Trust.
2
nd
week LONDONERS IN-TRANSIT
We wil discover the new creatures that inhabit this mobile world: Londoners in-transit. We will trace their migration routes (in place and time) and habits. We will collect the wonders and oddities of their migrant culture, the successive architectures that they inhabit, and the protocols of construction of their ‘emotional’ space here and there. TAGS: MIGRANTS - NOMADS - PERIPATETIC - ROLLING - PITSTOP - FLOW - STOCK - WANDERLUST - MOBILITY - TRANSIT SPACE - LIQUID EXPERIENCES & VISITS + SIR JOHN SOANE’S MUSEUM: visit to this surprising ‘cabinet of curiosities’ in London. The historic house, museum and library of distinguished 19th century architect Sir John Soane, filled with his exceptional collection -artworks, sculptures, furniture and artefacts. + MARGARET CUBBAGE & GONZALO HERRERO DELICADO: Curators at Design Museum’s exhibitions department. They will show its Designers in Residence programme “Migration 2015”: a reflection of objects or processes that imply movement of shifting and cross-fertilising cultures. + IGNACIO GONZÁLEZ-GALÁN: Chief Curator of 2016 Oslo Architecture Triennale. He will introduce “After Belonging”, a transforming condition of belonging that examines both our attachment to places and collectivities as well as our relation to the objects we own, share, and exchange.
3
rd
week REAL FANTASIES
The ‘natural’ sites of London are available, and Londoners in-transit will colonize them. They will expand their migration routes through/into them, and include this spaces into their selection of pit-stops. We propose a migration of dynamics, protocols and spacial models from the built to the ‘natural’ environment of London. TAGS: REAL FANTASIES – FICTIONALIZATION – INTERACTIVE DOCUMENTARY – STORYTELLING –SEQUENCE SHOT – HYPERMEDIA - HYPERLONDON
EXPERIENCES & VISITS + JEFFREY LUDLOW: Creative director of 2x4 Madrid. He will explain the design sytem –brand, experience and identity- of their Wallpaper concept for the Prada Broadway Epicenter store –“Trembled Blossoms”-, as part of the project 2016 SS Prada Real Fantasies by OMA/AMO. + DIEGO IGLESIAS & CRISTOBAL BAÑOS: Architect and web designer, authors of “HyperTokio”. Together with them we will build up “HyperLondon”, a virtual space of connected images, texts, diagrams and videos, in the way of an interactive documentary. !
TO FINISH, AA SUMMER SCHOOL IS CORDIALLY INVITED TO THE PREMIERE OF OUR INTERACTIVE DOCUMENTARY: “sublime oasis IN-TRANSIT”
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AA SUMMER SCHOOL 2016 LONDON-TIME
UNIT STAFF TALLERDE2 ARANTZA & ALVARO Arantza Ozaeta and Alvaro Martin head the architecture office TallerDE2 since 2008 [ www.tallerde2.com ], which makes an ongoing commitment to research and knowledge, both in training and innovative practice. They do research on contemporary cultures pursuing the materialization of unsual discoveries. Their work has international scope, been recognized, published and awarded on several occasions. Arantza Ozaeta and Alvaro Martín’s work is mainly developed between Spain, Germany, Italy and UK, where they combine professional activities with academic and research ones. They studied architecture at the TU Delft of The Netherlands and at the Madrid Polytechnic ETSAM. They have been teaching at the Architectural Association London (Summer School 2015 / 2014 / 2013), Politecnico di Milano (Italy), Hochschule Coburg University of Applied Sciences (Germany), FCU (Taiwan), Ural State Technical University of Ekaterimburg (Russia), and the Architectural Polytechnic University of Madrid (Spain), where currently teach as Associate Professor. Arantza Ozaeta and Alvaro Martín completed work covers from Urban Regeneration Masterplans (Europan 9, Germany) to Public Facilities (Haus der Tagesmütter, Selb); from Ephemeral Urban Installations (Green Cave, Bilbao) to Domestic Spaces (The Meeting House, Zamora), from Industrial Architecture (ITV-Motto, La Rioja) to Refurbishment with Furniture Infill (The POP-UP House, Madrid). Among their awards, they have received the German ‘Bauwelt Prize 2013-First Works’; Finalists at the ‘XII Spanish Architecture and Urbanism Biennale 2013’; the prize ‘Architects Professional Association of Madrid-Luis M. Mansilla’ as the Best foreign project made by a Spanish office abroad. In 2015 their work has been selected for ‘Architectus Omnibus-Goethe Institute & Casa Cervantes’ to be exhibited in Berlin, and for ‘Export-Spanish Architecture Abroad’ in Madrid. The Spanish magazine ‘Arquitectura Viva’ has selected them as "one of the eight most representative young Spanish studios", and director Arantza Ozaeta was shorlisted “Emerging woman of the year 2014” from the British magazine AJ.
HAUS DER TAGESMUTTER: Urban Acupuncture. Germany 2013/ YOUTH CENTER: Social Club. Germany 2015/ AASS 2013: Inverse London/ GREEN CAVE: Temporary Urban Garden. Bilbao 2011/ THE POP-UP HOUSE: Residence for a Metropolitan Single. Madrid 2014/ AASS 2014: Mind the Gap!/ ITV-MOTTO La Rioja 2016/ IQ SOCIAL HOUSING: Germany 2016/ AASS 2015: Ordinary EccentriCITY.
INVITED GUESTS Daniel Raven-Ellison is a London based guerrilla geographer, creative explorer, educator and works leading the campaign to establish London as the world's first National Park City. He is one of National Geographic’s Emerging Explorers [ www.ravenellison.com ] Margaret Cubbage is a curator at the Design Museum in London, in charge of the programme Designers in Residence (2008-2011), colleague of Gonzalo Herrero Delicado, a London-based architect and writer of contemporary architecture and design. Since 2015, he is Curator at Design Museum, preparing together with Chief Curator Justin McGuirk the exhibition that will open the new museum in 2016 [ www.gonzaloherrero.eu ]. Ignacio G. Galan is a New York based architect and a PhD Candidate at Princeton University. Professor in Columbia University and Chief Curator of the 2016 Oslo Architecture Triennale “After Belonging”. Collaborator in the research project ‘Radical Pedagogies’, led by Beatriz Colomina at Princeton SOA [ www.ignaciogalan.com ] Jeffrey Ludlow is Principal and Creative Director of the global design consultancy 2x4 in Madrid. The focus of their work is!brand strategy for cultural and commercial clients who value the power of design. Their wide range of clients includes OMA/AMO, Herzog & de Meuron, Kanye West, MoMA, Prada, Nike, and the Doha Film Institute [ www.2x4.org ] Cristóbal Baños is a Madrid-based graphic and web designer. Creative Director of the fashion communication agency Coolture Lab and cocreator of HYPER TOKYO [www.hypertokyo.net] together with Diego Iglesias, a Madrid-based architect, communication designer, editor [255.255.255] and cultural manager. Member of the Architectural Association for Innovative Pedagogies 100x10 and guest teacher at ETSAM.
XREFS BOOKS & ARTICLES + ÁBALOS, Iñaki. “Naturaleza y Artificio”, GG, 2009.! + BAUMAN, Zygmunt. “Liquid Modernity”. Polity, 2000. + CALLE, Sophie and AUSTER, Paul. “Double Game”. Violette, 1999. + EASTERLING, Keller. “Extrastatecraft: the power of infrastructure space”. Verso, 2014. + FONTCUBERTA, Joan. “The Kiss of Judas. Photography and truth”. GG, Barcelona, 1997. + JAQUE, Andres. “Eco-Ordinary”. UEM, 2010. + KINGMANN, Anna. “Brandscapes: Architecture in the experience of economy”. MIT Press, 2007. i
Spaces”, by Gemma Hallam and Mathew Frith; “London Garden City?”, by Chloë Smith 2010; “For a Wilder City”, 2015-2020. + MAKIMOTO Tsugio, MANNERS David. “Digital Nomad”. Wiley, 1997. + MCLUHAN, Marshall; FIORE, Quentin; “The Medium is the Massage: an inventory of effects”. Bantam books, 1967. + OMA; Harvard GSD. “Project on the City 1”, “Project on the City 2”. Taschen, 2002.
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+ BALLESTER, Jose Manuel. “Hidden Spaces”, 2008. + EAMES OFFICE. Multiscreen & Multimedia: “Glimpses of the U.S.”, 1959; “THINK”, 1964. + GREY LONDON. Spot “The Sundays Time Icons” 2014. + RYBCZYNSKI, Zbigniew. “Tango”. Poland 1980. + SOKÚROV Aleksandr. “Russian Ark”. 2002. + VAN HUIJSTEE, Pieter: “Jheronimus Bosch, The Garden of Earthly Delights” Interactive Documentary.! + VINE CAMPAIGNS: Airbnb, Samsung, Sony, M&C Saatchi Sydney, Adidas, Disney, Volkswagen, etc.!
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Front-page image: The Garden of Earthly Delights triptych painted by Hieronymus BOSCH, oil on oak panels, 220 cm × 389 cm (87 in × 153 in), Museo del Prado, Madrid.
!“47 per cent of London is green space: Is it time for our capital to become a national park?” Daniel Raven-Ellison, Independent website. September 2014/ “Urban Wildlife: when animals go
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FILMS & DOCUMENTARIES + LONDON WILD TRUST & GIGL research: “Wild
wild in the city”, Adam Vaughan, The Guardian website. March 2008/ Atlas of Novel Tectonics, Reiser + Umemoto, Princeton Arch. Press 2006. iii Iñaki ÁBALOS. Naturaleza y Artificio. El ideal Pintoresco en la Arquitectura y el Paisajismo Contemporáneos, Gustavo Gili, Barcelona, 2009. iv Zygmunt BAUMAN. Liquid Modernity, Polity Press, Cambridge, 2000. Text: “Individual and society in the liquid modernity” by Emma Palese. v Widianto UTOMO. Urban Nomads. A lifestyle transformation from passive to fully mobile integrated being, 2002. vi Notion of Rolling Society/City proposed by Andrés Jaque in the project “Rolling House For The Rolling Society” [www.andresjaque.net]! vii Notion of “Transit” proposed by Widianto Utomo: referred to changes, uncertainties and insecurities, flexibility and mobility, transnational and familiar identities are superimposed on. viii “Plan and Section”, Federico Soriano. In SORIANO, Federico: 100 Hypermínimos. Escritos de Arquitectura Lampreave, Madrid, 2009. ix OMA/AMO 2016 SS Prada Real Fantasies. Project description [www.oma.eu]
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UNIT 3
Aphrodite Stathopoulou and Melanie Wavamunno
{2016 LondonTIME - AA Summer School}
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Unit 3: Brief Tutors: Aphrodite Stathopoulou: staphrod@gmail.com Melanie Wavamunno: mwavamunno@gmail.com Prerequisite: No Prerequisites
Filmscapes : Reflections on London’s East End
fig.1: ‘View between Billingsgate Dock & the Tower of London’, Boitard ,1757
The city can be conceived as an archive of a place’s history. Most importantly, as an accumulation of time and space it can be understood and represented as narrative. Much like literature, film, poetry and any form of storytelling, the city can be perceived not only as a process of development, planning and occupation of space, but also as a dialectic interplay between body and place; a form of communication. While the body navigates physical space, mental processes help construe associations, create and link memories and assumptions in ways that can distort physical constraints such as scale, spatial sequences or adjacencies. Under this scope, cities as ideological reflections can in many ways escape, reinterpret and ultimately affect /design reality. London has been transformed over time into an abstract space, which from the 19th century onwards has served as a site that encompasses diverse forms of urban life; working-class restlessness, modernity, immigration, rationality, unitary interests and top-down development. In particular, London’s East End has been a field where these opposing forces have had a significant imprint to the urban fabric, resulting in temporal and contextual disparities. The East End of London is situated to the east of the Roman and medieval walled City of London - bounded by the Victoria Park to its north, the River Thames to its South and the River Lea to its east. The collective perception of the East End has evolved radically from a stigmatized place of debilitating poverty, disorder and crime, to a celebrated place of mystery, creativity and youthful urbanity. The East End’s varied and distinctive urban fabric is owed largely to its formative history as the 19th Century industrial heart of London, absorbing waves of immigrants and skilled workers. Subsequent slum clearance programmes, targeted bombings of industrial sites during the Second World War and recent urban regeneration plans that include the Canary Warf development and the Olympic Park have shaped the current built landscape of the area. With the East End as our site, the unit will approach the understanding of the city under three given urban topics that will serve as lenses through which students will be asked to reveal their spatial environment: 1. 2. 3.
Mobility: roadways, public transportation, freight rail, bicycle paths, pedestrian routes Open Space Systems: parks, riverfront, plazas, natural systems Development Patterns: street and block morphology, heights, building types, uses
The objective is to develop an enriched reading of the ever-changing city. We will employ on site research, photography, mapping, and collage - all leading up to the studio’s final product: a short (two minute) stop-motion film; a collage in time, which will in itself serve as a mental-archive of London’s East End, focusing on a team-determined subject under the assigned lens. In addition to readings, discussions and multi-disciplinary representation of the urban development of London’s East End, the unit structured as a combined studio/seminar - will inquire into how visual representation and narrative figuration contribute to construct urban identity. Theoretical subjects to be explored in relevant weekly film-screenings and texts include: panoramic vision, collage & urban flânerie, modernity, and montage. Utilizing smart-phone photography and video production software in a post-modern technological society, part of the unit’s dialectic will delve into questions of traditional authorship as a means of interpretation and creativity. Throughout the course of the three weeks, student work will be regularly catalogued, documented and published in a designated blog, encouraging its exposure, interaction and feedback from the wider public.
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Unit 3: Schedule and Structure
fig.2: Architecture-Event & Action: The Manhattan Transcripts’, Tschumi 1976-1981
Instructional Methodology The course is structured as a combined seminar/studio. Students are expected to both develop and exercise technical skills within the studio environment and respective reviews and to articulate, discuss and criticize theoretical concepts; participating in weekly lectures and relevant screenings. Besides on site research and analysis and related readings, theoretical aspects of film will be presented and discussed, which will serve as basis for critical studies, research and studio exercises. Besides internal studio discussions we have arranged a few visiting lectures on film and mapping throught the course. There will be two projects for the unit: First, a collage illustrative of an individually student-chosen theme under an assigned lens, accompanied by a collective studio mapping of students’ trajectories and meeting or interest points in London’s East End, as tracked by a GPS application. Second, a short stop-motion film - a collage in time - which will elaborate further on the topic previously illustrated. Studio Material will be regularly compiled documented and collectively posted on an online platform, encouraging its exposure and communication toward a wider audience.
Week One (04.07.16 - 08.07.16): SITE RESEARCH Theoretical Framework (Readings / Lectures / Discussions): Modern Visual Culture: Panoramic Vision, Collage and Urban Flânerie Introductory Lecture : Urban Development of London’s East End Introductory Lecture : Modern Visual Culture - Panoramic Vision & Collage - We will be having a Collective Unit Site Visit and Analysis - We will be regularly visiting the Computer Lab for Photoshop Instructorship - We will meet daily in Studio for Studio Critiques
Week Two (11.07.16 - 15.07.16): COLLAGE & MAPPING STUDIES *Interim Studio Review: Individual Collage & Collective Studio Mapping (Trajectories & Interest-points) Theoretical Framework (Readings / Lectures / Discussions): Modernity -Student Teams Will conduct Field Work -Photoshop & After-Effects Instructorship -Studio Critiques - Student selection of short-motion film topic under given lens
Week Three (18.07.16 - 22.07.16): STOP-MOTION FILM STUDIES Theoretical Framework (related readings / Lectures / Discussions): Montage -Independent Student Field Work -After-Effects Instructorship -Studio Critiques *Final Studio Review: Stop Motion Film / Archiving of Work / Blog Preview
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Unit 3: Bibliography & Filmography Apart from site-visits, relevant lectures and readings on London’s East End the unit will map out three broader theoretical frameworks/subjects which will serve us underlying theoretical knowledge, as a supplementary context to studio-based exercises. Lectures, readings and screenings will be structured accordingly, to be mapped out in their designated weeks. Complementary to collective studio presence and work, reading and attendance of all lectures and screenings are obligatory. *Summer Movie Nights: Screenings will be taking place biweekly at the AA roof terrace
04.07 PANORAMIC VISION, COLLAGE & URBAN FLANERIE Bibliography: 1. Paul Newland, “The Cultural Construction of London’s East End: Urban Iconography, Modernity and the Spatialisation of Englishness” Introduction and excerpts, 2008 2. Walter Benjamin, “Some motifs on Baudelaire” Illuminations 1968 3. James Corner, “The Agency of Mapping: Speculation, Critique and Invention,”1999 4. Bruno Latour, “Reassembling the Social - An Introduction to Actor-Network Theory”, Oxford University Press, 2005, “Panoramas” p.183-189
Filmography: 1. Lumiere Brothers, “The Arrival of a Train”, 1895
2. Thomas Edison and Edwin Porter, “A Romance of the Rail, 1903 3. Rene Clair, “Paris qui Dort”, 1923 4. Laszlo Moholy-Nagy, “Marseille View Port,” 1929
11.07 MODERNITY Bibliography: 1. Georg Simmel, “The Metropolis and Mental Life” in Rethinking Architecture, 1997 Filmography:
1. Fritz Lang, “Metropolis”, 1926
2. Charles Crighton, “Hue and Cry”, 1947
18.07 MONTAGE Bibliography: 1. Sergei Eisenstein, “A Geography of the Moving Image,”in Montage and Architecture, 1989 2. Dziga Vertov, “Kino-Eye, The writings of Dziga Vertov,” 1984 3. Giuliana Bruno, “Fabrics of Light: On the Surface of Film and Architecture,” 2014 Filmography:
1. Dziga Vertov, “Man with a movie Camera”, 1929 2. David Cronenberg, “Spider”, 2002
fig.3: ‘London from St Paul’s Cathedral’ , Camera obscura, 1845
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Unit 3: Staff - Short Bios Aphrodite Stathopoulou is an architect and urban designer currently working at the Basel based practice, Harry Gugger Studio. She holds a MArch from National Technical University of Athens, Greece and a Master of Architecture in Urban Design with Distinction from Harvard University’s Graduate School of Design. Throughout her studies, she has been awarded the Harvard Grant, the Gerondelis Foundation Scholarship, and the GRE AT 2013 award. Aphrodite has worked on urban, civic and residential projects and has participated in award-winning competitions in Athens, Boston and Basel. As part of Harry Gugger Studio, her work includes urban studies and competitions as project leader. Aphrodite has taught an introductory Urban Design studio at the Harvard Graduate School of Design Career Discovery program. In addition, she has lectured and participated in jury panels in institutions such as the Boston Architectural College and the Rhode Island School of Design. Aphrodite’s work has been featured in several publications & exhibitions in Athens and Boston, including the Harvard GSD Platform publication and exhibition 2013 and 2014. Her academic research, focuses around the themes of cartography and the historic city, emphasizing ideas of collective memory, perception and experience of a place. She frequently experiments with various forms of representation including, mixed media, film and collage. Throughout her work, she has been focusing on the process of systemic thinking, aiming for coherent design narratives that have a wider cognitive or educational impact and she is committed to combining these efforts into her teaching.
As a practicing Part II Architect, Melanie Wavamunno currently works at the London based practice, Adjaye Associates. Melanie has worked on completed projects in Uganda and Lebanon, and has ongoing work in the cities of London, Johannesburg, Los Angeles and Munich. Her projects range in scale and typology from small residences to large public museums. Melanie has an AA certficate and holds Bachelors degrees in Fine Arts and Architecture (BFA and BArch) from Rhode Island School of Design, as well as a Master’s of Architecture in Urban Design from Harvard University’s Graduate School of Design and a certificate from the AA. In 2014, Melanie was one of two students selected for Harvard Art Museum’s Division of Academic and Public Programs’ highly competitive annual graduate internship programme. There, she developed interpretive materials for the 2014 Renzo Piano Harvard Art Museum extension. During her time at RISD, Melanie engaged with her interests in form, material and the representation of space by developing a variety of visual experiments in film, photography and printmaking.These were exhibited in the Granoff Gallery at Brown University and the Bayard Ewing Building at RISD. Melanie was also a teaching assistant under RISD Professor James Barnes and has participated on jury panels at RISD and Harvard University GSD’s Career Discovery. In practice, as in teaching, Melanie enjoys the critical discourse that emerges out of design saturated in culture and difference, in theory and physicality. There are meaningful discoveries and revelations to be made in mistakes, in awkwardness and misalignment, in bodily experience, in appropriation, in mistranslation, in getting lost. The profession of architecture allows us the means to enter other cultures intensely and playfully, but also responsibly.
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UNIT 4
Ana Marti-Baron and Clement Blanchet
LONDON (TEASING) T I M E “The truth can only be seen when you close your eyes to reason and surrender yourself to dreams.” André Breton
Tutors: Ana Marti-Baron Clément Blanchet
2016 AA SUMMER SCHOOL LONDON-TIME
LONDON ( T E A S I N G ) TIME 1/3
BRIEF “The imaginary is what tends to become real.” André Breton Every year, hundreds of thousands of tourists from all over the world descend on the Royal Observatory in Greenwich to pose for a photograph astride the Prime Meridian, the famous line where east meets west and where each day, year, millennium begins. The location of the original Greenwich Meridian was agreed upon at a meeting in Washington DC in 1884, after a vote involving 25 nations. Creating a universally recognized position of 0 degrees longitude allowed accurate global navigation, standardized maps and the creation of time zones. There is just one problem: according to modern GPS systems, the line actually lies more than 100 meters to the east, cutting across a nondescript footpath in Greenwich Park near a litter bin. The unit will expand the Greenwich Meridian into the third and the fourth dimension in order to emerge a new territory to invent, speculate and design new worlds. We will design a fragment of London that goes backwards and forwards through time. We will learn to design for a time-span, not just a single moment. We will reconsider the new territory of the Greenwich Meridian as our primary laboratory for ideas and actions How can a line expand to the third and fourth dimension and become an architectural moment? How to design for a time-span? How to imagine a city as though experienced along its continuum? How to keep the form and the culture of the city in this new fragment of London? How does this neo Decumanus engage with the existing city? We will propose the sets for a new Game: a game engaging the past and the future. The reasons or criteria’s to invent this new piece of London should be constructed based on different themes, either could they be subjective and objective. We will define our own context with absolute conceptual innocence. As Piranesi did in his plan of Rome in 1761, we will span and overlap our new world as the product of a free run of imagination. In order to explore all the possibilities of this new fragment of London we will use the Surrealist technique of the Exquisite Corpse. The Exquisite Corpse (from the French original term Cadavre Exquis) is a game invent by the Surrealists in 1925 to free the mind by which a collection of words or images is collectively assembled. Each collaborator adds to a composition in sequence, by following a rule and by being allowed to see only the end of what the previous persons contributed. According to André Breton, one of the major figures of the Surrealism group, it started as a fun activity: “Although, for defense reasons, sometimes this activity was called by us ‘experimental’, we wanted it above all entertainment. What we were able to discover rewarding to in respect of knowledge, just came later.” AA SUMMER SCHOOL 2016 LONDON-TIME
LONDON ( T E A S I N G ) TIME 2/3
OUT PUT Students will work as a group to achieve consistency across the work. Graphic styles and techniques in all the research and design phases will be carefully set out by the group in order to achieve this. Digital tools will be introduced but the focus will be on working with hand made techniques as big drawings, collages, and model making. The construction of a big scale artifact of the new Greenwich Meridian territory will be the masterpiece of the unit. This artifact will be a three-dimensional art attempt to represent a timeless fragment of the city of London. It will have to represent the instable past, present and future of London. This piece will act as manifesto. Each student could carry home its masterpieces of the cadavre-exquis.)
SCHEDULE Students will work individually, in pairs and as a group. The unit will envision architecture as a way of thinking. We will investigate mechanism of participation, action and discussion as major tools to generate spatial and urban processes. The methodology will be a constant critical point of view: a continuous debate and discussion where nothing is granted. Exploration will be part of the process. Discussion and exchange about the work in progress will be an important part of the daily overall structure of the unit. Every week an external visitor will come to the studio and share his or her expertise according to the common issues. We wish to invite Madelon Vriesendorp and other special guests to share our visions and discoveries about our new Greenwich Meridian territory. WEEK 1 “The truth can only be seen when…
Introductions and Presentations / One day visit along the London Greenwich Meridian site / Everyday will start with a group discussion about the work in progress / London’s historical research / Each pair of students will explore a specific time frame of London and how its form and culture could be translated / Define the Greenwich Meridian new territory and its context. Document 1: Students will work in pairs. Every pair will produce a big scale collage with its layer information. The unit will produce a common informed “Musée Imaginaire” containing the illustrated statements and promises that will define the new Greenwich Meridian territory.
WEEK 2 … you close your eyes to reason and …
Urban and architectural research / Discuss and explore the form and the culture of this new territory / Define the rules of this new territory / Design and invent new worlds. Document 2: Students will work individually. Each student will produce a big scale drawing to be inserted in the Greenwich Meridian new territory. Each student will also produce a booklet containing all the research and the outcome documents including plans, diagrams, sketches, texts, collages, models, etc.
WEEK 3 … surrender yourself to dreams.”
Define the character and the substance of the artifact to be produced / Define all the techniques and graphic styles / Design the artifact / Define and organize the work to achieve / Construct the artifact as a tridimensional experiment compiling a before, a now and an after. Document 3: Students will work as a group. The group will produce a big scale artifact containing the research and projects of the last two weeks.
AA SUMMER SCHOOL 2016 LONDON-TIME
LONDON ( T E A S I N G ) TIME 3/3
BIBLIOGRAPHY Flatland: A romance of many dimensions, Edwin A. Abbot. Ed: Princeton Science library / Invisible Cities, Italo Calvino. Ed: Vintage Classics / The City in the city, Oswald Mathias Ungers. Ed: Lars Muller Publishers / London Exodus S M L XL, OMA. Ed: The Monacelli Press / Morphologie City Metaphors, O.M. Ungers. Ed. Verlag der Buchhandlung / The city seen as a garden, Peter Cook. Ed: The Monacelli Press.
TUTORS Clément Blanchet Clément Blanchet is a French architect, teacher and critic, actively practicing in the fields of architectural theory, urbanism, and cultural investigations. Clément Blanchet is an ex -Associate of the Office for Metropolitan Architecture, where he joined in 2004. In 2011, Blanchet was appointed Director of OMA France. During his 10 years collaborating with Rem Koolhaas, he has contributed to the development of OMA in France and led several winning project for the firm, including the construction of Serpentine Gallery in London, the design and construction of Caen Library (Completion 2016) in France, the design and development of winning entries like the Convention and exhibition Centre in Toulouse, the Engineering school of Centrale, master plans in Saclay and in Bordeaux, and lately the bridge JJ Bosc over the Garonne in Bordeaux. In May 2014, CLEMENT BLANCHET ARCHITECTURE is founded in Paris. The practice is structured as a laboratory, researching, informing and generating architecture / urbanism in all its forms. From a selection of projects, cBA is currently developing competitions for the redesign of the Ferry Boat Terminal in Toronto, major office headquarters in Toulouse and is designing a high rise in Nice, as well as continuing the finalization of Caen library in collaboration with OMA. He graduated with high honors from the Architectural school of Versailles and has been an invited critic to Architectural schools in France, England, Holland, Denmark & Sweden. He currently teaches at Paris Val de Seine Architectural School and the University of Michigan.
Ana Marti-Baron Ana Marti-Baron is a Spanish architect and landscape architect actively practicing in the fields of landscape, urbanism and public space. She studied in the Ecole Nationale du Paysage de Versailles-Paris ENSP and graduated with honors in Urbanism and Architecture from the Architectural School ETSAB in Barcelona in 2003. She worked in the Urban Projects Department of the Barcelona City Council before joining the office of MDP Michel Desvigne Paysagiste from 2003 to 2015. Since 2004, she was in charge of some major projects of the office at very different scales like the Burgos Master plan with Herzog & de Meuron, the Master plan for all the public spaces of the city center of Toulouse, the urban renewal for the redevelopment of a 37 hectares industrial site or a 45 hectares park on the right bank in Bordeaux among others. In 2016, Ana opens her own practice. Based in Paris, the practice is structured as a laboratory for urbanism, landscape and public spaces in all its forms, scales and contexts. She is currently working on projects in France, England and Romania like the development of the Master plan for a new mixed-use district in the industrial site of Fives Cail in Lille, including the design of all public spaces. Ana has taught at the AA Architectural Association in London during the 2014 AA Summer School where she was teaching Unit 3 with Clement Blanchet. She has also taught at the Ecole Nationale Supérieure Paris Val de Seine in 2015 as an invited teacher. She has also been an invited critic at the Ecole Spéciale d’Architecture of Paris and at the Ecole Nationale Supérieure de la nature et du paysage de Blois (France).
AA SUMMER SCHOOL 2016 LONDON-TIME
UNIT 5
Sabrina Morreale and Valerio Massaro
2 SECONDS CITY Valerio Massaro and Sabrina Morreale LONDON THROUGH IMAGES A city can be portrayed through maps, drawings, and photographs. From the invention of the print press, technology influenced the reproducibility and dissemination of images; hence, also the way information is gathered and understood. The way, in which streets, buildings, monuments, and infrastructures have been drawn, deploy new ways of understanding what is around us. Although, the transformation of a city is not defined in its images but in the time span between moments. Any representation of a city betrays its mutating condition. The contemporary condition is that it is possible to create a pret-a-porter city image every minute of our life. COMPRESSING TIME AND SPACE The world we live in is a fragmented reality. We live today in an era where we constantly sample, curate, squeeze, and assemble fragments of time and urban space through Facebook, Twitter, Snapchat. In the era of internet, Google maps, and Gis softwares, the city becomes scale-less and content-less. You decide where to position yourself in the city, at what scale you want to experiment and from what point of view you want to approach things around you. You define your own content. The image of the city is created through our own perception and narrative. The city becomes a self-portrait of ourselves. What is today the time span of a city? What its image and its identity? CREATING MOMENTS Our mission is to redefine the image of the city embracing the shortest and possible media able to convey transformation. Our aim is not to produce an image of London, yet to produce the image of a London’s moment using gif and animations no longer than two seconds. We want to embrace the reduced timeframe of the gif, the tweet, the online post. We believe that this conceptual relationship between time and space can be pushed enlarge or shorten time. The interactions between two or more moments can create a new city of London. Which are the spatial changes displayed in the time span of a selfie or a two seconds gif? Can you design a moment?
A NEW gifMANIFESTO Gif is a new language The graphics substitute words, creating a visual alphabet Gif is the media of action They are movement; which is the visual representation of change. Gif is a visual characters The ideograms of the contemporary constantly expanding universe of Internet communication. The gifs are emotional upgrades of obsolete way of communication such as the written words. Gif works through repetition The loop creates new meaning through repetition. Reiteration a narrative device. Gif is a moment The compressed time frame of a gif is the most direct way of conveying change, Transformation, evolution. The image is the mean. The gif is the mean of change and movement. It is a memory of an irrepetible moment. Gif has no authorship They are fragments, stolen pieces of media. They are fragments of reality, films and imaginations. Gif is a concept Every gif convey one specific idea. Every idea is unique, yet endlessly shareable. Gif is a project Gifs are stolen. Gifs are quotation, reinterpretations, fragments of reality and other media. The expanding universe of Internet communication is our worldwide knowledge. Gif is viral Gifs have to potential to expand their audience. They can spread ideologies. They are a project. Gif is perception Gifs are the forthcoming language that does not need translation. Pure flow of visual consciousness.
SCHEDULE 4th July- 8th July RECORD The frst week serves as a data collection from all types of online platform. The students are invited to choose moments and fragments which they they can relate to the city of London and to the idea of time. The research will take place through different tools: mapping trajectories, taking pictures or recording videos. Each student will build its own argument choosing only one element. What is your momentum? What is your time span? 11th July- 15th July CONNECT The second week is the moment of weave the pieces within each other. The students are invited to exchange moments and to find a thread throughout them. A new map will be created with the new data accumulated. Where do you place your moment within this new city? How do you deal yourself, as a architect within this continuum? 18th July- 22nd July CREATE The third week is when the students will put forward a proposal using the media and instruments used to investigate the city. Whereas a speculation or an actual proposal, the aim is to create a collective knowledge of a city which is changing every day, every hour. The final output will be twofold. On one hand we have the ambition to produce a collective image of a London’s Moment. The Class will be asked to produce a collective document able to describe a specific moment of their London experience. On the other hand, smaller group of students will produce spatial proposals that should be argued and described through their ability to create new moments in the city. Therefore, those proposals should be described and displayed with coherent media: GIFS, Status, Social Media profiles etc.
Valerio Massaro Architect. 2016 MPhil Candidate Projective Cites, AA School of Architecture. His current research revolves around housing in London; how embracing neo-liberal ethos can allow a different form of ownership; and rethinking of services provision and infrastructures. He holds a Professional Degree with honors from DIDA (Dipartimento di Architettura), University of Florence, Italy. In the university of Florence, he collaborated as tutor in urban design and landscape courses and in computer aided design. He worked as architect and 3d modeler in different practices in Italy and the U.K. and founded and supervised as art director the webzine NIPmagazine.it from 2010 and 2015. Sabrina Morreale AADip graduate 2016. Her projects have always been related to the idea of fragmentation, using different media, enhancing the process of how things are made and assembled together. She worked in several offices as architectural assistant in London and she is still collaborating with the Oxford Press as illustrator. She is currently working on the construction of a hand-crafted pinball machine. Bibliography http://www.eamesoffice.com/the-work/powers-of-ten/ http://www.timeanddate.com/time/time-zones-history.html https://www.khanacademy.org/humanities/global-culture/conceptual-performance/a/vito-acconci-following-piece https://www.instagram.com/?hl=en https://www.tumblr.com/ https://www.snapchat.com/l/it-it/ https://twitter.com/?lang=en-gb https://www.facebook.com/ http://barbaslopes.com/np4/31/%7B$clientServletPath%7D/?newsId=139&fileName=COLLAGE.pdf http://giphy.com/search/giffy https://www.youtube.com/watch?v=WDpKzaKcmYA
Encyclopedia Mapping the activity or process of creating a picture or diagram that represents something
Fragments a small piece or a part.
Linking a connection between documents Digital on the internet showing information in the
form of an electronic image
Happening Events and occurrences
Bridging
Time the part of existence that is measured in minutes, days, years, etc., or this process considered as a whole
Analogue make a change from one situation Recording sounds and images something that makes it easier to to another
Gif
Lapse a period of time passing between two things happening
Graphic Interchange Format: a type of computer file that is often
Past in or to a position that is further than a particular point
used for images on the internet
Interaction Ideology Ideas, concepts and theories an occasion to communicate with
Future a period of time that is to come
or react to each other
Span the period of time that sometimes exists or happens
Real things as they really are, not as they exist in the imagination, in a story, on the internet, etc Compression Squeezing and grinding
City Geographical places
Unit a standard measure Alteration a change, usually a slight change, in the appearance, character, or structure of something
UNIT 6
Onur Ozkaya and Vikrant Tike
Summer School 2016
MEMORY DEVICES
Onur Ozkaya & Vikrant Tike
MEMORY DEVICES We at one glance can perceive three glasses on a table, Funes, all the leaves and tendrils that make up the grapevine. He knew by heart the forms of the clouds at dawn on the 30th April 1882, and could compare them in his memory with the mottled streaks of a Spanish book he had seen only once and with the outlines of the foam raised by an oar on the Rio Negro the night before the Quebracho upsring. These memories were not simple ones; each visual image was linked to a muscular sensation, thermal sensations and so on. Jorge Luis Borges _Fictions
TO REMEMBER AND TO FORGET In Fumes the Memorious, Luis Borges narrates the fictional story of a man who remembers too much, a man who could spend an entire day on re-constructing his past memories, or a dream from last night or all other numbers, languages or objects he has come across until his entire world is one of intolerably uncountable details, an infinite mental catalogue of all the images of his memory. Despite his irrefutable memory Borges summaries at the end that it was difficult for Fumes to think since “ to think is to forget a difference, to generalize, to abstract. In the overly replete world of Funes, there was nothing but details.� The reconstruction of our memories defines time for an individual. But it isn’t only what we remember, it is also what we choose to forget that constructs the mental structures of the places we have been, the people we have met , what we have felt or seen or heard , creating the ever changing stream of the memories we live with. Similarly with the passing of time, as memories of events fade, buildings and spaces and even cities often maintain meaning that no longer represent their current use or value, limiting our imaginations to their possibilities of change. Through fabricating a memory can we empower communities to counter present dominant narratives? And perhaps to reimagine a future that better understands what we would like to take forward and what traces we would like to remember of the past.
THE BRIEF Taking London as the catalyst for reconstructing either personal or collective memories , the unit will create 1:1 scale devices that will challenge the essence of time and its transcendental nature within our minds as well as the surrounding built environment. Exploring the ephemeral relationship between memory and place as philosopher Edward Casy puts it “at once intimate and profound”, we will unite narratives, places and objects to create superfluous devices that have multiple meanings idiosyncratically linking the collective and the individual. Unlike a public clock , as the horologist Douglass H Shaffer says “is a fixed, monumental, functioning as an iconic time device”, our structures will oscillate between the personal and the public creating a nomadic and fluid space-time continuum, constantly shifting like our cities and our memories of them.
METHODOLOGY AND SCHEDULE
WEEK 3 // DEVICES Week Three will comprise of constructing a 1:1 physical installation of the ‘memory device’ that will be located within the chosen site/s and then using it as a catalyst to generate new or shift historical memories of the city. The devices will be modular and portable with easy assembly and fabrication methods. The play of these devices with its context will be documented to form a new body of re-constructed narratives and space- time memories that will presented at the final AA Jury. Learning Outcomes 1. Urban Studies: Mapping and translating the functioning of the City. 2. Documentation: Materializing research and conceptual development in different formats. 3. Digital: Learning about contemporary digital design tools. 4. Team Work: The collective imagination of the unit will determine its work. 5. DIY Attitude: How to use limitations of space, scale, and time as a creative opportunity. 6. Prototyping: How to adapt both sophisticated and primitive design techniques.
writing analysing
The second exercise will be expanding on these experiential narratives into objective artefacts. Using a combination of the AA wood workshop as well as the digital prototyping lab, we will test several small scaled sketch models of our devices.
collaging
WEEK 2 //ARTEFACTS
prototyping
By mapping the traces of the trails through a combination of photo, video, sound and found objects students will fabricate individual narratives that form a ‘synthesised memory’ associated with their recent experiences of London.
making
Week 1 begin by taking memory trails along the East London and Regents Canal observing the fragments, trajectories and moments that form the spatial and mental layers of this urban environment.
walking
WEEK 1 // TRACES
TEAM ONUR OZKAYA is a practicing industrial designer and a lecturer at Cambridge School of Art and Chelsea College of Art in London. He started experimenting with furniture and industrial design as an architecture student at Architectural Association, London. His research and practice have been focusing on geometry, composite materials and complex manufacturing techniques to explore contemporary design solutions in the field of architecture and design. He completed his graduate degree at the Architectural Association and worked for Foster and Partners between 2007-2009. His recent furniture projects received several design awards in Tokyo (Tokyo Designers week 2014) and Italy (A’design Awards 2013-14). Based in London, he has been working across a wide range of disciplines, developing many consumer products from furniture to various design commissions. VIKRANT TIKE completed his architectural education at the London Metropolitan and the AA School of Architecture after having studied fashion and sound engineering . Working for international architectural practices like Foster and Partners, Vikrant gained design experience on international large scale high rise towers and masterplan projects in Australia, Malaysia and Morocco. He was Unit1 Master for at the Chelsea School of Arts in 201314 and has taught at the AA Summer School, Vertical Design Studio at the Welsh School of Architecture as well as at the BSSA school in Mumbai. He also tutored at the Vernal fabrication workshop held at Biligi University in Istanbul in 2013. With a keen interest in combining high quality hand craftsmanship with contemporary digital design and fabrication techniques, Vikrant co-founded SAV in 2011 and currently drives the digital modeling and fabrication research within his studio.( http://www.studioamitavikrant.com )
TALKS AND WORKSHOPS A series of weekly cross disciplinary talks and workshops will be held throughout the program.
REFERENCES // John Hedjuk, Collapse of Time // Conrad Shawcross, Chord // Emma McNally1, Graphite Drawing of London // Georges Perec, Species of Spaces and Other Pieces
UNIT 7
Alvaro Velasco Perez and Javier Anton
THE (NEW)MONUMENT PATCHWORKING ENTROPIES
AA SUMMER SCHOOL 2016
“On rising to my feet, and peering across the green glow of the Desert, I perceived that the monument against which I had slept was but one of thousands. Before me stretched long parallel avenues, clear to the far horizon of similar broad, low pillars.” John Taine(Eric Temple Bell), The Time Stream
London’s time continuum is now and Pudding Lane. There, erected as memorial of the Great Fire that devastated the City in 1666, stands The Monument. The trauma generated by the episode placed the monument in a state of exception as memorial; commemoration here seeks for oblivion more than for keeping in mind. However, as capitalized version of all the others, the Monument puts into question the categories of history associated to such reminders. As blank Trajan’s column, it doesn’t engrave the event but portrays the tabula rasa it produced; it doesn’t celebrate history but its suspension. How does The Monument operate in a city that wants to replace Rome as The Eternal City? The Monument became a turning point in the logic of classic monuments. Although delivered some three hundred years before the due date, it can be considered a premature natality of what Robert Smithson called the ‘new monuments’, which “instead of causing us to remember the past(...), [they] seem to cause us to forget the future.”(Entropy and the New Monuments) It is with that condition of standstill in the time continuum that The Monument synthesises many of the fictional readings of London, a city trapped between its representation as New Babylon(the city of collapse) and New Jerusalem(the city of perfection). The ashes with which the cinerary urn crowns the column operate as symbol of both the Phoenix’s redemption and the eternal Fire.
As opposed to a reading of history as a continuum moving towards progress, Patchworking Entropies sees it moving towards its collapse. Contemporary metropolis is praised as cacophonous conglomeration of different voices. Many times analysed as a physical overlap of different layers in which the continuum of time is printed over the years, the city seems to develop only towards improvement through time. Our understanding of the city, and particularly of London, goes beyond the physical one. In parallel to the physical presence of the built London there is a fictional one. The latter product of the readings and translations of the former. Film, literature and music configure an unreal city that architects can take advantage from for our role of producers of new readings of the city. Was Dickens’ Bleak House(1853) more influential in the configuration of London than Sidney Smirke’s Carlton Club(1854)? Kubrick’s London in A Clockwork Orange or Thamesmead South estate where it was shot? For us, the continuum in the city is present in the layers of fiction that its literature, film and music generate.
THE (NEW)MONUMENT PATCHWORKING ENTROPIES
Our aim in Patchworking Entropies is to approach London through these lenses. We will explore the entropic fictions by watching films, reading books and listen to music that have represented the city. Then, we will translate them into spatial reproductions and experiment with the architectural strategy of patchworking to generate a collective model of the unit. That model will constitute and challenge the understanding of London as a continuum in space and time.
It is in the edge of that duality that different authors have read the city. William Blake walked its streets seeing the condemned metropolis with its “marks of weakness, marks of woe.” However, along the lines of his London(1793), the gaze of the poet brings Cain’s mark —the symbol God put into Adam’s son as curse for the murder of his brother(“A restless wanderer you will be on earth(...)so that no one coming across him would kill him.” Gn 4:12-15)—, a sign of woe and the promise of protection. Later, T.S. Eliot would be the one continuing the peripatetic approach, crossing a London Bridge that continuously seemed to be falling, reading London as The Waste Land(1922), the modern city that yields no fruit. Opposed to the vertical erection of The Monument and its succeeding monuments(gherkins, shards or cheese-graters), Eliot’s journey is downwards in a re-enactment of Dante’s Inferno, hoping that at its bottom he will find the shantih(“the Peace which passeth understanding”) with which he closes the poem. It was the closing lights of the day over “the biggest, and the greatest, town on earth” that triggered Marlow’s memories of the Heart of Darkness(1899), opening the book describing London with his “and this also(...)has been one of the dark places of the earth.” John Hejduk erected the Collapse of Time (1986) in Bedford Square as a counter-Monument that joined the time of memory and the time of coffin-making. It is that readings of London as a monument “not built for the ages, but rather against the ages”(Smithson), the London of “no future”(Sex Pistols), which is our concern: a search for an entropic London. Our interest is in arguing the existence of another London, one that is not on its streets but in the (mal-)fictions they have generated(in literature, cinema, music and architecture). Not a physical London but an unreal one.
“...the city must never be confused with the words that describe it. And yet between the one and the other there is a connection.” Italo Calvino, Invisible Cities
However, our version would be in ‘destructivist’ style as the second phase will consist in the production of a (fake)documentary of the day of the (New) Great Fire. This phase will focus on the staging of the coming its end. Its stage will consists of an architectural project of destruction. Through mixed-media we will question the relations between the actual event, its reproduction as fictional documentary and its broadcasting in virtual version. All of it in a com-memorative celebration of a no-future to be broadcasted on the 2nd of September, anniversary of the ignition of the Great Fire.
Mudlurking in the river Thames will be our material source. As opposed to the new beginning set by fire, the stream flow of Father Thames produces a different continuum in the history of the city. For years used as dumping yard of London, the low tide is an opportunity for debris-hunting. For us, the idea of ‘debris’ challenges the continuum of time: drowned, its past is forgotten; dis-functional, its present is on hold. We will appropriate and modify them to represent the future. Out of the debris of London we will re-produce its entropic visions. In our mind there are reference to Schwitters’ Merzbau column or Baader’s Great Plasto-Dio-Dada-Drama, totemic constructions and burning catafalques...
The first one will address the representation of London in 2366. For it, we will engage with the readings(books, films, music and architecture) of London as entropic city. The output of this phase will develop The (New) Monument—a collective model of the City elaborated by the studio in conjunction. The proposal will consist of the patchwork of the entropic visions of the city. The main aim of the workshop is for the students to understand ‘patchworking’ as architectural strategy. Similar to collage and layering in the superposition of mismatched elements, patchworking as a technique will move beyond. On the one hand, it will emphasise the (re)production of fragments—from the literary, cinematic, etc sources— more than the as-found connotation of collage. On the other, in the patchwork the stitches become as relevant as the patches as spaces in which to operate for generating the quilt as a whole. The patchwork in our brief will become both the (re)production of the narratives into spaces and the stitching of overlapping points in them. Exploring texts such as The Waste Land and The Portrait of Dorian Gray, films as V for Vendetta or Children of Man, we will reproduce their spatial construction. Therefore, the unit will develop an architecture of translation—representation instead of design—of the fictional depictions.
Patchworking Entropies studio takes place in the year 2366. Using 2016 —350 anniversary of the Great Fire— as mirror of 1666 in which to project London in its future state, we will design a city in an imminent state of ignition—a (new) Great Fire, possibly the final one, is about to arrive. The studio will be developed in two phases:
1. Kurt Schwitters. Merzbau Column. 1933. 2. Father Thames Introducing his Offspring to the Fair City of London. 3. Johannes Baader. Great Plasto-Dio-Dada-Drama. 1920. 4. A totem pole from Xaayna, BC, held by a Liverpool museum. 5. Burning Man festival. 2014. 6. Falla in Valencia. 1959. 7. Patchwork quilt.
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Alvaro Velasco is currently completing his PhD at the Architectural Association, London, where previously he studied a MA in History and Critical Thinking in Architecture. He is an architect trained in the Univesity of Navarra, Spain and he has worked for practices in Spain, New York and London. Alvaro has taught and collaborated with the design departments of the AA and the University of Navarra.
He has received several fellowships and grants, awarded on design competitions and has presented his research on several International Conferences. He has also taught for five years at the School of Architecture of the University of Navarra, where he was recently appointed as program coordinator of the new Degree in Design that will start this coming fall.
Javier Anton was trained as an architect at the Universiy of Navarra, where he received his PhD on History and Theory of Architecture (2016). He graduated from the “M.S. in Critical, Curatorial and Conceptual Practices in Architecture” (CCCP) at GSAPP, Columbia University (2014), where he was previously Visiting Scholar in 2008. During his Masters at Columbia he was appointed the research and teaching assistant of Mark Wigley, Dean of the School. He organized and directed the “CCCP Venice Observatory research lab” during the 2014 Venice Biennale.
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Day of the (New) Great Fire
Day of the (New) Great Fire
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Hope and Glory (1987)
Lecture: Entropic Visions
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PRESENTATION
WELCOME
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Seminar on Visual Effects
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INTERIM REVIEW
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Evening @ John Soane’s Museum
Keiller’s London (1994)
London under destruction
Lecture:
INTRODUCTION (Phase 1)
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*FORMAT
Children of Men (2006)
INTRODUCTION (Phase 2)
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The Portrait of Dorian Grey (1945)
Seminar on Readings/Films
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week 3
Lessons of Darkness (1992)
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week 2
SUMMER SCHOOL PARTY
FINAL REVIEW
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Lecture: Staging the Fire
The Sacrifice (1986)
Double Negative Studio [Visual Effects]
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Crystal Palace on Fire V for Vendetta (2005) (1936) @ British Film Institute Fires Were Started (1943)
Seminar on Readings/Films
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Patchwork of the (New) Monument
Patchwork of the (New) Monument
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Mudlarking
The Museum of London
The Monument
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1. Blake, William. London in Songs of Innocence and of Experience. 1794. 2. Blake, William. Jerusalem the Emanation of the Giant Albion. 1804. 3. Blake, William. Jerusalem in Milton. 1804. 4. Eliot, T.S. The Waste Land. 1922. 5. Chesterton, G. K. The Man Who was Thursday. 1908. 6. Conrad, Joseph. Heart of Darkness. 1899. 7. Morris, William. News From Nowhere. 1890. 8. Orwell, George. Nineteen Eighty Four. 1949. 9. Ruskin, J. Letters to the Clergy on the Lord’s Prayer and the Church. 1880. 10. Sharpe, William Chapman. Unreal Cities. 1991. 11. Smithson, Robert. Entropy and the New Monuments. 1966. 12. Smithson, Robert. A Tour of the Monuments of Passaic. 1967. 13. Smithson, Robert. The Domain of the Great Bear. 1966. 14. Wilde, Oscar. The Portrait of Dorian Gray. 1890. 15. Wordsworth, William. The Prelude. 1798.
Literature
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Film 16. V for Vendetta. James McTeigue. 2005. 17. The Picture of Dorian Gray. Albert Lewin. 1945. 18. Children of Men. Alfonso Cuarón 2006. 19. Live on Boat Trip Queens Jubilee. Sex Pistols. 1977. 20. Fires Were Started. Humphrey Jennings. 1943. 21.Study for an End of the World no2. Jean Tinguely. 1962. 22. Fire in the Crystal Palace. BUFVC. 1936. 23. Nineteen eighty-four. Michael Radford. 1984. 24. Hope and Glory. John Boorman. 1987. 25. Sweeney Todd: The Demon Barber of Fleet Street. Tim Burton. 2007. 26. wonder.land. musical by Damon Albarn. 2015-.
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27. Bernard Tschumi, Joyce’s Garden. 1976. 28. Constant Nieuwenhuys. New Babylon. 1959-74 . 29. Kurt Schwitters. Merzbau Column. 1933. 30. Johannes Baader. Great Plasto-Dio-Dada-Drama. 1920. 31. FAT Architecture and CAHistorians A Clockwork Jerusalem. 2014. 32. A+P Smithson. Golden Lane Estate. 1952.
Projects
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LONDON TIME UNIT SELECTION FORM
Please write YOUR NAME in block letters below
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We try to ensure that all students are placed into their first choice units, but in some rare cases this might not be possible, so please also include a second choice unit. Write the NUMBER of your two first choice units below
1ST CHOICES
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Write the NUMBER of your second choice unit below
2ND CHOICE
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