DUNDEE YEAR 4 COURSEBOOK 2021_22 by andrewstoane

E C P I U C E C P I U C E C P I U C

Q U A L I T L I M A T O L O G A L E O E C O L O G N C L U S I V I T N I V E R S A L I T I T Y - C E N T R I C I T

Y Y Y Y Y Y

ther ise

Y Y Y Y Y Y Y Y Y Y Y Y

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Q U A L I T L I M A T O L O G A L E O E C O L O G N C L U S I V I T N I V E R S A L I T I T Y - C E N T R I C I T DJCAD Architecture Year 4 2021/22 Coursebook Q U A L I T L I M A T O L O G A L E O E C O L O G N C L U S I V I T N I V E R S A L I T I T Y - C E N T R I C I T

L L L D G A O

O N D O E I T H # E I T H # U N D E R A N T O N Y W H E R T H E R W I S

N 1 2 E N E E

DJCAD Architecture Year 4 2021/22 Coursebook

“THERE ARE MALIGNANT WINDS BLOWING ON THIS BLUE PLANET. . . . A SEEMINGLY INEXORABLE MARCH TOWARDS OUR ONLY HOME, EARTH, BECOMING UNIHABITABLE.” Manuel Castells 2

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Contents

Welcome

The Ambition

The Fields [Physical and Theoretical]

Mini-essay “The Urban” Politics, Theory, Design A Very Brief Overview Andy Stoane 10 The Year Structure Module Infographic 16 Module Summaries 18 The Studios Studio Leaders and Subject Leaders 26 Studio Descriptors 28 Choice Proformas 40 The Lectures 42 The Journal 46 The Exhibitions Reading

Module Guides 54 Full Timetables

Semester 2 Issue, January 2022

“ . . . the starting point of design is the proposition that things could be otherwise.”1

Harvard Professor of Urban Theory, Neil Brenner’s statement, made in the journal Fulcrum #65, effectively outlines the basis for a “critical” design. To design a better future, inherently, we must scrutinise and critique the present. In the same text, Brenner goes on to discuss the importance of space in this axiom, through citing urban sociologist Henri Lefebvre’s recognition that “unless you transform spatial organization, no revolution can ever be possible.” 2 Whether revolutionary or reformist, the organisation of the built environment can clearly have a major role to play in imagining and articulating an alternate world. Year 4 both celebrates and questions the role of our urban environment in society, and ultimately in contributing to various forms of social change. As Lefebvre said: “…new social relationships call for a new space, and viceversa.”3 Yet the place of architecture in mechanisms for social change has long been neglected. In his book The Efficacy of Architecture, Tahl Kaminer observes that the discipline has for decades “marinated in formal and phenomenological explorations . . . while the social and political project of the modernist avant-garde [has] receded from view.”4 Through engaging theoretical discourse and researching the problems of diverse and varied urban situations, year 4 will seek to imagine a reclamation of efficacy, understanding architecture and the built environment as spaces for social relations, and the act of designing within these spaces as always holding potential for social change. Your work will be contained within the thematic boundaries of one of six discrete urban studios, and your year’s work will set you on a path of critical thinking which we hope will crystallise into a robust individual thesis in year 5. Over the year, you will look intently at an urban environment, considering its spaces and built forms not in isolation, but as a multiplicity that, along with political, economic and ecological issues, constitutes the totality of a social field. You will scrutinise these fields, understanding how they operate and how they are organised. You will expose and confront paradoxes, prejudices, inequalities and other issues that lie within them, asking important societal questions that can become hypothesised, tested, and eventually instantiated as new detailed spatial propositions. Through specially devised lecture courses, you will develop an understanding of socio-spatial and socio-tectonic theory and practice, environmental theory and design, and the regulatory and legislative landscape within which architecture of the city must operate. You will discover how critical questions in these areas can be formative in design, helping you construct project narratives, articulate design arguments and meaningfully situate your projects in a future we do not yet know. Finally, in architecture schools, the question of “real-worldliness” often rears its head in various ways. As a student of architecture, you are in a real world – your world is one of imagination, of pushing boundaries of knowledge, of contributing to intellectual discourse. You are now in a position to make a difference. To find an Otherwise. Perhaps there is a moral imperative to think Otherwise in an age where the all too familiar social injustices, economic distortions and environmental damages afflicting our planet are now joined by global pandemics. Year 4 is trying to equip you with the tools to face the need for radical future change. My hope is that you will not fiddle while Rome burns. Again, in the words of Brenner: “Young architects need to realise that this is a profession that has long contained untapped potential to promote radical forms of social change. Surely architects and designers can and must contribute to envisioning a very different form of the built environment, at every spatial scale, based on social needs, democratic empowerment and social justice rather than the unfettered rule of the commodity form.”5 Welcome to Part 2. I wish you an exciting and fruitful journey. Andy Stoane, Year Leader 1 2 3 4 5

Neil Brenner, “Designing out of the Crisis”, Fulcrum Issue 65, 2013: Neoliberalisation, London, Bedford Press (2013). Henri Lefebvre, The Production of Space, (Oxford, Blackwell, 1991), 59. Brenner, “Designing out of the Crisis”. Tahl Kaminer, The Efficacy of Architecture: Political Contestation and Agency, (Abingdon, Routledge, 2017), 19. Brenner, “Designing out of the Crisis”.

“. . . THE STARTING POINT OF DESIGN IS THE PROPOSITION THAT THINGS COULD BE OTHERWISE.” 5

The course will support you in developing and articulating your positions through research - through literary investigation; through drawing; and through developing artefacts, models and images. It will do this with an end-game of building an intellectual armature that will hold all your propositional thinking over the year. It is important to understand that this armature will not be composed simply of precedent or type, but of a robust body of assembled research through which you will navigate, steering you toward the discovery of an original architecture. The course aims to pull apart, analyse, re-assemble or assimilate established ideas, buildings, systems, forms and processes, all of which will form part of your intellectual canon. We aim to find the unprecedented and the atypical. You will be expected to engage with various methods of investigation and representation, devised to assist you in thinking about your operational fields. Studio tutorials will help you unravel complexities, iterate through scales, and continually refine design work. The Humanities module will deliver an artefact-focussed way of working as well as supporting you in articulating your position textually with robust scholarly research. Six lecture courses will help you stitch together technical, spatial and environmental ideas with societal ideas. Together, these components will allow you to synthesise intellectually rigorous and technically sophisticated projects. The pan-studio course will be structured around six symbiotic components: 1.

Empirical and theoretical research and analysis on urban fields.

A series of artefacts, drawing and text based investigations which inform design.

A critically positioned design project completed in three inter-related parts across three scales of thinking: a. A strategic urban-scale proposition. b. An architectural scale portion of the urban-scale proposition. c. A detailed tectonic elaboration of the architectural project.

A series of artefacts, physical models and drawings which support your research and represent your ambitions.

Six lecture courses, devised to support your textual and studio-based activities.

The design, curation and production of an illustrated two-volume journal within which you will clearly demonstrate how your research yields an urban hypothesis, which itself is tested through design. The journal will serve as a summary, reflection on, and presentation of your whole year’s work.

Kenzo Tange and his plan for Tokyo Bay, 1960

‘CHANGE LIFE!’ ‘CHANGE SOCIETY!’ THESE PRECEPTS MEAN NOTHING WITHOUT THE PRODUCTION OF AN APPROPRIATE SPACE. . . . TO CHANGE LIFE, . . . WE MUST FIRST CHANGE SPACE. Henri Lefebvre.

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While Year 4’s physical operational territories can be defined as urban “fields,” the year will begin by building an understanding of the ideas of important urban thinkers and related urban theories. These will most likely transcend the physically territories under investigation and will help you to critically analyse them and eventually hypothesise on what their futures might be. This will be carried out through focus on a particular area of research. As such, fields can be considered as physical territories, but can also simultaneously be conceptualised as the scope of your research on those territories. Through this process, we would like you to think deeply about the field of the city. You should not simply operate within it, but should think about what it is, what is has been and, crucially, what it might be. We will build on the understanding of cities as totalities, as places of plurality, and as places of everyday situations, subversions, rituals and representations. Crucially, we will build on the idea that any urban design imperative is inescapably concomitant with the politico-economic and social fields that form part of it. In your investigation of urban theory, you will almost certainly be drawing on ideas from outside the discipline of architecture. As Lefebvre notes: Inasmuch as they deal with socially ‘real’ space, one might suppose on first consideration that architecture and texts relating to architecture would be a better choice than literary texts proper. Unfortunately, any definition of architecture itself requires a prior analysis and exposition of the concept of space.1 Nathaniel Coleman, in his writing on what Lefebvre called “the problematic of architecture”, observes that there is a great benefit for architecture in “enlisting the assistance of thinkers from beyond the discipline, who are unencumbered by its professional habits, and who can thus begin imagining otherwise unthinkable alternatives.” 2 These unthinkable alternatives? Are they utopias? Probably! Certainly they are ideas that are only able to be sketched out as an imaginary via the spatial skills of the architect. Your hypotheses will thus be tested, first through developing urban strategies, and eventually through the instantiation of a detailed piece of architectural design fully invested in the totality of your imaginary. Lefebvre does not hold back on his views toward architects who choose not to exercise such critical capacity: Who is not a utopian today? Only narrowly specialized practitioners working to order without the slightest critical examination of stipulated norms and constraints, only those not very interesting people escape utopianism. 3

1 Henri Lefebvre, The Production of Space, (Oxford, Blackwell, 1991), 15. 2 Nathaniel Coleman, Lefebvre for Architects, Routledge, Abingdon, 2015), 5. 3 Henri Lefebvre, The Right to the City, in Writings on Cities: Henri Lefebvre, eds. Eleonore Kofman and Elizabeth Lebas (Oxford, Blackwell Publishing, 1996), 151.

“ARCHITECTURE’S OWN TRADITIONS OF THOUGHT ARGUABLY HAVE A LIMITED CAPACITY FOR RESPONDING TO THE PROBLEMATIC OF THE CITY TAKING SHAPE SINCE WORLD WAR II . . . THE PREDICAMENT OF ARCHITECTURE UNDER LATE CAPITALISM - DURING THE SECOND HALF OF THE TWENTIETH CENTURY, AND INTO THE EARLY TWENTYFIRST CENTURY AS WELL - HAS EXCEEDED THE CAPACITY OF THE DISCIPLINE TO RESPOND FROM WITHIN.” Nathaniel Coleman.

“The Urban”: Politics, Theory and Design. A Very Brief Historical Overview. Andy Stoane Introductory Note In writing this very brief and non-exhaustive historical account of “the urban,” its bias toward urban issues of the west does not go unacknowledged. It is hoped that over time this will change, and the research focus of this year at University of Dundee will allow not only its theoretical questions to deepen and broaden, addressing discovered prejudices, inequalities and inequities across the planet, but also will allow its physical fields to expand, making important and urgent contributions to new discourse, including, in particular, the expanding field of research into issues of the global south. As such, it is hoped that this year can be viewed both as a work in progress and as an ongoing body of research in itself. ---------“The Urban” is now the dominant form of human habitat and the human population continues to gravitate toward urban areas and all they have to offer. The much published quantitative statistics tell us that 55% of humans currently live in areas defined as “cities” and this is predicted to rise to 68% by 2050. Megacities (greater than 10 million) have increased from 10 in 1990 to 33 today, and the number is predicted to rise to 43 by 2030. 1 What of the origin of the city? According to the urban sociologist Henri Lefebvre, “Antiquity began with the city, while the Middle Ages (European, Western) began in the countryside.” 2 The polis originated in the ancient Greek city-states, with Rome arguably representing the first Western apotheosis of urban life. Lefebvre reminds us that, etymologically, the polis is quite literally the field of politics - “Urban existence is conflated with political existence, as the word indicates.”3 As the political theorist Hannah Arendt noted, the ancient city’s public spaces were quite literally the manifestation of its citizens’ “actions.” “The town concentrates not only the populace but the instruments of production, capital, needs, pleasures. That is why the advent of the town implies, at the same time, the necessity of administration, police, taxes etc., in short, of the municipality . . . , and thus of politics in general.”4 The city as political entity lost its dominance through the feudalism of the Middle Ages, as land holding and serfdom shifted economic priorities to the country. “Feudal property is the result of a two-stage process: the breakdown of the Roman Empire . . . and the arrival of the barbarians.”5 After a thousand years, that power was gradually reclaimed through the emergence of the agrarian capitalism and international mercantilism of the Renaissance. Sociologist Manuel Castells talks of the “global” and the “local” complementing each other “at the beginnings of the world economy in the fourteenth to the sixteenth centuries, a time when the city states became centres for innovation and commerce on a worldwide scale.”6 In the “industrial age,” industry began to replace agriculture economically, stripping the great feudal landowners of their grip on power. This new economic mode, and its politico-economic transformations, played out in new urban fields, operating on larger scales than ever before, and charged with new intensities: As Lefebvre observes, “Isn’t it obvious that the town is simultaneously the place, the instrument, the dramatic theatre of this gigantic metamorphosis?”7 The “dramatic theatre” of urbanisation brought massive urban population growth. London, for example, rose from 1 million in 1800 to almost 7 million in 1900. Yet, if the post-feudal industrial age brought us back an urban imperative, Arendt argues that the staggering and exponential growth of cities in the late-modern age, far from bringing back the forms of collective life and the “action” of the Greek Polis, actually, quite conversely, succeeded in destroying imperatives of collectivity. She discusses the paradox of “mass society’s” increasing introspection, brought about by late-capitalism and its prioritisation of the individual over the collective. This, she tells us, destroys the “space of appearance”, and thus destroys the city as a political entity. “What makes mass society so difficult to bear is not the number of people involved, . . . but the fact that the world between them has lost its power to gather them together.” 8 This is an argument echoed in Georg Simme’s seminal 1903 essay The Metropolis and Mental Life, where he observes the tendency of the capitalist city to individuate and alienate: All this leads to the narrower type of intellectual individuation of mental qualities to which the city gives rise in proportion to its size.9 The rapid growth of society and its unsettling relationship with existing urban fabric brought large-scale call for urban renewal - for the replacement of problematic, insanitary and over-crowded cities with new formations informed by modern-era progress in areas such as mechanical transportation, new standards of housing, new forms of business operation, new formations of public activity, and of course new building technologies. In this era of widespread social, political and cultural change, modernist architects saw architecture and urban design as instruments for social amelioration. Le Corbusier’s continual attempt to define a new city, from Ville Contemporaine (1922) to Plan Voisin (1925) to Ville Radieuse (1930) to Chandigarh (1950-60) represent the most ambitious attempts to define a new sociallyreforming humanist urbanism for this new age. His mission was, in the words of architect and Pratt Institute professor, Deborah Gans, “. . . his search for a political mechanism to bring his larger project – nothing less than the mythiceconomic recalibration of man’s relation to material through architecture – into the world.”10 As the world shifted from an industrial economy to a service economy through the late twentieth century, and the neoliberal era beckoned, it brought with it a reaction against the socio-political mission of modernism, and an attempt to bring about a new modus-operandi for city planning. In the 1970s architects such as Robert Venturi, Denise Scott-Brown, Colin Rowe and Fred Koetter developed ideas on the city which lamented eclecticism, criticising the imperative for widespread renewal and “total-design” in modernist city planning. “. . . I am for messy vitality over obvious unity . . . “ stated Venturi in the book Complexity and Contradiction in Architecture (1966).11 In 1972 Venturi and ScottBrown, along with their students from Yale, carried out a survey of Las Vegas, from which they forged a populist thesis that celebrated the ugly, the ordinary and the everyday over what they considered to be the the heroic and monumental priorities of the modernist city. A few years later, Rowe and Koetter published their ideas of “bricolage,” borrowed from Levi-Strauss’ anthropological work, in their book Collage City (1978). Stated as “a critical reappraisal of contemporary theories of urban planning and design”, they rejected practices of “total-design,” which they considered to be the “psychological substratum of urban theory and its practical application,” instead promoting a celebration of the city’s

“ISN’T IT OBVIOUS THAT THE TOWN IS SIMULTANEOUSLY THE PLACE, THE INSTRUMENT, THE DRAMATIC THEATRE OF THIS GIGANTIC METAMORPHOSIS.” Henri Lefebvre

eclecticism, involving the co-existance of fragments from the past, present, and future.12 In this era, another reaction came in the wake of local activism by figures such as Jane Jacobs, who campaigned endlessely against the destruction of local neighbourhoods and the disregard for local issues in urban renewal projects. This found its architectural voice in architects and writers who began to theorise extensively about the relationship between public space and the design of buildings. Jan Gehl first published Life Between Buildings in 1971, and its English translation in the 1980s became influential in postmodern discourse in architecture schools. Much of the thinking at thistime was critical of the manifesto ofthe Charter of Athens and its policies of zoning, seeking instead the complex “layering” of historic cities. However, as the economic geographer David Harvey points out, in her critique of the Charter of Athens, Jane Jacobs “in effect set up her own preferred version of spatial play by appeal to a nostalgic conception of an intimate and diverse ethnic neighbourhood in which artisan forms of entrepreneurial activity and employment and interactive face-to-face forms of social relating predominated.”13 It could be argued that Jacobs, whose work was influential in gated communities and other works of socio-spatial exclusion, in her failure to address the staggering scalar change in cities, the changing social behaviours of its populations, and in its will to presume a fixed, nostalgic view of the wants and needs of Americans, presented something that “embed[s] its projects in a restrictive set of social processes.”14 By the late 1980s, postmodern thinking on cities had largely polarised into two distinct, and ostensibly oppositional forms, ontologically connected through a new-found “positivism” or “anti-critical” world view. First, a form of nostalgic “populism”, as exemplified in the work of Leon and Rob Krier, and, second“engagement,” as exemplified by the work of Rem Koolhaas and his office, OMA. The Kriers aligned themselves with the growing “New Urbanist” and conservationist movements, eventually planning Prince Charles’ town at Poundbury, “built on the principles of architecture and urban planning as advocated by The Prince of Wales in [his book] ‘A Vision of Britain’.”15 Koolhaas, on the other hand, perhaps the most intellectually vociferous architect of the neoliberal age, began to strategise on new, more metropolitan, formations for a non-critical future for architecture and the city. In her essay The Irrational Exuberance of Rem Koolhaas, Ellen Dunham-Jones tells us that Koolhaas’ “essays and projects of the ‘90s smoothed the way for the parade of ‘starchitecture’ object-buildings that followed” and “encouraged his followers to shed the crippling shackles of critical theory and pick up a surfboard upon which to ride the shockwaves of the new economy.”16 In his 1987 competition entry for the new town of Melun-Senart in France, Koolhaas embraces the “average-contemporaryeveryday ugliness of current European-American-Japanese architecture”, seeing his job not as the creation of the substance of the city but as the protection of his own design-world from that substance – he does this via a series of carefully organised voids from which the “merde”, as he calls it, is banished. He is ingeniously able to embrace the uncritical without actually doing it. With this came a relinquishing of the architect’s urban role to one of protection or specialism. The “ordinary” was left to the market. This century, urbanisation has exploded exponentially with the rapid rise of the global economy. Shenzhen, for example, has grown from a small town of 30,000 to a global city 13,000,000 in only thirty years. The global presence of a new super-scale of city, has brought urban theorists such as Neil Smith, Neil Brenner and Christian Schmid to research the sociospatial ramifications of such accelerating globalisation and the now accepted metanarrative of “city as machine for economic growth.” Such research has revealed, perhaps counter-intuitively, that globalisation and its associated cultural imperialism have far from homogenised “the landscapes of everyday life around the world.”17 Brenner states that “[m]ost critical geographers have stridently rejected such claims, arguing that late modern capitalism has in fact been premised upon an intensification of differences among places, regions, and territories, even as the mobility of capital, commodities, and populations is enhanced.”18 These global differences - “uneven spatial developments” as they are often referred to - are supported by the tendency toward “localism” in urban research. Such a focus assumes a certain naturalisation of the local scale, prompted by the early activism of Jane Jacobs and her followers. Co-opted into processes of redevelopment under the hegemony of neoliberal economics and now branded as “placemaking”, many contemporary critics now see this as a tool of the development process, and “localism,” while often well intentioned, as a retreat - a further relinquishing of criticality, ignoring as it does the importance (and history) of multi-scalar and supraurban processes in not only supporting cities, but in realising their potential for social transformation. This has brought about a resurgence of interest in the Lefebvrian idea of urbanisation as a planetary phenomenon, where boundaries are arbitrary; where the “urban” is more of a theoretical category than an empirical object; and where the urban is a condition with no “outside.” This year we ask you to investigate, reflect on, and represent in various ways, “the urban” in the modern world. As urban territories continue to grow (or shrink) in population and importance, how can we speculate on the futures for the social and political lives they contain? How can we find different, perhaps more equitable, solutions for living in them? How can architecture mediate their temporal cycles and patterns? What new future programmes might be needed and how might architecture respond? The yield of your investigations will be played out over a spectrum of scales: from an urban-scale hypothesis and testing strategy to detailed testing through architectural-scale and tectonic-scale elaborations. Successful projects will demonstrate complete reciprocity between all the scales. Your ideas articulated at the scale of detail should resonate with ideas articulated at the scale of architecture, the city, the world and beyond, and in doing so, will always form part of the same critical argument. Data from UN Department of Economic and Social Affairs. Henri Lefebvre, Marxist Thought and the City, Minneapolis, (Minneapolis, University of Minnesota Press. 2016), 29. Ibid., p37. 4 Ibid. p37. 5 Ibid. p29. 6 Jordi Borja and Manuel Castells, Local & Global: Management of Cities in the Information Age, (London, Earthscan, 1997), 3. 7 Lefebvre, Marxist Thought and the City, 22. 8 Hannah Arendt, The Human Condition, (Chicago, University of Chicago Press, 1958), 52. 9 Georg Simmel, “The Metropolis and Mental Life” (1903), in Donald N. Levine, Georg Simmel on Individuality and Social Forms, (Chicago, University of Chicago Press. 1972), 336. 10 Deborah Gans, “Big Work: Le Corbusier and capitalism,” in Peggy Deamer, ed, Architecture and Capitalism, (New York: Routledge, 2014), 98. 11 Robert Venturi, Complexity and Contradiction in Architecture, (New York, The Museum of Modern Art, 1966), 16. 12 Jacket description in Colin Rowe and Fred Koetter, Collage City. (Cambridge, The MIT Press, 1978). 13 David Harvey, Spaces of Hope (Edinburgh: Edinburgh University Press, 2000), 164. 14 Ibid. 15 Duchy of Cornwall, Poundbury. https://poundbury.co.uk/ 16 Ellen Dunham-Jones, “The Irrational Exuberance of Rem Koolhaas,” Places Journal, (April 2013). 17 Neil Brenner, New Urban Spaces: Urban Theory and the Scale Question, (New York, Oxford University Press, 2019), 256. 18 Ibid. 1 2 3

“WHAT MAKES MASS SOCIETY SO DIFFICULT TO BEAR IS NOT THE NUMBER OF PEOPLE INVOLVED . . . BUT THE FACT THAT THE WORLD BETWEEN THEM HAS LOST ITS POWER TO GATHER THEM TOGETHER.” Hannah Arendt.

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The year is structured around your formation of a critical armature that will bring together, hold, and inform all your work, across all scales and all modes of operation. This involves three inter-related and overlapping phases of work relating to the three modules. Phases 1 and 2 consist of theoretical and empirical urban analysis, strategic design operations within the social field of the city, (module AR41001) and fully resonant spatial, formal and tectonic design activity, supplemented by workshops assisting with the understanding of the structural, environmental and regulatory frameworks within which the design projects are operating (module AR40007). Phase 3 is a Humanities module, devised to promote research through drawing and making (module HT40003). The timing and contents of the phases are summarised in the infographics below and overleaf. The modules are explained fully in the module guide section and a full week-to-week timetable is included on pages 74-75. The year will start with group work which, in most cases, will transition into individual work.

YEAR 4 MODULE INFOGRAPHIC 2021/22 S

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“CITIES WERE THE FIRST FORM OF SOCIAL MEDIA. URBAN DENSITY MAXIMISES POSSIBLE SOCIAL CONNECTIONS. YOU WALK 100 METRES FROM HOME IN A VILLAGE, AND YOU SEE TWO COWS AND YOUR GRANDPARENTS. YOU WALK 100 METRES IN A CITY, AND YOU HAVE POTENTIAL INTERACTIONS WITH 1,000 PEOPLE.” Beatriz Colomina and Mark Wigley.

YEAR 4 MODULE INFOGRAPHIC 2021/22 M = Meeting, L = Lecture(s), T = Tutorial, R = Review, MR = Mid-review, FR = Final review, DS MODULE AR41001 URBAN THEORY, ANALYSIS AND STRATEGY [30 CREDITS] Welcome

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The City and its Social Field | Module AR41001 [Urban Theory, Analysis & Strategy ] “Space is social morphology: it is to lived experience what form itself is to the living organism, and just as intimately bound up with function and structure” Henri Lefebvre, The Production of Space.

Through a combination of theoretical investigation, empirical survey, mapping and case study analysis, you will build up a picture of various phenomena affecting cities and their social fields. By operating across disciplinary boundaries and gradually bringing analytical methods and operational scales together, you will be able to consider different methods of engagement with the fabric of your city, in accordance with your emerging interests and preoccupations. Through this process, you will slowly but surely glean critical intelligence which can be used to make realistic hypotheses, built on intellectually rigorous speculations for your chosen environments. Through its influence on your design work, this phase will continue to the end of the academic year, but will formally conclude in week 11 with the presentation of an urban-scale hypothesis, and design strategy. You will by this stage also have a well developed plan for the elaboration of an architecture-scale proposition, which will be developed in more detail through semester 2. Please refer to the module guide on page 56 for full details.

Chora / Raoul Bunchonten, A Dynamic Masterplan for the city of Berlin.

University of Dundee, Year 4 Shanghai Studio, 2019/20. Students working with urban scale transect model.

University of Dundee, Year 5 Shanghai Studio, 2018/19. Students working with urban scale models and drawings.

University of Dundee, Year 4 Shanghai Studio, 2019/20. City model.

“IN SPITE OF ITS EARLY PROMISE, ITS FREQUENT BRAVERY, URBANISM HAS BEEN UNABLE TO INVENT AND IMPLEMENT AT THE SCALE DEMANDED BY ITS APOCALYPTIC DEMOGRAPHICS.” Rem Koolhaas

Instantiation: Fragments and Sub-Fragments | Module AR40007 [Integrated Design 4] “. . . detect the crystal of the total event in the analysis of the small, individual moment.” Walter Benjamin

Operating within the intellectual armature you have built through your theoretical research, you will increase resolution, demonstrating instances (instantiating) your city-scale work, which will have been fleshed-out conceptually through the design strategy. Everything you do will be contextualised within the socio-urban ambition of your work. Successful projects will always demonstrate complete reciprocity between the different scales of the semesters. You must begin to understand how a single drawn line in the city can be charged with socio-spatial content, but when scaled up, that same line will contain multiple layers of tectonic information, which serve to not only mediate that socio-spatial content, but also to bring about architectural form. You will be expected to produce fully synthesised information on lighting, ventilation, acoustics, fire separation and escape, along with other building services. How can your work at the scale of architectural space, form and tectonics resonate with your work at the scale of the city and beyond? How can all this work form a consistent and robust design argument? How can it constitute an Otherwise? In asking these questions you must simultaneously operate at all scales - keeping sight of your theoretical and field analysis, your hypothesis, your strategy, and the intellectual armature all this has formed - even when operating at the scale of nuts and bolts. In this way, you will create a fully “integrated” work of architecture. Please refer to the module guide on page 62 for full details.

Synthesis of thinking through scales: Le Corbusier’s Unité d’Habitation, Marseilles. From top left, left to right:: Services and construction of pilotis, construction, the cellular frame; the ”individual moment”; the public spaces; the collective “house”; the city.

“SPACE IS SOCIAL MORPHOLOGY: IT IS TO LIVED EXPERIENCE WHAT FORM ITSELF IS TO THE LIVING ORGANISM, AND JUST AS INTIMATELY BOUND UP WITH FUNCTION AND STRUCTURE” Henri Lefebvre.

Thinking Machine and DRU | Module HT40003 [Humanities 4] The principle tasks of Year 4 Humanities will be to build a thinking machine, write with it, attend the lectures, and finally, write a short critical reflection that situates your design studio project within the history of architectural ideas. The thinking machine is the main bit. It is usually a chance to build objects in the School’s Make Labs and workdhops. This year, we hope access to these facilities will be available, at least ina sociallydistanced form. “Further expanding the already large class of Foucauldian apparatuses, I shall call an apparatus [dispositif] literally anything that has in some way the capacity to capture, determine, intercept, model, control, or secure the gestures, behaviours, opinions, or discourses of living beings. Not only, therefore, prisons, madhouses, the panopticon, schools, confession, factories, disciplines, juridical measures, and so forth (whose connection with power is in a certain sense evident), but also the pen, writing, literature, philosophy, agriculture, cigarettes, navigation, computers, cellular telephones and – why not – language itself, which is perhaps the most ancient of apparatuses – one in which thousands and thousands of years ago a primitive inadvertently let himself be captured, probably without realizing the consequences that he was about to face.” Giorgio Agamben, ‘What is an apparatus’ in What is an Apparatus and other essays (2006/2009) p.14.

Please refer to the module guide on page 68 for full details.

Left - Laura Ellie Porter, Week According to Laura: The transient sense of self within the physically designed world, 2019. An atrefact using a play between fleeting digital data and contemplative art practice. Through digital GPS mapping techniques, it explores the lack of reciprocity between a single human subject and fixed architectural programmes based on a ‘best fit for all’ model. Below - Yufei Hu: The City of Scenography, 2019 Electronic and physical artefact exploring how binary experiential logics of inside and outside truncate our perspective on the city. The artefact offers a fully immersive “scenographic” experience.

“SOMETIMES A BUILDING IS NOT THE BEST MEANS TO EXPLORE ARCHITECTURAL IDEAS.” Jonathan Hill.

THE ST

UDIOS

A C A D E M I C

S T A F F

The course will operate within six discrete studios, each constructed from the research interests and specialisms of the team of academic staff opposite The following twelve pages provide a short descriptor of each studio, highlighting the thematic territories within which it will operate and defining its key research question(s). Please read the descriptors carefully. You will be asked to complete the proformas at the end of this section so that your specific interests and educational requirements can be aligned with the most appropriate studio. Please note: Online students can select from studios E and F only. STUDIO A: UNLOCKING LOCKE Tutor: Andy Stoane

STUDIO B: MAKING SPACE FOR WATER Tutor: Eva Krisilia

STUDIO C: BADGERVILLE Tutor: Jack Green

STUDIO D: PLURALITY Tutor: Pilar Perez del Real

STUDIO E: SPACESHIP DUNDEE Tutor: Richard Dundas

STUDIO F: CITY-CENTRICITY? Tutor: TBC

-Each studio will provide you with its own detailed briefing documentation. -Your studio will be your academic home for both semesters.

Studio Leaders Andy Stoane, Year Leader / Module Leader / Studio Leader. Andy has reciprocated teaching, practice and research throughout his career. He has held positions in many UK universities, alongside directing his own eponymous practice and research studio in Edinburgh. His current research focuses on the positioning of spatial practice in the politics and design of mass housing. He joined Dundee in 2018. Eva Krisilia, Studio Leader. Eva is a Greek and British registered Architect and cofounder of a studio based in Edinburgh and Lagos, with a focus on the interface of digital technologies, traditional crafting and innovative research. After graduating from Dundee she was awarded a masters in Architectural Conservation from E.C.A. She currently works for a practice with a long established approach to the use of sustainable and energy efficient design principles. She has a masters in Water and Flood Risk Management from Newcastle University. She came back to join the University of Dundee in 2021. Jack Green, Studio Leader. Jack is an architect based in Edinburgh. He has taught in and run design studios at ESALA for over a decade across all levels of both the under-graduate and post-graduate schools. He has worked for practices in London, Cambridge, Edinburgh and Denmark and been a tutor and guest critic at a number of other UK architecture schools. He joined Dundee in 2021 Pilar Perez del Real, Studio Leader. Pilar is a chartered architect in the UK. She studied in Spain where she taught, researched, and worked for several practices. In 2011 she was awarded a scholarship to study the Sustainable Environmental Design MArch at the AA in London. After completing the MArch, she worked in a small London practice until 2015. She was awarded a James Watt scholarship to develop her PhD at Heriot Watt University. Based in Edinburgh, she currently teaches several courses at ESALA. She joined Dundee in 2021. Richard Dundas, Studio Leader / Tectonics Consultant Tutor. Having graduated from the Welsh School of Architecture at Cardiff University, Richard qualified as a registered architect after successfully completing his Part III Diploma in Professional Practice at the RIBA North-West. Richard set-up his own architectural practice in 2010. He has been a member of the Architecture department academic team at Nottingham Trent University since 2011 and joined University of Dundee in 2021. Lorens Holm, Module Leader / Humanities Leader. Lorens is Reader in Architecture and Director of the Geddes Institute for Urban Research. His teaching uses architectural theory to open up a space for designing new forms of city and social life. His research focuses on the thought threads that link architecture to philosophy, history, psychoanalysis, and machines. He is a registered architect in the UK and the State of Massachusetts.

Subject Leaders Lorens Holm, Module Leader / Humanities Leader.

Yorgos Berdos, MP&L Leader. Yorgos is a Teaching Fellow at The University of Edinburgh, a Lecturer at The University of Dundee and a registered Architect in the UK and Greece. He has taught, lectured and practiced locally and internationally and is an examiner for the ARB. His work explores ways in which architectural design and thinking are not limited to prescribed roles. His current doctoral research investigates the role of Trust as a design parameter across different scales and systems. Tamer Gado, Environment Leader.

STUDIO A UNLOCKING LOCKE Andy Stoane T H I S S T U D I O I S F O R C A M P U S S T U D E N T S O N LY When and why did we start to squander our public spaces? When did our cities become little more than tools for capital accumulation? The Politics of Ground “What a democratic politics requires is the fostering of a multiplicity of public spaces of agonistic confrontation” said the political theorist Chantal Mouffe.1 Current arguments about “public spaces” are bookended by two oppositions, both prefigured philosophically by centuries-old theories. Neoliberal propertarianism is often justified by John Locke’s seventeenth century “labour theory of property,” which gives the right to appropriate private property when labour is applied to it. Conversely, contemporary ideas of “the commons” are supported by Jean Jacques Rousseau’s eighteenth century contention that “the fruits of the earth belong to us all, and the earth itself to nobody.” As the pendulum relentlessely swings in favour of propertarianism, the appropriation of private urban property more often than not involves the expropriation of these public spaces to which Mouffe refers. Location The studio will locate in London’s Elephant and Castle, the site of current controversial processes of gentrification. The processes here involve the demolition of the public Heygate Estate - home to more than 3,000 people - and the Elephant & Castle Shopping Centre, with its public plaza and integrated train and tube stations. These are soon to be replaced with private capital investment-driven projects. In projects such as this, piecemeal “social“ projects at best form small, isolated pockets of resistance to “development,” the mechanism through which the city and its grounds become subsumed into power relations which support, and often accelerate, existing societal inequalities. These resistances are either isolated and ineffective, or are co-opted into pragmatic managerial processes, the aims of which are simply to advance the interests of the market. Misson Locke’s theory was qualified by an important proviso – that, while individuals have a right to the appropriation of private property, the right only exists “at least where there is enough, and as good, left in common for others.” Our studio will not be premised by a naïve belief in the impossibility of a philanthropic property market, nor an endorsement of “the urban commons,” but by a fiction where the “Lockean Proviso” is turned. The real “right” will be for the common good, with the left-over being for individuals. Becoming what economic geographer David Harvey describes as “insurgent architects,” you will resist both pragmatic “development” and co-opted policy-driven “social” processes, instead trying to find new narratives for a collective and pluralistic city – narratives that are unifying and total instead of atomising and fragmented.2 We will look to the continuity of the city as a means of individual and collective integration. As Manfredo Tafuri described it in Architecture and Utopia, the multiplicity of the residential cell forming “a public solicited and rendered critically participant in the act of creation.”3 Mouffe contests that a new “unifying story” is necessary to bind together the fragmented forms of resistance to the hegemony of the post-political oligarchy. “The democratic principle of liberty and equality has to impose itself as the new matrix of the social imaginary.”4 Social movements that are able to sketch out “a radical imaginary” of what an alternative society might look like are the most likely to achieve social change. You will sketch out a radical imaginary, finding new compact grounds that are continuous (vertically and horizontally), equitably distributed, and fully engaged in the intensity and complexity of the metripolitan field. You will re-draw boundaries between public and private spaces, beyond the limiting register of figure-ground. You will model new physical and spatial forms for a new societal formation. You will share a physical stuio and your field work with our year 5 sister-studio, The Glamour Unit. While you explore how people might dwell in our fiction, they will explore how they might play. There will inevitably be much overlap and reciprocity. Chantal Mouffe, “Some Reflections on an Agonistic Approach to the Public” in Making Things Public: Atmospheres of Democracy, ed. Bruno Latour and Peter Weibel (Cambridge: MIT Press, 2005), 804-7. 2 David Harvey, Spaces of Hope (Edinburgh: Edinburgh University Press, 2000). 3 Manfredo Tafuri, Barbara Luigia La Penta (Translator), Architecture and Utopia: Design and Capitalist Development (Massachusetts: MIT Press, 1976), 132-133. 4 Ernesto Laclau and Chantal Mouffe, Hegemony and Socialist Strategy: Towards a Radical Democratic Politics (London: Verso, 2014), 138. 1

Beyond the figure-ground. The Complexity of the urban section, illustrated through an image of London Liverpool Street from Crossrail. The 3D model shows structure and space above and below the datum we conventionally recognise as “ground.” You will engage with the full scope of this section.

Figure to figure. Mapping of Hong Kong, Sha Tin, from Cities Without Ground: A Hong Kong Guidebook by Adam Frampton, Jonathan D Solomon and Clara Wong. The book presents mappings of non-ground-based, publicly accessible areas of Hong Kong, which the authors consider as “a template for public space within future cities undergoing intense densification (and subject to changing weather).”

1924: Architecture at itsArchitecture most socially efficacious 1924: at its most

socially efficacious.

of thehouse,” Constructivist “commune house,” Stroyykom RSFSR. M.O. Axonometric of theAxonometric Constructivist “commune Stroyykom RSFSR. M.O. Barshch The andcombination V.N. Vinogradov. The and combination of technological and spatial innovation Barshch and V.N. Vinogradov. of technological spatial innovation attempted to bring about revolutionary consciousness, through attempted toabring aboutsocial a revolutionary social consciousness, through the activities the activities of the of home. the Bolshoviks, “social condensers” were condensers” were designed “[i]n order theFor home. For thesuch Bolshoviks, such “social designed “[i]n order to facilitate a rapid and painless transition to higher social forms to facilitate a rapid and painless transition to higher social forms of housekeeping . . .” of housekeeping . . .”

1930: Architecture as capitalist reform

1930: Architecture as capitalist reform.

Designed after the 1929 crash, Le Corbusier’s Ville Radieuse with its verdant public Designed after the 1929 crash, Le Corbusier’s Ville Radieuse with its verdant public grounds and continuities of public programmes running through raised “dwelling grounds continuities of public programmes running through raised “dwelling unities.” was an attempt to elevateand architecture above Fordist principles. In Manfredo unities” wasadvanced an attempt to elevate Tafuri’s words “even today, the most and formally elevatedarchitecture hypotheses of above Fordist principles. In Manfredo bourgeois culture in the field of architectural designtoday, and urbanism.” Tafuri’s words “even the most advanced and formally elevated hypotheses of

bourgeois culture in the field of architectural design and urbanism.”

1956-1982: A “Public City.” Prefigured by Keynesian economic principles of public spending, London’s Barbican Prefigured by Keynesian public spending, London’s Barbican podium is a is economic a hybridprinciples publicofarts-orientated “artificial” containing more than twenty hybrid public arts-orientated “artificial” podium containing more than twenty different different public programs, two large residential squares and had a car free site. With public programs, two large residential squares and had a car free site. With a residential a residential population of up and to a6,000 population of up to 6,000 people in three forty-storey towers series ofpeople seven- in three forty-storey towers and a storey slab blocks, it was designed as a drive to increase residential population of as a drive to increase the residential series of seven-storey slab the blocks, it was designed the inner city in a time of urban retrenchment. Homes were rented from, and the population of the inner city in a time of urban retrenchment. Homes were rented entire complex was managed by, the Corporation of London. from, and the entire complex was managed by, the Corporation of London. Note the complexity of the section. 1956-1982: A “Public City”

1980 onward: Capital Accumulation

1980 onward: Capital Accumulation.

The rise of the neoliberalism, privitisation “the right to buy” subsumed the and city, and The rise of theand neoliberalism, privitisation “the right to buy” subsumed the city, the residential lives of and its citizens, deeper into imperatives capital accumulation. the residential lives of itsof citizens, deeper into imperatives of capital accumulation. Gentrification - defined by Neil Smith as “…the process by which working class Gentrification - defined by Neil Smith as “…the process by which working class residential neighbourhoods are rehabilitated by middle class homebuyers, land-lords residential neighbourhoods rehabilitated by middle class homebuyers, landand professional developers” – became the de facto modus are operandi of urban lords professional developers” – gentrification became the de facto modus operandi of urban “development.” Elephant and and Castle, the site of current controversial processes, has seen years of protest, particularly from the Latinthe American “development.” Elephant andlargely Castle, site of current controversial gentrification shop and stall owners.processes, has seen years of protest, particularly from the largely Latin American shop

and stall owners. Protests rarely As capital investment floods in and Protests are rarely successful. As capital investment floodsare in and the citysuccessful. changes, thedisplaced city changes, original are displaced through the increase in property original communities are through the increasecommunities in property prices. A series of development tactics are often used to minimise commitments to local people, local used to minimise commitments to prices. A series of development tactics arewith often government often either complicit in the process or powerless through pressures to local people, with local government often either complicit in the process or powerless accept lucrative investment. through pressures to accept lucrative inward investment.

STUDIO B MAKING SPACE FOR WATER: Heritage and Resilience Eva Krisilia T H I S S T U D I O I S F O R C A M P U S S T U D E N T S O N LY

From their beginning, cities have been places of commerce and manufacture, often developing in locations suited to an economic activity. But it was the international mercantilism of the Renaissance - the early world economy - that elevated the importance of cities as strategic seaports.1 Today, in the face of climate change, many of these economically vital and historically significant communities are becoming more vulnerable to increasingly frequent flooding and storm events. These extreme events cause repetitive loss of human life, along with social and physical infrastructure, with the need for costly rebuilding. Adapting to changing water levels requires forward-looking strategies to limit the disastrous impact of heavy rains and intense storms on the well-being and cultural heritage of these flood-prone communities.2 In many parts of the world, countries like China, Cambodia, Vietnam, and the Netherlands have had their cities built and adapted to a symbiotic relationship with the region’s natural cycles of flooding and rising water levels, using Resilience as the mechanism in coping with and recovering from disruptive events. In the UK, storm events have been occurring with greater intensity and frequency over the past decade. The failing of recently constructed flood defences such as those in Cumbria, England3 have exposed a growing uncertainty in weather patterns and a weakness in relying on traditional flood defences alone.4 Rather than attempting to obstruct water, flood prone cities make use of it and take a non-defensive approach allowing space to store water and for water to flow through predetermined parts of settlements without significant disruption to people’s lives. 5 This studio aims to bring together current theory and established practice, developing original hypotheses for ‘Making Space for Water’. Working in small groups, students will engage in broader research and analysis of historical and morphological structures of ports and harbours, the theory and science behind climate change, and the current attitudes of policy makers, stakeholders and designers. Individually, students will then be required to resolve their intervention through speculative urban design and architectural proposals. The site for intervention will be Leith, Edinburgh’s historic port. Students will need to identify the vulnerability of the individual sites and identify the hazards, asking how urban and architectural speculation within this historical context can be challenged, excited and strengthened in the face of climate change and the effects from flooding.

From the year 4 2021/22 year 4 coursebook by Andy Stoane Building resilience through flood risk reduction: The benefits of amphibious foundation retrofits to heritage structures. International Journal of Architectural Heritage present issue. English, E. C., M. Chen, R. Zarins, P. Patange, and J. C. Wiser. 2020. 3 ‘Flooding in Cumbria after Storm Desmond’ PERC UK 2015, report prepared by JBA Consulting Trust and Zurich, 2016. Also see image on ‘Storm Desmond’. 4 Environment Agency, 2016a. 5 Baca Architects see www.baca.uk.com . 1 2

‘Before and After’, Red River’s Flooding, N. Dacota & Minnesota 2015-2020. Images taken by the Operational Land Imager on the Landsat 8 satellite. Source: NASA's Earth Observatory, source NASA Global Climate Change, Vital Signs of the Planet Images of Change.

Albert and Imperial Docks, Leith, 1935, Edinburgh. Oblique aerial photograph taken facing north, https://canmore.org.uk/ collection/1257996

The BIG U flood defences for Manhattan, 2018.

Before and After an event, dezeen.com

source

Storm Desmond Dec. 2015. Precipitable water imagery on satellite shows an atmospheric river stretching from the Caribbean to the U.K. The Washington Post online news ‘13 inches in 24 hours: Flooding storm ‘Desmond’ shatters U.K. rainfall records’. Also see https://cimss. ssec.wisc.edu/satellite -blog /archives/ date/2015/12/30 (there are videos of storms to click to play).

STUDIO C BADGERVILLE Granton Otherwise: A productive, non-anthropocentric framework for development. Jack Green T H I S S T U D I O I S F O R C A M P U S S T U D E N T S O N LY Context In Feral , environmentalist George Monbiot describes how many of the species of trees and shrubs we consider to be native to the British Isles (oak, ash, beech, chestnut etc) have evolved to resist/survive damage by megafauna (large herbivorous mammals e.g./elephants) that because of human predation are no longer native to these lands.1 These residual presences of past eco-systems are what Anna Tsing (et al) refer to as “Ghosts” and remind us that what we currently consider to be “natural” or “wild” is in fact greatly shaped, both indirectly and otherwise by us (homo-sapiens). As biologist Jens-Christian Svenning writes – “…a paleoecological perspective is so important: attention to longer histories allows us to appreciate the rich, diverse landscapes that have existed in pasts beyond human memory. These pasts show a potential for biodiversity in many settings that far exceeds what we see today.” 2 Viewing inhabitation (both human and non-human) through this very wide temporal lens allows us to consider questions of climate change and biodiversity in radical ways. By considering both Human and non-human actors equally, the studio aims to establish frameworks for development that don’t just minimise human impacts, but have a net positive effect on the eco-systems of which we are part. We might even resurrect some ghosts. Field The studio site is in Granton to the North of Edinburgh. Students will be expected to make (at least) one trip to site during the first semester. 3 Students will initially look at the proposed Granton Waterfront Development Framework and imagine how this might be ‘otherwise’ through a foregrounding of long-term sustainable strategies. Investigating and mapping existing resources and possibilities, students will develop approaches for using and establishing productive programs that will localise the production of materials for construction; This will also inherently embed certain tectonic/material ambitions in the projects at an early stage that will be synthesised into resolved architectural propositions as projects develop. Productive Wilding Beaver construction (illustrated opposite) is fabricated solely from the material available in surrounding woodlands. Human development used to be similarly immediate – The stone cities that we inhabit for example are generally constructed from locally sourced material with little to zero carbon footprint. Contemporary construction however tends towards the assemblage of components, usually bought together for financial expediency with little regard for the impacts of their manufacture. The concerns of the studio are two-fold: to radically reconsider the balance between development for ourselves and the needs of other living creatures, but to also take greater control over the means of the production of these developments such that we might minimise our impacts on a macro level. On a political level, it might be argued that this could represent a re-reading of political theorist Hannah Arendt’s three kinds of Human activities; labor, work, and action. Humans might make “work” without taking a distance from “the state of nature” such that this work itself becomes a form of action.4

George Monbiot, Feral; Rewilding the land, sea and human life (London, Penguin books, 2014), 2. Ana Tsing et al., editors., Arts of living on a damaged planet – Ghosts of the Anthropocene (Minneapolis, the University of Minnesota Press), p.G68 3 If students are unable to visit site this will not be a problem – The site can be researched/visited online and your tutor and/or colleagues will also be able to make specific recordings from site if requested. 4 Hannah Arendt, The Human Condition (Chicago: University of Chicago Press, 1958). 1 2

One ghost that is already making a return to the UK is the Beaver. The Beaver (castor fiber) is considered a keystone species – one that can restore top-down trophic interactions and associated trophic cascades that promote self-regulating, biodiverse ecosystems. The beaver does this through the manipulation and deployment of the resources that immediately surround it – It is an architect with control, not just of construction, but also of its supply chain. Image of a beaver generated landscape and eco-system where beavers have been reintroduced (or escaped captivity) at the Bamff estate, Alyth . Photograph: authors own.

The proposed site at Granton on the firth of Forth Image: Collective Architecture.

Flat House by Practice Architecture and the research group Material cultures was constructed as a testing ground for developing hemp based construction and bioplastics (using hemp and flax). The building utilises prefabricated panels that are infilled with hemp crown in the surrounding fields. Also shown is a small studio built using the same technology built by students at London Metropolitan School of Architecture. Image; Oskar Proctor www.practicearchitecture.co.uk

STUDIO D PLURALITY Pilar Perez Del Real T H I S S T U D I O I S F O R C A M P U S S T U D E N T S O N LY

Context The Just City essays, published in 2011 by Harvard Urban Planning Professor Susan Fainstein, raise two straightforward questions: What would a just city look like and what could be the strategies to get there? Cities are unique complex systems made of social interaction networks coexisting in a physical space. However, is that physical space organised and designed just to be profitable, or can the city be equitable, inclusive and compassionate? In order to answer that, the first thing will be to understand that cities are sites of social difference. Differences include, but are not limited to, ability status, age, class, citizenship, ethnicity, gender, race, sexual orientation, and socio-economic position. These differences are neither a biological given, nor fixed nor stable. They are social constructs that are maintained and created as well as resisted and contested. They are embraced as well as disputed. Differences in the city are not simply revealed, they are created and enacted. These differences are sites of action, social mobilization and performances acted out in private and public spaces in the city. In other words, social differences are not simple categorizations, but complex, contested sites of meaning.” Short JR (2021) Social Inclusion in Cities. Is our urban space and built environment a connective and empowering infrastructure? Is it helping to create socially cohesive groups and facilitating interactions? When we observe the different groups interacting with the urban space, are our cities made of barriers or connections? Field Leith is the port district of Edinburgh. With a rich history, Leith is a neighbourhood with a “badboy reputation” but also one of the coolest areas in rankings after massive regeneration and gentrification changes in recent years. Within this controversial and dynamic context, the studio will look at the site that 3 years ago prompted the social mobilization of the local population. This mobilisation resulted in the “Save Leith Walk” public campaign to prevent the demolition of a building, protect the heritage of the Walk, and celebrate the very essence of what Leith is. This social movement, like others before (Salvar el Cabanyal ,Spain for example) reveals the complete disconnection of the urban market from the real necessities and problems that are affecting the most vulnerable populations of our cities. Leith is a diverse borough with a mix of communities and rich cultural heritage. How can we create a civic infrastructure that respond to local issues, cultures and concerns and that best meet the needs of local communities? This studio is an invitation to dream of a city where urban justice is possible and to imagine the physical spaces that will foster that. We will analyse and then develop an action plan which identifies a number of strategic priorities and practical initiatives which aim to broaden opportunities for inclusion of all residents across the economic, social and civic life of Leith. Working in groups, students will analyse different aspects like the history, spatial organization, urban demography, transportation, housing, land use and the social and economic processes shaping this part of the city. Individually, students will propose an architectural intervention in Stead’s place justified by all the previous research and the identification of the most important challenges and issues Leith is facing.

Activism “The freedom to make and remake our cities and ourselves is, I want to argue, one of the most precious yet most neglected of our human rights.” Harvey D. (2008,Sept/Oct) The right to the city, New left review 53 Campaigners at 2018’s Leith Gala Day: Photo: Save Leith Walk/Deborah Mullen

A packed-out community meeting. Photo: Save Leith Walk/Deborah Mullen

Diversity Whether diversity has positive or negative effects depends partly on policies and local initiatives that stimulate social contacts and collaboration between the different groups present in the area. RC21 2015, accessed 16 September 2021 < https://www.rc21.org/en/conferences/urbino2015/> A visual snapshot of Leith walk. Ilford I, From BBC News <https://www. bbc.co.uk/news/in-pictures-49509412>

History The red sandstone art deco building (left) at Leith Walk that was going to be replaced. The Spirit of Leithers (2020, Dec 7) [Facebook page]

Current Murdo Macleod, 2018, The Guardian, accessed 16 September 2021, <https://www.theguardian.com/cities/2018/nov/05/the-wrong-type-ofdevelopment-the-battle-for-edinburgh-leith-walk> Current state of the row of shops, business and social enterprises that was going to be demolished.

Karen Steward (2020, Dec 8) [Facebook page]

STUDIO E SPACESHIP DUNDEE: The Possibility of a Universal Architecture. Richard Dundas THIS STUDIO IS FOR CAMPUS AND ONLINE STUDENTS “We are not going to be able to operate our Spaceship Earth successfully nor for much longer unless we see it as a whole spaceship and our fate as common.”1 Buckminster Fuller. In architecture, the idea of the universal has always been a preoccupation, whether in line with Fuller’s use of the universal as a means of tackling problems on a global scale, or as a political provocation which uses a universal future as a form of political critique (Archizoom’s No-Stop City), or the architecture of universal spatial frames (Yona Friedman’s Spatial City) into which individual choice and freedom is inserted, or Cedric Price’s ideas of embracing obsolescence. The studio will focus on the possibilities (or impossibilities) of creating a genuinely ‘Universal’ architectural project, free from restriction, inconvenience or limitations that may come from a range of building typologies. Can architecture be truly without inconvenience? The considerations will not be limited to design, form and arrangement, but also specifically look at each layer and material choice as well as the assemblage. Society’s awareness of the concerns and inconveniences of others has impacted on everything from legislation to broadcasting. Architecture in the United Kingdom has been gradually evolving towards this need since the creation of the Building Regulations in 1965. Although the need for Building Control compliance is a valuable and necessary step, these requirements often constrain a building project creating frustration, conflict and, eventually, homogeneous design, details and approaches. The continued ‘refinement’ of Building Regulations, along with Planning Policy, rather than enabling designers to create, safer and more environmentally sustainable schemes has, instead, allowed the built environment to be shaped by organisations. More worryingly, these organisations are often driven by ‘one size fits all’ attitudes, often prioritising safer, non-controversial, more familiar ideas than progressive outlooks. They are also very often co-opted into the priorities of globalised businesses and the private sector. Today, the idea that the cities belong to “the people” is being continually eroded through deindustrialisation, the rise of the finance economy, gentrification, and other neoliberal processes. In Adrian Jones and Chris Matthew’s 2014 book Towns in Britain, Jones writes: “[a]n ever-more-globalised world also means the power of cities, and of states, is hugely weakened.” 2 More than ever, perhaps the built environment requires a re-evaluation towards bringing influence away from the few and handed over to all. It is now time for architecture to reconfigure the way in which we use places, prioritising spaces that are genuinely inclusive, allowing the individual to take control and push the possibilities of using ‘the universal’ for human progress and acceptance. Your attentions are to be focussed on our doorstep, specifically within the city boundary of Dundee; a city going through a period of transition, both in the redevelopment of the city infrastructure (Slessor Gardens / Dundee Waterfront) and in global reputation due to the completion of V&A Dundee and current proposals for the new Eden Project. Often funded through international capital investment, these are projects built on a particular brand of universality. Despite these current public success stories, the continued demise of the UK high street and the re-evaluation of what a city centre provides has created a leftover area to the east. As a studio, you will look to re-examine and re-configure a new kind of urban environment on this site - a new idea for architecture’s universal engagement, beginning here in Dundee. As the writer Jacqueline Woodson puts it: ‘Diversity is about all of us and about us having to figure out how to walk through this world together’

1 R. Buckminster Fuller, Operating Manual for Spaceship Earth (Zürich: Lars Müller Publishers, 1969). 2 Adrian Jones and Chris Matthew, Towns in Britain, (Nottingham: Five Leaves Publications, 2014).

Dymaxion Airocean World, 1954. Buckminster Fuller. [ONLINE] Available at: https:// metropolismag.com/projects/deborah-berkeon-buckminster-fullers-dymaxion-map/ [Accessed 12 September 2021]

Plan of Cedric Prices “Fun Palace.” University Of Brighton. 2014. Exemplary Project — Cedric Price. [ONLINE] Available at: https://folio. brighton.ac.uk/user/km226/exemplary-projectcedric-price. [Accessed 12 September 2021].

Yona Friedman, collage on a postcard visualizing a Spatial City over Paris, 1960, Paris. Collection of Centre Georges Pompidou. [ONLINE] Available at: http://www.grahamfoundation.org/ grantees/5403-a-city-is-not-a-picture-yonafriedman-19452015 [Accessed 12 September 2021]

No-Step City. Veduta di citta. Architizer, c. 1960. Retrospective: Archizoom and No-Stop City. [ONLINE] Available at: https://architizer.com/ blog/practice/details/archizoom-retrospective/. [Accessed 15 September 2021]

STUDIO F CITY-CENTRICITY TBC T H I S S T U D I O I S F O R O N L I N E S T U D E N T S O N LY “ . . . if urbanization is the usual form of spatial settlement for the human species, does it make any sense to continue to speak of cities?” Manuel Castells.1 This century, urbanisation has exploded exponentially with the rapid rise of the global economy. Shenzhen, for example, has grown from a small town of 30,000 to a global city 13,000,000 in only thirty years. The global presence of a new super-scale of city has brought contemporary urban theorists such as Neil Smith, Neil Brenner and Christian Schmid to research the sociospatial ramifications of such accelerating globalisation and the now accepted metanarrative of “city as machine for economic growth.” 2 But,while cities are once again the dominant form of habitation, the city proper - the city as an empirical form and political entity (cité) - is under threat. It is under threat from the very process of urbanisation, which involves not only the sprawl of often anonymous buildings into hinterlands, but the dominances of processes everywhere that support urban life. These processes include the displacement of rural populations and their gravitation to urban centres. Paradoxically, the same process involves the dispacement of core urban populations, who have often lived there for generations, to the urban periphery. Whether by retrenchment or consumption, towns. villages and historic urban enclaves face major changes in this new order, their strict organisational logics which have survived for centuries, becomming either eroded or destroyed altogether. This online studio will locate in multiple fields simultaneously, addressing the question of the relationship between towns/villages and their urban counterparts, or between historic city cores and the cities than contain them. In groups, students will select their own operational fields anywhere in the world with the assistance of their tutor. Individuals will then develop detailed projects for how architectural interventions might respond to the processes discovered. An example of such a field is illustrated below: Example: Shanghai Shanghai, has experienced the most extreme changes in the past thirty years. Processes of globalisation and market liberalisation have caused it to grow at a staggering rate. First, its population has doubled from 13 million to 26 million. The city has absorbed growth in numerous ways. Geographically, it has expanded horizontally to now cover over 6000sqkm, consuming its hinterlands and outlying rural territiries. Travel from outer edge to centre can now approach two hours, even by metro. While the continued trajectory of this is clearly unsustainable in terms of land mass, the other effect is that the city gradually loses everything that makes urban life so compelling - layer upon layer of pluralistic activity compressed into a compact environmental realm of intense human interaction - what the political theorist Hannah Arendt calls the field of political “action.”3 This is replaced by autonomous rings of growth, or separate satellite towns, separated from each other by vast temporal distances. To prevent sprawl, one of Shanghai’s strategic solutions is the “urban renewal” and densification of its centre. Although this model leads to a more compact city, it has a tendency to involve the destruction of historic areas. While densely populated, these areas do not have the height necessary to support profitable small-footprint development. Thus, the model usually goes hand in hand with various modes of gentrification – the displacement of one socio-economic group by another. While this process clears areas for new development typologies, at the same time it brings about extreme social distortions. The centre becomes intolerably over-valued, and new, wealthier populations displace established ones. In this case-study, the group might look specifically at part of this operation in the centre - the historic residential enclave of the Old Town. Typically, housing areas such as this tend to be dense, but low - not supporting enough population and without decent facilities. As currently occupied, these areas represent negligible financial value to the city, occupying prime land and returning little in property rental or return on investment. On the one hand they are overcrowded, insanitary and accretive, yet, on the other they represent a way of life that is pluralistic, self-organising, self-sustaining, vibrant, inclusive and promoting of humanist values. A collective way of life that is soon to disappear. 1 2

Manuel Castells, Local & Global: Management of Cities in the Information Age (London: Earthscan, 1997), 1. Brenner and Schmid have widely publiushed work on “planetary urbanisation,” including: Neil Brenner, New Urban Spaces: Urban Theory and the Scale Question (New York: OUP USA, 2019) Arendt organises and articulates her well known triad of human activity, which includes “Action, ”using the referent of the Greek city-state. Hannah Arendt, The Human Condition (Chicago: The University of Chicago Press, 1958),

In thirty years Shanghai’s population has grown from 13 million to over 26 million. Housing unaffordability is reaching the level of global cities such as London and New York and established communities within its historic centre are continually under threat as escalating land values attract capital investment projects on their sites.

The streets and lanes of the old town in 1948. [from report into ‘Urban Design Research of Shanghai Old Town’, 20/04/2019, CAUP, Tongji University]

2019: The remaining fabric of the Old Town, visible amidst the towers. Photo: Andy Stoane

Life in Shanghai’s Old Town. Photos: Andy Stoane.

Work from University of Dundee Year 4 Shanghai Studio. Students Mishell Parodi, Calum Ramsay and Elliot Reilly’s design project, Repair and Revanchism, offered a solution to Shanghai’s dramatically increasing population and associated gentrification practices. The project won second prize in the UIA-HYP Cup, an international urban design competition organised by Tianjin University and Urban Environment Design Magazine (UED).

YEAR 4 STUDIO SELECTION PROFORMA FOR CAMPUS-BASED STUDENTS ONLY SECTION 1: Name: .......................................................................... Course and mode of study (please tick): MArch. BA Arch Studies (Wuhan University). In first semester I will be studying online. In first semester I will be studying on campus. SECTION 2: Please briefly describe your interests in relation to the studio options, and how you would use their programme to build your academic portfolio. You may wish to use this section to make a reasoned argument for a first preference, but please note that we cannot guarantee that all students can be allocated this. Maximum 200 words.

SECTION 3: Please tick the THREE of the following studios that you feel best reflect your interests,, strengths and weaknesses. STUDIO A: UNLOCKING LOCKE STUDIO B: MAKING SPACE FOR WATER STUDIO C: BADGERVILLE STUDIO D: PLURALITY STUDIO E: SPACESHIP DUNDEE 40

YEAR 4 STUDIO SELECTION PROFORMA FOR ONLINE STUDENTS ONLY SECTION 1: Name: .......................................................................... Course and mode of study (please tick): MArch. BA Arch Studies (Wuhan University). In first semester I will be studying online. In first semester I will be studying on campus. SECTION 2: Please briefly describe your interests in relation to the studio options, and how you would use their programme to build your academic portfolio. You may wish to use this section to make a reasoned argument for a first preference, but please note that we cannot guarantee that all students can be allocated this. Maximum 200 words.

SECTION 3: Please rank the TWO studios available in order of preference using 1 for first choice and 2 for second choice. STUDIO E: SPACESHIP DUNDEE STUDIO F: CITY-CENTRICITY

Reclaiming Tectonics: [Andy Stoane] Reclaiming Tectonics will discuss the relationship between society, technology and space. It intends to assist you in synthesising critical design positions with tectonic approaches. The lectures position technology relative to significant politico-economic events and ensuing societal attitudes, before introducing detailed explanations of structures, systems and techniques emerging from the specific periods. The following lectures will be delivered (they may be subject to change). 1. THE TECTONIC QUESTION: An Introduction to Techno-cultural Thinking will explore the etymology of the word, its varied use and relevance within historical techno-cultural paradigms of architectural design. Learning expectations and outputs will be discussed and example work illustrated. 2. INFRASTRUCTURE: and its Spatial Ramifications will look at the significance of infrastructure in urban development, from the infrastructure of transportation and the street to the infrastructural networks of information which preoccupy us today. It will then move on to look at specific infrastructural devices within architectural design and their spatial ramifications – corridors, stairs, ramps, elevators, escalators and paternosters. 3. COMPLEXIO OPPOSITORUM: Renaissance Humanism, Civic Life and Mathematics will look at the role of mathematics in the architecture of ancient civilisations, and its use in developing systems of spatio-technical order. It will analyse the classical age’s development of three structural innovations: the arch, the dome and the catenary, examining how they formed part of an attitude towards the symbolic representation of prevailing cultural ideas through the medium of architecture. Through examining specific examples in detail, the re-discovery of these ideas in Renaissance humanism will be covered, as will their translation into the modern age. 4. HIGHER, FASTER, FURTHER, FREER: The Architecture of Fordism will look at the twentieth century’s preoccupation with using industrial technique and method to alter established paradigms in spatial organisation. Detailed study will be made of the development of factory production, modulation, towers, large spans, trusses, vierendeels and cantilevers, all of which dealt with rapid population growth and urbanisation, and altered our prior imperative to occupy the ground. 5. KINETICS: Uncertain Times / Unsettled Architecture will look at architectural indeterminacy, and how the shift, around 1970, from the perceived certainties of a Fordist industrial economy into the uncertainties of a post peak-oil, post-Fordist service economy, led to a change from the idea of an effective, optimal architecture, into an architecture which aimed to be responsive, adaptable and anti-formalist. Detailed case studies of how this translated into ideas and realities of adaptable and kinetic architecture, both at the scale of building components and the scale of entire buildings, will be examined. Finally, it will examine new digital technologies and the possibility of self-adjusting and self-constructing architecture through robotics and biological control. 6. INDETERMINACY: McLuhan, Mass-media and Anticipating Change will continue the exploration of indeterminacy from lecture 5 into the urban scale, exploring architecture’s historical role as media and how the rise of mass-media has brought about a will for anticipating change in urban solutions such as metabolism, megastructure, and its contemporary variants. 7. APPEARANCES AND ESSENCES: The Individual and the Collective will examine the prevailing question of the dialogue between structure and skin in architectural design, drawing on Gottfried Semper’s nineteenth century writings on ‘revealing and concealing’ and making a comparative study framework through which to correlate architecture and fashion. Various architectural case studies illustrating multiple structure-toenvelope relationships will be discussed in detail and positioned relative to Semper’s thesis. 8. DIFFERENTIATION: Gymnastics, “Phoney disorder” and “Sublime uselessness” will examine the architecture of neoliberalism, looking at how market differentiation and positioning polarised the discipline into factions with different attitudes toward technology.

Reclaiming Urbanism / Reclaiming Modernism: Architecture, Space, and the Spatial Subject [Lorens Holm] The aim of the lectures is to build before the eyes and ears of students a critical theoretical frame for thinking architecture. The lectures draw on two principle sources, ideas about space found in architecture and the arts, ideas about subjectivity in psychoanalysis and philosophy. Space because it is the central concern of architecture, psychoanalytic theory because it is the most extensive and systematic contemplation of the human subject, the subject of architecture. Each week we examine an architect whose work has made a contribution to modernism, either because s/he was a modernist (Le Corbusier, Mies), an historian of modernism (Giedion), or a post-modern critic of modernism (Hadid, Tschumi, Koolhaas, Archigram). Although key concepts in psychoanalytic theory constitute the principle reference outside architecture – Freud’s development of the unconscious and Lacan’s critical re-reading of the Freudian unconscious as a form of social organisation – the lectures also draw on key concepts in philosophy, probably the most important of which is Hannah Arendt’s extended concept of the togetherness of people, but which will also include Hegel and the historical development of Spirit, Kant on the synthetic originality of space and time, Saussure and structuralist linguistics, Derrida and deconstruction. This is not the only theoretical frame for rethinking modernism, but it is a credible example of one. The students may adopt it in its present form, pick n’ mix it to fit their own position on architecture, or reject it altogether in favour of another one. The history of architecture is full of ruins. What the student is not allowed to do is walk away bereft of any frame. Students, then, are introduced to critical thinking in architecture that is not confined to isolated blips, but constitutes a well-formed edifice. With a bit of lateral thinking on the part of the students, the lectures should assist them in preparation for both their DRU, the 4th year studio project, and their Masters level studies. With these lectures as examples, the students should be able to think their way through a selfdirected innovative design project or series of projects that can be synthesised as an architecture thesis. Lectures will include discussions of: What architectural design research is, what creative practice-based research more generally is; elements of a research project including objects, aims, context, methods, questions; different forms of research, practice; How to develop your own research agenda that may – for instance – lead to a manifesto-like statement of intent (i.e., your critical reflection); How to develop and sustain your own discourse (your principle ideas, agendas, issues; above all your personal clichés, formal and aesthetic preferences, etc.); How site selection and brief writing (narrative) are elements of research; Case studies of creative practice research in architecture and/or the visual arts; Drawing as process; Writing and creative writing as part of the design process; What’s so stuffy about globalisation. At the end of the lecture course, the students will be asked to attend an introduction to the 5th year M.Arch. Thesis units and to select one that they think will be a good home for their interests. The content from at least one, more, or all of each of the Reclaiming Tectonics, Reclaiming Urbanism, and Reclaiming Modernism lecture courses is expected to be reflected upon critically, elaborated on and/or contested intellectually , and assimilated into your design work. This must be discussed in the Journal and made clearly identifiable. 43

Environment Lecture Course: [Tamer Gado] This lecture course will introduce you to urban environmental psychology, raising critical questions about the relationship between humans and their urban habitat, before moving on to unpick specific case study buildings, exploring how their environmental thresholds mediate the urban environment and explaining the science of environmental comfort and sustainability. Detailed content tbc.

Planning and Development Structures: [Dumiso Moyo / Kirsty Macari] Digital resources exploring the planning context (including recorded lectures and/or invitations to relevant live events etc.) will be made available through MyDundee.

Management Practice and Law: [Yorgos Berdos] Content and Coursework tbc. Content of the Environment and Planning and Development Structures courses is expected to be reflected upon critically, elaborated on and/or contested intellectually, and assimilated into your design work. This must be discussed in the Journal and made clearly identifiable. Management Practice and Law will be assessed through its own submissions.

‘Case-Studies’ [Andy Stoane + Guests] The lectures are principally (but not always) an opportunity for staff to share with you their detailed knowledge of specific buildings or urban complexes which they have studied intently. Presenters will attempt to disarticulate their subject’s socio-political, urban, morphological, typological, formal, spatial, programmatic, technical and contractual ideas and ramifications. Through this process of reverse-engineering, it is hoped you will further develop your understanding of the symbiosis of cross-scalar and cross-modal thinking in architectural design. The following lectures will be delivered. They may be subject to change, or hopefully addition if time allows and more staff take the opportunity. 1. THE PRUITT IGOE MYTH [SCREENING]: In his 1977 book The Language of Post-Modern Architecture. postmodern theorist Charles Jenks polemically used the demolition of the giant 32-building Pruitt-Igoe public housing complex in St. Louis, Missouri, designed by World Trade Centre architect, Minoro Yamasaki, to symbolise the death of modern architecture and to launch its replacement, postmodernism. In the Filmmakers’ words: “The world-famous image of its implosion has helped to perpetuate a myth of failure, a failure that has been used to critique Modernist architecture, attack public assistance programs, and stigmatize public housing residents. The Pruitt-Igoe Myth seeks to set the historical record straight. To examine the interests involved in Pruitt-Igoe’s creation. To re-evaluate the rumors and the stigma. To implode the myth.” (http://www.pruitt-igoe.com). Through rare archival clips and interviews with residents, the film offers essential insights into the politics and policies of large-scale urban renewal, and its effect on the lives of its occupants. 2. THE UNITÉ D’HABITATION, MARSEILLES: One month before he died, Le Corbusier stated “I have for 50 years been studying the chap known as ‘Man’ and his wife and kids. I have been inspired by one single preoccupation: to introduce into the home the sense of the sacred; to make the home the temple of the family”. Described by Professor Jacques Sbriglio as “among the world’s greatest architectural works”, Le Corbusier’s Unité d’Habitation refuses to melt into history, its social innovation, architectonic substance and attitude toward mass housing and density being as relevant today as it was upon completion in 1952. Andy Stoane will draw on thirty years of personal obsession with this building, attempting to unpick its enduring global importance. 44

3. CUMBERNAULD MEGASTRUCTURE: Around 70 miles from this school lies a town, coveted in 1967 with an award from the American Institute of Architects, for the “most significant current contribution to the art and science of urban design in the western world”. The town centre at Cumbernauld, built as part of the Scottish New Towns programme, contained shops, supermarkets, a bus station, multi-level parking, pubs, restaurants, community facilities, a library, a town hall, a nightclub, a bowling alley, duplex penthouse apartments....yet this civic programme was not laid out in a pattern of streets and blocks, but was contained within a colossal concrete frame, connected via ramps escalators, bridges, and a hierarchy of connecting infrastructures navigating its covered spaces, open spaces and terraces. The frame was indeterminate, open and accessible 24 hours, with multiple ways in and out. Described by Rayner Banham as “…the most convincing paradigm we have of what an urban megastructure should be“, the town instantiated the urban concept of megastructure years before the projects of Kenzo Tange, Fumihiko Maki and Archigram, to whom it is often attributed. Andy Stoane first visited the megastructure as an architecture student in the late 1980s and has continued to do so ever since. He will unravel, through a series of personal reflections, its social, political and architectural history - an often tragic tale of epic proportions, through which architecture’s continual struggle to reconcile ideas of vision with political conciliation are played out quite literally in concrete form. 4. [TBC] LAFAYETTE PARK, DETROIT: Professor Graeme Hutton will discuss the planning and architecture of this seminal urban complex, completed in 1959 as a collaboration between Mies van der Rohe, Ludwig Hilberseimer and landscape designer Alfred Caldwell. A descriptor will be issued at a later date. 5. CCTV. BEIJING: Lorens Holm A descriptor will be issued at a later date. 6. THE NEW ART GALLERY, WALSALL: Helen O’Connor will discuss the building’s material, spatial and structural language, which challenged the accepted architectural orthodoxies of its time. Made at the outset of Caruso St John’s careers in independent practice, and won in open competition - the new art gallery represented an opportunity to embody complex ideas in physical form – the result is an intricate composition of architectural references from a west-midlands leather factory, to the Palazzo Vecchio, to an Elizabethan country house, the whole underpinned by a reading of Adolf Loos, via the Smithsons and enriched by an appreciation of radical, contemporary art practice. It’s a building which revels in its messy, post-industrial landscape and creates a new recognisable civic form in dialogue with which the existing. 7. THE BARBICAN: Andy Stoane will discuss his recent research into London’s Barbican Complex. Publicly funded and council-built, the Barbican was built as a drive to increase the residential population of the inner city in a time of urban retrenchment. An example of a “hybrid,” it contains a public arts-orientated “artificial” podium, with three forty-storey residential towers and a series of seven-storey residential slab blocks with a residential population of over six thousand in its fourteen hectare site - a population density three times that of most of central London. Its contains more than twenty different public programmes, two large residential squares and had a car free site. It took almost twenty years to build, bridging five changes in UK administration and seven different Prime Ministers, yet the Barbican was designed and constructed by a single firm of architects, Chamberlin, Powell and Bon, who controlled everything, from the disposition of its complex programme, to the nuances of its highly bespoke tectonic details, materials, fixtures and fitments.

The Journal is a vital piece of work, for both skill development and assessment. As implied in the name, it should be a continual reflection on your intellectual activities. However, it differs from some conventional journals in that it must eventually be concretised and presented as a conclusive, beautifully curated piece. It will contain a mix of research, survey, manifesto, hypothesis, and design information, all of which will continually evolve through the process of assembling it. In this way, it will simultaneously serve as a generative and representative medium. You will be required to submit journal drafts at various points through the semester. While these are punctuated moments of completion, the journal should be treated as an ongoing exercise in collecting, editing, and curating your work. Alongside your exhibitions, the journal will be used as a vital part of the assessment of your coursework. Effectively curated, it will allow examiners to see how the various pedagogical components of the course have been reflected on intellectually, elaborated, contested, subverted, or combined, and how the learning from them has been integrated into your design projects. It is therefore essential that the journal identifies and discusses what you have learned from all the course material, and that it is able to clearly demonstrate, through sophisticated editing and curation, your intellectual journey through the whole year. The journal will exist as a two volume set. It must contain text and images. It must be thoroughly considered editorially and graphically. It must be professionally bound and must have consistent size, format, binding and graphical language across both volumes. Its size and style are your decisions, but please consider very carefully how size and style affect communication. Remember, the journal and the pin-up exhibition are very different forms of media. The journal is sequential and narrative-driven, while the exhibition is immediate and impactful. You should embrace the communicative opportunities available within each. The journal should be fully edited and re-curated conclusively at two key points: 1. At the end of semester 1 (submission of Volume 1). This volume will include sections on: Questions [your elaboration of the key studio questions]. Theoretical Research and Analysis [how these questions are nuanced by theory]. Empirical Research and Analysis [how these questions are nuanced by field(s)]. Construction of an Urban Hypothesis {to contextualiseyour design project]. Testing the Hypothesis [through an urban strategy]. Instantiation [the logics for selection of fragments to further test the urban hypothesis at the architecture-scale]. 2. At the end of semester 2 (submission of Volume 2). This volume will include sections on: Detailed Instantiation [of the strategy at architecture-scale, through resolution of the fragments]. Detailed Instantiation [of the architecture at tectonic-scale, through tectonic elaboration of the subfragments].

The text from both volumes of the journal will be plagiarism-checked. Content from at least one, more, or all of each of the Reclaiming Tectonics, Reclaiming Urbanism (S1), and Reclaiming Modernism (S2) lecture courses is expected to be reflected upon critically, elaborated on and/or contested intellectually , and assimilated into your design work. This must be discussed in the Journal and made clearly identifiable. Content from the Environment and Urban Policy lecture courses is expected to be reflected upon critically, elaborated on and/or contested intellectually, and assimilated into your design work. This must be discussed in the Journal and made clearly identifiable. 46

The Manifesto and the Survey Robert Venturi and Denise ScottBrown’s Learning from Las Vegas (top), and Oswald Mathias Unger’s The City in the City, Berlin: A Green Archipelago (with Rem Koolhaas, Peter Riemann, Hans Kollhoff, and Arthur Ovaska)

Journal Excerpts. Left, volume 1; right, volume 2. HOUSING FUTURES THE PARADOX OF THE SPECIOUS CITY

STUDIO A: SHANGHAI SEMESTER 1 JOURNAL ELLIOT REILLY

12-16: Research: Field

24-41: Research: Theory

48-62: Field Case Studies

63-73: Shanghai Old Town

74-81: Repairing the Fabric

82-99: Repair and Revanchism

At the beginning of this journal I aim to provide an overview of our research field and convey my personal take on what I took from the field.

This chapter of the journal reflects on the theoretical study we, Studio A, conducted as a group to further enhance our knowledge on the theorists and architects who we believed were relevant to our project.

A brief insight into our research field, Shanghai and our study trip to London. I explore both cities and their economic background, giving an understanding as to why they look the way they do and operate in the manner in which they have for the past decades.

Having touched on Shanghai as a Global City. I begin to dive deeper into the existing Old Town Fabric. Asking the questions: Why are families being displaced? Where do they go? How bad are the conditions in which they currently inhabit?

The first of our strategic developments. Consisting of a 3 day long charette project in Shanghai, in collaboration with the students of Tongji University, we explored different approaches in tackling the issues of The Old Town.

As stated in the title of the last chapter, we developed our final strategy around the two main interventions. I will provide an in depth analysis into both interventions and how we developed our hypothesis.

Through my study of these architects and theorists, I will critically reflect on them at several points during my journal.

It is through answering these questions I will attempt to develop an architectural strategy to combat these issues.

章節 3

Shanghai’s Past and Expected Growth

The Old Town, which is the traditional urban core of the city is located in Huangpu District, Shanghai, The circular area of a 2km diameter, enclosed by Renmin

Road

and

Zhonghua

Road, houses 180,000 people. With people experiencing as little as 10m2^2. Located in the heart of Shanghai, the Old Town is the origin of Shanghai’s development from a seaside fishing port to a modern city. Drawing on our research of 1.01

continuity of fabric (mats), we can

1.02

morphological patterns involving make a clear correlation between the mat pattern and a specific form of political economy that involves collective operation and social collaboration.

MAPS BASE DATA FROM COLLABORATION WITH TONGI UNIVERSITY, SHANGHAI

1.06

1.05

1.03

1.04

MAPS BASE DATA FROM COLLABORATION WITH TONGI UNIVERSITY, SHANGHAI

HOUSING: A MASS PRODUCED ‘PRODUCT’ Along with Le Corbusier, there were

Corb and Fuller were trying to incorporate

Golden Lane Estate was a direct response

It is the task of this studio to bring this sense of collectivity and

other post-war architects keen to provide

the same means of production into the

to the destruction caused in that area of

community back into the heavily gentrified Shanghai Old Town. I will

mass produced, affordable housing in an

housing market, society was still unable

London during the War. Based on Corb’s

proceed to explore strategies in order to do so and explore different

attempt to solve the housing crisis. One

to accept the house as a ‘product’ in the

model of housing, Golden Lane Estate and

ways in which they can be implemented into the existing Old Town

being, Buckminster Fuller. Known for his

same way as a car. Unlike a car, housing

many other housing developments like

fabric. One through points of Repair throughout the fabric and one

technological driven designs, Fuller, like

was still craft based and without readily

it, were the last of their kind to exist as

through points of Revanchism.

Corbusier, wanted to design an affordable

available materials, housing could not be

the Keynesian era of economics came to

product that could be leased to families

mass produced. As well as the lacking

an end and a new era was introduced by

in the same way a car could. His most

technological advances pre-World War 1.

Margaret Thatcher with the introduction of the Right to Buy policy, which gave

prominent example being the Dymaxion House, designed in the late 1920’s, however

It was not until after World War 2, when

council tenants the opportunity to buy

it was not built until 1945. “The word

and

their house from their local authority. As

“Dymaxion” was coined by combining

materials were available, housing was able

a result, many developments originally

parts of three of Bucky’s favorite words:

to respond directly to the urgent need

provided by the local authorities became

advanced

technologies

and

of a post-war generation of families. This

run down and abandoned due to a lack of

ION (tension). The house used tension

came in the form of Le Corbusier’s Unite

government intervention. It was this exact

suspension from a central column or mast,

D’Habitation, Marseille, built between 1947-

moment that brought to an end the last

sold for the price of a Cadillac, and could be

1952 as well as many housing developments

Social Age of Architecture.

shipped worldwide in its own metal tube.”

in the U.K.

(dynamic),

MAX

(maximum),

particularly in London. One

(J. Baldwin) Unfortunately, neither Corb’s

example from this keynesian era is Golden

It was this end of Social urgency in

Citrohan House or Fuller’s Dymaxion

Lane Estate, London. Built during the

architecture that brought about a new

House took to the market in the same way

1950’s-60’s, when social housing was at

era of architecture, one that has since not

Ford’s automobile did. But why? Although,

the top of the agenda for the country,

promoted the same sense of community.

fig. 2.16, Buckminster Fuller, Dymaxion House, 1945

fig. 2.15, Le Corbusier, Citrohan House, 1929

SANLIN CITY Similar to Zhongyuan Liangwan, Sanlin City is a product

still rife throughout the Old Town. The atavistic nature of this settlement is reminiscent

of the liberalisation and globalisation of the free market

of a traditional soviet social condenser, where those living there are forced into a

within the Chinese government during the 1970’s.

specific way of life without any real sense of collectivity. The same collectiveness that

Rather than high rise blocks, Sanlin was developed at a

comes naturally to the residents living in the existing Old Town fabric.

3.03 Sanlin City, Communal Loggia and Green Space 3.04 Sanlin City, Public Route 3.05 Sanlin City, Shared Garden Space for

smaller scale, with the aim of encouraging interaction

Residential Block

between residents. These residents being those who would have been moved there as a result of the gentrification throughout the city at the time. Although Sanlin promoted the idea of community living through the mix of residential and public, green space, its success was minimal and the lasting effect of this was apparent during our visit. My first thoughts upon arrival were mixed. When viewing the community from outside, it seemed very secluded and private. (the opposite of what it was intended to do) However, when walking through the development, it was clear there had been an attempt to provide the residents with mixed use programmes

of there programmes that the development lacked in

3.05

3.03

exercise equipment. It was, in my opinion, as a result

3.04

including: a community hall, communal gardens and

a sense of ‘community’. The same sense of community 53

180,000

REPAIR AND REVANCHISM

A few pages from one of 2019/20’s journals. Please note that, while the journal is a heavily curated document, you should show iterative design development work in it. You can photograph and include more “messy” experimental material, which you should also keep in a portfolio for consideration by examiners.

Old Town residents

kilometer Fuxing Road

halves of a divided community

Journal [Volume 2]

RECLAIMING THE SHANGHAINESE COURTYARD by Elliot Reilly 1

6-13: Why Repair?

14-33: Case Studies

34-55: Outline Design Development

60-91: 3-Dimensional Matrix

92-101: Environmental Strategy

Chapter one is dedicated to providing an explanation as to why I have chosen the style of intervention I have and a brief over view of both Calum Ramsay’s and Mishell Parodi’s strategies.

Much like Volume 1, I have prioritised a chapter of this journal for detailed analysis of Case Studies.

Here I display my early design strategies through model making and sketches. I have analysed both in detail and drawn conclusions based on a variety of arrangements and conditions.

Upon making my final design decisions, I have used chapter 4 to procure my final drawings and illustrations which best convey my design based on the conclusions I arrived at in the previous chapter.

Chapter 5 is where I take the opportunity to display a series of environmental strategies and detailed drawings. Here, I break down conditions at an Urban scale as well as looking closely at conditions created by specific house types.

To conclude my journal, I use the last chapter to discuss my findings.

I have chosen a variety of projects from various locations with the intention of learning how other cultures approach similar situations.

102: Yield

章節 3

Hangzhou Housing Project,

Aerial View

order

develop

a more in depth

understanding on the current socio-political environment in China, I have analysed a number of contemporary examples of projects which have strived to maintain a similar sense of Collective living to that within the Old Town.

Although the pre-existing conditions differ between each project, the underlying issue is the same:

How can a modern typology reinstall a sense of Collective Living? A style of living which is fundamental to the success of the community.

案例分析 CASE STUDY: HANGZHOU

02 15

MODEL ARRANGEMENT

Matrix [Arrangement 2] It was crucial for me, in order to understand the spacial qualities of the space created as a result of the form of each house type, that I modelled each type as a solid at a scale of 1:100. In doing so, informed me of the overall form depending on the specific arrangement of types. Before planning out each house type I would allow the form of each arrangement to

Elevation variations Model Development (Floor by Floor)

determine each floor plan. This

particular

arrangement

successfully

aided me in focusing on what conditions worked well and what conditions did not work practically.

Although the Old Town fabric fails

provide

living

standards, the local residents are still able to maintain a collective style of living. The very style of living that is being destroyed through the act of government intervention. In an attempt to preserve this pluralistic way of life, I propose a Sub-Enlcave.

This Sub-Enlcave is based on a 3.2mX3.5m grid and will produce a series of conditions

that

will

repeated throughout the site in order to replicate the collective style of life in the Old Town.

First Floor:

SUB-ENCLAVE

Where, on the Ground Floor, I introduced

Consisting of 11 properties, each Sub-Enclave

collective

spaces

through courtyards, I adopt a similar

can provide housing to between 25-30 people.

technique on the First Floor. However,

With this dense arrangement, I was able to limit

it was crucial that I maintained a

the height of each Sub-Enclave to no more

sense of permeability on the vertical

than 3 storeys to maintain a level of collective

axis to allow for enough sun light

living that, in my opinion, would otherwise be

and to provide a visual connection

lost if I exceeded a height of 10 meters.

between the floors.

Ground Floor:

I achieved this connection through

The Ground Floor arrangement consists

the use of the Void. As an architectural

of 2 property types. With the living spaces

device, the void provides a sense of

orientated towards a central courtyard, both

openness as well as forming a visual

property types can take full advantage of a

relationship between the residents

shared space. These courtyards, although

on either side.

used by the residents of the house directly off of it, can also be accessed by residents of the

Providing

floors above in order to use the external stair

view

towards

the

perimeter of the Sub-Enclave are the

situated just off centre. Each stair then leads to

exterior patios off of the bedrooms

the floor above, providing sufficient access for

of each type. Each patio provides

those residents occupying the upper floors.

the bedrooms with both enough sunlight and privacy needed for a bedroom. 75

S U B - E N C L AV E C O U RT YA R D 73

T H E

E X H I B I T I O N S

Typically, you would be asked to present work as an exhibition at two key points in the year, toward the end of semester 1 and the final exhibition that forms part of the degree show in semester 2. These exhibitions ordinarily form part of your assessment. This year, there is of course uncertainty surrounding the organisation of physical exhibitions due to the necessity of social distancing, limited use of workshops, and difficulty in printing. In the event of no physical exhibitions taking place, contingencies, involving digital exhibition of work, will be implemented. You will be updated on this throughout the year.

I n s t a l l a t i o n

University of Edinburgh, 2018 MArch show exhibitions. Clockwise from top: 1, 2, 3: Island Territories V: Havana, Re-Making Islands, Dismantling Insularity. Tutors: Adrian Hawker and Victoria Clare Bernie. 4. Para-Situation [Calcutta / Kolkata]. Tutor: Dorian Wiszniewski.

C a r t e s i a n

University of Dundee, 2019/20 digital exhibition boards. Top: Tong Lichong, Metabolic Community. Bottom: Michell Parodi, Repair and Revanchism: The Lilong Revival.

While the opportunity to produce illuminating, and communicative physical installation work (as illustrated opposite) may not be possible due to spatial restrictions brought about by Covid19, we hope you will take the opportunity to rise to the challenge of producing equally stimulating exhibition material in the digital realm. While conventional panels will always be necessary to communicate Cartesian conventions(as above), you might also consider experimenting with video, film, animation or other digital processes.

D i g i t a l

https://www.flickr.com/photos/ volumina/3369914379/in/set72157615681580498/

https://studyarchitecture.com/blog/architecture-news/the-makers-arctic-lidar-video-installation/

https://www.pinterest.nz/ pin/221380137909156588/

Lucas Samaras, mirrored room 1966 https://www.pinterest.nz/ pin/559713059923727898/

Reading

Design Research: Fraser, Murray., Design Research in Architecture: An Overview, Abingdon, Routledge, 2016. Lucas, Ray., Research Methods for Architecture, London, Laurence King, 2016. Urban Theory: The following list is broad, diverse but non-exhaustive range of notable texts on urban theory. The texts include classics such as Lefebvre, contemporary discourse such as Brenner, and important specific categories too pervasive to ignore, such as gentrification, infrastructure and the housing crisis You should select a few to read by reading synopses and ascertaining relevance to your particular studio. Studio-specific reading materials will be included in your studio briefs. Coleman, Nathaniel, Lefebvre for Architects, Abingdon, Routledge, 2015. Kofman, Eleonore, and Lebas, Elizabeth. (Eds.). Henri Lefebvre, Writings on Cities, Oxford, Blackwell, 1996. Lefebvre, Henri. The Production of Space, Oxford, Blackwell, 1991. Castells, Manuel., Borja, Jordi. Local & Global: Management of Cities in the Information Age, London, Earthscan, 1997. Arendt, Hannah. The Human Condition, Chicago, University of Chicago Press, 1958. Brenner, Neil. New Urban Spaces: Urban Theory and the Scale Question, New York, OUP USA, 2019. Brenner, Neil, Marcuse, Peter, Mayer, Margrit. (eds). Cities for People, Not for Profit: Critical Urban Theory and the Right to the City, Abingdon, Routledge, 2011. Simmel, Georg. The Metropolis and Mental Life, 1903, http://www.blackwellpublishing.com/content/BPL_Images/Content_store/Sample_chapter/0631225137/Bridge.pdf Certeau, Michel de. The Practice of Everyday Life, Los Angeles, University of California Press, 1984. Harvey, David. Spaces of Hope, Edinburgh, Edinburgh University Press, 2000. Harvey, David. Social Justice and the City, London, Edward Arnold, 1973. Marcuse , Peter, Connolly, James, Novy, Johannes, and Olivo, Ingrid, Potter, Cuz, and Steil, Justin. (Eds.). Searching for the Just City: Debates in Urban Theory and Practice, Abingdon, Routledge, 2011. Kaminer, Tahl. The Efficacy of Architecture: Political Contestation and Agency, Abingdon, Routledge, 2017. Marcuse, Peter., Madden, David. In Defense of Housing: The Politics of Crisis, London, Verso, 2016. Ryan-Collins, Josh, and Macfarlane, Laurie. Rethinking the Economics of Land and Housing, London, Zed, 2017. Smith, Neil. The New Urban Frontier: Gentrification and the Revanchist City, Abingdon, Routledge, 1996. Hughes, Jonathan, and Sadler, Simon. (Eds.). Non-Plan: Essays on Freedom, Participation and Change in Modern Architecture and Urbanism, New York, Architectural Press, 1999. Leach, Neil. (ed.). Rethinking Architecture: A Reader in Cultural Theory, Abingdon, Routledge, 1997. (particularly Jameson’s Is Space Political? and Leach’s Architecture or Revolution). Aureli, Pierre Vittorio. The Possibility of an Absolute Architecture, Cambridge, MIT Press, 2011. Bunschoten, Raoul. Urban Flotsam: Stirring the City, Rotterdam, 010 Uitgeverij, 2000. Adorno, Theodor, and Horkheimer, Max. Dialectic of Enlightenment, London, Verso, 1997. Benjamin, Walter. The Arcades Project, Cambridge, Harvard University Press, 2002. Desimini, Jill, and Waldheim, Charles. Cartographic Grounds: Projecting the Landscape Imaginary, New York, Princeton Architectural Press, 2016. MIT Center for Advanced Urbanism, Scaling Infrastructure, New York, Princeton Architectural Press, 2016. Larkin, Brian. 2013, “The Politics and Poetics of Infrastructure,” Annual Review of Anthropology Vol. 42. Koolhaas, Rem. Delirious New York: A Retroactive Manifesto for Manhatten, New York, Monacelli Press, 1994. Koolhaas, Rem., Mau, Bruce. S,M,L,XL, Rotterdam, 010 Publishers, 1995. Essays: Exodus, or the Voluntary Prisoners of Architecture; Bigness, or the Problem of the Large; What Ever Happened to Urbanism?. Project: Surrender, Ville Melun-Sénart, France, 1987. Koolhaas, Rem., Obrist, Hans Ulrich. Project Japan: Metabolism Talks, Cologne, Taschen GmbH, 2011. Hertweck, Florian., Marot, Sébastien. The City in the City, Berlin: A Green Archipelago, Zurich, Lars Müller, 2013. Venturi, Robert, Scott Brown, Denise, and Izenour, Steven. Learning from Las Vegas, Cambridge, MIT Press, 1972. Rossi, Aldo. The Architecture of the City, Cambridge, MIT Press, 1984. Rowe, Colin, and Koetter, Fred. Collage City, Cambridge, MIT Press, 1978.

Reading

Design Research: Fraser, Murray., Design Research in Architecture: An Overview, Abingdon, Routledge, 2016. Lucas, Ray., Research Methods for Architecture, London, Laurence King, 2016. Urban Theory: Please refer to AR41001 module guide and the coursebook. Architectural, Tectonic and Material Theory: You should select a few to read by reading synopses and ascertaining relevance to your particular studio. Studio-specific reading materials will be included in your studio briefs. Hartoonian, Gevork. Crisis of the Object: The Architecture of Theatricality, Abingdon, Routledge, 2006. Boom, Irma. Rem Koolhaas. Elements of Architecture, Cologne, Taschen, 2018.Paredes Maldonado, Miguel. Ugly, Useless, Unstable Architectures: Phase Spaces and Generative Domains, Abingdon, Routledge, 2019. Frampton, Kenneth. A Geneology of Modern Architecture: Comparative Critical Analysis of Built Form, Lars Müller, Zurich, 2015. Spencer, Douglas. The Architecture of Neoliberalism: How Contemporary Architecture Became an Instrument of Control and Compliance, London, Bloomsbury, 2016. Semper, Gottfried. Style in the Technical and Tectonic Arts, Or, Practical Aesthetics. Los Angeles, Getty Publications, 2004. Cairns, Graham. Reflections on Architecture, Society and Politics: Social and Cultural Tectonics in the 21st Century, Abingdon, Routledge, 2018. Forty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture, London, Thames and Hudson, 2004. Hartoonian, Gevork. Ontology of Construction: On Nihilism of Technology and Theories of Modern Architecture, Cambridge, Cambridge University Press, 1997. Coleman, Nathaniel. Utopias and Architecture, Abingdon, Routledge, 2005. Colomina, Beatriz. Privacy and Publicity: Modern Architecture as Mass Media, Cambridge, MIT Press, 1996. Forty, Adrian. Concrete and Culture: A Material History, London, Reaktion Books, 2016. Drawing and Technical: Lewis, Paul and Tsurumaki, Marc. Manual of Section, New York, Princeton Architectural Press, 2016. Leupen, Bernard and Mooij, Harald. Housing Design: A Manual, Rotterdam, NAi Publishers, 2008. Schneider Dritte, Friederike and Auflage, Heckmann, Oliver and Schneider, Friederike. Floor Plan Manual, Housing. Birkhäuser, 2011. Atelier Bow-Wow (Yoshiharu Tsukamoto and Momoyo Kaijima). Atelier Bow-Wow - Graphic Anatomy 2, Tokyo, Toto, 2014. (and/or Graphic Anatomy 1) Waldheim, Charles, Desimini, Jill, Mostafavi, Mohsen. Cartographic Grounds: Projecting the Landscape Imaginary, New York, Princeton Architectural Press, 2016.

MODULE Module Guides are also contained independently

E GUIDES

within the relevant module sections of MyDundee.

AR41001 Urban Theory, Analysis and Strategy (30 Credits)

MArch Year 4 BA (Hons) Architectural Studies Module Guide

Chora / Raoul Bunchonten, A Dynamic Masterplan for the City of Berlin

The City and its Social Field ‘Change life!’ ‘Change society!’ These precepts mean nothing without the production of an appropriate space . . . to change life . . . we must first change space. Henri Lefebvre, The Production of Space

Content Overview A key part of the study of cities is the understanding of the theories that seek to explain the process of urban areas including those that deal with the spatial consequences of new forms of development through design research. This module explores the ideas of important urban thinkers and related theories to uncover a range of diagnoses for urban problems which have been offered in the literature, both historic and contemporary examples. The emphasis is both in the analytical power of these theories and their policy, planning and architectural implications. The module also examines the institutional structures and practices which are used in planning and managing cities and how these interventions impact on the fortunes of urban areas. Students study an existing city enclave within its wider context (physical, historical, economic, political) and generate strategic proposals. Aims    

To introduce students to urban theories, their relationship to and potential application in the development of urban strategy. Developing understanding of the historical, political social economic and physical context of the city, the relationships between people and buildings, buildings and the environment. To develop students critical understanding of the structure purpose and role of planning in the development process To facilitate and encourage skills in development and communication of creative strategies for urban design, how to identify key problems/issues and propose responses which address the city context at macro, intermediate and detail scales.

Method Using a combination of group work and individual work, through theoretical investigation, empirical survey, mapping, case study analysis and other forms of analysis, students will build up a picture of various phenomena affecting cities and their social fields. By operating across disciplinary boundaries and bringing research to bear on operational fields, they will test different methods of engagement with urban territories in accordance with their emerging interests and preoccupations. Through this process, students will glean critical intelligence which can be used to make hypotheses built on intellectually rigorous speculations on futures for urban environments. These hypotheses will be tested through a detailed urban strategy.

Assessment Stages Semester 1

Students must submit and attend all assessments in order to pass the module

The course provides a pedagogical umbrella over the year, while individual studios provide disciplinary and thematic focuses. The first stage will be carried out in groups, whereas the stages thereafter will likely develop into individual work. However, the option of small groups or pairings is also maintained across the whole year. While work stages and modules can be identified separately in terms of learning outcomes and assessment, it is important to remember that successful projects are expected to synthesise the entire year’s work, without losing sight of any of the operational scales or modes.

Stage 1 The beginning of research: Students will read, question, investigate, collect, discuss, debate, test, write, draw and model. As with any research studio, the work will be carried out collaboratively and tasks distributed among studio members. All data and other information will be shared and subgroups formed based on emerging interests and strains of enquiry. The operational studio work in this stage will be contained within the defined research contexts of the studio briefs, brought into focus through theoretical texts and case studies, upon which students will reflect and expand. Through expansive research and discussion with tutors and peers, students will begin to formulate critical views on the urban issues under investigation. Stage 2 In sub-groups, these critical views will be brought to bear on real urban fields. Using a combination of physical (where possible) and digital field work, students will comprehensively study both the totality of a city and fragments of it as defined by their own ongoing research. They will develop an understanding of the history, morphology, political, social and cultural operations in their urban fields and will analyse, key pieces of architecture existing as part of the socio-urban complexions. They will present and discuss new scenarios of various changes, interventions, issues and challenges, and will critique current development scenarios. They will begin to hypothesise on futures. Stage 3 Students will make detailed spatial propositions at an urban-scale (recommended scale 1:1250 - 1:500 maximum). Work from stages 1 and 2 will be synthesised and hypothesised through real sites in the urban field and will develop into operational strategies for engagement and intervention in the city and its cycles, processes and social operations. Stage 4 Building on the previous stages, students will begin to make fully resonant detailed instances (recommended 1:500 - 1:200) of a portion (a fragment) of their urban-scale strategy. By the end of the semester, this scale will demonstrate understanding of how urban life might operate in and around propositions, making a clear strategic argument for reciprocities between architectural space, form and social organisation.

City-scale thinking through models and drawings - sampling cubes (left) and transect analysis (right). Cube: Wang Lei, Qiaoyi Wu, Chao Wei, Changda Guo, Shuo Cheng, Jinghui Chen Photo: Neil Verow.

Learning Outcomes:

All outcomes must be passed in order to pass the module

Assessed Outcomes

Through a design journal and exhibition, students will demonstrate: A knowledge and critical understanding of urban theory and its relationship to contemporary urban design, planning and management. An understanding of the impact of historical development, the physical, economic, social, political and cultural context on the shape of the contemporary city. An understanding of planning and development management structures and legislation, and the relevance of these to urban development. An ability to develop and communicate appropriate strategic responses to the problems of city enclaves and urban spaces: emphasising the relationship between people and place, and between buildings and the wider environment.

Assessment - Assessment type: 100% coursework. - Students must submit and attend all assessments to pass the module. - All components and outcomes must be passed in order to pass the module. Work will be assessed as follows: 50% on the group work completed at the end of stage 3 assessed through the exhibition. 50% on the individual work completed at the end of stage 4 – assessed through the exhibition and journal volume 1. The ability to use both media effectively will be part of the assessment. The exhibition, whether digital or physical, will contain group work (stages 1, 2 and 3) and individual work (stage 4). Both should be clearly identifiable and the exhibition should be curated to show the relationship between group and individual. The journal is an individually produced document,, however, the group work up to stage 3 will be assimilated into it. How it is assimilated will form part of the assessment. The organisation of the journal should clearly demonstrate how stage 4 work is set up to test the urban hypothesis from stages 2 and 3. The content from at least one, more, or all of each of the Reclaiming Tectonics and Reclaiming Urbanism lectures should be reflected upon critically, elaborated on and/or contested intellectually, and assimilated into the hypothesis. This will be discussed in the Journal and made clearly identifiable. Similarly, propositions are expected to build on and integrate content of the Environment and Urban Policy lectures.

Any work iterations, process work or other work not included in the journal must be kept and be made available for assessment. Hypothesising on an urban future of uncontrolled growth of cities: Mélun Senart New Town competition, OMA, 1987. A series of carefully orchestrated voids, from which the “averagecontemporary-everyday ugliness of current European-AmericanJapanese architecture” is banished, “irrigate the city with potentials” to stimulate different programmes and patterns of growth. See: “Surrender, Ville Nouvelle Mélun-Senart, France, 1987” – in R. Koolhaas and B. Mau, SMLXL, Rotterdam, 010, Publishers, 1995,

Exhibition Complete Critical Reflection Submission

Monday: Meeting/lecture [AS]

Thursday: Tutorial Publication Final Submission

AR40007

Week 27

Week 28

Half Draft Submission

Thursday: Tutorial Tuesday: Lecture [LH]

Monday: Meeting/lecture [AS] 11.00

Week 18 21 Feb

Thursday: Tutorial

Tuesday: Lecture [LH]

Mid Review

Week 17 14 Feb

Tuesday: Lecture [LH]

Review

Abstract 300+ image submission

Tuesday: Lecture [LH]

Thursday: Tutorial

Tuesday: Lecture [TG] 14.00

Monday: Meeting/lecture [AS] 11.00

Week 16 7 Feb

Thursday: Tutorial Tuesday: Lecture [LH]

Thursday: Tutorial

Tuesday: Lecture [LH]

Thursday: Tutorial

Monday: Meeting/lecture [AS] 11.00

Week 19 28 Feb

Thursday: Tutorial Tuesday: Lecture [LH]

Tuesday: Lecture [YB]

Thursday: Tutorial + Journal V1 Draft Submission

Week 7

Tuesday: Lecture [LH]

Thursday: Tutorial

Monday: Meeting/lecture [AS] 11.00

Week 20 7 Mar

Tuesday: Lecture [LH]

Thursday: Tutorial

Monday: Meeting/lecture [AS]

Week 8

Tuesday: Lecture [LH]

Thursday: Tutorial

Thinking Machine Review

Thursday: Tutorial

Monday: Meeting/lecture [AS] 11.00

Week 22 21 Mar

Final Review / Exhibition

Monday: Meeting/lecture [AS]

Week 10

Tuesday: Lecture [LH]

Thursday: Tutorial

Week 21 14 Mar

Tuesday: Lecture [LH]

Thursday: Tutorial

Week 9

Journal V2 Draft Submission

Final Review

Week 23 28 Mar

Humanities Introduction (Day TBC)

Journal V1 Final Submission

Week 11

Exam Week

Week 12

RE PL AC E

Mid Review

Thursday: Tutorial

Tuesday: Lecture [LH]

Thursday: Tutorial

Tuesday: Tech Consult [RD] Studio B 12.30 Studio A 15.30

Tuesday: Lecture [TG] 14.00

Monday: Meeting/lecture [AS] 11.00

Week 15 31 Jan

Tuesday: Lecture [LH]

Tuesday: Lecture [YB]

Thursday: Tutorial

Monday: Meeting/lecture [AS]

Tuesday: Lecture [YB]

Internal and External Exams

Week 26

Tuesday: Lecture [LH] + Introduction

Thursday: Tutorial

Tuesday: Lecture [TG] 14.00

Tuesday: Tech Consult [RD] Studio D 12.30 Studio C 15.30

Monday: Tech Consult [RD] Studio E 09.00 Studio EF 11.00

Monday: Meeting/lecture [AS] 11.00

Week 14 24 Jan

Tuesday: Lecture [LH]

Thursday: Tutorial

Please note: Some lectures may not be presented live. In this event, they will be uploaded to MyDundee.

HT40003

Exhibition Complete Journal V2 Final Submission

Week 25

Week 24

Thursday: Tutorial

Tuesday: Lecture [LH]

Thursday: Tutorial

Monday: Meeting/lecture [AS] 11.00

Semester 2 AR41001

HT40003

AR41001 AR40007

Week 13 17 Jan

Semester 2

Welcome Week

Tuesday: Lecture [LH]

Friday 12.00 Year Introduction for all students.

HT40003

AR40007

Thursday: Tutorial

Monday: Meeting/lecture [AS]

Thursday: Tutorial

Monday: Meeting/lecture [AS]

Thursday 10.0011.00, Library Induction for new students.

AR41001

Week 6

Break

Thursday 10.00 - year introduction for BA Arch Studies students Friday 11.00 – library induction for BA Arch Studies students and new MArch students. Friday 15.00 – year introduction for MArch students. Monday 10.00 - studio assignment and meeting with tutors. Tuesday – lectures. Thursday – tutorials. Monday – group session with Humanities Leader. Tuesday – lectures. Thursday – tutorials. Monday – group session. Tuesday – lectures. Thursday – tutorials. Monday – group session. Tuesday – lectures + HUMANITIES ABSTRACT DUE. Thursday – tutorials. Monday – group session. Tuesday – lectures. Thursday – tutorials. Monday –group session. Tuesday – lectures. Thursday – tutorials. Monday – AR41001 FINAL REVIEW AND DRAFT VOLUME 1 JOURNAL SUBMISSION. Tuesday – lectures. Thursday – tutorials. Monday – group sessions. Tuesday – lectures. Thursday – tutorials. Monday – Assessment Workshop. Tuesday – lectures + HUMANITIES HALF-DRAFT SUBMISSION. Thursday – tutorials. Monday – group session. Tuesday – lectures. Thursday – tutorials. Monday – HUMANITIES THINKING MACHINE MID-REVIEW. Tuesday – lectures + Thursday – tutorials. Friday – FINAL VOLUME 1 JOURNAL SUBMISSION.

Week 5

Week 4

General Activities

Week 3

Week

Week 2

Week 1

Week 0 Welcome Week

Semester 1

Module Timetable

MArch Year 4 BA (Hons) Architectural Studies AR41001 Urban Theory Analysis and Strategy

Tutorials take place on Thursdays in studio. Group discussions and year leader lectures will take place on Mondays online or in the review space. For students working off-campus, video conferencing will be used. Live video-platform lectures will take place on Tuesdays (refer to the master timetable and detailed lecture content in the coursebook).

Reading

EXHIBITION AND JOURNAL

An ability to develop and communicate appropriate strategic responses to the problems of city enclaves and urban spaces: emphasising the relationship between people and place, and between buildings and the wider environment.

EXHIBITION AND JOURNAL

EXHIBITION

An understanding of planning and development management structures and legislation, and the relevance of these to urban development.

An understanding of the impact of historical development, the physical, economic, social, political and cultural context on the shape of the contemporary city.

A knowledge and critical understanding of urban theory and its relationship to contemporary urban design, planning and management.

The Leaning Outcomes:

Where to demonstrate these?

[This is assessed against a demonstration of the quality and effectiveness of editing and executing graphical, textual and artefact-orientated communication and the ability to effectively edit and curate the work into an exhibition and journal with sophisticated understanding and exploitation of both media.]

Your communication – generative and representative. [Embedded in all LOs]. The work …

Your insight into how the strategy frames architectural thinking and your imaginative and thoughtful representations of this. The work is …

Your skills in using graphical and modelling techniques to explore and develop key pieces of the urban strategy – bringing highly skilful and insightful new focus on spatial, social and tectonic questions. The work is …

Your skills in assimilating the group/sub-group work into an individual narrative.

Your skills in developing a clear, rigorous and original strategy which will allow the hypothesis to be tested. The work is …

Your understanding of planning and development management structures and legislation, the formation of a critical position toward these, and your ability to build from this a robust hypothetical argument. The work is …

Your ability to productively synthesise this field work with other empirical research and your theoretical research, with originality and insight in moving toward an urban hypothesis. The work is …

Your understanding of the historical, morphological, typological, social and cultural operations of your urban field(s). The work is …

How your design work embeds thoughtful, original and insightful critical reflections on the lecture courses, elaborating and nuancing the content through discourse. The work is …

Insightful and resourceful ability to source, analyse and present highly relevant recognised urban theory and to assimilate it into a design hypothesis. The work is …

Unsatisfactory

fails to effectively communicate the project and does not succeed in properly curating an exhibition and/or journal.

C Good

demonstrates satisfactorily edited and reasonably well executed graphical, textual and artefactorientated communication. There is a reasonable attempt to curate the work into an exhibition and a journal, understanding and exploiting both media.

demonstrates good, effective, well edited and skilfully executed graphical, textual and artefact-orientated communication and a good ability to curate the work into an exhibition and a journal, understanding and exploiting both media.

B Very Good

demonstrates very good, effective, well edited and skilfully executed graphical, textual and artefactorientated communication and a very good ability to curate the work into an exhibition and a journal, understanding and exploiting both media.

O NL Y

D Satisfactory

Overall assessment of work submitted.

LEARNING OUTCOME GRADE

Final grades and comments on assessment (continue on separate sheet as necessary).

URBAN THEORY, ANALYSIS AND STRATEGY GRADE

demonstrates excellent, effective, well edited and skilfully executed graphical, textual and artefact-orientated communication and an excellent ability to curate the work into an exhibition and a journal, with sophisticated understanding and exploitation of both media.

A Excellent

STUDENT ………………………………….………… STUDIO …..…. TUTOR …………………..…………

SA M PL E

What, specifically, the submitted project information should demonstrate.

YEAR 4 | ‘OTHERWISE’ | S1 FINAL REVIEW THE CITY AND ITS SOCIAL FIELD

AR40007 Integrated Architectural Design (60 Credits)

MArch Year 4 BA (Hons) Architectural Studies Module Guide

Right: Repair & Revanchism, The Fuxing Hybrid, Calum Ramsay, Dundee, 2019/20. Left: Locust Harvesting Chamber, Ehren Trzebiatowski.

Instantiation: Fragments and Sub-Fragments “Space is social morphology: it is to lived experience what form itself is to the living organism, and just as intimately bound up with function and structure” Henri Lefebvre, The Production of Space.

Content Overview Students will work within self-selecting studio design units to develop a fully resolved, integrated architectural design project; taking ideas through from the strategic to technical and programmatic resolution. Design tutorials and seminars will be supported by a series of technical and professional workshop exercises which develop students’ knowledge and understanding in these areas and aid them in applying this to their studio work. Studio work will be supported by case-study lectures which examine specific examples, highlighting the contextual, programmatic, technical and contractual issues which condition the development of buildings. In parallel a series of management, practice and law lectures and studio exercises develop students’ knowledge and understanding of the professional and legislative context of architecture Aims  To provide an opportunity for students to develop a comprehensive and integrated building design proposition, from strategic ideas to technical resolution, which responds and contributes to a complex urban context.  To underline the integrated nature of the ‘technical’ in design.  To develop students’ understanding of the professional and legislative context within which architecture is practiced. Method Operating within the intellectual armature developed through AR41001 & HT40003, students will test their urban hypothesis through instantiating it at the architectural and tectonic scales. They will make detailed elaboration of an architectural-scale fragment and a series of spatio-technical sub-fragments. Projects will demonstrate complete reciprocity between the different scales of the semesters. Students should demonstrate an understanding of how a single drawn line in the city can be charged with sociospatial content, and when scaled up, will contain multiple layers of tectonic information, serving to not only mediate that socio-spatial content, but to define architectural form. Work at the scale of architectural space, form and tectonics should resonate with work at the scale of the city and beyond. The entire body of work should form a consistent and robust design argument. An Otherwise?

Students must submit and attend all assessments in order to pass the module

Assessment Stages Semester 1+2

Stage 5 Students will develop a project brief and detailed spatial programme for an architectural-scale fragment of their urban hypothesis. They will iteratively undertake the detailed design of the fragment, making graphical and modelled representations showing spatial, social, formal and tectonic information. The work should demonstrate how it is derived from, and contextualised within, the escalating scales of the lineage of their design research. Stage 6 Students will further develop designs through a series of drawings and modelled artefacts that convey both spatio-tectonic thinking and elaborate structural, environmental and tectonic information at a high degree of resolution. The final presentations should demonstrate a spatio-tectonic use of technology and should not simply represent a techno-structural solution. Work should be sufficiently scaled to avoid generic, single layer or highly edited-down floor, wall, roof, and envelope articulation. Work will be assessed relative to ambition, control and precision of technique and material, and demonstration of tectonic sensibility. An environmental strategy should graphically put forward an argument on the place of architectural design in: 1. mediating issues of environmental damage; and in 2. how humans occupy the planet through the built urban environment.

Fragments and sub-fragments: Top:Tong Lichiong, University of Dundee, Metabolic Community, Shanghai, 2019/20; ESALA M.Arch 2018, photo of student degree show models. The Revanchist City and the Urbanisation of Suburbia [Tutors: Tahl Kaminer and Alex MacLaren]. Middle: Waheeda Rasool, University of Dundee, The Mirrored Hybrid, Shanghai, 2019/20; Solano Benitez, Edificio Alambra Bottom: Grafton Architects, sectional model of Bocconi University; unknown.

Learning Outcomes: Through a design journal and exhibition, students will demonstrate: An ability to: generate, apply and communicate a conceptual approach and appropriate architectural strategies based on understanding and analysis.

All outcomes must be passed in order to pass the module

Assessed Outcomes

An ability to: analyse and creatively resolve complex architectural programmes through a coherent process of research, speculation and critical evaluation considering the needs and aspirations of clients, building users, wider society. An ability to: make comprehensive and considered design proposals which respond to the urban context. An ability to: identify research and critically evaluate alternative technological strategies to enable the sustainable and appropriate integration of structure, environment, services, appropriate legislation, materials and construction, within a coherent and well-resolved design proposal. An understanding of: the architect’s role in the processes of procurement, cost control, construction and health and safety legislation, relevant building production and professional practice. An understanding of the nature of professionalism and the duties and responsibilities of architects. Assessment - Assessment type: 100% coursework. - Students must submit and attend all assessments to pass the module. - All components and outcomes must be passed in order to pass the module. Work will be assessed as follows: 85% on the individual project work completed at the end of stage 6 assessed through the exhibition and

journal volume 2. The ability to use both media effectively will be part of the assessment. 15% on Management Practice and Law submissions.

The content from at least one, more, or all of each of the Reclaiming Tectonics and Reclaiming Urbanism lectures should be reflected upon critically, elaborated on and/or contested intellectually, and assimilated into the hypothesis. This will be discussed in the Journal and made clearly identifiable. Similarly, propositions are expected to build on and integrate content of the Environment and Urban Policy lectures.

The text from the journal must be submitted separately as a text document. This will be plagiarism-checked. Any work iterations, process work or other work not included in the journal must be kept and be made available for assessment.

Exhibition Complete Critical Reflection Submission

Monday: Meeting/lecture [AS]

Thursday: Tutorial Publication Final Submission

AR40007

Week 27

Week 28

Half Draft Submission

Thursday: Tutorial Tuesday: Lecture [LH]

Abstract 300+ image submission

Tuesday: Lecture [LH]

Mid Review

Monday: Meeting/lecture [AS] 11.00

Week 18 21 Feb

Tuesday: Lecture [LH]

Review

Mid Review

Week 6

Thursday: Tutorial

Tuesday: Lecture [LH]

Thursday: Tutorial

Tuesday: Lecture [TG] 14.00

Monday: Meeting/lecture [AS] 11.00

Week 17 14 Feb

Thursday: Tutorial Tuesday: Lecture [LH]

Week 16 7 Feb

Tuesday: Lecture [YB]

Thursday: Tutorial

Monday: Meeting/lecture [AS]

Week 5

Tuesday: Lecture [YB]

Thursday: Tutorial

Week 4

Thursday: Tutorial

Tuesday: Lecture [LH]

Thursday: Tutorial

Tuesday: Tech Consult [RD] Studio B 12.30 Studio A 15.30

Tuesday: Lecture [TG] 14.00

Monday: Meeting/lecture [AS] 11.00

Week 15 31 Jan

Tuesday: Lecture [LH]

Thursday: Tutorial

Monday: Meeting/lecture [AS]

Week 3

Internal and External Exams

Week 26

Tuesday: Lecture [LH] + Introduction

Thursday: Tutorial

Tuesday: Lecture [TG] 14.00

Tuesday: Tech Consult [RD] Studio D 12.30 Studio C 15.30

Monday: Tech Consult [RD] Studio E 09.00 Studio EF 11.00

Monday: Meeting/lecture [AS] 11.00

Week 14 24 Jan

Tuesday: Lecture [LH]

Thursday: Tutorial

Week 2

Please note: Some lectures may not be presented live. In this event, they will be uploaded to MyDundee.

HT40003

Exhibition Complete Journal V2 Final Submission

Week 25

Week 24

Thursday: Tutorial

Tuesday: Lecture [LH]

Thursday: Tutorial

Monday: Meeting/lecture [AS] 11.00

Semester 2 AR41001

HT40003

AR41001 AR40007

Week 13 17 Jan

Welcome Week

Semester 2

Thursday: Tutorial

Monday: Meeting/lecture [AS]

Tuesday: Lecture [LH]

Friday 12.00 Year Introduction for all students.

Thursday 10.0011.00, Library Induction for new students.

Week 1

HT40003

AR40007

AR41001

Week 0 Welcome Week

Thursday: Tutorial

Tuesday: Lecture [LH]

Thursday: Tutorial

Monday: Meeting/lecture [AS] 11.00

Week 19 28 Feb

Thursday: Tutorial Tuesday: Lecture [LH]

Tuesday: Lecture [YB]

Thursday: Tutorial + Journal V1 Draft Submission

Week 7

Tuesday: Lecture [LH]

Thursday: Tutorial

Monday: Meeting/lecture [AS] 11.00

Week 20 7 Mar

Tuesday: Lecture [LH]

Thursday: Tutorial

Monday: Meeting/lecture [AS]

Week 8

Tuesday: Lecture [LH] Thursday: Tutorial

Thinking Machine Review

Thursday: Tutorial

Monday: Meeting/lecture [AS] 11.00

Week 22 21 Mar

Final Review / Exhibition

Monday: Meeting/lecture [AS]

Week 10

Tuesday: Lecture [LH]

Thursday: Tutorial

Week 21 14 Mar

Tuesday: Lecture [LH]

Thursday: Tutorial

Week 9

Journal V2 Draft Submission

Final Review

Week 23 28 Mar

Humanities Introduction (Day TBC)

Journal V1 Final Submission

Week 11

Exam Week

Week 12

Break

0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Semester 1

Week

Module Timetable

MArch Year 4 BA (Hons) Architectural Studies AR40007

The timetable will be confirmed prior to week 8.

General Activities

Reading

Design Research: Fraser, Murray., Design Research in Architecture: An Overview, Abingdon, Routledge, 2016. Lucas, Ray., Research Methods for Architecture, London, Laurence King, 2016. Urban Theory: Please refer to AR41001 module guide and the coursebook. Architectural, Tectonic and Material Theory: You should select a few to read by reading synopses and ascertaining relevance to your particular studio. Studio-specific reading materials will be included in your studio briefs. Hartoonian, Gevork. Crisis of the Object: The Architecture of Theatricality, Abingdon, Routledge, 2006. Boom, Irma. Rem Koolhaas. Elements of Architecture, Cologne, Taschen, 2018.Paredes Maldonado, Miguel. Ugly, Useless, Unstable Architectures: Phase Spaces and Generative Domains, Abingdon, Routledge, 2019. Frampton, Kenneth. A Geneology of Modern Architecture: Comparative Critical Analysis of Built Form, Lars Müller, Zurich, 2015. Spencer, Douglas. The Architecture of Neoliberalism: How Contemporary Architecture Became an Instrument of Control and Compliance, London, Bloomsbury, 2016. Semper, Gottfried. Style in the Technical and Tectonic Arts, Or, Practical Aesthetics. Los Angeles, Getty Publications, 2004. Cairns, Graham. Reflections on Architecture, Society and Politics: Social and Cultural Tectonics in the 21st Century, Abingdon, Routledge, 2018. Forty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture, London, Thames and Hudson, 2004. Hartoonian, Gevork. Ontology of Construction: On Nihilism of Technology and Theories of Modern Architecture, Cambridge, Cambridge University Press, 1997. Coleman, Nathaniel. Utopias and Architecture, Abingdon, Routledge, 2005. Colomina, Beatriz. Privacy and Publicity: Modern Architecture as Mass Media, Cambridge, MIT Press, 1996. Forty, Adrian. Concrete and Culture: A Material History, London, Reaktion Books, 2016. Drawing and Technical: Lewis, Paul and Tsurumaki, Marc. Manual of Section, New York, Princeton Architectural Press, 2016. Leupen, Bernard and Mooij, Harald. Housing Design: A Manual, Rotterdam, NAi Publishers, 2008. Schneider Dritte, Friederike and Auflage, Heckmann, Oliver and Schneider, Friederike. Floor Plan Manual, Housing. Birkhäuser, 2011. Atelier Bow-Wow (Yoshiharu Tsukamoto and Momoyo Kaijima). Atelier Bow-Wow - Graphic Anatomy 2, Tokyo, Toto, 2014. (and/or Graphic Anatomy 1) Waldheim, Charles, Desimini, Jill, Mostafavi, Mohsen. Cartographic Grounds: Projecting the Landscape Imaginary, New York, Princeton Architectural Press, 2016.

An ability to make comprehensive and considered design proposals which respond to the urban context.

An ability to identify, research and critically evaluate alternative technological strategies to enable the sustainable and appropriate integration of structure, environment, services, appropriate legislation, materials and construction, within a coherent and well resolved design proposal.

An ability to analyse and creatively resolve complex architectural programmes through a coherent process of research, speculation and critical evaluation considering the needs and aspirations of clients, building users, wider society.

EXHIBITION AND JOURNAL

The Leaning Outcomes:

An ability to generate, apply and communicate a conceptual approach and appropriate architectural strategies based on understanding and analysis.

Where to demonstrate these?

Unsatisfactory

D Satisfactory

Your communication – generative and representative. [Embedded in all LOs]. The work as submitted . . .

Your ability to: 1. engage a higher resolution of design and to understand how this scale resonates with all the others previous; and 2. Use technology to intelligently and critically enable a global design argument: The work as submitted is . . .

Your environmental strategy, putting forward an argument on the place of architectural design in: 1. mediating issues of environmental damage; and in 2. how humans occupy the planet through the built urban environment. The work as submitted is . . .

Your formal articulation, developed and communicated through models, drawings and other means. The work is . . .

Your spatio-tectonic resolution, demonstrated through drawings able to show synthesiised technical and spatial development. The work is . . .

Your structural and tectonic thinking, developed and demonstrated through models, drawings and other means. The work as submitted is . . .

Your spatial organisation at the architectural scale, developed and communicated through plans, sections and other means. The work is . . .

Your development of a sophisticated programme resonant with your urban hypothesis and strategy. The work is . . .

Your appropriate selection of architectural-scale fragments able to instantiate relevant aspects of your socio-urban and socio-spatial thinking and able to intelligently test your own urban hypothesis. The work is . . .

Your iteratively developed response to various urban contexts – social, political, temporal, morphological, typological, technical. The work is . . .

Your contextualisation of the project within your own research / hypothesis / strategy, communicated through edited information from stages 1 – 4. The work is . . .

fails to effectively communicate the strategy and does not succeed in properly curating an exhibition and/or journal.

demonstrates satisfactorily edited and reasonably well executed graphical, textual and artefact-orientated communication. There is a reasonable attempt to curate the work into an exhibition and a journal, understanding and exploiting both media.

B Very Good

demonstrates good, effective, well edited and skilfully executed graphical, textual and artefactorientated communication and a good ability to curate the work into an exhibition and a journal, understanding and exploiting both media.

O NL Y

C Good

Overall assessment of work submitted.

A Excellent

INTEGRATED DESIGN GRADE

LEARNING OUTCOME GRADE

Final grades and comments on assessment (continue on separate sheet as necessary).

STUDENT ……………………………………………… STUDIO …..…. TUTOR ………………..………………

SA M PL E

What, specifically, the submitted project information should demonstrate.

YEAR 4 | ‘OTHERWISE’ | S2 FINAL REVIEW FRAGMENTS / SUB-FRAGMENTS

HT40003 Architectural Humanities 4 (30 Credits)

MArch Year 4 BA (Hons) Architectural Studies

MArch Level 4: HT40003 Humanities 4: critical thinking, thinking machines, and architecture and cities in the history of ideas. Credit Rating

Module Leader

Lorens Holm

Date

August 2020

The principle tasks of 4th year Humanities will be to build a thinking machine, write with it, attend the lectures, and finally, write a short critical reflection that situates your design studio project within the history of architectural ideas. The thinking

Module Guide

machine is the main bit. It is usually a chance to build objects in the School’s Make Labs. This year, access to workshops will be COVID-limited, and we expect that most thinking machines will be digital. ‘Further expanding the already large class of Foucauldian apparatuses, I shall call an apparatus [dispositif] literally anything that has in some way the capacity to capture, determine, intercept, model, control, or secure the gestures, behaviours, opinions, or discourses of living beings. Not only, therefore, prisons, madhouses, the panopticon, schools, confession, factories, disciplines, juridical measures, and so forth (whose connection with power is in a certain sense evident), but also the pen, writing, literature, philosophy, agriculture, cigarettes, navigation, computers, cellular telephones and – why not – language itself, which is perhaps the most ancient of apparatuses – one in which thousands and thousands of years ago a primitive inadvertently let himself be captured, probably without realizing the consequences that he was about to face.’ Giorgio Agamben, ‘What is an apparatus’ in What is an Apparatus and other essays (2006/2009) p.14. ‘Building always means to me research, sort of thinking around and questioning…. A few years ago, we opened a second firm alongside OMA called AMO, our research office, a kind of thinking factory…. it allows us an incredible freedom, to be able to think about things systematically, without immediately having to build. There’s a great need for architectural thought over and beyond specific projects.…propaganda for non-material values.’ Rem Koolhaas, in Hanno Rauterburg, Talking Architecture: interviews with architects (Prestel; Munich, 2008). This humanities module addresses RIBA criteria GC2 & GC3: GC2 – ‘Adequate knowledge of the histories and theories of architecture and the related arts and human sciences….’ GC3 – ‘Knowledge of the fine arts as an influence on the quality of architectural design….’

68 1

Curriculum 1. Humanities Design Research Units (DRU): Students work within thematic units defined by their unit teacher’s expertise and research interests on self-directed exploratory projects. The purpose of the DRU’s is to help each student define an investigative approach to, and a theoretical position in architecture, which may inform their current and future design projects, through writing and making. Each unit will define its own agendas, aims and objectives, sources, and set making exercises as appropriate. 2. Humanities Critical Reflection: No project exists in a vacuum. It exists in a design studio, a site, a city, within an architectural and urban culture and its conventions for representation, within a history. Students write a critical reflection upon their studio design projects that discusses how the project addresses the central issues or questions set by the studio; and positions the project in relation to contemporary practice and research, precedent artefacts and ideas. It should probably also explain how and why it relates to its site and broader urban/rural context (you may want to include an annotated site plan or diagrams). 3. Humanities Lectures on critical thinking in urbanism and architecture: The DRU Thinking Machine project and the critical reflection are supported by the humanities lectures in architecture and urbanism. They are divided into two streams: Reclaiming Urbanism: lectures on cities, societies, and the surface of the earth Reclaiming Modernism: lectures on architecture, space, and the spatial subject The aim of these lectures is to build before the eyes and ears of the students a critical theoretical frame for thinking architecture and cities. It also introduces the students to architectural research. The lectures draw on two principle sources, ideas about space found in architecture and the arts, ideas about subjectivity in psychoanalysis and philosophy. Space because it is the central concern of architecture, psychoanalytic theory because it is the most extensive and systematic contemplation of the human subject, the subject of architecture. Each week we examine an architect whose work has made a contribution to modernism, either because s/he was a modernist (Le Corbusier, Mies), an historian of modernism (Giedion), or a post-modern critic of modernism (Venturi, Hadid, Tschumi, Koolhaas, Archigram). Although key concepts in psychoanalytic theory constitute the principle reference outside architecture – Freud's development of the unconscious and Lacan’s structuralist re-reading of the Freudian unconscious as a form of social organisation – the lectures also draw on key concepts in philosophy, the most important of which are Hannah Arendt’s extended concept of the togetherness of people, but which will also include concepts from Hegel, Kant, Saussure, and Derrida. This is not the only theoretical frame for rethinking modernism, but it is a credible example of one. The students may adopt it in its present form, adapt it to fit their own position on architecture and cities, or reject it altogether in favour of another. The history of architecture and urbanism is full of ruins. What the student is not allowed to do is walk away unscathed. Research is defined as a process of exploration. You build a thinking machine to find something out. It may or may not solve a problem. We are interested in architectural research, i.e., research by architectural means, research by design, rather than research about architecture. Most of the architects and urbanists referred to in the lectures used their design practices to explore ideas and work through their consequences for space and occupation. The thinking machine is essentially – to borrow Rossi without permission – an analogous architecture, erected without the constraints – or without all the constraints – that bind architecture, like gravity, sites, budgets. With a bit of lateral thinking on the part of the students, the lectures should assist them in

preparation for both their DRU, the 4th year studio project, and their Masters level design studies. With these lectures as examples, the students should be able to think their way through a self-directed speculative design project or series of projects that can be synthesised as an architecture thesis. Lectures include discussions of: architectural design research, creative practice-based research more generally; elements of a research

project including objects aims context methods, questions; different forms of practice; how to develop your own research agenda that may – for instance – lead to a manifesto-like statement

of intent (i.e., your critical reflection); how to develop and sustain your own discourse (your principle ideas, agendas, issues; above all your

personal clichés, formal and aesthetic preferences, etc.); -

how site selection and brief writing (narrative) are elements of research;

case studies of creative practice research in architecture and/or the visual arts;

drawing as process;

writing and creative writing as part of the design process.

At the end of the lecture course, the students will be asked to attend an introduction to the 5th year M.Arch. Thesis units and to select one that they think will be a good home for their interests.

Outcomes On successful completion of this module students will demonstrate, through the self-directed design research units and the critical reflection essay, a knowledge and understanding of: •

the ways that the histories and theories of architecture and urbanism and the broader cultural context inform architectural design and thinking about cities;

and an ability to: •

use the analysis and appraisal of a wide variety of sources to generate, expand upon and enrich a clear argument, and to critically reflect upon their own work and the work of others;

•

speculate, test and communicate architectural ideas through a variety of appropriate techniques and media drawn from an understanding of architectural and fine art practice;

•

formulate a self-directed innovative design project or series of projects that can be synthesised as an architecture thesis.

Submission Requirements and Assessment 1. Humanities Design Research Units: 80%. You are organised into thematic humanities tutorial groups in which you are asked to produce a thinking machine and a 3000 word text as an iterative explorative thinking and making project. This object may relate to your architectural design; in which case it should lift your project out of the make-believe of a program and client, and ground it in the reality of ideas and materials. The text should situate the object within an architectural discourse, contextualising it within contemporary thought and practice. There can be no precise specification of what the thinking machine is, or even if it is singular, only that you should use it for thinking; we have called it a thinking machine, a machine for thinking architecture, in a nod to Le Corbusier’s machine for living in, Duchamp’s desiring machines, and Geddes folded paper diagrams. It might take the form of a model, a project detail, a drawing, a suite of photographs, a casting that explores a process of making, a howl of anguish (suitably recorded). This is a thinking-through-making exercise that runs in parallel to the development of the text, which is a thinking-through-writing exercise. Please refer to the assessment sheet for assessment criteria. Please refer to the year 4 calendar to confirm submission dates indicated below. For summative assessment students submit a designed bound publication which includes: Thinking through making: thinking machine Re-presentation/record of the object(s) or thinking machine(s) A 100 word statement of practice (how/why was the object made) Thinking through writing: text Abstract: Defines the intent and the territory in 100 words; Critical Discussion: Explores the idea, contextualises the machine in 3000 words. This text is not a report. This text is a thinking through writing project that is a component of a single heterogeneous exploratory project in form materials and ideas. References & bibliography & notes: includes buildings, artefacts, projects, art objects, and texts. Thinking through presenting: a beautifully designed PDF publication. The students will need to carefully photograph their object for inclusion in their Publication, with suitable attention to the lighting and depth of field, camera angles and background. Photography is a way of recording an object and exploring it. The Publication will be the final assessed piece of work. Indicative submission dates (to be confirmed in the course calendar): There will be 4 tutorials + a review of the thinking machine. A DRU project abstract (= 300 words + image) submitted the Friday of week 4 to your DRU tutor. Submission of draft Publication (= 1500 words + images) the Friday of week 8 to your DRU tutor. The thinking machine will be reviewed in cross unit critiques and exhibition in Week 11. Submission of the PDF Publication via MyDundee (tbc) for summative assessment, Monday of week 13. Full documentation of the thinking machine(s) and the process of making should be retained for inclusion alongside the exhibited portfolio see AR40007. Assessment will be based on the cogency, imagination, and insight of the machine and the text considered together in the publication. Assessment will also consider the production values of the publication. Please see the summative assessment sheet form.

2. Humanities Critical reflection: 20% A critical reflection upon the studio design project that discusses how the project addresses the central issues or questions set by the studio. You are also asked to critically position your project in relation to contemporary practice and research, and in particular position it in relation to precedent artefacts (buildings, art, machines,.) and ideas. It should outline key preoccupations and these might relate to site and broader urban context, programme and technical resolution, it might include discussion of how your DRU study relates to your integrated design project. This paper should be 1500 words, and should include images and captions, diagrams, details, plans, etc. as appropriate. Assessment will be based on the insight, originality, and rigour with which it sets out the critical issues and conditions within architecture and the many and myriad contexts that the project addresses. Consideration will also be given to its ‘production values’: the graphic design and typography, clarity, grammar, etc. of the document. my dundee.ac.uk submission for summative assessment: Monday week 27 N.B the critical reflection should also be bound into your Integrated Design Report, forming the introduction. Please see AR40007 and the design report template available through my dundee.ac.uk for further details

A minimum of a pass grade D3 in both submissions is required to pass the module. Materials / Equipment Required Working in the studio will be COVID-limited and will depend on the approach of each DRU group and individual project, but will require; -

Preparation of sketches/sketchbooks on paper and trace, size as appropriate to the project. Students should be in the habit of keeping a sketchbook of ideas. Students should be in the habit of developing their ideas with the precision we expect of architecture, through successive iterative trace overlays.

Technical drawing boards (some AO boards are provided in the studio) – and drawing equipment

Model-making equipment and materials. Students are strongly encouraged to use the now extensive Matthew Building making facilities. These facilities will be COVID-limited. Students should expect the focus this year’s work to be digital or predominantly digital.

Digital media and computing equipment (computers are provided in the CAD suite (students are expected to have laptops in the studios)

A facemask.

Preparation / Support 4 DRU Tutorials beginning on or about week 3: Dates and times – by arrangement with the unit teacher. Preparatory and support materials at the discretion of the unit teacher. See the year 4 calendar for tutorial dates.

Timetable & Blank Summative Assessment Sheet Published separately on my dundee.ac.uk.

U Semester 1 AR41001

AR40007

L Week 0 Welcome Week Thursday 10.0011.00, Library Induction for new students. Friday 12.00 Year Introduction for all students.

HT40003

Semester 2

Welcome Week

AR41001 AR40007

Week 1

Week 2

Week 3

Week 4

Week 5

Monday: Meeting/lecture [AS]

Thursday: Tutorial

Monday: Meeting/lecture [AS]

Thursday: Tutorial

Monday: Meeting/lecture [AS]

Thursday: Tutorial

R Week 6

Mid Review

Thur Tuto Jour Draf Subm

Thursday: Tutorial Tuesday: Lecture [YB]

Tuesday: Lecture [YB] Thursday: Tutorial Tuesday: Lecture [LH]

Week 17 14 Feb

Tuesday: Lecture [LH]

Thursday: Tutorial Tuesday: Lecture [LH]

Week 13 17 Jan

Week 14 24 Jan

Week 15 31 Jan

Week 16 7 Feb

Monday: Meeting/lecture [AS] 11.00

Tuesday: Lecture [TG] 14.00

Review

Tues Lectu

Tuesday: Lecture [LH]

Thur Tuto Tues Lectu

Week 18 21 Feb

We 28 F

Monday: Meeting/lecture [AS] 11.00

Mond Meet [AS]

Thursday: Tutorial Tuesday: Lecture [LH]

Thur Tuto

Thursday: Tutorial

Thur Tuto

Abstract 300+ image submission

Half Draft Submission

Monday: Tech Consult [RD] Studio E 09.00 Studio EF 11.00 Tuesday: Tech Consult [RD] Studio D 12.30 Studio C 15.30

HT40003

Tuesday: Lecture [TG] 14.00

Tuesday: Tech Consult [RD] Studio B 12.30 Studio A 15.30

Thursday: Tutorial

Tuesday: Lecture [LH]

Tuesday: Lecture [LH] + Introduction

Tuesday: Lecture [LH]

Thursday: Tutorial

Semester 2 AR41001

Week 24

Week 25

AR40007

Monday: Meeting/lecture [AS]

Exhibition Complete Journal V2 Final Submission

Thursday: Tutorial Publication Final Submission

Exhibition Complete Critical Reflection Submission

HT40003

Week 26

Week 27

Mid Review

Tuesday: Lecture [LH]

Week 28

Internal and External Exams

74 Please note: Some lectures may not be presented live. In this event, they will be uploaded to MyDundee.

Tues Lectu

eek 7

Week 8

Week 9

Week 10

rsday: orial + rnal V1 ft mission

Monday: Meeting/lecture [AS]

Thursday: Tutorial

Monday: Meeting/lecture [AS]

sday: ure [YB]

Thursday: Tutorial

rsday: orial sday: ure [LH]

Tuesday: Lecture [LH]

eek 19 Feb

Week 20 7 Mar

Week 21 14 Mar

day: ting/lecture 11.00

Final Review / Exhibition

Thursday: Tutorial

Monday: Meeting/lecture [AS] 11.00

Week 11

Week 12

Journal V1 Final Submission

Humanities Introduction (Day TBC)

Week 22 21 Mar

Week 23 28 Mar

Break

Monday: Meeting/lecture [AS] 11.00

Final Review Journal V2 Draft Submission

Thursday: Tutorial

sday: ure [LH]

Tuesday: Lecture [LH]

Thinking Machine Review

Thursday: Tutorial

L Break

Exam Week

rsday: orial

“ . . . SURELY ARCHITECTS AND DESIGNERS CAN AND MUST CONTRIBUTE TO ENVISIONING A VERY DIFFERENT FORM OF THE BUILT ENVIRONMENT, AT EVERY SPATIAL SCALE, BASED ON SOCIAL NEEDS, DEMOCRATIC EMPOWERMENT AND SOCIAL JUSTICE RATHER THAN THE UNFETTERED RULE OF THE COMMODITY FORM.” N. Brenner, Designing out of the Crisis, Fulcrum Issue 65, 2013: Neoliberalisation, London, Bedford Press, 2013.